In conventional fiction, war heroes return home minus an arm or a leg--or, to take Hemingway's worst-case scenario, the family jewels. In Aimee Bender's deeply unconventional collection, however, an even more suggestive body part goes AWOL: "Steve returned from the war without his lips." The army doctors have temporarily replaced them with a plastic disc, which impairs his speech. Luckily, this doesn't prevent him and his wife from engaging in some slightly surrealistic sexual maneuvers: "That night in bed, he grazed the disc over her raised nipples like a UFO and the plastic was cool on her skin. It felt like they were in college and toying with desk items as sexual objects."

That same combo--sex and off-kilter surrealism--provides Bender with her modus operandi. In "Call My Name," for example, a young heiress tails a stranger back to his apartment, gets her dress sliced off, and then consents to be trussed to a chair while he watches a TV documentary about Mozart. "Quiet Please" features a libidinous librarian who takes on all, uh, comers in the back room. Bender isn't, it should be said, simply a purveyor of French postcards. Her prose is exquisitely shaped, and its singsong rhythms suggest something out of a wised-up, whacked-out fairy tale. Indeed, if the Brothers Grimm had been a little more attuned to the pleasure principle, their fables might have boasted at least a family resemblance to Aimee Bender's. --James Marcus