The limitless scope of human emotion and experience are depicted in stories that give aching and eloquent voice to the terrible wounds we inflict on those closest to us. These are tales of loss and redemption; of shame and forgiveness; of love and abuse and the healing power of storytelling. A book that resonates with uncompromising candor and incandescence, Trash is sure to captivate Allison's legion of readers and win her a devoted new following.

    Doerr explores the human condition in all its varieties-metamorphosis, grief, fractured relationships, and slowly mending hearts-and conjures nature in both its beautiful abundance and crushing power. Some of his characters contend with tremendous hardship; some discover unique gifts; all are united by their ultimate deference to the mysteries of the universe outside themselves.

    Stories remarkable in their range, emotional force, and dark laughter, and in the sheer beauty and power of their language.From the opening story, "Willing", about a second-rate movie actress in her thirties who has moved back to Chicago, where she makes a seedy motel room her home and becomes involved with a mechanic who has not the least idea of who she is as a human being, Birds of America unfolds a startlingly brilliant series of portraits of the unhinged, the lost, the unsettled of our America. In the story "Which Is More Than I Can Say About Some People" ("There is nothing as complex in the world--no flower or stone--as a single hello from a human being"), a woman newly separated from her husband is on a long-planned trip through Ireland with her mother. When they set out on an expedition to kiss the Blarney Stone, the image of wisdom and success that her mother has always put forth slips away to reveal the panicky woman she really is. In "Charades," a family game at Christmas is transformed into a hilarious and insightful (and fundamentally upsetting) revelation of crumbling family ties. In "Community Life,"a shy, almost reclusive, librarian, Transylvania-born and Vermont-bred, moves in with her boyfriend, the local anarchist in a small university town, and all hell breaks loose. And in "Four Calling Birds, Three French Hens," a woman who goes through the stages of grief as she mourns the death of her cat (Anger, Denial, Bargaining, Haagen Dazs, Rage) is seen by her friends as really mourning other issues: the impending death of her parents, the son she never had, Bosnia.In what may be her most stunning book yet, Lorrie Moore explores the personal and the universal, the idiosyncratic and the mundane, with all the wit, brio, and verve that have made her one of the best storytellers of our time.

    In the heat of a hospital laundry room in New Jersey, a woman does her lover’s washing and thinks about his wife. In Boston, a man buys his love child, his only son, a first baseball bat and glove. At the heart of these stories is the irrepressible, irresistible Yunior, a young hardhead whose longing for love is equaled only by his recklessness—and by the extraordinary women he loves and loses: artistic Alma; the aging Miss Lora; Magdalena, who thinks all Dominican men are cheaters; and the love of his life, whose heartbreak ultimately becomes his own. In prose that is endlessly energetic, inventive, tender, and funny, the stories in This Is How You Lose Her lay bare the infinite longing and inevitable weakness of the human heart. They remind us that passion always triumphs over experience, and that “the half-life of love is forever.”

    Now, the award-winning writer, whose stories have appeared in four consecutive editions of The Best American Short Stories, returns with a highly anticipated collection bearing her signature mix of intelligence, wit, and heart. A reality show producer manipulates two contestants into falling in love, even as her own relationship falls apart. Just after the fall of the Berlin Wall, a young boy has a revelation about his father’s past when a renowned Romanian violinist plays a concert in their home. When the prized elephant of a traveling circus keels over dead, the small-town minister tasked with burying its remains comes to question his own faith. In an unnamed country, a composer records the folk songs of two women from a village on the brink of destruction. These transporting, deeply moving stories—some inspired by her own family history—amply demonstrate Makkai’s extraordinary range as a storyteller, and confirm her as a master of the short story form. “Richly imagined.” —Chicago Tribune   “Impressive.” —O, The Oprah Magazine   “Engrossing.” —Minneapolis Star-Tribune   “Inventive.” —W Magazine

    Groff transports the reader, then jolts us alert with a crackle of wit, a wave of sadness, a flash of cruelty, as she writes about loneliness, rage, family, and the passage of time. With shocking accuracy and effect, she pinpoints the moments and decisions and connections behind human pleasure and pain, hope and despair, love and fury—the moments that make us alive.

    An FBI agent falls in love with a robot built for a suicide mission. A young woman unintentionally cheats on her husband when she is transformed, nightly, into a deer. Two strangers become lovers and find themselves somehow responsible for the resurrection of a dog. A woman tries to start her life anew after the loss of a child but cannot help riddling that new life with lies. Thirteen pregnant teenagers develop a strange relationship with the Founding Fathers of American history. A lonely woman’s fertility treatments become the stuff of science fiction.Magic intrudes. Technology betrays and disappoints. Infidelities lead us beyond the usual conflict. Our bodies change, reproduce, decay, and surprise. With her characteristic unguarded gaze and offbeat humor, Hunt has conjured stories that urge an understanding of youth and mortality, magnification and loss, and hold out the hope that we can know one another more deeply or at least stand side by side to observe the mystery of the world.

    Only his second collection (the first was Dark Carnival, later reworked into The October Country), it is a marvelous, if mostly dark, quilt of science fiction, fantasy, and horror. In an ingenious framework to open and close the book, Bradbury presents himself as a nameless narrator who meets the Illustrated Man--a wanderer whose entire body is a living canvas of exotic tattoos. What's even more remarkable, and increasingly disturbing, is that the illustrations are themselves magically alive, and each proceeds to unfold its own story, such as "The Veldt," wherein rowdy children take a game of virtual reality way over the edge. Or "Kaleidoscope," a heartbreaking portrait of stranded astronauts about to reenter our atmosphere--without the benefit of a spaceship. Or "Zero Hour," in which invading aliens have discovered a most logical ally--our own children. Even though most were written in the 1940s and 1950s, these 18 classic stories will be just as chillingly effective 50 years from now. --Stanley WiaterContents:· Prologue: The Illustrated Man · ss * · The Veldt [“The World the Children Made”] · ss The Saturday Evening Post Sep 23 ’50 · Kaleidoscope · ss Thrilling Wonder Stories Oct ’49 · The Other Foot · ss New Story Magazine Mar ’51 · The Highway [as by Leonard Spalding] · ss Copy Spr ’50 · The Man · ss Thrilling Wonder Stories Feb ’49 · The Long Rain [“Death-by-Rain”] · ss Planet Stories Sum ’50 · The Rocket Man · ss Maclean’s Mar 1 ’51 · The Fire Balloons [“‘In This Sign...’”] · ss Imagination Apr ’51 · The Last Night of the World · ss Esquire Feb ’51 · The Exiles [“The Mad Wizards of Mars”] · ss Maclean’s Sep 15 ’49; F&SF Win ’50 · No Particular Night or Morning · ss * · The Fox and the Forest [“To the Future”] · ss Colliers May 13 ’50 · The Visitor · ss Startling Stories Nov ’48 · The Concrete Mixer · ss Thrilling Wonder Stories Apr ’49 · Marionettes, Inc. [Marionettes, Inc.] · ss Startling Stories Mar ’49 · The City [“Purpose”] · ss Startling Stories Jul ’50 · Zero Hour · ss Planet Stories Fll ’47 · The Rocket [“Outcast of the Stars”] · ss Super Science Stories Mar ’50 · Epilogue · aw *

    Written between the 1920s and 1950s, these sixty-five tales—eleven of which have been translated into English for the first time—display all the shades of Nabokov's imagination. They range from sprightly fables to bittersweet tales of loss, from claustrophobic exercises in horror to a connoisseur's samplings of the table of human folly. Read as a whole, The Stories of Vladimir Nabokov offers an intoxicating draft of the master's genius, his devious wit, and his ability to turn language into an instrument of ecstasy.The Wood-SpriteRussian Spoken HereSoundsWingstrokeGodsA Matter of ChanceThe SeaportRevengeBeneficenceDetails of A SunsetThe ThunderstormLa VenezianaBachmannThe DragonChristmasA Letter That Never Reached RussiaThe FightThe Return of ChorbA Guide to BerlinA Nursery TaleTerrorRazorThe PassengerThe DoorbellAn Affair of HonorThe Christmas StoryThe Potato ElfThe AurelianA Dashing FellowA Bad DayThe Visit to the MuseumA Busy ManTerra IncognitaThe ReunionLips to LipsOracheMusicPerfectionThe Admiralty SpireThe LeonardoIn Memory of L.I. ShigaevThe CircleA Russian BeautyBreaking the NewsTorpid SmokeRecruitingA Slice of LifeSpring in FialtaCloud, Castle, LakeTyrants DestroyedLikMademoiselle OVasiliy ShishkovUltima ThuleSolus RexThe Assistant ProducerThat in Aleppo OnceA Forgotten PoetTime and EbbConversation Piece, 1945Signs and SymbolsFirst LoveScenes From the Life of A Double MonsterThe Vane SistersLance

    The words haunt him as he studies the Kaiju (Japan’s giant monsters) on an island reserve, attempting to understand the beauty his wife saw.“The Return to Monsterland” opens 'Where We Go When All We Were Is Gone,' a collection of twelve fabulist and genre-bending stories inspired by Japanese folklore, historical events, and pop culture. In “Rokurokubi”, a man who has the demonic ability to stretch his neck to incredible lengths tries to save a marriage built on secrets. The recently dead find their footing in “The Inn of the Dead’s Orientation for Being a Japanese Ghost”. In “Girl Zero”, a couple navigates the complexities of reviving their deceased daughter via the help of a shapeshifter. And, in the title story, a woman instigates a months-long dancing frenzy in a Tokyo where people don’t die but are simply reborn without their memories.Every story in the collection turns to the fantastic, the mysticism of the past, and the absurdities of the future to illuminate the spaces we occupy when we, as individuals and as a society, are at our most vulnerable.

    In the extraordinary "Why China?" a man drags his family to the Xi'an province in a desperate attempt to reclaim his lost integrity, only to find himself more remote and mysterious than the place where his journey led. In settings as exotic as Kenya and Bora Bora, as glamorous as downtown Manhattan, or as familiar as suburban Illinois, Egan's characters—models, housewives, schoolgirls—seek transformation of the body and spirit, and transcendence of the borders of desire.

    edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

    Throughout the collection, women become insects, men turn to stone, a city becomes insomniac and bodies are picked apart to make up better ones. The mundane worlds of schools and sea side towns are invaded and transformed by the physical, creating a landscape which is constantly shifting to hold on to the bodies of its inhabitants. Blending the mythic and the fantastic, the collection considers characters in motion – turning away, turning back or simply turning into something new.From the winner of The White Review Short Story Prize 2018, salt slow is an extraordinary collection of short stories that are sure to dazzle and shock.

    An elderly lady with Charles Bonnet syndrome comes to terms with the little people she keeps seeing, while a newly formed populist group gathers to burn down her retirement residence. A woman born with a genetic abnormality is mistaken for a vampire, and a crime committed long ago is revenged in the Arctic via a 1.9 billion-year-old stromatolite.In these nine tales, Margaret Atwood ventures into the shadowland earlier explored by fabulists and concoctors of dark yarns such as Robert Louis Stevenson, Daphne du Maurier and Arthur Conan Doyle - and also by herself, in her award-winning novel Alias Grace. In Stone Mattress, Margaret Atwood is at the top of her darkly humorous and seriously playful game.

    A 1930s Soviet censor painstakingly corrects offending photographs, deep underneath Leningrad, bewitched by the image of a disgraced prima ballerina. A chorus of women recount their stories and those of their grandmothers, former gulag prisoners who settled their Siberian mining town. Two pairs of brothers share a fierce, protective love. Young men across the former USSR face violence at home and in the military. And great sacrifices are made in the name of an oil landscape unremarkable except for the almost incomprehensibly peaceful past it depicts. In stunning prose, with rich character portraits and a sense of history reverberating into the present, The Tsar of Love and Techno is a captivating work from one of our greatest new talents.The leopard --Granddaughters --The Grozny Tourist Bureau --A prisoner of the Caucasus --The tsar of love and techno --Wolf of White Forest --Palace of the people --A temporary exhibition --The end