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By Peter Selgin

The tales in Drowning Lessons interact water as either a necessary and a very likely detrimental presence in our lives. "You can contact water," says Peter Selgin, "you can flavor it and consider its temperature, you may as well carry it on your arms. nonetheless it is still elusive, ill-defined, formed purely through what surrounds or includes it."

With empathy and wit Selgin introduces us to characters navigating the uneven waters of human relationships. In "Swimming" an avid swimmer fights the stasis in his marriage by means of prodding his out-of-shape yet contented spouse to take in the sport—with near-disastrous effects. A pond is the atmosphere of "The Wolf House," which tells of the reunion and dissolution of a gaggle of highschool acquaintances introduced jointly for a funeral. "The Sinking send guy" chronicles an afternoon within the lifetime of an African American caretaker answerable for the one closing survivor of the enormous catastrophe. In "El Malecón" a toothless previous Dominican attempts to recapture his misplaced dignity by means of "borrowing" a sparkly Cadillac convertible and aiming it down the coastal road towards his formative years village. In "The Sea healing" tourists in Mexico's Yucatan Peninsula confront demise within the type of a mysterious girl residing in an deserted beachfront house complex.

In all 13 stories in Drowning Lessons, Selgin indicates a willing eye for the forces that push humans toward—and occasionally beyond—their very human limits, forces as intrinsic, elemental, and elusive because the liquid that makes up two-thirds in their our bodies. those tales remind us that of all our bodies of water, none is deeper or extra risky than our own.

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