From the author of Margaret the First and SPRAWL comes a prose collection like no other, where different styles of writing and different spaces of experience create a collage of the depths and strangeness of contemporary life. Danielle Dutton's endlessly inventive books have been praised as "strikingly smart and daringly feminist" (Jenny Offill), "brilliantly odd" (The Irish Independent), and "beguiling" (The Wall Street Journal).

In Prairie, Dresses, Art, Other, four distinct sections operate like Joseph Cornell boxes, each offering its own vibrant proposal for what contemporary writing might be. "Prairie" is a cycle of stories set in the Midwest, a surreal landscape of wildflowers, ominous rivers, violence, virtual reality, art, fear, and loss. The conceptual work in "Dresses" reconsiders the canon through the lens of its garb, like a wild literary closet. "Art" turns to essay, examining how works of visual art and fiction relate to one another, a theme central to the whole book. The final section, "Other," collects pieces in irregular ("other") forms, stories-as-essays or essays-as-stories that defy category and are hilarious or heartbreaking for reasons as inexplicable as the abiding beauty and strangeness of all of Dutton's work.

Alphabetical Diaries is a captivating exploration of self-perception and artistic expression by Sheila Heti, an author celebrated for her innovative literary works. Over a decade ago, Heti embarked on an unconventional journey through her personal diaries, where she meticulously catalogued a decade's worth of entries, sorting them alphabetically in an attempt to discern patterns and recurrent themes in her life.

By detaching her sentences from the chronological narrative and organizing them in this unique manner, Heti uncovers the essence of her identity, defined by surprisingly consistent concerns and musings. This process of re-evaluation and discovery has culminated in a work that transcends the personal to touch upon universal truths, establishing Alphabetical Diaries as a testament to Heti's artistic prowess and introspective depth.

An account of the emergence of creative nonfiction, written by the "godfather" of the genre. In the 1970s, Lee Gutkind, a leather-clad hippie motorcyclist and former public relations writer, fought his way into the academy. Then he took on his colleagues. His goal: to make creative nonfiction an accepted academic discipline, one as vital as poetry, drama, and fiction.

In this book, Gutkind tells the true story of how creative nonfiction became a leading genre for both readers and writers. Creative nonfiction--true stories enriched by relevant ideas, insights, and intimacies--offered liberation to writers, allowing them to push their work in freewheeling directions. The genre also opened doors to outsiders--doctors, lawyers, construction workers--who felt they had stories to tell about their lives and experiences.

Gutkind documents the evolution of the genre, discussing the lives and work of such practitioners as Joan Didion, Tom Wolfe, Norman Mailer, James Baldwin, Zora Neale Hurston, Rachel Carson, Upton Sinclair, Janet Malcolm, and Vivian Gornick. Gutkind also highlights the ethics of writing creative nonfiction, including how writers handle the distinctions between fact and fiction. Gutkind's book narrates the story not just of a genre but of the person who brought it to the forefront of the literary and journalistic world.

From "a master of verbal burlesque [and] a connoisseur of psychological blackmail" (John Updike), Witold Gombrowicz's harrowing and hilarious pastiche of the Gothic novel, now in a new, authoritative English translation.

Witold Gombrowicz is considered by many to be Poland's greatest modernist, and in The Possessed, he demonstrates his playful brilliance and astonishing range by using the familiar tropes of the Gothic novel to produce a darkly funny and lively subversion of the form.

With dreams of escaping his small-town existence and the limitations of his class, a young tennis coach travels to the heart of the Polish countryside to train Maja Ocholowska, a beautiful and promising player whose bourgeois family has fallen upon difficult circumstances. Yet as Maja and the young man are alternately drawn to and repulsed by the other, they find themselves embroiled in the fantastic happenings taking place at the dilapidated castle nearby, where a mad prince haunts the halls, and bewitched towels, conniving secretaries, famous clairvoyants, and uncanny doubles conspire to determine the fate of the lovers.

Serialized first in Poland in the days preceding the Nazi invasion, and now translated directly into English for the first time by Antonia Lloyd-Jones, The Possessed is a comic jewel, a hair-raising thriller, and a provocative early masterpiece from the acclaimed author of classics like Pornografia and Cosmos.

From the bestselling author of We the Animals, Blackouts mines lost histories—personal and collective.

Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly but who has haunted the edges of his life: Juan Gay. Playful raconteur, child lost and found and lost, guardian of the institutionalized, Juan has a project to pass along, one built around a true artifact of a book—Sex Variants: A Study of Homosexual Patterns—and its devastating history. This book contains accounts collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried.

The voices of these subjects have been filtered, muted, but it is possible to hear them from within and beyond the text, which, in Juan’s tattered volumes, has been redacted with black marker on nearly every page. As Juan waits for his end, he and the narrator recount for each other moments of joy and oblivion; they resurrect loves, lives, mothers, fathers, minor heroes. In telling their own stories and the story of the book, they resist the ravages of memory and time.

The past is with us, beside us, ahead of us; what are we to create from its gaps and erasures? A book about storytelling—its legacies, dangers, delights, and potential for change—and a bold exploration of form, art, and love, Justin Torres’s Blackouts uses fiction to see through the inventions of history and narrative. A marvel of creative imagination, it draws on testimony, photographs, illustrations, and a range of influences as it insists that we look long and steadily at what we have inherited and what we have made—a world full of ghostly shadows and flashing moments of truth.

A reclamation of ransacked history, a celebration of defiance, and a transformative encounter, Blackouts mines the stories that have been kept from us and brings them into the light.

Monica is a dazzling, spectacular tapestry of interconnected narratives that together tell a life story. Clowes calls upon a lifetime of inspiration to create the most complex and personal graphic novel of his distinguished career. Rich with visual detail, an impeccable ear for language and dialogue, and thrilling twists, Monica is a multilayered masterpiece in comics form that alludes to many of the genres that have defined the medium — war, romance, horror, crime, the supernatural, and more — but in a mysterious, uncategorizable, and quintessentially Clowesian way that rewards multiple readings.

Five years in the making, Monica marks the apex of creativity from one of the defining voices of the graphic novel boom over the past quarter-century.

Kick the Latch is a piercing narrative about one woman's remarkable life at the racetrack. With its unyielding brevity and enigmatic complexities, the novel captures the essence of a life spent in the world of horse racing—the flat expanse, the improvised structures of the backstretch, the undercurrent of discord and tension, the euphoria of the winner's circle, and the convivial atmosphere of the racetrack bar.

Kathryn Scanlan's Kick the Latch vividly portrays the life of Sonia, a horse trainer, through the lens of her particular environment and the distinctive vernacular of those who inhabit it—grooms, jockeys, trainers, and others intimately involved in the sport. The book is a testament to Scanlan's skill in crafting a composite portrait that resonates with authenticity and a profound sense of character.

Carved with a unique artistic vision, the story launches out of the gates with intensity, inviting readers on an exhilarating journey through the inner circle of the racetrack.

Mirar con las palabras, con los nervios, los latidos, contemplar el cielo con el asombro del verso contenido, encender la hierba y los insectos, saber del aroma y del recuerdo. Ventanas ofrece una contemplación al paisaje y también a las emociones, a los deseos y la inquietud existencial. Gracias a los cristales de esta poesía podemos asumir el instante de la germinación, el trasunto de las nubes pensativas o sentir la vibración de las moléculas, las células en su afán metafísico de construir.

Pero Ventanas va más allá del asombro de la observación es una apuesta por el lenguaje y el verso dilatado, por los senderos de la métrica y los espacios de la hoja para labrar una sombra, dibujar un astro o iluminar el acto amoroso, los poemas nos permiten asomarnos a la vida retratada y a la reflexión del tiempo disfrazado de lluvia, de flores indolentes, de tersura en el campo de voces, árboles y sonidos.

OCTOCÉFALO es un experimento. Unir a 8 escritores en torno a temáticas fantásticas, en un trabajo editorial que busca linkear los textos como perlas de un collar, o cabezas en una estaca, como gustes. La idea es unir la experiencia narrativa literaria con gráfica (el libro es ilustrado) en un todo más o menos integrado.

Relatos:
1. Dientes de Leche - I. C. Tirapegui
2. Terranova - Alberto Rojas
3. Piel de Uroboros - Sebastián Garrido
4. Martina y el Fénnec - Sergio Alejandro Amira
5. África Arcangélica - Gabriel Mérida
6. Heartquake - Angela González
7. Pájaro - JL Flores
8. Time Wars Lluscuma - Jorge Baradit

An author having a conversation with his fictional character, or losing control of his character, mind numbing points leading one twists and turns spinning the mind of the reader with hallucinogenic colors, concepts, and eurekas.

The short stories begin simplified, and walk together with the author as he takes a personal journey deep within the universe of his own consciousness, dwelling, prodding, dissecting, and creating...

This book is a play on different writing styles uniquely conjured by the writer from random inspiration and experimentation with poetry as prior experience. This is a chronological anthology spanning the imagination and sanity of the writer.

This book is a collection of humour, satire, and philosophy, with the most unique writing style and twists. The book evolves as one reads, from basic and simple stories of humor, to deeper and more profound satire best savored twice.

The Life and Opinions of Tristram Shandy, Gentleman, often regarded as one of the first examples of postmodern literature, is a novel that defies easy categorization. At its heart, it is a comic narrative that intertwines the birth and life of its protagonist, Tristram Shandy, with the eccentric philosophies of his father Walter, and the military obsessions and amours of his Uncle Toby, among a host of other vivid characters like Dr Slop, Corporal Trim, and the parson Yorick.

This novel is celebrated for its boundless imagination, its wry humor, and its rich satire. Laurence Sterne masterfully weaves a story that is as much about the art of fiction itself as it is about the characters within. It is a joyful exploration of the endless possibilities of narrative, and a clever demonstration of its limitations.

The text and notes of this edition are based on the acclaimed Florida Edition, ensuring that readers have access to the best scholarship available. With a critical introduction by Melvyn New and Christopher Ricks's introductory essay from the first Penguin Classics edition, this book represents a cornerstone of English literary history and a must-read for anyone interested in the evolution of the novel.

Geek Love is the story of the Binewskis, a carny family whose mater- and paterfamilias set out—with the help of amphetamine, arsenic, and radioisotopes—to breed their own exhibit of human oddities. There’s Arturo the Aquaboy, who has flippers for limbs and a megalomaniac ambition worthy of Genghis Khan... Iphy and Elly, the lissome Siamese twins... albino hunchback Oly, and the outwardly normal Chick, whose mysterious gifts make him the family’s most precious—and dangerous—asset.

As the Binewskis take their act across the backwaters of the U.S., inspiring fanatical devotion and murderous revulsion; as its members conduct their own Machiavellian version of sibling rivalry, Geek Love throws its sulfurous light on our notions of the freakish and the normal, the beautiful and the ugly, the holy and the obscene. Family values will never be the same.

If on a Winter's Night a Traveler is a marvel of ingenuity, an experimental text that looks longingly back to the great age of narration—when time no longer seemed stopped and did not yet seem to have exploded. Italo Calvino's novel is in one sense a comedy in which the two protagonists, the Reader and the Other Reader, ultimately end up married, having almost finished If on a Winter's Night a Traveler. In another, it is a tragedy, a reflection on the difficulties of writing and the solitary nature of reading.

The Reader buys a fashionable new book, which opens with an exhortation: "Relax. Concentrate. Dispel every other thought. Let the world around you fade." Alas, after 30 or so pages, he discovers that his copy is corrupted, and consists of nothing but the first section, over and over. Returning to the bookshop, he discovers the volume, which he thought was by Calvino, is actually by the Polish writer Bazakbal. Given the choice between the two, he goes for the Pole, as does the Other Reader, Ludmilla. But this copy turns out to be by yet another writer, as does the next, and the next.

The real Calvino intersperses 10 different pastiches—stories of menace, spies, mystery, premonition—with explorations of how and why we choose to read, make meanings, and get our bearings or fail to. Meanwhile, the Reader and Ludmilla try to reach, and read, each other. If on a Winter's Night is dazzling, vertiginous, and deeply romantic. "What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space."

Hopscotch is a novel by Julio Cortazar, translated by Gregory Rabassa, that revolutionized the narrative structure with its non-linear approach. The story follows Horacio Oliveira, an Argentinian writer living in Paris with his mistress, La Maga, amid a group of bohemian friends known as "the Club." After a series of personal tragedies, Oliveira returns to Buenos Aires, where his life takes a series of unexpected turns as he takes on various odd jobs.

The novel is famous for its unique structure, allowing readers to navigate through its chapters in a non-conventional order. This innovative layout mirrors the book’s thematic exploration of life's complexity and the search for meaning. Cortazar drew inspiration from a variety of sources, including Henry Miller's quest for truth, Daisetz Teitaro Suzuki's Zen Buddhism teachings, and the aesthetics of Modernist writers like Joyce. Additionally, the novel reflects influences from Surrealism, the French New Novel, jazz music, and New Wave Cinema.

Gregory Rabassa's translation of Hopscotch won the National Book Award in 1966, marking a significant moment for the recognition of translation in literature. Cortazar's approval of Rabassa's work led to the translator's collaboration with Gabriel García Márquez on One Hundred Years of Solitude, further cementing Rabassa's reputation as a master translator.

El amor turbulento de Oliveira y La Maga, los amigos del Club de la Serpiente, las caminatas por París en busca del cielo y el infierno, tienen su reverso en la aventura simétrica de Oliveira, Talita y Traveler en un Buenos Aires teñido por el recuerdo.

La aparición de Rayuela en 1963 fue una verdadera revolución dentro de la novelística en lengua castellana: por primera vez, un escritor llevaba hasta las últimas consecuencias la voluntad de transgredir el orden tradicional de una historia y el lenguaje para contarla.

El resultado es este libro único, abierto a multiples lecturas, lleno de humor, de riesgo y de una originalidad sin precedentes.

Set on the coast of England against the vivid background of the sea, The Waves introduces six characters—three men and three women—who are grappling with the death of a beloved friend, Percival. Instead of describing their outward expressions of grief, Virginia Woolf draws her characters from the inside, revealing them through their thoughts and interior soliloquies. As their understanding of nature’s trials grows, the chorus of narrative voices blends together in miraculous harmony, remarking not only on the inevitable death of individuals but on the eternal connection of everyone. The novel that most epitomizes Virginia Woolf’s theories of fiction in the working form, The Waves is an amazing book very much ahead of its time. It is a poetic dreamscape, visual, experimental, and thrilling.

Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children.

Now, for the first time, this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and newly added second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside.

Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.