Over the next two decades, he returned to these characters again and again, tracing their years together raising children, finding moments of intermittent happiness, and facing the heartbreak of infidelity and estrangement. Seventeen Maples stories were collected in 1979 in a paperback edition titled Too Far to Go, prompted by a television adaptation. Now those stories appear in hardcover for the first time, with the addition of a later story, “Grandparenting,” which returns us to the Maples’s lives long after their wrenching divorce.

    Andre Dubus treats his characters--a bereaved father stalking his son's killer; a woman crying alone by her television late at night; a devout teenager writing in the coils of faith and sexuality; a father's story of limitless love for his daughter--with respect and compassion. He turns fiction into an act of witness.

    In Englander's amazingly taut and ambitious "The Twenty-seventh Man," a clerical error lands earnest, unpublished Pinchas Pelovits in prison with twenty-six writers slated for execution at Stalin's command, and in the grip of torture Pinchas composes a mini-masterpiece, which he recites in one glorious moment before author and audience are simultaneously annihilated. In "The Gilgul of Park Avenue," a Protestant has a religious awakening in the back of a New York taxi. In the collection's hilarious title story, a Hasidic man incensed by his wife's interminable menstrual cycle gets a dispensation from his rabbi to see a prostitute. The stories in For the Relief of Unbearable Urges are powerfully inventive and often haunting, steeped in the weight of Jewish history and in the customs of Orthodox life. But it is in the largeness of their spirit-- a spirit that finds in doubt a doorway to faith, that sees in despair a chance for the heart to deepen--and in the wisdom that so prodigiously transcends the author's twenty-eight years, that these stories are truly remarkable. Nathan Englander envisions a group of Polish Jews herded toward a train bound for Auschwitz and in a deft imaginative twist turns them into acrobats tumbling out of harm's way; he takes an elderly wigmaker and makes her, for a single moment, beautiful. Again and again, Englander does what feels impossible: he finds, wherever he looks, a province beyond death's dominion.For the Relief of Unbearable Urges is a work of stunning authority and imagination--a book that is as wondrous and joyful as it is wrenchingly sad, and that heralds the arrival of a profoundly gifted new storyteller.

    The cast of characters in The Evil B.B. Chow and Other Stories includes a wealthy family certain they have been abducted by space aliens, a sexy magazine editor who falls for a worldclass cad, and a beleaguered dentist who refuses to read his best friend’s novel. Michael Jackson and Abraham Lincoln make cameos, as do a variety of desperate and beautiful loonies, all of whom are laid bare, often literally. In these twelve stories, Almond refuses to let his characters off the hook, or to abandon them, until we have seen the full measure of ourselves within their struggle.

    The author of Monkeys and Evening focuses her observant eye and lyrical voice on the delicate emotional negotiations of young New Yorkers.  As in a series of deceptively simple watercolors, these stories uncover small moments that yield larger truths--about the ways in which women and men come together and come apart again, about the disappointments and hopes of lovers who know what they want but don't always know how to keep.  A deeply poignant meditation on the nature of desire and loss.

    For each volume, the very best pieces are selected by a leading writer in the field, making the Best American series the most respected and most popular of its kind. "The Best American Nonrequired Reading 2011" includes Daniel Alarcon, Clare Beams, Sloane Crosley, Anthony Doerr, Neil Gaiman, Mohammed Hanif, Mac McClelland, Michael Paterniti, Olivier Schrauwen, Gary Shteyngart, and others"

    Not stories of triumph over adversity, but something completely other. Described in language that is brilliantly sardonic, Woods's characters return repeatedly to places where they don't belong—often the places where they were born. In "Zombie," a coming-of-age story like no other, two young girls find friendship with a mysterious woman in the local cemetery. "Take the Way Home That Leads Back to Sullivan Street" describes a lesbian couple trying to repair their relationship by dropping acid at a Mensa party. In "A New Mohawk," a man in romantic pursuit of a female political activist becomes inadvertently much more familiar with the Palestine/Israel conflict than anyone would have thought possible. And in the title story, Woods brings us into the mind of a queer goth teenager who faces ostracism from her small-town evangelical church.In the background are the endless American wars and occupations and too many early deaths of friends and family. This is fiction that is fresh and of the moment, even as it is timeless.

    They pine for lost loves and pop music romances, Hollywood heartthrobs, and sunnier towns. They flee from failed relationships and looming violence, adulthood and other deaths. Written with dark humor and incisive, voice-driven prose, Kara Vernor's stories will stick in your head like a song. "Kara Vernor's "Because I Wanted To Write You A Pop Song" is hilarious, dark, and beguiling. These wonderful stories crackle with hard-earned wisdom and wit and will, like all the very best songs, become forever etched on your heart." --John Jodzio, author of Knockout "Reading Kara Vernor is like being in a fast car that reveals the deepest secrets of its passerby. You rubberneck and yearn for more. You're spinning, you're flying, you're exhilarated and sad and brimming with thrill. Hail this book and hold on tight." --Lindsay Hunter, author of Ugly Girls "Kara Vernor says so much in so few words with these stories that I felt myself becoming a better reader as I read them. Her writing feels like a knife, cutting through so many of the falsehoods of American life and leaving only the truth, somehow leaving it both gently and determinedly at the same time. The stories in Because I Wanted to Write You a Pop Song do not flinch and do not seem to even remember how." --Siamak Vossoughi, author of Better Than War (winner of the Flannery O'Connor Award for Short Fiction) "The stories in "Because I Wanted to Write You a Pop Song" dazzle and tenderize. They are strange little worlds that invite you in...Kara Vernor writes with gut, heart, and striking beauty." --Jensen Beach, author of Swallowed by the Cold "If I could leave a few things in a capsule for the civilization coming next, I think I’d maybe pick Kara Vernor’s stories. Beings of the future might know us that way: how we thought; how our words arranged themselves on our tongues when we were only half thinking; what we were after, and how messed up that all was, but how vital in a deeper way. Like some of my favorite writers, Vernor is able to bring to the page a voice you’re shocked to recognize, for it seems so totally new. All of the stars, is what I’m trying to say. All of the hearts and cherries."--Scott Garson, author of Is That You, John Wayne?

    An absurdist short story collection about the woes of 21st-century living--from an author whose writing is "moving and necessary, not to mention frequently hilarious" (Miranda July)College students, recent graduates, and their parents work at Denny's, volunteer at a public library in suburban Florida, attend satanic ska/punk concerts, eat Chinese food with the homeless of New York City, and go to the same Japanese restaurant in Manhattan three times in two sleepless days, all while yearning constantly for love, a better kind of love, or something better than love, things which--much like the Loch Ness Monster--they know probably do not exist, but are rumored to exist and therefore "good enough."

    . . ." The best stories pull readers in and keep them turning the pages, eager to discover more—to find the answer to the question: "And then what happened?" The true hallmark of great literature is great imagination, and as Neil Gaiman and Al Sarrantonio prove with this outstanding collection, when it comes to great fiction, all genres are equal. Stories is a groundbreaking anthology that reinvigorates, expands, and redefines the limits of imaginative fiction and affords some of the best writers in the world—from Peter Straub and Chuck Palahniuk to Roddy Doyle and Diana Wynne Jones, Stewart O'Nan and Joyce Carol Oates to Walter Mosley and Jodi Picoult—the opportunity to work together, defend their craft, and realign misconceptions. Gaiman, a literary magician whose acclaimed work defies easy categorization and transcends all boundaries, and "master anthologist" (Booklist) Sarrantonio personally invited, read, and selected all the stories in this collection, and their standard for this "new literature of the imagination" is high. "We wanted to read stories that used a lightning-flash of magic as a way of showing us something we have already seen a thousand times as if we have never seen it at all." Joe Hill boldly aligns theme and form in his disturbing tale of a man's descent into evil in "Devil on the Staircase." In "Catch and Release," Lawrence Block tells of a seasoned fisherman with a talent for catching a bite of another sort. Carolyn Parkhurst adds a dark twist to sibling rivalry in "Unwell." Joanne Harris weaves a tale of ancient gods in modern New York in "Wildfire in Manhattan." Vengeance is the heart of Richard Adams's "The Knife." Jeffery Deaver introduces a dedicated psychologist whose mission in life is to save people in "The Therapist." A chilling punishment befitting an unspeakable crime is at the dark heart of Neil Gaiman's novelette "The Truth Is a Cave in the Black Mountains." As it transforms your view of the world, this brilliant and visionary volume—sure to become a classic—will ignite a new appreciation for the limitless realm of exceptional fiction.

    Among the jewels gathered here are Gertrude offering Hamlet a piece of her mind, the real truth about the Little Red Hen, a reincarnated bat explaining how Bram Stoker got "Dracula" all wrong, and the five methods of making a man (such as the "Traditional Method": "Take some dust off the ground. Form. Breathe into the nostrils the breath of life. Simple, but effective!") There are parables, monologues, prose poems, condensed science fiction, reconfigured fairy tales, and other miniature masterpieces--punctuated with charming illustrations by the author. A must for her fans, and a wonderful gift for all who savor the art of exquisite prose, "Good Bones And Simple Murders" marks the first time these writings have been available in a trade edition in the United States."[Atwood] proves she is an accomplished miniaturist...She can pack more wallop into less space than any other writer in her weight class".-- "Toronto Globe And Mail"

    Amy Gustine exhibits an extraordinary generosity toward her characters, instilling them with a thriving, vivid presence.

    In this follow-up collection, the editors once again tackle the question: “How short can a story be and truly be a story?” Determined to find the best flashes from America in the twenty-first century, James Thomas and Robert Shapard searched everywhere for stories that were not merely good but memorable. Moving, and certainly unforgettable, this collection includes stories from the best and most popular fiction writers of our time, including Ron Carlson, Robert Coover, Steve Almond, Amy Hempel, A. M. Homes, Grace Paley, and Paul Theroux. In addition, Rick Moody properly defines armoire, Lydia Davis delves into a world of cats, and Dave Eggers explores narrow escapes. Over and over, these stories prove that often less is more.

    As with her acclaimed novels Nobody Is Ever Missing and The Answers, she gives life to a group of subtly complex, instantly memorable characters whose searches for love, struggles with grief, and tentative journeys into the minutiae of the human condition are simultaneously gripping and devastating. The characters in Certain American States are continually coming to terms with their place in the world, and how to adapt to that place, before change inevitably returns. A woman leaves her dead husband’s clothing on the street, only for it to reappear on the body of a stranger; a man reads his ex-wife’s short story and neurotically contemplates whether it is about him; a young woman whose Texan mother insists on moving to New York City with her has her daily attempts to get over a family tragedy interrupted by a mute stranger showing her incoherent messages on his phone. These are stories of breakups, abandonment, and strained family ties; dead brothers and distant surrogate fathers; loneliness, happenstance, starting over, and learning to let go. Lacey’s elegiac and inspired prose is at its full power in this collection, further establishing her as one of the singular literary voices of her generation.

    In Fight No More, Nina, a lonely real-estate broker estranged from her only relative, is at the center of a web of stories connecting a community through the houses they inhabit. With crackling satire and surprising tenderness, Millet introduces an indelible cast of untidy teens, beastly men, and strong-minded women whose stories begin to outline the fate of one particular family being torn apart by forces they recognize but cannot control. Millet’s intellect and beautiful prose deliver profound insight into human behavior, from the ordinary to the bizarre, and draws startling contrasts between house and home.