“A necessary piece in a literary California collection” with new work from Tommy Orange, Rabih Alamdeddine, Mai Der Vang, Jennifer Egan, and others (Los Angeles Times). From immigration rights to climate change, California has been ground zero for the most crucial questions of our time. In a bravura essay, Rabih Alamdeddine remembers bartending during the worst years of the AIDS crisis. William T. Vollmann visits the Carr fire and discovers that gas masks are the new normal. Natalie Diaz describes growing up in the desert and remaking her body on the basketball court. Award-winning journalist Lauren Markham revisits her family’s tales of their arrival in a town built by a con man on stolen land. Karen Tei Yamashita tells of a Japanese-American man going to Hiroshima after the bomb dropped, writing letters home. Reyna Grande witnesses her mother never adapting after migrating from Mexico. Tommy Orange conjures a native man so lost and broke he’s either going to rob a bank or end his life—but love might rescue him. Rachel Kushner sings a hymn to the danger and beauty of cars. And since the Beat movement, California has also given birth to an explosion of poetry. New poems by Frank Bidart, Robin Coste Lewis, D.A. Powell, and recent poet laureate Juan Felipe Herrera join newcomers Mai Der Vang and Javier Zamora in this investigation and celebration of California writing. Featuring new work from Héctor Tobar and Jennifer Egan, Oscar Villalon and Anthony Marra, Geoff Dyer and Elaine Castillo, Freeman’s: California will become a benchmark for California anthologies before and to come. “In this collection, California in all its glorious complexity comes vividly to life.” —Kirkus Reviews

A captivating, emotionally taut novel about the complexities of a friendship between two women—and how it shapes, and reshapes, both of their lives "Filled with gorgeous prose and deep emotion . . . Explores what it means to be an artist, delves into the vicissitudes of life and death, and takes us on journey through the splendor (and sometimes ugliness) of the American West—with dollops of Flaubert, Faulkner, Chekhov, Collette, and Chandler along the way."—Lisa See, author of The Island of Sea Women Jolene and Verna share complicated ties that have crystallized over time. Beginning when they were girls discovering their needs and desires, their ongoing stories have been inextricably linked. But when Verna marries Vincent, Jolene’s ex-husband, their paths may have finally, permanently diverged. A successful and provocative feminist artist, Jolene travels the world, attracting attention wherever she goes. Verna, a writer, works from her home near MacArthur Park in Los Angeles, where she and Vincent plan to spend the rest of their lives in a contemplative, intimate routine. Then Jolene asks one more favor of Verna—to take a road trip with her to their small hometown in Utah. It’s a journey that will force them to confront both the truths and falsehoods of their memories of each other and of the very beginnings of their friendship, and to reckon with the meaning of love, of time itself, of the bonds that matter most to us, and with what we owe one another.

Now a major motion picture starring Nicolas Cage and directed by Gabe Polsky. In his National Book Award–winning novel Augustus, John Williams uncovered the secrets of ancient Rome. With Butcher’s Crossing, his fiercely intelligent, beautifully written western, Williams dismantles the myths of modern America. It is the 1870s, and Will Andrews, fired up by Emerson to seek “an original relation to nature,” drops out of Harvard and heads west. He washes up in Butcher’s Crossing, a small Kansas town on the outskirts of nowhere. Butcher’s Crossing is full of restless men looking for ways to make money and ways to waste it. Before long Andrews strikes up a friendship with one of them, a man who regales Andrews with tales of immense herds of buffalo, ready for the taking, hidden away in a beautiful valley deep in the Colorado Rockies. He convinces Andrews to join in an expedition to track the animals down. The journey out is grueling, but at the end is a place of paradisal richness. Once there, however, the three men abandon themselves to an orgy of slaughter, so caught up in killing buffalo that they lose all sense of time. Winter soon overtakes them: they are snowed in. Next spring, half-insane with cabin fever, cold, and hunger, they stagger back to Butcher’s Crossing to find a world as irremediably changed as they have been.

From the voices of protesters to the encroachment of a new fascism, everywhere we look power is revealed. Spouse to spouse, soldier to citizen, looker to gazed upon, power is never static: it is either demonstrated or deployed. Its hoarding is itself a demonstration. This thought-provoking issue of the acclaimed literary annual Freeman's explores who gets to say what matters in a time of social upheaval. Many of the writers are women. Margaret Atwood posits it is time to update the gender of werewolf narratives. Aminatta Forna shatters the silences which supposedly ensured her safety as a woman of colour walking in public space. Power must often be seized. The narrator of Lan Samantha Chang's short story finally wrenches control of the family's finances from her husband only to make a fatal mistake. Meanwhile the hero of Tahmima Anam's story achieves freedom by selling bull semen. Australian novelist Josephine Rowe recalls a gallery attendee trying to take what was not offered when she worked as a life-drawing model. Violence often results from power imbalances - Booker Prize winner Ben Okri watches power stripped from the residents of Grenfell Tower by ferocious neglect. But not all power must wreak damage. Barry Lopez remembers fourteen glimpses of power, from the moment he hitched a ride on a cargo plan in Korea to the glare he received from a bear traveling with her cubs in the woods, asking - do you plan me harm? Featuring work from brand new writers Nicole Im, Jaime Cortez and Nimmi Gowrinathan, as well as from some of the world's best storytellers, including US poet laureate Tracy K. Smith, Franco-Moroccan writer Leïla Slimani, and Turkish novelist Elif Shafak, Freeman's: Power escapes from the headlines of today and burrows into the heart of the issue.

Nina Revoyr brings us a compelling story of race, love, murder, and history against the backdrop of Los Angeles. —Winner of a 2004 American Library Association Stonewall Honor Award in Literature —Winner of the 2003 Lambda Literary Award —Nominated for an Edgar Award The plot line of Southland is the stuff of a James Ellroy or a Walter Mosley novel . . . But the climax fairly glows with the good-heartedness that Revoyr displays from the very first page. —Los Angeles Times Jackie Ishida’s grandfather had a store in Watts where four boys were killed during the riots in 1965, a mystery she attempts to solve. —New York Times Book Review, included in “Where Noir Lives in the City of Angels” Nina Revoyr brings us a compelling story of race, love, murder, and history against the backdrop of Los Angeles. A young Japanese-American woman, Jackie Ishida, is in her last semester of law school when her grandfather, Frank Sakai, dies unexpectedly. While trying to fulfill a request from his will, Jackie discovers that four black teenagers were killed in the store he ran during the Watts Riots of 1965—and that the murders were never solved or reported. Along with James Lanier, a cousin of one of the victims, she tries to piece together the story of the boys’ deaths. In the process, Jackie unearths the long-held secrets of her family’s history—and her own. Moving in and out of the past, from the shipping yards and internment camps of World War II; to the barley fields of the Crenshaw District in the 1930s; to the means streets of Watts in the 1960s; to the night spots and garment factories of the 1990s, Southland weaves a tale of Los Angeles in all of its faces and forms.

The Covid-19 pandemic forced many of us to reimagine our homes, work, relationships and adapt to a new way of life - one with far fewer possibilities for interaction. And yet, in this period of intense isolation, we've faced dilemmas which are nearly universal. How to love, to care for aging parents, to find a home, attend to a planet in flux, fight for justice. This vast range of experiences is captured by our greatest storytellers, essayists and poets in Freeman's: Change. Some pieces explore the small moments that serve as new routines in a life lived at home, as in Joshua Bennett's essay, where a Coltrane playlist sets the stage for early morning dances with his newborn son. Sometimes, it's the absence of change that drives us to the edge. In Lina Mounzer's 'The Gamble,' a father's incessant hope for a better life festers and sinks the whole family after they leave Lebanon during the Civil War. And in 'Final Days,' Sayaka Murata imagines a future without aging, where people must choose how and when they want to die, consulting guidebooks like Let's Die Naturally! Super Deaths for Adults & The Best Spots. With new writing from Julia Alvarez, Sandra Cisneros, Zahia Rahman, Yoko Ogawa, Yasmine El Rashidi, Lina Meruane and Aleksandar Hemon, and featuring work from never-before-published writers like Elizabeth Ayre, Freeman's: Change opens a window into the many-sided ways we adapt.

Day by day, tweet by tweet, it often feels like our world is run on hate. Invective. Cruelty and sadism. But is it possible the greatest and most powerful force is love? In the newest issue of this acclaimed series, Freeman ' s Love asks this question, bringing together literary heavyweights like Richard Russo, Anne Carson, Sandra Cisneros, Louise Erdrich, Haruki Murakami, Tommy Orange and Nobel Prize winner Olga Tokarczuk alongside emerging writers such as Andres Felipe Solano and Semezdin Mehmedinovic. Together, the pieces comprise a stunning exploration of the complexities of love, tracing it from its earliest stirrings, to the forbidden places where it emerges against reason, to loss so deep it changes the color of perception. In a time of contentiousness and flagrant abuse, this issue promises what only love can bring: a balm of complexity and warmth.

"At the end of the Civil War, an escaped slave first returns to his old plantation and then walks across the ravaged South in search of his lost wife."--Provided by the publisher.

This National Book Award-winning debut poetry collection is a "powerfully evocative" (The New York Review of Books) meditation on the black female figure through time. Robin Coste Lewis's electrifying collection is a triptych that begins and ends with lyric poems meditating on the roles desire and race play in the construction of the self. In the center of the collection is the title poem, "Voyage of the Sable Venus," an amazing narrative made up entirely of titles of artworks from ancient times to the present—titles that feature or in some way comment on the black female figure in Western art. Bracketed by Lewis's own autobiographical poems, "Voyage" is a tender and shocking meditation on the fragmentary mysteries of stereotype, juxtaposing our names for things with what we actually see and know. A new understanding of biography and the self, this collection questions just where, historically, do ideas about the black female figure truly begin—five hundred years ago, five thousand, or even longer? And what role did art play in this ancient, often heinous story? Here we meet a poet who adores her culture and the beauty to be found within it. Yet she is also a cultural critic alert to the nuances of race and desire—how they define us all, including her own sometimes painful history. Lewis's book is a thrilling aesthetic anthem to the complexity of race—a full embrace of its pleasure and horror, in equal parts.