Jayne Anne Phillips has always been a master of portraiture, both in her widely acclaimed novels and in her short fiction.  The stories in Fast Lanes demonstrated the breadth of her talent in a tour de force of voices, offering elegantly rendered views into the lives of characters torn between the liberation of detachment and the desire to connect.Three stories are collected in this edition for the first time: in "Alma," and adolescent daughter is made the confidante of her lonely mother; "Counting" traces the history of a dommed love affair; and "Callie" evokes memories of the haunting death of a child in 1920's West Virginia.  Along with the original seven stories from Fast Lanes--each told in extraordinary first person narratives that have been hailed by critics as virtuoso performances--these incandescent portraits offer windows into the lives of an entire generation of Americans, demonstrating again and again why Jayne Anne Phillips remains one of our most powerful writers.

    Standard procedure. You pick it up the first time a white friend leads you across a room just to stand you up by another Indian, arrange you like furniture, like you should have something to say to each other. As one character after another tells it in these stories, much that happens to them does so because "I'm an Indian." And, as Stephen Graham Jones tells it in one remarkable story after another, the life of an Indian in modern America is as rich in irony as it is in tradition. A noted Blackfeet writer, Jones offers a nuanced and often biting look at the lives of Native peoples from the inside. A young Indian mans journey to discover America results in an unsettling understanding of relations between whites and Natives in the twenty-first century, a relationship still fueled by mistrust, stereotypes, and almost casual violence. A character waterproofs his boots with transmission fluid; another steals into Glacier National Park to hunt. One man uses watermelon to draw flies off poached deer; another, in a modern twist on the captivity narrative, kidnaps a white girl in a pickup truck; and a son bleeds into the father carrying him home. Rife with arresting and poignant images, fleeting and daring in presentation, weighty and provocative in their messages, these stories demonstrate the power of one of the most compelling writers in Native North America today.

    "He brings to life characters and situations as vivid and compelling as any in contemporary literature."--Michael Dorris, The Washington Post Book World.

    A story about a very spoiled young man who must decide what to do with the $1000 his deceased uncle has given to him.

     Author's note: This story was previously published as ENTER THE DEATH CIRCUS. EPISODE 1: When love is crime, who will save the guilty? After falling in love and fathering a child, a young criminal refuses to voluntarily throw himself into a lake of fire to gain his community's forgiveness. So he's sentenced to death and sold to the owner of a spaceship that buys criminals like him. But the ship and its crew are not quite what they appear to be.

    But when the president of the synagogue absconds with a small fortune, far deeper—and more troubling—rifts emerge...In "The Closet," Evelyn's sister flees her family to take up residence in the attic—while the shunned Evelyn finds herself slipping into the waters of her sister's soul....In "Wish List," an expert on terrorism, vacationing at an academic retreat in England,receives a late-night phone call from National Public Radio. Asked for commentary on a hostage situation of which he is ignorant, Ed can whisper only: "It's unspeakable."Total ImmersionIn these and other exquisite stories, Allegra Goodman fills rooms with laughter and voices, captures dinner parties, seaside picnics, academic grudges, shul politics, and the kind of hurts that only families and lovers can know. Featuring two new stories previously published in The New Yorker, Total Immersion is Allegra Goodman's first collection of short fiction—a masterful work from one of the most powerful and eloquent voices on the American literary landscape.

     For the next four years they would become instrumental in the secret war against Germany, developing a wide array of armaments to give Britain the upper hand against the might of the Axis forces. Under the guidance of Charles Goodeve, a remarkable Canadian with a flair for picking out which invention could tip the war in the Allies’ favor, these scientists and inventors worked tirelessly, and even put their lives on the line, in the quest to give Churchill’s military the knockout weapon. As Nevil Shute, who was an engineer with the Wheezers and Dodgers stated, “If any one quality was a common requirement for the officers in this unusual department I would say it was imagination — the imagination to look forward and to visualize what might happen.” Not all of their inventions were successful, indeed Sir Charles Madden, who served as staff officer to the Director of the Department stated that during his time there he dealt with “a medley of suggestions ranging from the impractical to the lunatic.” Yet, despite some mishaps, the Wheezers and Dodgers were instrumental in aiding the Allies to victory, with their degaussing method of protecting ships from mines to their Hedgehog weapon that destroyed over forty-five enemy submarines. Secret Weapons of World War II records all of the Department’s developments through the course of the conflict, both successful and not, and is written with humor and insight. “Their story has the fascination of the unexpected, in a British well-played spirit.” Kirkus Reviews Gerald Pawle worked with the Wheezers and Dodgers through the course of World War Two. This work was first published under the title The Secret War: 1939-1945 in 1957. Pawle passed away in 1991.

    Following a series of expeditions made under the order of the British Crown, the reader witnesses the tragic fallout from these missions as the Beothuk vanish and the web of secrets guarded by the settlers slowly begin to unravel ... Told in elegant sensual prose this is an enthralling historical novel of great passion and suspense, driven by the extraordinary cast of characters. And with it Michael Crummey establishes himself as one of Canada's most exciting new talents.

    Why does Mr Kipling bake such exceedingly good cakes? Is Jeremy Beadle really the devil incarnate? What happens when advertising turns you into a monomaniac? This title allows you to find out the answers.

    Kennedy examines the nature of the individual, both in isolation and society, as characters define and deny their chosen identities. While showing us the unlikeliness of intimacy and the impossibility of communication, Kennedy also reveals the subversive liberation of impotence, the humour of discomfort as human beings chafe together, the crazed claustrophobia of the family adn the wildly funny results of an eccentricity unleashed.

        In Liz Howard’s wild, scintillating debut, the mechanisms we use to make sense of our worlds – even our direct intimate experiences of it – come under constant scrutiny and a pressure that feels like love. What Howard can accomplish with language strikes us as electric, a kind of alchemy of perception and catastrophe, fidelity and apocalypse. The waters of Northern Ontario shield country are the toxic origin and an image of potential. A subject, a woman, a consumer, a polluter; an erotic force, a confused brilliance, a very necessary form of urgency – all are loosely tethered together and made somehow to resonate with our own devotions and fears; made “to be small and dreaming parallel / to ceremony and decay.” Liz Howard is what contemporary poetry needs right now.

    The pages of this book contain stories of every bachelor who fell in love, did stupid things and discussed India's foreign policy at the neighbourhood tea stall.'Bakar Puran' is the past, present and the future of those bachelors which will always be the same. The language and style has the realism of a bachelor pad. Here, there is no garb of elitism in expression. Whatever it is, it just is.

    The many highlights include Lee Maracle's creation story, Salish style; Tomson Highway explaining why Cree is the sexiest of all languages; Joseph Boyden asking the eternal question, "Do Native people have less (or more) pubic hair?"; Marius P. Tungilik looking at the dark side of Inuit sex; and Marissa Crazytrain discussing her year as a stripper in Toronto, and how it shaped her life back in Saskatchewan.

    In "Fire," a troubled young wife discovers a rare, radiant happiness in an adulterous relationship. In "Curly Red," a girl makes a decision to reveal a family secret, and changes her life irrevocably. In "The Girl with the Blackened Eye," selected for The Best American Mystery Stories 2001, a girl pushed to an even greater extreme of courage and desperation manages to survive her abduction by a serial killer. And in "Three Girls," two adventuresome NYU undergraduates seal their secret love by following, and protecting, Marilyn Monroe in disguise at Strand Used Books on a snowy evening in 1956.These vividly rendered portraits of women, men, and children testify to Oates's compassion for the mysterious and luminous resources of the human spirit.

    Rayanne Larson knows firsthand the struggles of native people. Working at Crooked Rock gives her the chance to do good work for Indians living in the city. She has high hopes for the Center’s progress until its new leader hands her special project over to his underachieving—and distractingly sexy—nephew. Henry Grant’s life is going just fine. Though he knows rez life, he’s always been an urban Indian. He has no interest in the Indian Center job his uncle pushes on him. That is, until he meets Rayanne. She’s attractive and smart, and like no woman he has ever met. Rayanne is determined to keep her distance but when the Center faces a crisis, the two of them are forced to work together and she can no longer ignore the sparks between them.This is book #1 in the Crooked Rock Urban Indian Center series. It's not a true cliffhanger but there are unresolved story elements that continue in the next book.