Published in book form a year later and banned in Nazi Germany, it garnered high praise in the United States and much of Europe. A series of fictional letters between a Jewish art dealer living in San Francisco and his former business partner, who has returned to Germany, Address Unknown is a haunting tale of enormous and enduring impact.

    The Saroyan story was transplanted from New York to 1950s San Francisco for the musical.

    Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.

    Here was a disgusted man. His name was Svevo Bandini, and he lived three blocks down that street. He was cold and there were holes in his shoes. That morning he had patched the holes on the inside with pieces of cardboard from a macaroni box. The macaroni in that box was not paid for. He had thought of that as he placed the cardboard inside his shoes.

    Published in 1938, this was the first book from Wright, who would continue on to worldwide fame as the author of the novels Native Son and Black Boy.

    Here, in this special double edition, the arrogant, gourmandizing, sedentary sleuth and his trusty man-about-town, Archie Goodwin, solve two of their most bizarre cases. Some Buried CaesarA prize bull destined for the barbecue is found pawing the corpse of a late restaurateur. Wolfe is certain that Hickory Caesar Grindon, the soon-to-be-beefsteak bull, isn't the murderer. But who among a veritable stampede of suspects--including a young woman who's caught Archie's eye--turned the tables on Hickory's would-be butcher? It's a crime that wins a blue ribbon for sheer audacity--and Nero Wolfe is the one detective audacious enough to solve it. The Golden SpidersA twelve-year-old boy shows up at Wolfe's brownstone with an incredible story. Soon the great detective finds himself hired for the grand sum of $4.30 and faced with the question of why the last two people to hire him were murdered. To keep it from becoming three, Wolfe must discover the unlikely connection between a gray Cadillac, a mysterious woman, and a pair of earrings shaped like spiders dipped in gold.

    taking what he wanted, he gave all he had... damning the rules, he carved an unforgttable legend in history for all times.Jack London, the fabulous literay enigma brought to life through the superb talents of Irving Styone.

    Eight stories portray the world of the New York intellectual during the 1930's and 1940's, probing the conflict between ambitious, educated youths and their immigrant parents.

    Mitchell haunted parts of the city now vanished: the fish market, burlesque houses, tenement neighborhoods, and storefront churches. Whether he wrote about a singing first baseman for the Brooklyn Dodgers or a nudist who does a reverse striptease, Mitchell brilliantly illuminated the humanity in the oddest New Yorkers.These pieces, written primarily for The World-Telegram and The Herald Tribune, highlight his abundant gifts of empathy and observation, and give us the full-bodied picture of the famed New Yorker writer Mitchell would become.From the Trade Paperback edition.

    The first half of this posthumously published novel describes George's evolution from small-town southern boy to struggling New York novelist and attempts to answer the brooding protagonist's question, "What is it that a young man wants?" The second half is devoted to his tempestuous affair with a sophisticated married woman. Ultimately, George, repulsed by the frivolous lifestyle of his wealthy mistress and her circle, retreats to Europe. But, once again, his idealism is shattered as Hitler rises to power in Germany. Disillusioned, George dreams of returning to the South of his childhood but realizes that "you can't go home again."

    The mighty saga of three generations cursed by a bloodstained fortune, set in the 19th century.

    Always ahead of her time, no other major poet of the last century enters the twenty-first so fresh, so essentially unexplored as does Laura Riding. Her formidable credentials as a modernist need no longer distract attention from the class-of-her-own this writer occupies. Beginning in spiritual respect for Shelley, Whitman, and Francis Thompson, Riding's resolve to work toward nothing less than "the essence of the good in language" carries her across an entire poetic world within this volume--as it afterwards carried her out of poetry altogether. This centennial volume presents the entire content of the 1980 edition, together with the author's retrospective Introduction and Appendices, corrected and reset. The poem-text reproduces, with the few errata corrected, the typography and design of the celebrated first edition of 1938, as supervised by the author herself. Included are the ten memorable full-page illustrations by John Aldridge.

    Howard, written in late 1934 and published posthumously by Weird Tales in 1938. The story title derives from an image present in many of Howard's grandmother's ghost stories, that of an old deserted plantation mansion haunted by ghostly pigeons.

    I hope you will find some that you like- In going where you have to go, and doing what you have to do, and seeing what you have to see, you dull and blunt the instrument you write with. But I would rather have it bent and dulled and know I had to put it on the grindstone and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining, and nothing to say, or smooth and well-oiled in the closet, but unused.'A collection of Hemingway's first forty-nine short stories, featuring a brief introduction by the author and lesser known as well as familiar tales, including 'Up in Michigan', 'Fifty Grand', and 'The Light of the World', and the Snows of Kilimanjaro, Winner Take Nothing' and Men Without Women collections.

    Keeping it teachable and flexible, the material allows for full and innocent immersion as well as raising inductive questions to develop critical and analytical skills. Students will be led to understand poetry as a means of imaginatively extending their own experience and indeed, probing the possibilities of the self. This latest incarnation of the landmark text facilitates a thorough study of poetry.

    

    Set in the idyllic Salinas Valley in California, where simple people farm the land and struggle to find a place for themeselves in the world, these stories reflect many of the concerns key to Steinbeck as a writer; the tensions between town and city, labourers and owners, past and present. Included here are the celebrated tales, THE MURDERER and THE CHRYSANTHEMUMS.