Told in the odd and unforgettable voice of its protagonist, "Cornbread" is the tale of a matricidal Arkansas woman bringing about the final days of her marriage. At turns darkly comical and deeply tragic, it's a story that lingers long after it's finished, like the smell of fresh baked cornbread or discharged gunpowder...

    She wishes bubblegum wouldn't lose its flavour. She wishes school would start in the afternoon. But above all, Sarah wishes she could remain a kid forever. When she receives an invitation to the mysterious House of Vine, a secret dwelling where reside two genii, her wishful thinking becomes all the more real. A once in a lifetime opportunity awaits her, the chance to claim a single wish. But like those before her, Sarah must first agree to play a game. And it is a game of the deadliest kind, where terrors lurk behind every corner, where fiendish puzzles break her wits and where the clock shows her impending doom. Can she overcome it within twenty-four hours? Can she uncover the horrible truth behind the House of Vine and its enigmatic hosts? It is, after all, child's play.

    Growing up in the north east she wanted more. When others were thinking about the Nissan factory or call centres she was thinking about Pete Doherty, poetry and the possibilities London seemed to offer. University was the way out, her ticket to the promised land – where she’d become a shinier version of herself, where her nights would be gigs and parties and long exciting conversations about Judith Butler.But once she gets there Lucy can’t help feeling that the big city isn’t for her, and once again she is striving, only this time it’s for the right words, the right clothes, the right foods. No matter what she tries she’s not right. Until she is. In that last year of her degree the city opens up to her, she is saying the right things, doing the right things. Until her parents visit for her graduation and events show her that her life has always been about pretending and now she’s lost all sense of who she is and what she’s supposed to be doing.And so Lucy packs up her things and leaves again, this time for her dead Irish grandfather’s stone cottage in a remote part of Donegal. There, alone, she sets about piecing together her history hoping that in confronting where she came from she will know where she should be going. Saltwater is a novel about growing up, about class, about how where we come from shapes who we become, and about the aimless periods we all go through. And it’s about the north east, mothers and daughters, history and pre-destiny.

    But the discovery of an unidentified dead girl on the side of a dirt road sends the town--and Becca--into a tailspin. Unable to make sense of the violence of the outside world creeping into her backyard, Becca finds herself retreating inward, paralyzed from moving forward for the first time in her life. Short chapters detailing the last days of Amelia Anne Richardson's life are intercut with Becca's own summer as the parallel stories of two young women struggling with self-identity and relationships on the edge twist the reader closer and closer to the truth about Amelia's death.

    Seven years later they are now twenty-five, married, and living in Maine–– but the two women couldn’t be more different. Brynne finds fulfillment in her life as a wife, mother and owner of a small café and bookshop, but is struggling to expand her family. Portland is still coping with her mother’s death during her childhood, and her marriage is unraveling before her eyes. Portland envies her friend’s seemingly stable and easy life while Brynne doesn’t understand the growing distance between them and cannot begin to guess what secret Portland is hiding about her husband and crumbling marriage. While one woman feels shut out, the other enters into a web of lies to protect herself. A Questionable Friendship explores what really makes someone a true friend, a support system, a sister. How much trust goes into a friendship and when is being a friend not enough? Brynne and Portland’s story will attempt to answer those questions, and show that happily ever after isn’t in the cards for everyone.

    A TV thrill show where the corpses are real. And a shuddering descent into laughter.Tales by the grand master of science fiction.

    These are not your mother's bedtime stories. In this mesmerizing debut collection, Aubrey Hirsch will lead you into the darkest recesses of human life, where hope and longing and love and loss look all too much like one another. Each of these sixteen stories may be filled with its own kind of despair, but they are not despairing as Hirsch enters with deep sympathy into the souls of lonely women (Cheater, Hydrogen Event in a Bubble Chamber, Made in Indonesia), broken men (Leaving Seoul, Advice for Dealing with the Loss of a Beloved Pet), young recruits (The Specialists), and dutiful daughters (Strategy #13: Journal, No System for Blindness). With a hard intelligence, Hirsch considers the toll of heartache (Why We Never Talk About Sugar, Certainty) and loss (The Borovsky Circus Goes to Littlefield, Paradise Hardware) and the simple cost of longing. Taut and tension filled, these stories will transport you into the heart of what it means to be human. But be careful. Hirsch's compassion arrives on a knife blade. And you just may find your own heart cut open.

    They call him the October Boy, or Ol' Hacksaw Face, or Sawtooth Jack. Whatever the name, everybody in this small Midwestern town knows who he is. How he rises from the cornfields every Halloween, a butcher knife in his hand, and makes his way toward town, where gangs of teenage boys eagerly await their chance to confront the legendary nightmare. Both the hunter and the hunted, the October Boy is the prize in an annual rite of life and death.Pete McCormick knows that killing the October Boy is his one chance to escape a dead-end future in this one-horse town. He's willing to risk everything, including his life, to be a winner for once. But before the night is over, Pete will look into the saw-toothed face of horror - and discover the terrifying true secret of the October Boy...

    It is run by a tyrant known as The Jolly Mayor and his devious right hand, the last archmage in the world. Together they try to collect all the magic for themselves so they can control the citizens of the city. But when their decadence reaches new heights and begins to destroy the environment, the people stage an uprising to stop them.

     Deftly mixing fact and fiction, Kelly O'Connor McNees returns to the summer of 1855, when vivacious Louisa May Alcott is twenty-two and bursting to free herself from family and societal constraints and do what she loves most. Stuck in small-town New Hampshire, she meets Joseph Singer, and as she opens her heart, Louisa finds herself torn between a love that takes her by surprise and her dream of independence as a writer in Boston. The choice she must make comes with a steep price that she will pay for the rest of her life.

    This collection of three screenplays displays his defiantly unorthodox approach to film form, as well as the unclassifiable imaginative energy that drives all of his work.

    While the world outside saw them as neighbors and friends, to each other the three formed a family unit—two brothers and a sister—not drawn from blood, but drawn from a deep need to fill a void in their single parent households. Theirs was a relationship of communication without speaking, of understanding without judgment, of intimacy without rules and limits.But as the three of them mature and emotions become more complex, Ida and Jackson find themselves more than just siblings. When Jackson’s somnambulism produces violent outbursts and James is hospitalized, Ida is paralyzed by the events that threaten to shatter her family and put it beyond her reach. Kathleen Alcott’s striking debut, The Dangers of Proximal Alphabets, is an emotional, deeply layered love story that explores the dynamics of family when it defies bloodlines and societal conventions.

    Please come. Lick the icing on this cake: from the raunchy to the sensual, the 10th anniversary edition of The Best American Erotica includes the most esteemed and lascivious writers at work today. Dorothy Allison explores the wonderful, mysterious abilities of the human hand, Chuck Palahniuk opens the door on a carnal meeting in a church bathroom, Susanna Kaysen takes us inside that sensual moment before two lovers touch for the first time, and Zane's corporate tigress plays mind games that make other office shenanigans look like mere games of Candyland. In candid Q&A's the authors reveal that they are great-grandfathers, prostitutes with Ivy League diplomas, and former lunatic asylum attendants. Here, too, are the results of the readers' survey. Straight, bisexual, or gay; dominant or submissive; kinky or just curious, you're sure to be turned on by the steamiest Best American Erotica ever. * CONTRIBUTORS * Martha Miller, Chuck Palahniuk, Susan St. Aubin, Mel Smith, Greta Christina, James Williams, Robert Irwin, Susan Volchok, Myriam Gurba, Vaginal Davis, Bertice Berry, Dorothy Allison, Susanna Kaysen, Jack Fritscher, Lisa Wolfe, Zane, Scott, Jill Soloway, Tennessee Jones, Alison L. Smith, Paula Bomer, Dagoberto Gilb, Tsaurah Litzky, Aaron Travis, Nicholson Baker, Rose White and Eric Albert, Ivy Topiary, William Harrison

    He writes with equal force about the blithe energies of youth ("Boys") and the rueful onset of middle age ("Hawaiian Night"), about Midwestern optimists ("Double Zero") and West coast strategists ("Baggage Carousel"), about visionary exhilaration ("Forecast from the Retail Desk") and delusional catharsis ("Surplus Value Books: Catalog Number 13.") The astounding title story, which has already been reprinted in four different anthologies, is a masterpiece of remembrance and thwarted love.Full of deep feeling and stunningly beautiful language, the stories in Demonology offer the deepest pleasures that fiction can afford.

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