The richly textured stories in Janet Peery's debut collection nearly always depict people caught between two places—literal or figurative—or trying to understand the mysteries of a place in which they have found themselves and to apply that understanding to their lives. Whether the territory is cultural, sexual, or social, its bedrock is the heart.

In "South Padre" an Oklahoma farmer and his wife take a trip to the Texas Gulf Coast where they encounter a test of their marriage and—each in a different way—the limits of their knowledge. Set in 1950s Milwaukee, "Alligator Dance" depicts a fourth grader's sexual awakening as she is attracted and repelled by a Polish boy's totemic words, images, and their mysterious meanings, and by her own confusing desires. Eager to please her lawyer father, a young girl in "The Waco Wego" accompanies him to a meeting with a murderer's mother at a truckstop where she confronts the complexities of blame, morality, knowledge, and compassion. In "Nosotros" the daughter of a Mexican maid in the Rio Grande Valley of South Texas, angered by her mother's subservience, is forced to examine her own relationship with the son of her mother's employer.

With this first book of fiction, a gifted young writer brings together eight superbly crafted stories that peer deeply into the human heart, exploring lives derailed by the loss of a vital connection to the land and to the natural world of which they are a part. "Mule Killers" evokes the end of an era and of a grandfather's dreams when he decides to replace animal power on his farm with tractors. Two restless young girls in "Sweethearts of the Rodeo" live out their last summer of innocence, riding ponies recklessly and spying on their boss and the wealthy women who visit him. In "Phantom Pain," the Tennessee woods are a sliver of what they once were, men now hunt with GPS and cell phones, and the rumor of a dangerous panther on the loose stirs up a small town. An unexpected vision of the beauty and mystery of life redeems the darkest moments in this stellar debut collection, a book that readers will want to read and reread.

Set in present day West Virginia, Ann Pancake’s debut novel, Strange As This Weather Has Been, tells the story of a coal mining family—a couple and their four children—living through the latest mining boom and dealing with the mountaintop removal and strip mining that is ruining what is left of their mountain life. As the mine turns the mountains to slag and wastewater, workers struggle with layoffs and children find adventure in the blasted moonscape craters. Strange As This Weather Has Been follows several members of the family, with a particular focus on fifteen-year-old Bant and her mother, Lace. Working at a “scab” motel, Bant becomes involved with a young miner while her mother contemplates joining the fight against the mining companies. As domestic conflicts escalate at home, the children are pushed more and more outside among junk from the floods and felled trees in the hollows—the only nature they have ever known. But Bant has other memories and is as curious and strong-willed as her mother, and ultimately comes to discover the very real threat of destruction that looms as much in the landscape as it does at home.

Departing from Appalachia's 150-year-old literary legacy of formula and caricature, West Virginia native Ann Pancake uses the texture of language, an intense attention to place, and complexity of characterization to recreate the region—its tragic history and fragile culture, the interior landscapes of its people, and their deep rootedness in a threatened land. Her characters, already marginalized economically and socially, confront what many perceive as an invading outside culture, enduring and at times transcending the loss of their "place," both literally and figuratively. Their stories undermine the assumption that just because people don't articulate what happens inside them, nothing much is happening at all.

Already an award-winning writer, ZZ Packer now shares with us her debut, Drinking Coffee Elsewhere. Her impressive range and talent are abundantly evident: Packer dazzles with her command of language, surprising and delighting us with unexpected turns and indelible images, as she takes us into the lives of characters on the periphery, unsure of where they belong. We meet a Brownie troop of black girls who are confronted with a troop of white girls; a young man who goes with his father to the Million Man March and must decide where his allegiance lies; an international group of drifters in Japan, who are starving, unable to find work; a girl in a Baltimore ghetto who has dreams of the larger world she has seen only on the screens in the television store nearby, where the Lithuanian shopkeeper holds out hope for attaining his own American Dream. With penetrating insight that belies her youth—she was only nineteen years old when Seventeen magazine printed her first published story—ZZ Packer helps us see the world with a clearer vision. Drinking Coffee Elsewhere is a striking performance—fresh, versatile, and captivating. It introduces us to an arresting and unforgettable new voice.

Breakfast’s boiled egg, the overhead hum of fluorescent lights, the midmorning coffee break—daily routines keep the world running. But when people are pushed—by a co-worker’s taunt, a face-to-face encounter with a woman in free fall from a bridge—cracks appear, revealing alienation, casual cruelty, madness, and above all a simultaneous hunger for and fear of the unknown. Daniel Orozco leads the reader through the hidden lives and moral philosophies of bridge painters, men housebound by obesity, office temps, and warehouse workers. He reveals the secret pleasures of late-night supermarket trips for cookie binges, exceptional data entry, and an exiled dictator’s occasional piss on the U.S. embassy. A love affair blooms between two officers in the impartially worded pages of a police blotter; a new employee’s first-day office tour includes descriptions of other workers’ most private thoughts and actions; during an earthquake, the consciousness of the entire state of California shakes free for examination. Orientation introduces a writer at the height of his powers, whose work surely invites us to reassess the landscape of American fiction.

As he did so masterfully in the connected novellas of The Hill Road, Patrick O’Keeffe’s first novel moves back and forth in time and place to weave the story of two Irish families forever linked by love, secrets, and their heritage. James Dwyer was born in rural county Limerick before moving to Dublin as a teenager and ultimately settling in Ann Arbor. One night James’s past appears in the form of a down-and-out man named Walter, who issues an invitation for James to come to Upstate New York to visit his old childhood neighbor, Kevin Lyons. Although neither James nor Kevin particularly cares for each other, there’s no denying their complicated past. Kevin and James’s sister, Tess, were lovers while James fell hard for Kevin’s sister, Una. Illuminating the precarious balance of family intimacies and how stories can carry over from one generation to the next, O’Keeffe’s The Visitors further delivers on the elegant prose and plotting that earned him critical acclaim and the Story Prize for The Hill Road.

Reminiscent of Alice Munro and William Trevor, Patrick O'Keeffe's lyrical eloquence expressively unveils the cloistered world of a rural southwestern Irish town and its inhabitants. Brimming with thoughtful, gorgeous prose and linked by setting and circumstances that span generations, the four novellas in The Hill Road revolve around the parish of Kilroan and its inhabitants, and how, over time, the people and the community itself are transfigured by life-changing events. Marked by love, devotion, secrets, unfulfilled dreams, family intimacies, and missed opportunities, these characters embody the rugged unfolding of the landscape—a volatile place of natural beauty where stories alter lives.

Seven years ago, Chris Offutt made his literary debut with Kentucky Straight, a fiercely original collection that earned him not only critical praise but many prestigious awards. The eight new stories in Out of the Woods mark Offutt's return to the form in which he first displayed his astonishing talent. Offutt, who "draws landscape and constructs dialogue with the eyes and ears of a native son" (The Miami Herald), is on strong home turf here, capturing those who have left the Kentucky hills and long to return. These are stories of gravediggers and drifters, gamblers and truck drivers a long way from home, tales that are so full of hard edges they can't help but tell some hard truths.

Riveting, often heartbreaking stories that take readers through country that is figuratively and literally unmapped. These stories are set in a nameless community too small to be called a town, a place where wanting an education is a mark of ungodly arrogance and dowsing for water a legitimate occupation. Offutt has received a James Michener Grant and a Kentucky Arts Council Award.