Intended as a textbook for classes in fiction or creative writing, this edition of a popular resource contains 56 fictional pieces, both classic and contemporary, almost all of them short stories, with biocritical and other commentary and discission quest
Gathering forty important short stories in a portable and economical format, the second edition includes even more of the fiction instructors want to teach and more of the help student readers need.
For more than fifty years, The Paris Review has brought us revelatory and revealing interviews with the literary lights of our age. This critically acclaimed series continues with another eclectic lineup, including Philip Roth, Ezra Pound, Haruki Murakami
Since its original publication in 1966, this volume has attained classic status. Now its contents have been updated and its cultural framework enlarged by the orginal editors. Many of the 44 stories come from a new writing generation with a contemporary c
This volume offers a survey of American short fiction in 59 tales that combine classic works with 'different, unexpected gems', which invite readers to explore a wealth of important pieces by women and minority writers. Authors include: Amy Tan, Alice Ada
With works by Henry James, Stephen Crane, John Cheever, James Joyce and many others, this outstanding collection of 35 American and British short pieces of fiction from the first half of the 20th century is one of the bestselling collections of our time.
A treasure trove of unusual fiction spanning authors from Gogol and Kafka through Woolf and Nabokov to Calvino, Garcia Marquez, and Barthelme. A poet's companion, a student's delight, great bedside reading.Magical Realist Fiction includes:The nose by Niko
Since the series' inception in 1915, the annual volumes of The Best American Short Stories have launched literary careers, showcased the most compelling stories of each year, and confirmed for all time the significance of the short story in our national l
How do great writers do it? From James M. Cain's hard-nosed observation that "writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational," to Joan Didion's account of how she composes a book--"I constant
