A brilliant, action-packed reimagining of Adventures of Huckleberry Finn, both harrowing and ferociously funny, told from the enslaved Jim's point of view. From the “literary icon” (Oprah Daily) and Pulitzer Prize Finalist whose novel Erasure is the basis for Cord Jefferson’s critically acclaimed film American Fiction.

When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond.

While many narrative set pieces of Adventures of Huckleberry Finn remain in place (floods and storms, stumbling across both unexpected death and unexpected treasure in the myriad stopping points along the river’s banks, encountering the scam artists posing as the Duke and Dauphin…), Jim’s agency, intelligence and compassion are shown in a radically new light.

Brimming with the electrifying humor and lacerating observations that have made Everett a “literary icon” (Oprah Daily), and one of the most decorated writers of our lifetime, James is destined to be a major publishing event and a cornerstone of twenty-first century American literature.

The Trees is a page-turner that opens with a series of brutal murders in the rural town of Money, Mississippi. When a pair of detectives from the Mississippi Bureau of Investigation arrive, they meet expected resistance from the local sheriff, his deputy, the coroner, and a string of racist white townsfolk.

The murders present a puzzle, for at each crime scene there is a second dead body: that of a man who resembles Emmett Till, a young black boy lynched in the same town sixty-five years before. The detectives suspect that these are killings of retribution, but soon discover that eerily similar murders are taking place all over the country. Something truly strange is afoot. As the bodies pile up, the MBI detectives seek answers from a local root doctor who has been documenting every lynching in the country for years, uncovering a history that refuses to be buried.

In this bold, provocative book, Everett takes direct aim at racism and police violence, and does so in a fast-paced style that ensures the reader can’t look away. The Trees is an enormously powerful novel of lasting importance.

An uncanny literary thriller addressing the painful legacy of lynching in the US, by the author of Telephone Percival Everett's The Trees is a page-turner that opens with a series of brutal murders in the rural town of Money, Mississippi. When a pair of detectives from the Mississippi Bureau of Investigation arrive, they meet expected resistance from the local sheriff, his deputy, the coroner, and a string of racist White townsfolk. The murders present a puzzle, for at each crime scene there is a second dead body: that of a man who resembles Emmett Till. The detectives suspect that these are killings of retribution, but soon discover that eerily similar murders are taking place all over the country. Something truly strange is afoot. As the bodies pile up, the MBI detectives seek answers from a local root doctor who has been documenting every lynching in the country for years, uncovering a history that refuses to be buried. In this bold, provocative book, Everett takes direct aim at racism and police violence, and does so in a fast-paced style that ensures the reader can't look away. The Trees is an enormously powerful novel of lasting importance from an author with his finger on America's pulse.

'Truly brilliant.' Los Angeles Review of Books 'A classic.' The Times 'A remarkable novel.' Wall Street Journal ** With a new foreword by Brandon Taylor, author of Real Life and Filthy Animals ** With your book sales at an all-time low, your family falling apart, and your agent telling you you're not black enough, what's an author to do? Thelonius 'Monk' Ellison has the answer. Or does he . . . ? Winner of the Hurston/Wright Legacy Award for Fiction 'One of the most original and forceful novels to have emerged from America in years.' TLS 'A furious whirl of a book. It made me howl with laughter . . . and rage, and sorrow, and affinity.' Lisa McInerney 'Seminal doesn't even come close. This novel is Everett at his finest, full of trademark protest, humanity and incisive humour, all wrapped up in one hell of a story.' Courttia Newland 'Hilarious. . . Everett is a first-rate word wrangler.' Nicholas Lezard, Guardian

Theodore Street is driving towards the ocean where he plans to drown himself. But, on the way, he is hit by a van and he sails through the windscreen, his head sliced from his body. At his funeral days later, he sits up in his coffin, apparently resurrected. Theodore becomes an object of derision and morbid curiosity to the press, a prized specimen for scientists and Satan incarnate to an obscure religious cult deep in the desert. Fascinating, surreal, and wildly satirical, Percival Everett sends up the press, religion, UFOs and the military, and offers a meditation on what it is to be alive.

Percival Everett's blistering satire about race and writing, available again in paperback
Thelonious "Monk" Ellison's writing career has bottomed out: his latest manuscript has been rejected by seventeen publishers, which stings all the more because his previous novels have been "critically acclaimed." He seethes on the sidelines of the literary establishment as he watches the meteoric success of "We's Lives in Da Ghetto," a first novel by a woman who once visited "some relatives in Harlem for a couple of days." Meanwhile, Monk struggles with real family tragedies--his aged mother is fast succumbing to Alzheimer's, and he still grapples with the reverberations of his father's suicide seven years before.
In his rage and despair, Monk dashes off a novel meant to be an indictment of Juanita Mae Jenkins's bestseller. He doesn't intend for "My Pafology "to be published, let alone taken seriously, but it is--under the pseudonym Stagg R. Leigh--and soon it becomes the Next Big Thing. How Monk deals with the personal and professional fallout galvanizes this audacious, hysterical, and quietly devastating novel.

An astonishing new novel of loss and grief from "one of our culture's preeminent novelists" (Los Angeles Times) Zach Wells is a perpetually dissatisfied geologist-slash-paleobiologist. Expert in a very narrow area--the geological history of a cave forty-four meters above the Colorado River in the Grand Canyon--he is a laconic man who plays chess with his daughter, trades puns with his wife while she does yoga, and dodges committee work at the college where he teaches. After a field trip to the desert yields nothing more than a colleague with a tenure problem and a student with an unwelcome crush on him, Wells returns home to find his world crumbling. His daughter has lost her edge at chess, she has developed mysterious eye problems, and her memory has lost its grasp. Powerless in the face of his daughter's slow deterioration, he finds a mysterious note asking for help tucked into the pocket of a jacket he's ordered off eBay. Desperate for someone to save, he sets off to New Mexico in secret on a quixotic rescue mission. A deeply affecting story about the lengths to which loss and grief will drive us, Telephone is a Percival Everett novel we should have seen coming all along, one that will shake you to the core as it asks questions about the power of narrative to save.

Not Sidney Poitier is an amiable young man in an absurd country. The sudden death of his mother orphans him at age eleven, leaving him with an unfortunate name, an uncanny resemblance to the famous actor and, perhaps more fortunate, a staggering number of shares in the Turner Broadcasting Corporation. Percival Everett's hilarious new novel follows Not Sidney's tumultuous life, as the social hierarchy scrambles to balance his skin color with his fabulous wealth.

The Day May Break, photographed in Zimbabwe and Kenya in late 2020, is the first part of a global series portraying people and animals that have been impacted by environmental degradation and destruction. The people in the photos were all affected by climate change, displaced by cyclones and years-long droughts. Photographed at five sanctuaries, the animals were rescues that can never be re-wilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame. The fog on location is the unifying visual, as we increasingly find ourselves in a kind of limbo, a once-recognizable world now fading from view. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope.

For the plainspoken men and women of these stories, small events trigger sudden shifts in which the ordinary becomes unfamiliar. Cowboys cavort and sheriffs shoot, certainly, but don't let the familiar trapping of your average Western fool you - these short stories are deeply philosophical meditations of the surreality of human existence.

A hilarious, ground-breaking and insightful novel, Glyph successfully blends the feverish plot of a thriller with the philosophical depth of Barthes. Narrated by a baby genius Ralph; a baby with an IQ of 475, who is much more at home with the post-modernist thought of Voltaire than reading Goldilocks and the Three Bears. However, word soon spreads about this miracle gift, and Ralph is soon kidnapped and held hostage by a child psychologist, who runs tests on him. What follows is a number of successive kidnaps, and a linguistic adventure unlike any other.

"Innovative, comic, bizarre and beautiful, "The Impossibly" reads as if Donald Barthelme were channeling Alain Robbe-Grillet, Samuel Beckett, Ben Marcus and reruns of "Get Smart.""--"Time Out New York"

When the anonymous narrator botches an assignment from the clandestine organization that employs him, everyone in his life becomes a participant in his punishment. In the end, he is called out of retirement for a final assignment: to seek and identify his own assassin. This edition includes an introduction by Percival Everett, an afterword by the author, and a "lost chapter."

Called "one of the most talented young writers on the American scene today" by Paul Auster, Laird Hunt is the author of four genre-bending novels and was a finalist for the 2010 PEN Center USA Award. Born in Singapore and educated at Indiana University and the Sorbonne in Paris, Hunt has lived in Tokyo, London, The Hague, New York, and on an Indiana farm. A former press officer at the United Nations and current faculty member at the University of Denver, he now lives in Boulder, Colorado.

A baffling triptych of murder mysteries by the author of "I Am Not Sidney Poitier
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Ogden Walker, deputy sheriff of a small New Mexico town, is on the trail of an old woman's murderer. But at the crime scene, his are the only footprints leading up to and away from her door. Something is amiss, and even his mother knows it. As other cases pile up, Ogden gives chase, pursuing flimsy leads for even flimsier reasons. His hunt leads him from the seamier side of Denver to a hippie commune as he seeks the puzzling solution.

In "Assumption," his follow-up to the wickedly funny "I Am Not Sidney Poitier," Percival Everett is in top form as he once again upends our expectations about characters, plot, race, and meaning. A wild ride to the heart of a baffling mystery, "Assumption "is a literary thriller like no other.

Part parable, part fantasy novel, part laugh-out-loud satire, American Desert is the story of Theodore Street, a college professor on the brink of committing suicide. When the decision is taken out of his hands--he's hit by a car and his head is severed from his body--he must come to terms with himself. At his funeral, he sits up in his own coffin with the stitches that bind his head to his body clearly visible. Everyone is horrified by this resurrection. He becomes a source of fear and embarrassment to his daughter, and an object of derision and morbid curiosity to the press and the scientific communities, and is anointed as a sort of devil by an obscure religious cult. In the process, Theodore manages to reestablish his relationship with his estranged wife and family and to rediscover the value of his life. In this experimental, satirical, and bizarre novel, critically acclaimed author Percival Everett once again takes on the assumptions of a culture whose priorities have gone out of whack. He lampoons the press, religion, and academia while offering, ultimately, an existential meditation of what constitutes being alive.

Chris Abani's Dog Woman is a mesmerizing, haunting, and sometimes subversive exploration of the
personal and cultural politics of disempowerment and power. In these heart rousing and lyrically
complex poems, the poet enacts the reconstruction of his feminized selves, and his personae struggle
to re-form and transform both themselves and the difficult worlds they inhabit. At turns, earthy,
enigmatic, devout, outraged, and compassionate, these elemental women's voices ring true, as they
sing siren songs, dirges, and hosannas, and as they navigate into new and unknown territories of
human will and endurance. Dog Woman is a daring, trailblazing, and important book; it's a vital
addition to the poetry of our times.

Vietnam veteran David Larson can't go home again. Instead the Georgia native wanders westward into the desolate landscape of Slut's Hole, Wyoming, and seeks to integrate himself amid a hardscrabble cast of memorable locals. David is taken in by Sixbury, a one-legged widow, sheep farmer, and mother to a nearly adult mentally handicapped son. This rough-hewn family unit is later augmented when David becomes the unwilling guardian to Butch, a Vietnamese girl abandoned at a highway rest stop. A tragic turn of events moves the novel into violent territory that bridges western laconic traditions with southern gothic and interrogates our notions of home, family, duty, and the always uncertain responsibilities of the individual in society. First published in 1985, Walk Me to the Distance was Percival Everett's second novel, a hauntingly dark tragicomedy of the modern West, still clinging to a mythical heritage and code of frontier justice. With spare strokes Everett paints a telling landscape of big-sky country, where the mere act of living can be hard, cruel, and heart-stopping. This Southern Revivals edition includes a new introduction by the author and a contextualizing preface from series editor Robert H. Brinkmeyer, director of the University of South Carolina Institute for Southern Studies.

An ingenious, madcap novel about supervillains and nothing, really, from an American novelist whose star keeps rising The protagonist of Percival Everett's puckish new novel is a brilliant professor of mathematics who goes by Wala Kitu. (Wala, he explains, means "nothing" in Tagalog, and Kitu is Swahili for "nothing.") He is an expert on nothing. That is to say, he is an expert, and his area of study is nothing, and he does nothing about it. This makes him the perfect partner for the aspiring villain John Sill, who wants to break into Fort Knox to steal, well, not gold bars but a shoebox containing nothing. Once he controls nothing he'll proceed with a dastardly plan to turn a Massachusetts town into nothing. Or so he thinks. With the help of the brainy and brainwashed astrophysicist-turned-henchwoman Eigen Vector, our professor tries to foil the villain while remaining in his employ. In the process, Wala Kitu learns that Sill's desire to become a literal Bond villain originated in some real all-American villainy related to the murder of Martin Luther King Jr. As Sill says, "Professor, think of it this way. This country has never given anything to us and it never will. We have given everything to it. I think it's time we gave nothing back." Dr. No is a caper with teeth, a wildly mischievous novel from one of our most inventive, provocative, and productive writers. That it is about nothing isn't to say that it's not about anything. In fact, it's about villains. Bond villains. And that's not nothing.

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"The first time we met, it was about a stapler, I think." "

Deadpan delivery and a sly eye for detail characterize the anonymous secret agent in Laird Hunt's tense, funny spy noir.""When the nameless narrator botches an assignment for the clandestine organization that employs him, everyone in his life--including his new girlfriend--is revealed to be either true-blue, double operative, or both.

With the literary coyness of Paul Auster and the dark absurdity of Kafka, Hunt's debut is a daring, memory-driven narrative that is as fittingly spare as a bare ceiling light--and just as pendulous. On the surface, the narrator is a simple man, fixing his washer and dryer, strolling through city parks, falling in love at an office supply store. But in "The Impossibly, " the mundane gives way to outrageous misconduct, and with each unexpected visitor or cryptic note, the tension reaches tantalizing heights. As the narrator frugally doles out clues about his dangerous work in an unnamed European city, the reader inevitably becomes confidante and fellow gumshoe. The narrator's final assignment--to identify his own assassin--dismantles the reader's own analysis of the evidence.

Marketing Plans:

-National author tour includes: East Coast, West Coast, Minneapolis/St. Paul

- Co-op available

Laird Hunt is an editor for the Department of Public Information at the United Nations, and is New York correspondent for London's "Mouth-to-Mouth" Magazine. He has lived in Singapore, London, Paris, The Hague, Tokyo, and throughout the United States. T"he Impossibly "has been showcased on the "Fence" literary magazine website. He lives in New York City.

I am Not Sidney Poitier is a hilarious and irresistible take on race, class and identity. The sudden death of Not Sidney Poitier's mother orphans him at age eleven. He is left with a name no one understands, an uncanny resemblance to an Oscar winning actor, and serious amount of shares in the Turner Corporation. Percival Everett's novel follows Not Sidney's tumultuous life, as the social hierarchy scrambles to balance his skin colour with his fabulous wealth. Maturing under the less-than watchful eye of his adopted foster father, Ted Turner, Not Sidney learns to navigate a world that doesn't know what to do with him. Published for the first time in the UK, this novel ranks as one of the greatest achievements of Percival Everett, an overlooked master of American storytelling. The novel is introduced by critically acclaimed British author, Courttia Newland.