This edition also includes Sinclair's series of texts on the mythology of place called Suicide Bridge.

    For at least forty years, Calvin Trillin has committed blatant acts of funniness all over the place—in The New Yorker, in one-man off-Broadway shows, in his “deadline poetry” for The Nation, in comic novels like Tepper Isn’t Going Out, in books chronicling his adventures as a happy eater, and in the column USA Today called “simply the funniest regular column in journalism.”Now Trillin selects the best of his funny stuff and organizes it into topics like high finance (“My long-term investment strategy has been criticized as being entirely too dependent on Publishers Clearing House Sweepstakes”) and the literary life (“The average shelf life of a book is somewhere between milk and yogurt.”)In Quite Enough of Calvin Trillin, the author deals with such subjects as the horrors of witnessing a voodoo economics ceremony and the mystery of how his mother managed for thirty years to feed her family nothing but leftovers (“We have a team of anthropologists in there now looking for the original meal”) and the true story behind the Shoe Bomber: “The one terrorist in England with a sense of humor, a man known as Khalid the Droll, had said to the cell, ‘I bet I can get them all to take off their shoes in airports.’ ” He remembers Sarah Palin with a poem called “On a Clear Day, I See Vladivostok” and John Edwards with one called “Yes, I Know He’s a Mill Worker’s Son, but There’s Hollywood in That Hair.” In this, the definitive collection of his humor, Calvin Trillin is prescient, insightful, and invariably hilarious.

    In all his writing, Cioran cuts to the heart of the human experience.

    Compiled by Dave Eggers and students from his San Francisco writing center, it is "both uproarious and illuminating" (Publishers Weekly).

    Now this former editor of The Harvard Lampoon and current writer for Saturday Night Live has returned to mine more comedy from our hopelessly terrifying world.In the nostalgic opening chapter, Rich recalls his fear of the Tooth Fairy (“Is there a face fairy?â€) and his initial reaction to the “Got-your-nose†game (“Please just kill me. Better to die than to live the rest of my life as a monsterâ€). He goes on to present Count Dracula’s desperate Match.com profile (“I am normal human looking for human woman to come to castle. I am normal, regular humanâ€). Later, he gets inside the heads of two firehouse Dalmatians who can’t understand their masters’ compulsion to drive off to horrible fires every day. And in the final chapter, he tackles some of life’s biggest questions: Does God really have a plan for us? Yes, it turns out. Now if only He could remember what it was. . . . Praise for Simon Rich’s Ant Farm “Ant Farm has an imaginative power that can trigger snort-fests. . . . Ferociously creative, this book is for readers craving both smart humor and belly laughs.â€â€“People (four stars)“Savagely funny.â€â€“The New York Times“Hilarious. Open this book anywhere, begin reading, and you will laugh.â€â€“Jon Stewart“Ant Farm is what all humor books should be: full of brief, high-concept musings that you wish you’d thought of yourself.â€â€“Time Out New York“A satirical salmagundi that bites back . . . Imaginative premises abound. . . . As unpredictable as YouTube, as in your face as MySpace.â€â€“Publishers Weekly

    His characters, almost all of who are first-generation Indian Americans, subvert our expectations that they will sit quietly by. We meet two brothers caught in an elaborate web of envy and loathing; a young gay man who becomes involved with an older man whose secret he could never guess; three women who almost gleefully throw off the pleasant agreeability society asks of them; and, in the final pair of linked stories, a young couple struggling against the devastating force of community gossip. If You See Me, Don't Say Hi examines the collisions of old world and new world, small town and big city, traditional beliefs (like arranged marriage) and modern rituals (like Facebook stalking). The men and women in these stories are full of passion, regret, envy, anger, and yearning. They fall in love with the wrong people and betray one another and deal with the accumulation of years of subtle racism. They are utterly compelling. Ranging across the country, Patel’s stories -- empathetic, provocative, twisting, and wryly funny -- introduce a bold new literary voice, one that feels more timely than ever.

    The first edition included one hundred stories, but subsequent editions let the collection grow to 128 stories (13th edition). Each edition drops some stories (and authors) and adds others.The stories are listed alphabetically by author surname, and all editions include biographical notes on the author and a glossary of literary terms, both at the end of the book. The book also includes explanatory footnotes either defining currently infrequently used words or references to historical events and characters.Some of the more recent editions include complementary websites. A reader's guide and an instructor's manual for most editions have also been published.

    G. Wodehouse is recognized as the greatest English comic writers of the twentieth century, rightly admired throughout the world and translated into more than thirty languages. Launched on the twenty-fifth anniversary of his death, this series presents each Overlook Wodehouse as the finest edition of the master’s work ever published—beautifully designed and faithful to the original. This season, Overlook is pleased to offer the latest two hilarious volumes. Louder and Funnier is a collection of articles written for Vanity Fair, with subjects ranging from Shakespeare and divorce to income tax and ocean liners. The Prince and Betty is an engrossing, hilarious story of an unscrupulous millionaire and his plans to build a casino in the Mediterranean. Revised by Wodehouse after the initial publication, it features the master’s signature reflections on the rich in one of his classic novels.

    Death. Addiction. Twins. Cicadas. Strippers. Murderers. Children. Castles. Zombies. Pomeranians. Silver limbs. Mental institutions. Trailer parks. Time travel. Appalachia. Conversations. Memories. Lies.Table of Contents:THE TRUTHHOLLOW CREATURESTHE CABBAGE MUSETEETOTALERTHE WORLD WAS CLOCKSTINDER BOXFEVERGILDED BONESTROTLINESASYMMETRYA Brief Conversation While Buying a Drink in Checkers Lounge, Eight Years ComingSHORT TENDONTHE OLD UNIVERSETHE PINK MANATEEPILFERING LIFE

    Our companions are an aging poet, who is sad because he can no longer write—he has lost the joy he used to have in simply being alive–and a young, mischievous female donkey, who is sad because she can't run and play—she has a touch of arthritis. . . . There is a moral, of course, but any moral looks dull next to the simple happiness of the old poet and his long-eared muse."—The New Yorker

    It also features the original whimsical Chesley Award-winning cover illustration by talented Bay Area artist Michael Dashow. "The Last Unicorn, Beagle's most beloved novel, was an underground bestseller in the late 1960s and 1970s. This collection includes two of Beagle's popular unicorn stories, "Professor Gottesman and the Indian Rhinoceros" and "Julie's Unicorn," as well as "Lila the Werewolf," which is anthologized in the "Oxford Book of Fantasy, and a tribute to J. R. R. Tolkien, "The Naga."ContentsIntroduction: “Under the Zucchini” by Patricia A. McKillipFiction“Come Lady Death”“Julie’s Unicorn” “Lila the Werewolf”“My Daughter’s Name Is Sarah”“Pittsburgh Stories (a Recollection)”“Professor Gottesman and the Indian Rhinoceros”“Telephone Call”“The Naga”Essays“D. H. Lawrence in Taos” “Learning a Trade” “My Last Hero”“The Poor People’s Campaign”

     Heading north for the holidays, things certainly hadn’t gone as she had planned. A snowstorm, an apple pie, and an old friend, all conspire to bring her to a crossroads. Will a Christmas Eve detour send her back to her snug village home, or will she forge ahead and let a turn in the road lead her to a newfound happiness? In this, the first entry in her new Rose and Briar Inn series, From Women’s Pens author Andrea Twombly weaves a warm story of the Christmas season, rich in challenges overcome and courage discovered along a twisting road to love. You won’t want to miss this one!

    Soon after his parents, German-speaking Jews, had perished at the hands of the Nazis, Celan wrote "Todesfuge" ("Deathfugue"), the most compelling poem to emerge from the Holocaust. Self-exiled in Paris, for twenty-five years Celan continued writing in his German mother tongue, although it had "passed through the thousand darknesses of deathbringing speech." His writing purges and remakes that language, often achieving a hope-struck radiance never before seen in modern poetry. But in 1970, his psychic wounds unhealed, Celan drowned himself in the Seine. This landmark volume includes youthful lyrics, unpublished poems, and prose. All poems appear in the original and in translation on facing pages. John Felstiner's translations stem from a twenty-year immersion in Celan's life and work. John Bayley wrote in the New York Review of Books, "Felstiner translates ... brilliantly."

    . . . Even the most familiar poets seem somehow new within the context of Joy.”—David Skeel, Wall Street Journal “Wiman takes readers through the ostensible ordinariness of life and reveals the extraordinary.”—Adrianna Smith, The Atlantic   Christian Wiman, a poet known for his meditations on mortality, has long been fascinated by joy and by its relative absence in modern literature. Why is joy so resistant to language? How has it become so suspect in our times? Manipulated by advertisers, religious leaders, and politicians, joy can seem disquieting, even offensive. How does one speak of joy amid such ubiquitous injustice and suffering in the world? In this revelatory anthology, Wiman takes readers on a profound and surprising journey through some of the most underexplored terrain in contemporary life. Rather than define joy for readers, he wants them to experience it. Ranging from Emily Dickinson to Mahmoud Darwish and from Sylvia Plath to Wendell Berry, he brings together diverse and provocative works as a kind of counter to the old, modernist maxim “light writes white”—no agony, no art. His rich selections awaken us to the essential role joy plays in human life.

    Showcasing some of his most honest and personal writing, this compilation contains stories of love and redemption, sex and parties, tales of heartbreak and squinting in the morning sun. Things don’t always turn out the way we expect. But with the right attitude and some good friends, you can always find your way to the next adventure.