Favorite New Fiction
from Small and Micro Publishers

Coping with trauma or loss

Kingdom of Women

Kingdom of Women

Because of his wealth and power, a serial rapist repeatedly escapes the consequences of his actions. A man beats his wife severely but is somehow found not to have committed a crime. A young man admits—without remorse—to killing a woman he’d been having sex with, and gets a light sentence and an early release from prison. “She was a slut,” the logic goes.

Such situations figure all too often into the news, and sometimes, they are part of our personal histories. But imagine a world in which groups of vigilante women make sure that the men who commit such crimes face real consequences—usually, fatal ones. Rosalie Morales Kearns does just that in her masterful and thought-provoking new novel, Kingdom of Women, set in a not-too-distant future that flows chillingly and logically from our less-than-just present.

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Skating on the Vertical

Skating on the Vertical

Many of the tales in Jan English Leary’s profound, heartfelt story collection, Skating on the Vertical, center on characters who have reached pivotal points in their lives and are trying to figure out next steps, and also themselves. Leary gives the complexity of such turning points its due, immersing us in the soul-searching, self-doubt, and mistakes that are natural—sometimes inevitable—during times of change, difficulty, or discovery.

Because all the stories in Skating on the Vertical are so powerful and resonant, it was hard for me to choose which ones to focus on in this review. To my mind, there wasn’t an off story in the book. So here, I’ll focus on a few stories that give a sense of the range and depth of this fine collection.

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A Dream Between Two Rivers: Stories of Liminality

A Dream Between Two Rivers: Stories of Liminality

KL Pereira’s captivating new collection of short fiction, A Dream Between Two Rivers, carries the subtitle “Stories of Liminality.” True to that description, many of the stories explore experiences of being on the verge—or at the edge—of a new identity, reality, or understanding. This makes for dynamic storytelling, as does the fact that the collection isn’t tied down by any one stylistic convention.

Many of the stories draw on elements of myths, folklore, or fairytales, and like those types of tales, they take us into strange, often dark situations that, however surreal, echo the emotional and psychological struggles of lived human experience.

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Near Haven: A Novel

Near Haven: A Novel

May 1st, 1988. In Near Haven—Matthew Stephen Sirois’s provocative and deftly paced debut novel—it’s the date a comet is predicted to strike the Earth, ending civilization. In the face of what appears to be certain doom, society crumbles in advance of the comet—from helplessness and hopelessness, and from the violence they fuel.

But not everyone is hopeless, including the novel’s protagonist and conscience, Tom Beaumont, whose story begins about ten months before the comet’s expected arrival. A boat builder in the fictional seaside town of Near Haven, Maine, Tom is skeptical about assurances that the comet will strike, and about pretty much every other variety of received wisdom. His views isolate him from just about everyone other than his friend Neville “Nev” Bradford, who, with Tom, struggles to survive as social order dissolves.

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The Widow’s Guide to Edible Mushrooms

The Widow’s Guide to Edible Mushrooms

There is much to praise about The Widow’s Guide to Edible Mushrooms, Chauna Craig’s début short story collection. But I was especially taken by the stories’ layered explorations of fraught relationships—and of relationships in transition, owing to divorce, death, or other circumstances.

In “This Is History,” the narrator reflects, retrospectively, on a time of transition in both her family and community. The story takes place at the site of a defunct Montana copper mine, where the narrator (then 12 years old), her parents, and brother have gathered with other locals to witness the destruction of the mine’s smokestack. For the narrator’s mother, whose father worked at the mine, the destruction is cause for sadness, even though the copper industry “left the land raped and polluted,” in the narrator’s eyes. As she observes, “My mother was susceptible to fantasies of golden pasts and golden futures that would erase the daily shin-banging and toe-stubbing of the present.”

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Leaving Is My Colour

Leaving Is My Colour

“I never thought I’d be the kind of person who could say things like, ‘Yes, I’ve spent a little time in jail,’ or, ‘If you count second cousins then, yeah, I’ve had sex with a relative.’ I also never thought I’d be married and divorced enough times for it to be financially sensible to invest in a courthouse parking permit. But, there you go.”

So observes Rachel Bennett, early in the witty, wickedly funny novel in which she stars: Leaving Is My Colour, by Amy Burns. As soon becomes clear, divorce and jail—the consequence of feeding a drug addiction—are far from Rachel’s only problems. The root of many of them is her deeply dysfunctional family: her well-meaning but mostly absent father; her selfish, judgmental mother; and her older sister, Julie, a bottomless source of disparagement and hostility.

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