Hub City Press

Daytona Teddy Riggs is a has-been high school football star on a quest to win the World’s Strongest Man competition. 

Estranged from his oil-rich family who disapprove of his lifestyle, Daytona’s primary source of companionship is the Pat Dupree motivational speaker tapes he listens to on a loop. Dupree is scheduled to appear in Houston the same weekend as the regional Strong Man qualifier, and Daytona decides he must confront him one-on-one to take control of his destiny. 

Set in mid-nineties South Texas, Daytona Teddy Riggs is an offbeat portrayal of mental illness in the pre-internet South. At once an outrageous comedy, a biting satire of the self-help industry, and an examination of privilege and masculinity, family and relationships, Buxton’s riotous debut chronicles Daytona's struggle to discover who he is beneath all the muscles.

Czechoslovakia, 1939: Snow is falling over the city when the Nazis invade. Before the ice on the roads has a chance to melt, everything has changed for the country—and for Viktor Trn.

It isn’t obvious at first. The day-to-day realities of occupation take time to sink in. After losing his job as a history professor, Trn remains optimistic, preserving what little he can of his family’s dwindling freedom. In his family’s small apartment, the radio brings worsening news as Europe surrenders to Germany. Friends are arrested, men are hanged in the local school. Trn must protect his young son, but understands leaving their homeland could prove too dangerous.

Only when the air raids draw closer is Trn, a soft-spoken pacifist, pressured into making a choice: retreat to his decreasing sphere of familial safety, or join the resistance. Ultimately Trn finds himself caught between two titanic armies—the Nazis and the Soviets—and must decide how to save all that he loves.

In the spirit of Kristin Hannah's The Nightingale and Anthony Doerr's All the Light We Cannot See, The Wooden King explores denial, desire, and family drama against the lyrically rendered backdrop of World War II, deftly navigating “the simple difference between what we do and what we ought to do” in the face of rising totalitarianism.

That's How It Works is a vibrant collection of fiction from Hub City Press’s first thirty years, showcasing the incredible talent nurtured by this community-driven literary press. Featuring contributions from Hub City Press authors, past Writers-in-Residence, staff, and friends, the collection spans an impressive range of voices, styles, and stories. Set across the South and nation, they share a yearning for communication and connection.

With an introduction by Hub City Press Publisher Meg Reid, That's How It Works is both a celebration of three decades of publishing from the margins and a testament to the transformative power of community in creating literature.

When twelve-year-old Junah Simmons walks into his middle school classroom in September 1999, the chalkboard reads THE END OF THE WORLD IS HERE. 

In the months leading up to Y2K, Junah’s eccentric teacher tasks each of her students to make a time capsule in a shoe box to document their experiences in South Carolina at the end of the world.

Junah is an outsider at school, the kid in sunglasses with a speech impediment. Through the time capsule project, he sifts through the tough stuff: his parents divorce; Rusty, the school bully; Sadie, his punk crush who doesn’t know he exists; his mother’s pressure on him to turn to Jesus; his worry and loneliness. Rendered in vignettes and scraps, this kaleidoscopic novel follows Junah as he confronts the catastrophes of youth while wrestling with the notion that the world itself could end in December.

Funny, soulful, and timely, Junah at the End of the World reminds us that it’s only after accepting the world’s end that we can discover what it means to truly live. With the wit of George Singleton and the punk charm of Sam Pink, Dan Leach is a writer to watch.

In this powerful debut memoir, Neesha Powell-Ingabire chips away at coastal Georgia’s facade of beaches and golden marshes to recover undertold Black history alongside personal and family stories.

In May of 2020, Neesha Powell-Ingabire’s hometown became infamous after a viral video spread of white vigilantes killing a Black man named Ahmaud Arbery. The small coastal city of Brunswick, Georgia became synonymous with this tragedy, which, along with the police murders of Breonna Taylor and George Floyd, spurred an international movement that summer to end white supremacy.

Neesha Powell-Ingabire, a millennial journalist, essayist, and organizer, grew up in Brunswick feeling alienated as a Black queer and disabled girl in a fraught racial and political environment. Come By Here: A Memoir in Essays from Georgia’s Geechee Coast traces the genealogy of systemic racial violence while paying homage to the area’s long history of Black resistance and culture keeping. Powell-Ingabire probes her personal connection to past and present: the victorious campaign to remove Brunswick’s Confederate monument out of a public park, modern echoes of ancestral practices such as farming, fishing, and basket weaving, the fight for Geechee land in Sapelo Island, and the mass suicide of the Igbo people, who drowned themselves in Dunbar Creek rather than be enslaved.

In Come By Here, Neesha Powell-Ingabire reckons with their home’s collective history and their own history as a truth-telling exercise in line with Audre Lorde’s advice: “It is better to speak.”

With previous work hailed by the New York Times as “unflinching” and “piercing”, Ashley M. Jones’s Lullaby for the Grieving is her most personal collection to date.

In her fourth poetry collection, Jones studies the multifaceted nature of grief: the personal grief of losing her father, and the political grief tied to Black Southern identity. How does one find a path through the deep sorrow of losing a parent? What wonders of Blackness have to be suppressed to make way for "progress"?

Journeying through landscapes of Alabama, the Middle Passage and Underground Railroad, interior spaces of loss and love, and her father’s garden, Jones constructs both an elegy for her father and a celebration of the sacred exuberance and audacity of life. Featuring poems from her tenure as Alabama’s first Black and youngest Poet Laureate, Lullaby for the Grieving finds calm in unimaginable storms and attempts to listen for the sounds of healing.

Lolita Stewart-White’s black frag/ments is a breathtaking series of narrative-lyric poems about the fragmentation of the black body, family, and community facilitated by the historically racist US healthcare system.

After her husband’s cancer diagnosis, Stewart-White finds herself haunted by the trauma Black Americans continue to face in medical settings. These poems, both brazen and tenderhearted, explore enduring love in the face of grief and hardship while drawing parallels to past injustices. Stewart-White expertly weaves ancestral and present voices together, resulting in an intergenerational archive that centers one family’s challenging journey in a broader context of how black people protest, repair, and revive.

The Girl Who Became a Rabbit, is a book-length lyric, a dark, ruminative poem that pushes the limits of the prose-poetic form to explore how the body carries and shapes grief and what it means to tell a story.

Examining reclaimed narratives of embodiment, gentle hauntings, and fables of the body, Emilie Menzel approaches the body as a home we consciously build, spinning myths and fairytales as ways to rewrite the body’s history. 

In the spirit of Maggie Nelson and Max Porter, Menzel’s writing is wild, lush, recursive, and intentionally messy. A mesmerizing and unique debut, The Girl Who Became a Rabbit intersects fable and trauma, femininity and creatureliness, and imagines the transformation of the body, perhaps, into language.

For fans of Americana music and a beer after mowing the lawn, The Last Saturday in America confronts the long shadow of Southern masculinity.

The Last Saturday in America is set in a nation on the precipice of great change. Through examinations of suburban neighbors, bullies, gun violence, and vasectomy appointments, Ray McManus draws a portrait of American masculinity in the face of political division, pandemic, and cultural warfare. McManus’s speaker is caught between the way he was raised and the future he wants to see for who he is raising. He can no longer rely on what he thought he knew, nor does he know what to do about it. The man rendered in these pages is a father, a son, a Southerner. And he is willing to burn it all down and start something new, only to see that the new start he is looking for has been with him the whole time.

Set during the swampy summer in 1982, this stunning debut novel follows eleven-year-old Sunshine Turner and her troubled father Billy as the secrets of their family’s past swirl around them in the one-road town of Fingertip, Louisiana.

During a hot summer of June moods, grubworms, and dark storms, Sunshine discovers stones in her chest – and learns the dangers her coming-of-age will bring about in the yellow house she shares with her father. Without the vocabulary to comprehend Billy’s actions or her own changing body, Sunshine turns to a story passed down through the generations of the Turner family: in the dark waters of the Black Bayou lives a crocodile with an insatiable appetite and a woman with a mysterious healing gift. As Sunshine’s summer unspools, she turns to the one person who will need no explanation of the family secrets she carries—the crocodile bride.

The Crocodile Bride is at once a heartbreakingly tender coming-of-age tale and a lyrical, haunting reflection on generational trauma. Reminiscent of Jesmyn Ward and Helen Oyeyemi, Ashleigh Bell Pedersen is a promising new voice in American fiction.

“You wish to never see a plum again in your life… You think: When I am an adult, I will never have a fruit tree. I will never be like this.”

For fans of Sarah Rose Etter and Scott McClanahan, Plum is a darkly beautiful, unflinching novel about modern girlhood in the internet age, the daily toll of trauma, and the limits of love.

Told entirely in the second person, Plum follows J as she grows from kid to teen in a house ruled by her alcoholic dad and complicit mother. Her older brother is sometimes wonderful, sometimes gross, and he’s her only hope of getting out. J’s world is one of nail polish, above-ground pools, and drive-thrus—and of violence, carelessness, and so many rules. J covets the peace that comes when she slips on her headphones, turns on her handheld radio, and dreams of how she and her brother can make their escape.

When her brother leaves home and disappears, so does J’s best chance to flee her parents’ chaotic orbit. Alone and angry, J reaches through her computer screen for the life she wants: blonde hair, glittering nails, attention, freedom. As she stumbles into adulthood with no template to follow, J must figure out how to build a family for herself full of the love she deserves. In her brutally compelling debut, Anderegg turns her singular gaze on the generational patterns of addiction and abuse.

In 130 ink-and-watercolor drawings, the story of one year on a family farm in Kentucky unfolds in captured moments of daily life: Donahue’s husband chopping wood, a cow sniffing her head, her daughter tending to goats after a hard day at school. Each visual is paired with a written reflection on the day’s doings, interwoven with the longer-arc history of her family, the farm, and their community. In telling the story of a farm family’s struggle to survive and thrive, Landings grapples with the legacy of our cultural divide between art and land, and celebrates the beauty discovered along the way.

In El Rey of Gold Teeth, Reyes Ramirez explores living in America as a first-generation American of Salvadoran and Mexican descent, living among conflicting histories. Through the voices of an astronaut, a tennis player, a drag queen, family members, an alternate version of the self, and even a turtle, these propulsive poems embody the many marginalized voices demanding to be remembered in a nation that requires erasure of histories.

In Long Eye, Kwoya Fagin Maples brings us a sea-bound collection that channels the mythic, defiant voice of a Black Mermaid.

Inspired by Mami Wata, a water spirit of Gullah Geechee folklore, Maples explores the power and divinity of being a Black woman, a mother, a thinker, a protector, and creator. The poems emerge from a neurodivergent mind navigating writing, parenthood, and the Atlantic waters of the South Carolina Lowcountry. The sea and its many creatures serve as guides—for survival, resistance, and transformation.

As she explores the intersection of science, poetry, and mythology, Maples also seeks to depict Black familial bonds in societies structured against them. Woven through the book is the voice of the mermaid, reminding us that “every underwater being exists in relation.”

At turns wonder-struck and irreverent, these poems pulse with human longing. Maples is a poet whose work is both musical and meticulous. Her eye somehow equally trained on the world at large and her own inner workings. The result is an astonishing, immersive experience.

Set in contemporary Louisville, Leesa Cross-Smith’s mesmerizing first novel surrounding the death of a police officer is a requiem for marriage, friendship and family, from an author Roxane Gay has called “a consummate storyteller.”

Evi—a classically-trained ballerina—was nine months pregnant when her husband Eamon was killed in the line of duty on a steamy morning in July. Now, it is winter, and Eamon's adopted brother Dalton has moved in to help her raise six-month-old Noah.

Whiskey & Ribbons is told in three intertwining, melodic voices: Evi in present day, as she’s snowed in with Dalton during a freak blizzard; Eamon before his murder, as he prepares for impending fatherhood and grapples with the danger of his profession; and Dalton, as he struggles to make sense of his life next to Eamon’s, and as he decides to track down the biological father he’s never known.

In the vein of Jojo Moyes’ After You, Whiskey & Ribbons explores the life that continues beyond loss, with a complicated brotherly dynamic reminiscent of Elizabeth Strout’s The Burgess Boys. It’s a meditation on grief, hope, motherhood, brotherhood and surrogate fatherhood. Above all, it’s a novel about what it means—and whether it’s possible—to heal.

America is at a crossroads. We are searching for home in places where belonging and identity are often contested. Editor Cinelle Barnes takes this search to the South, a place haunted by a history of exclusion and discrimination. In A Measure of Belonging: Writers of Color on the New American South, twenty-one writers share powerful experiences of living, working, and writing during this complicated time.

These essays examine issues of sex, gender, academia, family, immigration, health, social justice, sports, music, and more. Kiese Laymon navigates the racial politics of publishing while recording his audiobook in Mississippi. Regina Bradley moves to Indiana and grapples with a landscape devoid of her Southern cultural touchstones, like Popeyes and OutKast. Aruni Kashyap apartment hunts in Athens and encounters a minefield of invasive questions. Frederick McKindra delves into the particularly Southern history of Beyonce’s black majorettes. 

From the DMV to the college basketball court to doctors’ offices, there are no shortage of places of tension in the American South. Urgent, necessary, funny, and poignant, these essays from new and established voices confront the complexities of the South’s relationship with race, uncovering the particular difficulties and profound joys of being a southerner in the 21st century. 

With writing from Cinelle Barnes, Jaswinder Bolina, Regina Bradley, Jennifer Hope Choi, Tiana Clark, Christena Cleveland, Osayi Endolyn, M. Evelina Galang, Minda Honey, Gary Jackson, Toni Jensen, Aruni Kashyap, Latria Graham, Frederick McKindra, Devi Laskar, Kiese Laymon, Nichole Perkins, Joy Priest, Ivelisse Rodriguez, and Natalia Sylvester.

A collection of fiction and graphic ephemera, Little Ones plays in a space of shadows and in-betweens.

Informed by Appalachian experience and traditions of Southern storytelling, these award-winning stories are populated by the world’s dispossessed, disturbed, and disregarded: the quiet interior life of a passed-over laborer, the bedtime story a goose tells a snake about a boy named Grey, moments of a road-killed raccoon's afterlife, advice to the children of a future apocalypse. 

These mischievous polyvocal tales are an exercise in audacity, in embracing the bizarre and carnivalesque within us. Grey Wolfe LaJoie employs uncanny wit and deep empathy to explore the way shame can turn into desperate violence, and to shed light on the smallest among us.

One of 2020's most acclaimed books. Winner of the Southern Book Prize • Winner of the Weatherford Award • A Kirkus Best Fiction Book of 2020 • One of O Magazine’s Best LGBT Books of 2020 •  • One of the Women's National Book Association's 2020 Great Group Reads Selections • EW's 50 Most Anticipated Books of 2020 • BookRiot • Lambda Literary's • Salon • BookPage's • Garden & Gun's • Logo NewNowNext's

In this “brutally fresh kind of homecoming novel,” (Entertainment Weekly) Brian Jackson returns to his small Appalachian hometown and the family who rejected him. Carter Sickels’s stunning literary achievement “deserves a place in the canon of AIDS literature alongside the likes of Larry Kramer and Rebecca Makkai” (Los Angeles Review of Books).

The story of Brian’s return to small-town Ohio is told in a chorus of voices: Brian’s mother Sharon; his fourteen-year-old sister, Jess, as she grapples with her brother’s mysterious return; and the video diaries Brian makes to document his final summer. Written in prose that seeks “to answer without flinching away from ugliness and without demonizing the ignorant” (Salon), The Prettiest Star offers an urgent portrait of a family in the center of a national crisis, in order to tell a unique story about the politics and fragility of the body, and to explore the bounds of family and redemption.

Amidst construction of a federal dam in rural Tennessee, Nathan, an engineer hiding from his past, meets Claire, a small-town housewife struggling to find her footing in the newly-electrified, job-hungry, post-Depression South.

As Nathan wrestles with the burdens of a secret guilt and tangled love, Claire struggles to balance motherhood and a newfound freedom that awakens ambitions and a sexuality she hadn’t known she possessed. The arrival of electricity in the rural community, where prostitution and dog-fighting are commonplace, thrusts together modern and backcountry values. In an evocative feat of storytelling in the vein of Kent Haruf’s Plainsong, and Ron Rash’s Serena, Watershed delivers a gripping story of characters whose ambitions and yearnings threaten to overflow the banks of their time and place. As the townspeople embark on a biblical undertaking to harness elemental forces, Nathan and Claire are left to wonder what their lives will look like when the lights come on.

Part coming-of-age summer romance, part thriller, Bomb Island is a funny and fast-paced Southern novel exploring subculture communities, survival, and found family set on an island near an unexploded atomic bomb.

Summer is in full swing on Bomb Island, Georgia. Fifteen-year-old Fish lives in a commune on the three-mile stretch of sand with his chosen family: their “mother-sage” Whistle and her white tiger, Sugar, a young man named Reef, and an old man named Nutzo, who is still missing. Fish and Whistle spend the days leading tours in their glass bottom boat out to the barrier island’s namesake, an unexploded atomic bomb. 

This is the summer when Fish meets Celia, the tattooed daughter of a troublesome local charter fisherman bent on exposing Whistle’s commune—and their illegal tiger. When a party at her dad’s place goes sour, Fish brings Celia back to Bomb Island in the hope that she’ll stay there with him. But they still can’t find Nutzo, the tiger’s behavior has become increasingly erratic, and everyone’s summer is about to take a strange, dark turn. 

Narrated by an ensemble cast of uniquely independent outsiders who have chosen counter-culture lives informed by their desires and past traumas, Bomb Island takes a rollicking journey through the weirds and wilds of Coastal Georgia. Stephen Hundley has crafted a spirited, zany novel with a big heart that examines the strength it takes to live freely and without shame.

When Jack Parker's father dies Jack knows one thing: Tom Parker was a good man. Beyond that, decades of distance and silence had kept the two men from truly knowing each other. Jack attends the funeral with the hope he can shovel some dirt onto Tom’s casket, collect a few commiserations, and put miles between himself and the questions he’d let simmer since he’d left home years before. But when a group of strangers appears at the funeral, Jack realizes he has more questions than answers about how his father actually lived his life.

Jack picks up the pieces, moving back home to help his ailing mother and continue work on his father’s many projects. He soon finds himself at the center of a family maelstrom, worsened by his troubled siblings’ lives and continued unearthings of Tom’s secrecy. Haunted by hazy nightmares from his youth and driven by guilt, Jack tries to uncover why his father kept such a considerable part of his life from them all. The secrets Jack uncovers might shake the foundation of the refuge he hopes to create.

Suddenly thrust into a dangerous world of drug deals and violence, Jack is forced to examine his own brutal limits and those of his father. When finally faced with the truth of his and Tom’s past, he realizes that sometimes secrets are best left buried on the river bottom.

A Wild Eden was the 2018 South Carolina Novel Prize winner, selected by Jill McCorkle.

“I am busy seeing,” declares the reverent and ever-curious speaker of Mustard, Milk, & Gin. In this haunting debut, Megan Denton Ray unflinchingly sifts through the sediment of a girlhood ruled by service. Everything in these poems sweats—the sunflower working hard for its first pair of leaves, the sister feeding her twin like a father, the men and women working in a community ravaged by the opioid crisis. With tender restraint, Ray’s poems question the infallibility of devoutness while finding solace in the classification of the natural world. What results is a powerhouse voice that chooses preservation above all else. No poppy, wild carrot, or honeycomb is too small a treasure as Ray weaves stories of loss and mercy through both dreamscapes and domestic scenes alike. The forgettable and forgotten ignite--these poems are gifts of curiosity and care. Mustard, Milk and Gin is the winner of the 2019 New Southern Voices Poetry Prize as selected by G.C. Waldrep.

Marlanda Dekine’s debut collection is a holy, radical unlearning and reclamation of self. What does it mean to be a Gullah-Geechee descendant from a rural place where a third of the nation’s founding wealth was harvested by trafficked West and Central Africans? Dekine’s poems travel across age and time, signaling that both the past and future exist in the present. Through erasure and persona, Dekine reimagines and calls to task the Works Progress Administration narratives, modern-day museums, and intergenerational traumas. 

Beyond gospel music, fear, and the stories of generations past, Thresh & Hold offers magic, healing, and innovative pathways to manifest intimacy. Dekine remembers, remakes, and brings forth their many selves, traveling far in order to deeply connect to a spiritual home within and all around them, calling: “I am listening to Spirit. I am not dying today.” 

Marlanda Dekine is the winner of the 2021 New Southern Voices Poetry Prize.

In 1994, the real Mid-South Ice Storm strikes the fictitious town of Bodock in Claygardner County, Mississippi. In the wake of the storm, what is left unbroken, and what broken things can be rebuilt? Hailed by Maurice Carlos Ruffin as “leaving no feeling untouched,” Robert Busby’s debut balances grit with heart, violence with depth, and tragedy with humor.

Two siblings survey the damage to their family’s orchard after the storm while their rich nephew circles in the hopes of buying up the property. A slacker divorcee drives his ex-father-in-law to his lung transplant surgery. A cop tries to piece his broken family back together in the wake of the loss of his son. In 1816, a farmer’s wife plots with an enslaved woman to stop her husband from committing a terrible act. And in a town that is not quite Bodock, a population of ghosts reckon with their unsettled pasts.In the spirit of Brad Watson’s Last Days of the Dog-Men, Bodock traverses time and dimensions to surface the struggles of the everyday.

Bodock: Stories is the winner of the 2024 C. Michael Curtis Short Story Book Prize.

Set in 1980s Kentucky, this striking debut novel is told from inside a treatment home for teens, where lost boys become more than their pasts and discover the transformative power of hope.

They came from the streets, the sticks and every place in between. They’d stolen cars, dealt dope and hurt people. They’d been hurt themselves. There’s AWOL, who won’t stop running away. There’s Karvel, who runs the place. There’s Damico, Smoove, and Peanut. Their futures promise prison or worse, but for now they’ve been brought together to live in an old home on a hill and see about getting themselves—and each other—right. 

Told in chorus through the intersecting lives of a group of teenage boys, Hope House follows its ensemble cast through a five-phase program as they grapple with their pasts and search for the one thing none of them have ever really had: a family.

In his deeply honest and soulful debut, Bond crafts a coming-of-age story that sears with the anger and spirit of abandoned youth. For fans of Richard Price and Tobias Wolff, Hope House is a novel about belonging, care, and the desire in all of us to find a home.

A short story collection exploring the bounds of contemporary family and how we move forward in a world so often changed by loss.

Lauded by Kevin Wilson as “an exceptional collection that introduces us to an exciting new voice,” The Great American Everything orbits the experiences of relationships, be it brother-to-brother, sister-to-sister, patient-to-caregiver. Rendered with tenderness and a keen eye, these ten stories cut into the ways families approach questions of aging, adoption, loss, and class. A young woman hired to provide accompaniment services to an elder confronts the borders of complicity and friendship; two brothers search for details of their recently deceased grandfather in the desert; a college student faces her friend’s abuser during a door-to-door fundraising campaign.

In this “unjustly neglected” masterpiece, Nancy Lemann gives an atmospheric account of the New Orleans trial of the Governor of Louisiana for racketeering, fraud, and bribery. This 40th anniversary edition features a new introduction by critic James Wolcott and an afterword by the author.

New Orleans-born novelist Nancy Lemann returned to her hometown from Manhattan in 1985, tasked by renowned editor Tina Brown to cover Governor Edwin Edwards's two corruption trials for Vanity Fair. The work that emerged from this trip was less a straightforward account of the court proceedings and instead a masterful portrait of the politicians, their families, the lawyers, and the other reporters covering the trials, rendered in sparse, wry vignettes. Championed and edited by Gordon Lish, The Ritz of the Bayou is Lemann’s sole book of nonfiction and has attained lost classic status in the decades it has languished out of print. 

In hazy, atmospheric scenes of cigar smoke-laden bars, heaping plates of oysters, and unchecked eccentricity and chaos, Lemann observes both the proceedings and a glamorous Gulf Coast gone shabby from humidity and time. She captures New Orleans’s particular “tropic zone,” where “the two great enemies of Louisianians are boredom and lack of style,” and its citizens choose charismatic leaders over ethical ones, writing, “Politics is not the place to look for saints.” 

An account of government corruption and Southern character that transcends its moment, The Ritz of the Bayou is Lemann at the height of her powers. This edition reestablishes a classic of Southern literature, rewarding its longtime fans and introducing her talent to a new generation of readers. 

Reparations Now! asks for what’s owed.

In formal and non-traditional poems, award-winning poet Ashley M. Jones calls for long-overdue reparations to the Black descendants of enslaved people in the United States of America. In this, her third collection, Jones deftly takes on the worst of today—state-sanctioned violence, pandemic-induced crises, and white silence—all while uplifting Black joy. These poems explore trauma past and present, cultural and personal: the lynching of young, pregnant Mary Turner in 1918; the current white nationalist political movement; a case of infidelity. These poems, too, are a celebration of Black life and art: a beloved grandmother in rural Alabama, the music of James Brown and Al Green, and the soil where okra, pole beans, and collards thrive thanks to her father’s hands. 

By exploring the history of a nation where “Black oppression’s not happenstance; it’s the law,” Jones links past harm to modern heartache and prays for a peaceful world where one finds paradise in the garden in the afternoon with her family, together, safe, and worry-free.  While exploring the ways we navigate our relationships with ourselves and others, Jones holds us all accountable, asking us to see the truth, to make amends, to honor one another.

For fans of Margaret Renkl and Lisa Wells’s Believers, World Without End circles the connections between climate change and faith in the fear and fascination of the end of the world.

When Martha Park’s father announces he is retiring from the ministry after forty-two years, she moves home to Memphis to attend his United Methodist church for his last year in the pulpit. She hopes to encounter a more certain sense of herself as secular or religious. Instead, she becomes increasingly compelled by her uncertainty, and grows curious whether doubt itself could be a kind of faith that more closely echoes a world marked by loss, beauty, and constant change.

In illustrated essays, World Without End: Essays on Apocalypse and After explores the intersections of faith, motherhood, and the climate crisis across the South. From man-made wetlands in Arkansas to conservation cemeteries in South Carolina, from a full-scale replica of Noah’s Ark in Kentucky to the reenactment of the Scopes Monkey Trial, Park chronicles the ways the faith in which she was raised now seems like an exception to the rule, exploring this divide with compassion and empathy. For fans of Margaret Renkl and Lisa Wells, World Without End considers the ways religion shapes how we understand and interact with the world—and how faith can compel us all to work to save the places we love.

“What can we do but seek nectar where it blooms,” whispers the porous and questioning speaker of In the Hands of the River. In these haunting, layered poems, Lucien Darjeun Meadows affirms the interconnection of human and environmental identity. With delicate precision, In the Hands of the River subverts traditional poetic forms to show how a childhood for a queer boy of both Cherokee and European heritage happens within and outside dominant narratives of Appalachia.This debut collection weaves ancestral and personal threads of trauma, reclamation, and survival into a multi-generational and multi-species tapestry that reaches from the distant stars visible in an Appalachian holler to the curl of a clover stem and the touch of the beloved, here and now. Moving across time, yet always grounded in place, these poems address the West Virginian landscape, both in exaltation and extraction, balanced with poems about the speaker's own body, and emergent sense of queer identity, as “a boy made of shards.”

Seventeen-year-old Joshua Gaines is the orphaned foster son of a failed doctor on the run from his father’s debt. In 1849, he travels to Independence, Missouri and falls in with the mysterious, four-fingered Renard, and his companion, formerly-enslaved Free Ray. Joshua offers his medical expertise to their party, and together they embark on the fifteen-hundred mile overland journey to Gold Rush California. 

Following the hardship, disease, and death on the trail, the company abandons panning the river in favor of robbery and murder. Engulfed by violence, the young doctor-turned-marauder must reckon with his own morality, his growing desire for the men around him, and the brutality that has haunted him all his life.

For fans of The Revenantand Ian McGuire’s The North Water, Child in the Valley is a gorgeously rendered tale cut from the turmoil of a fledgling America. Gordy Sauer’s careful eye and penetrating literary lens offers a modern, incisive look into the complexities of masculinity, isolation, and the impenetrable nature of greed.

In rural north Georgia two decades after the Civil War, thirteen-year-old Lulu Hurst reaches high into her father’s bookshelf and pulls out an obscure book, The Truth of Mesmeric Influence.  Deemed gangly and undesirable, Lulu wants more than a lifetime of caring for her disabled baby brother, Leo, with whom she shares a profound and supernatural mental connection.

“I only wanted to be Lulu Hurst, the girl who captivated her brother until he could walk and talk and stand tall on his own. Then I would be the girl who could leave.”

Lulu begins to “captivate” her friends and family, controlling their thoughts and actions for brief moments at a time. After Lulu convinces a cousin she conducts electricity with her touch, her father sees a unique opportunity. He grooms his tall and indelicate daughter into an electrifying new woman: The Magnetic Girl. Lulu travels the Eastern seaboard, captivating enthusiastic crowds by lifting grown men in parlor chairs and throwing them across the stage with her “electrical charge.”

While adjusting to life on the vaudeville stage, Lulu harbors a secret belief that she can use her newfound gifts, as well as her growing notoriety, to heal her brother. As she delves into the mysterious book’s pages, she discovers keys to her father’s past and her own future--but how will she harness its secrets to heal her family?

Gorgeously envisioned, The Magnetic Girl is set at a time when the emerging presence of electricity raised suspicions about the other-worldly gospel of Spiritualism, and when women’s desire for political, cultural, and sexual presence electrified the country. Squarely in the realm of Emma Donoghue's The Wonder and Leslie Parry’s Church of Marvels, The Magnetic Girl is a unique portrait of a forgotten period in history, seen through the story of one young woman’s power over her family, her community, and ultimately, herself.

In her dynamic debut, Halle Hill’s Good Women delves into the lives of twelve Black women across the Appalachian South. 

A Kirkus Reviews Best Books of 2023 in Fiction • One of Oprah Daily's Best Books of the Year One of Electric Literature's Best Short Story Collections of 2023 • Featured in People Magazine's Best Books of Fall • One of the Boston Globe's 20 Books We’re Excited to Read This Fall • One of Kirkus's 20 Best Books To Read in September • Poets & Writer's "Page One" New and Noteworthy  • One of the Southwest Review's 10 Must Read Books of 2023 • Finalist for the 2024 Weatherford Award in Fiction • Foreword INDIES Book of the Year Award Finalist

"A stunning slow burn brimming with observation, emotion, and incident.” —Kirkus Reviews, Starred Review

“A fantastic firecracker of a collection I'll return to again and again!” —Deesha Philyaw, author of The Secret Lives of Church Ladies

A woman boards a Greyhound bus barreling toward Florida to meet her sugar daddy’s mother; a state fair employee considers revenge on a local preacher; a sister struggles with guilt as she helps her brother plan to run away with a man he's seeing in secret; a young woman who works for a scam for-profit college navigates the lies she sells for a living. 

Darkly funny and deeply human, Good Women observes how place, blood-ties, generational trauma, obsession, and boundaries—or lack thereof—influence how we navigate our small worlds, and how those worlds so often collide in ways we don’t expect. Through intimate moments of personal choice, Hill carefully shines a light on how these twelve women shape and form themselves through faith and abandon, transgression and conformity, community, caution, and solitude.

With precision and empathy, Hill captures the mundane in moments of absurdity, and bears witness to both joy and heartbreak, reminding us how the next moment could be life-changing. Vibrant and exacting, Hill is a must-read new voice in literary fiction.

This collection takes us to a forgotten corner of the rural South, full of cemeteries, soybean fields, fishing holes, and Duck Thru gas stations. We meet a runaway teen, a mattress salesman, feral kittens, an elderly bachelorette wearing a horsehair locket, and a little girl named after Shania Twain. Here, time and memory circle above Phillips’ characters like vultures and angels, as they navigate the only landscape they’ve ever known. Corn reaches for rain, deer run blindly, and no matter how hungry or hurt, some forgotten hymn is always remembered. “The literary love child of Carson McCullers and John the Baptist, Ashleigh Bryant Phillips’ imagination is profoundly original and private," writes Rebecca Lee. Sleepovers marks the debut of a fearless new voice in fiction.

Sleepovers is the winner of the 2019 C. Michael Curtis Short Story Book Prize, selected by Lauren Groff.

With his signature darkly acerbic and sharp-witted humor, George Singleton has built a reputation as one of the most astute and wise observers of the South. Now Tom Franklin introduces this master of the form with a compilation of acclaimed and prize-winning short fiction spanning twenty years and eight collections, including stories originally published in outlets like the Atlantic Monthly, Harper's, Playboy, the Georgia Review, the Southern Review, and many more. These stories bear the influence of Flannery O’Connor and Raymond Carver, at other times Barry Hannah and Donald Barthelme, and touch on the mysteries of childhood, the complexities of human relationships, and the absurdity of everyday life, with its inexorable defeats and small triumphs.  

Assembled here for the very first time, You Want More represents a body of work that showcases the incisive talent that earned George Singleton’s place among "the great pillars of Southern literature.” (New York Times)

From Minrose Gwin, award-winning author of The Accidentals, comes Beautiful Dreamers, a story of a precocious teen and her mother, their gay best friend, and the con man who unravels their family.

It’s 1953 when Memory Feather and her mother, Virginia, are welcomed back home to the Mississippi Gulf Coast community of Belle Cote by Virginia’s childhood friend Mac McFadden, whose verve and energy buoy the recently divorced Virginia to embrace this new chapter. Memory (“Mem”) is unlike other girls: she is attuned to the voices of plants and animals and is missing two fingers on her twisted left hand. The three of them knit their lives together and become a close, though unconventional, family.

While Mac’s wealth, brains, and good humor have allowed him to carve out a niche in Belle Cote, his position as a gay man active in the burgeoning Civil Rights Movement exposes him to censure, harassment, and even brutality. When the unscrupulous and charismatic Tony Amato arrives in Belle Cote as Mac’s “guest,” he sets in motion a series of events that will shatter familial bonds and forever change Mem’s life. Now, an adult Mem recounts the story of the scars Tony left in her teenage years, confronting her culpability in the disastrous events of that final summer.

Sweeping, dramatic, and vividly rendered, Beautiful Dreamers novel of innocence and betrayal, love and intolerance, and the care and honesty we owe the families we choose.

Vollmer’s family memoir, shimmering with wonder and enchantment, begins with the death of his mother from early-onset Alzheimer’s and Parkinson’s. Soon after, unexplained phenomena (specifically flashing lights and floating orbs) appear in the woods surrounding his family’s home in rural North Carolina, where his widowed father lives. Formative memories resurge in Vollmer’s mind, particularly from his childhood in the church of Seventh-day Adventism, hastening self-reexamination and reckoning. A retired geology professor corresponds with him about “ghost lights,” which supposedly occur more in North Carolina than any other American state. An eccentric shaman who lives in Spain administers transcendental psychotherapy to him over Zoom. And Jolene emerges, a woman endeared for decades to Vollmer’s father, holding secrets to their family’s past. 

In the vein of Rachel Cusk, Han Kang, and Clarice Lispector, Hothouse Bloom follows a young woman who renounces her painting career and all her human relationships to become one with her late grandfather’s apple orchard. 

Anna arrives at the orchard with the intention to abjure social life, deverbalize her experience, and adjust her consciousness to the rhythms of the trees. She succeeds, for a time, until the arrival of her old friend Jan, nomadic and lively and at work on a book about the painter Charles Burchfield. Alarmed by her isolation and declining health, he tries to get her painting again, while Anna is determined to show him the orchard as she sees it. 

As the harvest approaches, the outside world descends in the form of pickers, contractors, neighbors, and pomologists. Anna realizes that the only way back to her idyllic life is to turn a profit. It becomes an obsession, much like her former in the way it consumes her, the way an apple oxidizes, might rot.

Hothouse Bloom is a millennial pastoral, both painterly and critical in its ideas about art, permaculture, subjectivity, and the natural world. 

“You are a rare bird, easy to see but invisible just the same.” That thought is close at hand in Sparrow Envy: Field Guide to Birds and Lesser Beasts, as renowned naturalist and writer J. Drew Lanham explores his obsession with birds and all things wild in a mixture of poetry and prose. He questions vital assumptions taken for granted by so many birdwatchers: can birding be an escape if the birder is not in a safe place? Who is watching him as he watches birds?

With a refreshing balance of reverence and candor, Lanham paints a unique portrait of the natural world: listening to cicadas, tracking sandpipers, towhees, wrens, and cataloging fellow birdwatchers at a conference where he is one of two black birders. The resulting insights are as honest as they are illuminating.

New neighborhoods began emerging north of Main Street in Spartanburg, South Carolina in the 1870s as emancipated Black men and women spent their hard-won post-slavery wages to purchase lots and build homes. As the decades rolled by, they and their descendants established a string of neighborhoods encompassing hundreds of houses, stretching from modern-day Barnet Park to the edge of Spartanburg Medical Center.

North of Main is the story of how this district rose and how it disappeared. In its pages, meet the pioneering Black men and women who lived and worked in these early neighborhoods: clergymen, educators, newsmen, artisans, attorneys, physicians, activists, musicians, caregivers, and more. In the face of frequent oppression, they laid a strong foundation for those who followed them. The history of the place they built is extraordinary in its demonstration of the heroism, courage, determination, and pride of Black citizens of Spartanburg who built dynamic and historically significant neighborhoods in treacherous times.

This title is the most in-depth Spartanburg Black history book ever produced, particularly for the years post-emancipation, and a sequel to the classic 2005 Hub City Press book, South of Main. This beautiful 250-page hardcover book also includes over 150 historic photographs and maps.

From J. Drew Lanham, MacArthur "Genius" Grant Recipient and author of Sparrow Envy: A Field Guide to Birds and Lesser Beasts, comes a sensuous new collection in his signature mix of poetry and prose.

In gorgeous and timely pieces, Joy Is the Justice We Give Ourselves is a lush journey into wildness and Black being. Lanham notices nature through seasonal shifts, societal unrest, and deeply personal reflection and traces a path from bitter history to the present predicament. Drawing canny connections between the precarity of nature and the long arm of racism, the collection offers reconciliation and eco-reparation as hopeful destinations from our current climate of division. In Joy is the Justice We Give Ourselves, Lanham mines the deep connection to ancestors through the living world and tunes his unique voice toward embracing the radical act of joy.

From the award-winning author of Over the Plain Houses, comes a major novel about two young women contending with unplanned pregnancies in different eras.

Edie Carrigan didn't plan to "get herself" pregnant, much less end up in a home for unwed mothers. In 1950s North Carolina, illegitimate pregnancy is kept secret, wayward women require psychiatric cures, and adoption is always the best solution. Not even Edie’s closest friend, Luce Waddell, understands what Edie truly wants: to keep and raise the baby.
Twenty-five years later, Luce is a successful lawyer, and her daughter Meera now faces the same decision Edie once did. Like Luce, Meera is fiercely independent and plans to handle her unexpected pregnancy herself. Along the way, Meera finds startling secrets about her mother’s past, including the long-ago friendship with Edie. As the three women’s lives intertwine and collide, the story circles age-old questions about female awakening, reproductive choice, motherhood, adoption, sex, and missed connections. 

For fans of Brit Bennett's The Mothers and Jennifer Weiner's Mrs. Everything, The Say So is a timely novel that asks: how do we contend with the rippling effects of the choices we've made? With equal parts precision and tenderness, Franks has crafted a sweeping epic about the coming of age of the women’s movement that reverberates through the present day.

why am i nostalgic for the shitty times in my life?

Reminiscent of being in a heavily postered room with rock music blasting, Cloud Delfina Cardona’s debut collection the past is a jean jacket is a time capsule of a 90s queer, Latinx teenhood. 

Cardona’s speaker explores their gender through sex and relationships, searches for belonging in their family lineage, and copes with depression using movies, indie bands, cigarettes, and Tumblr.

Featuring compelling visual collages and inventive imagery throughout, these poems are firmly rooted in Southern Texas. Cardona brings readers to a jukebox on S. LBJ Drive, underneath a Catholic girls high school, and to “San Marcos sunsets above the H-E-B parking lot” with weighted and poignant reflection. Each careful line produces a soundtrack to a passionate coming-of-age and implores us all to be gentle, yet honest, with our younger selves.

Evocative and blunt, the past is a jean jacket asks the essential existential questions: “where did all the wishes of my ancestors go? / what memory of me will play in someone’s head before i die for the final time?”

the past is a jean jacket was selected by Ashley M. Jones for the 2024 Hub City Press BIPOC Poetry Series.