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.

    In the deftly told “These Hands,” a man named Lewis recounts his time babysitting a young girl and his inconsolable sense of loss after she is wrenched away. In “Apples,” a boy comes to terms with the complex world of adults, his first pangs of love, and the bizarre death of his Bible coach. “The Jesus Stories” examines a people trying to accelerate the Second Coming by telling the story of Christ in every possible way. And in the O. Henry Award winning “The Ceiling,” a man’s marriage begins to disintegrate after the sky starts slowly descending.Achingly beautiful and deceptively simple, Things That Fall from the Sky defies gravity as one of the most original story collections seen in recent years.

    Henry Prize stories collection has offered an exciting selection of the best stories published in hundreds of literary magazines every year. Such classic works of American literature as Ernest Hemingway’s The Killers (1927); William Faulkner’s Barn Burning (1939); Carson McCuller’s A Tree. A Rock. A Cloud (1943); Shirley Jackson’s The Lottery (1949); J.D. Salinger’s For Esme with Love and Squalor (1963); John Cheever’s The Country Husband (1956) ; and Flannery O’Conner’s Everything that Rises Must Converge (1963) all were O. Henry Prize stories. An accomplished new series editor--novelist and short story writer Laura Furman--has read more than a thousand stories to identify the 20 winners, each one a pleasure to read today, each one a potential classic. The O. Henry Prize Stories 2003 also contains brief essays from each of the three distinguished judges on their favorite story, and comments from the prize-winning writers on what inspired their stories. There is nothing like the ever rich, surprising, and original O. Henry collection for enjoying the contemporary short story.The Thing in the Forest A. S. Byatt The Shell Collector Anthony Doerr Burn Your Maps Robyn Jay Leff Lush Bradford Morrow God’s Goodness Marjorie Kemper Bleed Blue in Indonesia Adam Desnoyers The Story Edith Pearlman Swept Away T. Coraghessan Boyle Meanwhile Ann Harleman Three Days. A Month. More. Douglas Light The High Road Joan Silber Election Eve Evan S. Connell Irish Girl Tim Johnston What Went Wrong Tim O’Brien The American Embassy Chimamanda Ngozi Adichie Kissing William Kittredge Sacred Statues William Trevor Two Words Molly Giles Fathers Alice Munro Train Dreams Denis Johnson

    Has any writer given so many pleasures and mysteries, and both so unstintingly.

    C. Boyle writes, “The Model T gave way to the Model A and to the Ferrari and the Prius . . . modernism to postmodernism and post-postmodernism. We advance. We progress. We move on. But we are part of a tradition.” Boyle’s choices of stories reflect a vibrant range of characters, from a numb wife who feels alive only in the presence of violence to a new widower coming to terms with his sudden freedom, from a missing child to a champion speedboat racer. These stories will grab hold and surprise, which according to Boyle is “what the best fiction offers, and there was no shortage of such in this year’s selections.” Mulling over the question of character likability, series editor Heidi Pitlor asks, “Did I like these characters? I very much liked reading their stories, as did T. C. Boyle.” Here are characters who “are living, breathing people who screw up terribly and want and need and think uneasy thoughts.”   T. C. BOYLE, guest editor, has published fifteen novels and ten collections of short stories. He won the PEN/Faulkner Award in 1988 for his novel World’s End and the Prix Médicis étranger for The Tortilla Curtain in 1995, as well as the 2014 Henry David Thoreau Prize for excellence in nature writing. His most recent book is the novel The Harder They Come. HEIDI PITLOR, series editor, is a former senior editor at Houghton Mifflin Harcourt. She is the author of the novels The Birthdays and The Daylight Marriage.

    But the boys’ bravado fades at home when, alone, they check e-mail again and again for word from their fathers at the front.Often from fractured homes and communities, the young men in these breathless stories do the unthinkable to prove to themselves—to everyone—that they are strong enough to face the heartbreak in this world. Set in rural Oregon with the shadow of the Cascade Mountains hanging over them, these stories bring you face-to-face with a mad bear, a house with a basement that opens up into a cave, a nuclear meltdown that renders the Pacific Northwest into a contemporary Wild West. Refresh, Refresh by Benjamin Percy is a bold, fiery, and unforgettable collection that deals with vital issues of our time.

    Abbott, "Cheever's true heir, our major American short story writer" (William Harrison).Here are stories about fathers and sons, stories about men and women, and stories about the relationships between men by one of our most gifted story writers. The narrator of "The Who, the What and the Why," begins breaking into his own house as a sort of therapy after his daughter dies. In "The Human Use of Inhuman Beings," the main character realizes that his closest relationship is to an angel, who appears to him only to announce the death of loved ones. All Things, All at Once reminds us why Lee K. Abbott is to be treasured: his perfect pitch for tales of hapless Southwesterners, his way with sympathetic irony, his eye that skillfully notes the awkward humiliations—common heartbreak, fractured families—and records it all in lyrical, affectionate language. In tales new and from previous collections Abbott examines lived life and the lies we necessarily tell about it.

    Read the short story, assemble the 1,000-piece puzzle, and discover the hidden clues. Then solve the mystery by putting together the pieces in the story and in the puzzle. Slick, book-like packaging and high quality artwork make these puzzles a standout. Beware: the 1,000-piece puzzle is different from the cover!

    The stories may appear in the form of letters of complaint; they may be extracted from Flaubert’s correspondence; or they may be inspired by the author’s own dreams, or the dreams of friends.What does not vary throughout Can’t and Won’t, Lydia Davis’s fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.

    Through tight language and searing scenarios, Rohan brings to life a plethora of characters--exposed, vulnerable souls who are achingly human.

    Sourland—sixteen previously uncollected stories that explore how the power of violence, loss, and grief shape both the psyche and the soul—shows us an author working at the height of her powers.With lapidary precision and an unflinching eye, Oates maps the surprising contours of "ordinary" life. From a desperate man who dons a jack-o'-lantern head as a prelude to a most curious sort of courtship, to a "story of a stabbing" many times recounted in the life of a lonely girl; from a beguiling young woman librarian whose amputee state attracts a married man and father, to a girl hopelessly in love with her renegade, incarcerated cousin; from a professor's wife who finds herself tragically isolated at a party in her own house, to the concluding title story of an unexpectedly redemptive love rooted in radical aloneness and isolation, each story in Sourland resonates beautifully with Oates's trademark fascination for the unpredictable amid the prosaic—the commingling of sexual love and violence, the tumult of family life—and shines with her predilection for dark humor and her gift for voice.

    Megan Mayhew Bergman's twelve stories capture the surprising moments when the pull of our biology becomes evident, when love or fear collide with good sense, or when our attachment to an animal or wild place can't be denied. In "Housewifely Arts," a single mother and her son drive hours to track down an African Gray Parrot that can mimic her deceased mother's voice. A population control activist faces the ultimate conflict between her loyalty to the environment and her maternal desire in "Yesterday's Whales." And in the title story, a lonely naturalist allows an attractive stranger to lead her and her aging father on a hunt for an elusive woodpecker. As intelligent as they are moving, the stories in Birds of a Lesser Paradise are alive with emotion, wit, and insight into the impressive power that nature has over all of us.

    A small collection of short stories, sold as part of the boxed set "One Hundred and Forty Five Stories in a Small Box: Hard to Admit and Harder to Escape, How the Water Feels to the Fishes, and Minor Robberies"

    edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.

    Each volume’s series editor selects notable works from hundreds of magazines, journals, and websites. A special guest editor, a leading writer in the field, then chooses the best twenty or so pieces to publish. This unique system has made the Best American series the most respected — and most popular — of its kind. The Best American Short Stories 2011 includes Chimamanda Ngozi Adichie, Megan Mayhew Bergman, Jennifer Egan, Nathan Englander, Allegra Goodman, Ehud Havazelet, Rebecca Makkai, Steven Millhauser, George Saunders, Mark Slouka, and others