TABLE OF CONTENTS
Jewelry Box 1
T-Shirt 4
Duck 6
Story 8
Telephone Call 10
Cup of Coffee 13
Shoes 14
A Liar and Her Brother 16
Suntan Lotion 18
Rage 20
Sexual Fantasy 21
Mascara 23
Bra 25
Daughter 26
House 27
Poetry Reading 29
Letters 30
Age at Which You Consider History 33
Pillbox 34
Book 37
Photograph 39
Car Ride 41
Hair 46
Living Room 47
Paper in Back of Folder 45
Artists 50
Joke 52
Wallet 57
Boat 59
Dishes the Cat Used, Now Stored in the Laundry Room 60
Glass 63
Gun 64
Talk 66
Purse 67
Loneliness 70
Rabbits 71
Big Truck 73
Texas 74
Grain of Sand 77
Television 78
Unremembered Thing 80
Plastic Bits 81
Ambition 82
Pain 83
Vampire 89
Motherhood 90
Loss Itself 92
Kitchen 93
Bratz Doll 95
Boots 96
Cigarette 97
Stone 98
Old Girlfriend 99
Kleenex Box 100
Devotion 102
Mushroom Paté 103
Quote 105
Body of Water 106
Tail 107
Small Buddha 108
Color Chart 109
Density 111
Song 113
Fire 114
Policemen 115
Paper Bag 116
Mermaid 118
Tooth 119
100 galleys will be mailed to key review and media outlets 3-4
months prior to publication.
100 finished books will be mailed to key review outlets.
Extensive promotion through BOA's website, blog, Facebook, Twitter,
e-blasts, e-postcards, print materials, newsletter, and print
catalogs.
Print ads in Poets & Writers magazine and Rain Taxi.
Aurelie Sheehan is the author of two novels, History Lesson for Girls (Viking Penguin, 2006) and The Anxiety of Everyday Objects (Penguin Books, 2004), as well as a short story collection, Jack Kerouac Is Pregnant (Dalkey Archive Press, 1994). Her work has been widely published in venues including Alaska Quarterly, Conjunctions, Epoch, Fairy Tale Review, Fence, New England Review, The New York Times, Ploughshares, and The Southern Review. She has received a Pushcart Prize, a Camargo Fellowship, the Jack Kerouac Literary Award, and an Artists Projects Award from the Arizona Commission on the Arts. Sheehan teaches in the MFA program at the University of Arizona in Tucson, where she lives with her husband and daughter.
The Story Prize Blog's 'Outstanding 2013 Short Story Collections' "Micro-fictions, flash-memoirs, prose poems, incidents, anecdotes, extended metaphors-there's no differentiation on the book's part, nor is there much need, as most of the pieces are glittering little truths whether factual or not... In the end it's the images within the pieces--stories, memoirs, whatever you want to call them--that remain under your skin." -Inside Higher Ed "Rather than getting ensconced in the heavy drape of narrative, these short flares of memory allow the reader to enter Sheehan's memories as they are in her mind--a jumble of moments, people, objects, and sounds as they exist before analysis and ordering." -Publishers Weekly "Sheehan's histories focus on moments, on objects, on fragments. We, the readers, do the rest, carrying through our days Sheehan's embodiments of familiar things, letting our own minds and experiences fill in her ellipses." -Three Guys One Book "Not quite prose poems, not quite flash fiction, not quite memoir--nonetheless all of the above--the little pieces in Aurelie Sheehan's new collection that she calls 'histories' do, in fact, hint at her life history... Her entries--some as short as a single paragraph; none longer than a few pages--explore feminine sexuality, motherhood, daughterhood, and the writer's life related to feminine sexuality, motherhood, daughterhood." -Tucson Weekly "The book is written as if to disprove the fact that our trinkets are useless -- 58 stories that coalesce into a study of connection, a whole that becomes greater than the sum of its parts... Sometimes dream-like, autobiographical, or poetic, the book resists mere categorization in favor of assembling a vivid collection of instances imbued with nostalgia and import." - Brooklyn Rail "Many of the stories are relatable and go into private depths not often explored. Sometimes mundane things are fascinating, only because we don't generally dwell on them. And sometimes mundane things, taken out of context, become profound." -Trop "...the value is in each piece's ghostly history, where it has been, whose it was, what resonant deep emotions (pains, joys, fears, loves) are embedded in its tiny form. These histories can be quiet, and they can be loud. They can be momentous and they can be focused on almost overlookable interstices between such memorable moments ... There is an energy, a humor, and a raucous charge running through these stories, building beyond itself."-DIAGRAM "The jewelry box serves perfectly as a metaphor for a collection of histories composed of memories, objects, shards, 'all the hard, broken things' that we inevitably grow up and take possession of over a long period of time: a lifetime, no less, in which Sheehan and her multitude of narrators/voices reminds, we may never see 'the whole story.'" -New Letters
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