“Sycamore paints an unsparing and unsentimental portrait of survival in a homophobic era, and her writing is beyond beautiful. Sketchtasy is a powerful firecracker of a novel; it’s not just one of the best books of the year, it’s an instant classic of queer literature.”—Michael Schaub, NPR Books
“A terrific collection of stories. There are echoes here of Flannery O’Connor, Barry Hannah, and Denis Johnson, but Genevieve Hudson is her own writer—impressively and gloriously so. Her eye for the clinching detail is unnerving and her sympathies are fascinatingly conflicted. I hope, and suspect, this book will be the start of a long and inspiring career.” —Tom Bissell; “Full of blood and dust and stars and light, Hudson captures the beauty and horror of the everyday and makes it all seem like magic.” —Leah Dieterich
“Bhuvaneswar is unflinching about the lives of those for whom identity is a constant battle & the act of being is an unavoidable challenge, but she doesn’t ignore the beauty in their strength…White Dancing Elephants is a necessary book — & one that introduces a gifted voice to contemporary literature.” -NPR; “White Dancing Elephants is a searing & complex collection, wholly realized, each piece curled around its own beating heart. Tender & incisive, Chaya Bhuvaneswar is a surgeon on the page, unflinching in her aim, unwavering in her gaze, & absolutely devastating in her prose. This is an astonishing debut.”-Amelia Gray
“Williams’s short precise, & emphatic sentences build a strange society whose denizens are not quite familiar to us & not quite comfortable with their own quietly disturbing evolutions. Not a single moment of the prose here is what you expect, & even the ordinary is, in the context created by Diane Williams, no longer ordinary. It is fresh, happy & peculiar – or is it we who are refreshed, happy, & more peculiar than before after reading her?”—Lydia Davis;”Let’s hear it for the magnificent Diane Williams, one of the wittiest & most exacting writers of our time. Her fictions are fervid endorsements of terrible, joyous life. But that’s not quite right, because like all great literature, they are life.”—Sam Lipsyte
“Every explosive requires a fuse. That’s R. O. Kwon’s novel, a straight, slow-burning fuse. To read her novel is to follow an inexorable flame coming closer & closer to the object it will detonate—the characters, the crime, the story, &, ultimately, the reader.”—Viet Thanh Nguyen; “Kwon’s multi-faceted narrative portrays America’s dark, radical strain, exploring the lure of fundamentalism, our ability to be manipulated, and what can happen when we’re willing to do anything for a cause.” —Atlantic.com; “A God-haunted, willful, strange book written with a kind of savage elegance. I’ve said it before, but now I’ll shout it from the rooftops: R. O. Kwon is the real deal.”—Lauren Groff
Dubravka Ugrešić is considered one of Europe’s most distinctive novelists and essayists. She is the 2016 winner of Neustadt International Prize for Literature for her body of work, joining literary luminaries from Gabriel Garcia Marquez to Elizabeth Bishop to Octavio Paz. In 1991 when war broke out in the former Yugoslavia, Ugrešić took a firm antiwar stance, critically dissecting retrograde Croatian and Serbian nationalism, the stupidity and criminality of war, and becoming a target for nationalist journalists, politicians, and fellow writers in the process. Subjected to prolonged public ostracism and persistent media harassment, she has lived in exile since 1993.
“Anna Moschovakis takes the reader straight to the terrifying edge: that moment where one ages out of youthfulness & begins to flutter in the debris of middle living, flattened out by technology, wild-goose chasing one’s data. Yet, the deeper we look into Eleanor’s unsettledness, the more we see & the more hope we find in her rhizomic wandering. This is a beautiful slow burn of a novel.” —Renee Gladman;
“By turns funny, melancholic, & provocative, Anna’s novel undoes & remakes the conventions of realist fiction through repetition & compression of time . . . It is ‘luminously ordinary’ in its progression, where profound shifts are as small as a postcard written or a hand touched.” —BOMB