But as night falls and the season begins to change, Neddy sinks from optimistic bliss to utter despair.

    Scott Fitzgerald’s ongoing lush fantasies about the extremes of wealth with his much more somber understanding of what underpins it.  Loosely inspired by a summer he spent as a teenager working on a ranch in Montana, The Diamond as Big as the Ritz is Fitzgerald’s hallucinatory paean to the American West and all its promises.It’s the story of John T. Unger, a young Southerner who goes to Montana for summer vacation with a wealthy college classmate. But the classmate’s family proves to be much more than simply wealthy: They own a mountain made entirely of one solid diamond. And they’ve gone to dreadful lengths to conceal their secret … meaning John could be in danger.But the family also has a daughter, lovely Kismine, and with her help, John may yet escape the fate her family has meted out to all their other guests so far …

    Have you read 'A Clean Well-Lighted Place'?... It is masterly. Indeed, it is one of the best short stories ever written..."

    The system worked this way: When a man committed a crime important enough to interest the king, notice was given that the fate of the accused person would be decided, on a given date, in the arena of the amphitheater. When the date arrived and everyone had assembled in the galleries, the king gave a signal, a door beneath him opened, and the accused stepped out into the arena. Two doors, exactly alike and side by side, faced the accused, and it was his duty to open one of them. He could open either door he pleased. If he opened the one, a hungry tiger would spring upon him and tear him to pieces. But, if he opened the other door, a beautiful lady came out and the accused was immediately married to her, as a reward for his innocence.The king had a beautiful daughter, with whom a young man of common blood fell in love. The king's daughter was also in love with the young man. The love affair went on for some time before the king discovered its existence. Immediately, the king had the youth placed into prison and set a day for the trial in the arena. The appointed day arrived, and the galleries of the arena were filled. The signal was given, a door beneath the royal party opened, and the lover of the princess walked into the arena. The princess, through the use of her position and money, had learned behind which door stood the lady and behind which waited the tiger. The youth expected her to have learned this information, and he looked toward her for a signal. Her signal was toward the right, and the youth went to the door on the right and opened it. The story leaves it up to the reader to decide which came out of the door--the lady or the tiger. Which did the princess decide? Was it to let her lover to live and love another woman, or did she decide that if she couldn't have him no one would?

    From the famous proto-feminist tale "The Story of an Hour" to the subtly sexy "A Respectable Woman," Chopin sheds light on the frustrations, desires, and dreams of her own era and their reverberations today. Artist Gemma Correll's quirky illustrations provide a perfect modern counterpoint to Chopin's classic prose.(

    Twenty-five chances to impress.When the test takes an unexpected and tragic turn, Idir is handed the power of life and death.How do you value a life when all you have is multiple choice?

    H. Lawrence. The story describes a young middle-class Englishwoman who "had no luck." Though outwardly successful, she is haunted by a sense of failure; her husband is a ne'er-do-well and her work as a commercial artist doesn't earn as much as she'd like. The family's lifestyle exceeds its income and unspoken anxiety about money permeates the household. Her children, a son Paul and his two sisters, sense this anxiety; moreover, the kids even claim they can hear the house whispering "There must be more money." Paul tells his Uncle Oscar Cresswell about betting on horse races with Bassett, the gardener. He's been placing bets using his pocket money and has won and saved three hundred twenty pounds. Sometimes he says he is "sure" of a winner for an upcoming race, and the horses he names do in fact win, sometimes at remarkable odds. Uncle Oscar and Bassett both place large bets on the horses Paul names. After further winning, Paul and Oscar arrange to give the mother a gift of five thousand pounds, but the gift only lets her spend more. Disappointed, Paul tries harder than ever to be "lucky." As the Derby approaches, Paul is determined to learn the winner. Concerned about his health, his mother rushes home from a party and discovers his secret. He has been spending hours riding his rocking horse, sometimes all night long, until he "gets there," into a clairvoyant state where he can be sure of the winner's name. Paul remains ill through the day of the Derby. Informed by Cresswell, Bassett has placed Paul's bet on Malabar, at fourteen to one. When he is informed by Bassett that he now has 80,000 pounds, Paul says to his mother: "I never told you, mother, that if I can ride my horse, and get there, then I'm absolutely sure - oh absolutely! Mother, did I ever tell you? I am lucky!" "No, you never did," said his mother. The boy dies in the night and his mother hears her brother say, "My God, Hester, you're eighty-odd thousand to the good, and a poor devil of a son to the bad. But, poor devil, poor devil, he's best gone out of a life where he rides his rocking horse to find a winner.

    Alternate-cover edition can be found here In his second collection, Carver establishes his reputation as one of the most celebrated and beloved short-story writers in American literature—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark.

    A henpecked husband copes with the frustrations of his dull life by imagining he is a fearless airplane pilot, a brilliant doctor, and other dashing figures.

    Butler’s shattering meditation on symbiosis, love, power and tough choices. It won the Hugo, Locus, Nebula and Science Fiction Chronicle awards and is widely regarded as one of her greatest works.Years ago, a group known as the Terrans left Earth in search of a life free of persecution. Now they live alongside the Tlic, an alien race who face extinction; their only chance of survival is to plant their larvae inside the bodies of the humans.When Gan, a young boy, is chosen as a carrier of Tlic eggs, he faces an impossible dilemma: can he really help the species he has grown up with, even if it means sacrificing his own life?Perfect for fans of the thrilling Arrival and the works of Ursula Le Guin.

    However, despite the love Aylmer has for his wife, he wonders whether the birthmark she has on her cheek can be removed.

    She sees the figure of an unknown man on the tower and his face at the window. It is Peter Quint, the master's dissolute valet, and he has come for little Miles. But Peter Quint is dead.Like the other tales collected here - 'Sir Edmund Orme', 'Owen Wingrave', and 'The Friends of the Friends' - 'The Turn of the Screw' is to all immediate appearances a ghost story. But are the appearances what they seem? Is what appears to the governess a ghost or a hallucination? Who else sees what she sees? The reader may wonder whether the children are victims of corruption from beyond the grave, or victims of the governess's `infernal imagination', which torments but also entrals her?'The Turn of the Screw' is probably the most famous, certainly the most eerily equivocal, of all ghostly tales. Is it a subtle, self-conscious exploration of the haunted house of Victorian culture, filled with echoes of sexual and social unease? Or is it simply, 'the most hopelessly evil story that we have ever read'?

    First, there are Kafka's own commentaries and entries in his diary. When he re-read the story, for instance, he noted that only he could penetrate to the core of the story which, much like a newborn child, "was covered with dirt and mucus as it came out of him"; he also commented in his diary that he wanted to write down all possible relationships within the story that were not clear to him when he originally wrote it. This is not surprising for a highly introverted writer like Kafka, but it does illustrate the enormous inner pressure under which he must have written "The judgment."

    At the heart of Chang's achievement is her short fiction—tales of love, longing, and the shifting and endlessly treacherous shoals of family life. Written when Chang was still in her twenties, these extraordinary stories combine an unsettled, probing, utterly contemporary sensibility, keenly alert to sexual politics and psychological ambiguity, with an intense lyricism that echoes the classics of Chinese literature. Love in a Fallen City, the first collection in English of this dazzling body of work, introduces American readers to the stark and glamorous vision of a modern master.

    It further develops themes explored by the author in a previous work, "By His Bootstraps", published some 18 years earlier.