Editor's Picks New Book Arrivals (320)
From a Caribbean resort for the generously-figured to rivers and bayous that hold secrets or become escape routes into and out of relationships. The characters in these stories worm their way into your psyche. They don't always do the right (or legal) thing, but they act for the right reasons.
Everything about fifteen-year-old Cat’s new town in rural Michigan is lonely and off-kilter until she meets her neighbor, the manic, beautiful, pill-popping Marlena. But within the year, Marlena is dead, drowned in six inches of icy water in the woods nearby. Now, decades later, when a ghost from that year surfaces, Cat must try again to move on. Told in a haunting dialogue between past and present, Marlena is an unforgettable story of the friendships that shape us beyond reason and the ways it might be possible to pull oneself back from the brink.
Georgia O’Keeffe mistrusted words. She claimed color as her language. Nevertheless, in the course of her long life, the great American painter wrote thousands of letters―more than two thousand survive between her and her husband, Alfred Stieglitz, alone. Jennifer Sinor’s Letters Like the Day honors O’Keeffe, her modernist landscapes, and, crucially, the value of letter writing. In the painter’s correspondence, we find an intimacy with words that is all her own. Taking her letters as a touchstone, Sinor experiments with the limits of language using the same aesthetic that drove O’Keeffe’s art.
As a teaching artist with Detroit's longest enduring literary non-profit—InsideOut Literary Arts Project—fiction writer and novelist Peter Markus has inspired thousands of students to become believers in the power of words, armed with nothing but an ordinary pencil—the same beat-up, unsharpened pencil Markus has carried with him, story has it, since he was in the third grade. He invites children to explore the dreamscapes of their imaginary worlds, encouraging even the most resistant students to see what magic and wonder awaits them.
The poems in Ears crackle with aplomb and verve as they try to measure the distance between the ear, an organ of touch, and the often chaotic and soemtimes orderly vibrations the ears permit the body to receive; in that gap between trust and faith is this collection of poems—a devotional book that prays to the senses for mercy. It's tricky.
"Peckham’s exquisite language does what writing is supposed to do—envelope you in a new universe and take you on a dramatic and emotional journey. His new collection, Body Memory, continues what is now his hallmark: It explores the deeply personal and hard-to-articulate understandings of what it means to both have a body and also be one. His fears, his phobias, his frailties are all on display so we can better understand ourselves and what it means to be alive—and to be grateful to be alive—today.” —Derek B. Miller, author of Norwegian by Night
Tim, already behind, will be a sophomore again if he doesn’t pass the English proficiency exam. He’s got good street cred, riffing strange rap-rhymes and running like the wind. Maria, a girl in his class, catches his eye, but he’s still thinking about his ex, Rene. At home, he’s packed into a 3-flat with his mom, sister and Uncle Gentrale. His father, a drunk, recently walked out on the family, wanting some “freedom.” He tells Tim, “Ahgottahandleonit.” He doesn’t. Nor does Tim.
Rock | Salt | Stone sprays life-preserving salt through the hard realities of rocks, stones, and rockstones used as anchors, game pieces, or weapons. The manuscript travels through Africa, the Caribbean, and the USA, including cultures and varieties of English from all of those places. The poems center the experience of the outsider, whether she is an immigrant, a woman, or queer. Sometimes direct, sometimes abstract, these poems engage different structures, forms, and experiences while addressing the sharp realities of family, sexuality, and immigration.
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.