Editor's Picks New Book Arrivals (298)
Behind the Mask is a multi-author collection with stories by award-winning authors Kelly Link, Cat Rambo, Carrie Vaughn, Seanan McGuire, Lavie Tidhar, Sarah Pinsker, Keith Rosson, Kate Marshall, Chris Large and others. It is partially, a prose nod to the comic world—the bombast, the larger-than-life, the save-the-worlds and the calls-to-adventure. But it’s also a spotlight on the more intimate side of the genre. The hopes and dreams of our cape-clad heroes. The regrets and longings of our cowled villains. That poignant, solitary view of the world that can only be experienced from behind the mask.
"All of Stephanie Dickinson's works are about language: taut, urgent, effervescent. Her extraordinary talent shimmies in the daylight of her paged ruminations, in the night of her haunting revelations. Reading Stephanie Dickinson is like being thrown back in time to a more careful, more erudite, era of writing rising off the wings of a brilliance seldom seen these days; maybe it's because her 'Emily' pieces speak of that gentler time. [ . . . ] Her works are all about the lucid, arresting turns of phrase that make language as surprising and re-readable as it should be."—Chila Woychik
Overyellow is part of a series that Nicolas Pesquès has been writing over the past twenty-five years; beginning with a mountain that he sees outside his window in the Ardèche region of France, Pesquès uses an evocation of nature to reflect upon the nature of language and its tendency to separate us from immanent experience. Subtle inter-relations of various powers, from the personal to the universal, create a meditative weave that accommodates both vivid imagery and philosophical speculation.
The poems in This Sweet Haphazard are anything but haphazard in their designs or effects, and while sweetness resides here, it’s a sweetness hard-won by looking at life unflinchingly. Wegener’s gift is to show us that the ever-changing, the temporal, is as close as we’re apt to come to paradise. These are poems that no one will forget, radiating as they do with Central Valley heat, with the beauty of the ordinary, and with the love of a woman for the “sweet haphazard of home,” from which everything here so accurately and ingeniously arises.
Newton’s Laws of Motion describe the relationship between a body and its response to the forces acting upon it. For the men and women in States of Motion, imbalance is a way of life. Set in Michigan small towns both real and fictional, the stories in Laura Hulthen Thomas’s collection take place against a backdrop of economic turmoil and the domestic cost of the war on terror. As familiar places, privilege, and faith disappear, what remains leaves these broken characters wondering what hope is left for them. These stories follow blue collars and white, cops and immigrants, and mothers and sons as they defend a world that is quickly vanishing.
The Happy End/ All Welcome is set in a job fair inspired by the Nature Theater of Oklahoma from Kafka's unfinished novel Amerika: the largest theater company in the world is recruiting all kinds of employees. De la Torre builds, fastens, cuts, pastes, performs, and extrudes a variety of poems to suit this most serious situation comedy: poems as job interviews, poems as postings, poems as questionnaires, reports, speeches, lyrical rants. At its heart, this playful bricolage explores the norms of the workplace and its notions of competence, while tackling office design, performativity, and skilled vs. deskilled creative labor.
Spanning four seasons, ten countries, three teaching jobs, and countless buses, Patagonian Road: A Year Alone Through Latin America chronicles Kate McCahill’s solo journey from Guatemala to Argentina. In her struggles with language, romance, culture, service, and homesickness, she personifies a growing culture of women for whom travel is not a path to love but a route to meaningful work, rare inspiration, and profound self-discovery.
A combat photographer transitions to suburban life. An overcrowded clown car picks up too much speed. A Sara Lane Luxury Cruise takes a vindictive turn. In this series of linked stories, each one ends in fire. Woven between them are descriptions of life after a fiery apocalyptic event, something close to the end of the world.
Frederick Luis Aldama and graphic artists from Mapache Studios give shape to ugly truths in the most honest way, creating new perceptions, thoughts, and feelings about life in the borderlands of the Américas. Each bilingual prose-art fictional snapshot offers an unsentimentally complex glimpse into what it means to exist at the margins of society today. These unflinching and often brutal fictions crisscross spiritual, emotional, and physical borders as they give voice to all those whom society chooses not to see.
In The Estrangement Principle Ariel Goldberg, unravels the problematic label, “queer art” by consistently arguing for a wider range of associations with art made by queer identified people. Goldberg invokes the lives and works of writer Renee Gladman, and artists Jack Waters and Peter Cramer, among many others to bring the complexity of the communities and relationships behind art and literary histories into focus. The Estrangement Principle is an exercise in contradiction with its ultimate goal being to resist the practice of movement naming.
In his new collection, The Cowherd’s Son, winner of the Kundiman Prize, Rajiv Mohabir uses his queer and mixed-caste identities as grace notes to charm alienation into silence. Mohabir’s inheritance of myths, folk tales, and multilingual translations make a palimpsest of histories that bleed into one another. A descendant of dislocations and relocations, linking India, Guyana, Trinidad, New York, Orlando, Toronto, and Honolulu, combining the amplitude of mythology with direct witness and sensual reckoning, all the while seeking joy in testimony.
Rosalie Moffett’s June in Eden gives us a speaker bewildered by and in awe of the world: both the miracles and failures of technology, medicine, and imagination. These darkly humorous poems are works of grief and wonder and give us a landscape that looks, from some angles, like paradise.
With On Broad Sound, Rusty Barnes turns his attention from his rural Appalachian roots to twenty plus years of living in a working class suburb of Boston. Ranging widely in subject matter, On Broad Sound’s poems were inspired by and often titled with locations in and around the author’s adopted home in Revere, Massachusetts. Whether it’s observing planes land at Logan Airport, eating cookies with the city mayor, or watching his children play in a marsh partially sectioned off by yellow crime tape, On Broad Sound is part urban travelogue and part sharp portrayal of modern life.