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“Delicately distilled perfection.” –The New York Times“A rare specimen of nearly perfect writing.” –Publisher’s Weekly “This is evocation at the level of magic.” –Wallace Stegner

A teenage girl’s coming-of-age in the Midwest in the 1940s, centering on her relationship with her father and grandfather. About it, Tillie Olsen wrote, “Wondrous, a true American classic . . . the timeless magic which is art.” The Dead of the House is a novel that has, in the years since it was first published, solidified itself as American canon. This is the first and only novel published by Hannah Green, who died in 1996. She spent nearly two decades writing the book.

“[Delaney] cares about details and understands their importance to the larger themes of loss, desperation, and betrayed loyalties. His characters are . . . fully realized, familiar people, whose failures are heartbreakingly authentic.” —The Boston Globe

A Bureau of Indian Affairs agent in a remote Wyoming reservation reckons with the clash of cultures, his own failings, and the attempted destruction of a people. 

Five teenagers take a joyride through the barren landscape of a small Wyoming reservation. Only four survive. It’s 1958, and the death triggers years of pent-up tensions between the town of Suncreek and the members of the Towuk tribe. The locals barely subsist in a tenuous small-town existence; the Towuk are still mourning the loss of their long-gone way of life. The white residents of Suncreek deeply resent what they see as the Towuk tribe’s windfall—oil deposits that have turned the desolate reservation into something of sudden value. But the tribe struggles with its newfound money, which has brought them a modicum of wealth for which they have been swindled and abused. 

The town’s sheriff threatens to make an example of the teenage driver, Nelson Antelope. Tim Hubbard of the Bureau of Indian Affairs, a troubled Korean War vet, acts to thwart that effort and protect the boy. Shut out by the tribe, Hubbard finds guidance in the archived reports from an earlier agent named Dorrance. A protégé of Horace Greeley and his Utopianism, Dorrance was recruited to make farmers out of a horse-borne nomadic tribe—and thus force hard boundaries on how and where they could exist. The dual tales of Hubbard and Dorrance chronicle these conflicted stewards and the devastating toll their reluctant mission takes on a culture not their own.

Morally complex and fully relevant to today’s issues of freedom and land occupation, Hard Margins is about captive people and their desire to escape their fates, and the captors who desire just as fervently to escape theirs. 

"Scintillating." —Edmund White 

"A furtive treasure of the American avant-garde." —Publishers Weekly

“A remarkably realized work of art.” —Matthew Stadler

“Delaney[‘s] splendid fictional biography of Cary Grant . . . perfectly befits the glamour and fakery of his subject.” —Publishers Weekly (starred review)

“Everyone wants to be Cary Grant,” mused the world’s most famous leading man. Even I want to be Cary Grant.”

It’s 1959, and the 55-year-old man who calls himself Cary Grant is at the peak of a charmed career. He’s also on a turbulent journey to find the core of a self he hardly seems to know anymore. Introduced to the wonder drug LSD as part of his therapy at The Psychiatric Institute of Beverly Hills, he embarks on upward of one hundred psychedelic trips—at times harrowing journeys. And on the way, he rediscovers the long-ago boy who faced the world as Archie Leach, the earnest, gap-toothed stilt walker and tumbler he once was, long ago.

     In The Acrobat, fiction writer Edward J. Delaney takes on the elusive character of Cary Grant. He imagines the inner life of a man who spent a career brilliantly creating a persona as ethereal as his best roles. As Grant launches on LSD-fueled trajectories of discovery, The Acrobat likewise transports readers through his fractured upbringing, his start in English vaudeville, his life on the Hollywood sets, and his relationships with fellow travelers prominent in his life: Howard Hughes, Randolph Scott, Blake Edwards, Tony Curtis, two of the five women he married, and more. Amid the endless versions of himself and the characters he’s played, he yearns to shape himself into something singular, forged from the layers of illusion he’s smilingly foisted on the world, and for which the world has come to love him. This riveting dramatization of the actor’s life takes us beyond the firm terrain that biographies tread, to offer a new perspective on a complex Hollywood legend.