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About Carmen Maria Machado
Her essays, fiction, and criticism have appeared in the New Yorker, the New York Times, Granta, Harper's Bazaar, Tin House, VQR, Conjunctions, McSweeney's Quarterly Concern, The Believer, Guernica, Best American Science Fiction & Fantasy, Best American Nonrequired Reading, and elsewhere. She holds an MFA from the Iowa Writers' Workshop and has been awarded fellowships and residencies from the Guggenheim Foundation, Michener-Copernicus Foundation, Elizabeth George Foundation, CINTAS Foundation, Yaddo, Hedgebrook, and the Millay Colony for the Arts. She is the Writer in Residence at the University of Pennsylvania and lives in Philadelphia with her wife.
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A revolutionary memoir about domestic abuse by the award-winning author of Her Body and Other Parties
In the Dream House is Carmen Maria Machado’s engrossing and wildly innovative account of a relationship gone bad, and a bold dissection of the mechanisms and cultural representations of psychological abuse. Tracing the full arc of a harrowing relationship with a charismatic but volatile woman, Machado struggles to make sense of how what happened to her shaped the person she was becoming.
And it’s that struggle that gives the book its original structure: each chapter is driven by its own narrative trope—the haunted house, erotica, the bildungsroman—through which Machado holds the events up to the light and examines them from different angles. She looks back at her religious adolescence, unpacks the stereotype of lesbian relationships as safe and utopian, and widens the view with essayistic explorations of the history and reality of abuse in queer relationships.
Machado’s dire narrative is leavened with her characteristic wit, playfulness, and openness to inquiry. She casts a critical eye over legal proceedings, fairy tales, Star Trek, and Disney villains, as well as iconic works of film and fiction. The result is a wrenching, riveting book that explodes our ideas about what a memoir can do and be.
Finalist for the National Book Award for Fiction
“[These stories] vibrate with originality, queerness, sensuality and the strange.”—Roxane Gay
“In these formally brilliant and emotionally charged tales, Machado gives literal shape to women’s memories and hunger and desire. I couldn’t put it down.”—Karen Russell
In Her Body and Other Parties, Carmen Maria Machado blithely demolishes the arbitrary borders between psychological realism and science fiction, comedy and horror, fantasy and fabulism. While her work has earned her comparisons to Karen Russell and Kelly Link, she has a voice that is all her own. In this electric and provocative debut, Machado bends genre to shape startling narratives that map the realities of women’s lives and the violence visited upon their bodies.
A wife refuses her husband’s entreaties to remove the green ribbon from around her neck. A woman recounts her sexual encounters as a plague slowly consumes humanity. A salesclerk in a mall makes a horrifying discovery within the seams of the store’s prom dresses. One woman’s surgery-induced weight loss results in an unwanted houseguest. And in the bravura novella “Especially Heinous,” Machado reimagines every episode of Law & Order: Special Victims Unit, a show we naïvely assumed had shown it all, generating a phantasmagoric police procedural full of doppelgängers, ghosts, and girls with bells for eyes.
Earthy and otherworldly, antic and sexy, queer and caustic, comic and deadly serious, Her Body and Other Parties swings from horrific violence to the most exquisite sentiment. In their explosive originality, these stories enlarge the possibilities of contemporary fiction.
Joseph Sheridan Le Fanu’s compelling tale of a young woman’s seduction by a female vampire was a source of influence for Bram Stoker’s Dracula, which it predates by over a quarter century. Carmilla was originally serialized from 1871 to 1872 and went on to inspire adaptations in film, opera, and beyond, including the cult classic web series by the same name.
But there are more stories loved by the Hugo voters, stories on the longer nomination list that WSFS publishes after the Hugo Award ceremony at WorldCon. The Long List Anthology collects 21 tales from that nomination list, totaling almost 500 pages of fiction by writers from all corners of the world.
Within these pages you will find a mix of science fiction and fantasy, the dramatic and the lighthearted, from near future android stories to steampunk heists, too-plausible dystopias to contemporary vampire stories.
There is something here for everyone.
When El and Octavia wake up in a movie theater with no memory of the last few hours of their lives, the two teenage dirtbags begin a surreal and terrifying journey to discover the truth about the strange town that they call home. Like so many women in Shudder-to-Think before them, all they have is a void where the truth once was. But as time passes, El finds herself needing to know more about what has happened, while Octavia wants nothing more than to forget the forgetting. Can these two teens reconcile their differences before the horrible things lurking beneath their town emerge and swallow them whole? Collects The Low, Low Woods #1-6.
Imaginative fiction from Neil Gaiman, Karen Russell, Daniel H. Wilson, and more, selected by New York Times-bestselling author Joe Hill.
Science fiction and fantasy enjoy a long literary tradition, stretching from Mary Shelley, H. G. Wells, and Jules Verne to Ray Bradbury, Ursula K. Le Guin, and William Gibson. In The Best American Science Fiction and Fantasy, 2015 award-winning editor John Joseph Adams and Joe Hill deliver a diverse and vibrant collection of stories published in the previous year. Featuring writers with deep science fiction and fantasy backgrounds, along with those who are infusing traditional fiction with speculative elements, these stories uphold a longstanding tradition in both genres—looking at the world and asking, What if?
The Best American Science Fiction and Fantasy, 2015 includes Kelly Link, Neil Gaiman, Karen Russell T. C. Boyle, Sofia Samatar, Jo Walton, Cat Rambo Daniel H. Wilson, Seanan McGuire, Jess Row, and more.“The overall quality of the work is very high.”—Publishers Weekly
Encompassed in the pages of The Best Horror of the Year have been such illustrious writers as:
Kim Stanley Robinson
And many others
With each passing year, science, technology, and the march of time shine light into the craggy corners of the universe, making the fears of an earlier generation seem quaint. But this light creates its own shadows. The Best Horror of the Year chronicles these shifting shadows. It is a catalog of terror, fear, and unpleasantness as articulated by today’s most challenging and exciting writers.
These compelling visions of post-apocalyptic societies and dystopian worlds include short stories by some of the most acclaimed authors of our time. Among the noteworthy contributors and their works are Stephen King's "The End of the Whole Mess," "The Pedestrian" by Ray Bradbury, and Arthur C. Clarke's "No Morning After."
The first-ever apocalyptic fantasy about global warming, "The End of the World," appears here, in translation from Eugene Mouton's 1872 French-language original. "The Pretence," by Ramsey Campbell, questions the nature and structure of everyday life in the aftermath of a doomsday prediction. In addition, thought-provoking stories by Philip K. Dick, Kurt Vonnegut, Jr., Greg Bear, Erica L. Satifka, and others offer an end-of-the-world extravaganza for fans of science fiction, horror, and fantasy.
"These doomsday tales are highly original, thought provoking, and reality questioning. Recommended as a collection for fans of intriguing and eccentric sci-fi!" — Read Well
For the 150th anniversary of the publication of Louisa May Alcott's Little Women, Kate Bolick, Jenny Zhang, Carmen Maria Machado, and Jane Smiley explore their strong lifelong personal engagement with Alcott's novel--what it has meant to them and why it still matters. Each takes as her subject one of the four March sisters, reflecting on their stories and what they have to teach us about life. Kate Bolick finds parallels in oldest sister Meg's brush with glamour at the Moffats' ball and her own complicated relationship with clothes. Jenny Zhang confesses to liking Jo least among the sisters when she first read the novel as a girl, uncomfortable in finding so much of herself in a character she feared was too unfeminine. Carmen Maria Machado writes about the real-life tragedy of Lizzie Alcott, the inspiration for third sister Beth, and the horror story that can result from not being the author of your own life's narrative. And Jane Smiley rehabilitates the reputation of youngest sister Amy, whom she sees as a modern feminist role model for those of us who are, well, not like the fiery Jo. These four voices come together to form a deep, funny, far-ranging meditation on the power of great literature to shape our lives.