After he dies, Samuel Johnson inhabits one body after the next, waiting for a chance to return to his son.

A Summer/Fall 2018 Indies Introduce Debut Fiction Selection When Samuel Johnson dies, he finds himself in the body of the man who killed him, unable to depart this world but determined, at least, to return to the son he left behind. Moving from body to body as each one expires, Samuel’s soul journeys on a comic quest through an American half-century, inhabiting lives as stymied, in their ways, as his own. A ghost story of the most unexpected sort, Martin Riker’s extraordinary debut is about the ways experience is mediated, the unstoppable drive for human connection, and the struggle to be more fully alive in the world. Martin Riker grew up in central Pennsylvania. He worked as a musician for most of his twenties, in nonprofit literary publishing for most of his thirties, and has spent the first half of his forties teaching in the English department at Washington University in St. Louis. In 2010, he and his wife Danielle Dutton co-founded the feminist press Dorothy, a Publishing Project. His fiction and criticism have appeared in publications including the Wall Street Journal, the New York Times, London Review of Books, the Baffler, and Conjunctions. This is his first novel.

Jeffrey Meyers tells the extraordinary story of Samuel Johnson one of the most illustrious figures of English literary tradition. Johnson was famous as a poet, novelist, biographer, essayist, critic, editor, lexicographer, conversationalist and larger than life personality. After nine years of work Johnson's, 'A dictionary of the English Language, was published in 1755. He overcame great adversity to achieve success. 'The Struggle' is a masterful portrait of a brilliant and tormented figure.

A manifesto reclaiming the wives and mistresses of literary modernism that inspired a generation of writers and scholars, reissued after more than a decade. I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order—pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature. On the last day of December 2009, Kate Zambreno, then an unpublished writer, began a blog called "Frances Farmer Is My Sister," arising from her obsession with literary modernism and her recent transplantation to Akron, Ohio, where her partner held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants and melancholy portraits of the fates of the modernist “wives and mistresses," reclaiming the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community of writers and devised a new feminist discourse of writing in the margins and developing an alternative canon. In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it—she traces the genesis of a cultural template that consistently exiles feminine experience to the realm of the “minor,” and diagnoses women for transgressing social bounds. “ANXIETY: When she experiences it, it's pathological,” writes Zambreno. “When he does, it's existential.” With Heroines, Zambreno provided a model for a newly subjectivized criticism, prefiguring many group biographies and forms of autotheory and hybrid memoirs that were to come in the years to follow. A book that has become its own canon, Heroines was named one of the "50 Books that define the past 5 Years in Literature" by Flavorwire, an "Essential Feminist Manifesto" by Dazed, and one of the "50 Greatest Books by Women" in Buzzfeed.

“How do we recognize the moment our future has been written for us? In To Keep the Sun Alive, as the Islamic Revolution looms just outside the gate of an Iranian family orchard, Rabeah Ghaffari has built a world so lush, so precise that you will find yourself rewriting history if only to imagine it could still exist.”—Mira Jacob, author of The Sleepwalker’s Guide to Dancing "[A] tenderhearted début novel . . . A wide–ranging narrative, showing the enduring ramifications of filial and political violence." —The New Yorker The year is 1979. The Iranian Revolution is just around the corner. In the northeastern city of Naishapur, a retired judge and his wife, Bibi–Khanoom, continue to run their ancient family orchard, growing apples, plums, peaches, and sour cherries. The days here are marked by long, elaborate lunches on the terrace where the judge and his wife mediate disputes between aunts, uncles, nieces, and nephews that foreshadow the looming national crisis to come. Will the monarchy survive the revolutionary tide gathering across the country? Will the judge’s brother, a powerful cleric, take political control of the town or remain only a religious leader? And yet, life goes on. Bibi–Khanoom’s grandniece secretly falls in love with the judge’s grandnephew and dreams of a career on the stage. His other grandnephew withers away on opium dreams. A widowed father longs for a life in Europe. A strained marriage slowly unravels. The orchard trees bloom and fruit as the streets in the capital grow violent. And a once–in–a–lifetime solar eclipse, set to occur on one of the holiest days of year, finally causes the family—and the country—to break. Told through a host of unforgettable characters, ranging from servants and young children to intimate friends, To Keep the Sun Alive reveals the personal behind the political, reminding us of the human lives that animate historical events.

New edition of a breathless prose work with a unique vision of suburbia.