This celebrated volume begins when Nin is about to publish her first book and ends when she leaves Paris for New York. Edited and with a Preface by Gunther Stuhlmann.

Our story begins in 1902, at The Brookhants School for Girls. Flo and Clara, two impressionable students, are obsessed with each other and with a daring young writer named Mary MacLane, the author of a scandalous bestselling memoir. To show their devotion to Mary, the girls establish their own private club and call it The Plain Bad Heroine Society. They meet in secret in a nearby apple orchard, the setting of their wildest happiness and, ultimately, of their macabre deaths. This is where their bodies are later discovered with a copy of Mary’s book splayed beside them, the victims of a swarm of stinging, angry yellow jackets. Less than five years later, The Brookhants School for Girls closes its doors forever—but not before three more people mysteriously die on the property, each in a most troubling way. Over a century later, the now abandoned and crumbling Brookhants is back in the news when wunderkind writer, Merritt Emmons, publishes a breakout book celebrating the queer, feminist history surrounding the “haunted and cursed” Gilded-Age institution. Her bestselling book inspires a controversial horror film adaptation starring celebrity actor and lesbian it girl Harper Harper playing the ill-fated heroine Flo, opposite B-list actress and former child star Audrey Wells as Clara. But as Brookhants opens its gates once again, and our three modern heroines arrive on set to begin filming, past and present become grimly entangled—or perhaps just grimly exploited—and soon it’s impossible to tell where the curse leaves off and Hollywood begins. A story within a story within a story.

Set in the contemporary Paris of American  expatraites, liasons, and violence, a young man finds  himself caught between desire and conventional  morality. James Baldwin's brilliant narrative delves  into the mystery of loving with a sharp, probing  imagination, and he creates a moving, highly  controversial story of death and passion that reveals the  unspoken complexities of the heart.

From the award-winning author of Banana Heart Summer —“[a] wonderful debut…[that] resembles Sandra Cisneros’s The House on Mango Street and is destined to be a hit among book club members”*—comes a wondrous tale of hope, secrets, and family devotion. It’s six days until Christmas, and on the bustling streets of Manila a mute ten-year-old boy sells his version of the exquisite lanterns handmade with colorful paper. But everything changes for young Noland when he witnesses an American tourist injured in a drive-by shooting of a journalist and imagines he’s seen an angel falling from the sky. When Noland whisks her to the safety of the hut he shares with his mother, the magical and the real shimmering lanterns and poverty, Christmas carols and loss, dreams of friendship and the global war on terror. While the story of the missing tourist grips the media, Noland and his mother care for their wounded guest, and a dark memory returns. But light sneaks in—and their lives are transformed by the power of love. * Library Journal ( starred review, “Editor’s Pick”)

In her lush, luminous debut novel, Merlinda Bobis creates a dazzling feast for all the senses. Richly imagined, gloriously written, Banana Heart Summer is an incandescent tale of food, family, and longing—at once a love letter to mothers and daughters and a lively celebration of friendship and community. Twelve-year-old Nenita is hungry for food, love, life. Growing up with five sisters and brothers, she searches for happiness in the magical smell of the deep-frying bananas of Nana Dora, who first tells Nenita the myth of the banana heart; in the tantalizing scent of Manolito, the heartthrob of Nenita and her friends; in the pungent aromas of the dishes she prepares for the most beautiful woman on Remedios Street. To Nenita, food is synonymous with love—the love she yearns to receive from her disappointed mother. But in this summer of broken hearts, new friendships, secrets, and discoveries, change will be as sudden and explosive as the monsoon that marks the end of the sweltering heat—and transforms Nenita’s young life in ways she could never imagine.

Kaveh Akbar’s Martyr! is a paean to how we spend our lives seeking meaning—in faith, art, ourselves, others—in which a newly sober, orphaned son of Iranian immigrants, guided by the voices of artists, poets, and kings, embarks on a search that leads him to a terminally ill painter living out her final days in the Brooklyn Museum. Cyrus Shams is a young man grappling with an inheritance of violence and loss: his mother’s plane was shot down over the skies of Tehran in a senseless accident; and his father’s life in America was circumscribed by his work killing chickens at a factory farm in the Midwest. Cyrus is a drunk, an addict, and a poet, whose obsession with martyrs leads him to examine the mysteries of his past—toward an uncle who rode through Iranian battlefields dressed as the Angel of death to inspire and comfort the dying, and toward his mother, through a painting discovered in a Brooklyn art gallery that suggests she may not have been who or what she seemed. Electrifying, funny, wholly original, and profound, Martyr! heralds the arrival of a blazing and essential new voice in contemporary fiction.

In the 25 years since its original publication, But for the Lovers has acquired an underground reputation as one of the most remarkable novels about World War II, doing for the Pacific war theater what Joseph Heller's Catch-22 did for the European one. Set in the Philippines, But for the Lovers depicts the survival of a cross-section of Filipinos during the Japanese Occupation and the American Liberation. The cast is enormous, including an old man who used to wander the countryside entertaining children, a young girl raped by Japanese soldiers, guerrilla messengers bringing word of the coming of the American army, and a Japanese major who views the war as the first step of the liberation of the Asian people from Western civilization. This extraordinary novel is no less remarkable for the power and the beauty of its language than for the exotic and magical world it creates. Ranging from hallucinatory lyricism to documentary realism, from black humor sketches to scenes of horror and degradation, But for the Lovers is a rich and complex exploration of language, history, and mythology. The hardcover edition (Dutton, 1970) was praised by the New York Times Book Review as "stunning"; this is the first paperback edition, for which novelist Robert Coover has written an appreciative foreword.

Much of our lives surprisingly depend on tiny objects—wallets, keys, cellphones, rings, IDs— that their loss can turn our days upside down. But what really happens when we lose them? What about the people that find them? Six different people, six different stories. Via, fresh from a breakup, bumps into the same kind stranger she met on the worst night of her life, and this time she’s determined to pay him back for his kindness—or at least return his lost wallet. Still in a daze after his family left him behind, Ronald meets Waldo, a curious ten-year-old kid who needs help finding his lost keys, and his way home. Gemma reunites with her estranged mother to return her lost PWD ID, only to find her stricken with Alzheimer’s without any memory of who she is. Reluctant and still resentful, Gemma agrees to help find her mother’s long-lost sister. In the middle of an already precarious relationship, Cindy loses her engagement ring. She hires a ring finder to help her look for it, and in their search, Cindy finally confronts the reasons that led to the loss of her ring. Dan Ian gives up all hope of getting back with his ex after losing his cellphone, but after getting a new one, he suddenly receives anonymous messages that he suspects (and wishes) might be from his ex. In the midst of these stories, with her own story of loss, Marya is the keeper of the lost and found logbook in her workplace. Through the stories of the objects she is entrusted with, she begins to face her own loss and, in the process, gains the courage to rebuild her life in the crowded Metro. All the Lonely People is a novel of interconnected stories about chance encounters borne out of loss.

Under the influence of a charismatic classics professor, a group of clever, eccentric misfits at a New England college discover a way of thought and life a world away from their banal contemporaries. But their search for the transcendent leads them down a dangerous path, beyond human constructs of morality.

At seventeen, Lenora Hope Hung her sister with a rope Now reduced to a schoolyard chant, the Hope family murders shocked the Maine coast one bloody night in 1929. While most people assume seventeen-year-old Lenora was responsible, the police were never able to prove it. Other than her denial after the killings, she has never spoken publicly about that night, nor has she set foot outside Hope’s End, the cliffside mansion where the massacre occurred. Stabbed her father with a knife Took her mother’s happy life It’s now 1983, and home-health aide Kit McDeere arrives at a decaying Hope’s End to care for Lenora after her previous nurse fled in the middle of the night. In her seventies and confined to a wheelchair, Lenora was rendered mute by a series of strokes and can only communicate with Kit by tapping out sentences on an old typewriter. One night, Lenora uses it to make a tantalizing offer—I want to tell you everything. “It wasn’t me,” Lenora said But she’s the only one not dead As Kit helps Lenora write about the events leading to the Hope family massacre, it becomes clear there’s more to the tale than people know. But when new details about her predecessor’s departure come to light, Kit starts to suspect Lenora might not be telling the complete truth—and that the seemingly harmless woman in her care could be far more dangerous than she first thought.

this collection contains three stories: “not in the mood for love” “no drivers license” “all too unwell” the project? to answer this question: “what if wong kar-wai and fyodor dostoevsky, or olivia rodrigo and jacques lacan, or taylor swift and e. e. cummings, existed in the same story?”