In this fictional prose novel, reminiscent of Scorsese's After Hours, a New York man goes on a nightmare-logic adventure when he tries place a phone call. Rudy, a goodhearted fellow in New York, has been trying to phone Kevin Wafer, a kid he knows in Palo Alto, California. Only trouble is, one thing or another keeps getting in the way. For starters, Rudy doesn’t have a phone in his apartment, and he can’t manage to get a dial tone on his pillow or his alarm clock. When he tries to use a pay phone, the phone booth gets carried off by a crane, deposited in a warehouse, and left with Rudy trapped inside. What’s worse, the only repairman who shows up can’t help because he’s due to leave on his vacation and won’t be back for a month. Rudy tries to call for help, but all he can get on the line are other people locked inside other phone booths located other in warehouses all over the world. The only sensible thing for Rudy to do is to sit down with his trusty portable typewriter and write Kevin a letter, telling him what’s happened. Like Bob Dylan’s “115th Dream,” Letters to Kevin obeys a certain logic, but it’s a shifty, nighttime logic that’s full of surprises.Letters to Kevin is an absurdist, screwball farce, and certainly Stephen Dixon’s wildest and weirdest book ever. It’s also, sneakily, one of his most affecting.

The inspiration for the film starring Tilda Swinton and John C. Reilly, this resonant story of a mother’s unsettling quest to understand her teenage son’s deadly violence, her own ambivalence toward motherhood, and the explosive link between them remains terrifyingly prescient. Eva never really wanted to be a mother. And certainly not the mother of a boy who murdered seven of his fellow high school students, a cafeteria worker, and a much–adored teacher in a school shooting two days before his sixteenth birthday. Neither nature nor nurture exclusively shapes a child's character. But Eva was always uneasy with the sacrifices and social demotion of motherhood. Did her internalized dislike for her own son shape him into the killer he’s become? How much is her fault? Now, two years later, it is time for her to come to terms with Kevin’s horrific rampage, all in a series of startlingly direct correspondences with her estranged husband, Franklin. A piercing, unforgettable, and penetrating exploration of violence and responsibility, a book that the Boston Globe describes as “impossible to put down,” is a stunning examination of how tragedy affects a town, a marriage, and a family.

From the New York Times bestselling author of Parable of the Sower and MacArthur “Genius” Grant, Nebula, and Hugo award winner The visionary time-travel classic whose Black female hero is pulled through time to face the horrors of American slavery and explores the impacts of racism, sexism, and white supremacy then and now. “I lost an arm on my last trip home. My left arm.” Dana’s torment begins when she suddenly vanishes on her 26th birthday from California, 1976, and is dragged through time to antebellum Maryland to rescue a boy named Rufus, heir to a slaveowner’s plantation. She soon realizes the purpose of her summons to the past: protect Rufus to ensure his assault of her Black ancestor so that she may one day be born. As she endures the traumas of slavery and the soul-crushing normalization of savagery, Dana fights to keep her autonomy and return to the present. Blazing the trail for neo-slavery narratives like Colson Whitehead’s The Underground Railroad and Ta-Nehisi Coates’s The Water Dancer, Butler takes one of speculative fiction’s oldest tropes and infuses it with lasting depth and power. Dana not only experiences the cruelties of slavery on her skin but also grimly learns to accept it as a condition of her own existence in the present. “Where stories about American slavery are often gratuitous, reducing its horror to explicit violence and brutality, Kindred is controlled and precise” (New York Times). “Reading Octavia Butler taught me to dream big, and I think it’s absolutely necessary that everybody have that freedom and that willingness to dream.” —N. K. Jemisin Developed for television by writer/executive producer Branden Jacobs-Jenkins (Watchmen), executive producers also include Joe Weisberg and Joel Fields (The Americans, The Patient), and Darren Aronofsky (The Whale). Janicza Bravo (Zola) is director and an executive producer of the pilot. Kindred stars Mallori Johnson, Micah Stock, Ryan Kwanten, and Gayle Rankin.

The award-winning author of The Yellow Birds returns with an extraordinary debut poetry collection. National Book Award finalist, Iraq war veteran, novelist and poet Kevin Powers creates a deeply affecting portrait of a life shaped by war. Letter Composed During a Lull in the Fighting captures the many moments that comprise a soldier's life: driving down the Texas highway; waiting for the unknown in the dry Iraq heat; writing a love letter; listening to a mother recount her dreams. Written with evocative language and discernment, Powers's poetry strives to make sense of the war and its echoes through human experience. Just as The Yellow Birds was hailed as the "first literary masterpiece produced by the Iraq war," this collection will make its mark as a powerful, enduring work (Los Angeles Times).

Please Come Off-Book queers the theatrical canon we all grew up with. Kantor critiques the treatment of queer figures and imagines a braver and bolder future that allows queer voices the agency over their own stories. Drawing upon elements of the Aristotelian dramatic structure and the Hero's Journey, Please Come Off-Book is both a love letter to and a scathing critique of American culture and the lenses we choose to see ourselves through.

Letters to a Rose is a contemporary narrative that offers a glimpse of the latter 20th Century through the eyes of a child ofthe Sixties. The story begins with a lighthearted, nostalgic trip to a young boy's childhood, but it quickly takes a sudden,dark turn to the tragic murder of John Kennedy, violent political unrest, and the jungles of Vietnam.At the center of this teetering universe is the story's Everyman narrator, who paints vivid images of a troubled generationthrough entries into his personal journal and letters written to 'Rosie,' his childhood sweetheart and lifelong friend.Cahill's unusual narrative style evokes the true horror of war, placing his readers in the saddle with the young helicopterdoor gunner as he struggles to survive over the Vietnam killing fields. We share his anguish of returning to an ungratefulnation that drives him to near self-destruction in a wake of alcohol and drug abuse; and we pull for him to shed his demonsand emerge from the abyss to triumph over the inequities of an imperfect life.In the center of this human trial is the unfaltering love between the Narrator and Rosie, who remains the only constant in hislife. Together they journey through the ever changing decades, sometimes together but more often apart. Their love andrespect forever give rise to hope for better times ahead.

Your friends on one side. This weird kid on the other. A great plan in the making. A new friendship growing. What would *you* do? How strange is Carlos? REALLY strange. He scratches himself all the time, and he talks about aliens in this weird shaky voice, and he breaks up the class and gets everyone else in trouble when it's *his* fault he's such a freak.So Trina, Donte, Thea, Sara, and Frankie decide to use the upcoming 7th-grade class trip to "get" Carlos and scare him into acting normal. But when Trina has to work with Carlos on a class project, she discovers both his sweetness and the full extent of his troubles. Will she pull out of the plan or go through with it? And what will happen if--when--Carlos gets it?