The Dazzle of Day is a brilliant and widely celebrated mixture of mainstream literary fiction and hard Sci-Fi. Molly Gloss turns her attention to the frontiers of the future, when the people of our over-polluted planet Earth voyage out to the stars to settle new worlds, to survive unknown and unpredictable hardships, and to make new human homes. Specifically, it is a story about people who have grown up on a ship that is traveling to a new world, and about the society and culture that have evolved among them by the time they arrive at their new home planet.

In 1938, nineteen-year-old ranch hand Bud Frazer sets out for Hollywood, his sights set on becoming a stunt rider in the movies—and rubbing shoulders with the great screen cowboys of his youth. On the long bus ride south from Echol Creek, Bud meets a young woman who also harbors dreams of making it in the movies, not as a starlet but as a writer. Lily Shaw is bold and outspoken, more confident than her small frame and bookish looks seem to allow. The two strike up an unlikely kinship that will carry them through their tumultuous days in Hollywood. Through the wide eyes and lofty dreams of two people trying to make their mark on the world, Molly Gloss weaves a remarkable tale of humans and horses, hope and heartbreak, told by one of the most winning narrators ever to walk off the page.

In this inspired new collection, acclaimed poet and translator Jody Gladding takes the physical, elemental world as her point of inquiry, examining how language arises from landscape, and deriving a lexicon for these poems from the rich offerings of the world around her. In some poems, Gladding steps into the role of translator, interpreting fragments left by bark beetle or transcribing raven calls. In others, poems take the form of physical objects—a rock, split slate, an egg, a feather—or they emerge from a more expansive space—a salt flat at the Great Salt Lake, or a damaged woodlot. But regardless of the site, the source, or the material, the poet does not position herself as the innovator of these poems. Rather, the objects and landscapes we see in Translations from Bark Beetle provide the poet with both a shape and a language for each poem. The effect is a collection that reminds us how to see and to listen, and which calls us to a deeper communion—true collaboration—between art and the more-than-human world.

Jody Gladding's Stone Crop, the winning volume in the 1992 Yale Series of Younger Poets competition, was selected from among 700 entries in this annual competition. Stone Crop is a collection of poems written over the past ten years. Many of the poems represent Gladding's attempts to synthesize landscape with sensibility, to restore the organic world's hold on our human imagination—its gossip value. Other poems try to find an effective political language, free of diatribe but not of outrage, frequently using mythical counterparts to make contemporary events resonate. The poems have other traits in common. Their attention often moves from the thing to its name, underscoring Gladding's conviction that the same organic processes generate both. Many wrestle with their metaphors, expressing the poet's attraction to and suspicion of that poetic device. Many layer images, aiming toward texture rather than pronouncement. And most are, at least to some degree, autobiographical.

Drawn from the environments of northern Vermont and the South of France, the poems in Rooms and Their Airs explore the interface of the human and natural worlds, further eroding that distinction with each poem. The verse here merges subject and object, often giving voice to natural phenomena—a vernal pool, a fossil, a beam of light. These poems sparkle with humor, sophisticated word play, and intellectual examination, reflecting an elegant and contagious curiosity about history, language, and the world. Linked poems give voice to garden vegetables while drawing inspiration from the archival illustrations in The Medieval Handbook. A mother and daughter’s trip to see France's cave paintings uncovers living vestiges in prehistoric depictions and reaffirms the enduring nature of art. With this collection, Jody Gladding cements her reputation as the literary heir to A. R. Ammons, Gustaf Sobin, and Lorine Niedecker.

Dagoberto Gilb is an acknowledged master of the short story, the winner of the PEN/Hemingway Award, and a PEN/Faulkner finalist for his debut collection, The Magic of Blood, and was awarded a Guggenheim Fellowship for his fiction writing. His critically acclaimed collection Woodcuts of Women features ten moving and heartbreaking stories of lust, love, and longing among men and women struggling to find their way in the world. Written in Gilb's spare, humid language, each of these haunting stories is crafted with a poetic, aching beauty. At turns powerful and resonant, hopeful and humorous, Woodcuts of Women is a tour de force by one of America's foremost Latino writers.

A chapbook featuring eight short stories about the desert, El Paso, LA, and working class Latinos.

Sonny Bravo is a tender, unusually smart fifteen-year-old who is living with his vivacious mother in a large city where intense prejudice is not just white against black, but also brown. When Sonny’s mother, Silvia, suddenly marries an Okie building contractor named Cloyd Longpre, they are uprooted to a small apartment building, Los Flores. As Sonny sweeps its sidewalks, he meets his neighbors and becomes ensnared in their lives: Cindy, an eighteen-year-old druggie who is married and bored; Nica, a cloistered Mexican girl who cares for her infant brother but who is never allowed to leave their unit. The other tenants range from Pink, an albino black man who sells old cars in front of the building, to Bud, a muscled-up construction worker who hates blacks and Mexicans, even while he’s married to a Mexican-American woman. Dagoberto Gilb, in arguably his most powerful work yet, has written an inspiring novel about hate, pain, anger, and love that transcends age, race, and time. Gilb’s novel displays the fearlessness and wit that have helped make him one of this country’s most authentic and original voices.

When he first started writing, Dagoberto Gilb was struggling to survive as a journeyman high-rise carpenter. Years later, he has won widespread acclaim as a crucial and compelling voice in contemporary American letters. Tackling everything from cockfighting to Cormac McCarthy, Gritos collects Gilb's essays and his popular commentaries for NPR's Fresh Air, offering a startling portrait of an artist—and a Mexican-American—working to find his place in both the cloistered literary world and the world at large, to say nothing of his strange and beloved borderland of Texas.

Before the End, After the Beginning is a personal and honest collection of ten exquisite stories from Dagoberto Gilb. The pieces come in the wake of a stroke Gilb suffered at his home in Austin, Texas, in 2009, and a majority of the stories were written over many months of recovery. The result is a powerful and triumphant collection that tackles common themes of mortality and identity and describes the American experience in a raw, authentic vernacular unique to Gilb. These ten stories take readers throughout the American West and Southwest, from Los Angeles and Albuquerque to El Paso and Austin. Gilb covers territory familiar to some of his earlier work—a mother and son’s relationship in Southern California in the story "Uncle Rock" or a character looking to shed his mixed up past in "The Last Time I Saw Junior"—while dealing with themes of mortality and limitation that have arisen during his own illness. Confronting issues of masculinity, sexuality, and mortality, Gilb has recovered and produced what may be his most extraordinary achievement to date.