In Europe Central, Vollmann presents a mesmerizing series of intertwined paired stories that compare and contrast the moral decisions made by various figures—some famous, some infamous, some unknown—associated with the warring authoritarian cultures of Germany and the USSR in the twentieth century. He conjures up two generals, one Russian and one German, who collaborate with the enemy for different reasons and with different results. Another pairing tells of two heroes—a female Russian partisan martyred at the beginning of World War II and a young German man who joins the SS in order to reveal its secrets and halt its crimes. Several stories concern the complex and elusive Soviet composer Dmitri Shostakovich and the Stalinist assaults against his work and life; also explored are the fates of artists and poets such as Käthe Kollwitz, Anna Akhmatova, and the documentary filmmaker Roman Karmen. Europe Central is another high-wire act of fiction by a writer of prodigious talent.

In 1982, the young William Vollmann worked odd jobs, including as a secretary at an insurance company, until he'd saved up enough money to go to Afghanistan, where he wanted to join the mujahedeen to fight the Soviets. The resulting book wasn't published until 1992, and Library Journal rated it: "The wrong book written at the wrong time . . . With the situation in Afghanistan rapidly heading toward resolution . . . libraries may safely skip this."

Thirty years later—and with the United States still mired in the longest war of its history—it's time for a reassessment of Vollmann's heartfelt tale of idealism and its terrifying betrayals. An alloy of documentary and autobiographical elements characteristic of Vollmann's later nonfiction, An Afghanistan Picture Show is not a work of conventional reportage; instead, it's an account of a subtle and stubborn consciousness grappling with the limits of will and idealism imposed by violence and chaos.

Twenty years after its initial publication, The Good Negress continues to be an important part of the literary canon, as relevant and necessary as ever. Set in 1960s Detroit, the novel centers around Denise Palms, who leaves her grandmother’s home in rural Virginia to reunite with her mother, stepfather, and older brothers. As a black teenage girl, Denise is given scarce opportunity beyond cooking, cleaning, and raising her mother’s baby. But an idealistic, demanding teacher opens Denise’s eyes to a future she has never considered, and soon she begins to question the limits of the life prescribed to her. With lyrical, evocative prose, A. J. Verdelle captures Denise’s journey from adolescence to womanhood as she navigates the tension between loyalty and independence, and between circumstance and desire. The Good Negress is an unforgettable debut—simultaneously the portrait of a family and a glimpse into an era of twentieth-century America.

From the acclaimed author of Arresting God in Kathmandu, The Guru of Love is the engrossing story of a fevered love triangle set in contemporary Nepal.

Ramchandra, a quiet math teacher, reluctantly enters into an adulterous relationship, and soon his double lives disastrously converge. When Goma, his wife by arranged marriage, learns of his affair, she demands that his mistress move into their small quarters. Unable to dissuade her, Ramchandra finds his desires and fears living side by side. Goma proves to be far shrewder than she seems, entering into a surprising alliance with his mistress. And Ramchandra finds himself trapped—both in his house and in his city, Kathmandu, a crowded place where secrets are impossible to keep and family matters dictate. Ultimately, his only escape is to let go of someone he loves. Absorbing, sexy, and psychologically acute, The Guru of Love radiates compassion and rare insight.

From the first Nepali author writing in English to be published in the West, Arresting God in Kathmandu brilliantly explores the nature of desire and spirituality in a changing society. With the assurance and unsentimental wisdom of a long-established writer, Upadhyay records the echoes of modernization throughout love and family. Here are husbands and wives bound together by arranged marriages but sometimes driven elsewhere by an intense desire for connection and transcendence. In a city where gods are omnipresent, where privacy is elusive and family defines identity, these men and women find themselves at the mercy of their desires but at the will of their society. Psychologically rich and astonishingly acute, Arresting God in Kathmandu introduces a potent new voice in contemporary fiction.

Edited by Askold Melnyczuk and the poety panel of AGNI magazine, Take Three: 2 is the second in an important annual series designed to launch the work of new poets. Includes poems by Suzanne Qualls, Susan Aizenberg, and Mark Turpin.

"Turpin is a poet of unusual gifts . . . a meditative and social poet whose real subject is the connection between one person and another—sometimes, between one person and all others. His material is not local color, but the universal, and the building trades are presented not as exotic but for their likeness to the rest of life." —Robert Pinsky

"This work is so fundamentally substantial and pleasurable that it feels, to me, like an anthem." —Tony Hoagland

Mark Turpin has made his living for the past twenty-five years as a carpenter and construction worker, and his debut collection offers a rare and profound view of manual labor’s laconic, and largely male, world. He lives in San Francisco.

In a series of essays, Jack Turner explores the Greater Yellowstone Ecosystem, venturing on twelve separate trips in all seasons using various modes of travel: hiking, climbing, skiing, canoeing lakes, floating rivers, and driving his way across the landscape. He treks down the Teton Range, picks up the Oregon Trail in the Red Desert, and floats the South Fork of the Snake River. Along the way he encounters a variety of wildlife: moose, elk, trout, and wolves. From the treacherous mountains in the dead of winter to lush river valleys in the height of fishing season, his words and steps trace one of the most American of experiences—exploring the West.

If anything is endangered in America it is our experience of wild nature—gross contact. There is knowledge only the wild can give us, knowledge specific to it, knowledge specific to the experience of it. These are its gifts to us.

How wild is wilderness and how wild are our experiences in it?, asks Jack Turner in the pages of The Abstract Wild. His answer: not very wild. National parks and even so-called wilderness areas fall far short of offering the primal, mystic connection possible in wild places. And this is so, Turner avows, because any managed land, never mind what it's called, ceases to be wild. Moreover, what little wildness we have left is fast being destroyed by the very systems designed to preserve it. Natural resource managers, conservation biologists, environmental economists, park rangers, zoo directors, and environmental activists: Turner's new book takes aim at these and all others who labor in the name of preservation. He argues for a new conservation ethic that focuses less on preserving things and more on preserving process and "leaving things be." He takes off after zoos and wilderness tourism with a vengeance, and he cautions us to resist language that calls a tree "a resource" and wilderness "a management unit."

Eloquent and fast-paced, The Abstract Wild takes a long view to ask whether ecosystem management isn't "a bit of a sham" and the control of grizzlies and wolves "at best a travesty." Next, the author might bring his readers up-close for a look at pelicans, mountain lions, or Shamu the whale. From whatever angle, Turner stirs into his arguments the words of dozens of other American writers including Thoreau, Hemingway, Faulkner, and environmentalist Doug Peacock. We hunger for a kind of experience deep enough to change our selves, our form of life, writes Turner. Readers who take his words to heart will find, if not their selves, their perspectives on the natural world recast in ways that are hard to ignore and harder to forget.

When the murdered body of a young woman is found in a river wash in Black Canyon City, Arizona, deputy sheriff Sam Rush launches an investigation that leads deeper and deeper into the mystery of her death and the psychological complexities of identity. Nate Aspenall, the young man with whom the murdered woman had been involved, is forced to confront the facts of her life, those of his own, and the future with her that he has lost. Travis Aspenall, Nate’s fourteen-year-old stepbrother, must come to grips with what love and sex do to people, the choices people make when threatened with loss, and what you’re left with when what you thought you knew and trusted has been thrown into doubt. As the investigation takes Sam north to Winslow and Holbrook, Arizona, and brings Nate temporarily back to Black Canyon City, solving the mystery becomes more complicated. Additional suspects emerge, and nobody is telling the truth. Sam finds that the victim’s haphazard life was dangerous, and her relationship with Nate anything but straight-forward. As for Nate, his time in Black Canyon City is running out, and his family is no longer certain of his innocence. In the midst of all this, Travis struggles to grow up.

Taking place in gorgeous Winslow, Arizona—a setting that becomes a fully realized character in this beautiful story—The Quiet Streets of Winslow offers a murder mystery interwoven with love stories and unforgettable voices, a masterful return for Judy Troy.