Written during Olsen's five-month stay at the American Academy in Berlin, There. is part critifictional meditation and part trash diary exploring what happens at the confluence of curiosity, travel, and innovative writing practices. A collage of observations, facts, quotations, recollections, and theoretical reflections, it touches on a wide range of authors, genres, and places, from Beckett and Ben Marcus to David Bowie and Wayne Koestenbaum, film and architecture to avant-garde music and hypermedia, the Venezuelan jungle and Bhutanese mountains to New Jersey mall culture and the restlessness known as Berlin. There is an always-already bracketed performance about how, by inhabiting unstable spaces, we continually unlearn and therefore relearn what thought, experience, and imagination feel like.

From the author of City of Bohane, a debut collection that “could easily have been titled ‘These Are Little Masterpieces’” (The Irish Times)This award-winning story collection by Kevin Barry summons all the laughter, darkness, and intensity of contemporary Irish life. A pair of fast girls court trouble as they cool their heels on a slow night in a small town. Lonesome hill walkers take to the high reaches in pursuit of a saving embrace. A bewildered man steps off a country bus in search of his identity — and a stiff drink. These stories, filled with a grand sense of life’s absurdity, form a remarkably sure-footed collection that reads like a modern-day Dubliners. The winner of the Rooney Prize for Irish Literature and a 2007 book of the year in The Irish Times, the Sunday Tribune, and Metro, There Are Little Kingdoms marks the stunning entrance of a writer who burst onto the literary scene fully formed.

From the award-winning author of Hotel World and The Accidental, a dazzling, funny, and wonderfully exhilarating new novel.At a dinner party in the posh London suburb of Greenwich, Miles Garth suddenly leaves the table midway through the meal, locks himself in an upstairs room, and refuses to leave. An eclectic group of neighbors and friends slowly gathers around the house, and Miles’s story is told from the points of view of four of them: Anna, a woman in her forties; Mark, a man in his sixties; May, a woman in her eighties; and a ten-year-old named Brooke. The thing is, none of these people knows Miles more than slightly. How much is it possible for us to know about a stranger? And what are the consequences of even the most casual, fleeting moments we share every day with one another?Brilliantly audacious, disarmingly playful, and full of Smith’s trademark wit and puns, There but for the is a deft exploration of the human need for separation — from our pasts and from one another — and the redemptive possibilities for connection. It is a tour de force by one of our finest writers.

Butler's inventive third book is dedicated "For no one" and begins with an eerie prologue about the saturation of the world with a damaging light. Suitably forewarned, the reader is introduced to an unexceptional no-name family. All should be idyllic in their newly purchased home, but they are shadowed by an unwelcome "copy family." In the face of the copy mother, the mother sees her heretofore unrealized deterioration. Things only get worse as the father forgets how to get home from work; the mother starts hiding in the closet, plagued by an omnipresent egg; while the son gets a female "special friend" and receives a mysterious package containing photos of dead celebrities. The territory of domestic disillusion and postmodern dystopia is familiar from other tales, but Butler's an endlessly surprising, funny, and subversive writer. This subversion extends to the book's design: very short titled chapters with an abundance of white space. Not so much a novel as a literary tapestry, the book's eight parts are separated by blank gray pages. To Butler (Scorch Atlas), everything in the world, even the physical world, is gray and ever-changing, and potentially menacing.

Love stories, with a twist: the eagerly awaited follow-up to the great Russian writer’s New York Times bestselling scary fairy talesBy turns sly and sweet, burlesque and heartbreaking, these realist fables of women looking for love are the stories that Ludmilla Petrushevskaya—who has been compared to Chekhov, Tolstoy, Beckett, Poe, Angela Carter, and even Stephen King—is best known for in Russia.Here are attempts at human connection, both depraved and sublime, by people across the life span: one-night stands in communal apartments, poignantly awkward couplings, office trysts, schoolgirl crushes, elopements, tentative courtships, and rampant infidelity, shot through with lurid violence, romantic illusion, and surprising tenderness. With the satirical eye of Cindy Sherman, Petrushevskaya blends macabre spectacle with transformative moments of grace and shows just why she is Russia’s preeminent contemporary fiction writer.About the AuthorsLudmilla Petrushevskaya has published stories in the New Yorker, Harper’s Magazine, and n + 1. Born in 1938, she is one of Russia's most celebrated contemporary authors. She lives in Moscow.Anna Summers is the coeditor and co-translator of Ludmilla Petrushevskaya’s There Once Lived a Woman Who Tried to Kill Her Neighbor’s Baby and the literary editor of the Baffler. Born in Moscow, she now lives in Cambridge, Massachusetts.

From a contemporary master of the short story: a dazzling new collection-his first in fifteen years-that explores the unpredictable and mysterious in seemingly ordinary experience.These interrelated stories are arranged in two sections, one devoted to virtues ("Bravery," "Loyalty," "Chastity," "Charity," and "Forbearance") and the other to vices ("Lust," "Sloth," "Avarice," "Gluttony," and "Vanity"). They are cast with characters who appear and reappear throughout the collection, their actions equally divided between the praiseworthy and the loathsome. They take place in settings as various as Tuscany, San Francisco, Ethiopia, and New York, but their central stage is the North Loop of Minneapolis, alongside the Mississippi River, which flows through most of the tales. Each story has at its center a request or a demand, but each one plays out differently: in a hit-and-run, an assault or murder, a rescue, a startling love affair, or, of all things, a gesture of kindness and charity. Altogether incomparably crafted, consistently surprising, remarkably beautiful stories.

From a contemporary master of the short story: a dazzling new collection-his first in fifteen years-that explores the unpredictable and mysterious in seemingly ordinary experience.These interrelated stories are arranged in two sections, one devoted to virtues ("Bravery," "Loyalty," "Chastity," "Charity," and "Forbearance") and the other to vices ("Lust," "Sloth," "Avarice," "Gluttony," and "Vanity"). They are cast with characters who appear and reappear throughout the collection, their actions equally divided between the praiseworthy and the loathsome. They take place in settings as various as Tuscany, San Francisco, Ethiopia, and New York, but their central stage is the North Loop of Minneapolis, alongside the Mississippi River, which flows through most of the tales. Each story has at its center a request or a demand, but each one plays out differently: in a hit-and-run, an assault or murder, a rescue, a startling love affair, or, of all things, a gesture of kindness and charity. Altogether incomparably crafted, consistently surprising, remarkably beautiful stories.

Acclaimed novelist Cecelia Ahern's There's No Place Like Here tells the story of Sandy Shortt, an obsessive-compulsive Missing Persons investigator who suddenly finds herself in the mystical land of the missing, desperate to return to the people and places from whom she has spent her life escaping. With this imaginative fourth novel, Ahern, whose P.S. I Love You was made into a major motion picture, continues to establish herself as not only an icon of Irish chick lit, but also a bold and creative thinker.Continuing the whimsical trend she started with If You Could See Me Now, Ahern asks readers to step outside the boundaries of reality, and enter a world where missing people (and possessions) from all over the globe congregate to start anew. When Sandy goes on an early morning jog and strays too far into the forest, she too finds herself "Here," the aptly named home of the missing. In addition to finding her lost socks, diaries, and stuffed animals, she also finds many of the people she has searched for throughout her career. From Bobby Stanley, who disappeared from his mother's house at the age of sixteen, to Terrence O'Malley, a librarian who disappeared on his way home from work at age 55, Sandy is quickly reunited with the people she has come to know only through photos and heartbreaking memories shared by devastated loved ones who enlisted her services. Of course, finding these people and possessions only makes Sandy realize how much she has missed out on in her real life, most notably her concerned parents and her on again off again boyfriend Greg.There's No Place Like Here is often predictable and the premise is a bit hard to swallow at times. Still, readers who take the leap will be rewarded with what is ultimately a witty, compassionate, and captivating love story.

"This is all the raw urgency of female adolescent sexuality: its energy and intensity, the push-pull of its excitement, its dangers and glories, building to a coming explosion." — Kate Millett, author of Mother Millett"Read it in one sitting. . Literally breathless. This first-person torch song for 'the pink brute' reminds us why French schoolgirls are the emblem for naughty passions as literary classics." — Sarah Schulman, author of The Gentrification of the Mind"School-aged, yet sage in their desires, Thérèse and Isabelle called forth an endless night — a dark and delicate space for them to explore the complexity of their love. I have waited a very long time to slip back into the unexpurgated, delicious darkness with these iconic lesbian lovers." — Amber Dawn, author of How Poetry Saved My LifeThérèse and Isabelle is the tale of two boarding school girls in love. In 1966 when it was originally published in France, the text was censored because of its explicit depiction of young homosexuality. With this publication, the original, unexpurgated text — a stunning literary portrayal of female desire and sexuality — is available to a US audience for the first time. Included is an afterword by Michael Lucey, professor of French and comparative literature at the University of California, Berkeley.

Thérèse Desqueyroux, orpheline de mère, élevée par un père athée dans « l'orgueil d'appartenir à l'élite humaine », a tenté, falsifiant des ordonnances, d'empoisonner Bernard, son mari, un être respectable, mais froid, buté. Pour préserver sa famille du scandale, ce dernier, grand propriétaire terrien landais, a déposé en sa faveur au tribunal ; Thérèse a obtenu un non-lieu…Ce roman, publié pour la première fois en 1927, débute au moment où la jeune femme quitte le palais de justice. Sur le chemin qui la ramène à la propriété d'Argelouse, où elle doit retrouver l'homme qu'elle a voulu voir mourir, la ténébreuse Thérèse fait défiler sa vie, les blessures qui l'ont poussée à commettre ce crime démoniaque : une jeunesse solitaire, un caractère instable, rebelle, mélancolique et tourmenté qui n'a pu s'affermir dans le mariage avec un homme riche mais hostile aux idées, fossilisé par les conventions, une belle-famille qu'elle méprise. Thérèse, qui croit encore au pardon de son mari, ignore qu'elle a définitivement brûlé sa vie. Bernard, fidèle à ses principes de plomb, préférera l'éloigner, plutôt que la comprendre et se rapprocher d'elle. Cette histoire d'une âme noire et perdue, étouffée dans le carcan d'une famille, est peut-être la plus belle, la plus violente prière romanesque de Mauriac.

border town on the steppe. A small group of emaciated and feral refugees appears out of nowhere, spreading fear and panic in the town. When police commissioner Pontus Beg orders their arrest, evidence of a murder is found in their luggage. As he begins to unravel the history of their hellish journey, it becomes increasingly intertwined with the search for his own origins that he has embarked upon. Now he becomes the group’s inquisitor … and, finally, something like their saviour.Beg’s likeability as a character and his dry-eyed musings considering the nature of religion keep the reader pinned to the page from the start. At the same time, the apocalyptic atmosphere of the group’s exodus across the steppes becomes increasingly vivid and laden with meaning as the novel proceeds, in seeming synchronicity with the development of Beg’s character. With a rare blend of humour and wisdom, Tommy Wieringa links man’s dark nature with the question of who we are and whether redemption is possible.

One November night in a canyon outside L.A., Zan Nordhoc-a failed novelist turned pirate radio DJ-sits before the television with his small, adopted black daughter, watching the election of his country's first black president. In the nova of this historic moment, with an economic recession threatening their home, Zan, his wife and their son set out to solve the enigma of the little girl's life. When they find themselves scattered and strewn across two continents, a mysterious stranger with a secret appears, who sends the story spiraling forty years into the past.

Adam Silvera reminds us that there’s no life without death and no love without loss in this devastating yet uplifting story about two people whose lives change over the course of one unforgettable day.

On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today.

Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day.

From one of America’s greatest comic novelists, a hilarious new novel about aging, family, loneliness, and love.The Bergman clan has always stuck together, growing as it incorporated in-laws, ex-in-laws, and same-sex spouses. But families don’t just grow, they grow old, and the clan’s matriarch, Joy, is not slipping into old age with the quiet grace her children, Molly and Daniel, would have wished. When Joy’s beloved husband dies, Molly and Daniel have no shortage of solutions for their mother’s loneliness and despair, but there is one challenge they did not count on: the reappearance of an ardent suitor from Joy’s college days. And they didn’t count on Joy herself, a mother suddenly as willful and rebellious as their own kids.The New York Times—bestselling author Cathleen Schine has been called “full of invention, wit, and wisdom that can bear comparison to [Jane] Austen’s own” (The New York Review of Books), and she is at her best in this intensely human, profound, and honest novel about the intrusion of old age into the relationships of one loving but complicated family. They May Not Mean To, But They Do is a radiantly compassionate look at three generations, all coming of age together.

The emerging societies of the Caribbean in the seventeenth century were a riotous assembly of pirates, aristocrats, revolutionaries, and rogues — outcasts and fortune seekers all. In They're Cows, We're Pigs, acclaimed Mexican novelist Carmen Boullosa animates this world of bloody chaos and uncertain possibility through the eyes of the young Jean Smeeks, kidnapped in Flanders at age thirteen and sold into indentured servitude on Tortuga, the mythical Treasure Island. Trained in the magic of medicine by le Negre Miel, an African slave healer, and Pineau, a French-born surgeon, Smeeks signs on as a medical officer with the pirate band the Brethren of the Coast. Transformed by the looting and violence of pirate life, Smeeks finds himself both healer and despoiler, servant and mercenary, suspended between the worlds of the law-abiding, tradition-bound "cows" and the freely roaming and raiding "pigs."

After preventing Mother Earth from destroying the planet, Joanne Baldwin lost her memories thanks to Ashan the djinn-and they will remain lost forever unless Joanne can recover her identity-and destroy the demon who is impersonating her, fabulous shoes and all…

From one of the finest short-story writers in Spanish, this is the first anthology of his work to appear in English. Like Anton Chekhov and Katherine Mansfield, Medardo Fraile is a chronicler of the minor tragedies and triumphs of ordinary life, and each short tale opens up an entire exquisite world.

Things You Should Know is a collection of dazzling stories by one of the most talented and daring young American writers. Homes' distinctive narratives demonstrate how extraordinary the ordinary can be. A woman pursues an unconventional strategy for getting pregnant; a former First Lady shows despair and courage in dealing with her husband's Alzheimer's; a teacher's list of 'things you already should know but maybe are a little dumb, so you don't' becomes an obsession for someone wasn't at school the day it was given out; and adult tragedy intrudes into a childhood friendship. The stories are full of magic and strangeness and humour, but also demonstrate an uncanny emotional accuracy and compassion.

In the wilds of Northern Pakistan, where glaciers are born of mating ice, two young lovers shatter the tenuous peace of a nomadic communityThinner than Skin is a riveting novel about identity and belonging. It’s also a love story: between a young Pakistani man trying to make his way as photographer in America, and the daughter of a Pakistani father and German mother brought up in the US, who wants to return to a country she’s never seen. Together they make the trip to Pakistan, where a chance meeting with a young nomad changes their lives, and the lives of those around them, forever. The novel is also a love letter to the wilds of Northern Pakistan, to glaciers, to the old Silk Road, and to the nomadic life of the indigenous people in the Northern territories, where China encroaches and Pakistanis, Uzbeks, Russians, Chinese, and Afghans all come together to trade.Review“In gorgeous prose, Khan writes about Pakistan, a land of breathtaking beauty, and the complex relationships between people who are weighted with grief and estrangement. As her characters’ lives play out against the backdrop of the external world whose violence gradually closes in on them, Khan brilliantly probes the fatal limitations of human understanding. A novel of great lucidity and tenderness, filled with splendid descriptions of the land, the people who have always inhabited it, and those who are irresistibly drawn to it.”—Therese Soukar Chehade“Smart, fierce, and poignant: perhaps the most exciting novel yet by this very talented writer.”—Mohsin HamidAbout the AuthorUzma Aslam Khan is the author of Trespassing and The Geometry of God, both highly acclaimed novels, published around the world. Uzma’s story “Ice, Mating” was included in Granta magazine’s hugely popular edition on Pakistan. She is the winner of the Bronze Award in the Independent Publishers Book Award, and her previous novel was a Kirkus Best Book of 2009 and a finalist for Foreword Magazine’s Best Books of 2009.

“Dowlatabadi draws a detailed, realist picture of Iranian life. . . in language that is complex and lyrical.” —The Financial TimesIn the midst of the Iran — Iraq War, an Iraqi journalist is given a tour of a military prison. The Major in charge of the camp informs the writer of what is expected: he is to write a fabricated report about a murder that has occurred in the camp, with the aim of demoralizing Iranian soldiers.Reluctant to write the report, the writer spends a long night talking and drinking with the Major and detailing a work of fiction he is composing about a group of soldiers trapped on a hill, dying of thirst as they battle for a water tank with a group of enemy soldiers perched on the opposite hill. The tank remains undamaged, but neither group has a hope of reaching it without being killed.In a narrative riddled with surreal images, shifting perspectives, and dark humor, Mahmoud Dowlatabadi — widely acknowledged as the most important living Iranian writer — offers a kaleidoscopic portrait of the warring countries as he questions the meaning of national identity and does something that has been nearly impossible to do in Iran for the last century: tell a true story.