"Originality is met by craft."
—Anne Enright

The award-winning stories in Dima Alzayat’s collection are luminous and tender, whether dealing with a woman performing burial rites for her brother in “Ghusl,” or a great-aunt struggling to explain cultural identity to her niece in “Once We Were Syrians.”

Alzayat’s stories are rich and relatable, chronicling a sense of displacement through everyday scenarios. There is the intern in pre-#MeToo Hollywood of “Only Those Who Struggle Succeed,” the New York City children on the lookout for a place to play on the heels of Etan Patz’s kidnapping in “Disappearance,” and the “dangerous” women of “Daughters of Manāt” who struggle to assert their independence.

The title story, “Alligator,” is a masterpiece of historical reconstruction and intergenerational trauma, told in an epistolary format through social media posts, newspaper clippings, and testimonials, that starts with the true story of the lynching of a Syrian immigrant couple by law officers in small-town Florida. Placed in a wider context of U.S. racial violence, the extrajudicial deaths, and what happens to the couple’s children and their children’s children in the years after, challenges the demands of American assimilation and its limits.

Alligator and Other Stories is haunting, spellbinding, and unforgettable, while marking Dima Alzayat’s arrival as a tremendously gifted new talent.

"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

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.

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.

"Savage Gods is a beautiful, intelligent, extremely poetic book about a writer dissecting his thoughts and feelings on the page without the protective layer of fiction."
—Gabino Iglesias, NPR

After moving with his wife and two children to a smallholding in Ireland, Paul Kingsnorth expects to find contentment. It is the goal he has sought — to nest, to find home — after years of rootlessness as an environmental activist and author. Instead he finds that his tools as a writer are failing him, calling into question his foundational beliefs about language and setting him at odds with culture itself.

Informed by his experiences with indigenous peoples, the writings of D.H. Lawrence and Annie Dillard, and the day-to-day travails of farming his own land, Savage Gods asks: what does it mean to belong? What sacrifices must be made in order to truly inhabit a life? And can words ever paint the truth of the world — or are they part of the great lie which is killing it?

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.

"Beňova’s novel riffs on stories old and new, and the means by which we tell and experience them, to bring the reader inside her protagonist’s mind."
—Vol. 1 Brooklyn

Sometimes running away is the bravest option. Or, so believes Rosa, who ditches her husband and home and takes off on the road. Along the way, she encounters the owner of a puppet theater who’s on a mission to conquer the world with his performance of The Snow Queen.

Which character from this old fairy tale will Rosa identify with? With Gerda, searching fruitlessly for her lost love? With Kai, who flees home and his beloved one day without a word? Or with the Snow Queen, who seems to stand aloof above it all?

With magnetic, sparkling prose, Beňová delivers a lively mosaic that ruminates on human relationships, our greatest fears and desires.

With the assurance and grace of her acclaimed novel The Gloaming—which earned her comparisons to Patricia Highsmith—Melanie Finn returns with a precisely layered and tense new literary thriller.

The Underneath follows Kay Ward, a former journalist struggling with the constraints of motherhood. Along with her husband and two children, she rents a quaint Vermont farmhouse for the summer. The idea is to disconnect from their work-based lifestyle—that had her doggedly pursuing a genocidal leader of child soldiers known as General Christmas, even through Kay's pregnancy and the birth of their second child—in an effort to repair their shaky marriage.

It isn't long before Kay's husband is called away and she discovers a mysterious crawlspace in the rental with unsettling writing etched into the wall. Alongside some of the house's other curiosities and local sleuthing, Kay is led to believe that something terrible may have happened to the home's owners.

Kay's investigation leads her to a local logger, Ben Comeau, a man beset with his own complicated and violent past. A product of the foster system and life-long resident of the Northeast Kingdom, Ben struggles to overcome his situation, and to help an abused child whose addict mother is too incapacitated to care about the boy's plight.

The Underneath is an intelligent and considerate exploration of violence—both personal and social—and whether violence may ever be justified.

*Winner of the European Union Prize for Literature.
"Beňová is at her best when she's funny, and her sense of humor tends toward the dry and the dark. Seeing People Off is a fascinating novel. Fans of inward-looking postmodernists like Clarice Lispector will find much to admire here."
—NPR

There is a liveliness and effervescence to Jana Beňová’s prose that is magnetic. Whether addressing the loneliness of relationships or the effectiveness of rat poison, her voice and observations call to mind the verve and sophistication of Renata Adler or Rosalyn Drexler, while remaining utterly singular.
Seeing People Off follows Elza and Ian, a young couple living in a humongous apartment complex outside Bratislava where the walls play music and talk, and time is immaterial.
Drawing on her memories, everyday interactions, observations of post-socialist realities, and Elza’s attraction to actor Kalisto Tanzi, Seeing People Off is a kaleidoscopic, poetic, and deeply funny portrait of a relationship.

* New York Times Book Review Notable Book of 2016.
* The Guardian's "Not the Booker Prize" Shortlist.
* Publishers Weekly's 'Big Indie Books of Fall 2016'

"Deeply satisfying. Finn is a remarkably confident and supple storyteller. [The Gloaming] deserves major attention."
—John Williams, New York Times

In rich, compelling prose, Melanie Finn perfectly captures a world of consequences, and the characters who must survive them. Pilgrim Jones' husband has just left her for another woman, stranding her in a small Swiss town where she is one day involved in a tragic car accident that leaves 3 school-children dead. Cleared of responsibility though overcome with guilt, she alights for Africa, where she befriends a series of locals each with their own tragic past, each isolated in their own private way in the remote Tanzanian outpost.

Mysteriously, the remains of an albino African appear packaged in a box, spooking everyone—sign of a curse placed by a witch doctor—though its intended recipient is uncertain. Pilgrim volunteers to rid the town of the box and its contents, though wherever she goes, she can't shake the feeling that she's being followed.

The Gloaming is a thrilling, haunting new work of guilt, atonement, and finally, hope.