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A pair of romantic flameouts meet at a dull wedding and wind up entwined in a deserted coatroom. Shockingly, Jane and John decide not to have sex. Instead, they embark on a far more dangerous endeavor: sharing the stories of their past love affairs. They tell each other everything, aiming for radical honesty over polished seduction. Jaded as they may be, these two sense that they just might be soulmates.

In The Best American Erotica, Volume 11, we learn about the very first penis in science-fiction hotshot Geoffrey Landis's bawdy fairy tale; Touré's breathless prose poem sets us up with an evening's worth of erotic visitors; and in Jerry Stahl's story, a man recalls his boyhood fascination with his mother's friends and their elaborate undergarments.

Pulitzer Prize-winner Jane Smiley details a beautiful erotic interlude in an otherwise sordid real estate deal; Mary Gaitskill celebrates the unexpected ardor of one middle-aged couple; Steve Almond reminisces about the best one-man/three-girl Ecstasy party ever; Nelson George recounts the erotic escapades that befall a young man who accompanies a celebrity athlete when he picks up a gaggle of girls; and Carol Queen explores the joys of making love with summer fruit.

Famous for taking her readers to undiscovered places, Susie Bright has changed the rules for writing about sex. Erotica is no longer under-the-covers reading; it's thrilling literature that showcases the best writing around.

Like a lot of Americans, Steve Almond spent the weeks after the 2016 election lying awake, in a state of dread and bewilderment. The problem wasn’t just the election, but the fact that nobody could explain, in any sort of coherent way, why America had elected a cruel, corrupt, and incompetent man to the Presidency. Bad Stories: What the Hell Just Happened to Our Country is Almond’s effort to make sense of our historical moment, to connect certain dots that go unconnected amid the deluge of hot takes and think pieces.

Steve Almond doesn't just love candy, he unabashedly worships every aspect of confectionary culture, from the creation of an exceptional malt ball through the tragic demise of a badly conceived candy bar, from the emotion-laden memories stirred by a bite of chocolate to his near-drooling anticipation of spotting a new package on the candy shelves.

In Against Football Steve Almond details why, after 40 years as a fan, he can no longer watch the game he still loves. Using a synthesis of memoir, reportage, and cultural critique, Almond asks a series of provocative questions: Does our addiction to football foster a tolerance for violence, greed, racism, and homophobia? What does it mean that our society has transmuted the intuitive physical joys of childhood--run, leap, throw, tackle--into a billion-dollar industry?

In Mad Ducks and Bears, George Plimpton's engaging companion to Paper Lion, Plimpton focuses on two of the most entertaining and roguish linemen and former teammates: Alex Karras ("Mad Ducks") and John Gordy ("Bears"), both of whom went on to achieve brilliant post-football success. A more reflective, less madcap audiobook than Plimpton's other work, Mad Ducks and Bears is no less truthful and searching.

It's 1981 in Sacramento, and thirteen-year-old Lorena Saenz has just been paired with Jenny Stallworth for the science fair. Lorena begins to spend time at the Stallworth residence and finds herself seduced, not just by Jenny but her parents: Rosemary, her mother, and Marcus, a scorpiologist who recognizes Lorena’s passion for learning. When Lorena’s troubled older brother, Tony, picks her up at the Stallworth mansion late one night, he and Marcus exchange tense words—an encounter that draws the Saenz family into the dark heart of America’s criminal justice system.

Steve Almond shares the insights gleaned from three decades as a beloved teacher and mentor, and a considerably less-beloved literary rabble rouser. His tone is irreverent. His ideas are iconoclastic. And his approach is stubbornly, radically, empathic. The goal is to explode the well-meaning but misguided myths that hold us back from writing our deepest and most honest work, to awaken the joys of storytelling while also confronting how grueling the process can be.