مقتطفات-

• From the cover THE WORLD BY NIGHT
  
  Sadie was sixteen when her parents died, and the gravedigger told her he would charge her less if she’d help him. Typhoid had killed so many people in town that he was tired of digging.
  
  “Can we do it at night?” she asked. Her skin could not weather the long hours in the sun, and in the glare of day she would be nearly blind.
  
  He agreed, and so there they were, twilight ’til dawn, shaving slivers of hard-­packed earth from the walls of the graves. They had the coffins lowered by morning and the gravedigger looked at Sadie’s flushed face and said, “Go on and get inside now. I’ll finish this. I’ll do it proper. You can have your own service tonight.”
  
  “Aren’t you afraid of me?” she asked. She’d been wanting to ask all night. When she was tired or nervous her irises often jumped back and forth uncontrollably, as though she were being shaken, and she knew they were doing so now. It unsettled people, and more than one preacher had tried to cast spirits out of her, to no effect.
  
  The gravedigger looked at the earth for a long time, the pits with the bodies resting at the bottoms. “I saw another girl like you once, at a freak show in Abilene,” he said. “White skin and hair like yours, eyes like I never saw, almost violet. They called her the Devil’s Bride, but I think she would’ve liked to’ve been married to a good man, tending chickens and baking biscuits just like anyone else. Anyhow, you’re a fine digger.”
  
  Now Sadie is twenty and it is June and her husband Zachary has been gone for two months, moving southeast across the Ozarks and maybe farther, to look for work. She is not afraid of being alone. She was alone for two years before she met Zachary and she had thought she would spend the rest of her life that way. Just knowing he will come back sooner or later is enough.
  
  She sleeps in the sod house through the bright hours of the day when most women do their chores, saves her work for early morning and dusk. When the dark has settled she walks across the prairie, making her way by scent and feel. She finds some clumps of grass that smell like onion, others like sweet basil, others still covered in silvery down that tickles her fingertips.
  
  As the days pass, she saves up things to tell Zachary about when he comes home: A patch of sweet blackberries by the side of the pond where she draws the wash water. A hollow where a covey of grouse nest. Most important and mysterious of all, a hole in the ground with nothing but darkness inside, about the size of a barrel top. The grasses there move even when there is no breeze, and the hole breathes cool air. Once, she lowered a lantern into it at the end of her clothesline and saw a slope of jagged stone leading down. She stuck her head into the opening and breathed, and the air smelled just like the walls of her parents’ graves.
  
  When Sadie first met Zachary it was dusk and he was drunk. She was sweeping the front steps of the house she had lived in with her parents, and had a pot of elderberry jam boiling on the stove inside. A man stopped at the gate and said, “Appaloosa.” Sadie kept sweeping, but the word brought to mind the horses, stark white with a dappling of dark spots, that the Indians rode across the plains. “Appaloosa,” the man said again. “Appaloosa, I’m talking to you.” He sauntered up to her and took her face in his hand, fumes of whiskey and turpentine exuding from his clothes. He had straight black hair to his shoulders and fingers that were strong and calloused. Sadie stood...

نبذة حول المؤلف-

• Anjali Sachdeva’s fiction has appeared in The Iowa Review, Gulf Coast, The Yale Review, Alaska Quarterly Review, The Literary Review, and The Best American Nonrequired Reading. She is a graduate of the Iowa Writers’ Workshop and has taught writing at the University of Iowa, Augustana College, Carnegie Mellon University, and the University of Pittsburgh. She also worked for six years at the Creative Nonfiction Foundation, where she was director of educational programs. She has hiked through the backcountry of Canada, Iceland, Kenya, Mexico, and the United States, and spent much of her childhood reading fantasy novels and waiting to be whisked away to an alternate universe. Instead, she lives in Pittsburgh, which is pretty wonderful as far as places in this universe go. This is her first book.

المراجعات-

• The group of narrators gathered to perform this short story collection creates a diverse array of voices. As each narrates a story or two, the total effect is a chorus that captures the many slices of life presented by the author. From the lush tones of Cassandra Campbell to the slightly clipped, mechanical tenor of Will Damron, we are guided by masterful characterizations through a wide range of settings and plots. Zaineb Jah gives a heartfelt performance of the terrifying life of Promise in "All the Names for God." As a young girl, she and her friend are kidnapped, raped, and married by men in a terrorist organization suggestive of Boko Haram. Jah magnifies the magical realism in this story, as do others throughout the collection. M.R. © AudioFile 2018, Portland, Maine
• 

  December 4, 2017
  The nine stories in Sachdeva’s intriguing debut collection raise challenging questions about human responses to short-circuited desires. Equally at home in realistic and speculative plots, Sachdeva crafts precise character studies with minimal flourishes. “Anything You Might Want” follows the quick crumbling of the relationship between the daughter of a rich, controlling Montana magnate and an indebted miner, and her tantalizing opportunity for revenge. “Robert Greenman and the Mermaid” also focuses on an unwise emotional attachment, bringing together a laconic fisherman and an actual mermaid who nets his ship the largest catches in years. Some stories are creative riffs on historic events, including the title story, in which two kidnapping victims of Boko Haram discover a quasimagical form of hypnosis that can control men. Others, such as “Manus,” point to alarming futures, in which aliens have conquered earth without upsetting life too much—other than requiring all humans replace their hands with metal prosthetics. The most affecting story, “Pleiades,” updates the hubris of Greek tragedy: the inexplicable illnesses of genetically modified septuplets undercut their parents’ faith in science. Throughout, characters face a perpetual constraint against full expression of their emotions. These inventive stories will challenge readers to rethink how people cope with thwarted hopes.

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