This mesmerizing collection features all of Ken’s award-winning and award-finalist stories, including: “The Man Who Ended History: A Documentary” (Finalist for the Hugo, Nebula, and Theodore Sturgeon Awards), “Mono No Aware” (Hugo Award winner), “The Waves” (Nebula Award finalist), “The Bookmaking Habits of Select Species” (Nebula and Sturgeon award finalists), “All the Flavors” (Nebula award finalist), “The Litigation Master and the Monkey King” (Nebula Award finalist), and the most awarded story in the genre’s history, “The Paper Menagerie” (The only story to win the Hugo, Nebula, and World Fantasy awards).A must-have for every science fiction and fantasy fan, this beautiful book is an anthology to savor.

    Bellatin’s work, Beauty Salon is pithy, allegorical and profoundly disturbing, with a plot that evokes The Plague by Camus or Blindness by José Saramago."--New York Times"Including a few details that may linger uncomfortably with the reader for a long time, this is contemporary naturalism as disturbing as it gets."--BooklistA strange plague appears in a large city. Rejected by family and friends, some of the sick have nowhere to finish out their days until a hair stylist decides to offer refuge. He ends up converting his beauty shop, which he’s filled with tanks of exotic fish, into a sort of medieval hospice. As his “guests” continue to arrive and to die, his isolation becomes more and more complete in this dream-hazy parable by one of Mexico’s cutting-edge literary stars.Mario Bellatin, the author of numerous short novels, was born in Mexico City in 1960. In 2000, Beauty Salon was nominated for the Médicis Prize for best novel translated into French. This is its first translation into English.

    The resulting volume is both an education in the history of fantastic literature and a rollercoaster ride of wonder and terror, vampires, ghosts, and the rebellious creatures of our own psyches. Selections include:E.T.A. Hoffmann--"The Sandman"G&#233rard de Nerval--"the Enchanted Hand"Nikolai Gogol--"The Nose"Edgar Allan Poe--"The Tell-Tale Heart"Hans Christian Andersen--"The Shadow"Ambrose Bierce--"Chickamauga"Robert Louis Stevenson--"The Bottle Imp"Henry James--"The Friends of the Friends"H.G. Wells--"The Country of the Blind"Comprising stories of the supernatural and narratives of the everyday uncanny, Fantastic Tales is a gallery of enchantments, deliciously entertaining yet more disturbing than our most persistent nightmares.CONTENTSIntroduction by Italo CalvinoI. The Visionary Fantastic of the Nineteenth CenturyThe Story of the Demoniac Pacheco by Jan PotockiAutumn Sorcery by Joseph von EichendorffThe Sandman by E. T. A. HoffmannWandering Willie’s Tale by Sir Walter ScottThe Elixir of Life by Honoré de BalzacThe Eye with No Lid by Phliarte ChaslesThe Enchanted Hand by Gérard de NervalYoung Goodman Brown by Nathaniel HawthorneThe Nose by Nikolai Vasilyevich GogolThe Beautiful Vampire by Théophile GautierThe Venus of Ille by Prosper MériméeThe Ghost and the Bonesetter by Joseph Sheridan Le FanuII. The Everday Fantastic of the Nineteenth CenturyThe Tell-Tale Heart by Edgar Allan PoeThe Shadow by Hans Christian AndersenThe Signal-Man by Charles DickensThe Dream by Ivan Sergeyevich TurgenevA Shameless Rascal by Nikolai Semyonovich LeskovThe Very Image by Auguste Villiers de l’Isle-AdamNight: A Nightmare by Guy de MaupassantA Lasting Love by Vernon LeeChickamauga by Ambrose BierceThe Holes in the Mask by Jean LorrainThe Bottle Imp by Robert Louis StevensonThe Friends of the Friends by Henry JamesThe Bridge-Builders by Rudyard KiplingThe Country of the Blind by H. G. Wells

    “But you can’t sit down and wait for him cuz that’s a longer and more painful death.” Living in Santo Domingo, she waits for her father to come back from the United States and lavish her with the glorious rewards of his fame and fortune—shiny new cars and polo shirts, gold chains and Nikes. But when Papi does come back, he turns out to be more “like Jason, the guy from Friday the 13th," than a prince. Papi is a drug dealer, a man who is clearly unreliable and dangerous but nevertheless makes his daughter feel powerful and wholly, terrifyingly alive.Drawing on her memories of a childhood split between Santo Domingo and visits with her father amid the luxuries of the United States, Rita Indiana mixes satire with a child’s imagination, horror with science fiction, in a swirling tale of a daughter’s love, the lure of crime and machismo, and the violence of the adult world. Expertly translated into English for the first time by Achy Obejas, who renders the rhythmic lyricism of Indiana’s Dominican Spanish in language that propels the book forward with the relentless beat of a merengue, Papi is furious, musical, and full of wit—a passionate, overwhelming, and very human explosion of artistic virtuosity.

    Rock Springs is a masterpiece of taut narration, cleanly chiseled prose, and empathy so generous that it feels like a kind of grace.

    Volume One contains the following 48 short stories:- The Dead Past- The Foundation of S. F. Success- Franchise- Gimmicks Three- Kid Stuff- The Watery Place- Living Space- The Message- Satisfaction Guaranteed- Hell-Fire- The Last Trump- The Fun They Had- Jokester- The Immortal Bard- Someday- The Author's Ordeal- Dreaming Is a Private Thing- Profession- The Feeling of Power- The Dying Night- I'm in Marsport Without Hilda- The Gentle Vultures- All the Troubles of the World- Spell My Name with an S- The Last Question- The Ugly Little Boy- Nightfall- Green Patches- Hostess- Breeds There a Man…?- C-Chute- In a Good Cause—- What If—- Sally- Flies- Nobody Here But—- It's Such a Beautiful Day- Strikebreaker- Insert Knob A in Hole B- The Up-to-Date Sorcerer- Unto the Fourth Generation- What Is This Thing Called Love?- The Machine That Won the War- My Son, the Physicist- Eyes Do More Than See- Segregationist- I Just Make Them Up, See!- Rejection Slips.

    But in Julia Alvarez's new novel, In the Name of Salome, the mother, Dominican poet and political muse Salomé Ureña, only lives long enough to hear her three-year-old daughter Camila recite one of her consumptive mother's poems. What we get, then, is a compelling work of fiction based on remarkably tireless research and shaped by Camila's reach into the past, into her mother's history and her mother's place in history, in order to make sense of the choices she has made about her own. A masterful manipulator of time, Alvarez alternates points of view, shuttling us not only back and forth between Salomé and Camila, but also moving us forward in Salome's life as she moves us backward in Camila's. Salomé writes in secret as a child, publishes briefly under a pseudonym and soon emerges as herself, a figure of inspiration for a nation. But all the while she longs for that other kind of passion, the one her family and her readers would like to believe she is above: the passionate love of a man. Sadly, though she finds that love in Papancho, he is never fully hers. He belongs in turn to his country, to his studies, and inevitably to another woman. How Salomé withstands losing this managain andagain has to do with what we all withstand — wisely and unwisely — in the name of love. Camila writes poetry only as a mature woman. As a child her life is shaped by the political values that shape Papancho's life. Those values find only cautious expression in the U.S. where she studies at the University of Minnesota and later becomes a professor at Vassar. But in Cuba, where she spends the last 13 years of her life, she fulfills the dream of both her mother and father as a vital and dedicated participant in Fidel Castro's "revolutionary experiment." Through skillful mechanics Alvarez makes characters of time itself and the history that marks it. And what troubling history it is, spanning over 100 years (1856-1973) in the life of the Dominican Republic, where the government changes hands with as much frequency as a señorita changes her linens, and "Depending on the president, the pantheon of heroes changes, one regime's villain is the next one's hero, until the word hero, like the word patria, begins to mean nothing.". But if history renders language meaningless, what is left? Only the struggle to make meaning, and only love makes that struggle real and worthwhile; on this matter mother and daughter agree. So this is also a love story, in which Salomé discovers that she will give up everything — her writing, her social activism, finally her health — for the man she loves, and Camilla discovers that she will sacrifice her secure teaching position in the U.S., the approval of family, friends and erstwhile lovers for the very thing her mother's passionate poetry taught her: love for the land and the people who give life to it. Alvarez's skillful prose styling distinguishes the two women not only through the details of their lives but also through their meticulously wrought voices. Moreover, just as interesting as what distinguishes them from one another is what unites them: the pull of public life on their private lives and the challenges presented by the conventions that govern their lives as women. And they and we thrill equally to the ultimate discovery we're all reaching for, "that hushed and holy moment...when the word becomes flesh." In a book rich in extended metaphor, where poetry and idealism play a huge role, we are never encumbered with abstraction. This is a writer going at full tilt: wry, wise, ironic, forgiving. She, like both the women of this novel, is an educator, though neither didactic nor condescending. Even though we know from the beginning the details about the end of both mother's and daughter's lives, Alvarez manages to sustain an air of suspense throughout, the point being not what happens, but how it comes about, and at what cost. Susan Thames is the author of a book of short stories, AS MUCH AS I KNOW. Her novel I'll Be Home Late Tonight was a Barnes & Noble Discover Great New Writers selection.

    Don Quixote, errant knight and sane madman, with the company of his faithful squire and wise fool, Sancho Panza, together roam the world and haunt readers' imaginations as they have for nearly four hundred years.

    In their dreams, they catch glimpses of Estrella’s braids, hear echoes of her voice, and read old letters that eventually, mysteriously, stopped arriving. They recall regimented school assemblies, nationalistic class performances, and a trip to the beach. Soon it becomes clear that Estrella’s father was a ranking government officer implicated in the violent crimes of the Pinochet regime, and the question of what became of her after she left school haunts her erstwhile friends. Growing up, these friends―from her pen pal, Maldonado, to her crush, Zúñiga―were old enough to sense the danger and tension that surrounded them, but were powerless in the face of it. They could control only the stories they told one another and the “ghostly green bullets” they fired in the video game they played obsessively.One of the leading Latin American writers of her generation, Nona Fernández effortlessly builds a choral and constantly shifting image of young life in the waning years of the dictatorship. In her short but intricately layered novel, she summons the collective memory of a generation, rescuing felt truth from the oblivion of official history.

    La magia y la literatura lo han conseguido, pero pocos privilegiados logran ejercerlas con la suficiente autoridad, y en nuestro tiempo ninguno de modo tan divertido y conmovedor como Alfredo Bryce Echenique. Este libro es una excelente muestra de su reconocido talento para recrear el mundo, nos entrega catorce historias en las que suprime limpiamente las barreras entre las que fue y lo que pudo o debió ser. English Translation: To abolish the border that separates the reality of the fiction has been, from always, one of the most expensive yearnings of the human being. The magic and Literature have obtained it, but few privileged people manage to exert them with the sufficient authority, and in our time no of way so amused and stirring as Alfredo Bryce Echenique. This book is an excellent sample of his recognized talent to recreate the world, it gives fourteen histories to us in which it cleanly suppresses the barriers between which it was and what it could or it had be.

    Ricardo Guiraldes, a friend of Jorge Luis Borges - they both founded the legendary magazine Proa - managed to develop a simple and modern language, a high quality mixture of literacy and colourful local camp expressions that earned him a major standing among the best representatives of "criollismo."Even though it may be considered as a continuity with Martin Fierro, more than an extinguished gaucho elegy Don Segundo Sombra proposes new ethical examples to a youth that Guiraldes considered disoriented and restless. Basically structured as lessons to be absorbed departing from inexperience, lessons on labour, amusement, morals, camp chores (horse taming, cattle rodeo, raw hide handy work, animal healing, etc.), they become an example of "lo argentino" supported by a very specific and precise lexikon.Our edition includes more than 300 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions. The notes were made after a careful research work that included the critical Martin Fierro editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurion, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois y Angel Nunez, Ed. ALLCA XX (Association Archives de la Litterature Latinoamericaine, des Caraibes et Africaine du XX Siecle), Paris 2001; with Leopoldo Lugones en El payador, Ed. Centurion, Bs. As. 1948 (and Stockcero 2004); Francisco Castro in Vocabulario y frases del Martin Fierro, Ed. Kraft, Bs. As. 1950, and Domingo Bravo en El Quichua en el Martin Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968; Horacio J. Becco en don Segundo Sombra y su vocabulario, Ed. Ollantay, Bs. As. 1952; Ramon R. Capdevila 1700 refranes, dichos y modismos (region central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; and Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943"

    Ostensibly a biography of the gaucho barbarian Juan Facundo Quiroga, Facundo is also a complex, passionate work of history, sociology, and political commentary, and Latin America's most important essay of the nineteenth century.

    It is known that during the representation of Gounod's opera Faust at the old Colon theatre in Buenos Aires, Del Campo improvised for the benefit of Ricardo Gutiérrez -phisician, poet and friend- some short "gaucho" remarks about what they were seeing. Encouraged by the amused Gutierrez, Del Campo decided to put his "gauchipoéticas" remarks by written, and in little more than a month the book became a huge literary success. Its hilarity lies in the fact that the gaucho is a peasant, and through his point of view the actions take the graphic simplicity of the camp world, blithely distorting the medieval drama. Reading Fausto today is as much fun as it was a hundred and forty years ago, reason enough to do it without the need of considering that it also integrates, along Hilario Ascasubi's Santos Vega and José Hernández Martín Fierro, the gauchesca poetry ultimate trio. The lexicographic notes included in this edition are the result of a research work based on the following sources: Eleuterio F. Tiscornia "Edición crítica de Poetas Gauchescos", Ed. Losada, Bs. As, 1940; Emilio Solanet "Pelajes Criollos", Ed. Kraft, Bs. As. 1955; Tito Saubidet "Vocabulario y refranero criollo", Ed. Kraft, Bs. As. 1943; Juan Carlos Guarnieri "El habla del boliche", Editorial Florencia & Lafon, Montevideo 1967; Juan Carlos Guarnieri "Diccionario del leguaje campesino rioplatense", Editorial Florencia & Lafon, Montevideo 1968; Daniel Granada, "Vocabulario rioplatense razonado", Imprenta Rural, Montevideo 1890; y Ramón R. Capdevila "1700 refranes, dichos y modismos (región central bonaerense)", Ed. Patria, Bs. As. 1955.

    These nine stories of adventure, exploration and voyage are peopled with ravenous explorers, fortune hunters, foreign revolutionaries, ill-fated seafarers, intrepid ship's captains, and ruthless smugglers.

    Her works dwell on obsessions: erotic love, evil, purity, perversion, prostitution, tragic separation, and death. Most of her characters are involved in ill-fated searches for the Absolute through both excessively passionate and sadomasochistic relationships. Inevitably, the perfect, pure dyad of two youthful lovers is interrupted or corrupted through the interference of a third party (a rival lover or a child), aging, death, or public morality. Set at the beginning of the twentieth century in the tropical northwestern Mexican state of Sinaloa, the stories collected in Underground River and Other Stories focus on female subjectivity. Arredondo’s adult male characters are often predators, depraved collectors of adolescent virgins, like the plantation owners in “The Nocturnal Butterflies” and “Shadows in the Shadows” and the dying uncle in “The Shunammite,” who is kept alive by incestuous lust. Since the young female protagonists rarely have fathers to protect them, the only thing standing between them and these lechers are older women. Perversely, these older women act as accomplices–along with the extended family and the Roman Catholic Church–in the sordid age-old traffic in women.Underground River and Other Stories is the first appearance of Arredondo’s stories in English.