In Salt Water, Sef Hughes has written a largely satisfying collection of short fiction that targets the obsessive behaviours of some decidedly eccentric characters. “Mother Dear” is narrated by the unnamed daughter of Lily. Lily is a neglectful parent in the habit of forcing her altruistic attentions on others within her circle of friends and acquaintances, even those who neither want nor need it, a pattern of behaviour the narrator describes as “guerilla kindness.” As the story progresses, we learn a great deal about Lily’s background as the youngest of seven siblings, the one who got the blame when their mother died in childbirth, and her belief that through acts of charity she will defy death and live on in the memories of those she helped. “Tap Tap” is the suspenseful story of a man who becomes obsessed with absolute solitude, who longs to be able to completely shut himself off from the polluting presence of other people. This wish for solitude leads him to devise an experiment that will fulfill his desire. But when it goes wrong, the consequences are disastrous. In “Lost Cargo,” a man suffering from depression after his father’s recent death is persuaded by his girlfriend to go away for a weekend and recoup. For better or worse, he chooses Barcelona. But, never having flown before, he becomes nauseous on the plane, and after landing suffers further physical discomfort brought on by the heat of the city, where the air seems viscous, like “syrup.” In the end, he spends his entire Spanish sojourn stuck in his hotel room in gastrointestinal distress, realizing only as he’s returning to the airport in a taxi that the city’s lifeblood resides in its streets. And “A Survival Guide for the Unseen,” is just that, a set of instructions for living after becoming “unseen,” composed in 1894 by a man who is in the process of passing the cloak of invisibility to an unidentified victim. The prevailing narrative mode in many of the stories is overstatement, and the repetition of extreme behaviours and amplified emotional states over 200 pages can have a wearying affect on the reader. Still, Hughes’s prose can reach quietly lyrical heights, and the stories are audaciously inventive and sometimes veer toward the outrageous (see “Rocco Fellini’s Famous Mashed Potatoes”). Diverting if uneven, Salt Water provides a pleasurably off-kilter read.