How do you make a life in an unliveable present. when the path to change is impossibly slow? Gender transition doesn't happen in a clinic. nor does it unfold in a straight line. For William Keohane. it is a journey mapped across words. names. and the Irish landscape. As Will navigates the endless waiting for referrals, appointments. hormones. and surgery, he compassionately charts the many people and places that have shaped his life - both with their love and their willingness to change alongside him. At once sparkling and meditative. with prose of undeniable eddying force. Out There is a universal reflection on transformation and becoming. which asks just how much has to change before we're seen as who we are.

An exceptional Scottish debut, Fetch stands out for its formal dexterity, linguistic hybridity and playfulness – Bramwell takes the lyric seriously, but not too seriously. In Celtic folklore a fetch is a shadowy doppelganger that appears from the Otherworld, portending the beholder’s fate. Your fetch ‘fetches’ you to the afterlife, willingly or otherwise. Bramwell’s poetry uses the fetch as a model to explore a number of overlapping binaries - between the reader and the poem, most of all. Fetch also meditates on the differences between music and speech, the sacred and the profane, the written and the real, humanity and nature, Scots and English. Incorporating multitudes of modes, forms, registers and subjects, Bramwell converses with the Anglo-Celtic lyric tradition in our own time and in his own distinctively amiable fashion. In other words, this poet takes poetry seriously––but not too seriously. Fetch is an astonishingly musical tour-de-force from one of Britain’s most exciting new poets, in which reverence and irreverence, religion and faithlessness, the living and the dead, nearly rhyme.

Questions of identity and self realisation are not easily or straight-forwardly accommodated by one literary form. William Keohane’s response to this has been to write something formally myriad, hybridised and resistant to easy categorization. Son is remarkable work of thought and language, and William’s curiosity as a thinker means that in his work ideas are always being made, remade, and made anew once more. This pamphlet is honest, intelligent and moving. William is a brilliant writer, and this is a mind-expanding work.

With her novels  The Exhibition of Persephone Q  and  The Visitors , Jessi Jezewska Stevens has proven herself as our preeminent purveyor of comical, techno-millenarian unease. Now, with this first collection of her acclaimed short fiction—originally appearing in such venues as The Paris Review , Harper's and Tin House —some of her very best work is at last readily available to readers. Stevens's women throw disastrous parties in the post-party era, flirt through landscapes of terror and war, and find themselves unrecognizable after waking up with old flames in new cities. They navigate the labyrinths of history, love, and ethics in a fractured American present, seeing first-hand how history influences the ways in which we care for—or neglect—one another. With each story exemplifying Stevens's ability to examine the big questions through the microscope of a shambolic human perspective, Ghost Pains  is a triumphant statement of purpose from one of our greatest young writer-thinkers.

A major new novel set in nineteenth-century New Orleans by the author of Signs Preceding the End of the World New Orleans, 1853. A young exile named Benito Juárez disembarks at a fetid port city at the edge of a swamp. Years later, he will become the first indigenous head of state in the postcolonial Americas, but now he is as anonymous and invisible as any other migrant to the roiling and alluring city of New Orleans. Accompanied by a small group of fellow exiles who plot their return and hoped-for victory over the Mexican dictatorship, Juárez immerses himself in the city, which absorbs him like a sponge. He and his compatriots work odd jobs, suffer through the heat of a southern summer, fall victim to the cons and confusions of a strange young nation, succumb to the hallucinations of yellow fever, and fall in love with the music and food all around them. But unavoidable, too, is the grotesque traffic in human beings they witness as they try to shape their future. Though the historical archive is silent about the eighteen months Juárez spent in New Orleans, Yuri Herrera imagines how Juárez’s time there prepared him for what was to come. With the extraordinary linguistic play and love of popular forms that have characterized all of Herrera’s fiction, Season of the Swamp is a magnificent work of speculative history, a love letter to the city of New Orleans and its polyglot culture, and a cautionary statement that informs our understanding of the world we live in.

A major new novel set in nineteenth-century New Orleans by the author of Signs Preceding the End of the World New Orleans, 1853. A young exile named Benito Juárez disembarks at a fetid port city at the edge of a swamp. Years later, he will become the first indigenous head of state in the postcolonial Americas, but now he is as anonymous and invisible as any other migrant to the roiling and alluring city of New Orleans. Accompanied by a small group of fellow exiles who plot their return and hoped-for victory over the Mexican dictatorship, Juárez immerses himself in the city, which absorbs him like a sponge. He and his compatriots work odd jobs, suffer through the heat of a southern summer, fall victim to the cons and confusions of a strange young nation, succumb to the hallucinations of yellow fever, and fall in love with the music and food all around them. But unavoidable, too, is the grotesque traffic in human beings they witness as they try to shape their future. Though the historical archive is silent about the eighteen months Juárez spent in New Orleans, Yuri Herrera imagines how Juárez’s time there prepared him for what was to come. With the extraordinary linguistic play and love of popular forms that have characterized all of Herrera’s fiction, Season of the Swamp is a magnificent work of speculative history, a love letter to the city of New Orleans and its polyglot culture, and a cautionary statement that informs our understanding of the world we live in.

Josephine Haven’s outbursts are infamous at the House of Industry, the secretive school for children who can wield Radiance, an electricity-like magic. She’s tried to follow the rules, but her fiery nature is at odds with the core tenant of the House: never form attachments to others. How is she meant to feel nothing when her classmates are maddening? No one is surprised when upon graduation, Josephine is banished to the Mission farthest from Sterling City. In Frostbrook, she must work under the authority of standoffish Julian, the former golden boy of the House of Industry. Rather than being helpful, he seems determined to watch her fail. And then there’s Ezra, the flirtatious stranger who’s a little too curious about how the Mission operates. But there are bigger problems than two frustrating, secretive boys. A deadly disease is spreading across the countryside. When Josephine pulls on threads she shouldn’t, she discovers that the Wasting is a consequence of the powerful magic she’s been spreading across the land. Horrified, Josephine resolves to expose the corruption at the heart of everything she’s ever known. With no remaining allegiance to the House, she gives in to intoxicating feelings and discovers that relationships are even messier than she imagined. Alongside unexpected allies Julian and Ezra, Josephine must return to Sterling City and take down the House of Industry before the damage caused by Radiance becomes irreversible.