Christopher Irvin’s novel Ragged; or, The Loveliest Lies of All is a page tuner of a mystery/crime thriller, interwoven with a captivating story of family and community. The fact that all the characters are animals never distanced me from the drama; to the contrary, it provided a bracing reminder of the degree to which we’re driven by beastly instincts, which are never as far from the surface as we might wish to believe.

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.

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.

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.”

“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.

The central characters in The Expense of a View, Polly Buckingham’s dark and sometimes surreal story collection, face the kinds of suffering that many of us, if we aren’t experiencing them ourselves, would rather turn away from: grief over the loss of a loved one, drug addiction, domestic violence, parental abandonment, mental illness, poverty. Buckingham’s stories immersed me so deeply in these characters’ mental, physical, and emotional states that the barriers between their worlds and mine seemed to dissolve, giving me insights into experiences I might otherwise feel—or seek—distance from.