11 stories: The AwakeningBeyond the BayouMa'ame PelagieDesiree's BabyA Respectable WomanThe KissA Pair of Silk StockingsThe LocketA ReflectionAt the 'Cadian BallThe Storm

    Round them flowed the smell of the night sea, bringing with it an infinite languor.

    Strongly lyrical, these intensely honest poems testify to human courage, frailty, and tenderness and to the enduring wonders of nature.

    Dreiser's unsparing story of a country girl's rise to riches as the mistress of a wealthy man marked the beginning of the naturalist movement in America. Both its subject matter and Dreiser's objective, nonmoralizing approach made it highly controversial, and only a heavily edited version could be published in 1900. In this restored version, the truly revolutionary nature of Sister Carrie is made fully evident.

    I do not go out in the fog myself," notes Adam in his diary, adding, "The new creature does. It goes out in all weathers. And talks. It used to be so pleasant and quiet here." Adam has a lot to learn about Eve, and even more from her, as she names the animals, discovers fire, and introduces all manner of innovations to their garden home. Mark Twain's "translation" of the diaries of the first man and woman offers a humorous "he said/she said" narrative of biblical events. The great American storyteller found comfort and inspiration in the company of women, and his irreverent look at conventional religion is also a thoughtful -- and humorous -- argument for gender equality.

    Across the border Mexico beckons—beautiful and desolate, rugged and cruelly civilized. With two companions, he sets off on an idyllic, sometimes comic adventure, to a place where dreams are paid for in blood.

    But when he and his best friend, Bob, partake in "awful kid stuff", the experience forms Jim's ideal of spiritual completion. Defying his parents’ expectations, Jim strikes out on his own, hoping to find Bob and rekindle their amorous friendship. Along the way he struggles with what he feels is his unique bond with Bob and with his persistent attraction to other men. Upon finally encountering Bob years later, the force of his hopes for a life together leads to a devastating climax. The first novel of its kind to appear on the American literary landscape, The City and the Pillar remains a forthright and uncompromising portrayal of sexual relationships between men.

    Alternate-cover edition can be found here In his second collection, Carver establishes his reputation as one of the most celebrated and beloved short-story writers in American literature—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark.

    Vincent Millay herself and represent the major portion of her lifework. Their musical perfection, emotional power, and superb, delicate workmanship have made Edna St. Vincent Millay one of America's great poets.

    The mythic legacy of the Scandinavians includes a cycle of stories filled with magnificent images from pre-Christian Europe. Gods, humans, and monstrous beasts engage in prodigious drinking bouts, contests of strength, greedy schemes for gold, and lusty encounters. The Norse pantheon includes Odin, the wisest and most fearsome of the gods; Thor, the thundering powerhouse; and the exquisite, magic-wielding Freyja. Their loves, wars, and adventures take us through worlds both mortal and divine, culminating in a blazing doomsday for gods and humans alike. These stories bear witness to the courage, passion, and boundless spirit that were hallmarks of the Norse world.“Kevin Crossley-Holland retells the Norse myths in clear, attractive prose . . . An excellent introduction, notes, and a glossary provide mythological and historical backgrounds and suggest parallels with myths in other parts of the world.”–The Denver Post

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

    The vivid imagery of the writing is matched by Charles Keeping's haunting illustrations which won him the Kate Greenaway Medal. This new edition features rescanned artwork to capture the breath-taking detail of Keeping's illustrations and a striking new cover.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    Coxcomb was the least he said: The solid man and the coxcomb.