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    Marion Crawford's supernatural pieces, including the rare story "The King's Messenger," as well as such classics as "The Upper Berth" (considered by many to be the finest ghost story ever written) and many more. Also features a new introduction written especially for this volume by horror scholar Lee Weinstein.

    The story begins when a paragraph in a newspaper plunges the narrator into his memories as a younger man. The perspective seems to shift back and forth between the past and present, so the reader is never entirely sure if the narrator is recounting past events from memory, or retelling current events as they happen. Critics have praised the writing for its lucid and lyrical style. The narrator, of noble status who has recently come into an inheritance, decides to leave Paris, where he is living a debauched life of theater and drink, and return to the love of his youth, a peasant girl named Sylvie who has classic features and brunette hair, a "timeless ideal". She sows gloves for a living and ends up marrying another man more equal to her class. The narrator also loves a seductive actress in Paris named Aurelia, who has many suitors who tell her empty idylls of love, but none love her for who she really is, including the narrator, who sees her as a lovely illusion that fades in the daylight of reality. The narrator also loves Adrienne, of noble birth, tall with blonde hair, she is an "ideal beauty", but she lives in a convent, and dies an early death. In the end he loves all three but obtains none, seemingly for reasons both beyond and within his making.

    The family -- which refuses to believe in him -- is in Wilde's way a commentary on the British nobility of the day -- and on the Americans, too. The tale, like many of Wilde's, is rich with allusion, but ends as sentimental romance...

    

    Two men, unknown to each other, whose glimpses of the other's possible future suggest that one of them will be murdered and the other will be the murderer.

    A treasured source used by almost all the significant writers in the American pulp tradition — H. P. Lovecraft, A. Merritt, Robert E. Howard, and many others — it endures as a work of remarkable power and one of the most chillingly original books in the genre.This collection reprints all the supernatural stories from The King in Yellow, including the grisly "Yellow Sign," the disquieting "Repairer of Reputations," the tender "Demoiselle d'Ys," and others. Robert W. Chambers' finest stories from other sources have also been added, such as the thrilling "Maker of Moons" and "The Messenger." In addition, an unusual pleasure awaits those who know Chambers only by his horror stories: three of his finest early biological science-fiction fantasies from In Search of the Unknown appear here as well.

    The tale tells the story of a violent nobleman in the habit of murdering his wives and the attempts of one wife to avoid the fate of her predecessors.Charles Perrault (12 January 1628 – 16 May 1703) was a French author who laid foundations for a new literary genre, the fairy tale, and whose best known tales, derived from pre-existing folk tales.The illustrations were designed specifically for little children and family reading. Your kids will love the Book!

    A young English gentleman of means, Aubrey is immediately intrigued by Lord Ruthven, the mysterious newcomer among society’s elite. His unknown origin and curious behavior tantalizes Aubrey’s imagination. But the young man soon discovers a sinister character hidden behind his new friend’s glamorous facade.   When the two are set upon by bandits while traveling together in Europe, Ruthven is fatally injured. Before drawing his last breath, he makes the odd request that Aubrey keep his death and crimes secret for a year and a day. But when Ruthven resurfaces in London—making overtures toward Aubrey’s sister—Aubrey realizes this immortal fiend is a vampyre.   John William Polidori’s The Vampyre is both a classic tale of gothic horror and the progenitor of the modern romantic vampire myth that has been fodder for artists ranging from Anne Rice to Alan Ball to Francis Ford Coppola. Originally published in 1819, many decades before Bram Stoker’s Dracula, and misattributed to Polidori’s friend Lord Byron, The Vampyre has kept readers up at night for nearly two hundred years.

    Vonnegut’s absolute familiarity with science fiction tropes and his mocking contempt for them are well displayed in a story which shifts between tragic cartoon and straightforward projection. His highly evolved humans in an indeterminate future have become body-transcending spirits and Vonnegut handles this vaporous situation with deadpan comedy suspended over unspeakable loss, a characteristic technique. In its fluidity--the story is parody masked as extrapolation; no, it is a horror story in the form of a parody. This kind of cross-category narrative attack was often used by Vonnegut and makes him difficult to label; he is too serious to be funny, too absurd (as in jailbreak or as in the concept of Billy Pilgrim’s alien Tralmalfadorians) to be taken as realism. Vonnegut when he wrote this story at 30 was still trying to find his voice, identify his material; as a laboratory of his enveloping subject matter and technique UNREADY TO WEAR is particularly interesting and disturbing, demonstrating that Vonnegut could have gone in any number of directions and perhaps by deliberately failing to make a decision, found his voice through indeterminacy. It is as a poet of indeterminacy then that Vonnegut went on to write his most famous novel, SLAUGHTERHOUSE-FIVE.ABOUT THE AUTHORKurt Vonnegut (1922-2007) is one of the most beloved American writers of the twentieth century. Vonnegut's audience increased steadily since his first five pieces in the 1950s and grew from there. His 1968 novel Slaughterhouse-Five has become a canonic war novel with Joseph Heller's Catch-22 to form the truest and darkest of what came from World War II.Vonnegut began his career as a science fiction writer, and his early novels--Player Piano and The Sirens of Titan--were categorized as such even as they appealed to an audience far beyond the reach of the category. In the 1960s, Vonnegut became closely associated with the Baby Boomer generation, a writer on that side, so to speak.Now that Vonnegut's work has been studied as a large body of work, it has been more deeply understood and unified. There is a consistency to his satirical insight, humor and anger which makes his work so synergistic. It seems clear that the more of Vonnegut's work you read, the more it resonates and the more you wish to read. Scholars believe that Vonnegut's reputation (like Mark Twain's) will grow steadily through the decades as his work continues to increase in relevance and new connections are formed, new insights made.ABOUT THE SERIESHorace Gold led GALAXY magazine from its first issue dated October 1950 to science fiction’s most admired, widely circulated and influential magazine throughout its initial decade. Its legendary importance came from publication of full length novels, novellas and novelettes. GALAXY published nearly every giant in the science fiction field.The Galaxy Project is a selection of the best of GALAXY with new forewords by some of today’s best science fiction writers. The initial selections in alphabetical order include work by Ray Bradbury, Frederic Brown, Lester del Rey, Robert A. Heinlein, Damon Knight, C. M. Kornbluth, Walter M. Miller, Jr., Frederik Pohl, Robert Scheckley, Robert Silverberg, William Tenn (Phillip Klass) and Kurt Vonnegut with new Forewords by Paul di Filippo, David Drake, John Lutz, Barry Malzberg and Robert Silverberg. The Galaxy Project is committed to publishing new work in the spirit GALAXY magazine and its founding editor Horace Gold.

    Translated from the French by Justin O'Brien.The six works featured in this volume are: "The Adulterous Woman" ("La Femme adultère") "The Renegade or a Confused Spirit" ("Le Renégat ou un esprit confus") "The Silent Men" ("Les Muets") "The Guest" ("L'Hôte") "Jonas or the Artist at Work" ("Jonas ou l’artiste au travail") "The Growing Stone" ("La Pierre qui pousse")

    After attempts at careers in medicine, law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (Tales of Spain and Italy) (1829). He was the librarian of the French Ministry of the Interior under the July Monarchy. The tale of his celebrated love affair with George Sand, which lasted from 1833 to 1835, is told from his point of view in his autobiographical novel, La Confession d'un Enfant du Siècle (The Confession of a Child of the Century) made into a film, Children of the Century. Musset's Nuits (Nights) (1835-1837) trace his emotional upheaval of his love for George Sand, from early despair to final resignation. He was dismissed from his post as librarian after the revolution of 1848, but he was appointed librarian of the Ministry of Public Instruction during the Second Empire. He received the Légion d'honneur in 1845, at the same time as Balzac, and was elected to the Académie française in 1852.

    

    A young traveler sojourns through the sea of wind and snow, finding refuge in a cottage, cozily nestled in the notch of a hill. The traveler burns with a determination to make his name known to the world. But that will all have to wait until the storm subsides.

    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.