From the distinctly urban to the emotionally uncompromising, these three women express, each in her own voice, a cry, a laugh, a scream—the hybrid of which culminates in the call for imprint: A Siren Tattoo.

Skin House is a story about two guys who end up in the same bar they started out in. Maybe they’re slightly better off than they were at the start. Or maybe not. One has a girlfriend though. They both have a little extra cash, enough to order nachos whenever they want to without going through their pockets first. They’re not dead, and that’s something right there. And they’re not arrested, which is the quite surprising part.

In this debut collection, Caroline Szpak is the grand ventriloquist, manipulating words and voices in strange and fantastical ways.

Winner of the 2000 3-Day Novel-Writing Contest

A capricious comedy of errors, Small Apartments resonates with tremulous energy and memorable characters.

The film adaptation of Small Apartments was directed by Jonas Åkerlund. Franklin Franklin is played by Matt Lucas, and his landlord, Mr. Olivetti, is played by Peter Stormare. The cast co-stars Dolph Lundgren, Johnny Knoxville, James Caan, Billy Crystal, Juno Temple, Saffron Burrows and Amanda Plummer. Screenplay by Chris Millis. The film premiered at the South by Southwest Film Festival on March 10, 2012.

The underground cult hit that won the Grand Prize in the 23rd Annual International 3-Day Novel Writing Contest is now a major motion picture from Sony Entertainment directed by Grammy Award winner Jonas Akerlund and starring the most refreshingly offbeat cast ever assembled for a dark indie comedy.

Snatch is a hilarious and creepy collection of poems that may not even be poetry at all. Like a comic novel from an alternate universe, or a fragmented hoax of an autobiography, Snatch picks at the vacuous horror of suburbia and exposes a world of small beauty and perfect moments amid TV-induced nostalgia and impending violence.

In his take-no-prisoners style of verse and performance, Avery poetry is alternately profane, brilliantly vulgar, unsettling, outrageously funny and brash in it’s lonesome courage, and unquestionably original.

In prose that’s as sharp as broken glass and shot through with poetry, Teresa McWhirter unlocks the extraordinary subculture of urban adults in their twenties and early thirties. Most startling of all are the portraits of young women —tough, independent party girls who are strong enough to say “no” to love and smart enough to know why.