This edition contains the original introduction by Theodore Sturgeon and the original foreword by Harlan Ellison, along with a brief update comment by Ellison that was added in the 1983 edition. Among Ellison's more famous stories, two consistently noted as among his very best ever are the title story and the volume's concluding one, Pretty Maggie Moneyeyes.Since Ellison himself strongly resists categorization of his work, we won't call them science fiction, or SF, or speculative fiction or horror or anything else except compelling reading experiences that are sui generis. They could only have been written by Harlan Ellison and they are incomparably original.CONTENTS"I Have No Mouth & I Must Scream""Big Sam Was My Friend""Eyes of Dust""World of the Myth""Lonelyache""Delusion for Dragonslayer""Pretty Maggie Moneyeyes"

    Blending the miraculous with the macabre, and leavened by a mischievous gallows humor, these bewitching tales are like nothing being written in Russia-or anywhere else in the world-today.

    With acute psychological insight, Dávila follows her characters to the limits of desire, paranoia, insomnia, and fear. She is a writer obsessed with obsession, who makes nightmares come to life through the everyday: loneliness sinks in easily like a razor-sharp knife, some sort of evil lurks in every shadow, delusion takes the form of strange and very real creatures. After reading The Houseguest—Dávila’s debut collection in English—you’ll wonder how this secret was kept for so long.

    Although Pakhom enjoys health and family happiness, he feels dissatisfied when he learns of the grand fortunes of his relatives. He decides to go on a quest for more land, only to find that with each new acquisition new problems develop... How Much Land Does A Man Need? gives a delightful insight into old Russian values

    But then the children arrived.No one knew where they came from: thirty-two kids, seemingly born of the jungle, speaking an unknown language. At first they scavenged, stealing food and money and absconding to the trees. But their transgressions escalated to violence, and then the city’s own children began defecting to join them. Facing complete collapse, municipal forces embark on a hunt to find the kids before the city falls into irreparable chaos.Narrated by the social worker who led the hunt, A Luminous Republic is a suspenseful, anguished fable that “could be read as Lord of the Flies seen from the other side, but that would rob Barba of the profound originality of his world” (Juan Gabriel Vásquez).

    Intrigued, she begins to watch them. She imagines them as accomplices to an unknown crime, as troubled spinsters contemplating suicide, or as players in an affair with dark and mysterious consequences.Lange’s imaginative excesses and almost hallucinatory images make this uncanny exploration of desire, domestic space, voyeurism and female isolation a twentieth-century masterpiece. Too long viewed as Borges’s muse, Lange is today recognised in the Spanish-speaking world as a great writer and is here translated into English for the first time, to be read alongside Virginia Woolf, Clarice Lispector and Marguerite Duras.

    It was a New York Times bestseller; the paper's Book Review named it one of the Ten Best Books of 2015; and NPR, Time, Entertainment Weekly, The Guardian, The Washington Post, the Chicago Tribune, and other outlets gave the book rave reviews.Evening in Paradise is a careful selection from the remaining Berlin stories--a jewel box follow-up for Lucia Berlin's hungry fans.Foreword: The story is the thing / by Mark Berlin --The musical vanity boxes --Sometimes in summer --Andado: a Gothic romance --Dust to dust --Itinerary --Lead Street, Albuquerque --NoeÌ⁸l. Texas. 1956 --The adobe house with a tin roof --A foggy day --Cherry blossom time --Evening in Paradise --La Barca de la Ilusion --My life is an open book --The wives --NoeÌ⁸l, 1974 --The pony bar, Oakland --Daughters --Rainy day --Our brother's keeper --Lost in the Louvre --Sombra --Luna nueva --A note on Lucia Berlin

    Ostensibly a biography of the gaucho barbarian Juan Facundo Quiroga, Facundo is also a complex, passionate work of history, sociology, and political commentary, and Latin America's most important essay of the nineteenth century.

    In "Exhalation," an alien scientist makes a shocking discovery with ramifications that are literally universal. In "Anxiety Is the Dizziness of Freedom," the ability to glimpse into alternate universes necessitates a radically new examination of the concepts of choice and free will.Including stories being published for the first time as well as some of his rare and classic uncollected work, Exhalation is Ted Chiang at his best: profound, sympathetic—revelatory.

    An adaptation of the ballad singing culture of the gaucho minority that saw its way of life threatened by social and political changes of the 19th century.

    Venturing inside minds and landscapes that are at once recognisable and utterly strange, these stories reaffirm Wallace's reputation as one of his generation's pre-eminent talents, expanding our ides and pleasures fiction can afford.Among the stories are 'The Depressed Person', a dazzling and blackly humorous portrayal of a woman's mental state; 'Adult World', which reveals a woman's agonised consideration of her confusing sexual relationship with her husband; and 'Brief Interviews with Hideous Men', a dark, hilarious series of portraits of men whose fear of women renders them grotesque. Wallace's stories present a world where the bizarre and the banal are interwoven and where hideous men appear in many different guises. Thought-provoking and playful, this collection confirms David Foster Wallace as one of the most imaginative young writers around. Wallace delights in leftfield observation, mining the ironic, the surprising and the illuminating from every situation. This collection will delight his growing number of fans, and provide a perfect introduction for new readers.

    Then an enigmatic young nanny named Missy introduces him to a world he never knew existed.

    Among its pages are a couple who becomes obsessed with their friend hearing them have sex, then seeing them have sex…until they can’t have sex without him; a ten-year-old whose birthday party takes a sinister turn when she wishes for “something mean”; a woman who finds a book of spells half hidden at the library and summons her heart’s desire: a nameless, naked man; and a self-proclaimed “biter” who dreams of sneaking up behind and sinking her teeth into a green-eyed, long-haired, pink-cheeked coworker.Spanning a range of genres and topics—from the mundane to the murderous and supernatural—these are stories about sex and punishment, guilt and anger, the pleasure and terror of inflicting and experiencing pain. These stories fascinate and repel, revolt and arouse, scare and delight in equal measure. And, as a collection, they point a finger at you, daring you to feel uncomfortable—or worse, understood—as if to say, “You want this, right? You know you want this.”Bad boy --Look at your game, girl --Sardines --The night runner --The mirror, the bucket, and the old thigh bone --Cat person --The good guy --The boy in the pool --Scarred --The matchbox sign --Death wish --Biter --Acknowledgments

    Most memorable - and most chilling - is the portrait of the author's father, a maddened shopkeeper who imports rare birds' eggs to hatch in his attic, who believes tailors' dummies should be treated like people, and whose obsessive fear of cockroaches causes him to resemble one. Bruno Schulz, a Polish Jew killed by the Nazis in 1942, is considered by many to have been the leading Polish writer between the two world wars.Bruno Schulz's untimely death at the hands of a Nazi stands as one of the great losses to modern literature. During his lifetime, his work found little critical regard, but word of his remarkable talents gradually won him an international readership. This volume brings together his complete fiction, including three short stories and his final surviving work, Sanatorium Under the Sign of the Hourglass. Illustrated with Schulz's original drawings, this edition beautifully showcases the distinctive surrealist vision of one of the twentieth century's most gifted and influential writers.

    This translation of his 1989 novel Nostalgia, writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortazar, Gabriel Garcia Marquez, Milan Kundera, and Milorad Pavic, to mention just a few." Like most of his literary contemporaries of the avant-garde Eighties Generation, his major work has been translated into several European languages, with the notable exception, until now, of English.Readers opening the pages of Nostalgia should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship.