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Translated by Quan Manh Ha and Paul Christiansen, with an essay by Ngô Văn Giá, Light Out is the first anthology in English of colonial Vietnamese literature written by canonical authors. It depicts colonial exploitation, impoverished peasants at the mercy of precarious crop cycles, and institutionalized corruption that pits peasants against village officials. Set over the course of a few days, the novella presents an intimate look into the rural society in northern Vietnam during the height of French colonialism, exposing the brutal realities of the period and the impact such deprivations have on the human spirit.

When Chris Dombrowski burst onto the literary scene with Body of Water, the book was acclaimed as “a classic” (Jim Harrison) and its author compared with John McPhee. Dombrowski begins the highly anticipated The River You Touch with a question as timely as it is profound: “What does a meaningful, mindful, sustainable inhabitance on this small planet look like in the Anthropocene?” He answers this fundamental question of our time initially by listening lovingly to rivers and the land they pulse through the landscape of Montana. Said Outside: “Every sentence of this book sings.”

Edited by Brady Harrison and Barry J. Faulk, Teaching Bob Dylan: Multitudes offers educators practical, adaptable strategies for designing or updating courses on the life, music, career, and critical reception of Bob Dylan. Drawing on the latest pedagogical developments and best classroom practices in a range of fields, the contributors present concrete approaches for teaching not only Dylan's lyrics and music, but also his many-and sometimes abrupt or unexpected-changes in musical direction, numerous creative guises, and writings. Situating Dylan and his work in their musical, literary, historical, and cultural contexts, the essays explore ways to teach Dylan's connections to African American music and performers, American popular music, the Beats, Christianity, and the revolutions of the 1960s, and more.

Edited by Louise Economides and Laura Shackelford, this collection approaches the most pressing discourses of the Anthropocene and posthumanist culture through the surreal, yet instructive lens of Jeff VanderMeer’s fiction. In contrast to universalist and essentializing ways of responding to new material realities, VanderMeer’s work invites us to re-imagine human subjectivity and other collectivities in the light of historically unique entanglements we face today: the ecological, technological, aesthetic, epistemological, and political challenges of life in the Anthropocene era.

Ann and Wade have carved out a life for themselves from a rugged landscape in northern Idaho, where they are bound together by more than love. With her husband’s memory fading, Ann attempts to piece together the truth of what happened to Wade’s first wife, Jenny, and to their daughters. In a story written in exquisite prose and told from multiple perspectives—including Ann, Wade, and Jenny, now in prison—we gradually learn of the mysterious and shocking act that fractured Wade and Jenny’s lives, of the love and compassion that brought Ann and Wade together, and of the memories that reverberate through the lives of every character in Idaho.

WINNER OF THE PACIFIC NORTHWEST BOOK AWARD; WINNER OF THE DUBLIN LITERARY AWARD; NAMED ONE OF THE BEST BOOKS OF THE YEAR BY BUZZFEED. FINALIST FOR: International Dylan Thomas Prize; Edgar First Novel Award; Young Lions Fiction Award

A Bloomberg News Best Book 2016 and Top Ten Indie Pick for 2017, Dombrowski’s nonfiction debut Body of Water is, in the words of a reviewer for the Minneapolis Star-Tribune, “about ecosystem exploitation, class conflict, wealth inequity, race relations, Bahamian history, mentor-mentee relationships, nature as the catalyst for self-awareness, and more.” In 2024, The Wall Street Journal named it, along with titles by Thomas McGuane and Nick Lyons, one of the “Five Best Books on Angling,” calling it “wistful but muscular…a wonderful, restless memoir.”

A go-for-broke essay collection that blends cultural close reading and dicey autobiography.

Past compunction, expressly unbeholden, these twenty-four single-subject essays train focus on a startling miscellany of topics —Foot Washing, Dossiers, Br’er Rabbit, Housesitting, Man Roulette, the Locus Amoenus—that begin to unpack the essayist himself and his life’s rotating concerns: sex and sexuality, poetry and poetics, subject positions in American labor (not excluding academia), and his upbringing in working-class, Primitive Baptist, central-piedmont North Carolina.

Winner of a 2016 Whiting Award in nonfiction and named Book of the Year by critics writing for Publishers Weekly, BOMB, Tin House, The New Statesman, and The Portland Mercury.

Edited by Brady Harrison and Randi Lynn Tanglen. In this volume experienced and new college- and university-level teachers will find practical, adaptable strategies for designing or updating courses in western American literature and western studies. Teaching Western American Literature features the latest developments in western literary research and cultural studies as well as pedagogical best practices in course development. Contributors provide practical models and suggestions for courses and assignments while presenting concrete strategies for teaching works both inside and outside the canon. In addition, Brady Harrison and Randi Lynn Tanglen have assembled insights from pioneering western studies instructors with workable strategies and practical advice for translating this often complex material for classrooms from freshman writing courses to graduate seminars.

Sean Hill's debut collection, imaginative in the characters it invents and in the formal literary traditions it juxtaposes, is nevertheless firmly rooted in Hill's hometown of Milledgeville, Georgia, which he transforms into a poetic landscape that can accommodate the scope of his vision of collective and personal history. The poems create a call and response across six generations of family of the fictional Silas Wright, a black man born in 1907. As Hill takes on the voices and experiences of diverse characters in or connected to the Wright family, these individual glimpses add up to an intimate portrait of Milledgeville's black community across two centuries as it responds to stirring events both public and private.

Named one of the Ten Books All Georgians Should Read in 2015 by the Georgia Center for the Book.

Translated and edited by Quan Manh Ha and Joseph Babcock. The twenty short stories collected in Other Moons range from the intensely personal to narratives that deal with larger questions of remembrance, trauma, and healing. By a diverse set of authors, including many veterans, they span styles from social realism to tales of the fantastic. Yet whether describing the effects of Agent Orange exposure or telling ghost stories, all speak to the unresolved legacy of a conflict that still haunts Vietnam. Among the most widely anthologized and popular pieces of short fiction about the war in Vietnam, these works appear here for the first time in English.

Winner of the High Plains Book Award for Short Fiction 2023. Set in Montana, the North American West, and farther afield, these stories explore the fragile ties that bind, and often break, as the characters do their best to navigate the complexities of a sometime chaotic, sometime hopeful, sometime violent world. 

"These spare, strange, and sometimes fantastical pieces explore the emotional and physical fragility of this mortal coil. If we care about what it means to be human, if we want to know the full register of this thing called living, then we must be willing to explore not just our joys and our sorrows, but also those events, the book suggests, that we may 'never come back from.' We must be willing to go to the very edge of human experience, the place that scares us the most." —Danell Jones

From the Bahamas, London, and Cairo to Bemidji, Minnesota, and Milledgeville, Georgia, Sean Hill interweaves the contemporary with the historical, and explores with urgency the relationships among travel, migration, alienation, and home. Here, playful “postcard” poems addressed to Nostalgia and My Third Crush Today sit alongside powerful reflections on the immigration of African Americans to Liberia during and after the era of slavery. Such range and formal innovation make Hill’s second collection both rare and exhilarating. Part shadowbox, part migration map, part travelogue-in-verse, Dangerous Goods is poignant, elegant, and deeply moving.

Winner of the Minnesota Book Award

As in the title phrase—borrowed from Robert Herrick—in which “several” is used to individuate, questions of singularity and the plural, of subjectivity and the collective, pervade this dream-quick poetry. In A Several World there are glimpses of an “us down here”—in a city state, in a valley town, in an open clearing, in the understory. Between late pastoral and conceptual project, landscape here is spatial theater and, blowing through like new weather, a choreography recruits certain standalone selves: solidarity beginning in an erotics of attunement, catching likenesses.

Winner of the 2014 James Laughlin Award, longlist finalist for the National Book Award

By Bao Ninh; translated by Quan Manh Ha and Cab Tran. Breaking a thirty-year silence, Bảo Ninh has permitted at last the publication of a new work in English. Ninh is perhaps Vietnam’s foremost chronicler of the war, which he joined at age 17. Bringing to life the full range of his inventive and poetic language, Quan Manh Ha and Cab Tran are granting to English readers Bảo Ninh’s first book-length work since The Sorrow of War, which catapulted him to fame and which was banned in Vietnam until 2006. In Hà Nội at Midnight, ten stories are appearing in the West for the first time.

Dombrowski’s third collection of poems “stretches language to its limits in describing the natural world” (Publishers Weekly). Said Terrain.org. “There’s a gritty, Keatsian embrace of the mysteries that swirl through these pages and imbue the material world with ethereal qualities. Dombrowski’s first two books of poetry received some deserved attention, but this one, his best yet, makes a strong case for the importance of his voice in American poetry.” And Los Angeles Review of Books: “It’s America the Beautiful with a bad case of the blues, and hasn’t it always been? Dombrowski pulls the shock and disappointment and love into sharp focus…asking how durable we might be, faced with so much trouble.”

Not Even Then, the debut collection by Brian Blanchfield, introduces a poetry both compressed and musically fluid, beseechingly intimate and oddly authoritative. Blanchfield conducts readers through a unique, theatrical realm where concepts and personages are enlivened into action: Continuity, Coincidence, Symmetry, and Shame keep uneasy company there with Marcel Duchamp and Johnny Weissmuller, Lord Alfred Douglas and “Blue Boy” Master Lambton, Juliet’s Nurse and Althusser’s Moses.

“Like the forebears he ackowledges (John Ashbery, Hart Crane), this clever, busy, anxious, flirtatious poet, with his ‘predilections…for predicaments,’ can connect anything to anything else.” –Stephanie Burt, The New York Times, 2004