Jamesland, the buoyant second novel by Michelle Huneven, critically acclaimed author of Round Rock, is a witty, sophisticated, and deeply humane comedy of unlikely redemption. When thirty-three-year-old Alice Black discovers a deer in her dining room after fighting with her boyfriend, she wonders if she’s going crazy. Pete Ross, forty-six, knows he’s crazy. He’s wrecked his marriage, slashed his wrists, and done time in a psychiatric institution, and now he's being cared for by his mother, who’s a nun. Forty-five-year-old Helen Harland, a spirited Unitarian Universalist minister, is being driven crazy by her hostile church administration. Living in Los Feliz, California, the three meet at Helen’s Wednesday midweek services. Though initially incompatible, the sheer force of Helen’s idiosyncratic ministering (her “variety show of religious experience”)—paired with Alice’s illustrious ancestor William James—proves to be a catalyst for friendship and a kind of transcendence. Generous and compassionate, Michelle Huneven delivers a joyful new novel about love, faith, and a few wayward souls waiting for life to begin.

Mary Hood's fictional world is a world where fear, anger, longing—sometimes worse—lie just below the surface of a pleasant summer afternoon or a Sunday church service.

In "A Country Girl," for example, she creates an idyllic valley where a barefoot girl sings melodies "low and private as a lullaby" and where "you could pick up one of the little early apples from the ground and eat it right then without worrying about pesticide." But something changes this summer afternoon with the arrival at a family reunion of fair and fiery Johnny Calhoun: "everybody's kind and nobody's kin," forty in a year or so, "and wild in the way that made him worth the trouble he caused."

The title story in the collection begins with a visit to clean the graves in a country cemetery and ends with the terrifying pursuit of a young girl and her grandmother by two bikers, one of whom "had the invading sort of eyes the woman had spent her lifetime bolting doors against."

In the story "Inexorable Process" we see the relentless desperation of Angelina, "who hated many things, but Sundays most of all," and in "Solomon's Seal" the ancient anger of the mountain woman who has crowded her husband out of her life and her heart, until the plants she has tended in her rage fill the half-acre. "The madder she got, the greener everything grew."

Inspired with the essence of Mary Hood's native South and spiced with intrigue and the dark side of human nature, this collection of stories offers the drama, humor, and heartache of everyday life and unexpected tragedy—with more than a few twists. The stories cover the terrain of transition between old and new, history and the present, holding on and letting go.

In "Finding the Chain," Cliffie struggles to overcome her ties to the past and forge a beginning with her newly formed family. "Moths" shows how one man's fortitude, friends, and love of nature help him see his life of poverty in a new light. In the title novella, Delia struggles to overcome her fears of separation and abandonment in the face of her father's suicide.

With characters, situations, and settings that capture the turmoil of lives—and of a region—caught in transition between the past and present, the stories of And Venus Is Blue portray both the uncompromising harshness of life and the power of human tenacity.

Novelist, cultural commentator, memoirist, and historian Eva Hoffman examines our ever-changing perception of time in this inspired addition to the BIG IDEAS/small books series. Time has always been the great given, the element that establishes the governing facts of human fate that cannot be circumvented, deconstructed, or wished away. But these days we are tampering with time in ways that affect how we live, the textures of our experience, and our very sense of what it is to be human. What is the nature of time in our time? Why is it that even as we live longer than ever before, we feel that we have ever less of this basic good? What effects do the hyperfast technologies—computers, video games, instant communications—have on our inner lives and even our bodies? And as we examine biology and mind on evermore microscopic levels, what are we learning about the process and parameters of human time? Hoffman regards our relationship to time—from jet lag to aging, sleep to cryogenic freezing—in this broad, eye-opening meditation on life’s essential medium and its contemporary challenges.

Shortly after the dramatic events of 1989, Eva Hoffman spent several months travelling through her native Poland and four other Eastern European countries, what was then Czechoslovakia, Hungary, Romania and Bulgaria, all of which had just undergone an historic transformation. While making her way from the Baltic to the Black Sea, Eva Hoffman ranged from capital cities to wayside villages and sleepy provincial towns; she visited shipyards, museums, homes and the coffee-houses of the intelligentsia, and she talked to a great variety of people, many of whom were struggling with the transition from an unwanted past to an uncertain future. Through these encounters, through anecdotes, revealing observations and biographical portraits, Eva Hoffman evokes the eclectic mosaic of the new Eastern Europe, while also reconstructing the turbulent experiences of the post-war decades and reflecting on the uses and misuses of historical memory. Exit into History remains an arresting and intimate report from a contemporary revolution, one that has changed Europe forever.

Isabel Merton is a renowned concert pianist, whose performances are marked by a rare intensity of feeling. At the height of her career, she feels increasingly torn between the compelling musical realm she deeply inhabits, and her fragmented itinerant artist’s life, with its frequent flights, anonymous hotels, and brief, arbitrary encounters. Away from her New York home on a European tour, Isabel meets a political exile from a war-torn country, a man driven by a rankling sense of injustice and a powerful desire to vindicate his cause and avenge his people. As their paths cross in several cities, they are drawn to each other both by their differences and their seemingly parallel passions–until a menacing incident throws her into a creative crisis, and forces her to reevaluate her lover's actions, and her own motives. In this story of contemporary love and conflict, Hoffman illuminates the currents and undercurrents of our time, as she explores the luminous and dark faces of romanticism, and those perennial human yearnings, frustrations, and moral choices that can lead to destructiveness, or the richest art.

As the Holocaust recedes from us in time, the guardianship of its legacy is being passed on from its survivors and witnesses to the generation after. How should we, in turn, convey its knowledge to others? What are the effects of a traumatic past on its inheritors, and the second generation's responsibilities to its received memories? Eva Hoffman probes these questions through personal reflections and through broader explorations of the historical, psychological and moral implications of the second-generation experience. She examines the subterranean processes through which private memories of suffering are transmitted, and the more wilful stratagems of collective memory. As she guides us through the poignant juncture at which living memory must be relinquished, she asks what insights can be carried from the past, and urges the need to transform potent family stories into a fully-informed understanding of a forbidding history.

The author of Green the Witch-Hazel Wood describes her travels to the Orkneys, Belize, the Everglades, and the Greek Islands, sharing her observations on the human history of the regions and the diverse landscapes of the world.

Terrance Hayes is an elegant and adventurous writer with disarming humor, grace, tenderness, and brilliant turns of phrase. He is very much interested in what it means to be an artist and a black man. In his first collection, Muscular Music, he took the reader through a living library of cultural icons, from Shaft and Fat Albert to John Coltrane and Miles Davis. His second collection, Hip Logic, continued these explorations of popular culture, fatherhood, cultural heritage, and loss. Wind in a Box, Hayes’s resonant new collection, continues his interest in how traditions (of poetry and culture alike) can be simultaneously upended and embraced. The struggle for freedom (the wind) within containment (the box) is the unifying motif as Hayes explores how identity is shaped by race, heritage, and spirituality. This new book displays not only what the Los Angeles Times calls the range of a "bold virtuoso," but also the imaginative fervor of a poet in love with poetry.

Originally published by Tia Chucha Press in 1999, Muscular Music, the debut collection of Terrance Hayes, won a Whiting Writers award, the Kate Tufts Discovery Award, and received favorable reviews in the Washington Post Book World, Black Issues Book Review, The Poetry Book Club Review, and in several literary journals.