By Corinna Kloth
New & Upcoming Indie Releases to add to your reading list.
1. The Last Orphan by Gregg Hurwitz
As a child, Evan Smoak was plucked out of a group home, raised and trained as an off-the-books assassin for the government as part of the Orphan program. When he broke with the program and went deep underground, he left with a lot of secrets in his head that the government would do anything to make sure never got out.
When he remade himself as The Nowhere Man, dedicated to helping the most desperate in their times of trouble, Evan found himself slowly back on the government’s radar. Having eliminated most of the Orphans in the program, the government will stop at nothing to eliminate the threat they see in Evan. But Orphan X has always been several steps ahead of his pursuers.
Until he makes one little mistake…
Now the President has him in her control and offers Evan a deal – eliminate a rich, powerful man she says is too dangerous to live and, in turn, she’ll let Evan survive. But when Evan left the Program he swore to only use his skills against those who really deserve it. Now he has to decide what’s more important – his principles or his life.
Gregg Hurwitz is the New York Times, #1 internationally bestselling author of 22 thrillers, including the Orphan X series, and two award-winning thriller novels for teens. His novels have won numerous literary awards, graced top ten lists, and have been published in 33 languages. Gregg has written screenplays for or sold spec scripts to many of the major studios (including THE BOOK OF HENRY), and written, developed, and produced television for various networks.
2. Meet me at the Lighthouse by Dana Gioia
Dana Gioia has been hailed for decades as a master of traditional lyric forms, whose expansive and accessible poems are offerings of rare poignancy and insight. In Meet Me at the Lighthouse, he invites us back to old Los Angeles, where the shabby nightclub of the title beckons us into its noirish immortality. Elsewhere, he laments the once-vibrant neighborhood where he grew up, now bulldozed, and recalls his working-class family of immigrants. Gioia describes a haunting from his mother on his birthday, Christmas Eve. Another poem remembers his uncle, a US Merchant Marine. And “The Ballad of Jesús Ortiz” tells the story of his great-grandfather, a Mexican vaquero who was shot dead at a tavern in Wyoming during a dispute over a bar tab. “I praise my ancestors, the unkillable poor,” Gioia writes. This book is dedicated to their memory.
Including poems, song lyrics, translations, and concluding with an unsettling train ride to the underworld, Meet Me at the Lighthouse is a luminous exploration of nostalgia, mortality, and what makes a life worth living and remembering.
Dana Gioia is an award-winning poet and critic. He has published five celebrated volumes of poetry, including 99 Poems: New & Selected, and three critical collections. For six years he served as Chairman of the National Endowment for the Arts. He is now the Judge Widney Professor of Poetry and Public Culture at the University of Southern California. He is the Poet Laureate of California.
3. Ten Planets by Yuri Herrera
The characters that populate Yuri Herrera’s surprising new story collection inhabit imagined futures that reveal the strangeness and instability of the present. Drawing on science fiction, noir, and the philosophical parables of Jorge Luis Borges’s Fictions and Italo Calvino’s Cosmicomics, these very short stories are an inspired extension of this significant writer’s work.
In Ten Planets, objects can be sentient and might rebel against the unhappy human family to which they are attached. A detective of sorts finds clues to buried secrets by studying the noses of his clients, which he insists are covert maps. A meager bacterium in a human intestine gains consciousness when a psychotropic drug is ingested. Monsters and aliens abound, but in the fiction of Yuri Herrera, knowing who is the monster and who the alien is a tricky proposition.
In Ten Planets, Herrera’s consistent themes—the mutability of borders, the wounds and legacy of colonial violence, and a deep love of storytelling in all its forms—are explored with evident brilliance and delight.
Yuri Herrera, Born in Actopan, Mexico, is the author of three novels, including Signs Preceding the End of the World, which was one of theGuardian’s “100 Best Books of the 21st Century” and won the Best Translated Book Award. He teaches at Tulane University in New Orleans.
4. Voyager by Nona Fernández, translated by Natasha Wimmer
Dana Gioia has been hailed for decades as a master of traditional lyric forms, whose expansive and accessible poems are offerings of rare poignancy and insight. In Meet Me at the Lighthouse, he invites us back to old Los Angeles, where the shabby nightclub of the title beckons us into its noirish immortality. Elsewhere, he laments the once-vibrant neighborhood where he grew up, now bulldozed, and recalls his working-class family of immigrants. Gioia describes a haunting from his mother on his birthday, Christmas Eve. Another poem remembers his uncle, a US Merchant Marine. And “The Ballad of Jesús Ortiz” tells the story of his great-grandfather, a Mexican vaquero who was shot dead at a tavern in Wyoming during a dispute over a bar tab. “I praise my ancestors, the unkillable poor,” Gioia writes. This book is dedicated to their memory.
Including poems, song lyrics, translations, and concluding with an unsettling train ride to the underworld, Meet Me at the Lighthouse is a luminous exploration of nostalgia, mortality, and what makes a life worth living and remembering.
Nona Fernández was born in Santiago, Chile. She is an actress and writer, and has published two plays, a collection of short stories, and six novels, including Space Invaders and The Twilight Zone, which was a finalist for the National Book Award.
5. Sterling Karat Gold by Isabel Waidner
Sterling Beckenbauer is plunged into a terrifying and nonsensical world one morning when they are attacked, then unfairly arrested, in their neighborhood in London. With the help of their friends, Sterling hosts a trial of their own in order to exonerate themselves and to hold the powers that be to account.
Sterling Karat Gold, in the words of Kamila Shamsie, is “a madly brilliant and deeply sane novel that reveals surrealism as possibly the most effective way of talking about the political moment we find ourselves in.” In it, Isabel Waidner concocts a world replete with bullfighters, high fashion, DIY theater, the Beach Boys, and time-traveling spaceships. The acclaimed winner of the 2021 Goldsmiths Prize for fiction that breaks the mold and extends the possibilities of the form, this novel explores the phantasmagoric nature of contemporary life, especially for nonbinary migrants, and daringly revises how solidarity and justice might be sought and won. Sterling Karat Gold couldn’t be a better North American introduction to a writer with an irresistible style and unforgettable vision.
Isabel Waidner, Winner of the 2021 Goldsmiths Prize, finalist for the 2022 Orwell Prize for Political Fiction, as well as finalist for the 2022 Republic of Consciousness Prize. Waidner is a German-British writer and cultural theorist based in London. They have written four novels: Corey Fah Does Social Mobility, Sterling Karat Gold, We are Made of Diamond Stuff, and Gaudy Bauble.
6. From From by Monica Youn
Monica Youn’s From From brilliantly evokes the conflicted consciousness of deracination. If you have no core of “authenticity,” no experience of your so-called homeland, how do you piece together an Asian American identity out of Westerners’ ideas about Asians? Your sense of yourself is part stereotype, part aspiration, part guilt. In this dazzling collection, one sequence deconstructs the sounds and letters of the word “deracinations” to create a sonic landscape of micro- and macroaggressions, assimilation, and self-doubt. A kaleidoscopic personal essay explores the racial positioning of Asian Americans and the epidemic of anti-Asian hate. Several poems titled “Study of Two Figures” anatomize and dissect the Asian other: Midas the striving, nouveau-riche father; Dr. Seuss and the imaginary daughter Chrysanthemum-Pearl he invented while authoring his anti-Japanese propaganda campaign; Pasiphaë, mother of the minotaur, and Sado, the eighteenth-century Korean prince, both condemned to containers allegorical and actual.
Monica Youn is the author of From From, and three previous poetry collections: Blackacre, a finalist for the National Book Critics Circle Award, Barter, and Ignatz, a finalist for the National Book Award. The daughter of Korean immigrants and a former lawyer, she teaches at Princeton University.
7. Banzeiro Òkòtó by Eliane Brum, translated by Diane Whitty
In lyrical, impassioned prose, Eliane Brum recounts her move from São Paulo to Altamira, a city along the Xingu River that has been devastated by the construction of one of the largest dams in the world. In community with the human and more-than-human world of the Amazon, Brum seeks to “reforest” herself while building relationships with forest peoples who carry both the scars and the resistance of the forest in their bodies. Weaving together the lived stories of the region and its history of violent corruption and destruction, Banzeiro Òkòtó is a call for radical change, for the creation of a new kind of human being capable of facing the potential extinction of our species. In it, Brum reveals the direct links between structural inequities rooted in gender, race, class, and even species, and the suffering that capitalism and climate breakdown wreak on those who are least responsible for them.
Eliane Brum is an award-winning Brazilian journalist, writer, and documentarist. Her first work of nonfiction to be translated into English, The Collector of Leftover Souls, was long-listed for the National Book Award. She lives in Altamira, in the Amazon. Diamond Stuff, and Gaudy Bauble.
8. Romantic Comedy by James Allen Hall
In Romantic Comedy’s opening poem, the speaker announces the book’s genesis: “This story / is mine: there was / a wound, then a world. / It did not mean / me well.” Thus begins a harrowing trek through a life marked by violence and a quest for sensation and connection. There is a retro sheen to these poems, a disco ball fracturing of darkness and light, an AIDS-era aura of intensity fueled by impending extinction. The book is framed by performance, by the language of theater and film, with an array of references to movies which enact the romance of brutality and the brutality of romance, to Cher and Charlie’s Angels, porn and Harlequin romances read “in the laundry room, / my head propped up on a pillow of unwashed / dresses.” The book is romantic as Keats is romantic — it glimmers with negative capability, the “used car salesman who, post-coitus, / cleaned himself with his Megadeath concert Tee,” the “Bad boy who gave me chrysanthemums / and chlamydia,” the private courtyard where “he kisses me / under a magnolia as fragrant as the one in the garden where I hid / as a boy,” “the snow / lowering its gentle hammer on the skulls of lovers.”
James Allen Hall (he/they) lives in Chestertown, MD and is the author of a previous book of poems, Now You’re the Enemy, and I Liked You Better Before I Knew You So Well, a book of lyric essays. They direct the Rose O’Neill Literary House at Washington College. www.jamesallenhall.com
9. Childcare by Rob Schlegel
Crackling with the hypervigilance of parenthood, Childcare explores the paradox at the root of raising kids: the joy of new life accompanies an awareness of potential loss. Rob Schlegel’s fourth collection observes the tangled emotions of fatherhood; even as he wonders at the strange intelligence of youth, he elegizes the present moment. The longitudinal wisdom of this collection appears in the choreography of its leaps — how it moves from the aside “[My son] needs my love the most when he least deserves it / Is something I read” to the reflection that “Death / Names my shape. I keep my clothes / From dust and ghosts and time. / I’m angry at my father for aging.” From Schlegel’s relentless curiosity and keen observations, the artistic crisis driving the book emerges: does poetry memorialize the ephemeral moment, saving something for us, or does it remove us from experience? The duality of language’s role — that it, ultimately, has the capacity to do both — doubles the significance of “childcare” in this collection, which comes to represent not just the work of child rearing but the dutiful care by adult children for their parents.
Rob Schlegel lives in the Pacific Northwest and is the author of three previous collections of poetry, including January Machine (Four Way Books, 2014). With the poets Rawaan Alkhatib and Daniel Poppick, he co-edits the Catenary Press.
10. To the Boy Who Was Night by Rigoberto González
The capstone of a quarter-century career in poetry, To the Boy Who Was Night collects the poetry published by Rigoberto González since 1999, including selections from five previous books as well as new work. Mirroring González’s personal trajectory, the arc of this work articulates the course of a life: these poems recall leaving a beloved homeland, confront masculinity and sexuality in new adulthood, imagine the earth devoid of human inhabitants, descend into the realm of ghosts, and return to arrive at Dispatches from the Broken World. This latest section ventures into foreign terrain — an autobiographical confrontation with isolation and the aging body. His lyrical exploration, like the weather reports scrawled on ancient temple walls, will preserve this age-old message: “likely a poem, surely an epitaph.” To the Boy Who Was Night bears the fruit of 25 years of poetry, González’s boldest and most comprehensive volume yet.
Rigoberto González lives in Newark, NJ and is the author of eighteen books of poetry and prose, including previous Four Way Books publications The Book of Ruin (2019), Unpeopled Eden (2013), and Black Blossoms (2011). His awards include Lannan, Guggenheim, NEA, NYFA, and USA Rolón fellowships, the PEN/ Voelcker Award, the American Book Award from the Before Columbus Foundation, the Lenore Marshall Prize from the Academy of American Poets, and the Shelley Memorial Prize from the Poetry Society of America.
11. Bianca by Eugenia Leigh
“I thought I forgave you,” Eugenia Leigh tells the specter of her father in Bianca. “Then I took root and became / someone’s mother.” Leigh’s gripping second collection introduces us to a woman managing marriage, motherhood, and mental illness as her childhood abuse resurfaces in the light of “this honeyed life.” Leigh strives to reconcile the disconnect between her past and her present as she confronts the inherited violence mired in the body’s history. As she “choose[s] to be tender to [her] child—a choice / [her] mangled brain makes each day,” memories arise, asking the mother in her to tend, also, to the girl she once was. Thus, we meet her manic alter ego, whose history becomes the gospel of Bianca: “We all called her Bianca. My fever, my havoc, my tilt.” These poems recover and reconsider Leigh’s girlhood and young adulthood with the added context of PTSD and Bipolar Disorder. They document the labyrinth of a woman breaking free from the cycle of abuse, moving from anger to grief, from self-doubt to self-acceptance. Bianca is ultimately the testimony of one woman’s daily recommitment to this life. To living. “I expected to die much younger than I am now,” Leigh writes, in awe of the strangeness of now, of “every quiet and colossal joy.”
Eugenia Leigh is a Korean American poet living in New York and the author of one previous collection of poetry, Blood, Sparrows and Sparrows (Four Way Books, 2014), winner of the Debulitzer Prize in Poetry. Her poems and essays have appeared in numerous publications including Guernica, The Massachusetts Review, The Nation, Ploughshares, Poetry, and The Rumpus.
12. The Nature Book by Tom Comitta
What does our nature writing say about us, and more urgently, what would it say without us? Tom Comitta investigates these questions and more in The Nature Book, a “literary supercut” that arranges writing about the natural world from three hundred works of fiction into a provocative re-envisioning of the novel. With fiction’s traditional background of flora and fauna brought to the fore, people and their structures disappear, giving center stage to animals, landforms, and weather patterns—honored in their own right rather than for their ambient role in human drama. The Nature Book challenges the confines of anthropocentrism with sublime artistic vision, traversing mountains, forests, oceans, and space to shift our attention toward the magnificently complex and interconnected world around us.
Tom Comitta is the author of 〇, Airport Novella, and First Thought Worst Thought: Collected Books 2011–2014, a print and digital archive of forty “night novels,” art books, and poetry collections. Comitta’s fiction and essays have appeared in WIRED, Lit Hub, Electric Literature, the Los Angeles Review of Books, the Believer, BOMB, and Best American Experimental Writing 2020. They live in Brooklyn.
13. Village by LaTasha N. Nevada Diggs
Part poetry collection, part soundscape, Village uses dark humor and keep observation to explore the roots of memory, grief, and estrangement.
In propulsive and formally inventive verse, LaTasha N. Nevada Diggs examines how trauma reshapes lineage, language, and choice, disrupting attempts at reconciliation across generations. Questioning who is deemed worthy of public memorialization, Diggs raises new monuments, tears down classist tropes, offers detailed instructions for her own international funeral celebrations, and makes visible the hidden labors of care and place. From corners in Harlem through North Carolina back roads, Diggs complicates the concept of “survivor,” getting to the truth of living in the dystopia of poverty.
LaTasha N. Nevada Diggs is vocalist and performance/sound artist, and writer; the author of TwERK (Belladonna, 2013). Diggs has presented and performed at California Institute of the Arts, El Museo del Barrio, The Museum of Modern Art, and Walker Art Center and at festivals including: Explore the North Festival, Leeuwarden, Netherlands; Hekayeh Festival, Abu Dhabi; International Poetry Festival of Copenhagen; Ocean Space, Venice and more.
14. Indiana, Indiana by Laird Hunt
On a dark and lovely winter night, Noah Summers sits before a roaring fire, drifting between sleep and recollection, trying to make sense of a lifetime of psychic visions and his family’s tumultuous history on an Indiana farmstead. Decades have passed since Noah first fell in love with Opal, a brilliant but unstable young woman whose penchant for flames separated the couple after just forty-two idyllic days of married life. Despite the challenges they each faced, their love never wavered in the long years that followed, sustained by letters, memories, and the bonds of family.
Indiana, Indiana establishes the world Laird Hunt returned to in National Book Award finalist Zorrie and introduces the character of Zorrie Underwood for the first time. Written in a masterful elegiac style reminiscent of William Faulkner and Marilynne Robinson, Indiana, Indiana is a beautiful and surreal story that illuminates the heart of rural America.
Laird Hunt is the author of Zorrie, which was a 2021 finalist for the National Book Award in Fiction. He has also been a finalist for the PEN/Faulkner Award for Fiction and won the Anisfield-Wolf Award for Fiction, the Grand Prix de Littérature Américaine, and Italy’s Bridge Prize. His reviews and essays have been published in the New York Times, the Washington Post, the Los Angeles Times, and many others. He teaches in the Department of Literary Arts at Brown University and lives in Providence.
15. This Wide Terraqueous World by Laird Hunt
Haunting essays from acclaimed authro Laird Hunt balance intimate remembrance with an examination of the writing life.
In this new collection of nonfiction from the celebrated author of Zorrie, Laird Hunt uses fiction as an inspiration, a tool, even an obsession, employing its methods to get to the heart of experience. The “sizzling” work of Jane Bowles colors his wanderings through Palermo, while a London museum trip provokes a consideration of taxidermy’s storytelling potential and fairytales blend with echoes of W. G. Sebald, Willa Cather, and László Krasznahorkai. From intrigue at the United Nations to a broken-down car in Kansas, from the history of denim to the dangerous games of childhood, This Wide Terraqueous World leads readers down the winding paths of memory as Hunt examines his subjects in razor-sharp prose both eerily spare and richly evocative.
Laird Hunt is the author of Zorrie, which was a 2021 finalist for the National Book Award in Fiction. He has also been a finalist for the PEN/Faulkner Award for Fiction and won the Anisfield-Wolf Award for Fiction, the Grand Prix de Littérature Américaine, and Italy’s Bridge Prize. His reviews and essays have been published in the New York Times, the Washington Post, the Los Angeles Times, and many others. He teaches in the Department of Literary Arts at Brown University and lives in Providence.
16. Trash by Sylvia Aguilar-Zéleny, Translated by J.D. Pluecker
Aguilar Zéleny’s English-language debut shows the complexities of survival and joy, love and violence for three women: a teenager abandoned by her guardian at the dump, a scientist doing research on the residents of the dump, and a transwoman living nearby who is the matriarch of a group of sex workers.
Each one of the characters navigates family, abandonment, power, jealousy, greed, and multiple taboos around sexuality and gender violence. Their stories are linked by geography and by ideas of waste and abandonment.
As Aguilar Zéleny explores these territories in her book, she asks crucial questions: who is seen as disposable and why? How do women find their own means of survival and joy in the midst of a perilous sociopolitical context? What does it mean to live a life in a time of austerity and extreme violence? Trash is a critical intervention in Mexican literature.
Sylvia Aguilar Zéleny received her MFA in Creative Writing from The University of Texas at El Paso. She is the author of four short-story books and a young adult novel series. Her novel Todo Eso Es Yo won the National Book Award in Tamaulipas, México in 2015.
17. So Long by Jen Levitt
Anticipating and then grieving the death of her father, Jen Levitt’s So Long fleshes out a full elegiac register, sitting with the mourning of farewell while holding onto gratitude, remembrance, and a permeating love. “Soon,” she says, “we’ll have to find another way to meet, as moonlight / makes the river glow.” In the contrails of bittersweet loss, Levitt’s speaker observes all that surrounds her, and the self, too, as a phenomenon in loneliness. In the suburbs, she notes high- school athletes circling “in their sweat-resistant fabrics,” “so natural in their tank tops, those dutiful kids trying to beat time”; upstate, she finds herself in temple where Broadway music has replaced prayer and discovers “no promises, / but, like hearing a rustle in deep woods & turning to locate its source, the chance for something rare.” It is this humanistic faith that inverts the title’s idiomatic goodbye into a statement of permanence, the truth of our enduring, improbable lives: look at this, she seems to command herself, “& look at how lucky I’ve been, for so long.”
Jen Levitt is the author of The Off-Season (Four Way Books, 2016). Her poems have appeared in The Adroit Journal, Boston Review, Tin House, The Yale Review and elsewhere. She lives in New York City and teaches high school students.
18. When There Was Light by Carlie Hoffman
While Hoffman’s debut collection interrogated the mythos built around grief, inhabiting an Alaska of the mind, her stunning sophomore collection When There Was Light looks at the past for what it was. These poems map out a topography where global movements of diaspora and war live alongside personal reckonings: a house’s foreclosure, parents’ divorce, the indelible night spent drunk with a best friend “[lying] down inside a chronic row of corn.” Here, her father’s voice “is the stray dog barking / at the snow, believing the little strawberries grow wilder / against a field.” In these pages, she points to Russia and Poland and Germany, saying, “It was / another time. My people / another time. The synagogues burn decades / of new snow.” The brilliance of this collection illuminates the relationship between memory and language; “another time” means different, back then, gone and lost to us, and it means over and over, always, again. With this linguistic dexterity and lyrical tenderness, Hoffman’s work bridges private and public histories, reminding us of the years cloaked in shadows and the years when there was light.
Carlie Hoffman lives in Brooklyn and is the author of one previous collection of poetry, This Alaska (Four Way Books, 2021), winner of the NCPA Gold Award in poetry and a finalist for the Foreword Indies Book of the Year Award. A poet and translator, her honors include a “Discovery” / Boston Review prize and a Poet’s & Writers Amy Award. Carlie is the founder and editor-in-chief of Small Orange Journal.
19. When I Reach For Your Pulse by Rushi Vyas
In this electrifying debut, lyric works to untangle slippery personal and political histories in the wake of a parent’s suicide. “When my father finally / died,” Vyas writes, “we […] burned, / like an effigy, the voiceless body.” Grief returns us to elemental silence, where “the wind is a muted vowel in the brush of pine / branches” across American landscapes. These poems extend formal experimentation, caesurae, and enjambment to reach into the emptiness and fractures that remain. This language listens as much as it sings, asking: can we recover from the muting effects of British colonialism, American imperialism, patriarchy, and caste hierarchies? Which cultural legacies do we release in order to heal? Which do we keep alive, and which keep us alive? A monument to yesterday and a missive to tomorrow, When I Reach for Your Pulse reminds us of both the burden and the promise of inheritance. “[T]he wail outlasts / the dream,” but time falls like water and so “the stream survives its source.”
Rushi Vyas was born in Toledo, Ohio. He is co-author of the chapbook Between Us, Not Half a Saint (GASHER Press, 2021) with Rajiv Mohabir, and his poem “Morning Chant: Scatter” was republished as a broadside by the Center for Book Arts. He earned his MFA from the University of Colorado-Boulder and his BS from the University of Michigan. His poems have been published in Adroit Journal, The Georgia Review, Indiana Review, Landfall (NZ), The Offing, The Spinoff (NZ), Tin House, and elsewhere.
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Article originally Published in the February / March 2023 Issue: Connection.