HOW TO BREATHE UNDERWATER

Trapped in awkward, painful situations, the young protagonists of Orringer's debut collection discover surprising reserves of wisdom in themselves. Their trials are familiar if harsh—the illness and death of parents and friends, social ostracism—but Orringer's swift, intricate evocation of individual worlds gives depth and integrity to her nine stories, set everywhere from Florence to New Orleans to Disney World. The collection's title comes from "The Isabel Fish," in which 14-year-old Maddy is learning how to scuba dive after surviving a car accident in which her older brother's girlfriend drowned. Maddy is sure her brother hates her, and when he kills the fish she is raising for a science fair project, she can hardly blame him. It is only when they go diving together that she realizes he feels as guilty as she does. In "Note to Sixth-Grade Self"—written in a telegraphic second person—the narrator details her torments at the hands of a popular girls who speaks with a stutter. The cruelty of children is also dissected in "Stations of the Cross," in which Jewish Lila Solomon attends her friend's first Communion in the Deep South, and finds herself reluctantly playing a part in an enactment of the Crucifixion. In "When She Is Old and I Am Famous," fat Mira must cope with the arrival of her supermodel cousin: "Aïda. That is her terrible name. Ai-ee-duh: two cries of pain and one of stupidity." By the end of the story, Aida has won over Mira, who finally empathizes with her bids for attention. No matter how wronged they have been, Orringer's characters are open to reconciliation and even willing to save their tormentors. It is this promise of grace—and Orringer's smooth, assured storytelling—that distinguishes the collection. (Sept. 9)