In this landmark volume, America's preeminent storyteller offers us one hundred treasures from a lifetime of words and ideas. The stories within these pages were chosen by Bradbury himself, and span a career that blossomed in the pulp magazines of the early 1940s and continues to flourish in the new millennium. Here are representatives of the legendary author's finest works of short fiction, including many that have not been republished for decades, all forever fresh and vital, evocative and immensely entertaining.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Dream Story tells how through a simple sexual admission a husband and wife are driven apart into rival worlds of erotic intrigue and revenge.

    Written between the 1920s and 1950s, these sixty-five tales—eleven of which have been translated into English for the first time—display all the shades of Nabokov's imagination. They range from sprightly fables to bittersweet tales of loss, from claustrophobic exercises in horror to a connoisseur's samplings of the table of human folly. Read as a whole, The Stories of Vladimir Nabokov offers an intoxicating draft of the master's genius, his devious wit, and his ability to turn language into an instrument of ecstasy.The Wood-SpriteRussian Spoken HereSoundsWingstrokeGodsA Matter of ChanceThe SeaportRevengeBeneficenceDetails of A SunsetThe ThunderstormLa VenezianaBachmannThe DragonChristmasA Letter That Never Reached RussiaThe FightThe Return of ChorbA Guide to BerlinA Nursery TaleTerrorRazorThe PassengerThe DoorbellAn Affair of HonorThe Christmas StoryThe Potato ElfThe AurelianA Dashing FellowA Bad DayThe Visit to the MuseumA Busy ManTerra IncognitaThe ReunionLips to LipsOracheMusicPerfectionThe Admiralty SpireThe LeonardoIn Memory of L.I. ShigaevThe CircleA Russian BeautyBreaking the NewsTorpid SmokeRecruitingA Slice of LifeSpring in FialtaCloud, Castle, LakeTyrants DestroyedLikMademoiselle OVasiliy ShishkovUltima ThuleSolus RexThe Assistant ProducerThat in Aleppo OnceA Forgotten PoetTime and EbbConversation Piece, 1945Signs and SymbolsFirst LoveScenes From the Life of A Double MonsterThe Vane SistersLance

    In 1901, the "real" Elizabeth holidayed on the Baltic island of Rügen with just her maid, a coachman, a carriage piled with luggage, and a woman friend. But from such unpromising beginnings Elizabeth weaves a captivating farrago round her encounters. There's the bishop's wife and her personable son, a dressmaker and, astonishingly, a long-lost cousin who is trying to evade the pursuit of her professor husband. Meanwhile, Elizabeth's friend goes on knitting, and knitting, and knitting, in a travel story of great charm, wit, and perception.

    Writing in the midst of a Europe-wide rebirth of national literature, Anderson broke new ground with his fairy tales in two important ways. First, he composed them in the vernacular, mimicking the language he used in telling them to children aloud. Second, he set his tales in his own land and time, giving rise to his loving descriptions of the Danish countryside. In contrast to such folklorists as the Brothers Grimm, Anderson’s tales are grounded in the real and often focus on the significance of small or overlooked things.Tinderbox --Little Claus and big Claus --Princess on the pea --Thumbelina --Traveling companion --Little mermaid --Emperor's new clothes --Steadfast tin soldier --Wild swans --Flying trunk --Nightingale --Sweethearts --Ugly duckling --Fir tree --Snow queen --Red shoes --Shepherdess and the chimney sweep --Shadow --Old house --Little match girl --Story of a mother --Collar --Bell --Marsh King's daughter --Wind tells of Valdemar Daae and his daughters --Snowman --Ice maiden --Wood nymph --Most incredible thing --Auntie toothache.

    This is the best known version of the original story that inspired Walt Disney’s classic and has been retold countless times and adapted for screen, stage, prose, and television.

    The seven stories are all concerned with love, or rather with the complex erotic games and stratagems employed by women and especially men as they try to come to terms with needs and impulses that can start a terrifying train of events. Sexual attraction is shown as a game that often turns sour, an experience that brings with it painful insights and releases uncertainty, panic, vanity and a constant need for reassurance. Thus a young couple on holiday start a game of pretence that threatens to destroy their relationship, two middle-aged men go in search of girls they don't really want, a young man renews contact with an older woman who feels humiliated by her ageing body, an elderly doctor uses his beautiful wife to increase his attraction and minister to his sexual vanity. In Laughable Loves, Milan Kundera shows himself, once again, as a master of fiction's most graceful illusions and surprises.

    A Sort of Introduction and Pseudo Reality Prevails

    His evocations of small-town Pennsylvania life, and of his own religious, artistic, and sexual awakening, transfixed readers of The New Yorker and of the early collections Pigeon Feathers (1962) and The Music School (1966). In these and the works that followed—the formal experiments and wickedly tart tales of suburban adultery in Museums and Women (1972) and Problems (1979), the portraits of middle-aged couples in love and at war with aging parents and rebellious children in Trust Me (1987) and The Afterlife (1994), and the fugue-like stories of memory, desire, travel, and unquenched thirst for life in Licks of Love (2000) and My Father’s Tears (2009)—Updike displayed the virtuosic command of character, dialogue, and sensual description that was his signature.   Here, in two career-spanning volumes, are 186 unforgettable stories, from "Ace in the Hole” (1953), a sketch of a Rabbit-like ex-basketball player written when Updike was a Harvard senior, to "The Full Glass” (2008), the author’s toast to the visible world, his own impending disappearance from it be damned.” Based on new archival research, each story is presented in its final definitive form and in order of composition, established here for the first time. This unprecedented collection of American masterpieces is not just the publishing event of the season, it is a national literary treasure.

    Anti-Gerasone halts the aging process and prevents people from dying of old age as long as they keep taking it; as a result, America now suffers from severe overpopulation and shortages of food and resources. With the exception of the very wealthy, most of the population appears to survive on a diet of foods made from processed seaweed and sawdust. Gramps Ford, his chin resting on his hands, his hands on the crook of his cane, was staring irascibly at the five-foot television screen that dominated the room. On the screen, a news commentator was summarizing the day's happenings. Every thirty seconds or so, Gramps would jab the floor with his cane-tip and shout, "Hell, we did that a hundred years ago!" Emerald and Lou, coming in from the balcony, where they had been seeking that 2185 A.D. rarity--privacy--were obliged to take seats in the back row, behind about a dozen relatives with whom they shared the house. All save Gramps, who was somewhat withered and bent, seemed, by pre-anti-gerasone standards, to be about the same age--somewhere in their late twenties or early thirties. Gramps looked older because he had already reached 70 when anti-gerasone was invented. He had not aged in the 102 years since. "Next one shoots off his big bazoo while the TV's on is gonna find hisself cut off without a dollar--" his voice suddenly softened and sweetened--"when they wave that checkered flag at the Indianapolis Speedway, and old Gramps gets ready for the Big Trip Up Yonder." He sniffed sentimentally, while his heirs concentrated desperately on not making the slightest sound. For them, the poignancy of the prospective Big Trip had been dulled somewhat, through having been mentioned by Gramps about once a day for fifty years.

    Borges sends us on a journey into a compelling, bizarre, and profoundly resonant realm; we enter the fearful sphere of Pascal's abyss, the surreal and literal labyrinth of books, and the iconography of eternal return. To enter the worlds in Ficciones is to enter the mind of Jorge Luis Borges, wherein lies Heaven, Hell, and everything else in between. Part One: The Garden of Forking Paths Prologue Tlön, Uqbar, Orbis Tertius (1940) The Approach to Al-Mu'tasim (1936, not included in the 1941 edition) Pierre Menard, Author of the Quixote (1939) The Circular Ruins (1940) The Lottery in Babylon (1941) An Examination of the Work of Herbert Quain (1941) The Library of Babel (1941) The Garden of Forking Paths (1941) Part Two: Artifices Prologue Funes the Memorious (1942) The Form of the Sword (1942) Theme of the Traitor and the Hero (1944) Death and the Compass (1942) The Secret Miracle (1943) Three Versions of Judas (1944) The End (1953, 2nd edition only) The Sect of the Phoenix (1952, 2nd edition only) The South (1953, 2nd edition only)

    Aldwinkle. Here, Mrs. Aldwinkle yearns to recapture the glories of the Italian Renaissance, but her guests ultimately fail to fulfill her naive expectations. Among her entourage are: a suffering poet and reluctant editor of the "Rabbit Fanciers' Gazette" who silently bears the widowed Mrs. Aldwinkle's desperate advances; a popular novelist who records every detail of her affair with another guest, the amorous Calamy, for future literary endeavors; and an aging sensualist philosopher who pursues a wealthy yet mentally-disabled heiress. Stripping the houseguests of their pretensions, Huxley reveals the superficiality of the cultural elite. Deliciously satirical, Those Barren Leaves bites the hands of those who dare to posture or feign sophistication and is as comically fresh today as when first published.

    It is goodbye to a Berlin wild, wicked, breathtaking, decadent beyond belief and already -- in the years between the wars -- welcoming death in through the door, though more with a wink than a whimper.~from the back cover

    These stories that speak about objects and daily happenings, pass over to another dimension, one of nightmare or revelation. In each text, surprise and uneasiness are ingredients added to the indescribable pleasure of its reading. These stories may upset readers due to a very rare characteristic in literature: They stare at us as if waiting for something in return. After reading these true classics, our opinion of the world cannot remain the same.1. "Casa Tomada" ("House Taken Over")2. " Carta a una señorita en París" (Letter to a Young Lady in Paris")3. "Lejana" ("The Distances")4. "Ómnibus" ("Omnibus")5. "Cefalea" ("Headache")6. "Circe" ("Circe")7. "Las puertas del cielo" ("The Gates of Heaven")8. "Bestiario" ("Bestiary")