Here are urban upheavals reimagined as frontier myth; travelogues through countries that might have been created by Kafka; cryptic dialogues that bore down to the bedrock of our longings, dreams, and angsts. Like all of Donald's work, the sixty stories collected in this volume are triumphs of language and perception, at once unsettling and irresistible.

    In their obsessions, Gass’s Midwestern dreamers are like the "grotesques" of Sherwood Anderson, but in their hyper-linguistic streams of consciousness, they are the match for Joyce’s Dubliners. First published in 1968, this book begins with a beguiling thirty-three page essay and has five fictions: the celebrated novella "The Pedersen Kid," "Mrs. Mean," "Icicles," "Order of Insects," and the title story.

    Though known by many for novels like I Am Legend and his sixteen Twilight Zone episodes, Matheson truly shines in his chilling, masterful short stories. Since his first story appeared in 1950, virtually every major writer of science fiction, horror, and fantasy has fallen under his influence, including Stephen King, Neil Gaiman, Peter Straub, and Joe Hill, as well as filmmakers like Stephen Spielberg and J.J. Abrams. Matheson revolutionized horror by taking it out of Gothic castles and strange cosmos and setting it in the darkened streets and suburbs we recognize as our own. He infused tales of the fantastic and supernormal with dark explorations of human nature, delving deep into the universal dread of feeling alone and threatened in a dangerous world. The Best of Richard Matheson brings together his greatest hits as chosen by Victor LaValle, an expert on horror fiction and one of its brightest talents, marking the first major overview of Matheson's legendary career.

    P. Lovecraft into calling him "perhaps unexcelled by any other writer, dead or living” or compel Fritz Lieber to employ the worthy term sui generis. Clark Ashton Smith—autodidact, prolific poet, amateur philosopher, bizarre sculptor, and unmatched storyteller—simply wrote like no one else, before or since. This new collection of his very best tales and poems is selected and introduced by supernatural literature scholar S. T. Joshi and allows readers to encounter Smith’s visionary brand of fantastical, phantasmagorical worlds, each one filled with invention, terror, and a superlative sense of metaphysical wonder.

    Seventeen stories written over the past fifteen years reveal the author's vision of human love and tragedy.Wants --Debts --Distance --Faith in the afternoon --Gloomy tune --Living --Come on, ye sons of art --Faith in a tree --Samuel --The burdened man --Enormous changes at the last minute --Politics --Northeast playground --The little girl --A conversation with my father --The immigrant story --The long-distance runner

    American Supernatural Tales celebrates the richness of this tradition with chilling contributions from some of the nation’s brightest literary lights, including Poe himself, H. P. Lovecraft, Shirley Jackson, Ray Bradbury, Nathaniel Hawthorne, and—of course— Stephen King. By turns phantasmagoric, spectral, and demonic, this is a frighteningly good addition to Penguin Classics.

    Originally published in 1924 and long out of print, these tales are vintage Wharton, dealing boldly with such themes as infidelity, illegitimacy, jealousy, the class system, and the condition of women in society Included in this remarkable quartet are False Dawn, The Old Maid, The Spark, and New Year's Day.

    Vulnerable and resilient, openhanded and open-hearted, these women forge their lives in a place that in turn threatens and protects—a common prison and a shared home. Naylor renders both loving and painful human experiences with simple eloquence and uncommon intuition. Her remarkable sense of community and history makes The Women of Brewster Place a contemporary classic—and a touching and unforgettable read.

    This brilliant collection, often cited as the first of its kind, explores fundamental questions about ourselves and our treatment of the universe (and other beings) around us and ultimately what it means to be human.Contents: * Cordwainer Smith: The Shaper of Myths (1975) • essay by John J. Pierce [as by J. J. Pierce] * The Instrumentality of Mankind (timeline) (1975) • essay by John J. Pierce * Scanners Live in Vain [The Instrumentality of Mankind] (1950) / novelette by Cordwainer Smith: meet Martel, a human altered to be part machine-a scanner-to be able withstand the trauma space travel has on the body. Despite the stigma placed on him and his kind, he is able to regrasp his humanity to save another; Fantasy Book #6 ’50 * The Lady Who Sailed The Soul [The Instrumentality of Mankind] (1960) / novelette by Cordwainer Smith, Genevieve Linebarger; Galaxy Apr ’60 * The Game of Rat and Dragon [The Instrumentality of Mankind] (1955) / short story by Cordwainer Smith; Galaxy Oct ’55 * The Burning of the Brain [The Instrumentality of Mankind] (1958) / short story by Cordwainer Smith; If Oct ’58 * Golden the Ship Was - Oh! Oh! Oh! [The Instrumentality of Mankind] (1959) / short story by Cordwainer Smith, Genevieve Linebarger; Amazing Apr ’59 * The Crime and the Glory of Commander Suzdal [The Instrumentality of Mankind] (1964) / short story by Cordwainer Smith; Amazing May ’64 * The Dead Lady of Clown Town [The Instrumentality of Mankind] (1964) / novella by Cordwainer Smith: get to know the underpeople-animals genetically altered to exist in human form, to better serve their human owners-and meet D'Joan, a dog-woman who will make readers question who is more human: the animals who simply want to be recognized as having the same right to life, or the people who created them to be inferior; Galaxy Aug ’64 * Under Old Earth [The Instrumentality of Mankind] (1966) / novelette by Cordwainer Smith; Galaxy Feb ’66 * Mother Hitton's Littul Kittons [The Instrumentality of Mankind] (1961) / novelette by Cordwainer Smith; Galaxy Jun ’61 * Alpha Ralpha Boulevard [The Instrumentality of Mankind] (1961) / novelette by Cordwainer Smith; Galaxy Jun ’61 * The Ballad of Lost C'mell [The Instrumentality of Mankind] (1962) / novelette by Cordwainer Smith: the notion of love being the most important equalizer there is, is put into action when an underperson, C'mell, falls in love with Lord Jestocost. Who is to say her love for him is not as valid as any true-born human? She might be of cat descent, but she is all woman!; Galaxy Oct ’62 * A Planet Named Shayol [The Instrumentality of Mankind] (1961) / novelette by Cordwainer Smith: it is an underperson of bull descent, and beings so mutilated and deformed from their original human condition to be now considered demons of a hellish land, who retain and display the most humanity when Mankind commits the most inhumane action of all; Galaxy Oct ’61aka: Paul M. A. Linebarger, Paul Myron Anthony Linebarger, Paul Linebarger, Felix C. Forrest, Carmichael Smith, Kordvejner Smit..

    Chesnutt's first great literary success, and since their initial publication in 1899 they have come to be seen as some of the most remarkable works of African American literature from the Emancipation through the Harlem Renaissance. Lesser known, though, is that the The Conjure Woman, as first published by Houghton Mifflin, was not wholly Chesnutt's creation but a work shaped and selected by his editors. This edition reassembles for the first time all of Chesnutt's work in the conjure tale genre, the entire imaginative feat of which the published Conjure Woman forms a part. It allows the reader to see how the original volume was created, how an African American author negotiated with the tastes of the dominant literary culture of the late nineteenth century, and how that culture both promoted and delimited his work. In the tradition of Uncle Remus, the conjure tale listens in on a poor black southerner, speaking strong dialect, as he recounts a local incident to a transplanted northerner for the northerner's enlightenment and edification. But in Chesnutt's hands the tradition is transformed. No longer a reactionary flight of nostalgia for the antebellum South, the stories in this book celebrate and at the same time question the folk culture they so pungently portray, and ultimately convey the pleasures and anxieties of a world in transition. Written in the late nineteenth century, a time of enormous growth and change for a country only recently reunited in peace, these stories act as the uneasy meeting ground for the culture of northern capitalism, professionalism, and Christianity and the underdeveloped southern economy, a kind of colonial Third World whose power is manifest in life charms, magic spells, and ha'nts, all embodied by the ruling figure of the conjure woman. Humorous, heart-breaking, lyrical, and wise, these stories make clear why the fiction of Charles W. Chesnutt has continued to captivate audiences for a century.

    In "Pastor Dowe at Tecaté," a Protestant missionary is sent to a faraway place where his God has no power. In "Call at Corazón," an American husband abandons his alcoholic wife on their honeymoon in a South American jungle. In "Allal," a boy's drug-induced metamorphosis into a deadly serpent leads to his violent death. Here also are some of Bowles's most famous works, including "The Delicate Prey," a grimly satisfying tale of vengeance, and "A Distant Episode," which Tennessee Williams proclaimed "a masterpiece."

    His sense of isolation lies at the heart of these later works. "Billy Budd, Sailor," a classic confrontation between good and evil, is the story of an innocent young man unable to defend himself against a wrongful accusation. The other selections here--"Bartleby," "The Encantadas," "Benito Cereno," and "The Piazza"--also illuminate, in varying guises, the way fictions are created and shared with a wider society.In his introduction Frederick Busch discusses Melville's preoccupation with his "correspondence with the world," his quarrel with silence, and why fiction was, for Melville,"a matter of life and death."Bartleby --The piazza --The Encantadas --The bell-tower --Benito Cereno --The paradise of bachelors and the tartarus of maids --Billy Budd, sailor.

    From their "carpenter gothic" rented house, Paul sets himself up as a media consultant for Reverend Ude, an evangelist mounting a grand crusade that conveniently suits a mining combine bidding to take over an ore strike on the site of Ude's African mission. At the still center of the breakneck action--revealed in Gaddis's inimitable virtuoso dialoge--is Paul's wife, Liz, and over it all looms the shadowy figure of McCandless, a geologist from whom Paul and Liz rent their house. As Paul mishandles the situation, his wife takes the geologist to her bed and a fire and aborted assassination occur; Ude issues a call to arms as harrowing as any Jeremiad--and Armageddon comes rapidly closer. Displaying Gaddis's inimitable virtuoso dialogue, and his startling treatments of violence and sexuality, Carpenter's Gothic "shows again that Gaddis is among the first rank of contemporary American writers" (Malcolm Bradbury, "The Washington Post Book World" ). "An unholy landmark of a novel--an extra turret added on to the ample, ingenious, audacious Gothic mansion Gaddis has been building in American letters" --Cynthia Ozick, "The New York Times Book Review" "Everything in this compelling and brilliant vision of America--the packaged sleaze, the incipient violence, the fundamentalist furor, the constricted sexuality--is charged with the force of a volcanic eruption. "Carpenter's Gothic" will reenergize and give shape to contemporary literature." --Walter Abish

    It all began the day he accidentally discovered he was not the father of his youngest daughter, a discovery which sent Lancelot on modern quest to reverse the degeneration of America. Percy's novel reveals a shining knight for the modern age--a knight not of romance, but of revenge.

    With incomparable glee, Miller shifts effortlessly from Virgil to venereal disease, from Rabelais to Roquefort. In this seductive technicolor swirl of Paris and New York, he captures like no one else the blending of people and the cities they inhabit.