Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources, and the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.

    As her sophomore year begins, Karen enters into the back-to-school revelry--particularly at a fraternity called GBC. When she wakes up one morning on the lawn of Raghurst, a house of radical feminists, she gets a crash course in the state of feminist activism on campus. GBC is notorious, she learns, nicknamed "Gang Bang Central" and a prominent contributor to a list of date rapists compiled by female students. Despite continuing to party there and dating one of the brothers, Karen is equally seduced by the intellectual stimulation and indomitable spirit of the Raghurst women, who surprise her by wanting her as a housemate and recruiting her into the upper-level class of a charismatic feminist mythology scholar they all adore. As Karen finds herself caught between two increasingly polarized camps, ringleader housemate Dyann believes she has hit on the perfect way to expose and bring down the fraternity as a symbol of rape culture--but the war between the houses will exact a terrible price.The Red Word captures beautifully the feverish binarism of campus politics and the headlong rush of youth toward new friends, lovers, and life-altering ideas. With strains of Jeffrey Eugenides's The Marriage Plot, Alison Lurie's Truth and Consequences, and Tom Wolfe's I Am Charlotte Simmons, Sarah Henstra's debut adult novel arrives on the wings of furies.

    With acute psychological insight, Dávila follows her characters to the limits of desire, paranoia, insomnia, and fear. She is a writer obsessed with obsession, who makes nightmares come to life through the everyday: loneliness sinks in easily like a razor-sharp knife, some sort of evil lurks in every shadow, delusion takes the form of strange and very real creatures. After reading The Houseguest—Dávila’s debut collection in English—you’ll wonder how this secret was kept for so long.

    Where the Wild Ladies Are is populated by these and many other spirited women—who also happen to be ghosts. This is a realm in which jealousy, stubbornness, and other excessive "feminine" passions are not to be feared or suppressed, but rather cultivated; and, chances are, a man named Mr. Tei will notice your talents and recruit you, dead or alive (preferably dead), to join his mysterious company.In this witty and exuberant collection of linked stories, Aoko Matsuda takes the rich, millennia-old tradition of Japanese folktales—shapeshifting wives and foxes, magical trees and wells—and wholly reinvents them, presenting a world in which humans are consoled, guided, challenged, and transformed by the only sometimes visible forces that surround them.

    A disgruntled follower of a self-esteem blog posts a rambling critical comment. On the hunt for the perfect coffee table, a pregnant woman and her husband stop to visit his terminally ill ex-wife. The office cat lady reluctantly joins her fellow employees' crusade to cheer up their dying co-worker. A man grieving his wife's miscarriages follows his deluded friend on a stealth photo-taking mission at the Auto Show. A shoplifter creates her own narrative with stolen anecdotes and a kidnapped baby. In this collection, society's misfits and losers are portrayed sympathetically, and sometimes even heroically. As desperately as these characters long to fit in, they also take pride in what sets them apart.

    Exotic beasts and improbable travelers roam restlessly through these darkly diverting and finely honed tales.In “The Situation,” a beleaguered office worker creates a child-swallowing manta-ray to be used for educational purposes (once described as Dilbert meets Gormenghast). In “Three Days in a Border Town,” a sharpshooter seeks the truth about her husband in an elusive floating city beyond a far-future horizon; “Errata” follows an oddly familiar writer who has marshaled a penguin, a shaman, and two pearl-handled pistols with which to plot the end of the world. Also included are two stories original to this collection, including “The Quickening,” in which a lonely child is torn between familial obligation and loyalty to a maligned talking rabbit.Chimerical and hypnotic, VanderMeer leads readers through the postmodern into a new literature of the imagination.

    For those who already know these tales, the poignant introduction is a window on the creator's mind. Reflecting back after 14 years, Barker writes: I look at these pieces and I don't think the man who wrote them is alive in me anymore.... We are all our own graveyards I believe; we squat amongst the tombs of the people we were. If we're healthy, every day is a celebration, a Day of the Dead, in which we give thanks for the lives that we lived; and if we are neurotic we brood and mourn and wish that the past was still present. Reading these stories over, I feel a little of both. Some of the simple energies that made these words flow through my pen--that made the phrases felicitous and the ideas sing--have gone. I lost their maker a long time ago. These enthusiastic tales are not ashamed of visceral horror, of blood splashing freely across the page: "The Midnight Meat Train," a grisly subway tale that surprises you with one twist after another; "The Yattering and Jack," about a hilarious demon who possesses a Christmas turkey; "In the Hills, the Cities," an unusual example of an original horror premise; "Dread," a harrowing non-supernatural tale about being forced to realize your worst nightmare; "Jacqueline Ess: Her Will and Testament," about a woman who kills men with her mind. Some of the tales are more successful than others, but all are distinguished by strikingly beautiful images of evil and destruction. No horror library is complete without them. --Fiona Webster

    Blending the miraculous with the macabre, and leavened by a mischievous gallows humor, these bewitching tales are like nothing being written in Russia-or anywhere else in the world-today.

    Blurring the lines between magical realism, horror, and science-fiction, Chung uses elements of the fantastic and surreal to address the very real horrors and cruelties of patriarchy and capitalism in modern society.Anton Hur’s translation skilfully captures the way Chung’s prose effortlessly glides from being terrifying to wryly humorous. Winner of a PEN/Heim Grant.

    literally, from dust to dust. Readers will remember Vanessa Van Home, the elderly detective from The Telling of Lies, now involved in a murder mystery where a corpse confounds the line between the magical and the mundane. And the unforgettable Rosedale couple from Findleys "Minna and Bragg" stories, who reappear in two more haunting tales. In the stories that make up "All Must Come to Dust," we are taken into the ancient cultures of Europe, and there confronted by our preconceived notions of what constitutes history and memory.Each work in Dust to Dust is a beautifully rendered showcase for Timothy Findley's immense talent in evoking a time, a place and a mood. With their European settings, these stories render a territory formerly unexplored by Findley in his Short Fiction repertoire.

    A Human Stain by Kelly Robson is a disturbing horror novelette about a British expatriate at loose ends who is hired by her friend to temporarily care for his young, orphaned nephew in a remote castle-like structure in Germany.At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

    With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters' lives in a way that allows them to speak to larger issues of race, culture, and history. She introduces us to Black and multiracial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief—all while exploring how history haunts us, personally and collectively. Ultimately, she provokes us to think about the truths of American history—about who gets to tell them, and the cost of setting the record straight.In "Boys Go to Jupiter," a white college student tries to reinvent herself after a photo of her in a Confederate-flag bikini goes viral. In "Richard of York Gave Battle in Vain," a photojournalist is forced to confront her own losses while attending an old friend's unexpectedly dramatic wedding. And in the eye-opening title novella, a black scholar from Washington, DC, is drawn into a complex historical mystery that spans generations and puts her job, her love life, and her oldest friendship at risk.

    From bewildering assemblies in school auditoriums to the murky waters of a Depression-era health resort, Beams’s landscapes are tinged with otherworldliness, and her characters’ desires stretch the limits of reality. Ing énues at a boarding school bind themselves to their headmaster’s vision of perfection ; a nineteenth-century landscape architect embarks on his first major project, but finds the terrain of class and power intractable ; a bride glimpses her husband’s past when she wears his World War II parachute as a gown ; and a teacher comes undone in front of her astonished fifth graders.As they capture the strangeness of being human, the stories in We Show What We Have Learned reveal Clare Beams’s rare and capacious imagination—and yet they are grounded in emotional complexity, illuminating the ways we attempt to transform ourselves, our surroundings, and each other.

    In the big white house on the hill angels are said to appear. A forgotten tenant in an isolated building becomes addicted to milk. A strange goddess is worshipped by a home-invading disciple. The least remembered gods still haunt the oldest forests. Cannibalism occurs in high society at the end of the world. The sainted undead follow their prophet to the Great Dead Sea. A confused and vengeful presence occupies the home of a first-time buyer . . . In ghastly harmony with the nightmarish visions of the award-winning writer's novels, these stories blend a lifelong appreciation of horror culture with the grotesque fascinations and childlike terrors that are the author's own. Adam Nevill's best early horror stories are collected here for the first time.

    A medical procedure reveals an object of worship. A carnivorous reptile divides and cauterizes a town. Amelia Gray’s curio cabinet expands in Gutshot, where isolation and coupling are pushed to their dark and outrageous edges. These singular stories live and breathe on their own, pulsating with energy and humanness and a glorious sense of humor. Hers are stories that you will read and reread—raw gems that burrow into your brain, reminders of just how strange and beautiful our world is. These collected stories come to us like a vivisected body, the whole that is all the more elegant and breathtaking for exploring its most grotesque and intimate lightless viscera.