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In 1514 Hungary, peasants who rose up opposed to the the Aristocracy upward thrust back – from the grave. In 1633 Al-Shouf, a mom retains demons at bay with the mixed strength of grief and track. In 1775 Paris, as social tensions come to a boil, a courtesan attempts to avoid wasting the lady she loves. In 1838 Georgia, a pregnant woman's determined get away from slavery comes with a bad expense. In 1900 Ilocos Norte, a wooded area spirit is helping a tender lady shield her land from American occupiers.

those gripping tales were handed down during the generations, hidden among the traces of magazine entries and love letters. Now 27 of today's most interesting authors – together with Tananarive Due, Sofia Samatar, Ken Liu, Victor LaValle, Nnedi Okorafor, and Sabrina Vourvoulias – display the folks whose lives were driven to the margins of background.

For bibliographies and writer notes on many of the tales, settings, and heritage in lengthy Hidden, stopover at http://longhidden.com.

desk OF CONTENTS:
Sofia Samatar - "Ogres of East Africa"
Thoraiya Dyer - "The Oud"
Tananarive Due - "Free Jim's Mine"
S. Lynn - "Ffydd (Faith)"
Sunny Moraine - "Across the Seam"
Rion Amilcar Scott - "Numbers"
Meg Jayanth - "Each half with out Mercy"
Claire Humphrey - "The Witch of Tarup"
L.S. Johnson - "Marigolds"
Robert William Iveniuk - "Diyu"
Jamey Hatley - "Collected Likenesses"
Michael Janairo - "Angela and the Scar"
Benjamin Parzybok - "The Colts"
Kima Jones - "Nine"
Christina Lynch - "The middle and the Feather"
Troy L. Wiggins - "A ranking of Roses"
Nghi Vo - "Neither Witch Nor Fairy"
David Fuller - "A Deeper Echo"
Ken Liu - "Knotting Grass, conserving Ring"
Kemba Banton - "Jooni"
Sarah Pinsker - "There should be One Vacant Chair"
Nnedi Okorafor - "It's War"
Shanaé Brown - "Find Me Unafraid"
Nicolette Barischoff - "A marriage ceremony in Hungry Days"
Lisa Bolekaja - "Medu"
Victor LaValle - "Lone Women"
Sabrina Vourvoulias - "The Dance of the White Demons"

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Example text

No se te ocurra subir al automóvil de un desconocido, no hables con nadie en la calle, no dejes que te toquen el cuerpo, no te acerques a los gitanos. Siempre me sentí diferente, desde que puedo recordarlo he estado marginada; no pertenecía realmente a mi familia, a mi medio social, a un grupo. Supongo que de ese sentimiento de soledad nacen las preguntas que 33 impulsan a escribir, en la búsqueda de respuestas se gestan los libros. El consuelo en los momentos de pánico fue el persistente espíritu de la Memé, que solía desprenderse de los pliegues de la cortina para acompañarme.

En un sitio de honor, en medio de una flora imposible y una fauna desquiciada, pinté la silueta de un muchacho de espaldas, como si estuviera mirando el mural. Era el retrato de Marc Chagall, de quien me había enamorado como sólo se enamoran los niños. En la época en que yo pintaba furiosamente las paredes de mi casa en Santiago, el objeto de mis amores tenía sesenta años más que yo, era célebre en todo el mundo, acababa de poner término a su larga viudez casándose en segundas nupcias y vivía en el corazón de París, pero la distancia y el tiempo son convenciones frágiles, yo creía que era un niño de mi edad y muchos años después, en abril de 1985, cuando Marc Chagall murió a los 93 años de eterna juventud, comprobé que en verdad lo era.

Al principio me parecieron sólo manchas anárquicas, pero pronto descubrí en el pequeño recorte de papel un asombroso universo de novias azules volando patas arriba, un pálido músico flotando entre un candelabro de siete brazos, una cabra roja y otros veleidosos personajes. Había tantos colores y objetos diferentes que necesité un buen rato para moverme en el maravilloso desorden de la composición. Ese cuadro tenía música: un tic–tac de reloj, gemido de violines, balidos de cabra, roce de alas, un murmullo inacabable de palabras.

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