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“McGraw is wise and occasionally laugh–out–loud funny, with a seventh sense for the perfect turn of phrase . . . This quintessential collection of stories serves as an homage to the form while showcasing McGraw’s stunning talent and deep empathy for the idiosyncrasies, small joys, and despairs of human nature." —Publishers Weekly (starred and boxed review)In Joy, narrators step out of themselves to explain their lives to us, sometimes defensively, sometimes regretfully, other times deceitfully. Voices include those of the impulsive first–time murderer, the depressed pet sitter, the assistant of Patsy Cline, the anxiety–riddled new mother, the aged rock–and–roller, the girlfriend of your husband—human beings often (incredibly) unaware of the turning points staring them in the face."How can stories this brief be so satisfying? . . . [McGraw] deals with the profound, the dire, the mundane, and the ridiculous, paying particular attention to relationships between parents and children, siblings, spouses, criminals, and their victims. While some stories are meant purely to amuse, many are intense and beautiful . . . Fifty–three gems that demonstrate all the things a short story can do. Wow." —Kirkus Reviews (starred review)

As the last light of All-Hallows' Eve falls on a small town at the tip of Cape Cod, Father Manuel Furtado begins his nightly ritual of gin and pills, prayer, and hours spent writing feverishly in his ledger. With the deep luxury of the chemicals in his body, he copies passages from Saint Augustine and Martin Heidegger, disciplined in his desire to flesh out his ever-building demons. But, unlike his usual uninterrupted reflection, this night there is a crash, sudden enough to pull Father Manny from the rectory and toward his church, Our Lady of Fatima. He finds a man there -- his childhood friend Sarafino, whom he has not seen in decades -- frail with illness and desperate to tell the priest about his recurring visits from the Virgin Mary. Despite Father Manny's grave doubts about Sarafino and his visions, he lets his old friend into his home and his life, and this single act ignites a series of events that challenge the faith of this fishing village, the parish, and of Father Manny himself. Striking and lovingly detailed, "Stealing Fatima" is the story of a priest's search for redemption in a town where, even in these modern times, the divine is possible.

William L. Fox is a longtime explorer of cognition and landscape -- the notion of what makes a space into a place. In this book he turns his gaze on Los Angeles, a city dominated by the movie industry, which specializes in bringing places from far away in time into what we experience as here and now -- making time, in essence. Time, Fox tells us, is the most invisible nature of all, "its effects are always and everywhere around us." The five essays of this collection take us to the Le Brea Tar Pits and local oilfields, the telescopes and telecommunication towers of Mt. Wilson, massive landfills, the Forest Lawn Memorial and Griffith parks, a Hollywood special effects firm, and the Jet Propulsion Laboratory. All of these facilities are devoted to manipulating time on our behalf, be it how we represent prehistory, attempt to maintain an identity after death, or make movies on Mars. A master of combining science, history, and his own experiences into a riveting read, Fox will make you look at L.A. -- and any urban landscape -- in an entirely new way.

The life of a young Chinese girl is torn apart by dark family secrets and divided loyalties in a small Ontario town in the 1950s. Judy Fong Bates's fresh and engaging first novel is the story of Su-Jen Chou, a Chinese girl growing up the only daughter of an unhappy and isolated immigrant family in a small Ontario town in the 1950s. Through Su-Jen's eyes we see the hard life behind the scenes at the Dragon Caf, the local diner her family runs. Her half-brother Lee-Kung smolders under the responsibilities he must carry as the dutiful Chinese son. Her mother, beautiful but bitter, lays her hopes and dreams on Su-Jen's shoulders, until she turns to find solace in the most forbidden of places, while Su-Jen's elderly father strives to hek fuh, swallow bitterness, and save face at all costs.

The portrait of George Orwell's second wife drawn by his biographers is a travesty. Determined to set the record straight, her friend Hilary Spurling, herself an acclaimed biographer, reveals the whole story of Sonia Orwell's sad and splendid life. Beautiful, intelligent, and idealistic, but also, as she grew older, belligerent and intimidating, Sonia was the model for Julia, heroine of Orwell's 1984. Her friends and admirers included W.H. Auden, Lucian Freud, and Frances Bacon. She was Cyril Connolly's indispensable assistant on the influential literary magazine Horizon during the 1940s and in the '60s she co-edited the groundbreaking four-volume collection of Orwell's nonfiction writings. Nonetheless, she has most frequently been depicted as mean and mercenary. Spurling portrays the real Sonia Orwell in all her generous, spirited, ferocious, and self-doubting complexity.

In this autobiographical novel, Albania's most renowned novelist and poet Ismail Kadare explores his relationship with his mother in a delicately wrought tale of home, family, creative aspirations, and personal and political freedom."Houses like ours seemed constructed with the specific purpose of preserving coldness and misunderstanding for as long as possible." In his father's great stone house with hidden rooms and even a dungeon, Ismail grows up with his mother at the center of his universe. Fragile as a paper doll, she finds herself at odds with her tight-lipped and wise mother-in-law who, as is the custom for women of a certain age, will never again step foot over the threshold to leave her home. Young Ismail finds it difficult to understand his mother's tears, though he can understand her boredom. She told him the reason herself in a phrase that terrified and obsessed the boy: "The house is eating me up!" As Ismail explores his world, his mother becomes fearful of her intellectual son-he uses words she does not understand, writes radical poetry, falls in love far too easily, and seems to renounce everything she believes in. He will, she fears, have to exchange her for some other superior mother when he becomes a famous writer. The Doll is a delicate and disarming autobiographical novel, an exploration of Kadare's creative aspirations and their tangled connections to his childhood home and his mother's tenuous place within it.