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    Quarterly 4 contains Issues 34 (Monsters), 35 (Dark Comedy) and 36 (Different), plus exclusive new content!TABLE OF CONTENTSIssue 34: Monsters“The Fire” by Timothy T. Murphy“Inhuman Resources” by William Gerke“Waiting in the Light in the Hungry Months” by Megan Engelhardt“Skin and Scales” by Rachel Bender“Monsters, Monsters Everywhere” by Carrie Cuinn“Raw Materials” by Bernie Mojzes (Exclusive New Fiction)Issue 35: Dark Comedy“Jezebel’s Blouse” by Timothy T. Murphy“Jason’s Shoes” by Richard Bist“The Execution of Zacharius Grubb” by Bethan Claire Price“Chasing Persephone” by Natalie Stachowski“Worse Than a Devil” by Sarina DorieIssue 36: Different“Black Betty” by Nisi Shawl“Portrait of a Courtesan” by Megan Arkenberg“The Last Recall” by Mason Ian Bundschuh“Second Place” by Sarah A. Drew“Zeppelin Follies” by Cat Rambo“The Remote-Controlled Doggirl” by Lara Ek“Beaumains” by Jo ThomasPoem: “Stuck On a Boat With a Soccer Mom” by Helen Estrada“Young Lions” by Zachary Jernigan“My Other Half” by Maria Stanislav“There Was a Little Girl” by Tom Howard (Exclusive New Fiction)ArtCover Art – “The Very Ugly Duckling” by Minna Sundberg

    of Orgueil unknown)• Beatrice Feels a Heart by Anna Koriath• Lost and Found: On Naomi Mitchison's Memoirs of a Spacewoman by Catherine Rockwood•   Review: Memoirs of a Spacewoman by Naomi Mitchison by Catherine Rockwood• What Vile by Mark Waldron• A Tree Party by Mark Waldron• Airspace by C. J. Evans• Divorce by C. J. Evans• Blur by Carmen Maria Machado

    We love the magical realism of the story, with rich imagery that elicits all senses, and a weight that we think many people can relate to.-- Karissa Chen, Fiction & Poetry Editor

    The readings are recorded live at Peter Norton Symphony Space in New York City. The Selected Shorts radio series is a co-production of Symphony Space and WNYC, New York Public Radio, and is heard on public radio stations nationwide."

    Clark, Bonnie Jo Stufflebeam Sharon Hsu, and Alex Bledsoe; reprint fiction by E. Lily Yu; essays by Meg Elison, Marissa Lingen, Malka Older, and Katharine Duckett; poems by Ada Hoffmann, Brandon O’Brien, Leah Bobet, and Betsy Aoki; interviews with Eugenia Triantafyllou and Bonnie Jo Stufflebeam by Caroline M. Yoachim; and Nilah Magruder’s Fallen Embers on the cover.

    New issues are released on the first Tuesday of every month. We are a 2013 Hugo Award nominee for Best Semiprozine! FICTION Perfect by Haddayr Copley-Woods Steel Snowflakes in My Skull by Tom Piccirilli The Cultist's Son by Ferrett Steinmetz Repairing the World by John Chu Juniper, Gentian, and Rosemary by Pamela Dean (eBook/subscriber exclusive) The Violent Century (extract) by Lavie Tidhar (eBook/subscriber exclusive) POETRY Cogs by Beth Cato Unlabelled Core c. Zanclean (5.33 Ma) by Michele Bannister Tell Me the World is a Forest by Chris Lynch Aristeia by Sonya Taaffe NONFICTION Resolute: Notes from the Editor-in-Chief by Sigrid Ellis Interview with Cover Artist Mehrdad Isvandi by Loraine Sammy Interview with Ferrett Steinmetz by Maggie Slater After Our Bodies Fail by Abra Staffin-Wiebe Cover art by Mehrdad Isvandi Edited by Sigrid Ellis

    I read, watch, and play Horror every week, but I barely ever write it. Instead I tend to put Horror-y things back out as humorous stories or heartwarming stories. Off the top of my head I gave them the example that if I wrote a haunted house story, it wouldn’t be like Haunting of Hill House – it would be about a haunted house that was lonely and desperately wanted someone to live in it. One of my fellow authors reached across the table, grabbed me by the hand, and said, “Please write this.” On the train ride home, I did. So this story is dedicated to Natalia Theodoridou, who demanded I help 133 Poisonwood find its family and its audience – all of you.

    For a humble shopkeeper in Yiwu, it’s a living, selling lottery tickets. Until a winning ticket opens up mysteries he’d never imagined. Lavie Tidha's Yiwu is a Tor.com Original short story.At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

    Jemisin, originally published in the August 2008 issue of Jim Baen’s Universe.In “Playing Nice with God’s Bowling Ball,” a police detective tries to understand how a children’s dispute over a playing card could have led to a mysterious disappearance.

    Jonathan Strahan) , which you can listen to [official url]. I love his narration; it’s heart-breaking. I grew up watching Reading Rainbow, so it was pretty awesome to grow up to write words that LeVar Burton read out loud!Reading time: 56:27

    While there have been exceptions, many Oprah authors are no more writer's writers than Kenny G is a saxophonist's saxophonist.The best way to find the hottest, most influential writers writing would be (1) to read every issue of every magazine that publishes new fiction, and (2) to read every good book that comes out. Which would work fine if you were Burgess Meredith in that episode of "The Twilight Zone" where everyone in the world disappears except this bookish guy who's left alone -- o, lovely briar patch -- inside a library. (Six words of advice: Take good care of your glasses.) Absent that, what do you do?I've said it before (in this very space), and I'll say it again: The best possible way to keep tabs on what's up with North American fiction is to buy, year in and year out, each year's volume of The Best American Short Stories and Prize Stories: The O. Henry Awards. Both collections have been around for more than 80 years, have had their ups (mostly artistic) and downs (mostly commercial), but are both currently enjoying commercial heydays. During the 1970s, BASS's sales sank to a series-threatening 7,000 copies a year, before it hit on some bright ideas that saved it. Beginning in 1978, instead of one editor choosing everything himself (Edward O'Brien, from 1915 to 1940) or herself (Martha Foley, from 1941 to 1977), a series editor winnowed the 3,000 or so published stories each year down to a stack of 120 (a task, says current series editor Katrina Kenison that has become much harder the past couple years than it was when she began in 1991, when she had to scrape to find 120 she thought were terrific). Then a guest editor picks 20 stories to include (this year's, Amy Tan, seems to have done an especially able job and wrote a smart and delightful introduction). Beginning in 1983 (with an Anne Tyler-edited edition that was one of the series's strongest), BASS began to be published simultaneously in both hardback and paperback editions. And in 1987, it began to feature short comments by the writers, talking about their stories. BASS (better selling than O. Henry in recent years) began consistently to sell over 100,000 copies a year.O. HENRY's nadir came more recently. Coinciding with BASS's resurgence, O. Henry, in the 1980s, became the American short story's poor, quirky stepchild. (Not in a good way.) But it received a major overhaul in 1997. A single editor (now Larry Dark) still, as has typically been the case, picks the 20 stories to include. But now, O. Henry also includes a list of 50 short-listed stories (with brief synopses) and comments by the authors of each year's anointed 20. Furthermore, three guest jurors (this year, Sherman Alexie, Stephen King, and Lorrie Moore), pick from those 20 a first, second, and third prize. Sales have zoomed.You could read this year's editions of these two indispensable annuals and -- without breaking a sweat (with no effort more strenuous than feeling the hairs on the back of your neck stand up, though I did, as did Tan, read most of these stories on a StairMaster) -- glean this exemplary shorthand of whom you should be reading, circa 1998-1999.Most Valuable Player: Alice Munro. Why (aside from the fact that she's the greatest living writer in English): Her story, "Save the Reaper," certainly the best short story I read last year, is one of only two included in both the 1999 BASS and O. Henry. In awarding it third prize in O. HENRY, Moore (whose "People Like That Are the Only People Here" was the only story included in both the 1998 BASS and O. Henry) discerns the story's parallels not only with Flannery O'Connor's "A Good Man Is Hard to Find" but also with the myths of Eros, Demeter, and Hermes. Moore writes that, in contrast to the O'Connor masterpiece, "[a]s always in the fictional world of Munro, a character's fate pivots not on the penitential moment but on the erotic one."Neither annual allows any writer to be represented by more than one story (a custom that became a rule when both Munro and Richard Bausch landed two gems apiece in BASS 1990), but Munro's "Cortes Island" is short-listed for both and "Before the Change" is short-listed in O. Henry. All three stories are collected in her National Book Critics Circle Award-winning book The Love of a Good Woman.MVP Runners-Up: Annie Proulx, Pam Houston, Lorrie Moore.Why: All three are included in both volumes. Proulx's story "The Bunchgrass Edge of the World" is included in BASS and short-listed in O. Henry, "The Mud Below" in O. Henry and short-listed in BASS. Both are included in Proulx's collection Close Range, which includes two other stories honored in previous years ("Brokeback Mountain" and "The Half-Skinned Steer") and, even in an amazing year for short story collections, is one of the year's most talked-about books.Houston is the year's most-cited story writer, with four: "Cataract" is included in O. Henry; "The Best Girlfriend You Never Had" is included BASS; two other stories ("Then You Get Up and Have Breakfast" and "Three Lessons in Amazon Biology") are short-listed in BASS. All are included in her collection Waltzing the Cat.In addition to serving as an O. Henry juror, Moore has a story, "Real Estate," included in BASS, and her story "Lucky Ducks" is short-listed there. Both are from the exquisite Birds of America.Rookie of the Year: Jhumpa Lahiri.Why: Her funny, gentle, heartbreaking story "Interpreter of Maladies" -- about a nonjudgmental part-time translator/part-time cabdriver in India, who takes an American family sightseeing, gets a decorous crush on the woman, and leads the children into endangerment at the hands of hanuman monkeys -- is the only other story in both volumes. Although Lahiri's work has appeared in The New Yorker, this story originally ran in The Agni Review -- a good journal, but one you may not regularly read. Both annuals had picked it for inclusion before the publication of Lahiri's first book, also called Interpreter of Maladies. The book is, justly, one of the sleeper successes of the year."Our record of discovery is pretty good," says BASS's Kenison. "Chances are, year in and year out, you'll pick up a volume and read a story by someone you've never heard of. The next year, that writer's everywhere you look."This year, that's Lahiri.Also receiving votes are these 18 writers, an intriguing mix of veterans and new voices, also either short-listed or included in both volumes (and if you want to be the savviest reader on your block, you'll read more of these people's work): Poe Ballantine, T. Coraghessan Boyle, Michael Byers, Kiana Davenport, Chitra Divakaruni, Nathan Englander, Mary Gaitskill, Tim Gautreaux (whose "The Piano Tuner," included in BASS and collected in his new book, Welding with Children, is my favorite non-Munro story in either book), Heidi Julavitz, Sheila Kohler, David Long, Steven Millhauser, Kent Nelson, Cynthia Ozick, Melissa Pritchard, John Updike (he's very good), David Foster Wallace (he's very smart), Joy Williams.—Mark Winegardner

    Or at least that's his reputation. Some reputations are deserved, some not. Or perhaps Tymon's notoriety is a means toward quite a different end.

    Lovecraft's 'the Call of Cthulhu' is a harrowing tale of the weakness of the human mind when confronted by powers and intelligences from beyond our world.

    The playground, like childhood itself, is a nightmare of torment and vulnerability; Charles fears his sensitive son will be destroyed there just as he almost was so many years ago.Underhill's sister Carol, who has moved in to help raise the young boy after his mother passed away, feels differently. The playground, she believes, is preparation for life, Jim will survive the experience, she feels, and he will be the better for it and more equipped to deal with the rigor and obligation of adult existence.Underhill is caught between his own fear and his sister's invocation of reason and feels paralyzed. A mysterious boy calls out to him from the playground, and seems to know all too well why Underhill is there and what the source of his agony really is. A mysterious Manager also lurks to whom the strange boy directs Underhill. An agreement can be made perhaps this is what the boy tells Underhill. Perhaps Jim can be spared the playground, but of course, a substitute must be found.