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A lost midcentury classic-the farcical misadventures of a queer Black teen sharing a house with two adoptive mothers, a lascivious cook, and a reticent ghost.In a small Michigan town, in the late 1950s, the widow Etta Klein-wealthy and Jewish-has for more than thirty years relied for aid, comfort, and companionship on her Black housekeeper Harriet Gibbs. Between “Aunt Harry” and Etta, a relationship has developed that is closer than a friendship, yet not quite a marriage. They are inseparable, at once absurdly unequal and defined by a comic codependence.Forever mourning the early death of her favorite son, Sargent, Etta has all but adopted Aunt Harry’s nephew, the precocious, gay seventeen-year-old Oliver, who has been raised by both women. Oliver is facing down his departure to college-and fending off the advances of Etta’s cook, Nella Mae-when the household is disrupted by the arrival of a self-proclaimed “warlock,” one Maurice LeFleur, who has convinced Etta and Harry that he might be able to contact Sargent in the afterlife . . .Ladies of the Rachmaninoff Eyes was the debut of the extraordinary Henry Van Dyke, whose witty and outrageous novels look back to the sparkling, elaborate comedies of Ronald Firbank and forward to postmodern burlesques like Fran Ross’s Oreo. There is nothing else quite like them in American fiction.

Ladies of the Rachmaninoff Eyes (Mcnally Editions, 25)

The Oppermanns

A noir tour-de-force set in the world of hustlers from "one of America's darkest and funniest chroniclers." (The Guardian)It's New York City, 1981, and everyone wants to be at the Emerson Club, from Cindy Crawford to Cindy Adams; from Famous Roger, one-time lion of the talk shows, to Sandy Miller, the “downtown” writer with the tattoos and the leather; from Lauren Hutton to the art star who does the thing with the broken plates. Everyone, that is, except Danny. Danny just works there, waiting tables to put himself through architecture school, turning tricks on the side. And when he’s not on the clock, he’s recording the sexual, aesthetic, and financial transactions that make up his life, in gruesome detail. But even a clever boy like Danny can wind up on the menu. Blinded by love for his fellow rent boy, Chip-as gorgeous as he is reckless-Danny is about to learn that there’s more than one way to turn your body into cash, and that cynicism is no defense when the real scalpels come out. A gimlet-eyed crime novel with an inventively filthy mind, Rent Boy is Gary Indiana at his most outrageous-and his best.

Rent Boy

A bewitching collage of fiction, memoir, and mythography from the author unique in her “ability to evoke the hidden life, the life unseen, the life we don’t even know we are living.” (Parul Sehgal, New York Times Magazine)Mary Gaitskill is unique among American novelists in “her ability to evoke the hidden life, the life unseen, the life we don’t even know we are living.”* In this searching biography of the writer’s imagination, Gaitskill excavates her own novels, revealing their origins and obsessions, the personal and societal pressures that formed them, and the life story hidden between their pages. Using the techniques of collage, The Devil's Treasure splices fiction together with commentary and personal history, and with the fairy tale that gives the book its title, about a little girl who ventures into Hell through a suburban cellar door.The result is an answer to Gaitskill’s critics and, simultaneously, the best book we have about contemporary fiction, the forces ranged against it, and the forces that bring it into being.“Even among other artists attracted to weakness as a theme, [Gaitskill] is rare in being able to look at it on its own terms. She doesn’t treat it like a curiosity, like Diane Arbus, or a chink in the armor that might let in faith, like Flannery O’Connor. She isn’t afraid of it, like Muriel Spark; nor does she insist its depictions rouse us to action, like Sontag. She looks-just looks-and sees everything.” -Parul Seghal, New York Times Magazine*

The Devil's Treasure (Mcnally Editions, 20)

A “frank and wry, mad and graceful” (Slate) true story about getting dumped, and getting over it.When the phone rang on a cold November afternoon in 1990, Grégoire Bouillier had no way of knowing that the caller was the woman who had left him, without warning, five years before. And he couldn’t have guessed why she was calling: not to say she was sorry, not to explain why she’d vanished from his life, but to invite him to a party. A birthday party. For a woman he’d never met.Here is the unlikely but true account of how one man got over a broken heart, regained his faith in literature, participated-by mistake-in a work of performance art, threw away his turtlenecks, spent his rent money on a 1964 bordeaux that nobody ever drank, and fell in love again. Named one of the year’s best books by Slate and the San Francisco Chronicle when it first appeared in English, The Mystery Guest is a “darkly hilarious . . . odyssey . . . that wends its loopy way toward yes” (O, the Oprah Magazine).

The Mystery Guest

Free Love: The Story of a Great American Scandal

Who could have been so cruel as to do away with poor Vivian Lambert? And why oh why couldn’t she just stay dead?In a rustic, idyllic English village, on a summer’s day, in the midst of a carefree tennis party, a fragile, needy child, left too much on her own, vanishes from her family’s front garden.Years pass and the mystery persists: an enduring torment for the teenage Christine Gray, the last person to see Vivian alive. Perhaps if she’d shown the girl a little kindness, and seen her safely home, Vivian might still be with them? Yet when someone claiming to be a grown-up Vivian returns to the land of the living, the enigma seems only to deepen, threatening to consume the wicked and innocent alike.Equal parts The Turn of the Screw, Picnic at Hanging Rock, and gothic thriller, Twice Lost was admired by such authors as Elizabeth Bowen, Rebecca West, and John Cowper Powys-yet the strange, haunting novels of Phyllis Paul are themselves a mystery with no simple solution. Virtually lost to time even before her death, her novels have been out of print for more than fifty years, and fetch fantastic prices in the rare book trade.

Twice Lost

“Emily Dickinson springs to life in this remarkable, long-out-of-print biography written by her niece . . . Though millions of pages have been written about Dickinson . . . few have provided such a thrilling close-up portrait. Readers will be rapt from the first page.” -Publishers Weekly (Starred Review)What would it be like to have Emily Dickinson as your babysitter? In this astonishing memoir, out of print for almost a century, Martha “Matty” Dickinson describes the childhood she spent next door to-and often in the care of-her Aunt Emily. We see Matty as a little girl, hiding from the other grownups in Emily’s upstairs rooms, helping Emily in the kitchen, venturing with her into the cellar for the gingerbread she wasn’t supposed to have. As Matty becomes a teenager, she finds a confidante in her aunt, who is fascinated by the latest youth fads, school gossip, and the recurring question of what to wear to a party (“her ‘vote’ was for my highest-heeled red slippers”)-not to mention the music, novels, and poems she and Matty both love. From an early age, Emily teaches Matty the joys of solitude and independence: “No one,” Emily said, “could ever punish a Dickinson by shutting her up alone.” First published in 1932, this is the most intimate record we have of Emily Dickinson, whose death sparked a long family struggle over her work and her image. In a foreword to this new edition, the poet and critic Anthony Madrid provides a biographical frame for Matty’s recollections, and explains how such a remarkable document could spend so long out of sight.

Emily Dickinson Face to Face

“A ferocious comedy of middle-class dysfunction . . . published to controversy in 1973 . . . A masterpiece.” -Claire Allfree, The TelegraphWhen Dinah Brooke’s second novel, Lord Jim at Home, was first published in 1973, it was described as “squalid and startling,” “nastily horrific,” and a “monstrous parody” of upper-middle class English life. It is the story of Giles Trenchard, who grows up isolated in an atmosphere of privilege and hidden violence; who goes to war, and returns; and then, one day-like the hero of Joseph Conrad's classic Lord Jim-commits an act that calls his past, his character, his whole world into question.Out of print for nearly half a century (and never published in the United States), Lord Jim at Home reveals a daring writer long overdue for reappraisal, whose work has retained all its originality and power. As Ottessa Moshfegh writes in her foreword to this new edition, Brooke evokes childhood vulnerability and adult cruelty “in a way that nice people are too polite to admit they understand.”

McNally Editions(10)

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