Projects onto the open road not the nirvana of personal freedom, but rather a type of freedom more closely resembling loss of control While in many ways reaffirming the mythic dimension of being on the road romanticized in American pop and fold culture, Revelation Countdown also subtly undermines that view. These stories project onto the open road not the nirvana of personal freedom, but rather a type of freedom more closely resembling loss of control. Being in constant motion and passing through new environments destabilizes life, casts it out of phase, heightens perception, and skews reactions. Every little problem is magnified to overwhelming dimension. Events segue from slow motion to fast forward. Background noises intrude, causing perpetual wee hour insomnia. Imagination flourishes, often as an enemy. People suddenly discover that they never really understood their travel companions. The formerly stable line of their lives veers off course. In such an atmosphere, the title Revelation Countdown, borrowed from a roadside sign in Tennessee, proves prophetic. It may not arrive at 7:30, but revelation will inevitably find the traveler.

Chick-Lit: Postfeminist Fiction is the fourth volume in On the Edge: New Women's Fiction, FC2's ongoing effort to discover new and innovative voices in women's fiction. Determined to contradict the myth that "women don't write experimental fiction," Chick-Lit discovers women writers with a fresh and irreverent wit and honesty, but no less powerful in their rendering of human experience. Chick-Lit collects the original fiction of newly discovered writers, but also the award winning work of notable writers like Carole Maso, Jonis Agee, Stacy Levinne and Carolyn Banks. Marked by innovations in form and point-of-view, the writers in this collection are not satisfied with the terrain commonly referred to as "women's writing." Insane asylum sex, board games that control people's lives, a masochistic pedophile humiliated by his victim, an obese woman paying nickels and quarters for attention from teenage girls, a deranged hair stylist and her disloyal dog, a men's impotence therapy group, a surreal landscape constantly producing the body of a woman's mother: this is writing that shouts, yes, there is such a thing as postfeminist fiction.

As children, Tam and her older brother were swimming when she suffered her first epileptic seizure. He pulled her from the water and was crowned a hero. Tam was labeled "disabled" and never swam again. And so began 30 years of vigilance, never allowing her body to betray her, never allowing her brother or her family or anyone else to influence her path. Now, in middle age, a lifetime's worth of control has taken its toll. Exhausted, she heads to Maine where, while working on a genealogy project, she falls under the spell of two dead women: an ancestor, Mary Catherine, who died at 33; the other, the town ghost. Through their cloistered, tragic lives Tam relives her own life over and over -- until a distant cousin forces her to see herself in a new light. Tam's quest to transcend self-imposed limitations is superbly crafted and richly satisfying.

While in many ways reaffirming the mythic dimension of being on the road already romanticized in American pop and folk culture, "Revelation Countdown" also subtly undermines that view. These stories project onto the open road not the nirvana of personal freedom but rather a type of freedom more closely resembling loss of control. Being in constant motion and passing through new environments destabilizes life, casts it out of phase, heightens perception, skews reactions. Every little problem is magnified to overwhelming dimensions; events segue from slow motion to fast forward; background noises intrude, causing perpetual weehour insomnia. Imagination flourishes, often as an enemy: people suddenly discover that they never really understood their travelling companions. The formerly stable line of their lives veers off course. In such an atmosphere, the title "Revelation Countdown", borrowed from a roadside sign in Tennessee, proves prophetic: It may not arrive at 7:30, but revelation will inevitably find the traveller.

From D. H. Lawrence to Philip Roth, acclaimed male writers have depicted sex from the perspective of female characters. Now, women writers from Aimee Bender to Jennifer Egan engage in provocative fictional cross-dressing, exploring sexuality from the male point of view. With a foreword by Steve Almond, this provocative collection includes work from twenty-six women in all, including Bender, Egan, Susan Minot, Elizabeth Benedict, Alicia Erian, and Diane Williams. Edited by Gina Frangello, Stacy Bierlein, Cris Mazza and Kat Meads--four women with a great deal of experience as editors ("Other Voices Magazine," OV Books, anthologies) and authors.