At a deluxe medical spa on a nameless Caribbean island, a middle-aged woman hopes to revitalize her fading youth with grotesque rejuvenating therapies that combine cutting-edge medical technologies with holistic approaches and the pseudo-religious dogma of Zen-infused self-help. And in a rinky-dink mill town, an adolescent girl is unexpectedly inspired by the ravings and miraculous levitation of her fundamentalist friend’s weird grandmother. These are only a few of the scenarios readers encounter in Julia Elliott’s debut collection, The Wilds. In these genre-bending stories, teetering between the ridiculous and the sublime, Elliott’s language-driven fiction uses outlandish tropes to capture poignant moments in her humble characters’ lives. Without abandoning the tenets of classic storytelling, Elliott revels in lush lyricism, dark humor, and experimental play.

    Daisy's valentine --A romantic weekend --something nice --An affair, edited --Connection --Trying to be --Secretary --Other factors --Heaven

    Thirteen darkly comic stories, Dangerous Laughter is a mesmerizing journey that stretches the boundaries of the ordinary world.

    Diaz's work is unflinching and strong, and these stories crackle with an electric sense of discovery. Diaz evokes a world in which fathers are gone, mothers fight with grim determination for their families and themselves, and the next generation inherits the casual cruelty, devastating ambivalence, and knowing humor of lives circumscribed by poverty and uncertainty. In Drown, Diaz has harnessed the rhythms of anger and release, frustration and joy, to indelible effect.

    Each volume’s series editor selects notable works from hundreds of magazines, journals, and websites. A special guest editor, a leading writer in the field, then chooses the best twenty or so pieces to publish. This unique system has made the Best American series the most respected — and most popular — of its kind.The Best American Short Stories 2012 includesThe last speaker of the language / Carol Anshaw --Pilgrim life / Taylor Antrim --What we talk about when we talk about Anne Frank / Nathan Englander --The other place / Mary Gaitskill --North Country / Roxane Gay --Paramour / Jennifer Haigh --Navigators / Mike Meginnis --Miracle polish / Steven Millhauser --Axis / Alice Munro --Volcano / Lawrence Osborne --Diem Perdidi / Julie Otsuka --Honeydew / Edith Pearlman --Occupational hazard / Angela Pneuman --Beautiful monsters / Eric Puchner --Tenth of December / George Saunders --The sex lives of African girls / Taiye Selasi --Alive / Sharon Solwitz --M&M world / Kate Walbert --Anything helps / Jess Walter --What's important is feeling / Adam Wilson

    A female sheriff in a flooded town attempts to cover up a murder. When a farmer harvesting a field accidentally runs over his son, his grief sets him off walking, mile after mile. A band of teens bent on destruction runs amok in a deserted town at night. As these men and women lash out at the inscrutable churn of the world around them, they find a grim measure of peace in their solitude.Throughout Volt, Alan Heathcock's stark realism is leavened by a lyric energy that matches the brutality of the surface. And as you move through the wind-lashed landscape of these stories, faint signs of hope appear underfoot. In Volt, the work of a writer who's hell-bent on wrenching out whatever beauty this savage world has to offer, Heathcock's tales of lives set afire light up the sky like signal flares touched off in a moment of desperation.

    Few readers had heard of David Bezmozgis before May 2003, when Harper's, Zoetrope, and The New Yorker all printed stories from his forthcoming collection. In the space of a few weeks, America thus met the Bermans--Bella and Roman and their son, Mark--Russian Jews who have fled the Riga of Brezhnev for Toronto, the city of their dreams.Told through Mark's eyes, the stories in Natasha possess a serious wit and uniquely Jewish perspective that recall the first published stories of Bernard Malamud and Philip Roth, not to mention the recent work of Jhumpa Lahiri, Nathan Englander, and Adam Haslett.

    D. Salinger published in April 1953. It includes two of his most famous short stories, "A Perfect Day for Bananafish" and "For Esmé – with Love and Squalor". (Nine Stories is the U.S. title; the book is published in many other countries as For Esmé - with Love and Squalor, and Other Stories.)The stories are:"A Perfect Day for Bananafish""Uncle Wiggily in Connecticut""Just Before the War with the Eskimos""The Laughing Man""Down at the Dinghy""For Esmé – with Love and Squalor""Pretty Mouth and Green My Eyes""De Daumier-Smith's Blue Period""Teddy"

    In Fortune Smiles - his first book since Orphan Master - he continues to give voice to characters rarely heard from, while offering something we all seek from fiction: a new way of looking at our world.In six masterly stories, Johnson delves deep into love and loss, natural disasters, the influence of technology, and how the political shapes the personal. "George Orwell Was a Friend of Mine" follows a former warden of a Stasi prison in East Germany who vehemently denies his past, even as pieces of it are delivered in packages to his door. "Nirvana," which won the prestigious Sunday Times short story prize, portrays a programmer whose wife has a rare disease finding solace in a digital simulacrum of the president of the United States. In "Hurricanes Anonymous" - first included in the Best American Short Stories anthology - a young man searches for the mother of his son in a Louisiana devastated by Hurricanes Katrina and Rita. And in the unforgettable title story, Johnson returns to his signature subject, North Korea, depicting two defectors from Pyongyang who are trying to adapt to their new lives in Seoul, while one cannot forget the woman he left behind. Unnerving, riveting, and written with a timeless quality, these stories confirm Johnson as one of America's greatest writers and an indispensable guide to our new century.

    These intimate portraits of people and relationships scour and soothe and blast a light on the nature of family, faith, forgiveness, consumption, and what we may, or may not, owe one another. A thirteen-year-old meditates on her sadness and the difference between herself and her white best friend when an unexpected tragedy occurs; a woman recovering from a miscarriage finds herself unable to let go of her daughter—whose body parts she sees throughout her daily life; a teenager resists her family’s church and is accused of courting the devil; servers at a supper club cater to the insatiable cravings of their wealthy clientele; and two estranged siblings take a road-trip with their father’s ashes and are forced to face the troubling reality of how he continues to shape them.Wise and subversive, spiritual and seductive, Milk Blood Heat forms an ouroboros of stories that bewitch with their truth.

    A medical procedure reveals an object of worship. A carnivorous reptile divides and cauterizes a town. Amelia Gray’s curio cabinet expands in Gutshot, where isolation and coupling are pushed to their dark and outrageous edges. These singular stories live and breathe on their own, pulsating with energy and humanness and a glorious sense of humor. Hers are stories that you will read and reread—raw gems that burrow into your brain, reminders of just how strange and beautiful our world is. These collected stories come to us like a vivisected body, the whole that is all the more elegant and breathtaking for exploring its most grotesque and intimate lightless viscera.

    In Moral Disorder she has created a series of interconnected stories that trace the course of a life and also the lives intertwined with it--those of parents, of siblings, of children, of friends, of enemies, of teachers, and even of animals. As in a photograph album, time is measured in sharp, clearly observed moments. The '30s, the '40s, the '50s, the '60s, the '70s, the '80s, the '90s, and the present --all are here. The settings vary: large cities, suburbs, farms, northern forests. The first story, "The Bad News," is set in the present, as a couple no longer young situate themselves in a larger world no longer safe. The narrative then switches time as the central character moves through childhood and adolescence in "The Art of Cooking and Serving," "The Headless Horseman," and "My Last Duchess." We follow her into young adulthood in "The Other Place" and then through a complex relationship, traced in four of the stories: "Monopoly," "Moral Disorder," "White Horse," and "The Entities." The last two stories, "The Labrador Fiasco" and "The Boys at the Lab," deal with the heartbreaking old age of parents but circle back again to childhood, to complete the cycle. By turns funny, lyrical, incisive, tragic, earthy, shocking, and deeply personal, Moral Disorder displays Atwood's celebrated storytelling gifts and unmistakable style to their best advantage. As the New York Times has said: "The reader has the sense that Atwood has complete access to her people's emotional histories, complete understanding of their hearts and imaginations."

    Here are exiles, emigrants, and wanderers uprooting their families from the Philippines to begin new lives in the Middle East, the United States, and elsewhere—and, sometimes, turning back again. A pharmacist living in New York smuggles drugs to his ailing father in Manila, only to discover alarming truths about his family and his past. In Bahrain, a Filipina teacher drawn to a special pupil finds, to her surprise, that she is questioning her own marriage. A college student leans on her brother, a laborer in Saudi Arabia, to support her writing ambitions, without realizing that his is the life truly made for fiction. And in the title story, a journalist and a nurse face an unspeakable trauma amidst the political turmoil of the Philippines in the 1970s and ’80s.In the Country speaks to the heart of everyone who has ever searched for a place to call home. From teachers to housemaids, from mothers to sons, Alvar’s powerful debut collection explores the universal experiences of loss, displacement, and the longing to connect across borders both real and imagined. Deeply compassionate and richly felt, In the Country marks the emergence of a formidable new writer.

    Link has won an ardent following for her ability to take readers deep into an unforgettable, brilliantly constructed fictional universe with each new story. In “The Summer People,” a young girl in rural North Carolina serves as uneasy caretaker to the mysterious, never-quite-glimpsed visitors who inhabit the cottage behind her house. In “I Can See Right Through You,” a middle-aged movie star makes a disturbing trip to the Florida swamp where his former on- and off-screen love interest is shooting a ghost-hunting reality show. In “The New Boyfriend,” a suburban slumber party takes an unusual turn, and a teenage friendship is tested, when the spoiled birthday girl opens her big present: a life-size animated doll. Hurricanes, astronauts, evil twins, bootleggers, Ouija boards, iguanas, The Wizard of Oz, superheroes, the Pyramids...These are just some of the talismans of an imagination as capacious and as full of wonder as that of any writer today. But as fantastical as these stories can be, they are always grounded in sly humor and an innate generosity of feeling for the frailty--and the hidden strengths--of human beings. In Get in Trouble, this one-of-a-kind talent expands the boundaries of what short fiction can do.

    Now, in Stay Awake, Chaon returns to that form for the first time since his masterly Among the Missing, a finalist for the National Book Award.In these haunting, suspenseful stories, lost, fragile, searching characters wander between ordinary life and a psychological shadowland. They have experienced intense love or loss, grief or loneliness, displacement or disconnection—and find themselves in unexpected, dire, and sometimes unfathomable situations.A father’s life is upended by his son’s night terrors—and disturbing memories of the first wife and child he abandoned; a foster child receives a call from the past and begins to remember his birth mother, whose actions were unthinkable; a divorced woman experiences her own dark version of “empty-nest syndrome”; a young widower is unnerved by the sudden, inexplicable appearances of messages and notes—on dollar bills, inside a magazine, stapled to the side of a tree; and a college dropout begins to suspect that there’s something off, something sinister, in his late parents’ house.Dan Chaon’s stories feature scattered families, unfulfilled dreamers, anxious souls. They exist in a twilight realm—in a place by the window late at night when the streets are empty and the world appears to be quiet. But you are up, unable to sleep. So you stay awake.