Introduction by Robert Silverberg. Afterwords by Norman Spinrad, Vonda N McIntyre, Robert Sheckley, Philip Jose Farmer, Thomas M Disch, and Edward Bryant.

    Or read this book and find out how you have all the tools you need, but must make the one change to become the writer you have always wanted to be.

    

    His teenage friend Claire is an ace with numbers, and is always eager to help him with his homework. Max adores her, and loves when she visits him in the old house on Hollow Street. Claire can also weave a ghost story like no one else. But her favorite tale always sends chills down his spine, and hits a little too close to home...

    You’ll see. Draw me just one more time.”No one knows if his mother will come out of her coma, so fourteen-year-old Jordie memorializes her in the only way he knows how: by drawing her. His older brother doesn’t approve of these sketches, but Jordie’s determined to capture the person she used to be. Unfortunately, Jordie must draw her from memory because his mom didn’t keep pictures, and her body in the hospital no longer looks like her. But the images of her are quickly fading, and if he doesn’t get a drawing right soon, the mother he remembers may slip away forever. No matter how close Jordie gets to completing a drawing, his mom’s most vital feature always evades him.Will Jordie capture his mother’s eyes? Or are they and his mother gone forever?Content Warning:SuicideDeathAnimal Death​Reader discretion advised

    The deceptive, crooked path that led him to today began a few months back. Born and raised in Baltimore, Maryland, nineteen-year old Fleming was a professional baseball pitcher with the Chicago White Sox. His successful first year in the minor leagues was waylaid when he received his draft notice. Through a series of misadventures, he ended up enlisting for four years in an elite unit called the A.S.A. or Army Security Agency; the army’s equivalent to the N.S.A. or the National Security Agency. Once in the army, Fleming learned that the recruiter had manipulated him with a host of untruths. Then, to his dismay, he learned that the army had lost his orders and he was placed in an infantry unit. Once in Vietnam, Platoon Sergeant, Levine questioned Fleming and dragged out of him the sad story of how he had enlisted for four years and ended up in an infantry unit. He became the butt of the platoon’s jokes and underwent vicious ribbing by the other platoon members. That day, the platoon was ordered back to their base camp: L.Z. English. Before leaving, they endured a mortar attack and then a ground probe. Fleming’s foxhole mate was critically wounded. Fleming did everything he could to save the man but his wounds were too severe and he died in Fleming’s arms. Repulsed by the ordeal, Fleming was left wondering if he could endure a whole year of this. Twelve-year old Van Phan Duc and his two friends twelve-year old Hoi Anh Vanh and Dan Tri Quang lived happily in their village until the day a N.V.A. invaded and forced them to join their struggle and fight the invading Americans. They were then assigned to a Viet Cong unit where they met Sergeant Chi, the man who would train them to be soldiers for the revolution and lead them into battle. Three American soldiers had been captured. Chi ordered the three boys to participate in brutally torturing the Americans. Dan embraced the torture and it turned him into a brutal fighting machine, much to Chi’s satisfaction. On the other hand, Hoi was repulsed by the events and a part of him died that day. He performed the torture but it wasn’t to Chi’s satisfaction. Van, a devout Buddhist, was also repulsed. He realized that life, as a soldier was three hundred and sixty degrees opposite of Buddha’s spiritual path. The 173rd’s area of operations was the Central Highlands. The 173rd’s home base was in and around the town of Bong Son, but they patrolled all over the province of Binh Dinh. For the next few months, Fleming and Van’s units met on numerous occasions. The first time they engaged each other in combat was in a simple ambush that lasted only two minutes. Both men were left repulsed by the carnage that could take place in only two minutes. Right after the ambush, Fleming’s company was deployed in a battalion-sized operation located in the Dak To mountain range. It was an area where numerous North Vietnamese soldiers infiltrated into South Vietnam from neighboring Cambodia and Laos. Fleming’s company was dropped into an area far from Dak To and the men were forced to march (hump) to their final destination. During the trek, they had to carve their way through impenetrable jungle and cross leach infested rivers to reach their destination, all the while suffering under Vietnam’s oppressive heat. Van’s Viet Cong unit was sent to the Dak To mountain range to do battle with Fleming and his company. Months passed with Van and Fleming’s units constantly meeting. Both men had similar personalities. Both men overcame their initial shock at war’s brutality and became highly competent soldiers who bravely fought the enemy. Both men were ultimately made into squad leaders. Both men continued to hate the war, yet were entrapped in the insanity that was war. They both recognized what war was—a brutally insane series of events where lives were lost and where dreams died.

    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.

    His is a voice combining humor and pathos with an edginess creating fresh new stories that are being published in great literary journals regularly.A boy acts out at the death of his father and abandonment by his brother through a savage playground beating; a young man confronts his own troubled history when asked to hire on his girlfriend's strung-out brother in an attempt to keep him out of prison; a teenage babysitter works through a scorching-hot summer afternoon that will prove to alter her life forever; a grieving widower finds comfort in the unlikeliest of places, a recently-built casino; an itinerant farm worker visits the same former lover in South Dakota year after year while following the Harvest north; two friends search for excuses and fail to claim responsibility for their own decisions after one loses his father, and the other's house burns to the ground; and a taxidermist falls in love with the ex-wife of his high school bully and tries to convince her to marry him despite her son who seems to share his father's bullying mentality."A brilliant, sometimes heartbreaking debut by this gifted young writer and Columbia writing teacher. Cross captures the angst and tenderness of the young men and women growing up in the rust belt with little hope and less luck. The moments of grace and redemption shine through. I loved every story." —Linda Bubon, Women & Children First Bookstore"There are countless moments like this in Fires of Our Choosing, lines that appear true from the moment they’ve been written and hang in the back of the mind for days afterwards... With Fires of Our Choosing, Cross climbs boldly into the ring with the greats, if only to deliver a decisive knockout punch." —Urban Waite, Fiction Writers Review"Cross offers no apologies for his characters: their poor choices, their lack of moral fortitude, their betrayals of each other and the poverty of their surroundings and, often, themselves; he leaves these things alone. They are who they are, and if dignity has been denied them by the rest of us, including us story-tellers, it is restored by this collection. That he has undertaken to serve as their raconteur should place Cross on the radar of all the big prizes that gift those blessed with talent, compassion and fearlessness, particularly during this present moment in our history." —Ru Freeman, Huffington PostEugene Cross was born and raised in Erie, Pennsylvania and received an MFA from the University of Pittsburgh. His stories have appeared in Narrative Magazine (which named him one of "20 Best New Writers" and his story "Harvester's" a "Top Five Story of 2009-2010"), American Short Fiction, Story Quarterly, TriQuarterly, and Callalloo among other publications. His work was also listed among the 2010 Best American Short Stories' 100 Distinguished Stories. He is the recipient of scholarships from the Bread Loaf Writers' Conference and the Chautauqua Writers' Festival, and the winner of the 2009 Dzanc Prize for Excellence in Literary Fiction and Community Service. He currently lives in Chicago where he teaches in the Fiction Department at Columbia College Chicago.

    The fable has since been reprinted in The Thurber Carnival (Harper and Brothers, 1945), James Thurber: Writings and Drawings, The Oxford Book of Modern Fairy Tales, and other publications. It is taught in literature and rhetoric courses.

    

    Contains over 20 stories written by various Russian authors, including, "The Gentleman from San Francisco" by 1933 Nobel Prize winner Bunin, and stories by Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Saltykov, Korolenko, Garshin, Chekhov, Sologub, Potapenko, Semyonov, Gorky, Artzybashev, Kuprin, Andreyev, and others.

    In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times.In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.

    Short story from "If it bleeds".

    

    Swirling voices and skeins of story, laughter and rage, ferocious attention to detail and sweeping nuttiness, tears and chortling—these stories will remind readers of the late giant David Foster Wallace, in their straightforward accounts of anything-but-straightforward events; of modern short story pioneer Raymond Carver, a bit, in their blunt, unadorned dialogue; and of Julia Whitty, a bit, in their willingness to believe what is happening, even if it absolutely shouldn’t be. Funny, piercing, unique, memorable, this is a collection of stories readers will find nearly impossible to forget:... The barber who shaves the heads of the thugs in Bin Laden’s cave tells cheerful stories of life with the preening video-obsessed leader, who has a bald spot shaped just like Iceland.... A husband gathers all of his wife’s previous boyfriends for a long day on a winery-touring bus.... A teenage boy drives off into the sunset with his troubled sister’s small daughters…and the loser husband locked in the trunk of the car.... The late Joseph Kennedy pours out his heart to a golf-course bartender moments before the stroke that silenced him forever.… A man digging in his garden finds a brand-new baby boy, still alive, and has a chat with the teenage neighbor girl whose son it is.... A man born on a Greyhound bus eventually buys the entire Greyhound Bus Company and revolutionizes Western civilization.... A mountainous bishop dies and the counting of the various keys to his house turns… tense.... A man discovers his wife having an affair, takes up running to grapple with his emotions, and discovers everyone else on the road is a cuckold too.And many others.