In his first collection of stories, Ralph Lombreglia writes about being young and unsettled, about trying to connect and not always making it—or succeeding in startling ways.

"'Inn Essence,' the tale of a young American salad chef among a group of Thai waiters, is the highlight of this collection; other standouts include 'Purification,' in which a fishing trip becomes a metaphor for life, and 'Museum of Love,' a send-up of modern culture . . . Original, at times whimsical, the stories . . . are deft and biting entertainment." —Publishers Weekly

In Make Me Work, Lombreglia offers nine new stories, many of them first published in The New Yorker or The Atlantic. With a delightful spontaneity that belies meticulous craft, Lombreglia presents a kaleidoscopic array of characters—young and old, male and female—captured at surprising, revealing moments of their lives. In the title story, a man finds himself, while having his hair cut, at the mercy of the best friend he betrayed. In "Late Early Man," video producers stumble from the marvels of technology into the miracle of life; in the sequel, "Heavy Lifting," the process is unforgettably reversed. "A Half Hour with God's Heroes" portrays a sharp, earthy working-class mother who tries to use the powers of a saint to escape her delinquent son. And in "Piltdown Man, Later Proved to Be a Hoax," the mysteries of race and class confront two schoolboys who play at an insane asylum. Heartfelt and charming, funny and serious, Make Me Work is a dazzling performance by a writer with "an unerring sense of the ridiculous, and a very subtle tenderness, too" (Richard Bausch, USA Today).

In luminous prose, award-winning author Yiyun Li weaves together the lives of unforgettable characters who are forced to make moral choices, and choices for survival, in China in the late 1970s. As morning dawns on the provincial city of Muddy River, a spirited young woman, Gu Shan, once a devoted follower of Chairman Mao, has renounced her faith in Communism. Now a political prisoner, she is to be executed for her dissent. While Gu Shan’s distraught mother makes bold decisions, her father begins to retreat into memories. Neither of them imagines that their daughter’s death will have profound and far-reaching effects, in Muddy River and beyond. Among the characters affected are Kai, a beautiful radio announcer who is married to a man from a powerful family; Tong, a lonely seven-year-old boy; and Nini, a hungry young girl. Beijing is being rocked by the Democratic Wall Movement, an anti-Communist groundswell designed to move the country toward a more enlightened and open society, but the government backlash will be severe. In this spellbinding novel, the brilliant Yiyun Li gives us a powerful and beautiful portrait of human courage and despair in dramatic times.

Brilliant and original, A Thousand Years of Good Prayers introduces a remarkable new writer whose breathtaking stories are set in China and among Chinese Americans in the United States. In this rich, astonishing collection, Yiyun Li illuminates how mythology, politics, history, and culture intersect with personality to create fate. From the bustling heart of Beijing, to a fast-food restaurant in Chicago, to the barren expanse of Inner Mongolia, A Thousand Years of Good Prayers reveals worlds both foreign and familiar, with heartbreaking honesty and in beautiful prose.

“Immortality,” winner of The Paris Review’s Plimpton Prize for new writers, tells the story of a young man who bears a striking resemblance to a dictator and so finds a calling to immortality. In “The Princess of Nebraska,” a man and a woman who were both in love with a young actor in China meet again in America and try to reconcile the lost love with their new lives. “After a Life” illuminates the vagaries of marriage, parenthood, and gender, unfolding the story of a couple who keep a daughter hidden from the world. And in “A Thousand Years of Good Prayers,” in which a man visits America for the first time to see his recently divorced daughter, only to discover that all is not as it seems, Li boldly explores the effects of communism on language, faith, and an entire people, underlining transformation in its many meanings and incarnations. These and other daring stories form a mesmerizing tapestry of revelatory fiction by an unforgettable writer.

In his third book of poems, Mark Levine continues his exploration of the rhythms and forms of memory. The Wilds is set in the border regions between natural and cultivated states, childhood and adulthood, past and present. "We were boys," says the speaker of the opening poem, "boyish, almost girls./Left alone on the roof, we would have dwindled." Austere and lyrical, the music of these poems resonates with echoes of poetic tradition—Wyatt, Jonson, Milton, Eliot—yet is singularly modern.

Some devastation has struck the soul and the Earth alike, and in Enola Gay, his second volume of poems, Mark Levine surveys the disaster. Here is a volume of poetry approaching Carolyn Forche's The Angel of History as a stark meditation on Blanchot's sense of writing as the "desired, undesired torment which endures everything." Levine engages the traditional resources of lyric poetry in an exploration of historical and cultural landscapes ravaged by imponderable events. Enola Gay's "mission" can seem spiritual, imaginative, and militaristic as the speaker in these poems surveys marshes and fields and a land on the edge of disintegration. Levine sifts the psychological residue that accumulates in the wake of unspeakable acts and so negotiates that terrain between the banality of language and the need to stand witness and to speak. Levine's stunning second book, with its grave cultural implications and its surveillance of a distinctly postmodern malaise, offers multiple readings. Here are compact poems with uncanny power, rhythm, and a strange, formal beauty echoing and renewing the legacy of Wallace Stevens for a new era.

Dana Levin’s singular voice and talent are unmistakable. Wedding Day is Levin’s quest to synthesize the public and private, to find pattern and connection amid the disparate elements of modern life. Relentless in her examinations, she ultimately puts faith in poetry, believing it is the truest means—and best chance—to bridge the chasms between soul and society. Readers will put faith in Levin’s poetry as well.

A doctor contemplates Lenin's embalmed body; two angels flank an open chest during a heart transplant; a father's anger turns into a summer thunderstorm . . . Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing.

"This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive . . . Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels." —Louise Gluck, from the Introduction

The story of Stanford White—his scandalous affair with the 16-year-old actress Evelyn Nesbit, his murder in 1906 by her husband, the millionaire Harry K. Thaw, and the hailstorm of publicity that surrounded "the trial of the century"—has proven irresistable to generations of novelists, historians, and biographers. The premier neoclassical architect of his day, White's legacy to the world were such masterpieces as New York's original Madison Square Garden, the Washington Square Arch, and the Players, Metropolitan, and Colony clubs. He was also responsible for the palaces of such clients as the Whitneys, Vanderbilts, and Pulitzers, the robber barons of the Gilded Age whose power and dominance shaped the nation in its heady ascent at the turn of the century. As the century rolled on, however, the story of Stanford White and Evelyn Nesbit came to be viewed as glamorous and romantic, the darker narrative of White's out-of-control sexual compulsion obscured by time. Indeed, White's wife Bessie and his son Larry remained adamantly silent about the matter for the duration of their lives, a silence that reverberated through the next four generations of their extended family.

Suzannah Lessard is the eldest of Stanford White's great grandchildren. It was only in her 30's that she began to sense the parallels between the silence about her great-grandfather's life and the silence about her own perilous experience as a little girl in her own home. Thus she became drawn to the remarkable history of her family in order to uncover its hidden truths, and in so doing to liberate herself from its enclosure at last. The result is a multi-layered memoir of astonishing elegance and power, one that, like a great building, is illumined room by room, chapter by chapter, until the whole is clearly seen.

In lyrical prose, Li-Young Lee’s extraordinary story begins in the 1950s when his parents fled China’s political turmoil for Indonesia. Along with many other Chinese members of the population, his family was persecuted under President Sukarno. Falsely accused and charged for crimes against the state, his father spent a year and a half in jail as a political prisoner, half of that time in a leper colony. While his entire family was being transported to a prison colony, they escaped and fled to Hong Kong, Japan, Malaysia, and back to Hong Kong, where his father rose to prominence as an evangelical preacher. In 1962, the family sought asylum in the United States where his father became a Presbyterian minister. This reissued edition of acclaimed poet Li-Young Lee’s heart-wrenching memoir includes a new Foreword by the author and never-before-seen photographs of the author’s family and childhood.