Includes stories featured in Pantheon—now an animated series on AMC+ “I know this is going to sound hyperbolic, but when I’m reading Ken Liu’s stories, I feel like I’m reading a once-in-a-generation talent. I’m in awe.” —Jamie Ford, New York Times bestselling author “Captivating.” —BuzzFeed “Extraordinary.” —The Washington Post “Brilliant.” —The Chicago Tribune With the release of The Paper Menagerie and Other Stories, Ken Liu’s short fiction has resonated with a generation of readers. From stories about time-traveling assassins, to Black Mirror-esque tales of cryptocurrency and internet trolling, to heartbreaking narratives of parent-child relationships, The Hidden Girl and Other Stories is a far-reaching work that explores topical themes from the present and a visionary look at humanity’s future. This collection includes a selection of Liu’s speculative fiction stories over the past five years—seventeen of his best—plus a new novelette. In addition, it also features an excerpt from The Veiled Throne, the third book in Liu’s epic fantasy series The Dandelion Dynasty. Stories include: Ghost Days; Maxwell's Demon; The Reborn; Thoughts and Prayers; Byzantine Empathy; The Gods Will Not Be Chained; Staying Behind; Real Artists; The Gods Will Not Be Slain; Altogether Elsewhere, Vast Herds of Reindeer; The Gods Have Not Died in Vain; Memories of My Mother; Dispatches from the Cradle: The Hermit—Forty-Eight Hours in the Sea of Massachusetts; Grey Rabbit, Crimson Mare, Coal Leopard; A Chase Beyond the Storms (an excerpt from The Veiled Throne, Book 3 of the Dandelion Dynasty); The Hidden Girl; Seven Birthdays; The Message; Cutting

A novel based on the Red Cross women in London who served doughnuts and hot coffee, and provided Big Band music and much more to welcome airmen as they returned from missions during World War II.

Twelve stories by the internationally renowned novelist which recreate with energy and authenticity the major social and political issues that confront contemporary Africans on a daily basis.

Eric Linklater was one of the most respected and prolific Scottish writers of this century, yet more than twenty-five years have passed since his last collection of short stories was published. This selection covers Linklater's entire writing life. The settings are as various as the places where he lived - Orkney, India, California, Edinburgh and the Highlands - the events that take place, both fantastic and sensual in their depiction. A strong seam of Scottish history and culture runs through much of Linklater's work. The short stories include classics of the form, such as The Goose Girl and Kind Kitty, and wild variations on fairy stories, medieval myths, bawdy folktales, Viking sagas and 1920s crime reports. They derive from the magic of the world - love, beauty, ambition, drink and language. Their exuberant invention and comic verve provide glorious evidence for George Mackay Brown's assertion that 'Linklater is one of Scotland's best story-tellers ever'.

Coming Home I The young men of our American Relief Corps are beginning to come back from the front with stories. There was no time to pick them up during the first months--the whole business was too wild and grim. The horror has not decreased, but nerves and sight are beginning to be disciplined to it. In the earlier days, moreover, such fragments of experience as one got were torn from their setting like bits of flesh scattered by shrapnel. Now things that seemed disjointed are beginning to link themselves together, and the broken bones of history are rising from the battle-fields. I can't say that, in this respect, all the members of the Relief Corps have made the most of their opportunity. Some are unobservant, or perhaps simply inarticulate; others, when going beyond the bald statistics of their job, tend to drop into sentiment and cinema scenes; and none but H. Macy Greer has the gift of making the thing told seem as true as if one had seen it. So it is on H. Macy Greer that I depend, and when his motor dashes him back to Paris for supplies I never fail to hunt him down and coax him to my rooms for dinner and a long cigar. Greer is a small hard-muscled youth, with pleasant manners, a sallow face, straight hemp-coloured hair and grey eyes of unexpected inwardness. He has a voice like thick soup, and speaks with the slovenly drawl of the new generation of Americans, dragging his words along like reluctant dogs on a string, and depriving his narrative of every shade of expression that intelligent intonation gives. But his eyes see so much that they make one see even what his foggy voice obscures. Some of his tales are dark and dreadful, some are unutterably sad, and some end in a huge laugh of irony. I am not sure how I ought to classify the one I have written down here.