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In his new collection We���Ĵ�ý�re Flying, Swiss author Peter Stamm weaves together a multitude of perspectives with the ghostly fiber of loss. This fascinating set of short stories centers around the general theme of the ���Ĵ�ý�human condition���Ĵ�ý�—joy and sadness, birth and death, couples and families, work and school. However, a generous majority of these tales unfold against a subconscious background of grief, whether real or imagined: the widow that learns posthumously of her husband���Ĵ�ý�s affair; the toddler abandoned by his parents at preschool; the frustrated artist. Yet the book isn���Ĵ�ý�t a blurred mess of sympathy; rather, it���Ĵ�ý�s a sharp analysis of life���Ĵ�ý�s chronic pain and beauty. Precise, disquieting, and high-impact, Stamm���Ĵ�ý�s new collection slices away surface tissue to reveal the downright messiness of human life

Stamm���Ĵ�ý�s stories are surprisingly fleshed-out with minimum verbage. Like the artist in one of his stories, Stamm writes surgically: ���Ĵ�ý�You paint what you see with the maximum of precision, but you don���Ĵ�ý�t care about the precision of the depiction . . . What counts is decisiveness.���Ĵ�ý� His characters are quickly but sharply sketched; his story-world is modeled on the one at hand, but as though seen through a microscope, with fine-grained crystals of detail. Stamm shows, instead of tells—in ���Ĵ�ý�Sweet Dreams,���Ĵ�ý� a newly-cohabiting girl reflects on the meaning of family while imagining an old black-and-white photo of relatives:

Lara could see the pictures, big family get-togethers in a garden in the north of Italy, pictures full of people she didn���Ĵ�ý�t know, even her mother didn���Ĵ�ý�t know some of the names. Thereafter the family had fallen apart . . . When Lara had visited Italy with her parents, there hadn���Ĵ�ý�t been any more big reunions, only visits in darkened homes with old people who smelled funny and served dry cookies and big plastic bottles of lukewarm Fanta.

Rather than directly stating Lara���Ĵ�ý�s isolation in her new romance, Stamm instead gives us vivid objects to evoke the feeling: a faded photograph. Dry cookies and lukewarm Fanta. Old people whose homes are lonely and ���Ĵ�ý�funny���Ĵ�ý�-smelling. Later on, we get ���Ĵ�ý�a barely used coffee machine that Laura found on eBay, a chest for their shoes, a whole stack of yellow bath towels that were on offer���Ĵ�ý�—objects that carry a false connotation of stability, but which are really as destructible and transient as her new relationship.

There���Ĵ�ý�s an uncanny equanimity and composure in Stamm���Ĵ�ý�s voice as he makes us privy to frequent scenes of psychological pain. When Angelika brings home a forgotten child from her daycare job, her boyfriend Benno is both warm and insensitive: he plays with the child, making droning noises like an airplane—���Ĵ�ý�We���Ĵ�ý�re flying!���Ĵ�ý� he yells—but later begins to unbutton her blouse in front of the boy. ���Ĵ�ý�I���Ĵ�ý�m not going to let that runt spoil my fun,���Ĵ�ý� he snarls, engrossed in a cop show. After the boy���Ĵ�ý�s parents come to pick him up, Angelika is confronted with the reality of Benno���Ĵ�ý�s revealed selfishness and lack of care. ���Ĵ�ý�She freed herself and said she would have a quick shower too. She locked the bathroom but didn���Ĵ�ý�t undress. When Benno knocked on the door, she was still sitting on the toilet, with her face in her hands.���Ĵ�ý�

Heavy, shocking endings like these cap off many of Stamm���Ĵ�ý�s stories, but not all of them are as tragic. In ���Ĵ�ý�Seven Sleepers,���Ĵ�ý� a lonely vegetable farmer finds his first love; in ���Ĵ�ý�The Suitcase,���Ĵ�ý� an elderly man surreptitiously slips a suitcase beneath his dying wife���Ĵ�ý�s hospital bed with her necessary items—and a bar of chocolate.

We���Ĵ�ý�re Flying is eerily readable—perhaps due to how much of ourselves we recognize in his characters. In a varied and colorful array of stories, Stamm manages to portray human life as the emotional mishmash that it really is, full of misery and beauty, full of falling and flying.