Flannery O'Connor Award for Short Fiction Ser. – serie

In settings as different as Honolulu, Hawaii, small-town Minnesota, and Taxco, Mexico, these nine stories and a novella show blue-collar characters struggling to achieve the American Dream—and sometimes alienating friends and family as they try to upgrade their working-class pedigree. Anne Panning’s people, despite their mixed record of success, make us root for them on their sometimes heartbreaking journeys of entrepreneurship, love, and loss.In “Tidal Wave Wedding” a tsunami in Honolulu yields surprising results for a couple on their honeymoon. In “All-U-Can-Eat,” a woman tries to stave off the investment of her inheritance into a restaurant specializing in frog legs. In the novella, “Freeze,” a teenage son’s future is forever complicated after a “life altering” accident confines his father to a wheelchair and accelerates the disintegration of his parents’ marriage. An eerie clinical replay of another accident—this one on a bicycle in Hawaii—is at the center of “What Happened,” and in the title story a college theater major gets caught up in his father’s exotic pets scheme.Panning’s stories show an acute awareness of place, and—whether it be a seventeenth-century former-monastery in Mexico, a suburban housing development in Minnesota, or a hard-luck laundromat on the Oregon coast—each setting often tells us something about the characters who occupy them. Sometimes sad and often funny, Super America takes risks with our notions about the American Dream through characters caught between their working-class roots and grandiose visions.

In settings from Jerusalem to Manhattan, from the archaeological ruins of the Galilee to Kathmandu, The Pale of Settlement gives us characters who struggle to piece together the history and myths of their family’s past.This collection of linked short stories takes its title from the name of the western border region of the Russian empire within which Jews were required to live during the late eighteenth and nineteenth centuries. Susan, the stories’ main character, is a woman trapped in her own border region between youth and adulthood, familial roots in the Middle East and a typical American existence, the pull of Jewish tradition and the independence of a secular life.In “Helicopter Days,” Susan discovers that the Israeli cousin she grew up with has joined a mysterious cult. “Lila’s Story” braids Susan’s memories of her grandmother—a German Jew arriving in Palestine to escape the Holocaust—with the story of her own affair with a married man and an invented narrative of her grandmother’s life. In “Borderland,” while trekking in Nepal, Susan meets an Israeli soldier who carries with him the terrible burden of his experience as a border guard in the Gaza Strip. And in the haunting title story, bedtime tales are set against acts of terrorism and memories of a love beyond reach. The stories of The Pale of Settlement explore the borderland between Israelis and American Jews, emigrants and expatriates, and vanished homelands and the dangerous world in which we live today.

Please Come Back To Me is another remarkable collection by an author the New York Times has called “a writer with an unsparing bent for the truth.”In “The Nurse and the Black Lagoon” a woman tries to understand why her teenage son has been accused of a disturbing crime. In “Testimony” an adult daughter visiting her father does everything she can to keep herself from remembering what she believes she cannot bear. A man returns to his hometown in “Dear Nicole” to face the realization that he married the wrong woman out of misplaced guilt. “Oregon” portrays the internal struggle of a woman who, having years ago betrayed a secret entrusted to her by her best friend, is tempted to repeat the mistake with the same friend’s daughter. And in the collection’s novella, “Please Come Back To Me,” a young widow seeks faith and comfort—in both natural and supernatural realms—after her husband’s death leaves her alone to care for their infant son.On the surface, Jessica Treadway’s stories offer realistic portrayals of people in situations that make them question their roles as family members, their ability to do the right thing, and even their sanity. But Treadway’s psychic landscapes are tinged with a sense of the surreal, inviting readers to recognize—as her characters do—that very little is actually as it seems.

Susan Neville combines a gift for language with a subtle eye and a fine instinct for character. Her characters—and her settings—are, most of them, midwestern. There is the staunchly midwestern wife in the story "Kentucky People," for instance. She was born in this house in this Indiana town, a world far removed from people like Mrs. Lovelace, next door, transient people "who have followed the industrial revolution from Kentucky to Indiana and most of whom are now in Texas." Nothing really out of the way has ever happened to her. Now she "shivers with excitement" when she is called upon to help Mrs. Lovelace throw her husband out—helps her haul all of his belongings out onto the porch: underwear, shoes, whiskey bottles, rolltop desk, even "wedding presents from his side of the family."The collection moves from the playful tone of "Johnny Appleseed," in which the author takes an old fecundity myth and does something different with it, to the wise and poignant story of an elderly woman attending a family gathering at which she recognizes the separateness from her children and grandchildren that the cancer within her has given her. It has been months since any one of them has kissed her on the mouth. There are so many things that she would like to tell them, "but they don''t want to talk about it, each one of them positive that he is the one human being in the history of the earth who will never ever die."All of the stories in this unusual first collection stick in the reader''s mind long after he has read them.

Though Hugh Sheehy’s often tragic, sometimes gruesome stories feature bloodied knives and mysterious disappearances, at the heart of these thoughtful thrillers are finely crafted character studies of people who wrestle with the darker aspects of human nature—grief, violence, loneliness, and the thoughts of crazed minds.Sheehy’s stories shine a spotlight on the bleak fringes of America, giving voice to the invisibles who need it most. A dismal assistant teacher spiking her coffee after school is suddenly locked in a basement with a student who has just witnessed his father’s murder. A seventeen-year-old girl at a skate rink whose name no one can remember is motherless, friendless, and sure she will be the next to go. The heartbroken victim of a miscarriage dreams of her fetus’s voyage through the earth’s plumbing. The estranged addict son, certain of his innate goodness, loses himself in a blizzard and fails his family again. Sheehy’s characters learn that however invisible they may feel and whatever their intentions, their actions incur a cost both to themselves and those around them. They struggle to tame or come to terms with the forces they meet—the tragedies—that are far larger than their small existences. In this debut, Sheehy illuminates the all-but-silent note of adult loneliness and how we cope with it or, perhaps, just move past it.

Set mostly in Chicago''s blue-collar neighborhoods, these stories focus on subjects that concern us all: disease and death, vandalism and sacrilege, rape and infidelity, lost love. The husband and wife in the title story look at their pasts - his as an activist in the sixties and hers as a believer in reincarnation and the tarot - in light of the news stories they watch on television each evening and question whether they should bring a child into the world. And in ""The Walk-On,"" a bartender and former varsity pitcher for the University of Illinois Fighting Illini finds the actual events of the most cataclysmic day in his past unequal to their impact on his life and so rewrites them in his mind, adding an ill-placed banana peel, a falling meteor, and a careening truck in order to create a more fitting climax and finally to leave those memories behind him.

Searching their pasts for clues to the present, searching the horizons of their days for love, the characters in The Evening News seek, and sometimes find, redemption in a world of uncertainty and brightly burning emotions.

In The Viewing Room, two hospital chaplains console the living during the moments when they look upon their beloved dead for one last time in a large urban hospital in Los Angeles. But this room is also a character, linking stories together and bearing witness in chilling testimony of grief and wisdom. Henrietta and Maurice, the chaplains, are ministers who have lost their faith due to devastating personal tragedy. Still, they regain their hold on their own lives through their work, one death at a time.Jacquelin Gorman lays bare nine parallel worlds of suffering in stories of unflinching detail, vividly told with heart, guts, and compassion. In these pages, the children are both murderers and victims, and the adults fare no better: a teenage father shakes his screaming baby to death; high school surfers kill the homeless for sport as a way of cleaning up their beaches; a Muslim basketball player readies her best friend for burial with a sacred ritual that reveals forbidden love; a scorned ex-wife leaves a message in permanent ink on the body of her betrayer; and a pet therapy dog’s unconditional love for a decaying body memorializes the spirit within.This moving and unsettling collection of stories shines a piercing light on the dark corners of our modern world, illuminating necessary truths that convey a clearer and, undoubtedly, greater vision of humanity.

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.

Work, and the coffee-fueled 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.