The reigning master of short fiction reinvents science fiction and fantasy in a dazzling new collection unlike anything you’ve ever read. Time-traveling dinosaurs wreak havoc on a placid Vermont town. An ogre is murdered in a locked room in Faerie. An uncanny bordello proves as dangerous as it is alluring. Language is stolen from the builders of babel. Those strangely loveable Post-Utopion scoundrels and con men, Darger and Surplus, swindle their way through London, Paris, and Arcadia.The Dog Said Bow-Wow includes three Hugo Award-winning stories and an original novelette of swashbuckling romance and adventure, “The Skysailor’s Tale.” Ranging from the hardest of science fiction to the highest of fantasy, this irresistible collection amuses and enlightens as only Michael Swanwick can.

    When Dana Rose's ex gets married, and then starts the business Dana had dreamed of opening, Dana has her friends and her faith to rely on.

    In the characters and their circumstances details of Joyce's life are evident. The main character, Richard Rowan, the moody, tormented writer who is at odds with both his wife and the parochial Irish society around him, is clearly a portrait of Joyce himself. The character of Rowan's wife, Bertha, is certainly influenced by Joyce's lover and later wife, Nora Barnacle, with whom he left Ireland and lived a seminomadic existence in Zurich, Rome, Trieste, and Paris. As in real life, the play depicts the couple with a young son and, like Joyce, Rowan has returned to Ireland because of his mother's illness and subsequent death.One can also detect hints of Joyce's interest in Nietzsche in Rowan's flawed pursuit of total individual freedom despite the stifling morals of Irish society. Though wrestling with guilt over his own infidelities, Rowan insists on this personal liberty, not only for himself but for his wife as well, who he knows is tempted by his cousin's amorous overtures.Joyce's decision to express himself in the form of a play no doubt reflects his long admiration of the Norwegian playwright Henrik Ibsen. In the tense dialogue, the largely interior drama focused on the characters' relationships, the undertones of guilt, and the longing for freedom one sees similarities with Ibsen's themes. Also the spare, understated writing style - so unlike Joyce's exuberant, playful, and experimental use of language in his novels - shows the influence of Ibsen's "naked drama" (as Joyce described Ibsen's style in a published review). Above all, Joyce emulated the Scandinavian master in making the central issue of his drama the conflict between individual freedom and a demanding, judgmental society. In Exiles the protagonists struggle with the choice between living in defiance of the rigid conventions of Irish society or exile from their homeland.Though lesser-known, Exiles, written after Portrait of the Artist as a Young Man and while Joyce was working on Ulysses, provides interesting insights into the development of the creative gifts of a literary genius.

    Sometimes I even ask myself if all this has really happened, if its pictures dwell in truth in my memory, and not merely in my imagination. In my position as head inspector in the federal police department at Washington, urged on moreover by the desire, which has always been very strong in me, to investigate and understand everything which is mysterious, I naturally became much interested in these remarkable occurrences. And as I have been employed by the government in various important affairs and secret missions since I was a mere lad, it also happened very naturally that the head of my department placed In my charge this astonishing investigation, wherein I found myself wrestling with so many impenetrable mysteries.

    He would live to regret it. Kelly was never the sharpest knife in the drawer, and what started clean soon became messy, as two of his partners cut themselves into the action; a determined former Texas Ranger makes tracking Kelly his mission; and Kelly's wife, ever alert to her own self-interest, starts playing both ends against the middle. The result is a mesmerizing tale set in the first days of the modern FBI, featuring one of the best femmes fatales in history—the Lady Macbeth of Depression-era crime—a great unexpected hero, and some of the most colorful supporting characters in recent crime fiction.

    Pity the poor private eye (or official investigator, for that matter), who has to solve a case which may involve death by black magic, evidence that may have been altered or planted by an itinerant sorcerer, and supernatural entities.

    Twenty-five or so outstanding writers have been asked by Zadie Smith to make up a fictional character. By any measure, creating character is at the heart of the fictional enterprise, and this book concentrates on writers who share a talent for making something recognizably human out of words (and, in the case of the graphic novelists, pictures). But the purpose of the book is variety: straight "realism"-if such a thing exists-is not the point. There are as many ways to create character as there are writers, and this anthology features a rich assortment of exceptional examples. The writers featured in The Book of Other People include: Aleksandar Hemon Nick Hornby Hari Kunzru Toby Litt David Mitchell George Saunders Colm Tóibín Chris Ware, and more

    Across the street are the bodies of fourteen innocent men and women, each quickly and cleanly murdered. The sniper Galileo is on the loose. He can end a human life from hundreds of yards away. And he is just getting started. Where others see puzzles, Esme Stuart sees patterns, and these outside-the-box inductive skills made her one of the FBI's top field operatives. But she turned her back on all that eight years ago to start a family and live a normal life. She now has a husband and a daughter and a Long Island home to call her own, far removed from the bloody streets of Atlanta. But Galileo's murders escalate and her beleaguered old boss needs the help of his former protégée. But how can she turn her back on her well-earned quiet life? How would she ever be able to justify such a choice to her husband? To her daughter?And what will happen when Galileo turns his scope on them?

    . .Nadia Bessonova's career-criminal father has deadly enemies--and to save him, his devoted daughter is willing to make a bargain with the devil himself. She will surrender completely, body and spirit, to the dangerous Dominic Luder, and submit to his every whim.A tormented beast enthralled . . .Haunted by inner demons and hiding away in his dark, secluded manor, Dominic is mesmerized by his sensuous prisoner who inflames his bestial lust. But Nadia is no mere plaything. At once fearful, willing, and wildly passionate, she brings his most breathtaking erotic fantasies to life--and thaws his cold, wounded heart.A perilous path to a happy ending . . .But Nadia never dreamed she'd become slave to her own desires in a savage game of seduction and revenge. And now that he has tasted ecstasy, will a jealous, magnificent beast be able to relinquish his prize?

    For the first time in paperback--a volume of thirty-seven diabolically inventive stories, fables, and "impossible interviews" from one of the great fantasists of the 20th century, displaying the full breadth of his vision and wit.  Written between 1943 and 1984 and masterfully translated by Tim Parks, the fictions in Numbers in the Dark display all of Calvino's dazzling gifts: whimsy and horror, exuberance of style, and a cheerful grasp of the absurdities of the human condition.