Known primarily for his novels, Anthony ( Macroscope ) here collects short stories written over a span of 35 years; many are previously unpublished, and original to this volume. For the most part, they are top-notch efforts. "December Dates" is a touching love story; "Imp to Nymph" and "E Van S" demonstrate Anthony's predilection for puns. While both "Soft Like a Woman" and "Ship of Mustard" feature female protagonists, they will not dispel Anthony's reputation for male chauvinism. He introduces each of the 20 stories with a commentary in which he recalls how he wrote the story and, frequently it how it was rejected by hostile or indifferent editors. Indeed, the collection's title refers to a plot on the part of editors to alien ate writers. Going a step further, both "Revise and Invent" and "Nonent" concern a writer whose stories are rejected. Overall this is an entertaining assemblage that Anthony's many fans will surely welcome. Copyright 1992 Reed Business Information, Inc.
"Cogent, sharply worded...Anthony is certainly right in saying that critics have gone on dismissing him too long and too loudly."--_Booklist_
Like Cat O’ Nine Tales (2007), Archer‘s latest collection of short fiction features stories based (sometimes rather loosely, we suspect) on true incidents or people. Of the 15 stories, 10, we’re told, are based on “known incidents,” which means, for example, that something similar to the very clever method of stealing jewelry described in “Stuck on You” might actually have been tried. Or that someone like Benny, the too-clever-for-his-own-good prison stoolie, might really have sentenced himself to a life of looking over his shoulder. Aside from the fact that they’re marked with an asterisk, it’s hard to tell the true(-ish) stories from the outright fictional ones: in all of them, Archer creates engaging characters and puts them into situations that range from tragic to comic to, well . . . a little strange. Once again we have ample proof that Archer is as proficient with short stories as he is with novels. --David Pitt
Several months into his recovery from a near-fatal illness, thirty-four-year-old novelist Sidney Orr enters a stationery shop in the Cobble Hill section of Brooklyn and buys a blue notebook. It is September 18, 1982, and for the next nine days Orr will live under the spell of this blank book, trapped inside a world of eerie premonitions and bewildering events that threaten to destroy his marriage and undermine his faith in reality. A novel that expands to fill volumes in the reader’s mind, Oracle Night is a beautifully constructed meditation on time, love, storytelling, and the imagination by "one of the great writers of our time" (San Francisco Chronicle). Paul Auster's recent novels, The Book of Illusions and Timbuktu, were national bestsellers, as was I Thought My Father Was God, the NPR National Story Project anthology, which he edited. He lives in Brooklyn, New York. Several months into his recovery from a near-fatal illness, thirty-four-year-old novelist Sidney Orr enters a stationary shop in the Cobble Hill section of Brooklyn and buys a blue notebook. It is September 18, 1982, and for the next nine days Orr will live under the spell of the blank book, trapped inside a world of eerie premonitions and bewildering events that threaten to destroy his marriage and undermine his faith in reality. Why does his wife suddenly break down in tears in the backseat of a taxi just hours after Sidney begins writing in the notebook? Why does M. R. Chang, the owner of the stationary shop, precipitously shut down his business the next day? What are the connections between a 1938 Warsaw telephone directory and a lost novel in which the hero can predict the future? At what point does animosity explode into violence? To what degree is forgiveness the ultimate expression of love? Paul Auster's mesmerizing eleventh novel reads like an old-fashioned ghost story. But there are no ghosts in this book—only flesh-and-blood human beings, wandering through the haunted realms of everyday life. At once a meditation on the nature of time and a journey through the labyrinth of one man's imagination, Oracle Night is a narrative tour de force that confirms Auster's reputation as one of the boldest, most original writers at work in America today. "Compulsively readable yet wonderfully complex."—Eric Grunwald, The Boston Globe"Every bit as sad and spooky as [Auster's] New York Trilogy—and perhaps more intricate . . . [This book] plumbs persistent Austerian themes: identity, reinvention, betrayal, disappearance, chance, and the possibility that a supernatural heart quivers beneath the everyday surface of life . . . As in the New York Trilogy, he subverts our expectations of what a mystery story should be, and the reading experience is far richer for it."—Philip Connors, Newsday"Over the course of many books, Auster has burnished . . . ambivalence to a sheen by crossing metatextual strategies with the conventions of the noir thriller—Chandler meets Borges . . . Oracle Night is situated squarely on the Austerian matrix of narrative and reality—i.e., in a writer's notebook . . . [The novel] reads, indeed, like a dream or gloss on all the Auster novels that have come before, with its disorientation, its interlocking webs of seekers and sought, its blur of the invented and the artifact . . . Auster generously tips his hand here. He suggests that the terror of not being heard lies at the heart of writing, and that the artistic impulse generally might be summed up as: Somebody say something; 1 a.m., 2 a.m.—just keep talking. That a man who has produced more than 25 books is willing to convey the visceral ping of that terror is evidence not only of his talent but of his grace."—Stacey D'Erasmo, The New York Times Book Review"A writer recovering from a mysterious life-threatening illness begins to write in a notebook that has, it seems, the supernatural power to draw him into the very story he is writing. And the story, as it happens, is a reworking of Dashiell Hammett's idea about a man who, after nearly dying, flees a comfortable family life. That nothing is what it seems is standard-issue Auster metaphysics, and the narrator here seems familiar: too-literary, Brooklyn-based, decent, if a trifle self-serious. What saves Auster's story from ponderousness is the sheer verve with which he follows his narrator through the labyrinthine plot. He barely has characters, or none more substantial than you'd find in a 1930s murder mystery, but he shines as a fabulist and tale-teller, putting a high-modernist gloss on noir by leaving his tales within tales within tales unfinished."—The New Yorker "Paul Auster has taken the inherent self-consciousness of a novelist narrator to such painstakingly layered extremes that the strategy seems anything but lazy. In remarkably few pages, Mr. Auster builds up a marvellously thick ply of wallpapers, and it is delectable to peel away the little rose pattern to reveal the stripes underneath . . . The lucid Mr. Auster is a natural story-teller, with a seemingly inexhaustible trove of yarns at his disposal. All of the stories within stories are compelling in their own right . . . This neat, sweet volume is a joy to read. The prose is clean and translucent. Considering the number of spin-off plots that Mr. Auster manages to insert in asides or footnotes, readers get more than their money's worth in plain good story-telling."—The Economist"One morning in September 1982, a struggling novelist recovering from a near-fatal illness purchases, on impulse, a blue notebook from a new store in his Brooklyn neighborhood. So begins Auster's artful, ingenious 12th novel, which is both a darkly suspenseful domestic drama and a moving meditation on chance and loss . . . Bizarrely fascinating . . . His stories have a dreamlike, hallucinatory logic."—Publishers Weekly
"Body toll notwithstanding, How They Were Found is anything but bleak. For one thing, there's the prose: generous, urgent, rhythmic." --The Believer
"Bell knows how to keep his world in check, his every word balanced against another, delicately, like a system of weights." --The Rumpus
"Bell has built a national reputation completely outside the support system of New York publishing, on the strength of his stories and novellas. He is that rare sort of writer the reader would recognize even if published anonymously." --HTMLGiant
"The characters are doomed. The stories are bleak. Yet they are written so beautifully that they become something else: an exuberant example of the power of language to transport and transform." --Shelf Unbound
"Bell, here, at the start of his career, displays the kind of intelligence, self-awareness, and care with regard to his prose that suggests he may become a major talent." --Jeff Vandermeer
"Reminscent of Friedrich Dürrenmatt's The Winter War in Tibet in its calm examination and unsettling embodiment of mental and physical extremes, How They Were Found is a dreamer's chronicle of the loss and partial recovery of a world given over to the wrecking ball. Fierce, unflinching, funny, How They Were Found is just the book we need right now, Matt Bell just the writer." —Laird Hunt, author of Ray of the Star
"How They Were Found offers a world with shifting rules, described with a lovely and deceptive simplicity. This guide shows you thirteen different types of wilderness, and you can spend all day exploring before you realize you are lost." —Amelia Gray, author of Museum of the Weird and AM/PM
"You're a robot if the stories in Matt Bell's debut collection don't exhilarate, frighten, and unalterably change you. His wild manipulation of form and genre makes the bulk of contemporary fiction feel bloodless and inert in comparison, but it is Bell's recurring arrival at something sturdy and true about human behavior that makes the stories in How They Were Found so rewarding and resonant." —Matthew Derby, author of Super Flat Times: Stories
In his debut collection How They Were Found, Matt Bell draws from a wide range of genres to create stories that are both formally innovative and imaginatively rich. In one, a 19th-century minister follows ghostly instructions to build a mechanical messiah. In another, a tyrannical army commander watches his apocalyptic command slip away as the memories of his men begin to fade and fail. Elsewhere, murders are indexed, new worlds are mapped, fairy tales are fractured and retold and then fractured again. Throughout these thirteen stories, Bell's careful prose burrows at the foundations of his characters' lives until they topple over, then painstakingly pores over the wreckage for what rubbled humanity might yet remain to be found.
Contains the story "Dredge," selected for Best American Mystery Stories 2010.
This book translates several of Bulgakov's early short stories and feuilletons for the first time. They effectively present Bulgakov's personal struggle with the idiocies of Moscow's bureaucracy, including the morning he went to work only to discover that his office had simply disappeared overnight! In diverse feature articles written for Russian emigres in Berlin, Bulgakov offers a personal look at post-revolutionary Russia. For instance, he writes both about a friend who shrewdly "remodels" his apartment to befuddle the new Soviet housing authorities and reports the trial of a mass murderer: a cab-driver who kills peasant horse traders for a living. His vivid and often humorous sketches of 1920s Moscow bring this era to life. Capably translated, these stories are recommended for most libraries. - Ruth M. Ross, Olympic Coll. Lib., Bremerton, Wash. Copyright 1992 Reed Business Information, Inc.
Text: English (translation) Original Language: Russian
Zwei Schulfreunde, zwölfjährig und vaterlos, stehen im Mittelpunkt dieser Geschichte aus der frühen Nachkriegszeit. Heinrich und Martin wachsen ohne Väter auf, denn diese sind nicht aus dem Krieg zurückgekehrt. Ihre Lebensumstände sind grundverschieden, und doch teilen sie prägende Erfahrungen.Heinrich wächst in ärmlichen Verhältnissen auf und muss früh Verantwortung übernehmen. Seine Mutter lebt in wechselnden »Onkel-Ehen«, worunter Heinrich sehr leidet. Martins Mutter dagegen ist die vermögende Witwe eines anerkannten Dichters, materielle Sorgen kennen die beiden nicht. Doch fühlt sich Martin oft alleingelassen und ahnt, dass seine Mutter trotz des Wohlstands Mangel leidet.Einfühlsam und genau beschreibt Böll den Alltag der beiden Freunde aus wechselnder Perspektive und richtet dabei sein Augenmerk auch auf die Nöte der beginnenden Pubertät. Mit den Schicksalen der Söhne und ihrer Mütter zeichnet er ein Bild der Kriegsgeneration und der frühen Nachkriegszeit, das exemplarische Geltung hat.Bei der Erstveröffentlichung hieß es in der »Deutschen Zeitung«, dem Roman gehe es »um traditionelle Bindungen, deren Verfall selbst die Mütter nicht mehr aufhalten können. Gegen das nervöse Glitzern des neuen Wohlstands erhebt sich das dunkle Gefühl, daß die Welt ebenso fragwürdig sei wie zuvor. Böll gehört zu den wenigen Schriftstellern, die hinter dem vordergründigen Lächeln dieser Epoche von Unruhe um den Menschen bewegt sind.« Informieren Sie sich auch über das größte editorische Unternehmen in der Geschichte des Verlags Kiepenheuer & Witsch: Heinrich Böll, Werke 1 - 27 Kölner Ausgabe
Although Cherryh is the author of many novels, the introduction to this collection of short fiction provides her with a rare opportunity to speak directly to the reader. What we get from this former history teacher is a lecture that equates her light, romantic SF with the truth of history and myth. After this pretentious opening, the stories themselves seem even more meager. Several of them, she admits, were initially rejected or discarded and sat in the drawer for years. Her short novel "Companions" is unnecessarily elongated, but tells an interesting story of an explorer who may be facing a new life form that mysteriously fails to register on mechanical sensors. The best entry, "A Thief in Korianth," is an early, much superior version of the author's 1985 novel Angel with the Sword. This will be of greatest interest to fans of Cherryh's novels. Copyright 1986 Reed Business Information, Inc.
"Fine, poignant and subtly humorous stories. . . . [Bullfighting] is probably the finest collection of Irish short stories since James Joyce’s Dubliners. The delicacy of emotion is here, the spare but elegant writing, the heartbreak and humour. . . . There’s laugher and sadness, provided by a writer at his peak, teasing meaning out of the ordinary with exquisite skill and delicacy.” —John Doyle, The Globe and Mail
“Bullfighting offers a series of rare and beautiful mid-life meditations. . . . With its chatty, in-the-pub style . . . you feel as though you are eavesdropping on each of these men’s forbidden thoughts and fears.” —Daily Express
“With the sparest materials Doyle snaps entire lives into sharp focus in a handful of pages, which is short fiction doing what short fiction does best.” —The Times “Shedding tears, eliciting laughs and revitalising the mundanity of everyday existence has long been Roddy Doyle’s finest suit. He delivers it [in Bullfighting] in spades.” —The List “These stories pack a considerable cumulative punch, a resounding wake-up call to anyone who feels time running by too fast or the loss of meaning in their everyday lives and relationships. . . . The stories are much more powerful read together than on their own. . . . [They] have plenty of Doyle’s irreverent humour and language, too.” —Irish Independent
About the Author
Roddy Doyle is the author of seven acclaimed novels and Rory and Ita, a memoir about his parents. He won the Booker Prize in 1993 for Paddy Clarke Ha Ha Ha.
The Yellowstone Caldera has erupted once every 600,000 years. We’re 40,000 years overdue. A LAND OF ASH Lava flows stretch for hundreds of miles. A cloud of ash billows east, burying the Midwest, destroying crops, and falling upon the Pacific Coast like a warm, dead snow. The remnants of the United States flees south as the global temperatures plummet.
Amid this total devastation are stories of families, friends, sons and fathers and wives: the survivors. Within are eleven stories focusing on the human element of such a catastrophe, from an elderly couple gathering to await their death to a father sealing his shelter in hopes of keeping the air breathable for his daughter.
Contributing to this collection include many popular and up-and-coming independent authors, including David McAfee, Daniel Arenson, and more.
*In a world of speed steamers, poisoned air and soulless paranormal beings, two people hold the fate of millions in their handsand their bodies .*
As a half-succubus, Angel needs energy from sex to live. The temporary fulfillment she gets from strangers is nothing compared to the erotic encounters in her linked dreams with Ian, the man whose soul she shares. Lately the dreams have become more intense and intoxicating, which can mean only one thing: she and Ian are dying, just like the magical crystal that purifies the city's air. Only by making love in person and joining their split soul can they heal both themselves and the crystal.
Yet despite Ian's amazing sexual prowess, Angel doesn't want to give up her other lovers, like sassy steam engineer Jezebel. Can they resolve their differences and continue sharing a bed to save themselvesand the world?
A bomb hooked to a banker’s back, a one-eyed busted-out former cop, hooker/biker bars on Airline Highway in New Orleans, drugs in the French Quarter, a 300-pound female bartender, an ex-con whose main goal in life is to have more expensive shoes than anyone else, a drug czar named Fidel Castro (a cousin of the more famous one in Cuba), money laundering schemes, and a criminal genius, who enjoys pulling his victim’s fingernails out with pliers and who did everything right in what should have been the perfect crime save for one tiny mistake—all assembled and put into motion by an author who was a real-life criminal and ex-con and was advised that if he didn’t publish this book but instead used it to create the perfect crime he’d make a lot more… This is what you get (and more) in Les Edgerton’s The Perfect Crime.
“I’m a failed poet. Maybe every novelist wants to write poetry first, finds he can’t and then tries the short story which is the most demanding form after poetry. And failing that, only then does he take up novel writing.” —William Faulkner Winner of the National Book AwardForty-two stories make up this magisterial collection by the writer who stands at the pinnacle of modern American fiction. Compressing an epic expanse of vision into hard and wounding narratives, Faulkner’s stories evoke the intimate textures of place, the deep strata of history and legend, and all the fear, brutality, and tenderness of the human condition. These tales are set not only in Yoknapatawpha County, but in Beverly Hills and in France during World War I. They are populated by such characters as the Faulknerian archetypes Flem Snopes and Quentin Compson, as well as by ordinary men and women who emerge so sharply and indelibly in these pages that they dwarf the protagonists of most novels.From the Trade Paperback edition.
Running for her life, Teri Slaughter flees New York City and takes refuge in a San Antonio convent, masquerading as her own sister. But when hot and hunky homicide detective, Angel Garcia tries to protect her from the killers, he proves to be a threat to her heart. To protect the nuns, Teri uses herself as bait, leading the killers on a wild chase. Will Angel catch up in time?
' . . . absurd situations and mounting chaos keep things moving and plenty of fun.' LOCUSTess Noncoire, successful fantasy writer and Celestial Blade Warrior, has made a deal with the Powers That Be, trading her own dreams for the future for the safely of those nearest and dearest to her. Having survived this unprecedented experience, Tess-along with her imp Scrap-is determined to hunt down a demonic intruder from another dimension, the Norglein, who seems bent on bespelling and seducing young women, leaving them pregnant, and them waiting for the proper time to steal their babies away for his own purposes.Injured in her first encounter with the Norglein, Tess will be forced to turn to the two men she swore she'd have nothing more to do with, as well as several unexpected allies. But whether she can stop the Norglein and rescue his offspring form the fate he has planned for them is very much in doubt. And if she has to face the Powers That Be a second time, getting out alive will be the least of Tess' worries . . .'Fans of Anne McCaffrey and Marion Zimmer Bradley are most likely to enjoy this slightly screwball fantasy adventure.'- Publishers Weekly
Got Vampires? Ghosts? Monsters? We Can help!Those Who Fight Monsters: Tales of Occult Detectives, is your one-stop-shop for Urban Fantasy’s finest anthology of the supernatural. 14 sleuths are gathered together for the first time in all-original tales of unusual cases which require services that go far beyond mere deduction! Those Who Fight Monsters: Tales of Occult Detectives brings together popular characters from many Urban Fantasy paranormal investigative series, for your enjoyment. Meet the Detectives: Danny Hendrickson - from Laura Anne Gilman's Cosa Nostradamus series. Kate Connor - from Julie Kenner’s Demon Hunting Soccer Mom series. John Taylor - from Simon R. Green’s Nightside series. Jill Kismet - from Lilith Saintcrow’s Jill Kismet series. Jessi Hardin - from Carrie Vaughn’s Kitty Norville series. Quincey Morris - from Justin Gustainis’ Morris/Chastain Investigations series. Marla Mason - from T. A. Pratt's Marla Mason series. Tony Foster - from Tanya Huff’s Smoke and Shadows series. Dawn Madison - from Chris Marie Green’s Vampire Babylon series. Pete Caldecott - from Caitlin Kittredge’s Black London series. Tony Giodone - from C. T. Adams and Cathy Clamp’s Tales of the Sazi series. Jezebel - from Jackie Kessler’s Hell on Earth series. Piers Knight - from C. J. Henderson’s Brooklyn Knight series. Cassiel - from Rachel Caine’s Outcast Season series. Demons may lurk, werewolves may prowl, vampires may ride the wind. These are things that go bump in the night, but we are the ones who bump back!
L'auteur raconte ses années à Paris avec sa première femme et son jeune enfant. Ils avaient souvent faim mais savaient profiter du moment présent. Chaque jour était pour lui source d'enrichissement, de toute évidence. Paradoxalement l'auteur a écrit ce livre à la fin de sa vie, se remémorant ses rencontres littéraires (Ezra Pound, Gertrude Stein, Fitzgerald ...). C'est vivifiant. Pourtant peu de temps après l'écriture de ce livre, Hemingway se suicidera. Dans son ultime combat, la nostalgie aura été la plus forte.
From the Master of Southern-Fried Horror comes a collection of stories that could only beat in the dark, diseased heart of Dixie...- An abandoned furnace, choked with shadow and haunted by tormented ghosts, stands as a grim testament to a time when cruelty and the abuse of human flesh was woefully commonplace...- A man's obsession with mysterious roadkill on a lonesome country avenue awakens a horrifying hunger that can not be satisfied...- Two boys let curiosity get the better of them and discover that a collector of monster movie memorabilia is something more than a retired master of greasepaint and latex...- A dimwitted projectionist at a small-town drive-in theatre upsets a Saturday night crowd when he unwilling releases a dark secret from a dusty and forgotten film can...- A grandfather's Christmas Eve story of a unfinished journey by a drunken peddler captivates a young boy and brings about the delivery of a yuletide gift once thought to be forever lost...- It started out as nothing more than a shortcut home... a detour through a shadowy stretch of forest known as Tanglewood. But what awaited an unsuspecting driver, amid the brush and bramble, made a simple flat tire seem like a horrifying journey into madness... 22 terrifying tales of Southern darkness and depravity from Ronald Kelly, the acclaimed author of Fear, Blood Kin, Hell Hollow, and Midnight Grinding & Other Twilight Terrors.
For over thirty years, Robert Ludlum has been acknowledged as the master of international suspense and intrigue. In 2000, Ludlum managed to raise the bar yet again with his widely acclaimed bestsellers The Prometheus Deception and The Hades Factor, the first novel in his exciting Covert-One series. Now Covert-One is back, in a novel that could only have come from the imagination of the world's greatest storyteller."What they're going to do, I never would have believed it. It's insanity!" They were the final words spoken by Yuri Danko, an officer in the medical division of Russia's security service, before his body was ripped apart by a spray of assassins' bullets. In possession of Danko's classified papers, Covert-One operative Jon Smith and CIA undercover agent Randi Russell have unearthed a terrifying global conspiracy that threatens to unleash a plague of immeasurable proportions. A Serb terrorist has been dispatched from Russia to spirit hazardous vials of deadly bacteria into the United States. His mission: deliver it to an unknown American government agent-- a shadowy figure whose own motives for acquiring the bioweapon are made all the more unfathomable when both men are found murdered, and the strain is stolen. Now Smith and Russell must track it down, find the madman who possesses it, and stop him before he holds a defenseless world hostage with the power to render the human race extinct.Visit the Covert-One Web site: www.CovertOne.com
The #1 bestselling master of suspense and international intrigue continues to set the standard against which all other thrillers are measured with his expertly plotted, pulse-pounding Covert-One series.
An unknown doomsday virus has claimed the lives of four people across the country—including Dr. Sophia Russell, a research scientist working to understand the disease. Bitter and broken-hearted over her death, Lt. Colonel Jon Smith is determined to uncover the cause of the virus that killed her—and prevent it from turning into a pandemic of epic proportions.
When new evidence reveals that Sophia’s death was no accident, Smith assembles a private team to aid his fight against the deadly virus—and find the determined genius who’s responsible. Smith’s quest will lead him to the highest levels of power and the darkest corners of the earth…and bring him face to face with an unknown enemy who will stop at nothing to achieve his means. Meanwhile, the fate of the world hangs in the balance…
With an unbroken string of bestsellers dating from the early '70s (beginning with 1971's The Scarlatti Inheritance) and over 200 million books sold, Robert Ludlum is an acknowledged superstar of the political thriller. Gayle Lynds, who was compared to Ludlum after her 1996 debut, Masquerade, has two successful novels and a slew of pseudonymous pulp fiction titles to her credit. Together--after a fashion--they serve up book 1 of Ludlum's new Covert-One series of trade paperback originals, Robert Ludlum's the Hades Factor.
After three disparate Americans succumb to a hitherto unknown Ebola-like virus, the United States Army Medical Research Institute for Infectious Diseases (USAMRIID) is pressed into service. Since the USAMRIID's top doc (and former military intelligence operative) Lt. Col. Jon Smith has yet to return from an overseas conference, the job of heading the medical research team falls to Smith's colleague and fiancée, Dr. Sophia Russell.
Upon Smith's return, he is sequentially treated to a life-or-death warning from a childhood friend (and rogue FBI agent), several nasty near-death experiences, and the viscerally graphic demise of his wife-to-be, an apparent virus victim. Enraged and bereaved, Smith flies into investigatory action only to discover doctored files, expunged records, and the distinct likelihood that he's dealing with cases of murder-by-virus. As more questions are asked, more deaths occur, official channels slam shut, and Smith finds himself a wanted man, battling his best friend, an evil-genius gazillionaire scientist, corrupt politicians, and Third World terrorists. In other words, it's Smith versus all the usual suspects.
Ludlum and Lynds cover no new ground here (and their prose is less than sterling). In fact, The Hades Factor owes as much to Tom Clancy's Op-Center series--cocreated by Clancy and Steve Pieczenik--and Richard Preston's The Hot Zone as it does to Ludlum's own considerable body of work. That said, The Hades Factor still delivers a respectable level of intrigue and suspense, will likely be snapped up by output-starved Ludlum fanciers, and will be right at home on the bed stands of Preston fans. --Michael Hudson
From Publishers Weekly
In his first book since 1997's The Matarese Countdown, onetime thriller superstar Ludlum teams up with Lynds (Masquerade; Mosaic) for a lackluster trade paperback original, the first volume in a Tom Clancy-like series called "Covert-One." The novel stars ace doctor (and former military spook) Lt. Col. Jonathan Smith, who now works for the U.S. Army Medical Research Institute for Infectious Diseases in Fort Detrick, Md. We first meet Dr. Smith in London, where a childhood friend and rogue FBI agent warns him not to get involved in USAMRIID's latest investigation; the institute is looking into the baffling deaths from an unknown killer virus of three people in three widely separated states. But Smith's colleague and wife-to-be, Dr. Sophia Russell, is already trying to link the virus with a mysterious disease that decimated the Monkey Blood tribe she had worked with during her student days in Peru. What she doesn't know is that the slickly evil scientist who investigated the virus then is now the head of a giant chemical company with links to Third World terrorism. When Russell herself falls victim to the virus early on, Smith must forge ahead with the assistance of her sister, Randi, a CIA agent in Baghdad. Ludlum and Lynds keep things moving at a capable pace, but the familiar plot and uninspired writing (Smith "wore his restlessness like another man wore his skin") do little to foment interest in future installments on the series. (June) Copyright 2000 Reed Business Information, Inc.
Starred Review. Grade 9 Up–Every selection in this rich collection is strange and startling, a glimpse into weird, wondrous, and sometimes terrifying worlds. "Singing My Sister Down," "House of the Many," and "Earthly Uses" use the death of a character to illustrate the trajectory that grief gives to those who surround those characters. In "Sweet Pippit," a group of elephants break from captivity to rescue the one human who can lead and love them. "Wooden Bride" centers on Matty Weir and her decision to change herself forever by participating in her town's anonymous group marriage ceremony, providing a sly, unconventional commentary on today's consumer-heavy wedding culture. "Red Nose Day" provides a glimpse into the hearts of two assassins who are killing clowns. "Yowlinin" is a story of ostracism and disaster; an outcast girl warns of a plague but is unheeded, with catastrophic results. The 10 stories all hover near a 20-page range. Lanagan uses beautiful, lyrical language to tell peculiar, disturbing tales. This collection may need some introduction, and would work especially well in a classroom setting; it is full of teachable moments. The selections are subtle and scary, and are remarkably different from most short stories aimed at teens. This book will satisfy readers hungry for intelligent, literary fantasies that effectively twist facets of our everyday world into something alien.–Sarah Couri, New York Public Library
“Nam Le's lyricism and emotional urgency lend his portraits enormous visceral power. . . . A remarkable collection.” —The New York Times“Nam Le is extraordinary, a writer who must - who will - be heard. . . .The Boat's vision and its power are timeless.” —Mary Gaitskill“Astounding. . . . A refreshingly diverse and panoramic debut.” —Los Angeles Times Book Review“Extraordinarily accomplished and sophisticated. . . . Moving and unforgettable.” —San Francisco Chronicle“Wonderful stories that snarl and pant across our crazed world . . . . Nam Le is a heartbreaker, not easily forgotten.” —Junot Díaz“Lyrical . . . Powerful and assured. . . . [Le's] kaleidoscopic world view is on display throughout the stories, which seamlessly blend cultural traditions, accents and landscapes that run from lush to barren.” —The Miami Herald“Stunning. . . .These stories are so beautifully written and cross emotional barriers of time and place with such clear vision and strong command of language we can only wonder with awe what Nam Le will offer us next.” —The Oregonian“A collection that takes the reader across the globe. From Iowa to Colombia to Australia and Iran, the characters in Le’s stories each shape the world around them. In each story, the protagonists create a new atmosphere. . . .While Le is a writer who seems to be interested in the issues of the world, he is also a writer interested in the young. . . . Le does not downplay the lives of his children as fiction often does when portraying younger characters but presents them with a seriousness and intelligence that is refreshing. . . . The Boat is an impressive debut from a writer with a lot more to give. A writer to be remembered.”—Marion Frisby, The Denver Post“Powerful . . . Lyrical . . . Devastating . . . A harsh and masterful effort, each tale a clean shot through the heart, the aim true. In seven stories covering six continents and an ocean, Le delivers a powerful and assured vision that offers a clear look at his impressive talents. . . . Le is the sort of writer who taps directly into the vein of desperation and offers no shelter. He’s not for the faint of heart, but the reward for soldiering on in the toughness of his world is the welcome recognition of a voice clear and brave.”—Amy Driscoll, The Miami Herald“Captivating . . . An uncannily mature debut [that] distills time, experience . . . There’s a streak of the naturalist in Nam Le that looks back to such writers as Emile Zola, Stephen Crane and Theodore Dreiser. . . . It is a searing portrait of survival, love and sacrifice, which seems revelatory and wise. It is [Le’s] ethnic story that transcends ethnicity.”—Robert L. Pincus, San Diego Union-Tribune“[The Boat] takes the reader from the South China Sea to Medellin, Colombia, to Tehran and beyond–places that, in many cases, Nam Le has never visited. . . . What struck me about [‘Tehran Calling’] was how vivid the imagery of the city of Tehran appears–the Shiite Ashura procession, with the self-flagellation, the rutted roads, [he] talks about the stale fluorescent writing at the airport . . . [Nam Le] writes so convincingly about these places [he’s] never been to . . .”—Guy Raz, correspondent, All Things Considered“Brilliant . . . The Boat will quicken your pulse and awaken every nerve in your being. For avid readers who have hungered for stories that can transport them physically, intellectually and emotionally, stories so well-structured and narrated they appear to reinvent the form itself, the literary American Idol is Nam Le. [His] dynamic prose and remarkable range of subjects and points of view defy explanation. . . . There is so much to say about Nam Le’s genius that it would take a book and even that may not be enough. With The Boat, he defeats time, hollowness and cliché with every story, earning him the right to reap sheaves, buckets, reservoirs of generous, unabashed praise.”—Denise Gess, Raleigh News & Observer“Twenty-nine-year-old Nam Le demonstrates the aesthetic ambition and sentence-making chops of a much more experienced writer. . . . Each moment of technical brio [in the opening story] deepens the dramatization of the all-but-unspeakable power of love between parent and child. By the end, any perceptive reader will agree that the ‘world could be shattered by a small stone dropped like a single syllable.’ . . . The plot unfolds with remorseless logic, harsh beauty, and an almost unbearable tenderness that reminded me of Dubliners. [The story’s] scenes [are] exact in their details and gorgeous in their musicality . . . I’ve been telling friends about The Boat for weeks now, saying ‘This guy’s got it.’ Now I’m telling you. Pass it on.” —John Repp, Cleveland Plain Dealer “Astonishing . . . Not yet 30, Le effortlessly gives all seven tales in The Boat a different register, structure, vocabulary and tone.. . . . The miracle of these stories is how their author, by sleight of hand and virtue of skill, puts his searching, observant voice wherever he likes.”—John Freeman, Newark Star-Ledger“Moving . . . The opening story in Nam Le’s debut collection, The Boat,is as dazzling an introduction to a writer’s work as I’ve read. . . . Nam Le digs beneath the surface and unfailingly sees the bundles as human in these accomplished stories about the terrible reverberations of violence.”—Heller McAlpin, The Christian Science Monitor “It is uncommon that a writer’s first book can be described as masterful, especially when the author is not yet 30 years old. But *The Boat, an extraordinary collection of seven short stories by Nam Le, is truly that kind of book. . . . As complex in its depth as it is accessible in its prose. . . . These stories are so beautifully written and cross emotional barriers of time and place with such clear vision and strong command of language we can only wonder with awe what Nam Le will offer us next.”—Jim Carmin, The Oregonian*“[The stories in Nam Le’s The Boat] flout the traditional maxim ‘Write what you know,’ taking on characters as diverse as Colombian drug lords, Iranian feminists, and a New York painter who sounds a lot like Lucian Freud. All sincere works of the imagination, these stories yet bear a self-conscious riposte to conventional wisdom. . . . Mr. Le stands out from the crowd [of debut writers] because of the breadth of his research and the confidence of his imagination. He may prize the universal, but he doesn’t skimp on concrete detail. In ‘Tehran Calling,’ for example, he could have described the row between an American visitor and her Iranian friend with dialogue and a few descriptions, but instead he takes us walking on the streets, describes smells, effects of lighting, and the fine points of street wear. . . . I found ‘Hiroshima,’ the most experimental story here, also to be one of the most absorbing. . . . There are many ticklish questions to ask about fiction and its sources, and they have been asked, recently, by many writers. Mr. Le’s distinction is to ask them without once seeming other than a hardworking practitioner of quality American lit.”—Benjamin Lytal, The New York Sun“Leering. Sepia-toned. Dark. Dark. Dark. Light. Well-crafted. Intricately cut, sanded, steamed and stained. Striking. Aggressively schizophrenic. Crayola-esque (characters). Jim Shepard-esque (range).”—Esquire (All-Adjective Reviews)“Sensational . . . There is something thrilling in discovering a gifted new writer on the American scene. And that is what we have in Nam Le, whose short story collection, The Boat, easily will be among the significant works of fiction published this year. . . . Stories that both crackle with immediacy and sport a cool, focused tone. His characters are drawn with an old master’s depth . . . It’s not often that a work of highbrow fiction moves like a suspense novel, but that’s the kind of talent Nam Le displays. It reaffirms your faith in literature. . . . There is a spare architecture to his sentences, yet he has the ability to create complex worlds, shadowed by bleakness and heartbreak. . . . His first story alternates between playful satire and dread seriousness, showing the kind of balancing act Le can pull off. [In] ‘Cartagena,’ Le vividly sketches the cardboard cities and muddy streets of Medellin . . . The story has the hypnotic power of a Graham Greene nightmare. . . . The book’s masterpiece is ‘Halflead Bay,’ an Aussie twist on Hemingway’s Nick Adams stories. . . . It is full of rich description, an ear for native lingo and keen observations of dysfunctional family dynamics. As you read the last lines of *The Boat, it is not a stretch to flash on ‘The Dead,’ the legendary final story in Joyce’s Dubliners. . . . A book filled with grace, texture and humanity.”—Larry Aydlette, The Palm Beach Post “The characters in Nam Le’s The Boat are impossible to pigeonhole, ranging from an egomaniacal Manhattan artist to a Colombian gangster to a hard-drinking Iowa M.F.A. student. [The] standout [is] the brutal title story [which] dramatizes the plight of three Vietnamese boat people. Le’s viscerally affecting writing and bold imagination mark an exciting debut.”—Jennifer Reese, Entertainment Weekly*“Nam Le proves masterful at crafting authentic and believable locations. [His] detailed descriptions of setting dictate tone and mood [and] in churning...
Even before A Game of Thrones, George R. R. Martin had already established himself as a giant in the field of fantasy literature. The first of two stunning collections, Dreamsongs: Volume I is a rare treat for readers, offering fascinating insight into his journey from young writer to award-winning master.
Gathered here in Dreamsongs:Volume I are the very best of George R. R. Martin’s early works, including his Hugo, Nebula, and Bram Stoker award–winning stories, cool fan pieces, and the original novella The Ice Dragon, from which Martin’s New York Times bestselling children’s book of the same title originated. A dazzling array of subjects and styles that features extensive author commentary, Dreamsongs, Volume I is the perfect collection for both Martin devotees and a new generation of fans.
“Fans, genre historians and aspiring writers alike will find this shelf-bending retrospective as impressive as it is intriguing.”—*Publishers Weekly * “Dreamsongs is the ideal way to discover . . . a master of science fiction, fantasy and horror. . . . Martin is a writer like no other.”—The Guardian (U.K.) PRAISE FOR GEORGE R. R. MARTIN
“Of those who work in the grand epic-fantasy tradition, Martin is by far the best. In fact . . . this is as good a time as any to proclaim him the American Tolkien.”—Time
“Long live George Martin . . . a literary dervish, enthralled by complicated characters and vivid language, and bursting with the wild vision of the very best tale tellers.”—The New York Times
“I always expect the best from George R. R. Martin, and he always delivers.”—Robert Jordan
When she was only twenty-three her first novel, The Heart Is A Lonely Hunter , created a literary sensation. She is very special, one of America's superlative writers who conjures up a vision of existence as terrible as it is real, who takes us on shattering voyages into the depths of the spiritual isolation that underlies the human condition. A grotesque human triangle in a primitive Southern town… A young boy learning the difficult lessons of manhood… A fateful encounter with his native land and former love… These are parts of the world of Carson McCullers – a world of the lost, the injured, the eternal strangers at life's feast. Here are brilliant revelations of love and longing, bitter heartbreak and occasional happiness – tales that probe the very heart of our lives.
A classic work that has charmed generations of readers, this collection assembles Carson McCullers' best stories, including her beloved novella "The Ballad of the Sad Cafe." A haunting tale of a human triangle that culminates in an astonishing brawl, the novella introduces readers to Miss Amelia, a formidable southern woman whose cafe serves as the town's gathering place. Among other fine works, the collection also includes "Wunderkind," McCullers' first published story written when she was only seventeen about a musical prodigy who suddenly realizes she will not go on to become a great pianist.
About the Author
Carson McCullers was born at Columbus, Georgia, in 1917. She published The Heart is a Lonely Hunter at the age of twenty-three. Her other works include Reflections in a Golden Eye (1941), The Member of the Wedding (1946), The Ballad of the Sad Cafe (1951), The Square Root of Wonderful (1958), a play, Clock Without Hands (1961), Sweet as a Pickle, Clean as a Pig (1964) and The Mortgaged Heart (published posthumously in 1972). She died in 1967.