Here Mason writes about love with stunning insight and variety.

    Now living happily in Berkeley, married and the mother of twins, Nora Jane is back in college, pregnant again, launching a new career, and facing circumstances that imperil her domestic bliss.The nine stories that follow explore the hazards of recapturing and reviving old affairs. Featuring both new and familiar Gilchrist characters, all of these stories shed brilliant new light on the oldest emotion.

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

    Jayne Anne Phillips has always been a master of portraiture, both in her widely acclaimed novels and in her short fiction.  The stories in Fast Lanes demonstrated the breadth of her talent in a tour de force of voices, offering elegantly rendered views into the lives of characters torn between the liberation of detachment and the desire to connect.Three stories are collected in this edition for the first time: in "Alma," and adolescent daughter is made the confidante of her lonely mother; "Counting" traces the history of a dommed love affair; and "Callie" evokes memories of the haunting death of a child in 1920's West Virginia.  Along with the original seven stories from Fast Lanes--each told in extraordinary first person narratives that have been hailed by critics as virtuoso performances--these incandescent portraits offer windows into the lives of an entire generation of Americans, demonstrating again and again why Jayne Anne Phillips remains one of our most powerful writers.

    In the centerpiece story, an eighteenth-century Eno Indian tells of the fiery fate of his adopted father, English explorer John Lawson. In the surrounding stories, the age-old conflicts between newcomer and old-timer play out as twenty-first century retirees, carnies, runaways, heartbroken women, and farmers stumble into new lives and new insights in Ambler County, North Carolina. "Hudson's prose is pure as birdsong," says novelist Doris Betts. "These fine stories of change and discovery are a field guide to the human species in transition."

    His stories are without equal in their beautiful terrible honesty. Stylish and finely wrought, these are tales with the force of life itself.

    Each one a small miracle of storytelling and compassion, these stories are a joyous confirmation of Tim Gautreaux's rare and generous talent.

    Or so believes Larry, who returns home from Desert Storm to find his hair gone and his bones rapidly disintegrating. Then there’s Lance Corporal James Laverne of the US Marines, who grows a third ear in Kuwait. And in the audaciously comic novella “Notes from a Bunker Along Highway 8,” a Green Beret deserts his team after seeing a vision of George Washington, only to find a new calling—administering aid to wounded Iraqi civilians; he’s hindered only by the furtive nature of his mission and an unruly band of chimpanzees. Together these narratives form a bracing amalgamation of devastating humor and brilliant cultural observation, in which Gabe Hudson fearlessly explores the darker implications of American military power.

    The author attempts to capture the personalities of rural America, shaped by poverty, cruelty and an odd compassion.

    With all the heartbreaking earnestness of a Wilco song, these eighteen stories by Chad Simpson roam the small-town playgrounds, blue-collar neighborhoods, and rural highways of Illinois, Indiana, and Kentucky to find people who’ve lost someone or something they love and have not yet found ways to move forward. Simpson’s remarkable voice masterfully moves between male and female and adolescent and adult characters. He embraces their helplessness and shares their sad, strange, and sometimes creepy slices of life with grace, humor, and mounds of empathy. In “Peloma,” a steelworker grapples with his preteen daughter’s feeble suicide attempts while the aftermath of his wife’s death and the politics of factory life vie to hem him in.  The narrator of “Fostering” struggles to determine the ramifications of his foster child’s past now that he and his wife are expecting their first biological child. In just two pages, “Let x” negotiates the yearnings and regrets of childhood through mathematical variables and the summertime interactions of two fifth-graders. Poignant, fresh, and convincing, these are stories of women who smell of hairspray and beer and of landscapers who worry about their livers, of flooded basements and loud trucks, of bad exes and horrible jobs, of people who remain loyal to sports teams that always lose. Displaced by circumstances both in and out of their control, the characters who populate Tell Everyone I Said Hi are lost in their own surroundings, thwarted by misguided aspirations and long-buried disappointments, but fully open to the possibility that they will again find their way.

    Henry Prize stories collection has offered an exciting selection of the best stories published in hundreds of literary magazines every year. Such classic works of American literature as Ernest Hemingway’s The Killers (1927); William Faulkner’s Barn Burning (1939); Carson McCuller’s A Tree. A Rock. A Cloud (1943); Shirley Jackson’s The Lottery (1949); J.D. Salinger’s For Esme with Love and Squalor (1963); John Cheever’s The Country Husband (1956) ; and Flannery O’Conner’s Everything that Rises Must Converge (1963) all were O. Henry Prize stories. An accomplished new series editor--novelist and short story writer Laura Furman--has read more than a thousand stories to identify the 20 winners, each one a pleasure to read today, each one a potential classic. The O. Henry Prize Stories 2003 also contains brief essays from each of the three distinguished judges on their favorite story, and comments from the prize-winning writers on what inspired their stories. There is nothing like the ever rich, surprising, and original O. Henry collection for enjoying the contemporary short story.The Thing in the Forest A. S. Byatt The Shell Collector Anthony Doerr Burn Your Maps Robyn Jay Leff Lush Bradford Morrow God’s Goodness Marjorie Kemper Bleed Blue in Indonesia Adam Desnoyers The Story Edith Pearlman Swept Away T. Coraghessan Boyle Meanwhile Ann Harleman Three Days. A Month. More. Douglas Light The High Road Joan Silber Election Eve Evan S. Connell Irish Girl Tim Johnston What Went Wrong Tim O’Brien The American Embassy Chimamanda Ngozi Adichie Kissing William Kittredge Sacred Statues William Trevor Two Words Molly Giles Fathers Alice Munro Train Dreams Denis Johnson

    The exalted, memorable characters in Kirn's acclaimed debut short story col lection confront the real hard bargains in life that spring up from the business of simply living, and Kirn transforms these hard-luck stories into strapping moral lessons which evoke the bonds that unite us all.

    Whether he is writing about the players in a rickety bisexual love triangle or a woman visiting her husband in a nursing home, probing the psychic mainspring of a grimly obsessive weight lifter or sifting through the layers of resentment, need, and pity in a friendship that has gone on a few decades too long, Baxter enchants us with the elegant balance of his prose and the unexpectedness of his insights. Long admired and now once more available in paperback, Harmony of the World is a masterpiece of lucidity and compassion.

    No wonder the Atlanta Journal-Constitution calls her "one of the best in the new generation of Southern writers."

    Chronicles of her strategies for surviving civilization's decline -- herbal remedies, macrobiotics, a bit of Xanax -- have established her as one of the most captivating and eagerly read voices in modern literature. In this new collection of stories, Julie Hecht reclaims the darkly funny, existential territory for which she is known: "People say 'Good morning,' but don't believe them. It's just something to say." The uniquely eccentric narrator reappears in Happy Trails to You and recounts her perplexed engagements with our society and the larger world -- whether she's attempting to withdraw money from a bank machine, worrying about Paul McCartney, or seeking a nonexistent place of calm on Nantucket, where nail guns and chain saws have replaced the sounds of birds singing. Appalled by life in our times, the narrator recounts innumerable artifacts from a now vanished America (civility, idealism, Elvis Presley, well-made appliances). She is also exquisitely attuned to the absurdities of our culture; her acute observations illuminate every subject, from the dangers of microwave ovens to the disappearing ozone layer. With deadpan wit, the author reveals the truths of a new century. Happy Trails to You is a radically distinctive work of American fiction.