"A hint of Lynch, a touch of Ferrante, the cruel absurdity of Antonin Artaud, the fierce candour of Anaïs Nin, the stylish languor of a Lana del Rey song."
—The Guardian

As Communism begins to crumble in Prague in the 1980s, Jana’s unremarkable life becomes all at once remarkable when a precocious young girl named Zorka moves into the apartment building with her mother and sick father. With Zorka's signature two-finger salute and abrasive wit, she brings flair to the girls’ days despite her mother’s protestations to not “be weird.” But after scorching her mother’s prized fur coat and stealing from a nefarious teacher, Zorka suddenly disappears.

Meanwhile in Paris, Aimée de Saint-Pé married young to an older woman, Dominique, an actress whose star has crested and is in decline. A quixotic journey of self-discovery, Virtuoso follows Zorka as she comes of age in Prague, Wisconsin, and then Boston, amidst a backdrop of clothing logos, MTV, computer coders, and other outcast youth. But it isn’t till a Parisian conference hall brimming with orthopedic mattresses and therapeutic appendages when Jana first encounters Aimée, their fates steering them both to a cryptic bar on the Rue de Prague, and, perhaps, to Zorka.

With a distinctive prose flair and spellbinding vision, Virtuoso is a story of love, loss, and self-discovery that heralds Yelena Moskovich as a brilliant and one-of-a-kind visionary.

With luminous insight and fervent prose, Andre Perry’s debut collection of personal essays, Some of Us Are Very Hungry Now, travels from Washington DC to Iowa City to Hong Kong in search of both individual and national identity. While displaying tenderness and a disarming honesty, Perry catalogues racial degradations committed on the campuses of elite universities to liberal bastions like San Francisco while coming of age in America.

The essays in Some of Us Are Very Hungry Now take the form of personal reflection, multiple choice questions, screenplays, and imagined talk-show conversations, while traversing the daily minefield of a childhood schoolyard to dimly-lit late nights in Midwestern bars. The impression of Perry’s personal journey is arresting and beguiling, while announcing the author’s arrival as a formidable and ferocious American voice.

"I loved every page of this gorgeous, grotesque, heartbreaking novel."
—Carmen Maria Machado, author of Her Body and Other Parties

“Insightful and incisive, this book cuts deep into the failing heart of the feminine mystique. Etter is a surgeon.”
—Amelia Gray, author of Isadora and Gutshot

A surreal exploration of one woman’s life and death against a landscape of meat, office desks, and bad men.

The Book of X tells the tale of Cassie, a girl born with her stomach twisted in the shape of a knot. From childhood with her parents on the family meat farm, to a desk job in the city, to finally experiencing love, she grapples with her body, men, and society, all the while imagining a softer world than the one she is in. Twining the drama of the everyday—school-age crushes, paying bills, the sickness of parents—with the surreal—rivers of thighs, men for sale and fields of throats—Cassie’s realities alternate to create a blurred, fantastic world of haunting beauty.

Triangulum is an ambitious, often philosophical and genre-bending novel that covers a period of over 40 years in South Africa’s recent past and near future — starting from the collapse of the apartheid homeland system in the early 1990s, to the economic corrosion of the 2010s, and on to the looming, large-scale ecological disasters of the 2040s.

In 2040, the South African National Space Agency receives a mysterious package containing a memoir and a set of digital recordings from an unnamed woman who claims the world will end in ten years. Assigned to the case, Dr. Naomi Buthelezi, a retired professor and science-fiction writer, is hired to investigate the veracity of the materials, and whether or not the woman's claim to have heard from a “force more powerful than humankind” is genuine.

Thus begins TRIANGULUM, a found manuscript composed of the mysterious woman’s memoir and her recordings. Haunted by visions of a mysterious machine, the narrator is a seemingly adrift 17-year-old girl, whose sick father never recovered from the shock of losing his wife. She struggles to navigate school, sexual experimentation, and friendship across racial barriers in post-Apartheid South Africa.

When three girls go missing from their town, on her mother's birthday, the narrator is convinced that it has something to do with "the machine" and how her mother also went missing in the '90s. Along with her friends, Litha and Part, she discovers a puzzling book on UFOs at the library, the references and similarities in which lead the friends to believe that the text holds clues to the narrators’s mother's abduction. Drawing upon suggestions in the text, she and her friends set out on an epic journey that takes them from their small town to an underground lab, a criminal network, and finally, a mysterious, dense forest, in search of clues as to what happened to the narrator's mother.

With extraordinary aplomb and breathtaking prose, Ntshanga has crafted an inventive and marvelous artistic accomplishment.

"Beguiling, audacious... rises to its own challenges in engaging intellectually as well as wholeheartedly with its questions about gender, genre and the concept of wilderness. The novel displays wide reading, clever writing and amusing dialogue."
—The Guardian

This is a new kind of nature writing — one that crosses fiction with science writing and puts gender politics at the center of the landscape.

Erin, a 19-year-old girl from middle England, is travelling to Alaska on a journey that takes her through Iceland, Greenland, and across Canada. She is making a documentary about how men are allowed to express this kind of individualism and personal freedom more than women are, based on masculinist ideas of survivalism and the shunning of society: the “Mountain Man.” She plans to culminate her journey with an experiment: living in a cabin in the Alaskan wilderness, a la Thoreau, to explore it from a feminist perspective.

The book is a fictional time-capsule curated by Erin from this time comprising of personal narrative, fact, anecdote, images and maps, on subjects as diverse as The Golden Records, Voyager 1, the moon landings, the appropriation of native land and culture, Rachel Carson, The Order of The Dolphin, The Doomsday Clock, Ted Kaczynski, Valentina Tereshkova, Jack London, Thoreau, Darwin, Nuclear war, The Letters of Last Resort and the pill, amongst many other topics.

*A Best Book of 2018 —Kirkus Reviews, BuzzFeed News, Entropy, LitReactor

It’s 16-year-old Edie who finds their mother Marianne dangling in the living room from an old jump rope, puddle of urine on the floor, barely alive. Upstairs, 14-year-old Mae had fallen into one of her trances, often a result of feeling too closely attuned to her mother’s dark moods. After Marianne is unwillingly admitted to a mental hospital, Edie and Mae are forced to move from their childhood home in Louisiana to New York to live with their estranged father, Dennis, a former civil rights activist and literary figure on the other side of success.

The girls, grieving and homesick, are at first wary of their father’s affection, but soon Mae and Edie’s close relationship begins to fall apart—Edie remains fiercely loyal to Marianne, convinced that Dennis is responsible for her mother’s downfall, while Mae, suffocated by her striking resemblances to her mother, feels pulled toward their father. The girls move in increasingly opposing and destructive directions as they struggle to cope with outsized pain, and as the history of Dennis and Marianne’s romantic past clicks into focus, the family fractures further.

Moving through a selection of first-person accounts and written with a sinister sense of humor, The Deeper the Water the Uglier the Fish powerfully captures the quiet torment of two sisters craving the attention of a parent they can’t, and shouldn’t, have to themselves. In this captivating debut, Katya Apekina disquietingly crooks the lines between fact and fantasy, between escape and freedom, and between love and obsession.

*Best Books of 2018 —Entropy

The Blurry Years is a powerful and unorthodox coming-of-age story from an assured new literary voice, featuring a stirringly twisted mother-daughter relationship, set against the sleazy, vividly-drawn backdrop of late-seventies and early-eighties Florida.
Callie—who ages from six to eighteen over the course of the book—leads a scattered childhood, moving from cars to strangers’ houses to the sand-dusted apartments of the tourist towns that litter the Florida coastline.
Callie’s is a story about what it’s like to grow up too fast and absorb too much, to watch adults behaving badly; what it’s like to be simultaneously in thrall to and terrified of the mother who is the only family you've ever known, who moves you from town to town to leave her own mistakes behind.
With precision and poetry, Kriseman's moving tale of a young girl struggling to find her way in the world is potent, and, ultimately, triumphant.

*Best Books of 2017 —NPR, Buzzfeed, Paste Magazine, Esquire, Chicago Tribune, Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily
*American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads'
*Midwest Indie Bestseller

In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

With the energy, wit, and singularity of vision that have earned him a reputation as a celebrated and charismatic musician, The Vine That Ate the South announces J.D. Wilkes as an accomplished storyteller on a surreal, Homeric voyage that strikes at the very heart of American mythology.

In a forgotten corner of western Kentucky lies a haunted forest referred to locally as "The Deadening," where vampire cults roam wild and time is immaterial. Our protagonist and his accomplice—the one and only, Carver Canute—set out down the Old Spur Line in search of the legendary Kudzu House, where an old couple is purported to have been swallowed whole by a hungry vine. Their quest leads them face to face with albino panthers, Great Dane-riding girls, protective property owners, and just about every American folk-demon ever, while forcing the protagonist to finally take stock of his relationship with his father and the man's mysterious disappearance.

The Vine That Ate the South is a mesmerizing fantasia where Wilkes ambitiously grapples with the contradictions of the contemporary American South while subversively considering how well we know our own family and friends.

*Best of 2017 —San Francisco Chronicle

"Raw-edged and whippet-thin, Sirens swings from tales of bawdy addiction to charged moments of a father struggling to stay clean. Mohr’s prose is lean and scrappy—a featherweight boxer that packs a punch.”
—Los Angeles Times

With vulnerability, grit, and hard-won humor, acclaimed novelist Joshua Mohr returns with his first book-length work of non-fiction, a raw and big-hearted chronicle of substance abuse, relapse, and family compassion.

Sirens provides a harrowing and complicated account of Mohr's years of substance abuse and culpability. Employing the characterization and chimerical prose for which he has been lauded, Mohr leaves no rock from his sordid past un-turned, from his childhood swilling fuzzy navels as a latch-key kid, through the black-outs and fist-fights, his first failed marriage to his path to sobriety, through the birth of his daughter and the three strokes he suffers in his thirties that reveal he has a literal hole in his heart.

Sirens is a spectacularly moving tome of honesty and emotion from one of our most gifted contemporary writers.

"[The Incantations of Daniel Johnston] captures Johnston's visions—both artistic and hallucinatory—in an intensely colorful cartoonish style and vivid recurring images: frogs, cascades of pills, volcanoes, eyeballs of many varieties."
—John Williams, New York Times Book Review

The Incantations of Daniel Johnston is a spirited, eye-popping collaborationg between New York Times-bestselling Spanish artist Ricardo Cavolo and award-winning author Scott McClanahan.

Long a fan of Daniel Johnston, the man and his music, Cavolo illustrates Johnston's colorful life, from his humble beginnings as a carnival employee to folk musician in Austin, to his rise to MTV popularity and persistent struggle with personal demons.

In addition to being visually very striking, with astoundingly economical prose McClanahan manages to deal with powerful and complex issues, such as how we as a society mythologize troubled artists, while continuing his ongoing exploration of human relationships, and the pliable interaction between reader and writer.