One need only read the first lines of Tess Slesinger's title story-or indeed any of her stories-to know that hers is a unique literary voice, one that rivets a reader's attention to the page from the very beginning and holds it to the very end. Hers is, one soon discovers, also a wholly feminine voice: compelling, filled with insight, acute at observation, sure of its tone, and everywhere discovering the reality behind human appearances and pretensions. This is a remarkable collection of short stories by a brilliant young writer who was cut off in her prime when she died of cancer in 1945. “An intensely feminine book, in which bleakness, unemployment, heartache and heartlessness are combined with an agreeable feeling of settling down for conversation with an intimate, disillusioned, gossipy, malicious and often witty friend.”- New Statesman . “A genuine short-story writer...she has a good eye for the little tombstones of life.”- Nation .

"Susan Taubes (1928-1969), born Judit Zsuzsanna Feldmann in Budapest, was the daughter of a psychoanalyst and the granddaughter of a rabbi. She and her father emigrated to the United States in 1939, settling in Rochester, New York. She attended Bryn Mawr as an undergraduate, and in 1949 married the rabbinically trained scholar Jacob Taubes. Taubes studied philosophy and religion in Jerusalem, at the Sorbonne, and at Radcliffe, where she wrote her dissertation on Simone Weil. She and her husband had a son and a daughter, in 1953 and 1957, and in 1960 she began teaching at Columbia University, where she was curator of the Bush Collection of Religion and Culture. During the 1960s, Taubes was a member of the experimental Open Theater ensemble; edited volumes of Native American and African folktales; published a dozen short stories; and wrote two novels, Divorcing and the still-unpublished Lament for Julia. Her suicide came shortly after the publication of Divorcing, in November 1969. Two collections of Taubes's extensive correspondence with Jacob while they lived apart in the early 1950s were published in Germany in 2014: the letters appear in their original English with German annotation"--

This collection of short stories was compiled to mark the fortieth anniversary of the atomic bombings of Hiroshima and Nagasaki in August 1945.

The most important new literary journal to emerge since Granta, Open City has published some of the best work by major writers and artists such as Mary Gaitskill, Denis Johnson, Jeff Koons, David Foster Wallace, Irvine Welsh, Terry Southern, Patrick McCabe, Sam Lipsyte, and David Berman. Edited by the writers Thomas Beller and Daniel Pinchbeck and originally published by the late Robert Bingham, writing from Open City has been included in many prestigious anthologies, including Best American Short Stories and The Pushcart Prize. Known for launching the careers of today's best new writers, the editors are also committed to printing important unpublished work by writers from past eras, such as Richard Yates, Delmore Schwartz, Jim Thompson, Cyril Connolly, Edvard Munch, and Gregor von Rezzori. With its innovative and daring mix of the old and the new, Open City combines undiscovered writing by classic authors with a fascinating portrait of a literary generation in the making.

Marge Piercy's debut collection of short stories brings us glimpses into the lives of everyday women moving through and making sense of their daily internal and external worlds. Keeping to the engaging, accessible language of Piercy's novels, the collection spans decades of her writing along with a range of locations, ages, and emotional states of her protagonists.

Do young people today find meaning in the Holocaust? That's the question that prompted a writing project across North America, Italy, and Australia asking young people to share their ideas about this time in history. Some students wrote short stories. Some discussed the impact of books they had read and wrote about the messages that they understood from these books. Several interviewed survivors and recorded their impressions. Many talked about how they have tried to make sense of this history in the world in which they now live. Others created works of art. Children wrote from their hearts with sensitivity, thoughtfulness, and great insight. Their teachers saw this opportunity as a gift, and it proves to all that young people can make a meaningful connection to the Holocaust. Their contributions give hope for a more peaceful and tolerant future.

Jews were emancipated at a time when high culture was becoming an integral part of German citizenship. German Jews felt a powerful urge to integrate, to find their Jewish substance in German culture and craft an identity as both Germans and Jews. In this reprint edition, based on the 1983 Efroymson Memorial Lectures given at Hebrew Union College-Jewish Institute of Religion in Cincinnati, George Mosse argues that they did this by adopting the concept of Bildung-the idea of intellectual and moral self-cultivation-and combining it with key Enlightenment ideas such as optimism about human potential, individualism and autonomy, and a connection between knowledge and morality through aesthetics. Personal friendships could be devoted to common pursuit of Bildung and become a means of overcoming differences, becoming a means for integration into German society. Mosse traces how Jewish artists, writers, and thinkers actively sought to participate in German culture and communicate these ideals through popular culture, scholarship, and political activity. From the historical biographies, novels, and short stories of Stefan Zweig and Emil Ludwig; to the psychoanalysis of Freud, which sought to subject irrationality to reason; to the revolutionary thought of Walter Benjamin-Jews sought to influence a mass political culture that was fast drifting into irrationality. As individualism was subsumed into nationalism, and eventually the German political right's racist version of nationalism, German-Jewish dialogue became more difficult. Jews remained idealistic as German society became less rational, their ideas corresponded less and less to the realities of German life, and they drifted out of the mainstream into an intellectual isolation. Yet out of this German-Jewish dialogue, what had once been part of German culture became a central Jewish heritage. The ideal of cultivating a personal identity beyond religion and nationality, the liberal outlook on society and politics, and the desire to transcend history by stressing what united rather than divided individuals and nations infiltrated Jewish life became an inspiration for many men and women searching to humanize their society and their own lives. Mosse's lectures trace the emergence of a form of Jewishness which resisted cultural ghettoization in favor of the pursuit of that which is universally human.

"The funniest American novel since Sam Lipsyte's The Ask ." - Village Voice "A ribald chronicle of [a] 60-something Manhattan accountant, who's come to Rio de Janeiro as a sex tourist. [A] fever dream of a novel." - New York Times Book Review "Levy delivers a visceral blend of hilarious satire and study in human sexuality, taking us on a deviant tour of Rio." - Interview Magazine I have come to regard almost everything that happens in human life as a form of therapy. So muses Kenny Cantor, always dapper in his seersucker suit from the Brooks Brothers 346 collection. Kenny is a CPA, amateur psychoanalyst, and sex-tourist vacationing in Rio when he gets waylaid at a psychoanalytic conference. What ensues is a provocative journey that merges sex and psychoanalysis through Rio's tawdry netherworld of Susan Sontag-quoting denizens as only an incendiary voice like Francis Levy could imagine. Francis Levy is the author of Erotomania: A Romance , a Queerty.com Top 10 Book of 2008 and an Inland Empire Weekly Standout Book of 2008. His short stories, criticism, humor, and poetry have appeared in The New York Times , The Washington Post , The New Republic , The Village Voice , and many others.

The awarding of the 1958 Nobel Prize for Literature to Boris Pasternak and the subsequent calumny of his fellow citizens in Soviet Russia focused unusual attention on Pasternak's great novel, Dr. Zhivago, and the small body of his other work. At the time, the latter was only available (in any language, as far as is known) in New Directions' Selected Writings of Pasternak, first published in 1949. The 1958 edition was issued with a new introduction by Babette Deutsch under the title of the book's main component, Pasternak's autobiography. Written when he was forty, Safe Conduct puzzled many readers in Russia and when it appeared in English, because its isolated sharp impressions and juxtapositions seem to deny chronology, but at least one critic recognized it as "the most original of autobiographies, employing a new technique of great important." Also included is a group of remarkable short stories, translated by Robert Payne, dealing with the mysteries of life and art, and a selection of the poems that have made Pasternak known, to the few at last, as the "outstanding Russian poet of the century." these are translated by the British Critic and poet C. M. Bowra, and by Miss Deutsch.

Brings together the best work from across the spectrum of Jewish interest, including articles, essays, short stories, poems, polemics, personal memoir, sections of novels, and other writings on a broad variety of topics.

Born in Clinton, Mississippi, Barry Hannah has been a major force in southern literature since the 1970 publication of his first novel, Geronimo Rex, which won the Bellman Foundation Award in fiction. It was followed by his first collection of stories, Airships (1978), winner of the prestigious Arnold Gringrich Short Fiction Award, and the acclaimed novel Ray (1980). The honesty of Hannah's vision and his varied narrative voices have won him comparison to Walker Percy, William Faulkner, Eudora Welty, and Flannery O'Connor. One of the South's most original writers, Hannah explores the human psyche; he may write primarily about his experiences in the South, but his experiments with prose are not restricted to region. In this first full-length critical study of Hannah's works--six novels and two volumes of short stories--Mark Jay Charney deftly explores Hannah's connections with southern writers like Faulkner and Welty by examining both his progression as a fiction writer and his experiments with language, voice, and form. Expertly combining biographical information with critical analysis, Charney correlates Hannah's literary themes and techniques with the influences shaping his life. The book is organized chronologically to illustrate Hannah's growing preoccupation with unconventional narrative form and to delineate the thematic shift from violence and isolation to peaceful alternatives and community acceptance. This book is a most welcome introduction to the works of a writer who promises to remain one of South's most startling and iconoclastic voices.

In this last, posthumous work about mercy and need among lovers, family, and friends, Frederick Busch returns to the short story. The war in Iraq features in some of these stories, and so do the domestic wars; in every case a character seeks to comfort of save someone. "The Rescue Mission" is narrated by a man who runs a rescue mission out of a trailer in upstate New York. In his attempt to save a young woman from the brutality of her boyfriend, he is forced to confront the reality of his own mother's death. In "Good to Go" an estranged couple tries to save their grown son from the scars of war. "Metal Fatigue" works almost like a play, emerging from the spaces in between the lines, where the connections or near misses of spoken language take place. Physical love, familial love, the needs to give comfort--and the need for comfort--are themes skillfully rendered by a master of the short story whose achievements have been acknowledged with the PEN/Malamud Award for short fiction and the American Academy of Arts and Letters Award of Merit for lifetime achievement in the short story.--Publisher's description.

With lively style, good humor and insight, Robin Hemley helps you turn all that you experience into fresh and powerful fiction. By learning to "reimagine," you'll focus on translating real-world people and events into characters and scenes that happen on paper for the first time. You'll think "what if" instead of "what is" in order to take control of your material and cut loose the inhibitions of real life. In these pages, you'll learn how to hone your observation skills and fill your journal with rich and vivid details. (Because, as Hemley writes, "Life is in the details, and so is good fiction.") You'll see how to decide which ideas to bring to fiction and which ones to let go. And you'll learn how to: find the right form - novel, short story, vignette, memoir - for the story you want to tell; use "triggers" to start your reader's imagination rolling; keep your fiction emotionally honest by making the right choices between "the way it happened" and what the story dictates (ask "Is it believable?", not "Did it happen?"); create composites of real people and places that fit the unique needs of your story and empower your imagination; focus your fiction. Make sure everything, every character counts - and eliminate "people who sit at the end of the bar without a role to play"; fictionalize - ethically and legally - other people's stories. Learn your rights as a writer versus their rights to privacy. (Can you use actual names? When do you need to get permission?) To illustrate how writers feed their fiction with reality, Hemley uses examples from his own work and from fiction masters of yesterday and today. At the end of each chapter, challenging exercises help you apply the basic theories and push them even further. An adventurous read, Turning Life Into Fiction will help you create fiction that's just as strange and wonderful and "real" as the life that inspires it.

Winner of the 2007 B.C. Award for Canadian Non-fiction A Globe and Mail Best 100 Book (2006) National Post Best Books (2006) A bold cultural portrait of contemporary Canada through the work of its most celebrated novelists, short story writers, and storytellers. Stories are the surest way to know a place, and at a time when the fabric of the country seems daily more uncertain, Noah Richler looks to our authors for evidence of the true nature of Canada. He argues why fiction matters and seeks to discover — in the extra-ordinary diversity of communities these writers represent — what stories, if any, bind us as a nation. Over two years, Richler has criss-crossed the country and interviewed close to one hundred authors — a who’s who of Canadian literature, including Wayne Johnston, Michael Crummey, Alistair MacLeod, Gil Courtemanche, Jane Urquhart, Joseph Boyden, Miriam Toews, Yann Martel, Fred Stenson, Douglas Coupland, and Rohinton Mistry — about the places and ideas that are most meaningful to their work. The result is a journey through the reality of Canada and its imagination at a critical point in the country’s evolution. Within thematic chapters he exposes our “Myths of Disappointment” and considers the stories of our native peoples, the rise of the city, and how our history as a colony shapes our society and politics even today. This Is My Country, What's Yours? is an impassioned literary travelogue and a vivid portrayal of our society, the work of Canadian authors, and the idea of writing itself. This Is My Country, What's Yours? is based on Noah Richler’s ten-part documentary of the same name originally broadcast on CBC Radio’s flagship Ideas program in spring 2005.

Marina Budhos, whose parents came from two different immigrant streams, always listens for the story within the story. Here, in fourteen intimate conversations and many short interviews, teenagers from all over the world reveal their most personal struggles and triumphs. Remix features Muslim girls from traditional families and Guyanese boys who know every hot new club, Hmong athletes, Russians in Disneyland, Central Americans sustained by community and tempted by gangs, Koreans facing extreme pressures to succeed, and many others. Filled with insights about American teenage culture and moving stories about the special challenges immigrants face, Remix shows all the voices of the new America.

Ace Double Book, cover code D-413. One side of this 1960 paperback includes an original short novel, “The Man With Nine Lives.” A pulpy revenge fantasy, its shifting narrative focus and stylistic variations still reveal an early sophistication. The reverse title is a collection of stories including an introduction by the author and these tales: Run for the Stars (1957); Back to the Drawing Boards (1958); Life Hutch (1956); The Sky Is Burning (1958); Final Trophy (1957); Blind Lightning (1956). While long on macho angst and short on narrative or character depth, the themes that form the basis of so much of his later work -- alienation, violence and justice -- are already apparent.

Tom Perkins had a dream. It wasn't to get rich, acquire power, or marry into fame. As the man most responsible for creating Silicon Valley, he had done all that. His venture-capital firm, Kleiner Perkins Caufield & Byers, remains the most celebrated money machine since the Medicis. He'd helped found Genentech and fund Google. And in 2006 his resignation from the Hewlett-Packard board triggered the revelation of a spying scandal that dominated the front pages. Along the way, he also managed to get himself convicted of manslaughter in France and become Danielle Steel's Husband No. 5. No, as he hit his seventies, Perkins wanted to create the biggest, fastest, riskiest, highest-tech, most self-indulgent sailboat ever—the "perfect yacht." His fantasy would be a modern clipper ship—as long as a football field, forty-two feet wide, with three masts each rising twenty stories toward the heavens. This $130 million square-rigger—The Maltese Falcon—would evoke the era of magnificent vessels that raced across the oceans in the nineteenth century. But the Falcon is more than a tribute to the past. Gone are all the deckhands to climb the yardarms. Gone is the intricate rigging that helped give the square-riggers of yore their impressive look. Instead, the Falcon's giant carbon-fiber masts are entirely freestanding and rotate by computer. The bridge looks like something out of Star Trek. And the fifteen huge sails unfurl at the touch of a screen. In short, this is a revolutionary machine—the most significant advance in sailing in 150 years. With keen storytelling and biting wit, Newsweek's David A. Kaplan takes us behind the scenes of an extraordinary project and inside the mind of a larger-than-life character. We discover why any sane man would gamble a sizeable chunk of his net worth on a boat; we meet the cast of engineers who conspired with him; and we learn about the other two monumental yachts just built by gazillionaires that Perkins is ever eyeing. In a battle of egos on the high seas, Perkins loves to preen, "Mine's better! Mine's Bigger!" On the Falcon's climactic maiden voyage across the Mediterranean—sixteen hundred nautical miles from Istanbul to Malta to the Riviera—we revel with Perkins as his creation surges along at record-breaking speeds. This is the biography of a remarkable boat and the man who built it. More than a tale of technology, Mine's Bigger is a profile of ambition, hubris, and the imagination of a legendary entrepreneur.

A casting session for a play about a love affair goes awry. A talk-back with a theater audience becomes the occasion for a life-altering choice. A couple moving in together finds that greater intimacy can be a mixed blessing when even the surface of their dialogue is stripped away. Metatheatrical antics abound in Itamar Moses’s Love/Stories (or, but you will get used to it), five one-act meditations on modern love and on the act of telling stories — in which a variety of inventive devices stresses the ineradicable gap between art and experience. Reminiscent of the works of both Samuel Beckett and David Foster Wallace in their verbal dexterity, humor, and generosity, the plays collected in Love/Stories constitute an important addition to the contemporary American theater by one of our most exciting young playwrights.

Stories from the forties present a social critique of America and reflect Goodman's interest in self-analysis

Original and effortlessly clever, the stories in I Know Who You Remind Me of capture the sensibility of a generation with no cultural inhibitions to overcome. Naomi K. Lewis's characters bear the battlescars of adolescence and early adulthood - scars left when one classmate impersonates another in Internet pornography; a lover donates his eyeball in the heat of passion; sibling rivalry escalates into a low orbit. For these characters, everything is straight-on, never coy, and often deliciously funny.