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Lines is about possibilities, about the choices we make – or fail to make. It’s a star-crossed love story; it’s a bitter tragedy. It’s about Josh and Abby and their intertwined lives, together and apart, through births and deaths and the beautiful mess in between.

Who's Going to Love the Dying Girl? by Bree Rolfe is a revolutionary debut poetry collection touching on society, loss, illness, and learning to grasp with things that cannot be changed. Rolfe executes verse with precision and fierceness.

The Animal Within is filled with poems that want to swim together, focusing on animal and human nature. Dive in and listeners find a world where horses speak their minds, crawdaddies sing, and mermaids find love. Wolves howl "ahwoo at the full strawberry harvest moon in June", and birds do more than flap their wings, but rather create a voice for the oppressed. Humans step in, personas based off the author, and consider loss, depression, and love- inner-self mixed with creature habits—scratching down a lover's back or crying in a zoo.

The River People by Liz Kellebrew is a haunting and lyrical exploration of 19th-century westward expansion into the Pacific Northwest. Through the intertwined journeys of Marilla, John, and Walter—each navigating rivers that serve as both roads and unforgiving forces—the novel weaves together fiction, historical documents, memoir, and poetry. As these characters face hardships and triumphs, their choices and loves reverberate through generations.

At 40, Ford Carson has forged a new life as a visual artist in the mountains of North Carolina. A chance meeting with Grace Burnett leads to a burgeoning love affair. But the romance is complicated by Grace’s estranged husband and the unexpected arrival of Ford’s own estranged son.

Three men seeking forgiveness pass through the Shelby Hotel as part of their painful journey. Meanwhile, the family that runs it must contend with ghosts who won’t leave.

The stories in How to Write an Emotionally Resonant Werewolf Novel were written during the tumultuous years following the global financial crisis. They show us glimpses of ourselves as we fold shirts for minimum wage at the mall, scrape together rent money from tips earned waiting tables, stay up until three a.m. playing video games, skip school, skip work, smoke cigarettes, watch resignedly as our nation marches to war, cheat on the people we love, linger at night on their social media pages, and find ourselves suddenly alone and at peace, standing on a hilltop with birds.

What scares you more? The monster under your bed or the one staring back at you in the mirror? Authors C. M. Chapman and Larry Thacker blur the lines between the kinds of monsters that roam the Earth in their latest short story collection, Everyday, Monsters. In 21 stories, listeners encounter monsters ranging from mythological and psychological to maliciously human and darkly comical. Monsters creep from the deepest parts of humanity, the kind that we are born with, proving that even those with the best senses can overlook shadowy lurking beasts.

When a young man finds himself in that awkward stage between middle and high school, a difficult time for anyone, he begins to understand what it means to find yourself in the modern world. Between navigating life both in school and online, his family begins to crumble around him, and everything he once relied on becomes everything he fears. As the struggles at home and school pile up, he begins to lose the few things he has left until he feels there is nothing left to lose.

The Tin Can House and Other Stories is a remarkable short story collection by renowned Virginia author Susan Pepper Robbins. Featuring some of her best short stories, the collection delivers powerful, gritty characters full of heart and spirit. Ranging from longer stories to one-page hitters, Robbins masters the pen and sprays ink economically.

Letters to Minnehaha Creek is a poetry collection structured in four sections of poems through the passing seasons. In many of the poems, the narrator addresses Minnehaha Creek directly, reminiscing about her deceased friend, Dorothy, as she walks the same neighborhood routes they once traveled together. The tone of the poems reflects the seasons. Fall takes place in the aftermath of Dorothy’s death and explores the narrator’s longing for her friend. Winter highlights the narrator’s sadness and acceptance that Dorothy is truly gone.

A young woman travels through Europe in the late nineties after she learns of her ex-girlfriend's suicide, whose ghost follows her around. She meets an array of people, including a tarot reader, a gay farmer, an expat trans woman, and a French lesbian with a dreamy pit bull. Discovering new love and friendship while remembering the struggles of her past relationship, the story weaves between the narrator's present-day adventures and coming-of-age love, sewn together by existential conversations with the ghost of her ex.

Maggie and Marta Dugan are identical twins. Their relationship has the usual sisterly strains, until home alone one afternoon, Maggie masquerades as Marta when a friend of hers drops by. The ruse is quickly discovered, a rift between the sisters ensues, and they go their separate ways. But living apart is hard; real independence harder still. Will they come back together? How long until each realizes she needs the other to feel whole?

When Lavinia Starkhurst’s husband is killed in a freak accident, she takes to the open road and meets a number of strangers, all with struggles of their own. Through these unexpected and occasionally hilarious encounters, Lavinia reflects on her past deeds, both good and bad, explores her two marriages and her roles as caregiver and wife, hoping all the while for self-acceptance and something to give her new life meaning.

In TAKE THE LIVELY AIR, a minor traffic collision escalates into a confrontation between two families haunted by their pasts and apprehensive of their futures. Rage and regret butt heads against the background of America’s toxic cultural climate. But saner voices discover that human frailties are best viewed through the microscope of compassion, and our common humanity must be acknowledged to make way for our futures.

Kathmandu contains reflections of an immigrant mother raising two young children in America. In the backdrop of her memories of Kathmandu, Anuja Ghimire is trying to find her place in the world and trying to make sense of it. Through a journey of political violence from her first home to her new home, she finds enduring love and hope in the first sightings of spring and in the blossoming of her children.

From the Land of Genesis is a profound collection of short stories centered on veterans, whose lives have been permanently affected by the wars of Afghanistan and Iraq. Based on research and interviews that O’Shea conducted himself, these interwoven stories offer insight to the struggles that veterans face upon returning home. However, the stories also feature glimpses of hope amidst the despairing truths that make for beautiful stories veterans can relate to, and for civilian readers to experience vicariously the extremes of the human condition.

THE PRUMONT METHOD is a darkly funny story capturing the wild last gasp of a family in retrograde against the backdrop of gun violence run amok in America. Staring down the barrel of a crumbling career and imploding marriage, "math hobbyist" Roger Prumont, unwittingly creates a formula that might predict when and where the next mass shooting occurs. He hits the road (where he’s joined by his unimpressed daughter) to test whether the Method could actually save lives, except he might just be risking his own in the process.

Written while riding the ferry across Puget Sound, Liz Kellebrew’s poems explore the liminal places between cities and forests, animals and people, the sky and the sea. This gorgeous and impactful debut gazes unflinchingly at the twin crises of climate change and human hubris, urging us to look closer at the creatures who co-exist with us in the space between wild and tame.

These poems attempt to retrace and re-imagine stories that have remained untold, filling the gaps between symptoms and family myths. The place is somewhere in rural Europe. The stories could be those of a woman and her children and their children. The time is a long time ago, but it is also now and maybe tomorrow. They come from the earth, the one you cherish and feed and get fed from. Archeology requires some imagination. Mental illnesses require attention. Reality isn’t completely important here, as long as we can finally walk to a river, and in a fresh and slow world, start to talk.