“[Hagy] provides an unsentimental portrait of modern

“[Hagy] provides an unsentimental portrait
of modern-day cowboys. . . . She details each
twitch of Boleto’s ears in language both
acute and lyrical.”
t h e new yor k e r
“Even if you are not a horse person, Boleto will move your spirit.”
chicago tribune
“In her gift for the language of horses, as in the beauty of her prose, Hagy
will inevitably recall Annie Proulx, Kent Haruf and Cormac McCarthy.”
t h e wa s h i n g ton p o s t
“Good stories teach us how to read them, and the opening pages
of Boleto are entertaining, entrancing teachers. . . . Hagy often
dazzles with her descriptions of the Wyoming landscape and wildlife.
Whether it’s the corral of the Testerman ranch, the rugged passes of
the Black Bell Ranch or the depressed outskirts of Anaheim, the
settings glimmer with well-chosen metaphors.”
the new york times book review
Boleto
A Novel
A Ly s o n H AG y
With Boleto, Alyson Hagy delivers a masterfully told, exqui-
teeth ache. In language that is lucid and true, Hagy tells his story,
sitely observed novel about our intimate relationships with
one that will resound with readers long after Will Testerman
animals and money, against the backdrop of a new West that
rides off into the sunset.”—The Dallas Morning News
is changing forever.
Alyson Hagy was raised on a farm in the Blue Ridge Mountains of Virginia. She is
the author of two previous novels, and four collections of stories, most recently Ghosts
of Wyoming. She lives and teaches in Laramie, Wyoming.
“Hagy follows modern-day Wyoming cowboy Will Testerman
on his simple quest: to make his way in the world through his
Brit., trans.: Graywolf Press
gift for working with horses, and to prove he can spot raw tal-
Audio, dram.: Brandt & Hochman Literary Agents
ent by training a quarter horse, bought cheap, into a polo pony
he can sell for riches. . . . Will himself is an endearing character,
Also available:
everything you’d want in a cowboy—honest, forthright, polite,
Snow, Ashes, Fiction, Paperback (978-1-55597-468-8), $15.00
capable, modest, yet not so squeaky clean that he makes your
Ghosts of Wyoming, Fiction, Paperback (978-1-55597-548-7), $15.00

Fiction, 272 pages, 5½ x 8¼, Paperback (978-1-55597-663-7), $15.00, October / Ebook available
A L s o AVA I L A B L E
City of Bohane
There Are Little Kingdoms
A Novel
Stories
The once-great city of Bohane on the west coast of Ireland is on its
These stories summon all the laughter, darkness, and intensity of
knees, infested by vice and split along tribal lines. Logan Hartnett’s
contemporary Irish life. As the winner of the 2007 Rooney Prize
old nemesis is back in town, his trusted henchmen are getting
for Irish Literature, There Are Little Kingdoms marks the stunning
ambitious, and his missus wants him to give it all up and go straight.
entrance of a writer who burst onto the literary scene fully formed.
“Full of marvels. . . . Powerful, exuberant fiction.”—Pete Hamill,
“Magnificent. This is show-stopping stuff.”—Sunday Tribune
The New York Times Book Review (front page)
(Ireland)
“A grizzled piece of futuristic Irish noir. . . . Imbued through-
“Immensely entertaining. . . . A brilliant example of short story
out with Barry’s inventively vulgar language. . . . Virtuosic.”
writing at its best.”—The Sunday Business Post (Ireland)
—The New Yorker
“Some of the most beautiful and lyrical writing ever composed
“I found Kevin Barry’s City of Bohane a thrilling and memorable
by an Irish writer. . . . There are truly great things here.
first novel.”—Kazuo Ishiguro, from the Man Booker
Expect more.”—Irish Examiner
Prize interview
“A collection of vibrant, original, and intelligent short stories,
“As you prowl the streets of Bohane with Barry’s motley assort-
and a number of the tales contained in There Are Little Kingdoms
ment of thugs and criminal masterminds, you will find yourself
deserve to be read and reread.”—The Irish Times
drawn into their world and increasingly sympathetic to their
Brit.: stinging Fly Press
assorted aims and dreams.”—The Boston Globe
Trans., 1st ser., dram.: Aitken Alexander
Audio: Graywolf Press
Brit., trans., audio, dram.: Random House Group Ltd
Fiction, 160 pages, 5½ x 8¼, Paperback Original (978-1-55597-652-1),
$14.00, September / Ebook available
Fiction, 304 pages, 5½ x 8¼, Paperback (978-1-55597-645-3), $15.00,
June / Ebook available

An award-winning collection from the
author of City of Bohane, which was hailed
as “extraordinary” on the cover of the
New York Times Book Review
“Wonderfully, restlessly alive.”
the times (london)
“Laugh-out-loud, put-down-the-book funny.”
s u n d ay i n d e pe n d e n t ( i r e lan d )
“The most exciting Irish short story writer of his generation.”
t h e s u n d ay t i m e s ( lon d on )
“Scintillating. . . . Barry’s language is intense, precise, given to
delightful swerves and with pitch perfect dialogue.”
the scotsman
“Kevin Barry is a wonderful writer. He may work with traditional
materials, but he builds with them structures that seem new and which
tower above the flatness of contemporary Irish writing like monuments.”
the irish times
Dark Lies the Island
Stories
K E V I n B A R Ry
A wickedly funny and hugely original collection of stories about
of daily life invest these tales with a startling vitality. Dark Lies
misspent love and crimes gone horribly wrong. In the Sunday
the Island was shortlisted for the Frank O’Connor International
Times Short Story Award-winning “Beer Trip to Llandudno,”
Short Story Award, and as one of the most acclaimed collec-
a pack of middle-aged ale fanatics seeking the perfect pint find
tions in Europe in many years, it heralds the arrival of a new
more than they bargained for. A pair of sinister old ladies prowl
master of the short story.
the countryside for a child to make their own. And a poet
Kevin Barry is the author of City of Bohane and two story collections. He has won
the European Union Prize for Literature and the Authors’ Club Best First Novel Award,
and was shortlisted for the Costa First Novel Award. He lives in County Sligo, Ireland.
looking for inner calm buys an ancient inn on the west coast
of Ireland but finds instead rancorous locals and catastrophic
floodwaters. Kevin Barry’s dazzling language, razor-sharp ear
Brit., trans., 1st ser., audio, dram.: Random House Group Ltd
for the vernacular, and keen eye for the tragedies and comedies

Fiction, 192 pages, 5½ x 8¼, Hardcover (978-1-55597-651-4), $24.00, September / Ebook available
E xcerpt from Duplex
have been like Mary—they even looked a little bit alike, both
Everyone knew the family inside number 37 were robots.
Mr. XA, Mrs. XA, Cindy XA, Carol XA—when you saw
being bird-boned and pale, and parting their limp mouse-
them outside the house they looked like people. Carol had
brown hair girlishly down the middle. Miss Vicks’s part was
been in Miss Vicks’s class the previous year and she had been
always ruler-straight, though, whereas Mary’s jogged to the
an excellent if uninspired student; Cindy would be in her
left at the back of her head, suggesting a lack of interest in
class starting tomorrow. The question of how to teach—or
things she couldn’t see. Her teeth were too big for her mouth,
even whether to teach—a robot came up from time to time
too, making her appear more vulnerable than she really was.
Usually in the summer with the windows open Miss Vicks
among the teachers. No one had a good answer.
had no trouble eavesdropping on Mary’s family, but now the
By the time Miss Vicks got to number 49 the storm was
rain was drowning out everything except itself. . . .
making it almost impossible to find her front door. Often it
happened that the world’s water got sucked aloft and came
It was only when everyone on the street was asleep that
down all at once as rain. She swept her little dog into her arms
the robots came flying out of number 37. There were four
and felt her way onto the porch. They were both completely
of them, two the size and shape of needles and two like
drenched, the dog’s red coat so wet it looked black. For a
coins, their exterior surface burnished to such a high state
while they sat there in the glider, surrounded by thundering
of reflective brilliance that all a human being had to do was
curtains of rainwater. 1511MV—what kind of a license plate
look at one of them for a split second to be forever blinded.
was that? One plus five plus one plus one equaled eight, a
The robots waited to come out until after the humans were
number signifying the World, the very essence of the sor-
asleep. They’d learned to care about us because they found
cerer’s domain. If you knocked eight on its side it became the
us touchingly helpless, due in large part to the fact that we
symbol of infinity.
could die. Unlike toasters or vacuum cleaners, though, the
As she sat there on the porch she tried getting a sense of
robots were endowed with minds. In this way they were dis-
what was going on in number 47, the house attached to hers
tant relatives of Body-without-Soul, but the enmity between
where Mary lived. If she had ever had a daughter the girl would
the sorcerer and the robots ran deep.
Praise for Versailles:
“Splendid. . . . Rapturous, like an aria.”—The New York Times
© Emma Dodge Hanson
Book Review
“Elegant. . . . A persuasive and sympathetic portrait of
Antoinette.”—Los Angeles Times Book Review
“Davis is so skilled at draping . . . gemlike images around her
story.”—Star Tribune (Minneapolis)
Kathryn Davis is the author of six novels. She has received a Kafka
Prize, the Morton Dauwen Zabel Award, a Guggenheim Fellowship,
“[An] elegant, idiosyncratic novel. . . . The voice Davis has
and the Lannan Foundation Literary Award. She teaches at Washington
given [Antoinette] is by turns sage, mercurial, and ravishing.”
University, and lives in Vermont and St. Louis, Missouri.
—The New Yorker

Time, place, and mind all bend in extraordinary
ways in this new novel from the acclaimed
author of The Thin Place and Versailles
“Davis’s writing is so extraordinarily
visual that she is practically a video artist: the
reader closes the book as it waking from a dream.”
—The New Yorker
DUPLEX
Praise for The Thin Place:
“[A] brilliant, peculiar book. . . . Davis writes hallucinatory,
literate prose, and adopts a cosmic perspective.”
the new yorker
A Novel
“Rare, brave and original. . . . [Davis] has done something great
here, something heathen, anarchic, democratic.”
the new york times book review
Ka t h r y n
Davis
“No amount of character sketching or plot summary . . . can begin to
convey the experience of reading this strange and delightful novel.”
t h e wa s h i n g ton p o s t
“Never has Davis’ prose seemed more effortless. . . . The Thin
Place is a bright, shimmering book, and the variety of voices come
together like a globe cut from glass in the sun.”
chicago sun-times
Duplex
A Novel
K AT H Ry n DAV I s
Mary and Eddie are meant for each other—but love is no
of robots and sorcerers, slaves and masters, bodies without
guarantee, not in these suburbs. Like all children, they exist
souls. Kathryn Davis, an author the Chicago Tribune called “one
in an eternal present; time is imminent, and the adults of the
of the most inventive novelists at work today,” has created
street live in their assorted houses like numbers on a clock.
here a coming-of-age story like no other. Once you enter the
Meanwhile ominous rumors circulate, and the increasing agita-
duplex—that magical hinge between past and future, human
tion of the neighbors points to a future in which all will be lost.
and robot, space and time—there’s no telling where you might
Soon, a sorcerer’s car will speed down Mary’s street, and as
come out.
past and future fold into each other, the resonant parenthesis of
Brit., trans., 1st ser., audio, dram.: The Wylie Agency
her girlhood will close forever. Beyond is adulthood, a world

Fiction, 208 pages, 5½ x 8¼, Hardcover (978-1-55597-653-8), $24.00, September / Ebook available
E xcerpt from Unapologetic
No, I can’t prove it. I don’t know that any of it is true. I don’t
do. These emotions must be alien, freakish, sad, embarrass-
know if there’s a God. . . . But then, like every human being,
ing, humiliating, immature, pathetic. These emotions must be
I am not in the habit of entertaining only the emotions I can
quite separate from commonsensical us. But they aren’t. The
prove. I’d be an unrecognisable oddity if I did. Emotions
emotions that sustain religious belief are all, in fact, deeply
can certainly be misleading: they can fool you into believing
ordinary and deeply recognisable to anybody who has ever
stuff that is definitely, demonstrably untrue. But emotions
made their way across the common ground of human experi-
are also our indispensable tool for navigating, for feeling our
ence as an adult. They are utterly familiar and utterly intel-
way through, the much larger domain of stuff that isn’t sus-
ligible, and not only because the culture is still saturated with
ceptible to proof or disproof, that isn’t checkable against the
the spillage of Christianity, slopped out of the broken con-
physical universe. We dream, hope, wonder, sorrow, rage,
tainer of faith and soaked through everything. This is some-
grieve, delight, surmise, joke, detest; we form such unprov-
thing more basic at work, an unmysterious consanguinity
able conjectures as novels or clarinet concertos; we imagine.
with the rest of experience.
And religion is just a part of that, in one sense. It’s just one
It’s just that the emotions in question aren’t usually
form of imagining, absolutely functional, absolutely human-
described in ordinary language, with no special vocabulary;
normal. It would seem perverse, on the face of it, to propose
aren’t usually talked about apart from their rationalisation
that this one particular manifestation of imagining should be
into ideas. That’s what I shall do here. . . . You can eas-
treated as outrageous, should be excised if (which is doubt-
ily look up what Christians believe in. You can read any
ful) we can manage it.
number of defences of Christian ideas. This, however, is
But then, this is where the perception that religion is weird
a defence of Christian emotions—of their intelligibility,
comes in. It’s got itself established in our culture, relatively
of their grown-up dignity. The book is called Unapologetic
recently, that the emotions involved in religious belief must
because it isn’t giving an ‘apologia,’ the technical term for a
be different from the ones involved in all the other kinds of
defence of the ideas.
And also because I’m not sorry.
continuous imagining, hoping, dreaming, etc., that humans
Praise for Francis Spufford:
© Bart Koetsier
“The man writes like a dream.”—The Guardian (London)
“Spufford is an amused and amusing observer of human beings,
and it is a pleasure to be in his company.”—Dwight Garner,
The New York Times
Francis Spufford is the author of four previous books, including
“I am not alone in thinking that [Francis Spufford] has one
The Child That Books Built and Red Plenty. He teaches writing
of the most original minds in contemporary literature.”
at Goldsmiths College and lives near Cambridge, England.
—Nick Hornby

A brief, witty, sharp-tongued
defense of Christian belief that takes on
Richard Dawkins’s The God Delusion and
Christopher Hitchens’s God Is Not Great
“A wonderful, effortlessly brilliant book.”
the evening standard (london)
“Unapologetic is a rare gem, a book that carries conviction
by being honest all the way through.”
the independent (london)
“[A] remarkable book, which is passionate, challenging,
tumultuously articulate, and armed with anger to a degree unusual
in works of Christian piety. . . . [Spufford] admits he doesn’t know
if there’s a God or not. Nobody does: it’s unknowable. What’s on
offer here is vehement thought, ardent expostulation, and the
conviction that what Spufford writes about is for him the
most important thing in the world, or out of it.”
t h e s u n d ay t i m e s ( lon d on )
Unapologetic
W hy, Despi te Ever y t hing , C hr i s t iani t y C an St il l Make Sur pr i sing E mot ional Sense
FRAnCIs sPUFFoRD
“Unapologetic successfully skewers various atheist holy
In Unapologetic, Francis Spufford does not claim that Christianity
is true—because how could anyone know that, or its opposite?
cows. . . . In a literary field that is fast becoming overpopulated,
Instead, he argues that Christianity is recognizable, that it
it is an intelligent, sophisticated and much welcome addition.”
draws on the deep and deeply ordinary vocabulary of human
—Nick Spencer, The New Statesman
feeling, and that it satisfies those who believe in it by offering a
Brit.: Faber and Faber Ltd
ruthlessly realistic account of the parts of our lives that are not
Trans., dram.: Aitken Alexander Associates
happy or perfect. It’s a book for believers who are tired of being
Audio, 1st ser.: Graywolf Press
patronized, for nonbelievers who are curious about how faith
Also available:
can possibly work in the twenty-first century, and for anyone
Red Plenty, History, Paperback (978-1-55597-604-0), $16.00
who feels there is something indefinably wrong, literalistic,
anti-imaginative, and intolerant about the way that the case for
atheism is now being made.

Nonfiction, 256 pages, 5½ x 8¼, Paperback Original (978-1-55597-658-3), $16.00, October / Ebook available
The long-awaited third poetry book by
Vijay Seshadri, “one of the most respected
poets working in America today”
(time
out new yor k)
First I had three
apocalyptic visions, each more terrible than the last.
The graves open, and the sea rises to kill us all.
Then the doorbell rang, and I went downstairs and
signed for two packages—
—from “This Morning”
3 sections
Poems
V I j Ay s E s H A D R I
Vijay Seshadri’s new poetry is assured and expert, his line
“This is a strong, almost reckless voice turning dark experi-
as canny as ever. In an array of poetic forms from the rhym-
ence into an unrelenting sense of possibility. From the rhyming
ing lyric to the philosophical meditation to the prose essay,
stanzas to a long prose meditation, the power of casual decla-
3 Sections confronts perplexing divisions of contemporary life—
mation holds sway.”—Los Angeles Times Book Review
a wayward history, an indeterminate future, and a present con-
Vijay Seshadri is the author of two previous poetry collections, Wild Kingdom
and The Long Meadow, winner of the James Laughlin Award. He teaches at Sarah
Lawrence College and lives in Brooklyn, New York.
dition of wanting to out-think time. This is an extraordinary
book, witty and vivacious, by one of America’s best poets.
Brit., trans., audio, dram.: Graywolf Press
Praise for Vijay Seshadri:
1st ser.: Author c/o Graywolf Press
“Seshadri is a son of Frost by way of Ashbery: both the high-
Also available:
frequency channels of consciousness and the jazz of spoken lan-
The Long Meadow, Poetry, Paperback (978-1-55597-424-4), $14.00
guage are audible in these poems.”—The New Yorker

Poetry, 80 pages, 7 x 9, Hardcover (978-1-55597-662-0), $22.00, September
“Bang’s thrillingly contemporary translation
of the first part (the juiciest part) of Alighieri’s
fourteenth-century poem The Divine Comedy
is indeed epic. . . . Once you embark on this
journey, you may wish to read not only all of
Mary Jo Bang’s work but all of Dante’s, too.”
vani t y fa i r
Stopped mid-motion in the middle
Of what we call our life, I looked up and saw no sky—
Only a dense cage of leaf, tree, and twig. I was lost.
—from Canto I
Inferno
A N e w Tr a n s l a t i o n
DAnTE ALIGHIERI
T R A n s L AT E D, W I T H A n I n T Ro D U C T I o n A n D n oT E s , B y M A Ry j o B A n G
I L L U s T R AT E D B y H E n R I K D R E s C H E R
“Imagine a contemporary translation of Dante that includes
“An epic both fresh and historical, scholarly and irreverent. . . .
references to Pink Floyd, South Park, Donald Rumsfeld, and
This will be the Dante for the next generation.”—Publishers
Star Trek. Now imagine that this isn’t gimmicky. . . . Imagine
Weekly, starred review
instead that the old warhorse is now scary again, and perversely
Dante Alighieri (c.1265–1321) is the author of the Divine Comedy, a masterpiece of world literature. Mary Jo Bang is the author of six books of poetry, including Elegy, winner of the National Book Critics Circle Award.
funny, and lyrical and faux-lyrical in a way that sounds sometimes like Auden, sometimes like Nabokov, but always like
Mary Jo Bang.”—BOMB
Brit., trans., audio, dram.: William Morris Endeavor Entertainment LLC

Poetry, 352 pages, 6 x 9, Paperback (978-1-55597-654-5), $20.00, September
“Harryette Mullen is a magician
of words, phrases, and songs. . . . No voice
in contemporary poetry is quite as original,
cosmopolitan, witty, and tragic.”
su san s t ewart
(citation for the Academy of American Poets Fellowship)
Urban tumbleweed, some people call it,
discarded plastic bag we see in every city
blown down the street with vagrant wind.
—from Urban Tumbleweed
U r b a n Tu m b l e w e e d
N o t e s f r o m a Ta n k a D i a r y
H A R Ry E T TE M U LLE n
innuendo, and signifying, and this way makes the reader alert
Written out of a daily practice of walking, Harryette Mullen’s
stanzas adapt the Japanese tanka, a poetic form suited for
to the cunning of the English language.”—Jackson Poetry
recording fleeting impressions and contemplating the human
Prize judges’ citation
being’s place in the natural world. But, as she writes in her
Harryette Mullen is the author of seven books, including Recyclopedia and
Sleeping with the Dictionary. She teaches at the University of California–Los Angeles.
preface, “What is natural about being human? What to make
of a city dweller taking a ‘nature walk’ in a public park while
listening to a podcast with ear-bud headphones?”
Brit., trans., audio, dram.: Graywolf Press
1st ser.: Author c/o Graywolf Press
“[Mullen’s poetry is] brilliant and enigmatic, familiar and
Also available:
subversive. Like jewels, her poems are multifaceted and shoot
Recyclopedia, Poetry, Paperback (978-1-55597-456-5), $16.00
off lights. Mullen uses the techniques of sound association,

Poetry, 120 pages, 5 x 7, Paperback Original (978-1-55597-656-9), $15.00, November
Winner of the Emily Dickinson First Book
Award from the Poetry Foundation
O ludicrous swoon, O blind hind-sight,
O torching of bridges and blood boiled white,
O sparrow, and arrow, and hell below,
O, she says, because she loves to say O.
—from “O, She Says”
swoop
Poems
HAILEy LEITHAUsER
Swoop is a sonically audacious first book, a ringing up and down
“Hailey Leithauser’s poems make the brain buzz with infectious
the musical scales. Hailey Leithauser’s resplendent array of
rhyme and lusty rhythms. It’s hard to sit still while reading them,
forms—from traditional verse to more fragmented, onrushing
so truly are they busting with gusto.”—Amy Gerstler
experiments—takes the reader to the heights of lyricism. In
Hailey Leithauser’s poems have appeared in The Best American Poetry, the
Gettysburg Review, and Poetry, and she has received numerous awards including the Discovery/The Nation Prize. She lives in the Maryland suburbs near
Washington, DC.
these poems, sharp objects speak up for themselves, sex is
taken up alfresco (among other things), an enigmatic question
is posed from To Have and Have Not, and the song of a mockingbird drives us out of bed. A paean to excess, Swoop is a virtuosic
Brit., trans., audio, dram.: Graywolf Press
and exhilarating debut.
1st ser.: Author c/o Graywolf Press

Poetry, 80 pages, 6 x 9, Paperback Original (978-1-55597-657-6), $15.00, October
Winner of the Cave Canem Poetry Prize,
selected by Major Jackson
The stub of your left leg dangles
as I hold you up, my hands inserted under your arms
like a child. You are complaining about the itch,
the burn; scratch the ghost of your calf and heel.
—from “Scratching the Ghost”
scratching the Ghost
Poems
DExTER L. BooTH
Dexter L. Booth’s ruminations on loss in this award-winning
and reckless plausibility.Yet, lest the reader get too giddy in a
debut are rooted in a time past but one still palpable and per-
fun house of mirrors, here, too, are the melodic laments and
sistent. Here are memories of love lost, family mourned, a
remarkable lyric passages of a poet who acknowledges the
father absent, ghosts of hometowns and childhood. Here too is
infinite current of melancholy that underlines his journey.”
a “Short Letter to the Twentieth Century” and, finally, a “Long
—Major Jackson
Letter to the Twentieth Century,” as if across this collection
Dexter L. Booth earned an MFA in creative writing from Arizona State University.
His poems have appeared in Amendment, Grist, the New Delta Review, and
Willow Springs. He lives in Tempe, Arizona.
the poet is mustering up the force to speak back to history.
“In Dexter L. Booth’s Scratching the Ghost, a cracked egg means
Brit., trans., audio, dram.: Graywolf Press
the universe is splitting, the slap of a double-dutch rope is a
1st ser.: Author c/o Graywolf Press
broken-throated hymn, and splitting a squealing hog is akin to
lovemaking. These are poems loyal to their own intrepid logic

Poetry, 88 pages, 6 x 9, Paperback Original (978-1-55597-660-6), $15.00, November
R E C E n T
B A C K L I s T
on sal Mal Lane
Woke Up Lonely
A Novel
A Novel
RU FREEMAn
FIonA MAAzEL
Fiction, 408 pages, Hardcover
(978-1-55597-642-2), $26.00
Ebook available
Fiction, 336 pages, Hardcover
(978-1-55597-638-5), $26.00
Ebook available
Tumbledown
In Times of Fading Light
A Novel
A Novel
RoBERT BosWELL
EUGEn RUGE
T R A n s L AT E D F R o M T H E
GERMAn By AnTHE A BELL
Fiction, 448 pages, Hardcover
(978-1-55597-649-1), $26.00
Ebook available
Fiction, 328 pages, Hardcover
(978-1-55597-643-9), $26.00
Ebook available
Percival Everett by
Virgil Russell
Love Is Power, or
something Like That
A Novel
Stories
P E RC I VA L E V E R E T T
A. IGonI BARRETT
Fiction, 240 pages, Paperback
(978-1-55597-634-7), $15.00
Ebook available
Fiction, 216 pages, Paperback
(978-1-55597-640-8), $15.00
Ebook available
spectacle
This Close
Stories
Stories
sUsAn sTEInBERG
jEssICA FRAnCIs KAnE
Fiction, 152 pages, Paperback
(978-1-55597-631-6), $14.00
Ebook available
Fiction, 192 pages, Paperback
(978-1-55597-636-1), $15.00
Ebook available
Byzantium
Stories
BEn sTRoUD
Fiction, 224 pages, Paperback
(978-1-55597-646-0), $15.00
Ebook available

R E C E n T
B A C K L I s T
Airmail
The Virtues of Poetry
The Letters of Robert Bly and
Tomas Tranströmer
jAMEs LonGEnBACH
nonfiction, 192 pages, Paperback
(978-1-55597-637-8), $14.00
Ebook available
EDITED By THoMAs R .
sMITH
nonfiction, 504 pages, Hardcover
(978-1-55597-639-2), $35.00
Ebook available
The Art of Intimacy
Incarnadine
The Space Between
Poems
s TA C E y D ’ E R A s M o
M A Ry s z y B I s T
nonfiction, 144 pages, Paperback
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