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Derek McCormack's most compelling work yet is his second selection in Dennis Cooper's groundbreaking Little House on the Bowery fiction series. “[Derek McCormack is] a whiz at fashion and other often-freaky stuff that the popular imagination latches onto . . .” —Toronto Star McCormack begins his quirky Tod Browning–inspired tale with a disclaimer: “This book is a work of fiction. It is a parody. It is a phantasmagoria . . . Elsa Schiaparelli was never a vampire. Shocking! by Schiaparelli never contained blood.” The work of Schiaparelli, a 1930s Italian fashion designer, was influenced by Surrealist Salvador Dalí, and the same spirit permeates The Show that Smells, which is set in a maze of mirrors. Schiaparelli dresses introduced playfulness and a sense of “anything goes” to the fashion industry. She branched into perfume and became designer to a number of film stars. In addition to Schiaparelli, this tale is about Jimmie Rodgers, a country music–singer dying of tuberculosis, and his wife, Carrie, who tries to save him by selling her soul to a devil who designs haute couture clothing. Starring a host of Hollywood’s brightest stars, including Schiaparelli’s real-life rival Coco Chanel, character actor Lon Chaney, Joan Crawford, and the Carter Family (as red state vampire hunters, no less), The Show that Smells is a thrilling tale of hillbillies, high fashion, and horror. An invitation to adults to make-believe, it is sure to please fashion connoisseurs, fans of classic and cult cinema, and freaks everywhere. In McCormack’s world, the power of death can be bottled and sold, and it certainly smells.
Dennis Cooper unveils a mesmerizing debut story collection for his Little House on the Bowery fiction series. “[A] provocative and refreshing debut collection.” —Publishers Weekly “Praise seems superfluous for a book as accomplished, cohesive, and devastating as Lonely Christopher’s debut collection, so consider these words admiration instead, and admonishment: if you still think fiction counts for anything, then you should buy this book right now.” —Dale Peck, author of What We Lost and Time To Say Goodbye A selection of Dennis Cooper’s Little House on the Bowery series. Two boys lie on a bed, one of them is already dead; they listen to Glenn Gould playing Bach and talk about suicide and love. A lonely narrator mourns the end of a relationship and the disappearance of a mysterious object as a frustrated artist jumps out of a moving car on his birthday and runs for the last streetlamp in the universe. Awkward parents and angsty teens negotiate a dark suburban landscape, searching for something they can’t name, spelling out balletic sentences of failure and shame. Helicopters menace the night sky, a horse is murdered in a kitchen, victims go missing in swamps of ambiguity, and everybody waits for what the construction of a new road into town will bring: the end of the world or something worse. The Mechanics of Homosexual Intercourse, a radical map of shortcomings in our daily experiences in the form of a debut story collection, presents thematically related windows into serious emotional trouble and monstrous love. Lonely Christopher combines a striking emotional grammar with an unyielding imagination in the lovely-ugly architecture of his stories.
Composed in brief paragraphs and structured as a series of vignettes, pieces of fiction and autobiography, The Late Work of Margaret Kroftis creates a world in which a woman's life is refracted through dreamlike logic. Margaret Kroftis is a writer, living alone. As she experiences a personal tragedy, the narrative moves forward in an emotionally coherent manner that exists separately from linear time. A groundbreaking debut from a truly talented new writer.
The year's best, and darkest, tales of terror, showcasing the most outstanding new short stories and novellas by both contemporary masters of the macabre and exciting newcomers. As ever, this acclaimed anthology also offers the most comprehensive annual overview of horror around the world in all its incarnations; a comprehensive necrology of famous names; and a list of indispensable contact addresses for the dedicated horror fan and writer alike. The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction. Praise for Stephen Jones: 'The best horror anthologist in the business is, of course, Stephen Jones, whose Mammoth Book of Best New Horror is one of the major bargains of this as of any other year.' Roz Kavaney 'An essential volume for horror readers.' Locus 'Stephen Jones . . . has a better sense of the genre than almost anyone in this country.' Lisa Tuttle, The Times Books
The author of the acclaimed transgressive cult classic Dear Dead Person returns with this long-awaited second collection of brilliantly written, outrageously imaginative and comedic short stories. In Headless, Weissman turns his daredevil wit and fearless storytelling gifts on subjects ranging from Hitler's secret life as a skier to the philosophical musings of identical twin porn stars to the travails of the world's most sitcom defying family.
The third title on Dennis Cooper's Little House on the Bowery series, Grab Bag is comprised of two interrelated novels, Dark Rides and Wish Book, from one of Canada's most important young writers. Both books are set in the same small rural city, in different eras (1950s, 1930s), each characterised by McCormack's spare and elliptical prose. Anyone interested in the more wicked, crafty and inventive forms of Canadian writing would be well advised to spend time with McCormack' - Toronto Star'
A riveting and sexually charged posthumous novel from the author of Leaving Las Vegas. “No contemporary novelist has plumbed so deeply into the human heart, and none has paid a steeper price for visiting those depths than John O’Brien. Better shows us what America lost when the author of Leaving Las Vegas took his own life. Unflinching, dark-souled, cry-until-you-laugh authentic . . . each word of this novel burns as true and doomed as a lit match dropped in a shot of whiskey. John O’Brien was a writer who lived and died with every sentence. Better is testament to the miracle of what the man accomplished—and what he might have accomplished had not death seemed like a better alternative. No one who reads this book will walk away unmoved.” —Jerry Stahl, author of Permanent Midnight and Pain Killers Within the walls of a foreboding mansion situated in the hills overlooking Los Angeles, the suave Double Felix plays host to an array of beautiful women as well as his unlikely sidekick William. The mysterious patriarch grants his live-in guests’ every wish while asking nothing in return. Days begin with William and Double Felix discussing their conquests with the ladies over Morning Vodka, a ritual that is nonetheless edged in homoerotic tension. From there the drinking continues, only to be interrupted by some miscellany—perhaps a rerun of The Love Boat or some casual sex. But the ongoing torpor has been upset by the house’s newest arrival, a stunning young woman named Laurie, with whom both Double Felix and William become hopelessly smitten. Trash-talking Maggie and Zipper, the hooker who flew in on a trick and never left, smolder with envy while Laurie garners more and more attention from the men. As tensions spiral out of control, the house—an almost anthropomorphic entity in itself—ejects some of its denizens while further ensnaring others. Eventually, each faces the same ultimatum: leave or stay. The decision is fraught with consequence. Better delves deep into the psyche of its subjects through an intricate web of cultural icons, loyalty, covert communications, and sex. O’Brien’s characters loom in and out of a surreal world that seems to float high above the rest of us, but is in fact firmly tethered to the human condition.
City blue laws drove the liquor trade and its customers—hard-drinking lumberjacks, pensioners, farmhands, and railroad workers—into the oldest quarter of Minneapolis. In the fifty-cent-a-night flophouses of the city’s Gateway District, they slept in cubicles with ceilings of chicken wire. In rescue missions, preachers and nuns tried to save their souls. Sociology researchers posing as vagrants studied them. And in their midst John Bacich, aka Johnny Rex, who owned a bar, a liquor store, and a cage hotel, documented the gritty neighborhood’s last days through photographs and film of his clientele. The King of Skid Row follows Johnny Rex into this vanished world that once thrived in the heart of Minneapolis. Drawing on hours of interviews conducted in the three years before Bacich’s death in 2012, James Eli Shiffer brings to life the eccentric characters and strange events of an American skid row. Supplemented with archival and newspaper research and his own photographs, Bacich’s stories re-create the violent, alcohol-soaked history of a city best known for its clean, progressive self-image. His life captures the seamy, richly colorful side of the city swept away by a massive urban renewal project in the early 1960s and gives us, in a glimpse of those bygone days, one of Minneapolis’s most intriguing figures—spinning some of its most enduring and enthralling tales.
In New York's tenements in 1883, two orphaned teenage girls realize that their dream of saving enough money to move to Brooklyn across the newly-built bridge may be achieved if they learn new trades at a nearby settlement house, rather than continuing their lives of prostitution and stealing.