Like a "fast animal," the poet's voice can swiftly change direction and tone as he crisscrosses between present and past.Built like one single sustained song, Fast Animal is alive with music, ardor, and wit that flow in utterances that are uniquely [Seibles'] and his alone."—Laure-Anne Bosselaar, author of The Hour BetweenFrom "Delores Jepps"It seems insane now, butshe’d be standing soakedin schoolday morning light,her loose-leaf notebook,flickering at the bus stop,and we almost trembledat the thought of her mouthfilled for a moment with bothof our short names. I don’t knowwhat we saw when we sawher face, but at fifteen there’sso much left to believe in… Tim Seibles, who teaches at Old Dominion University, is the author of six previous books, including Body Moves and Hurdy-Gurdy. His poetry has been featured in Best American Poetry 2010. Seibles has been the recipient of an NEA grant for poetry and Open Voice award.

    ..."

    Features works by Charles L. Grant, Tanith Lee and Steve Rasnic Tem.

    And it's all about the price he's forced to pay to get there.Award-winning short story author, screenwriter and novelist James Grady delivers a bullet-paced, savage journey with the iconic character he created and that Robert Redford made an international sensation in the movie THREE DAYS OF THE CONDOR. Love, sex, loyalty, honor and savagery loosed in our modern world electrify this novella, a portrait of heroism and horror and America beyond 9/11. It is an espionage adventure unlike anything you've ever read."Grady is to spy novels as the great Elmore Leonard was to crime fiction," says Pulitzer Prize winning author Kai Bird, while John Grisham calls Grady: "A master of intrigue."

    It continues after midnight, when a young boy, held captive in a basement, is filled with unearthly visions of fantastic and frightening worlds. How could his kidnappers know that the ransom would be their own souls? For, as the hours pass, the boy's nightmares invade his captors like parasites-and soon, they become real.This audiobook also contains the short stories "Underworld," "O Rare and Most Esquisite," "The Rendering Man," "The Fruit of Her Womb," "The Hurting Season," "Chosen," "The Night Before Alec Got Married," "Only Connect," "The Little Mermaid," "Damned if You Do," and "The Ripening Sweetness of Late Afternoon." You can also listen to the acclaimed novelettes, "White Chapel" and "I am Infinite, I Contain Multitudes."

    "--from "Late Apollo III" In "The Rest of Love," his seventh book, Carl Phillips examines the conflict between belief and disbelief, and our will to believe: Aren't we always trying, Phillips asks, to contain or to stave off facing up to, even briefly, the hard truths we're nevertheless attracted to? Phillips's signature terse line and syntax enact this constant tension between abandon and control; following his impeccable interior logic, "passionately austere" (Rita Dove, "The Washington Post "Book World), Phillips plumbs the myths we make and return to in the name of desire--physical, emotional, and spiritual.

    Specifically designed to challenge the creative boundaries of some of the most famed and respected horror writers working today—such as A. S. Byatt, Christopher Priest, Hanif Kureishi, Frank Cottrell Boyce, Matthew Holness, and the indomitable Ramsey Campbell—this anatomically precise experiment encapsulates what the uncanny represents in the 21st century. Masterfully narrated with the benefit of unique perspectives on what exactly it is that goes bump in the night, this chilling modern collective is not only an essential read for fans of horror but also an insightful and intriguing introduction to the greats of the genre at their gruesome best.

    Originally published in 1967 and Winner of the National Book Award in that year.

    At the time it seems like the perfect place to do it, so quiet, so secluded. But they have no way of knowing that they've moved into what was once a sacred site of an old religion. And that the old god is not dead--only waiting. Already the god's dark power has begun to spread, changing and polluting all that it touches. A hideous evil pervades the small town. Soon the dead no longer stay dead. When the power awakens the rotting crew of a ship that sank decades earlier, a nightmare of bloodshed and violence begins for the Stainforths, a nightmare that can end only with the ultimate sacrifice--death.

    "Choose any angle you like," she writes, "The world is split in two." One poem, "Bicameral," moves from a child's cleft palate to a gunshot wound to the hanging skeins of a fabric in a postwar art exhibit. In the wool cut from the sheep to make the materials of art, she finds a tangled record of violence and repair: "The body it becomes will ever / bind it to the human and a trail of woe."Longtime readers of Gregerson's poetry will be facinated by her departure from the supple tercets in which she has worked for nearly twenty years: Magnetic North is a bold anthology of formal experiments. It is also a heartening act of sustained attention from one of our most mindful poets.

    Likewise Swensen’s lyrics, which, with elliptical phrasing and play between visual and aural, change the act of seeing—and reading—offering glimpses of the spirit (or ghost) that enters a poem where the rational process breaks down.From “The Invention of Streetlights”Certain cells, it’s said, can generate light on their own.There are organisms that could fit on the head of a pin.and light entire rooms. .Throughout the Middle Ages, you could hire a man.on any corner with a torch to light you home. were lamps made of horn.and from above a loom of moving flares, we watched.Notre Dame seem small. .Now the streets stand still. .By 1890, it took a pound of powdered magnesium.to photograph a midnight ball.“Goest, sonorous with a hovering ‘ghost’ which shimmers at the root of all things, is a stunning meditation—even initiation—on the act of seeing, proprioception, and the alchemical properties of light as it exists naturally and inside the human realm of history, lore, invention and the ‘whites’ of painting. Light becomes the true mistress and possibly the underlying language of all invention. Swensen’s poetry documents a penetrating ‘intellectus’—light of the mind—by turns fragile, incandescent, transcendent.”—Anne Waldman

    Haunted by a recurrent nightmare, a young English girl travels to Cornwall to trace the source of the dream.

    The words are redolent with his Cuban heritage: Marina making mole sauce; Tía Ida bitter over the revolution, missing the sisters who fled to Miami; his father, especially, “his hair once as black as the black of his oxfords…” Yet this is a volume for all who have longed for enveloping arms and words, and for that sanctuary called home. “So much of my life spent like this-suspended, moving toward unknown places and names or returning to those I know, corresponding with the paradox of crossing, being nowhere yet here.” Blanco embraces juxtaposition. There is the Cuban Blanco, the American Richard, the engineer by day, the poet by heart, the rhythms of Spanish, the percussion of English, the first-world professional, the immigrant, the gay man, the straight world. There is the ennui behind the question: why cannot I not just live where I live? Too, there is the precious, fleeting relief when he can write "…I am, for a moment, not afraid of being no more than what I hear and see, no more than this:..." It is what we all hope for, too.

    At noon, the murdered child begs for his help. And by nightfall, they have killed a man together and set off into the afterlife, where nothing is what it was, and death is only the beginning of punishment. An eerie story about the nature of death and the self, Midnight Picnic inhabits an American landscape made strange and unfamiliar. From the author of the cult novel Fires, Midnight Picnic is a haunting and disturbing experience.

    While on vacation with her family Gale thought everything was perfect until she finds a tile and ballet slippers hidden in a box.