For those who already know these tales, the poignant introduction is a window on the creator's mind. Reflecting back after 14 years, Barker writes: I look at these pieces and I don't think the man who wrote them is alive in me anymore.... We are all our own graveyards I believe; we squat amongst the tombs of the people we were. If we're healthy, every day is a celebration, a Day of the Dead, in which we give thanks for the lives that we lived; and if we are neurotic we brood and mourn and wish that the past was still present. Reading these stories over, I feel a little of both. Some of the simple energies that made these words flow through my pen--that made the phrases felicitous and the ideas sing--have gone. I lost their maker a long time ago. These enthusiastic tales are not ashamed of visceral horror, of blood splashing freely across the page: "The Midnight Meat Train," a grisly subway tale that surprises you with one twist after another; "The Yattering and Jack," about a hilarious demon who possesses a Christmas turkey; "In the Hills, the Cities," an unusual example of an original horror premise; "Dread," a harrowing non-supernatural tale about being forced to realize your worst nightmare; "Jacqueline Ess: Her Will and Testament," about a woman who kills men with her mind. Some of the tales are more successful than others, but all are distinguished by strikingly beautiful images of evil and destruction. No horror library is complete without them. --Fiona Webster

    This extraordinary trove, undiscovered until the 1940s and here translated for the first time into English, is the work of the mysterious Félix Fénéon. Dandy, anarchist, and critic of genius, the discoverer of Georges Seurat and the first French publisher of James Joyce, Fénéon carefully maintained his own anonymity, toiling for years as an obscure clerk in the French War Department. Novels in Three Lines is his secret chef-d’oeuvre, a work of strange and singular art that brings back the long-ago year of 1906 with the haunting immediacy of a photograph while looking forward to such disparate works as Walter Benjamin’s Arcades Project and the Death and Disaster series of Andy Warhol.

    Here are some of the remarkable features of Barnes & Noble Classics:All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Hailed as “a Tolstoy with jokes” by one critic, George Bernard Shaw was the most significant British playwright since the seventeenth century. Pygmalion persists as his best-loved play, one made into both a classic film—which won Shaw an Academy Award for best screenplay—and the perennially popular musical My Fair Lady.Pygmalion follows the adventures of phonetics professor Henry Higgins as he attempts to transform cockney flower girl Eliza Doolittle into a refined lady. The scene in which Eliza appears in high society with the correct accent but no notion of polite conversation is considered one of the funniest in English drama. Like most of Shaw’s work, Pygmalion wins over audiences with wit, a taut morality, and an innate understanding of human relationships.This volume also includes Major Barbara, which attacks both capitalism and charitable organizations, The Doctor’s Dilemma, a keen-eyed examination of medical morals and malpractice, and Heartbreak House, which exposes the spiritual bankruptcy of the generation responsible for the bloodshed of World War I.John A. Bertolini is Ellis Professor of the Liberal Arts at Middlebury College, where he teaches dramatic literature, Shakespeare, and film. He has written The Playwrighting Self of Bernard Shaw and articles on Hitchcock, and British and American dramatists. Bertolini also wrote the introduction and notes to the Barnes & Noble Classics edition of Shaw’s Man and Superman and Three Other Plays.