The second of five new books of unpublished poems from the late, great Charles Bukowski, America's most imitated and influential poet –– 143 never–before–seen works of gritty, amusing, and inspiring verse.

    Naked Pueblo, his absolutely maximalist, throw-everything-in-and-shake-it-up short story collection, buzzes like some kind of whacked-out fever dream." (Esquire)

    Now, more than thirty-five years after the explosion of Catch-22 into the world's consciousness, Heller gives us his life. Here is his Coney Island childhood, down the block from the world's most famous amusement park. It was the height of the Depression, it was a fatherless family, yet little Joey Heller had a terrific time--on the boardwalk, in the ocean (dangerously out of his depth), playing follow-the-leader in and out of local bars, even in school. Then a series of jobs, from delivering telegrams (on his first bike) to working in a navy yard-until Pearl Harbor, the air force, Italy. And after the war, college (undreamed-of before the G.I. Bill), teaching, Madison Avenue, marriage, and-always-writing. And finally the spectacular success of Catch-22, launching one of the great literary careers.The strengths of Now and Then lie in the energy, humor, and mischief that have characterized all of Heller's work, along with the dark undertones that lie beneath them. He brings back a Coney Island that is not only a symbol of fun and fantasy around the world but a vision of what seems today to have been a golden age of carefree innocence. For the first time, he writes about the people and the events, both tragic and hilarious, he was eventually to translate, in Catch-22, into such memorable characters as Hungry Joe, Orr, Major--de Coverley, Natel's whore, and (of course) Yossarian, and such moving and frightening scenes as the death of Snowden. Now and Then is both an account of a remarkable life and a glimpse into the creative process of a major American writer.From the Hardcover edition.

    You meet a souvenir hunter in the Thirtieth Century and a schoolgirl who tries to cope with the teaching methods of the Twenty-second Century. You share the terror of an astronaut in a “haunted” space suit and the dilemma of a wife whose husband knows a common chemical formula for destroying the earth. In short, you feel the impact, the originality, and the uncanny atmosphere created by these science fiction experts not once—but 50 times.Fifty Short Science Fiction Tales have been selected for their concise writing, and for punch lines that leave the reader “surprised, shocked, and delighted at the final sentence.” According to the editors, another important aspect of this literary form is “evocation of a background differing from our own.” Consequently, though some of the stories are just a page long, the reading experience is always excitingly unique.Ballade of an artificial satellite / Paul Anderson --Fun they had / Isaac Astimov --Men are differenct / Alan Bloch --Ambassadors / Anthoy Boucher --Weapon / Fredric Brown --Random sample / T.P. Caravan --Oscar / Cleve Cartmill --Mist / Peter Cartur --Teething ring / James Causey --Haunted space suit / Arthur C. Clarke --Stair Trick / Mildred Clingerman --Unwelcome tenant / Roger Dee --Mathematicians / Arthur Feldman --Third level / Jack Finney --Beautiful, beautiful, beautiful! / Stuart Friedman --Figure / Edward Grendon --Rag thing / David Grinnell --Good provider / Marion Gross --Columbus was a dope / Robert A. Heinlein --Texas Week / Albert Hernhuter --Hilda / H.B. Hickey --Choice / W. Hilton-Young --Not with a bang / Damon Knight --Altar at midnight / C.M. Kornbluth --Bad day for sales / Fritz Leiber --Who's cribbing? Jack Lewis --Spectator sport / John D. MacDonald --Cricket ball / Avro Manhattan --Double-take / Winston K. Marks --Prolog / John P. McKnight --Available data on the worp reaction / Lion Miller --Narapoia / Alan Nelson --Tiger by the tail / Alan E. Nourse --Counter charm / Peter Phillips --Fly / Arthur Porges --Business, as usual / Mack Reynolds --Two weeks in August / Frank M. Robinson --See? / Edward G. Robles, Jr. --Appointment at noon / Eric Frank Russell --We don't want any trouble / James H. Schmitz --Built down logically / Howard Schoenfeld --Egg a month from all over / Idris Seabright --Perfect woman / Robert Sheckley --Hunters / Walt Sheldon --Martian and the magician / Evelyn E. Smith --Barney / Will Stanton --Talent / Theodore Sturgeon --Project hush / Willian Tenn --Great judge / A.E. Van Vogt --Emergency landing / Ralph Williams --Obviously suicide / S. Fowler Wright --Postlude --Six Haiku / Karen Anderson

    Tiny Nightmares brings to life broken-hearted vampires, Uber-taking serial killers, mind-reading witches, and monsters of all imaging, as well as stories that tackle the horrors of our modern world from global warming and racism to social media addiction and online radicalization. Writers such as Samantha Hunt, Brian Evenson, Jac Jemc, Stephen Graham Jones, Kevin Brockmeier, and Rion Amilcar Scott expand our understanding of horror fiction with inventive and blood-curdling new tales. We suggest reading with the hall light on and the bedroom door open just a crack.

    This collection contains no material that has not been previously released.

    A Girl Goes into the Forest immerses readers in the complex desires, contradictions, and sorrows of daughters, wives, and husbands, artists, siblings, and mothers.In forests literal and metaphorical, the characters try, fail, and try again to see the world, to hear each other, and to speak the truth of their longings. Powerful, lyrical, and precise, Pursell’s stories call up a world at once mysterious and recognizable.A Girl Goes into the Forest invites fans of Lydia Davis and Helen Oyeyemi into a world where “no one can deter a person from her mistakes.”

    Manguso’s Hard to Admit and Harder to Escape is a series of crystalline recollections of her childhood misadventures; Eggers’ How the Water Feels to the Fishes brings a deadpan absurdism to the intimacy and vision of his earlier work; and Unferth’s rollicking Minor Robberies unleashes a horde of off-kilter characters and their indelible misadventures. Each author’s work comes in its own hardcover, foil-stamped volume, and the three volumes are housed in an elegant slipcase.

    Never has there been such a multiplication of talents and genius within so limited a period. An astonishing period caught at the height of its powers by an eminent historian. "Michael Grant never fails to be lively and well informed and he has done more, single-handedly, to blow the dust of the classical world than any comparable populariser."--Sunday Times. "Grant is a unique figure among the classical scholars of our time."--Spectator.

    The result: "The most creative, generous, and democratic of any of the annual volumes" (Rick Moody).Among its numerous awards, the Pushcart Prize has been chosen for the Poets Writers / Barnes Noble "Writers for Writers" Award and the National Book Critics Circle Lifetime Achievement recognition.

    Humorous, touching, creepy, but most of all entertaining, this collection is superb." — Tracy Michelle Anderson *** If you're a fan of Roald Dahl or Gillian Flynn you'll love these unsettling stories with a twist in the tale.  Click now to start reading. ​

    Well, at least not the hearts and flowers, see-your-soulmate-across-a-crowded-room-and-the-world-stands-still kind of love. No, Emily is a pragmatist and she’s abandoned her family’s tradition of matchmaking based on instinct and uncanny intuition for a more scientific approach to pairing people up. Emily believes love is more about compatibility and common interests than anything mystical.But a run-of-the-mill job turns her world on end when swoony cake designer Sam Cavanaugh pops up as a potential match for her newest client. The attraction she feels for him throws a wrench in her plans, but Emily’s not giving in without a fight.Emily is nothing if not practical. And reasonable. But she’s about to learn that sometimes the sweetest things in life…are neither.

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

    When We Dead Wake, his last play, handles in a symbolic manner the individual's inner conflict and, incidentally, provides the dramatist's own comment on his lifework and his renunciation of work.