American Elsewhere

From one of our most talented and original new literary voices comes the next great American supernatural novel: a work that explores the dark dimensions of the hometowns and the neighbors we thought we knew. Some places are too good to be true. Under a pink moon, there is a perfect little town not found on any map: Wink, New Mexico. In that town, there are quiet streets lined with pretty houses, houses that conceal the strangest things. After a couple years of hard traveling, ex-cop Mona Bright inherits her long-dead mother's home. And the closer Mona gets to her mother's past, the more she understands that the people of Wink are very, very different . . . "Perfect for fans of Stephen King and Neil Gaiman." -- Library Journal

Vaudeville: mad, mercenary, dreamy, and absurd, a world of clashing cultures and ferocious showmanship and wickedly delightful deceptions. But sixteen-year-old pianist George Carole has joined vaudeville for one reason only: to find the man he suspects to be his father, the great Heironomo Silenus. Yet as he chases down his father's troupe, he begins to understand that their performances are strange even for vaudeville: for wherever they happen to tour, the very nature of the world seems to change. Because there is a secret within Silenus's show so ancient and dangerous that it has won him many powerful enemies. And it's not until after he joins them that George realizes the troupe is not simply touring: they are running for their lives. And soon...he is as well.

As important cultural icons of the early nineteenth-century United States, adventurers energized the mythologies of the West and contributed to the justifications of territorial conquest. They told stories of exhilarating perils, boundless landscapes, and erotic encounters that elevated their chauvinism, avarice, and violence into forms of nobility. As self-proclaimed avatars of American exceptionalism, Jimmy L. Bryan Jr. suggests in The American Elsewhere, adventurers transformed westward expansion into a project of romantic nationalism. A study of US expansionism from 1815–1848, The American Elsewhere delves into the “adventurelogues” of the era to reveal the emotional world of men who sought escape from the anonymity of the urban East and pressures of the Market Revolution. As volunteers, trappers, traders, or curiosity seekers, they stepped into “elsewheres,” distant and dangerous. With their words and art, they entered these unfamiliar realms that had fostered caution and apprehension, and they reimagined them as regions that awakened romantic and reckless optimism. In doing so, Bryan shows, adventurers created the figure of the remarkable American male that generated a wide appeal and encouraged a personal investment in nationhood among their audiences. Bryan provides a thorough reading of a wide variety of sources—including correspondence, travel accounts, fiction, poetry, artwork, and material culture—and finds that adventurers told stories and shaped images that beguiled a generation of Americans into believing in their own exceptionality and in their destiny to conquer the continent.

It is the time of the Great Depression. Thousands have left their homes looking for a better life, a new life. But Marcus Connelly is not one of them. He searches for one thing, and one thing only: Revenge. Because out there, riding the rails, stalking the camps, is the scarred vagrant who murdered Connelly's daughter. One man must face a dark truth and answer the question - how much is he willing to sacrifice for his satisfaction?

Presents a novel of hope, love, and redemption.

Henry Louis Gates, Jr., Harvard University --

Challenging the commonly held perception that immigrants' lives are shaped exclusively by their sending and receiving countries, Here, There, and Elsewhere breaks new ground by showing how immigrants are vectors of globalization who both produce and experience the interconnectedness of societies—not only the societies of origin and destination, but also, the societies in places beyond. Tahseen Shams posits a new concept for thinking about these places that are neither the immigrants' homeland nor hostland—the "elsewhere." Drawing on rich ethnographic data, interviews, and analysis of the social media activities of South Asian Muslim Americans, Shams uncovers how different dimensions of the immigrants' ethnic and religious identities connect them to different elsewheres in places as far-ranging as the Middle East, Europe, and Africa. Yet not all places in the world are elsewheres. How a faraway foreign land becomes salient to the immigrant's sense of self depends on an interplay of global hierarchies, homeland politics, and hostland dynamics. Referencing today's 24-hour news cycle and the ways that social media connects diverse places and peoples at the touch of a screen, Shams traces how the homeland, hostland, and elsewhere combine to affect the ways in which immigrants and their descendants understand themselves and are understood by others.

Richly emotive and darkly captivating, with elements of Shirley Jackson’s “The Lottery” and the imaginative depth of Margaret Atwood, Elsewhere by Alexis Schaitkin conjures a community in which girls become wives, wives become mothers and some of them, quite simply, disappear. Vera grows up in a small town, removed and isolated, pressed up against the mountains, cloud-covered and damp year-round. This town, fiercely protective, brutal and unforgiving in its adherence to tradition, faces a singular affliction: some mothers vanish, disappearing into the clouds. It is the exquisite pain and intrinsic beauty of their lives; it sets them apart from people elsewhere and gives them meaning. Vera, a young girl when her mother went, is on the cusp of adulthood herself. As her peers begin to marry and become mothers, they speculate about who might be the first to go, each wondering about her own fate. Reveling in their gossip, they witness each other in motherhood, waiting for signs: this one devotes herself to her child too much, this one not enough—that must surely draw the affliction’s gaze. When motherhood comes for Vera, she is faced with the question: will she be able to stay and mother her beloved child, or will she disappear? Provocative and hypnotic, Alexis Schaitkin’s Elsewhere is at once a spellbinding revelation and a rumination on the mysterious task of motherhood and all the ways in which a woman can lose herself to it; the self-monitoring and judgment, the doubts and unknowns, and the legacy she leaves behind.

The cities, landscapes and people of America have been the subject of many a film, but when seen through an outsider's perspective, new and often significant aspects of its culture are revealed. America: Films from Elsewhere examines film and America from the perspective of auteurs from around the world--from anyplace but America--covering the half-century from the assassination of John F. Kennedy in 1963 to the election of Donald Trump in 2017. Masters of the medium such as Chantal Akerman, Joyce Wieland, Michelangelo Antonioni, Lars von Trier, Jacques Demy, Rainer Werner Fassbinder and Chris Marker are discussed, alongside lesser-known greats such as Yolande du Luart and Babette Mangolte. The book also features specially commissioned portfolios by artists, including Camille Henrot, Harun Farocki, Lucy Raven, the Otolith Group and Ute Aurand.

We first met Avery in two of the stories featured in Dana Johnson's award–winning collection Break Any Woman Down. As a young girl, she and her family escape the violent streets of Los Angeles to a more gentrified existence in suburban West Covina. This average life, filled with school, trips to 7–Eleven to gawk at Tiger Beat magazine, and family outings to Dodger Stadium, is soon interrupted by a past she cannot escape, personified in the guise of her violent cousin Keith. When Keith moves in with her family, he triggers a series of events that will follow Avery throughout her life: to her studies at USC, to her burgeoning career as a painter and artist, and into her relationship with a wealthy Italian who sequesters her in his glass–walled house in the Hollywood Hills. The past will intrude upon Avery's first gallery show, proving her mother's adage: Every goodbye aint gone. The dual–narrative of Elsewhere, California illustrates the complicated history of African Americans across the rolling basin of Los Angeles.