SHORT-LISTED FOR THE WOMEN’S PRIZE FOR FICTION. A timeless story of strife and hope set during the conflict in the Balkans in the early '90s—a searing debut novel about a woman who faces the war on her doorstep with courage, fierceness, and an unshakable belief in the power of art. “A reflective novel about dark times that tells us life goes on, love stories develop, humanity remains in the most inhumane of times.” —Irish Independent Sarajevo, spring 1992. Each night, nationalist gangs erect makeshift barricades, splitting the city into ethnic enclaves. Each morning, the people who live there—whether Muslim, Croat, or Serb—push the barriers aside. When violence erupts and becomes, finally, unavoidable, Zora, an artist and teacher, sends her husband and elderly mother to safety in England. She stays behind, reluctant to believe that hostilities will last more than a few weeks. As the city falls under siege, everything she loves about her home is laid to waste, black ashes floating over the rooftops. Yet Zora and her friends find ways to rebuild themselves, over and over. Told with breathtaking immediacy, this is a story of disintegration, resilience, and hope—a stirring debut from a commanding new voice.

This collection of gritty and intense short stories compares the horrors of the real world to those of the supernatural. Winner of the Bram Stoker Award, the International Horror Guild Award, and a Publishers Weekly Best Book of the Year.

This book is a collection of memories and experiences Drake lived after the death of one of his brothers. He promised he would write him a few words after he failed to complete the task while his brother was alive. This book is everything… this book is for all who are breathing and for all who are no longer here. This book is for you.

This collection of gritty and intense short stories compares the horrors of the real world to those of the supernatural. Winner of the Bram Stoker Award, the International Horror Guild Award, and a Publishers Weekly Best Book of the Year.

The best-selling look at how American cities can promote racial equity, end redlining, and reverse the damaging health- and wealth-related effects of segregation. Winner of the IPPY Book Award Current Events II by the Independent Publisher The world gasped in April 2015 as Baltimore erupted and Black Lives Matter activists, incensed by Freddie Gray's brutal death in police custody, shut down highways and marched on city streets. In The Black Butterfly—a reference to the fact that Baltimore's majority-Black population spreads out like a butterfly's wings on both sides of the coveted strip of real estate running down the center of the city—Lawrence T. Brown reveals that ongoing historical trauma caused by a combination of policies, practices, systems, and budgets is at the root of uprisings and crises in hypersegregated cities around the country. Putting Baltimore under a microscope, Brown looks closely at the causes of segregation, many of which exist in current legislation and regulatory policy despite the common belief that overtly racist policies are a thing of the past. Drawing on social science research, policy analysis, and archival materials, Brown reveals the long history of racial segregation's impact on health, from toxic pollution to police brutality. Beginning with an analysis of the current political moment, Brown delves into how Baltimore's history influenced actions in sister cities such as St. Louis and Cleveland, as well as Baltimore's adoption of increasingly oppressive techniques from cities such as Chicago. But there is reason to hope. Throughout the book, Brown offers a clear five-step plan for activists, nonprofits, and public officials to achieve racial equity. Not content to simply describe and decry urban problems, Brown offers up a wide range of innovative solutions to help heal and restore redlined Black neighborhoods, including municipal reparations. Persuasively arguing that, since urban apartheid was intentionally erected, it can be intentionally dismantled, The Black Butterfly demonstrates that America cannot reflect that Black lives matter until we see how Black neighborhoods matter.

Chosen by Tim Seibles for The Hilary Tham Capital Collection. Brian Turner says Sullivan "listens across cultures and across languages in order to undo the erasures of time and power," calling this "a book of compassion and deep humanity." Poems spring from inspirations as various as paintings by Iraqi painters, the voices of Iraqi poets, co-translation projects with poets living there or in exile, and daily life in Iraq itself. Co-translations comprise one section of the collection and give a priceless cross-section of Iraqi poets today. Says Seibles: "David Allen Sullivan gives us an intimate tour of war-torn Iraq, an intricate look at the minds of people for whom military violence had become a defining part of daily life. Because these figures speak with such authority and desperation, reading this collection disrupts and deepens the way we, who have not lived with war, perceive its terrible damage. The poems are at times poignantly lyrical and in other moments darkly magical--as if the reader has somehow entered the poet's more than real dreamscape. I don't know if art can save us from self-annihilation, but to echo Muriel Rukeyser slightly: David Allen Sullivan's poetry is the kind of thing that might help us back away from the brink." Lola Haskins adds: "Sullivan's book left me in a state of shock and awe: shocked by the terrible sufferings of the Iraqi people, and awed by the high and heart-breaking grace of the survivors who present them. For me, the most resonant word in the poems is 'blood,' not because it's so often used, but because of its double meanings: the literal--the substance in all our veins that's essential to life, and the figurative--'family,' which is the heart the whole collection wears on its metaphoric sleeve: that we are all, wherever we come from, family." Poetry. Middle Eastern Studies.