An affordable compilation of more than a dozen of the best American short stories features tales by Hawthorne, Twain, James, Cheever, Wharton, and Cather. Contents include "The Fall of the House of Usher" by Edgar Allan Poe, F. Scott Fitzgerald's "The Diamond as Big as the Ritz," Stephen Crane's "The Open Boat," and "A Worn Path" by Eudora Welty.

Since its first printing in 1954, this outstanding anthology has been the book of choice by teachers, students, and lovers of short fiction. Surveying stories by British and American writers in the first half of the twentieth century, editors Robert Penn Warren and Albert Erskine selected stories that broke new ground and challenged the imagination with their style, subject matter, or tone: the unforgettable, enduring works that shaped the literature of our time. A truly exceptional collection of great stories, including: The Bride Comes to Yellow Sky by Stephen Crane The Horse Dealer’s Daughter by D. H. Lawrence Barn Burning by William Faulkner The Sojourner by Carson McCullers The Open Window by Saki Flowering Judas by Katherine Anne Porter The Boarding House by James Joyce Soldier’s Home by Ernest Hemingway The Tree of Knowledge by Henry James Why I Live at the P.O. by Eudora Welty . . . and twenty-five more of the century’s best stories!

This highly acclaimed collection of short stories by American writers contains only the best literary art of the past four decades. Editors Raymond Carver and Tom Jenks have selected fiction that “tells a story”–and tells it with a masterful handling of language, situation, and insight. But what is so special about this volume is that it mirrors our age, our concerns, and our lives. Whether it’s the end of a marriage, as in Bobbie Ann Manson’s “Shiloh,” or the struggle with self-esteem and weight in Andre Dubus’s “The Fat Girl,” the 36 works included her probe issues that give us that “shock of recognition” that is the hallmark of great art—wonderful, absorbing fiction that will be read and reread for decades to come.

For second semester courses in Introduction to Literature, Literature and Composition, Introductory Fiction and Creative Writing courses. This anthology is an international story collection by critically-acclaimed authors, and includes essays by renowned writers and scholars on the key stylistic elements of this relatively new art form: the very short story. Authors of these classic, modern, and avant garde stories include Alice Walker, Yasunari Kawabata, Helena Vivien Viramontes, Amy Hemple, H.H. Munro, and Anton Chekhov, plus many others. It provides students with an exciting taste of global literature, and writing guidelines which includes a list of 10 succinct crafting instructions enables students to focus on key aspects of writing as they analyze the authors' prose and write their own very short stories.

A collection of the best science fiction short stories of the 20th century as selected and evaluated by critically-acclaimed author Orson Scott Card. Featuring stories from the genre's greatest authors: Isaac Asimov • Arthur C. Clarke • Robert A. Heinlein • Ursula K. Le Guin • Ray Bradbury • Frederik Pohl • Harlan Ellison • George Alec Effinger • Brian W. Aldiss • William Gibson & Michael Swanwick • Theodore Sturgeon • Larry Niven • Robert Silverberg • Harry Turtledove • James Blish • George R. R. Martin • James Patrick Kelly • Karen Joy Fowler • Lloyd Biggle, Jr. • Terry Bisson • Poul Anderson • John Kessel • R.A. Lafferty • C.J. Cherryh • Lisa Goldstein • Edmond Hamilton In much of the science fiction of the past, the twenty-first century existed only in the writers’ imaginations. Now that it’s here, it’s time to take a look back at the last one hundred years in science fiction through the works of the most celebrated and acclaimed authors of the century—to see where we’ve been and just how far we’ve come. Along with a critical essay by Orson Scott Card reassessing science fiction in the twentieth century, Masterpieces includes short fiction by writers who have forged a permanent place for science fiction in the popular culture of today...and tomorrow. It offers a glimpse of the greatest works that mixed science with fiction in trying to figure out humanity’s place in the universe. Featuring bold, brave, and breathtaking stories, this definitive collection will stand the test of time in both this century and those to come.

DIVFirst-rate selections include Hardy's "The Fiddler of the Reels," James' "Oh, Whistle, and I’ll Come to You, My Lad," Dickens' "The Haunted Hotel," and tales by Saki, Kipling, Lawrence, Trollope, Stevenson, and others. /div

"Short-story masterpieces - Vol. IV - Russian" by Various Authors (translated by John Cournos). Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

A selection of timeless masterpieces from Charles Dickens Edgar Allan Poe William Thackeray Rudyard Kipling and many more World’s Best Short Stories is a collection of captivating tales from around the world, penned by some of the greatest storytellers of all time. Featuring pioneers of the short-story genre, this book promises to entertain you in many different ways. Be it the intellectual but endlessly fun The Gold-Bug by Edgar Allan Poe, or even the enduringly brilliant Aladdin from the Arabian Nights, every story has a unique charm. Also included are the ever-popular A Christmas Carol by master storyteller Charles Dickens and Rip Van Winkle by Washington Irving. Presenting masterpieces of literature by the likes of Rudyard Kipling, William M. Thackeray, Guy de Maupassant, Nathaniel Hawthorne and J. M. Barrie, this edition belongs in every avid reader’s personal collection.

The inflexible realist in fiction can be faithful only to what he sees; and what he sees is inevitably colored by the lens of his real self. For the literary observer of life there is no way of falsifying the reports which his senses, physical and moral, make to his own brain. If he wishes, he may make alterations in transcribing for his readers, but in so doing he confesses to himself a departure from truth as he sees it. Pure realism, then, demands of its apostle both a faithful observation of life and a faithful statement of what he sees. True, the realist uses his artist’s privilege of selecting those facts of life which seem best suited to picturing his characters in their natures, their persons, and their careers, for he knows that many irrelevant, confusing, and contradictory things happen in the everyday lives of everyday men. So in point of practice his realism is not so uncompromising as his theories sound when baldly stated. How near any great artist’s transcriptions of life approach to absolute truth will always be a question, both because we none of us know what is final truth, and because realists, each seeing life through his own nature, will disagree among themselves just as widely as their temperaments, their predispositions, and their experiences vary. Thus we are left to the common sense for our standards, and to this common sense we may with some confidence appeal for a judgment. Guy de Maupassant was a realist. “The writer’s eye,” he says in Sur l’Eau, “is like a suction-pump, absorbing everything; like a pickpocket’s hand, always at work. Nothing escapes him. He is constantly collecting material; gathering up glances, gestures, intentions, everything that goes on in his presence—the slightest look, the least act, the merest trifle.” But Maupassant was more than a realist—he was an artist, a realistic artist, frank and wise enough to conform his theories to his own efficient literary practice. He saw as a realist, selected as an artist, and then was uncompromising in his literary presentation. Here at the outstart another word is needed: Maupassant was also a literalist, and this native trait served to render his realism colder and more unsympathetic. By this I mean that to him two and three always summed up five—his temperament would not allow for the unseen, imponderable force of spiritual things; and even when he mentions the spiritual, it is with a sort of tolerant unbelief which scorns to deny the superstitious solace of women, weaklings, and zealots. It was this pervading quality in both character and method which has caused his critics to class him is a disciple of naturalism in fiction. However, Maupassant’s pessimism was not so great that he could not dwell upon scenes of joy; but a preacher of hope he never was, nor could have been. Maupassant led so individual a life, was so unnormal in his tastes, and ended his career so unusually, that common sense decides at once the validity of this one contention: his realism was marvellously true in details, but less trustworthy in its general results. His pictures of incidents were miracles of accuracy; his philosophy of life was incomplete, morbid, and unnatural.