Farthest South Other Stories

A baby is born with gills. Foxes raise and then lose a human child. A man, in the final throes of his deathbed fever-dream, experiences a cross-Antarctic voyage. The stories in Furthest South, the second story collection from renowned writer Ethan Rutherford, find characters in the most unexpectedly menacing of circumstances, in which their sanity, happiness, and safety are put to the test. Formally ambitious, with an eye toward the strange, with a inimitable style all Rutherford's own, each story is nonetheless firmly grounded by a deep, human concern: the anxiety of family connection and humanity.

In 2016, Shane Anderson made a vow to live according to the four core values of the Golden State Warriors to escape a decade of defeats—including divorce, debilitating spinal surgery and a suicide attempt. The basketball team’s values of joy, mindfulness, compassion, and competition became Anderson’s guiding principles, providing him a lens to investigate a myriad of social, personal, philosophical, and political issues, such as homelessness, the promises and failures of rave culture, and the limits of self-help. Part memoir, part essay, and part chronicle of the greatest five-year stretch of a team in NBA history, After the Oracle depicts the makes and misses of one expat trying to make a life worth living.

Garréta’s first novel in a decade follows the mania that descends upon a family when the father finds himself in possession of a concrete mixer. As he seeks to modernize every aspect of their lives, disaster strikes when the younger sister is subsumed by concrete. Through puns, wordplay, and dizzying verbal effect, Garréta reinvents the novel form and blurs the line between spoken and written language in an attempt to confront the elasticity of communication.

Winner of the 2018 Albertine Prize Finalist for the 2018 Lamba Literary Awards Finalist for the 2018 French American Foundation Translation Prize Available in a new edition, Anne Garréta's sensual portrayal of trysts past. A tour de force of experimental queer feminist writing, Not One Day is renowned Oulipo member Anne Garréta's intimate exploration of the delicate connection between memory, fantasy, love, and desire. Garréta, author of the acclaimed genderless love story Sphinx and experimental novel In Concrete, vows to write every day about a woman from her past. With exquisite elegance, she revisits bygone loves and lusts, capturing memories of her past relationships in a captivating, erotic composition of momentary interactions and lasting impressions, of longing and of loss.

A “cinematic . . . page-turner and a compassionate analysis of faith, memory, responsibility, and consequence.”—Molly Antopol, Fiction Writers Review Inspired by and structured around the chamber piece of the same title by the French composer Olivier Messiaen, Quartet for the End of Time is a mesmerizing story of four lives irrevocably linked in a single act of betrayal. The novel takes us on an unforgettable journey beginning during the 1930s Bonus Army riots, when World War I veteran Arthur Sinclair is falsely accused of conspiracy and then disappears. His absence will haunt his son, Douglas, as well as Alden and Sutton Kelly, the children of a powerful U.S. congressman, as they experience—each in different ways—the dynamic political social changes that took place leading up to and during World War II. From the New Deal projects through which Douglas, newly fatherless, makes his living to Sutton’s work as a journalist, to Alden’s life as a code breaker and a spy, each character is haunted by the past and is searching for love, hope, and redemption in a world torn apart by chaos and war. Through the lives of these characters, as well as those of their lovers, friends, and enemies, the novel transports us from the Siberian Expedition of World War I to the underground world of a Soviet spy in the 1920s and 1930s, to the occultist circle of P. D. Ouspensky and London during the Blitz, to the German prison camp where Messiaen originally composed and performed his famous Quartet for the End of Time. At every turn, this rich and ambitious novel tells some of the less well-known stories of twentieth-century history with epic scope and astonishing power, revealing at every turn the ways in which history and memory tend to follow us, and in which absence has a palpable presence.

In this four-story suite, a modern master of Italian literature delves into the wonder, grotesquery, strangeness, and desire of the human condition. Combining and distorting elements of fables, fairy tales, and the alienating force of society, each of Moresco’s stories features the central character at a different time of his life: childhood, adolescence, young adulthood. In these beautiful and unsettling narratives, a vivid physical world can’t hide the strangeness of surroundings and the dream-like logic governing events. In “Blue Room,” the adolescent protagonist carries on a voyeuristic relationship with a blind old woman in a mysterious clinic. In the title story, a stunning act of violence deepens the nightmarish tones and the protagonist’s disorientation. Moresco’s stories, full of bodily parts, functions, and desires, present a world where physical curiosity competes with shame, and the price of watchfulness is the secrecy and loneliness of isolation.

A young woman meets a man at a restaurant while eating alone and contemplating her own death. They exchange words only briefly, but by the end of the week he has entered her world with an intensity rivaled only by her desire to end her life. Told with the lyrical persistence of a Greek chorus, The Ancestry of Objects unravels the story of the unnamed narrator’s affair with David: married, graying, and ultimately a form of erotic power to which the narrator succumbs. As they meet more and more frequently, her thoughts move from their increasingly fraught encounters to her history with religion and the mystery of her absent mother, Ruth. The ghosts of her grandparents roam her ancestral house, sources of moral shame and reminders of the constant passage of time. Memories start, stop, and loop back in on themselves to form and unform her identity, with her beliefs, troubled past, and sexuality mixing feverishly in the face of oblivion. Nothing can fill the voids of time and loss; not God, not memory, not family, and certainly not love. At once intensely sensory and urgently erotic, The Ancestry of Objects parses the multiplicity of selves who become a part of us as we push to survive. This is Ryckman – a master of the obsessive, desirous, complex exhaustion of human relationships – in peak form.

Inspired by The Decameron and its dark and satirical novellas, Boccaccio in the Berkshires chronicles the foibles of seven women and three men, all in their twenties, who meet in an online chat room for asymptomatic pandemic survivors. They have all endured the deaths of loved ones and decide to shelter together for fourteen days in an Italianate mansion in the Berkshires, offered to the group rent-free. The vacant but furnished villa provides a luxurious, yet bizarre, setting for members of the chat room, who leave their homes in different cities around the United States. Over the course of their stay, they bond together in unexpected ways as they tell each other stories, ranging from the personal to the ludicrous, at times riffing on the absurdity of Boccaccio’s tales. A terrible storm fractures the group and forces the characters to come to terms with their own lives as they pursue love, faith, and the truth that medieval history ultimately reveals.

Ivan and Phoebe chronicles the lives of several young people involved in the Ukrainian student protests of the 1990s—otherwise known as the Revolution on Granite or the First Maidan and investigates the difficulties and absurdities of a society swiftly shifting from subjugation to revolution to post-Soviet rule. Married couple Ivan and Phoebe grapple with questions about family, tragedy, and independence. Although protagonist Ivan tells the story, Phoebe's voice rings through the text. The two reflect on the harrowing aftermath of revolution: torture at the hands of the KGB and each other. Ivan refuses to talk about his pain, while Phoebe recounts her past wounds through poetic monologues. The story bounces between politically charged cities like Kyiv and Lviv and Ivan's small, traditional hometown of Uzhhorod. As characters come to exercise their rights to free speech and protest, they must also reevaluate the norms of marriage and home life. These initially appear to be spaces of peace and harmony but are soon revealed to be hotbeds of conflict and multigenerational trauma. Through her characters’ vivid voices, Oksana Lutsyshyna creates a his- and her-story of Ukraine: a panoramic view of post-Soviet society and family life through social, political, and economic crises.

A story of global travel, personal growth, and family responsibility through the lens of a teenage girl in 1969. Fifteen-year-old Jane was trapped. Trapped in high school in Dallas, Texas where her classes were too easy and her classmates were too conventional. Trapped in service to her mother, a polio survivor who used a wheelchair. When her parents sold their automobile brake-repair business in 1969, they withdrew Jane from her high school to travel the world, visiting India, Afghanistan, Iran, Israel, Yugoslavia and Northern Europe. As she traveled, Jane was pushed to reconcile her dual role as responsible daughter and as teen in the late sixties, the era of Bobby Fischer, The Beatles, and Hair. Because the World is Round reckons with what it means to be an individual, a caretaker, and a traveler in a vast and changing world.