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Every Mask I Tried On
A collection of short fiction by the award-winning writer Alina Stefanescu in which the author brings an immigrant's sharp eye to the American way of life. In prose that reminds us of the best of Grace Paley, Every Mask I Tried On is by turns smart, funny, and profound.
Dor
"You must write a self/ out of waiting/ to speak" asserts Alina Ștefănescu's Dor and oh, what a prismatic, many-headed self has been written into existence within these pages. In her stunning second full-length collection, Ștefănescu explores the worlds contained in the Romanian word Dor- a word close to longing but with no exact English equivalent-as it relates to the speaker's life as a daughter, a mother, a foreign body in a country that harms and holds us conditionally. Simultaneously tender and incisive, witty and full transformations, this book and its many ecosystems of longing and belonging begs to be re-read and promises new wonders each time. - Jihyun Yun, author of Some Are Al...
Objects in Vases
Alina Stefanescu's debut chapbook, Objects in Vases, explores how femininity creates a place--a space around us--to engage the viewer. Our experience of place is mediated by the ways in which we are perceived, or the vase in which others prefer to view us. The place itself is created by the act of placing. And yet the artificiality of being placed is a displacement from self.
My Heresies
None
Stories to Read Aloud to Your Fetus
A collection of story-poems about the space inside a human womb and what occupies it. An epistemological exploration of embryos and mothers.
The Poem That Never Ends
Literary Nonfiction. Sparked by the only two letters--out of over a hundred-that López Medin's mother saved from her own mother in Paraguay, THE POEM THAT NEVER ENDS weaves together poems and family photos to explore the fragmentation of time, memory, and mother-child relationships. Fragments, family hearing impairments, ripped-up letters, and living and writing between languages point to the inescapable holes in language, troubling the notion of a finite utterance. Layering elements of painting, cinema, and the elusive three dimensions of theater into the weave, THE POEM THAT NEVER ENDS traces a sequence of mothers-López Medin's mother, her mother's mother, herself as a mother-in a porous, restless gesture toward what's never fully grasped.
GOOD TIMING & GERTRUDE STEIN
Out of invisible gauze or membrane, some sentences construct a wall within you. A black plum riding on the tongue. These sentences only seem possible inside your body: an act of evaporation escapes your mouth before ever reaching a recipient. As solely interior sentences, their possibility exists as a reminder of vast emotional oceans between the thinking-island & the saying-shore.
The Promise
Kirkus Reviews calls The Promise one of the Best Books of Fiction, and of Literature in Translation, of the year! * Voted one of the Big Fall Books from Indies by Publishers Weekly & LitHub's Most Anticipated Books of 2019 "The world is ready for her blend of insane Angela Carter with the originality of Clarice Lispector."—Mariana Enriquez, LitHub "Both her debut story collection, Forgotten Journey, and her only novel, The Promise, are strikingly 20th-century texts, written in a high-modernist mode rarely found in contemporary fiction."—Lily Meyer, NPR A dying woman's attempt to recount the story of her life reveals the fragility of memory and the illusion of identity. "Of all the words ...
Voices of Resistance An Anthology by Sister City Connection Connection
An anthology of written work by members of Sister City Connection, a collective of progressive writers in Birmingham, Alabama.
Our Spoons Came from Woolworths
“I told Helen my story and she went home and cried.” So begins Our Spoons Came from Woolworths. But Barbara Comyns’s beguiling novel is far from tragic, despite the harrowing ordeals its heroine endures. Sophia is twenty-one and naïve when she marries fellow artist Charles. She seems hardly fonder of her husband than she is of her pet newt; she can’t keep house (everything she cooks tastes of soap); and she mistakes morning sickness for the aftereffects of a bad batch of strawberries. England is in the middle of the Great Depression, and the money Sophia makes from the occasional modeling gig doesn’t make up for her husband’s indifference to paying the rent. Predictably, the marriage falters; not so predictably, Sophia’s artlessness will be the very thing that turns her life around.
