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Colette Sartor

The women in the linked short story collection Once Removed carry the burdens imposed in the name of intimacy—the secrets kept, the lies told, the disputes initiated—as well as the joy that can still manage to triumph. A singer with a damaged voice and an assumed identity befriends a silent, troubled child; an infertile law professor covets a tenant’s daughterly affection; a new mother tries to shield her infant from her estranged mother’s surprise Easter visit; an aging shopkeeper hides her husband’s decline and a decades-old lie to keep her best friends from moving away.

With depth and an acute sense of the fragility of intimate connection, Colette Sartor creates stories of women that resonate with emotional complexity. Some of these women possess the fierce natures and long, vengeful memories of expert grudge holders. Others avoid conflict at every turn, or so they tell themselves. For all of them, grief lies at the core of love.

University of Georgia Press

Flannery O'Connor Award for Short Fiction Ser.

Once Removed: Stories

Front porches, family cars, playgrounds, swimming pools: from such familiar haunts of childhood, these stories look out on the world through young eyes and hearts. Wise beyond their years—or soon to be—Ruthie, Omar, J. J. , and the other kids in these stories veer in and out of touching distance to hard lessons about trust, love, and mortality. However engaged or aloof, grownups are always nearby. Far-from-perfect emissaries to the realm of adulthood, they pose questions for children even as they offer answers.

Down on the Sidewalk: Stories about Children and Childhood from the Flannery O'Connor Award for Short Fiction

Patrick Earl Ryan

If We Were Electric’s twelve stories celebrate New Orleans in all of its beautiful peculiarities: macabre and magical, muddy and exquisite, sensual and spiritual. The stunning debut collection finds its characters in moments of desire and despair, often stuck on the verge of a great metamorphosis, but burdened by some unreasonable love. These are stories about missed opportunities, about people on the outside who don’t fit in, about the consequences of not mustering enough courage to overcome the binds. 

In “Feux Follet,” an old man’s grief attracts supernatural lights in the dark Louisiana swamps. An exploding transformer’s raw, unnerving energy in the title story matches the strange, ferocious temper of an unlucky hustler. “Blackout” sets the profound numbness of a young man physically abused by his mentally unstable partner beside the meaningful beauty of an unexpected moment of joy with someone else. The teenage narrator in “Before Las Blancas” is so overwhelmed by his sexuality that he abandons everything and everyone he’s known to live in a happy illusion . . . in Mexico. And “Where It Takes Us” is a poignant, understated snapshot of a gay man who accompanies his straight, HIV-positive brother to the race track to bond again.

If We Were Electric: Stories

Travel, and the exhilarating experiences it offers us, is the shared concern of these stories, which have been chosen from among the hundreds that have appeared in the prestigious Flannery O'Connor Award for Short Fiction series.

More than seventy volumes, which include approximately eight hundred stories, have won the Flannery O'Connor Award. This stunning trove of always engaging, often groundbreaking short fiction is the common source for this anthology on childhood—and for planned anthologies on such topics as family, gender and sexuality, animals, and more.

Travel can whisk us away to craggy mountainsides and sunny coastlines or bustling cities and mysterious jungles. Travel can excite and rejuvenate or intimidate and overwhelm. These sixteen stories reflect upon our immense, intriguing world and our explorations of it, whether you choose to follow the beaten path or abandon it.

A Perfect Souvenir: Stories about Travel from the Flannery O'Connor Award for Short Fiction

Work, and the coffee-fuelled day-to-day grind, is the shared concern of these stories, which have been chosen from among the hundreds that have appeared in the prestigious Flannery O'Connor Award for Short Fiction series.

More than seventy volumes, which include approximately eight hundred stories, have won the Flannery O'Connor Award. This stunning trove of always engaging, often groundbreaking short fiction is the common source for this anthology on work—and for planned anthologies on such topics as family, gender and sexuality, animals, and more.

Sometimes work is rewarding, and sometimes it’s just demanding. From the cubicle to the courtroom, from the stage to the station. These fifteen stories reflect upon the time we dedicate to the jobs we do, from the moment we begin our commute to the second we return home, and every hardworking hour in between.

A Day’s Pay: Stories about Work from the Flannery O'Connor Award for Short Fiction

Growing up can mean growing pains and the joys of new independence. With maturity comes the shift from infinite

possibilities to imminent realities. These thirteen stories describe the slow and subtle experience of growing up, allowing us to reflect upon the forces that pushed us toward adulthood and away from the familiar ground of youth that must be left behind if we are to learn how to soar on our own.

Growing Up: Stories about Adolescence from the Flannery O'Connor Award for Short Fiction

These stories are enveloped by change and the changes that shift the trajectories of our lives: change that shatters us, change that opens the world, and change from which we can never come back. These fourteen stories tell us about extensive and inevitable changes and how we realign ourselves and our lives, if we can.

Changes: Stories about Transformation from the Flannery O'Connor Award for Short Fiction

Kate McIntyre

In this scary, funny, and slyly political short story collection, Kate McIntyre conjures a fever dream of contemporary Kansas. Boundaries between fantasy and reality blur, and grotesque acts birth strange progeny. A mother must choose between her children and her personal safety when her husband steadily excavates a moat around their country home, his very own little border wall. A Kansas politician grapples with international notoriety after an accident traps salt miners hundreds of feet underground—in the same salt mine where his brother was murdered. A bigot’s newly transplanted liver gives him a taste for upbeat 1980s dance tracks while nudging him toward darker plans. And across several stories, we follow Miriam, a young overachiever hell-bent on leaving her home state who is lured back after college to teach elementary school in a rural community. In Culvert, Kansas, Miriam finds closed mouths and big secrets: the toxic waste storage for the battery factory leaches into the soil; the hog farm waste lagoons have sprung leaks; and her students, at turns psychic, lethargic, and aggressive, might not be human.

Mad Prairie: Stories and a Novella

Toni Ann Johnson

In 1962 Philip Arrington, a psychologist with a PhD from Yeshiva, arrives in the small, mostly blue-collar town of Monroe, New York, to rent a house for himself and his new wife. They’re Black, something the man about to show him the house doesn’t know. With that, we’re introduced to the Arringtons: Phil, Velma, his daughter Livia (from a previous marriage), and his youngest, Madeline, soon to be born. They’re cosmopolitan. Sophisticated. They’re also troubled, arrogant, and throughout the linked stories, falling apart.

We follow the family as Phil begins his private practice, as Velma opens her antiques shop, and as they buy new homes, collect art, go skiing, and have overseas adventures. It seems they’ve made it in the white world. However, young Maddie, one of the only Black children in town, bears the brunt of the racism and the invisible barriers her family’s money, education, and determination can’t free her from. As she grows up and realizes her father is sleeping with white women, her mother is violently mercurial, and her half-sister resents her, Maddie must decide who she is despite, or perhaps precisely because of, her family.

Light Skin Gone to Waste: Stories

Carol Roh Spaulding

This collection of linked stories follows four generations of the Songs, a Korean American family, beginning in 1924 just prior to the Immigration Act and extending to near the end of the century. Linked stories, or stories that form a story cycle, are a common book-length form seen in Asian American literature that accommodates multiple perspectives across generations and locations. Through this story cycle, patterns emerge as cultural identity and individuality, often in tension with one another, shape choices and outcomes. 

With these stories, Carol Roh Spaulding charts shifting definitions of “Americanness” across time through the arc of a family narrative. She also explores desire and belonging as articulated, in turns, by the mother, father, granddaughter, great-grandson, and even a ghost child who died after a tragic accident. But these linked stories center on the life experiences of Gracie Song. They follow her from girlhood to young motherhood, through her children’s teenage years, and finally to her elderly solitude, when to her great astonishment she finds romance with a younger man and reconciliation with an estranged daughter—both unexpected gifts of later life.