“In the fall, I went for walks and brought home bones. The best bones weren’t on trails—deer and moose don’t die conveniently—and soon I was wandering so far into the woods that I needed a map and compass to find my way home. When winter came and snow blew into the mountains, burying the bones, I continued to spend my days and often my nights in the woods. I vaguely understood that I was doing this because I could no longer think; I found relief in walking up hills. When the night temperatures dropped below zero, I felt visited by necessity, a baseline purpose, and I walked for miles, my only objective to remain upright, keep moving, preserve warmth. When I was lost, I told myself stories . . .” So Charles D’Ambrosio recounted his life in Philipsburg, Montana, the genesis of the brilliant stories collected here, six of which originally appeared in The New Yorker. Each of these eight burnished, terrifying, masterfully crafted stories is set against a landscape that is both deeply American and unmistakably universal. A son confronts his father’s madness and his own hunger for connection on a misguided hike in the Pacific Northwest. A screenwriter fights for his sanity in the bleak corridors of a Manhattan psych ward while lusting after a ballerina who sets herself ablaze. A Thanksgiving hunting trip in Northern Michigan becomes the scene of a haunting reckoning with marital infidelity and desperation. And in the magnificent title story, carpenters building sets for a porn movie drift dreamily beneath a surface of sexual tension toward a racial violence they will never fully comprehend. Taking place in remote cabins, asylums, Indian reservations, the backloads of Iowa and the streets of Seattle, this collection of stories, as muscular and challenging as the best novels, is about people who have been orphaned, who have lost connection, and who have exhausted the ability to generate meaning in their lives. Yet in the midst of lacerating difficulty, the sensibility at work in these fictions boldly insists on the enduring power of love. D’Ambrosio conjures a world that is fearfully inhospitable, darkly humorous, and touched by glory; here are characters, tested by every kind of failure, who struggle to remain human, whose lives have been sharpened rather than numbed by adversity, whose apprehension of truth and beauty has been deepened rather than defeated by their troubles. Many writers speak of the abyss. Charles D’Ambrosio writes as if he is inside of it, gazing upward, and the gaze itself is redemptive, a great yearning ache, poignant and wondrous, equal parts grit and grace. A must read for everyone who cares about literary writing, The Dead Fish Museum belongs on the same shelf with the best American short fiction.

Charles D'Ambrosio's essay collection Orphans spawned something of a cult following. In the decade since the tiny limited-edition volume sold out its print run, its devotees have pressed it upon their friends, students, and colleagues, only to find themselves begging for their copy's safe return. For anyone familiar with D'Ambrosio's writing, this enthusiasm should come as no surprise. His work is exacting and emotionally generous, often as funny as it is devastating. Loitering gathers those eleven original essays with new and previously uncollected work so that a broader audience might discover one of the world's great living essayists. No matter his subject - Native American whaling, a Pentecostal 'hell house', Mary Kay Letourneau, the work of J. D. Salinger, or, most often, his own family - D'Ambrosio approaches each piece with a singular voice and point of view; each essay, while unique and surprising, is unmistakably his own. Charles D'Ambrosio is the author of two collections of short stories, The Point (a finalist for the Hemingway Foundation/PEN Award) and The Dead Fish Museum (a finalist for the PEN/Faulkner Award), as well as the essay collection Orphans. His work has appeared frequently in the New Yorker, as well as in Tin House, the Paris Review, Zoetrope All-Story, A Public Space, and Story. D'Ambrosio has been the recipient of the Whiting Writers' Award, an Academy Award from the American Academy of Arts and Letters, a Lannan Foundation Fellowship, and a USA Rasmuson Fellowship. He lives in Portland, Oregon. '[D'Ambrosio] is one of the strongest, smartest and most literate essayists practicing today.' New York Times 'What I admired most about these essays is the way each one takes its own shape, never conforming to an expected narrative or feeling the need to answer all the questions housed within. D’Ambrosio allows his essays their ambivalence.' Millions 'An exciting essay collection because it takes ideas and heady, essayistic topics—whales, hell houses, the overused, wheezing corpse of J.D. Salinger—and it manages to make something new out of them...Every one is a pleasure, diamond-cut and sharp in its incisive observations on how to be a human.' Flavorwire 'This careful dance of high and low, of timing, circumspection, and room for nuance—and the disarming honesty—make it clear that D'Ambrosio knows how to write a good essay, but what makes the collection great is his vast, almost painfully acute sense of compassion...it delivers that most primal pleasure of reading—the feeling of being understood, of not being alone.' NPR 'This powerful collection highlights D'Ambrosio's ability to mine his personal history for painful truths about the frailty of family and the strange quest to understand oneself, and in turn, be understood.' Publishers Weekly 'Charles D'Ambrosio's essays are excitingly good. They are relevant in the way that makes you read them out loud, to anyone who happens to be around. Absolutely accessible and incredibly intelligent, his work is an astounding relief - as though someone is finally trying to puzzle all the disparate, desperate pieces of the world together again.' Jill Owens, Powell's 'His essays are expansive in scope and in spirit...D'Ambrosio is a writer with an unusual combination of qualities: penetrating, critical powers and a lyrical, almost hypnotic, prose style. He’s an expert a capturing the strangeness of familiar things.' Weekend Australian 'He's funny, insightful, intimate and inquiring.' The Paperback Bookshop ‘This volume of the collected essays and journalism of Charles D'Ambrosio shows what pleasure is to be had when a first-class writer is given their head and space to roam...[D'Ambrosio] is self-conscious in his responses, both intellectual and emotional, so that there is a kind of architectural honesty about his writing. You can see the pulleys and levers and exactly what makes him tick.’ New Zealand Herald

Loyalty. Envy. Obligation. Dreams. Disappointment. Fear. Negligence. Coping. Elation. Lust. Nature. Freedom. Heartbreak. Insouciance. Audacity. Gluttony. Belief. God. Karma. Knowing what you want (there is probably a French word for it). Saying Yes. Destiny. Truth. Devotion. Forgiveness. Life. Happiness (ever after). Hannah and Zoe haven’t had much in their lives, but they’ve always had each other. So when Zoe tells Hannah she needs to get out of their down-and-out New Jersey town, they pile into Hannah’s beat-up old Le Mans and head west, putting everything—their deadbeat parents, their disappointing love lives, their inevitable enrollment at community college—behind them. As they chase storms and make new friends, Zoe tells Hannah she wants more for her. She wants her to live bigger, dream grander, aim higher. And so Zoe begins teaching Hannah all about life’s intangible things, concepts sadly missing from her existence—things like audacity, insouciance, karma, and even happiness. An unforgettable read from the acclaimed author of The Probability of Miracles, The Museum of Intangible Things sparkles with the humor and heartbreak of true friendship and first love.

A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist). In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall account of the inner workings of a world-class museum, and tell a story of outlandish characters and bad behavior that could come straight from the pages of a thriller. “In an authoritative account, two reporters who led a Los Angeles Times investigation reveal the details of the Getty Museum’s illicit purchases, from smugglers and fences, of looted Greek and Roman antiquities. . . . The authors offer an excellent recap of the museum’s misdeeds, brimming with tasty details of the scandal that motivated several of America’s leading art museums to voluntarily return to Italy and Greece some 100 classical antiquities worth more than half a billion dollars.” —Publishers Weekly, starred review “An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums.” —Jonathan Harr, author of The Lost Painting

This horror story has a man unable to distinguish between what is real and not real in a museum and finding out in a very horrific way. Stephen King said "H. P. Lovecraft has yet to be surpassed as the twentieth century's greatest practitioner of the classic horror tale."

Longlisted for the 2018 National Book Award in Poetry Winner of the National Poetry Series Competition, selected by Cornelius Eady--an exploration in verse of imperial appropriation and Mexican American cultural identity "Marvelous, argumentative, and curiosity-provoking" --The New York Times Book Review The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be coded with the trans-historical consequences of an imperial narrative. Engaging beautiful and otherworldly Mexican casta paintings, morbid photographic postcards depicting the bodies of dead Mexicans, the strange journey of the wood and cork leg of General Santa Anna, and Martinez's own family lineage, Museum of the Americas gives accounts of migrant bodies caught beneath, and fashioned under, a racializing aesthetic gaze. Martinez questions how "knowledge" of the body is organized through visual perception of that body, hypothesizing the corporeal as a repository of the human situation, a nexus of culture. Museum of the Americas' poetic revives and repurposes the persecuted ethnic body from the appropriations that render it an art object and, therefore, diposable.

As heard on NPR's This American Life “Absorbing . . . Though it's non-fiction, The Feather Thief contains many of the elements of a classic thriller.” —Maureen Corrigan, NPR’s Fresh Air “One of the most peculiar and memorable true-crime books ever.” —Christian Science Monitor A rollicking true-crime adventure and a captivating journey into an underground world of fanatical fly-tiers and plume peddlers, for readers of The Stranger in the Woods, The Lost City of Z, and The Orchid Thief. On a cool June evening in 2009, after performing a concert at London's Royal Academy of Music, twenty-year-old American flautist Edwin Rist boarded a train for a suburban outpost of the British Museum of Natural History. Home to one of the largest ornithological collections in the world, the Tring museum was full of rare bird specimens whose gorgeous feathers were worth staggering amounts of money to the men who shared Edwin's obsession: the Victorian art of salmon fly-tying. Once inside the museum, the champion fly-tier grabbed hundreds of bird skins—some collected 150 years earlier by a contemporary of Darwin's, Alfred Russel Wallace, who'd risked everything to gather them—and escaped into the darkness. Two years later, Kirk Wallace Johnson was waist high in a river in northern New Mexico when his fly-fishing guide told him about the heist. He was soon consumed by the strange case of the feather thief. What would possess a person to steal dead birds? Had Edwin paid the price for his crime? What became of the missing skins? In his search for answers, Johnson was catapulted into a years-long, worldwide investigation. The gripping story of a bizarre and shocking crime, and one man's relentless pursuit of justice, The Feather Thief is also a fascinating exploration of obsession, and man's destructive instinct to harvest the beauty of nature.

A CARP FOR KIMIKO is the story of a young girl's struggle against the strong current of tradition. Every year on Children's Day in Japan a kite in the shape of a carp is flown for each boy in the family. Kimiko is a little girl who desperately wants an orange, black, and white calico carp kite of her own to fly on this holiday. Kimiko's parents remind her that there is a holiday just for girls?Doll's Festival Day, but this does not stop Kimiko from dreaming about and wishing for her very own carp. The magical ending achieves the impossible?Kimiko gets what she longs for without breaking tradition. Katherine Roundtree's beautiful illustrations evoke the wonder and excitement of childhood, which will charm readers of all cultures.

After her curiosity is piqued by a safari gone awry, a journalist delves into the curious world of taxidermy and shares her findings. It’s easy to dismiss taxidermy as a kitschy or morbid sideline, the realm of trophy fish and jackalopes or an anachronistic throwback to the dusty diorama. Yet theirs is a world of intrepid hunter-explorers, eccentric naturalists, and gifted museum artisans, all devoted to the paradoxical pursuit of creating the illusion of life. Into this subculture of passionate animal-lovers ventures journalist Melissa Milgrom, whose journey stretches from the anachronistic family workshop of the last chief taxidermist for the American Museum of Natural History to the studio where an English sculptor, granddaughter of a surrealist artist, preserves the animals for Damien Hirst’s most disturbing artworks. She wanders through Mr. Potter’s Museum of Curiosities in the final days of its existence to watch dealers vie for preserved Victorian oddities, and visits the Smithsonian’s offsite lab, where taxidermists transform zoo skins into vivacious beasts. She tags along with a Canadian bear trapper and former Roy Orbison impersonator—the three-time World Taxidermy Champion—as he resurrects an extinct Irish elk using DNA studies and Paleolithic cave art for reference; she even ultimately picks up a scalpel and stuffs her own squirrel. Transformed from a curious onlooker to an empathetic participant, Milgrom takes us deep into the world of taxidermy and reveals its uncanny appeal. “Hilarious but respectful.” —Washington Post “Engrossing.” —New Yorker “[A] delightful debut . . . Milgrom has in Still Life opened up a whole world to readers.” —Chicago Tribune “Milgrom’s lively account will appeal to readers who enjoyed Mary Roach’s quirky science books.” —Library Journal