The stories range in style from the gritty noir of David Means' "Sault Ste. Marie" to the mesmerizing mythmaking of Louise Erdrich's "The Plague of Doves," while the settings include a village perched on top of an enormous whale (David Lawrence Morse's "Conceived") as well as a swank suite at the Plaza Hotel (Xu Xi's "Famine"). The three most powerful stories seem to have in common the ability to immerse readers in a character's sudden, searing moment of self-knowledge and the way that insight impacts the course of a life. In Edward P. Jones' elegiac, masterful "Old Boys, Old Girls," a hard-bitten con comes to see that redemption is within his reach. Deborah Eisenberg delicately deconstructs a young girl's attraction to an abusive man in the haunting "Windows." And, finally, the storied Alice Munro, in "Passion," conveys the complex inner world of a teenager who discovers she values risk over security.

    She hoped to work on her novel, play Rook with the old lady next door and spend some lazy time with her husband and daughters. But when a new neighbor winds up dead, Tessa and her Rook partner find themselves jumping to suspicious conclusions. Add a young hippie named Rusty to the mix, and these three seem like an unlikely trio to solve an alleged crime. When you’re not laughing at the humorous rhetoric in Suspicion on Sugar Creek, you’ll be on the edge of your seat wondering how it will all play out.

    Meet seventeen-year-old Mike, who visits his grandmother's bedside and learns a family secret.A divorced father who discovers only love, not bribes, can keep his daughter "his" on Thursdays.And Jerry, a young boy desperately looking for the missing Grover Cleveland card to complete his set of president cards.Here are nine stories by Robert Cormier, one of the most gifted writers of young adult fiction today; stories that are warm, touching, and intensely personal--to be savored by readers of all ages.

    When the great hunter Harold Ryan--missing and presumed dead--returns from Africa after eight years, his wife is aghast and his son is enchanted. Vonnegut's attack on phony heroes and male swagger uses some of the funniest dialogue ever created for the stage.