Fiction

Named one of the best books of 2021 by Artforum

Afro-Atlantic Historiesbrings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories—their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures.
The plural and polyphonic quality of “histórias” is also of note; unlike the English “histories,” the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives.
The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism.
Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In More Curious, Sean Wilsey travels across the U.S., from the launchpad at Cape Canaveral, to the isolated artists’ enclave of Marfa, Texas, to the boardrooms and ballrooms of post–9/11 New York City. Wherever he is, Wilsey captures his surroundings with the precision of a photographer and the raw grace of a skateboarder (he’s an amateur practitioner of both arts). These essays—some of which have been expanded and updated from pieces originally published in Vanity Fair, GQ, McSweeney’s, and elsewhere, and some of which appear here for the first time—comprise nearly fifteen years of Wilsey’s most vital work on the glory and the misery, the beauty and absurdity of contemporary America.

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

Everyone in the broken-down town of Chelsea, Massachusetts, has a story too worn to repeat—from the girls who play the pass-out game just to feel like they’re somewhere else, to the packs of aimless teenage boys, to the old women from far away who left everything behind. But there’s one story they all still tell: the oldest and saddest but most hopeful story, the one about the girl who will be able to take their twisted world and straighten it out. The girl who will bring the magic.

Could Sophie Swankowski be that girl? With her tangled hair and grubby clothes, her weird habits and her visions of a filthy, swearing mermaid who comes to her when she’s unconscious, Sophie could be the one to uncover the power flowing beneath Chelsea’s potholed streets and sludge-filled rivers, and the one to fight the evil that flows there, too. Sophie might discover her destiny, and maybe even in time to save them all.

And here is your go-to interview with Michelle Tea for all the mermaid-specific decisions in the book.

Praise for Mermaid in Chelsea Creek:

“I couldn’t keep still when I was reading Mermaid in Chelsea Creek. I kept standing up to pace around because I was so excited by the book and then I’d hurry back to my chair so I hadn’t missed anything. The novel has everything terrific about Michelle Tea, with the grit and the wit and the girls in trouble loving each other fierce and true, and then it has all the juice of a terrific fantasy novel, with the magic and the creatures and the otherworldly sense of something lurking underneath each artifact of our ordinary lives. I can’t keep still to write a blurb about it. Just read the thing, read it now.”
—Daniel Handler

“A radiant hybrid of piercing realism, creeping horror, and heartbreaking fantasy—but fantasy with dirt in its hair and scabs on its knees. Tea is an uncommon talent doing uncommon things and her voice tickles you, slaps you, whatever it takes to wake your ass up.”
—Daniel Kraus, author of Rotters

“Tea’s novel is a refreshing breath of air in the world of YA, equal parts eerie, heartbreaking, and fantastical.”
—ZYZZYVA

“Each line carries substantive heft, emblematic of extensive research on Polish mythology, grounded by the gritty, immigrant haven that is Chelsea, Massachusetts.”
—SF Weekly

“The story itself braids threads of ancient myths and lore with today’s world full of mixed emotions and environmental neglect. It blurs the line between fact and fiction gracefully, thereby making the impossible seem possible.”
—Insatiable Readers

”Mermaid in Chelsea Creek is a triumph in its own right, a stand-alone treat.”
—San Francisco Bay Guardian

“Tea populated her foray into the genre with head-nods to outsider fantasy, Here, pigeons aren’t marginalized—they’re bearers of wisdom; and mermaids are surly and complex, not preening or diabolical.”
—Buzzfeed

“I started reading Michelle Tea’s Mermaid in Chelsea Creek on the subway this morning and was instantly hooked… can’t wait to get back to it”
—Emily Temple, Flavorwire

“If you want to read a really original book with gutsy characters, I strongly, sweary recommend you find this book.”
—Sparknotes

“There’s a lot of heavy wisdom in this book, alongside the beauty and the grunge…And there’s a lot of humor too—it wouldn’t be Michelle Tea if you didn’t laugh out loud at her spot-on cultural observations, her astute sarcasm at the banalities that infiltrate our gorgeous world.”
—Lamda Literary

“A fun read… a classic fairytale.”
—San Francisco Book Review

“It’s as if Chelsea is Narnia, with talking animals, mind readers, and a heroine who, instead of finding a wardrobe, makes herself pass out with her best friend.”
—The Boston Globe

“Lonesomely populating a chasm in books for young readers where the magic comes from the blessed gutter.”
—The Globe and Mail

“Sophie Swankowski is the young-adult protagonist we’ve all been waiting for.”
—Bitch Magazine

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In Vicky Swanky Is a Beauty, Diane Williams lays bare the urgency and weariness that shape our lives in stories honed sharper than ever. With sentences auguring revelation and explosion, Williams's unsettling stories—a cryptic meeting between neighbors, a woman's sexual worries, a graveside discussion, a chimney on fire—are narrated with razor-sharp tongues and naked, uproarious irreverence.

These fifty stories hum with tension, each one so taut that it threatens to snap and send the whole thing sprawling—the mess and desire, the absurdity and hilarity, the bruises and bleeding, the blushes and disappointments and secrets. An audacious, unruly tour de force, Vicky Swanky Is a Beauty cements Diane Williams' position as one of the best practitioners of the short form in literature today.

Praise for Diane Williams:

"Let's hear it for the magnificent Diane Williams, one the wittiest and 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. Well, you figure it out. All I know is that this book is an amazement, composed with a stricture that guarantees splendor."
—Sam Lipsyte

"Diane Williams is one of the true living heroes of the American avant-garde. Her fiction makes very familiar things very, very weird."
—Jonathan Franzen

"She is one of the very few contemporary prose writers who seem to be doing something independent, energetic, heartfelt."
—Lydia Davis

"The uncanny has met its ideal delivery system: the stories of Diane Williams."
—Ben Marcus

"These stories are the Giacometti walking man, the Cornell box, that extraordinary object born out of a genius for expressing the inner murmur of the mind. Each page is like throwing open the window in an electrical storm—strange sky, air full of voltage, and inside, a square of brave. Diane Williams is hilarious, brilliant, eccentric, powerful, and, luckily, ours."
—Deb Olin Unferth

"Vicky Swanky is a Beauty and Diane Williams is a genius. She is also a hero who 'resurrect(s) glee' in the face off with mortality. Her stories are sensationally complex; sorrow and hilarity, melancholy and wonder mingle, rendering this surpassingly winning collection, her seventh, quite extraordinary."
—Christine Schutt

"'Vicky Swanky' is Williams at her best, shaking us awake again to the persistent strangeness of human life."
—Jenny Hendrix, The Boston Globe

"The shorts in Diane Williams's Vicky Swanky Is a Beauty (McSweeney's) emit an unsettling brilliance, becoming, on repeated readings, even stranger and more revelatory."
—Vanity Fair 

“To read these delightful stories is simply to drop in on random encounters as they are occurring—tense, awkward, jokey, fraught.”
—The San Francisco Chronicle

“Even without the cameo appearances by the character ‘Diane Williams,’ it’s unlikely that anyone who’s attempted to tease apart a handful of Williams’s stories will forget her linguistic precision, the ways she whittles sentences into solid gems, or her wonderfully strange way of seeing.”
—The Millions

“There is also the pleasure of Williams’s sentences…dense and different. They pop. They’re part of what makes Vicky Swanky Is a Beauty so enjoyable.”
—ZYZZYVA

“Dark, strange and revelatory”
—Time Out New York

“Equal parts satisfying, mysterious, thoughtful, and quick.”
—Publishers Weekly

“Williams’s steadfast devotion to keep experimenting has yielded another highly entertaining collection that defies any contrary urge to settle down.”
—The National

“In Vicky Swanky Is a Beauty, we are reminded that Diane Williams is a brilliant writer and that there is absolutely nothing preordained in this world, which is sometimes a truly great thing.”
—Bomb

 Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

My Favorite Girlfriend was a French Bulldog is a novel told in fifteen stories, linked by the same protagonist, our narrator, who—in her own voice and channeling the voices of others—creates an unsparing, multigenerational portrait of her native Cuba. Though she feels suffocated by the island and decides to leave, hers is not just a political novel—nor just a queer novel, an immigrant novel, a feminist novel—but a deeply existential one, in which mortality, corporeality, bureaucracy, emotional and physical violence, and the American Dream define the long journey of our narrator and her beloved pet dog, who gives the book both its title and its unforgettable ending. In its daring style and structure—both playful and profound, youthful and mature—and its frank discussion of political and sexual identity, My Favorite Girlfriend was a French Bulldog marks the emergence of an original and essential new voice.

Praise for My Favorite Girlfriend Was a French Bulldog

Listed as a featured top book by Publishers Weekly, Chicago Review of Books, and Ms Magazine.

One of Lithub’s ”5 Books You May Have Missed in July.”

“(A) boundary-breaking work… at once wild, compassionate, and challenging… precise and correct.”
—ZYZZYVA

“This profound and delightful novel-in-stories… is a breathtaking exploration of identity, country, art, and family.”
—Publishers Weekly (starred review)

“There is a power and rawness to these stories that is deeply affecting....clever and intriguing.”
—Booklist

“Unique, raw, funny, ruthless prose.”
—Cristóbal Pera, Editor, Vintage Español

“There is only one way to know that you are alone, believing you are not,” said a voice in My Favorite Girlfriend Was a French Bulldog. Thought-capsules such as this pop open when least expected in this intriguing collection of vignettes in which bodies and beings are bound to a collective claustrophobia that stretches from the small towns in Cuba to the big city of Miami. There is something rotting away here. It is pervasive, and it reeked. It reeks of the decay of humanity. And yet, as much as there is sullenness of expression throughout, so too are there flashes of tender joy and humorous affection, like the tossing of a flip flop into the air or the wagging of a dog’s tail. The book ends wagging its tail, and it made me wag mine.”
—Giannina Braschi author of Yo-Yo Boing!

“Legna Rodríguez Iglesias is the most enchanting Cuban writer alive today and My Favorite Girlfriend was a French Bulldog is a wry, brilliant and delightful ride.”
—Achy Obejas author of The Tower of Antilles

“There is a winning self-awareness to these stories that charms as much as it disorients. Funny, surprising, and disturbing—not so much by turns as in layers, all at once—the fifteen sections of Legna Rodríguez Iglesias’s strange and wonderful My Favorite Girlfriend Was a French Bulldog stand alone and also build on one another. I both admired and enjoyed this book, happy to get a little lost along its deceptively meandering paths, and happy to have this author snap me back to attention, over and over, and then startle and satisfy me with the ending. Even as she yanks you around, Rodríguez Iglesias knows precisely what she’s doing: she’ll rip your heart out—with a wink.”
—Hadley Moore author of Not Dead Yet and Other Stories

“In My Favorite Girlfriend Was a Bulldog, Legna Rodríguez Iglesias reminds the reader that revolution lives in the world and in the self. Dog is a droll god in Cuba, one that takes the protagonist on wild adventures in these interconnected stories that slay me with their wry humor and potent storytelling.”
—Carmen Gimenez Smith author of Milk and Filth

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

Tragic Magic is the story of Melvin Ellington, a.k.a. Mouth, a Black, twenty-something, ex-college radical who has just been released from a five-year prison stretch after being a conscientious objector to the Vietnam War. Brown structures this first-person tale around Ellington’s first day on the outside. Although hungry for freedom and desperate for female companionship, Ellington is haunted by a past that drives him to make sense of those choices leading up to this day.

Through a filmic series of flashbacks, the novel revisits Ellington’s prison experiences, where he is forced to play the unwilling patsy to the predatory Chilly and the callow pupil of the not-so-predatory Hard knocks; then dips further back to Ellington’s college days, where again he is led astray by the hypnotic militarism of the Black Pantheresque Theo, whose antiwar politics incite the impressionable narrator to oppose his parents and to choose imprisonment over conscription; and finally back to his earliest high school days, where we meet in Otis, the presumed archetype of Ellington’s “tragic magic” relationships with magnetic but dangerous avatars of black masculinity in crisis. But the effect of the novel cannot be conveyed through plot recapitulation alone, for its style is perhaps even more provoking than its subject.

Originally published in 1978, and edited by Toni Morrison during her time at Random House, this Of the Diaspora edition of Tragic Magic features a new introduction by author Wesley Brown.

Praise for Tragic Magic

“Tragic Magic is a tremendous affirmation. . One hell of a writer.”
—James Baldwin

“(W)onderfully wry.”
—Donald Barthelme

“Wesley Brown’s Tragic Magic is an underrated classic in the vein of my favorite albums. This is a book worth holding close and hugging hard. There has been much talk about the literary foreparents to hip-hop culture and for my money Brown has to take his place alongside the likes of the Black Arts Movement, The Nuyoricans, Piri Thomas, and Julius Lester. Pick this one up and ride alongside a masterful storyteller.”
—Nate Marshall, author of Finna: Poems

“A prescient ancestor to today’s insurgent, boundary-breaching African American fiction… deserves rediscovery by a new generation of readers curious about where an earlier generation of Black protest came from and how they came through its challenges.”
—Kirkus

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

On the top floor of a small desert hospital, an unlikely piano prodigy lies in a coma, attended to by his gruff, helpless father. Outside the clinic, a motley vigil assembles beneath a reluctant New Mexico winter—all watched by a disconsolate wolf on his nightly rounds. To some the boy is a novelty, to others a religion. And above them, a would-be angel sits captive in a holding cell of the afterlife, finishing the work he began on Earth, writing the songs that could free him.

A Million Heavens brings John Brandon’s deadpan humor and hard-won empathy to a new realm of gritty surrealism—a surprising and exciting turn from one of the best young novelists of our time.

For the McSweeney’s Books Preview of A Million Heavens, check out the Tendency. And the McSweeney’s Author Q and A is right this way.

Check out John Brandon’s interview on the Rumpus celebrating the paperback release of A Million Heavens.

Listed as one of 2012’s most anticipated books by The Millions

Praise for A Million Heavens:

“John Brandon’s novels are choral compositions in the voice of marginal Americans… At his best, which he’s at with some frequency here, he writes in a crackling way about small hopes and larger despair. He gravitates to the kind of regional misfits who drew Flannery O’Connor’s eye, and his dialogue is snappy and eccentric, like a combination of two masters of the craft, Elmore Leonard and Charles Portis. [His] strengths—assured prose, well-timed wisecracks and a convincing crew of pilgrims just waiting for directions—are quickly becoming Mr. Brandon’s trademarks.”
—The New York Times

“[John Brandon] deftly renders a desert wilderness where human hearts are compelled to seek isolation from the pains of the world, but tend to find connectedness despite themselves.”
—Publishers Weekly

“A surreal exploration of the origin of inspiration, of what connects humans to each other and to their surroundings. …Brandon’s gift for conjuring a powerful sense of place has never been stronger as the high-desert sands invade every nook and cranny of the lives of his characters.”
—Booklist

“Brandon deftly orients his readers to the level of his characters by perfectly evoking the everyday emotions, urges, and annoyances that are relatable despite the uncommon situations they are born of.”
—ZYZZYVA

“‘A Million Heavens,’ [is] a book that practically shouts from the rooftops its refusal to put on airs, its desire to strip down the prose and get out of its own way. Brandon’s unadorned style and disdain for anything ‘fancy’ belie what a good (and sometimes fancy) writer he is, as well as how much he loves playing with the reader’s expectations, interrupting and upending traditional elements of the novel even as he claims to want to be the deliverer rather than the composer.”
—Atlanta Journal-Constitution

“Wondrous… More than once I handed A Million Heavens to a friend and watched the rhythms compel him or her into the thickness of a paragraph, then onto the next page…. I had to stop reading to actually pace, marveling at what one writer can imagine, what a novel is capable of holding.”
—Charles Bock New York Times Book Review

“A theologically engaged book, salted with hope, as well as blistering insight.”—The Plain Dealer “Something of a genre-buster: in alternating beats a bittersweet comedy about the law of inertia and a plaintive serial-killer thriller on the laws of the wild. … The crisscrossing roads of A Million Heavens bustle with luminous prose that carries only good news for lovers of original fiction.”
—The Boston Globe

Proceeds from sale of this book have been donated to 826NYC  who offer highly individualized creative writing instruction for over 4,000 young New Yorkers every year. Free programs throughout NYC empower young authors and develop crucial skills they need to thrive in the classroom and beyond.

In August in Rio Seco, California, the ground is too hard to bury a body. But Glorette Picard is dead, and across the canal, out in the orange groves, they’ll gather shovels and pickaxes and soak the dirt until they can lay her coffin down. First, someone needs to find her son Victor, who memorizes SAT words to avoid the guys selling rock, and someone needs to tell her uncle Enrique, who will be the one to hunt down her killer, and someone needs to brush out her perfect crown of hair and paint her cracked toenails. As the residents of this dry-creek town prepare to bury their own, it becomes clear that Glorette’s life and death are deeply entangled with the dark history of the city and the untouchable beauty that, finally, killed her.

Check out a preview of the book & real-life stories and images that inspired the novel!

Praise for Between Heaven and Here:

“It is only the rarest of novels that cry for a sequel, the most unusual of stories that at once satisfies and leaves the reader aching for more. Susan Straight’s remarkable Take One Candle Light A Room is such a novel. And she has satisfied our desires in Between Heaven and Here, a magnificent novel, that manages to be at once unflinchingly real and transcendently beautiful. Susan Straight is one of the very best American writers. If you haven’t read her, you’re in for a delight and an awakening. If you have, then you’re probably as thrilled as I am that she has taken us back to Rio Seco.”
—Ayelet Waldman

“Susan Straight finds LA’s secret heart in Between Heaven and Here and with a sleight of hand only the masters have, she creates an alley, a neighborhood, a history that is as rich and tragic as any Shakespearean tale.”
—Walter Mosley

“Straight employs glorious language and a riveting eye for detail to create a fully realized, totally believable world.”
—Kirkus (Starred Review)

“The mysterious murder of a hooker kicks off this exquisitely wrought final installment (after Take One Candle Light a Room) of Straight’s trilogy, set in fictional Rio Seco, California. When Glorette Picard’s longtime admirer, Sidney, discovers her body in a shopping cart in an alley behind a taquería, he fears the wrath or indifference of the police, and so claims her corpse as his responsibility, setting of a storm of consequences. Left behind to weather the world on his own is Glorette’s young son, Victor, who memorizes SAT vocabulary words to drown out the crack dealers, and her uncle Enrique, who takes it upon himself to avenge her death. Straight plunges readers into a whirlwind of dialects, drugs, derelict homes, and delinquent locals as she weaves together the story of Glorette’s life and death, while addressing weighty and timely issues like race, language, and the socioeconomically disenfranchised. Straight deftly avoids clichés and easy outs, and her refusal to vilify or sanctify the numerous members of her cast allows the experiences of each to resonate powerfully.”
—Publishers Weekly (Starred Review)

“And yet, in a novel set in a world in which people are too often stripped of dignity, Straight has accomplished the larger act of ennobling her characters. She sees them clearly and gives them a striking presence on the page.”
—New York Times

“Straight, a 2001 National Book Award finalist for Highwire Moon, has the ability to create straightforward contemporary voices, no pun intended. She does not subscribe to the maximalist school of over-the-top characters, yet she can still dramatize the complex, jagged nature of American culture today. ”
—The Daily Beast

“Despite the tragedies that befall them, Straight’s characters still recognize the splendor of the natural world, from the pepper trees behind the taqueria to the orange blossoms in the alley scenting the midnight air… Straight’s group portrait of this community ought to be recognized as a national artistic treasure. Her focus on this singular place magnifies the hopes and disappointments of so many Americans, so many humans on earth.”
—The Boston Globe

“Susan Straight has remarkable range as a writer. Her voice can be elegant in the rhythms and vocabulary of her narrative, yet also blunt and raw in dialogue… Her work is so intensely alive in its movement, action, and in the speech of her characters that reading it is almost like being caught in the center of a storm: exhausting but exhilarating at the same time.”
—The Rumpus

“How can a novel that is essentially the story of a dead prostitute prove so uplifting? It must be some kind of black magic that only Susan Straight can work… And by the end of this gorgeous and heart-wrenching novel, this family will be your people, too.”
—The Dallas Morning Star News

“A thoroughly engrossing novel, one that operates powerfully in the empty, lonely gaps between people.”
—ForeWord Reviews

“Straight’s writing pulls the reader into a world that is both surreal and yet inescapably concrete, ugly and beautiful all at once. She binds the multifaceted perspectives together into a narrative that is fragmented but still very much whole.”
—BUSTLE