A bold, imaginative collection of short stories set in Southern Iraq from prolific, award-winning novelist Diaa Jubaili. Influenced in turn by the long tradition of Arabic folktales and the magical realism of Latin America, the stories in No Windmills in Basra reflect a reality tinged by the city’s history with war. Yet the fantastic and playful peek through, offering an astounding breadth of images in only a few lines per story. In “Mubarak,” a security guard for a chicken plant discovers his own wings after a bomb explosion. In “The Taste of Death,” long-buried Iraqi and Iranian soldiers rise from their unmarked graves, dissatisfied with the landscape’s returning verdancy. Set in the southern Iraqi city of Basra, where the author still lives, these fleeting stories oscillate between whimsy and tragedy.

In this four-story suite, a modern master of Italian literature delves into the wonder, grotesquery, strangeness, and desire of the human condition. Combining and distorting elements of fables, fairy tales, and the alienating force of society, each of Moresco’s stories features the central character at a different time of his life: childhood, adolescence, young adulthood. In these beautiful and unsettling narratives, a vivid physical world can’t hide the strangeness of surroundings and the dream-like logic governing events. In “Blue Room,” the adolescent protagonist carries on a voyeuristic relationship with a blind old woman in a mysterious clinic. In the title story, a stunning act of violence deepens the nightmarish tones and the protagonist’s disorientation. Moresco’s stories, full of bodily parts, functions, and desires, present a world where physical curiosity competes with shame, and the price of watchfulness is the secrecy and loneliness of isolation.

In this brilliant fiction debut from a legendary visual artist, thirteen interconnected stories explore friendship and intimacy, loneliness and dislocation, and the physical contours of a dilapidated American landscape. These stories, which first appeared as part of Coursey’s solo exhibition at The Pollock Gallery of SMU's Meadows School of the Arts, demonstrate the artist’s fascination with the broken-down and discarded relics of industry and labor. Coursey’s stories are laced with humor, conspiracy, paranoia, and compassion, exploring the ripple effects of violence, the mystery of a car found in a well, house-boat culture, Texas landscapes of machinery and dust. Objects possess a totemic importance as Coursey catalogs the detritus of American culture. These ornate vignettes present a colorful cast of characters and vivid scenery, demonstrating the author’s eye for detail both inanimate and human. Coursey spotlights work and deeds done by hand, and the artful, sculpted sentences reveal the writer’s care and facility as a linguistic craftsman.

Seventeen-year-old Halah Ibrahim has always known a privileged life and never had cause to question it until Cairo goes up in flames. Not only does she start to doubt her father and his role in the new military-backed government—but she ultimately decides to flee to America with a young soldier she hardly knows, an impulsive act that has far-reaching consequences on both sides of the ocean. A powerful and universal debut novel about family, identity, and independence, Country of Origin is as much about a nation's coming-of-age as it is about secrets and lies, love and truth.

Trash interweaves the voices of three women with lived connections to the municipal garbage dump of Ciudad Juárez, Mexico. Aguilar Zéleny's Trash shows the complexities of survival and joy, love and violence for three women: a teenager abandoned by her guardian at the dump, a scientist doing research on the residents of the dump, and a transwoman living nearby who is the matriarch of a group of sex workers. Each one of the characters navigates family, abandonment, power, jealousy, greed, and multiple taboos around sexuality and gender violence. Their stories are linked by geography and by ideas of waste and abandonment. As Aguilar Zéleny explores these territories in her book, she asks crucial questions: Who is seen as disposable and why? How do women find their own means of survival and joy in the midst of a perilous sociopolitical context? What does it mean to live a life in a time of austerity and extreme violence? Trash is a critical intervention in Mexican literature.

From one of Mexico’s premier poets, the award-winning Tedi López Mills, a hybrid, genre-defying book of essays following the unusual and surprising complexities of everyday life. Through thirteen essays, Tedi López Mills explores the minutiae that at first glance go unnoticed. In “Improper Nouns,” she explores the history and destiny of an uncomfortable name, asking whether the way we name what surrounds us affects the fabric of its essence. In “How Time Passes, In Consciousness and Outside,” one’s individual experience of time splits from how it passes outside us. The following essays allude to conscience, pain, private histories, dreams, wisdom, and the most difficult of memories that build one’s own identity. Throughout, López Mills traces the trail of her own history, journeying into her own conscience and the mysteries of existence.

2022 NATIONAL BOOK CRITICS CIRCLE AWARD WINNER FOR TRANSLATED FICTION With a warm yet political humor, Ukraine’s most famous novelist presents a balanced and illuminating portrait of modern conflict. Little Starhorodivka, a village of three streets, lies in Ukraine's Grey Zone, the no-man's-land between loyalist and separatist forces. Thanks to the lukewarm war of sporadic violence and constant propaganda that has been dragging on for years, only two residents remain: retired safety inspector turned beekeeper Sergey Sergeyich and Pashka, a rival from his schooldays. With little food and no electricity, under constant threat of bombardment, Sergeyich's one remaining pleasure is his bees. As spring approaches, he knows he must take them far from the Grey Zone so they can collect their pollen in peace. This simple mission on their behalf introduces him to combatants and civilians on both sides of the battle lines: loyalists, separatists, Russian occupiers and Crimean Tatars. Wherever he goes, Sergeyich's childlike simplicity and strong moral compass disarm everyone he meets. But could these qualities be manipulated to serve an unworthy cause, spelling disaster for him, his bees and his country?