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The American Short Story Cycle shows the roots of modernism and postmodernism winds through the short story cycle. Reviewers ranging from the The New York Times to Amazon do not know what to call books like Jennifer Egan’s A Visit from the Goon Squad or Jhumpa Lahiri’s Unaccustomed Earth. Why do such popular and acclaimed books spark debates about what they are and how they should be read? The American Short Story Cycle provides a history of this genre that has been hiding in plain sight. Dating back to the early nineteenth century and proliferating to the present, the short story cycle has been wildly popular both in the US and around the world. Stories in a cycle, which can be read singly but mean more together, reflect the individualism and pluralism that shape modern experience. This book gives a name and theory to the genre that has fostered the aesthetics of fragmentation and recurrence that characterize fiction today.

This book is a study of the 'mothers' of the mystery genre. Traditionally the invention of crime writing has been ascribed to Poe, Wilkie Collins and Conan Doyle, but they had formidable women rivals, whose work has been until recently largely forgotten. The purpose of this book is to 'cherchez les femmes', in a project of rediscovery.

First popularized as a genre of literature in the 1920s, for decades science fiction was dominated by White male authors. That is until Octavia Butler, an African American woman, rewrote the script.

In astronomy, the termination shock is the boundary that marks the outer limits of the sun's influence -- the ripple outward of our solar wind and its collision with the interstellar medium. This debut collection of stories evokes those moments when lives are unpredictably shaken and reset by forces beyond their grasp. Making use of a diverse array of narrative modes, settings, and voices, these stories traverse space and time, moving from Egypt during the Second World War to modern-day Liberia and an unfamiliar Los Angeles. The title story, \"Termination Shock,\" offers a lyrical exploration of two traumatic moments in a woman's life that occur decades apart and continue to reverberate in humorous and poignant ways. Janice Margolis shows us characters on the precipice of change -- including a narrator in fevered quarantine following the death of her mother from Ebola, a cross-cultural love in a swiftly transforming Syria, and the desolation of the Berlin Wall, which from its various sectors and coordinates, confesses its crimes and mourns its destruction.

The fantastic has been particularly prolific in Hispanic countries during the twentieth and twenty-first centuries, largely due to the legacy of short-story writers as well as the Latin-American boom that presented alternatives to the model of literary realism. While these writers' works have done much to establish the Hispanic fantastic in the international literary canon, women authors from Spain and Latin America are not always acknowledged, and their work is less well known to readers. The aim of this critical anthology is to render Hispanic female writers of the fantastic visible, to publish a representative selection of their work, and to make it accessible to English-speaking readers. Five short stories are presented by five key authors. They attest to the richness and diversity of fantastic fiction in the Spanish language, and extend from the early twentieth to the twenty-first century, covering a range of nationalities, cultural references and language specificities from Spain, Mexico, Puerto Rico and Argentina.

A woman obsessed with reality TV encounters a sorority girl who has embarked on a very personal scavenger hunt. A man unexpectedly discovers that his father-a seemingly rational man-believes, seriously, in lake monsters. A woman whose husband has just survived a near-fatal accident flees to St. Petersburg, Russia, to wander through museums and palaces and simply try to forget. Hansel (yes, that Hansel), all grown up, tries to be a good father. A young girl begins to suspect that the séances being held in her basement just might not be as harmless as they seem. These are the people and situations-where the familiar and bizarre intermix-that animate Becky Hagenston's stories in Scavengers . From Mississippi to Arizona to Russia, characters find themselves faced with a choice: make sense of the past, or run from it. But Hagenston reminds us that even running can never be pure-so which parts of your past do you decide to hold on to? A brilliant collection from a master of short fiction, Scavengers is surprising, strange, and moving by turns-and wholly unforgettable.

Of Lisa Lenzo's first collection, Charles Baxter wrote: Lenzo's stories have a strong pulse of feeling and a sly intelligence, and her angels, children, and lovers have an eerie radiance, a hard-won wisdom, that you can spot on any page of this book. In Unblinking, Lenzo's angels, lovers, and children are back-older, sometimes wiser, and shedding new light. All ten stories in Unblinking take place in or circle back to Detroit and portray both the beauty and grit of the city and its inhabitants. In Up in the Air, a blues musician cherishes his memory of falling from a tree - the utter sweetness of falling, of floating, almost still - even though his downward plunge has left him seriously disabled. The narrator of In the White Man's House, recalls a high school basketball game, torn by racial division, and the distress of his teenaged friend who strove to be blacker. In Losing It, a disgruntled angel tries to help a nurse control his outbursts of comic and fruitless anger. And in Marching, an old white man, who now has great difficulty walking, remembers marching fifty miles with Martin Luther King Jr. Despite the hardships they experience, the characters in the collection find pleasure and solace in what this lovely planet has to offer. By turns playful and grave, told with humor and candor, these down-to-earth and heavenly stories will both surprise with fresh insight and remind the reader of what they already know. Unblinking is a short story collection for any lover of contemporary fiction looking for that strong pulse of feeling.

By examining the feminist interventions of contemporary women writers working in this subgenre, Johnsen advances the existing critical discussion of women's crime fiction. The writers studied here bring research expertise to bear on their chosen historical settings, creating a powerful but widely accessible statement about women in history.

“The Modern Jewess and Her Wondering Jewish Identity” argues that Margot Singer and Elisa Albert represent Jewish exile as women’s stories. In their narratives, women’s selfhood is historically and culturally inflected with both the imperative of Jewish women’s obligation and exile within Jewish communal life. Their modern Jewesses wonder about the foundational urgency of sustaining and regenerating, even against all odds, Jewish identity and continuity. Albert and Margot Singer portray the modern Jewess as wandering and wondering—entering the fray of a perennially contested and changing Jewish American history and social and cultural site: the absent presence of the Holocaust, the Jewish home, family, and community, and the evolving nature of Jewish American literature and characterization.

This collection examines Gothic fiction written by female authors in the late eighteenth and early nineteenth centuries. Analysing works by lesser known authors within a historical context, the collection offers a fresh perspective on women writers and their contributions to Gothic literature.