12-year-old Julia keeps a diary about her life growing up in Juarez, Mexico. Life in Juarez is strange. People say it's the murder capital of the world. Dad’s gone a lot. They can’t play outside because it isn’t safe. Drug cartels rule the streets. Cars and people disappear, leaving behind pet cats. Then Dad disappears and Julia and her brother go live with her aunt in El Paso. What’s happened to her Dad? Julia wonders. Is he going to disappear forever? A coming-of-age story set in today’s Juarez. Sylvia Zéleny is a bilingual author from Sonora, México. Sylvia has published several short-story collections and novels in Spanish. She received her MFA in Creative Writing from The University of Texas at El Paso where she is currently a Visiting Writer. In 2016 she created CasaOctavia, a residence for women and LGBTQ writers from Latinamerica.

In late summer 1953, as he returned to Mexico City after a seven-month expedition through the jungles of Ecuador, Colombia, and Peru, William Burroughs began a notebook of final reflections on his four years in Latin America. His first novel, Junkie, had just been published and he would soon be back in New York to meet Allen Ginsberg and together complete the manuscripts of what became The Yage Letters and Queer. Yet this notebook, the sole survivor from that period, reveals Burroughs not as a writer on the verge of success, but as a man staring down personal catastrophe and visions of looming cultural disaster. Losses that will not let go of him haunt Burroughs throughout the notebook: "Bits of it keep floating back to me like memories of a daytime nightmare." However, out of these dark reflections we see emerge vivid fragments of Burroughs' fiction and, even more tellingly, unique, primary evidence for the remarkable ways in which his early manuscripts evolved. Assembled in facsimile and transcribed by Geoffrey D. Smith, John M. Bennett, and Burroughs scholar Oliver Harris, the notebook forces us to change the way we see both Burroughs and his writing at a turning point in his literary biography.

Funny and heartfelt, this amalgamation of memoir and essay collection tells the story of twenty months the author spent in Lesotho, the small, landlocked kingdom surrounded by South Africa. There he finds a spirit of joyful absurdity and resolve, surrounded by people who take strangers' hands as they walk down the road, people who--with sweetest face--drop the dirtiest jokes in the southern hemisphere. But Lesotho is also a place where shepherds exact Old Testament retribution, where wounded pride incites murder and families are devastated by the AIDS epidemic. Driven by a spirit of openhearted cultural exchange in the style of Bill Bryson's In a Sunburned Country and Alexandra Fuller's Cocktail Hour Under the Tree of Forgetfulness, Will McGrath's Everything Lost Is Found Again is a love-drunk ballad to Lesotho, infusing humor and heart into pop ethnography.

After suffering a mental breakdown that nearly destroyed her marriage, Nina Taylor works hard to maintain her tenuous hold on sanity and be a good mother to her two young daughters. Despite her best efforts, she questions the possibility of a full recovery. Single mom Deja Johnson struggles to overcome her troubled past and raise her young son. But her friendship with Nina brings more complications. What Deja is hiding could not only destroy relationships, but endanger lives. One traumatic night threatens to shatter Nina’s mind. With Deja’s help, she strives to maintain her mental balance. But as events spiral out of control, the women must find out if Nina is losing her sanity or if someone is plotting against her.

“Lucid and dense with detail, Everything We Lost is Gone Girl meets The X-Files, a mesmerizing dive into the changeling depths of memory and grief.” — Carrie La Seur, author of The Home Place and The Weight of an Infinite Sky

Questions of survival and loss bedevil the study of early printed books. Many early publications are not particularly rare, but many have disappeared altogether. Here leading specialists in the field explore different strategies for recovering this lost world of print.

From a National Book Critics Circle Award winner, a brilliantly conceived and illuminating reconsideration of a key period in the life of Ernest Hemingway that will forever change the way he is perceived and understood. Focusing on the years 1934 to 1961—from Hemingway’s pinnacle as the reigning monarch of American letters until his suicide—Paul Hendrickson traces the writer’s exultations and despair around the one constant in his life during this time: his beloved boat, Pilar. We follow him from Key West to Paris, to New York, Africa, Cuba, and finally Idaho, as he wrestles with his best angels and worst demons. Whenever he could, he returned to his beloved fishing cruiser, to exult in the sea, to fight the biggest fish he could find, to drink, to entertain celebrities and friends and seduce women, to be with his children. But as he began to succumb to the diseases of fame, we see that Pilar was also where he cursed his critics, saw marriages and friendships dissolve, and tried, in vain, to escape his increasingly diminished capacities. Generally thought of as a great writer and an unappealing human being, Hemingway emerges here in a far more benevolent light. Drawing on previously unpublished material, including interviews with Hemingway’s sons, Hendrickson shows that for all the writer’s boorishness, depression, and alcoholism, and despite his choleric anger, he was capable of remarkable generosity—to struggling writers, to lost souls, to the dying son of a friend. We see most poignantly his relationship with his youngest son, Gigi, a doctor who lived his adult life mostly as a cross-dresser, and died squalidly and alone in a Miami women’s jail. He was the son Hemingway forsook the least, yet the one who disappointed him the most, as Gigi acted out for nearly his whole life so many of the tortured, ambiguous tensions his father felt. Hendrickson’s bold and beautiful book strikingly makes the case that both men were braver than we know, struggling all their lives against the complicated, powerful emotions swirling around them. As Hendrickson writes, “Amid so much ruin, still the beauty.” Hemingway’s Boat is both stunningly original and deeply gripping, an invaluable contribution to our understanding of this great American writer, published fifty years after his death.