"Kalani Pickhart's I Will Die in a Foreign Land is of the best kind of protest novels: one that makes you cry, and then makes you mad as hell. It is so far the best artistic treatment of the Euromaidan and Crimean situation, at turns tense, melancholy, and over-abundantly compassionate. This book is both the napalm and the bandages in one."
—Conor Hultman, Square Books (Oxford, MS)

In 1913, Igor Stravinsky’s The Rite of Spring premiered at the new Théâtre de Champs-Elysées in Paris. The work so perplexed audiences that a riot broke out. “Only a Russian could do that,” says Aleksandr Ivanovich. “Only a Russian could make the whole world go mad.”

A century later, in November 2013, thousands of Ukrainian citizens gathered at Independence Square in Kyiv to protest then-President Yanukovych’s failure to sign a referendum with the European Union, opting instead to forge a closer alliance with President Vladimir Putin and Russia. The peaceful protests turned violent when military police shot live ammunition into the crowd, killing over a hundred civilians.

I Will Die in a Foreign Land follows four individuals over the course of a volatile Ukrainian winter, as their lives are forever changed by the Euromaidan protests. Katya is a Ukrainian-American doctor stationed at a makeshift medical clinic in St. Michael’s Monastery; Misha is an engineer originally from Pripyat, who has lived in Kyiv since his wife’s death from radiation sickness; Slava is a fiery young activist whose past hardships steel her determination in the face of persecution; and Aleksandr Ivanovich, a former KGB agent, climbs atop a burned-out police bus at Independence Square and plays the piano.

As Katya, Misha, Slava, and Aleksandr’s lives become intertwined, they each seek their own solace during an especially tumultuous and violent period. The story is also told by a chorus of voices that incorporates folklore and narrates a turbulent Slavic history.

While unfolding an especially moving story of quiet beauty and love in a time of terror, I Will Die in a Foreign Land is an ambitious, intimate, and haunting portrait of human perseverance and empathy.

"...[a] novel that quietly builds suspense to the last page."
—Dallas Morning News

Compared to seminal feminist works such as Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Sylvia Plath’s The Bell Jar, A Mouthful of Air is a powerful, tragic statement on motherhood, family, and survival.

"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 on Virtuoso

In Yelena Moskovich's spellbinding new novel, A Door Behind A Door, we meet Olga, who immigrates as part of the Soviet diaspora of ’91 to Milwaukee, Wisconsin. There she grows up and meets a girl and falls in love, beginning to believe that she can settle down. But a phone call from a bad man from her past brings to life a haunted childhood in an apartment building in the Soviet Union: an unexplained murder in her block, a supernatural stray dog, and the mystery of her beloved brother Moshe, who lost an eye and later vanished. We get pulled into Olga’s past as she puzzles her way through an underground Midwestern Russian mafia, in pursuit of a string of mathematical stabbings.

Night Rooms is a poetic, intimate collection of personal essays that weaves together fragmented images from horror films and cultural tropes to meditate on anxiety and depression, suicide, body image, identity, grief, and survival.

Whether competing in shopping mall beauty pageants, reflecting on childhood monsters and ballet lessons, or recounting dark cultural ephemera while facing grief and authenticity in the digital age, Gina Nutt’s shifting style echoes the sub-genres that Night Rooms highlights—spirit-haunted slow burns, possession tales, slashers, and revenge films with a feminist bent.

Refracting life through the lens of horror films, Night Rooms masterfully leaps between reality and movies, past and present—because the “final girl’s” story is ultimately a survival story told another way.

"Daring and unputdownable, The Hare is set to be one of the most talked-about books of 2021."
—Jenny Hollander, Marie Claire

"With The Hare, Melanie Finn has written a powerful story of female perseverance, strength, and resilience. This book has rare qualities: beautiful writing while being absolutely unputdownable, and I will be pressing it into the hands of every reader I know." —Claire Fuller, author of Bitter Orange, Our Endless Numbered Days, and Swimming Lessons

"This is a page-turner about a tough woman and her con-artist lout of a partner, and I will eat my laptop if it doesn’t get optioned for TV or film the minute it hits bookshelves. It is also woven through with ideas about feminism, parenting, narcissism, and self-sufficiency—a book that is easy to read without being remotely lightweight." —Molly Young, Vulture

The Hare is an affecting portrait of Rosie Monroe, her resilience and personal transformation, of her life under the male gaze, and serves as a striking statement about what it means to be a woman in the world.

Raised by a stern grandmother to be obedient and obliging in an unremarkable blue-collar town in Massachusetts, Rosie accepts a scholarship to art school in New York City in the 1980s. One morning at a museum she meets a worldly man twenty years her senior, with access to the upper crust of New England society. Bennett is dashing, knows that “boats” refer to yachts (though you never use the word “yacht”), teaches her which direction to spoon soup, and tells stories of “Hemingway moments,” of escapades with Truman Capote and Hunter Thompson in exotic locales. Soon, Rosie is living in a boathouse with Bennett on Connecticut’s Gold Coast, and a daughter — Miranda — is born, just as Bennett’s current con goes awry and forces them to abscond in the middle of the night to the untamed wilderness of Northern Vermont.

Almost immediately, Rosie and Miranda are left at an uninsulated cabin without a car or cash for weeks at a time, so Bennett can tend to a teaching job that may or may not exist at a local university. Rosie is forced to survive on her own, to care for her young daughter, to learn how to stack firewood, snowshoe into town, hunt for wild game, and forage in the forest. As Rosie and Miranda’s life gradually begins to normalize, Bennett and his cons catch up to him, and Rosie is forced to ultimately confront Bennett’s simmering obsession and malevolence.

The Hare is an astounding new literary thriller from a celebrated author at the height of her storytelling powers.

"Alzayat’s slim, powerful debut collection showcases the author’s deep empathy and imagination in stories about grief, assimilation, and trauma... This intelligent collection is a force to be reckoned with."
—Publishers Weekly, starred review

*2021 PEN/Robert W. Bingham Award for Debut Short Story Collection, Finalist.
*2021 Swansea University Dylan Thomas Prize 2021, Longlist.

"A stellar debut... Alzayat manages to execute a short but thoughtful meditation on the spectrum of race in America from Jackson’s presidency to present." —Colin Groundwater, GQ

"The richly detailed short fictions in this debut from a Damascus-born scribe form an intricate, breathtaking mosaic of modern Muslim life." —Michelle Hart, O, The Oprah Magazine

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.

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.