Grace Paley's stature among writers of short fiction was established by her first collection, The Little Disturbances of Man (1959), and reconfirmed with the publication of Enormous Changes at the Last Minute in 1974. This new book, a selection from her work over the past ten years, is appropriately titled Later the Same Day: Paley's concerns, or themes, have changed only as much as life's constants change with the passage of time. Those characters familiar to readers of her previous volumes have grown older but are still deeply involved with their parents, their lovers and friends, and their children--the past, present, and future--and the welfare of the wider community. We meet the neighborhood druggist with his tale of familiar heartbreak and small-time bigotry ("Zagrowsky Tells"); a willful father in Puerto Rico who cannot accept the obvious loss of his child by kidnapping ("In the Garden"); a black woman who mourns the fact that her daughter, "born in good cheer," has become only "busy and broad" ("Lavinia: An Old Story")' a visitor from China whose concern is about the children, how to raise them" (The Expensive Moment:); a craftsman whose beautiful creation is stillborn ("This is a Story about My Friend George, the Toy Inventor"). The seenteen stories in Later the Same Day are marked by Paley's low-keyed humor, her rich but economical use of language, and her seemingly endless capacity for empathy. Their substance--the persistence of human and political concerns, despite practical pressures--subtly overwhelms less important matters.

NOW A NETFLIX SERIES • NEW YORK TIMES BESTSELLER • TWO PEOPLE. ONE DAY. TWENTY YEARS. • What starts as a fleeting connection between two strangers soon becomes a deep bond that spans decades. • "[An] instant classic. . . . One of the most ...emotionally riveting love stories you’ll ever encounter." —People It’s 1988 and Dexter Mayhew and Emma Morley have only just met. But after only one day together, they cannot stop thinking about one another. Over twenty years, snapshots of that relationship are revealed on the same day—July 15th—of each year. They face squabbles and fights, hopes and missed opportunities, laughter and tears. Dex and Em must come to grips with the nature of love and life itself. As the years go by, the true meaning of this one crucial day is revealed. "[A] surprisingly deep romance...so thoroughly satisfying." —Entertainment Weekly

This rich and multifaceted collection is Grace Paley's vivid record of her life. As close to an autobiography as anything we are likely to have from this quintessentially American writer, Just As I Thought gives us a chance to see Paley not only as a writer and "troublemaker" but also as a daughter, sister, mother, and grandmother. Through her descriptions of her childhood in the Bronx and her experiences as an antiwar activist to her lectures on writing and her recollections of other writers, these pieces are always alive with Paley's inimitable voice, humor, and wisdom.

Volume 12 covers all naval engagements during the first three months of 1944. In the Pacific, US Operation Cartwheel successfully isolates the strong Japanese force at Rabaul. US and Australian forces advance along the New Guinea coast toward the Philippines. The US Navy wages the air attack on Truk, then captures the Gilbert and Marshall Islands. Meanwhile in Europe, the Allies invade Italy at Anzio and prepare for their landing at Normandy, France.

What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arzé Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Évelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciação (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)