Six-year-old Sarah, mobile but unable to talk, wants to sing "Happy Birthday" for her mother and is able to provide a birthday surprise with help from her therapist and a new augmentative communication device.

It is Sarah's first day of work at The Lagoon Cafe. Sarah serves the customers with her co-worker Ji-Sung while Mrs. Hayes, the owner, goes out shopping. A man Sarah does not know comes into the cafe and takes food without paying. Sarah and Ji-Sung call the police. While they are telling the police what happened, Mrs. Hayes comes into the store followed by the man who "stole" the food. Mrs. Hayes identifies the man as her husband who also owns the cafe.

After Sarah Trestle botches a simple shoplifting attempt, she is worried that she will get kicked out of her clique of friends, which is made up of three other girls named Sarah whose main summer activities are volunteer work and the occasional petty crime.

An American journalist researches the notorious roundup of Parisian Jews and uncovers her French family's war-era secrets.

"Queer, dirty, insightful, and so funny" (Andrea Lawlor), this coyly revolutionary debut story collection imagines new origins and futures for its cast of unforgettable protagonists--almost all of whom are named Sarah. NAMED A MOST ANTICIPATED BOOK OF 2021 BY THE MILLIONS * OPRAH MAGAZINE * LAMBDA LITERARY * ELECTRIC LITERATURE * REFINERY29 * COSMO * THE ADVOCATE * ALMA * PAPERBACK PARIS * WRITE OR DIE TRIBE * READS RAINBOW In Sarahland, Sam Cohen brilliantly and often hilariously explores the ways in which traditional stories have failed us, both demanding and thrillingly providing for its cast of Sarahs new origin stories, new ways to love the planet and those inhabiting it, and new possibilities for life itself. In one story, a Jewish college Sarah passively consents to a form-life in pursuit of an MRS degree and is swept into a culture of normalized sexual violence. Another reveals a version of Sarah finding pleasure--and a new set of problems--by playing dead for a wealthy necrophiliac. A Buffy-loving Sarah uses fan fiction to work through romantic obsession. As the collection progresses, Cohen explodes this search for self, insisting that we have more to resist and repair than our own personal narratives. Readers witness as the ever-evolving "Sarah" gets recast: as a bible-era trans woman, an aging lesbian literally growing roots, a being who transcends the earth as we know it. While Cohen presents a world that will clearly someday end, "Sarah" will continue. In each Sarah's refusal to adhere to a single narrative, she potentially builds a better home for us all, a place to live that demands no fixity of self, no plague of consumerism, no bodily compromise, a place called Sarahland.