Including his most famous works, such as “The Gift of the Magi” and “The Furnished Room,” this collection of forty-one O. Henry short stories demonstrates his extraordinary technical genius. “There are stories in everything. I’ve got some of my best yarns from park benches, lampposts, and newspaper stands.”—O. Henry Readers the world over recognize O. Henry as the best short story writer of the early twentieth century—even today a masterful surprise at the end of a story is described as “an O. Henry twist,” and a prominent short fiction award bears his name. Widely known as a master of irony, O. Henry also displayed in his stories dazzling wordplay and a wry combination of pathos and humor. Cunningly arranged according to geographic location, these tales display the wide range of O. Henry’s world, from the streets of his beloved New York City to the heat of Honduras and other exotic locales. With his wonderful plot turns, unexpected climaxes, and deep insights into human nature, O. Henry’s works will live on as prime examples of the well-told tale. Includes an Introduction by Burton Raffel and an Afterword by Laura Furman

41 Places:41 Stories is a book of found narratives, true stories picked up on street corners, taxi ranks, pubs, car parks - even in public toilets. Each tale inhabits its own geography: a specific place in the centre of a British seaside town. If the essence of narrative is change, William Shaw distils it here in these tales of love, loss and self-discovery. Brighton is, after all, a place where people have always come to transform themselves.

Including his most famous works, such as “The Gift of the Magi” and “The Furnished Room,” this collection of forty-one O. Henry short stories demonstrates his extraordinary technical genius. “There are stories in everything. I’ve got some of my best yarns from park benches, lampposts, and newspaper stands.”—O. Henry Readers the world over recognize O. Henry as the best short story writer of the early twentieth century—even today a masterful surprise at the end of a story is described as “an O. Henry twist,” and a prominent short fiction award bears his name. Widely known as a master of irony, O. Henry also displayed in his stories dazzling wordplay and a wry combination of pathos and humor. Cunningly arranged according to geographic location, these tales display the wide range of O. Henry’s world, from the streets of his beloved New York City to the heat of Honduras and other exotic locales. With his wonderful plot turns, unexpected climaxes, and deep insights into human nature, O. Henry’s works will live on as prime examples of the well-told tale. Includes an Introduction by Burton Raffel and an Afterword by Laura Furman

How forty-one women—including Dorothy Parker, Gypsy Rose Lee, and Lena Horne—were forced out of American television and radio in the 1950s “Red Scare.” At the dawn of the Cold War era, forty-one women working in American radio and television were placed on a media blacklist and forced from their industry. The ostensible reason: so-called Communist influence. But in truth these women—among them Dorothy Parker, Lena Horne, and Gypsy Rose Lee—were, by nature of their diversity and ambition, a threat to the traditional portrayal of the American family on the airwaves. This book from Goldsmiths Press describes what American radio and television lost when these women were blacklisted, documenting their aspirations and achievements. Through original archival research and access to FBI blacklist documents, The Broadcast 41 details the blacklisted women's attempts in the 1930s and 1940s to depict America as diverse, complicated, and inclusive. The book tells a story about what happens when non-male, non-white perspectives are excluded from media industries, and it imagines what the new medium of television might have looked like had dissenting viewpoints not been eliminated at such a formative moment. The all-white, male-dominated Leave it to Beaver America about which conservative politicians wax nostalgic existed largely because of the forcible silencing of these forty-one women and others like them. For anyone concerned with the ways in which our cultural narrative is constructed, this book offers an urgent reminder of the myths we perpetuate when a select few dominate the airwaves.

Growing up, Olivera knew she was adopted and later learned she was abandoned. She believed that something must have been wrong with her to cause her mother to abandon her. With the help of a therapist she began to tell herself a better story. Here she shows we can reframe our stories so we can remember that we are already enough, just as we are. By integrating all the parts of who we were, who we are, and who we want to be, we can live a more whole and meaningful life. -- adapted from jacket.