From Publishers Weekly

Bestseller Archer assembles 15 more of the clever stories for which he is known. They are split between tales of trickery, as with "Stuck on You," where an eager young man is played by a diamond thief, and decidedly sentimental stories, such as "Members Only," about a man who wants nothing more than to join a private country club. Archer marks with an asterisk stories that are based on true incidents (10 in this collection), and whether it is the weight of credibility these stories' genesis lends or if the author works better with some starting material, the entirely imagined stories are also the weakest. "Politically Correct" never gets out of the shallows in its attempt to be provocative, and "Better the Devil You Know," with its evil executive making a deal with the devil (aka Mr. De Ath), is silly even for this author, who usually writes with a winningly light touch. Still, Archer's writing exudes a certain charm and is mostly satisfying. His trademark twists--sometimes a surprise to the reader, sometimes not--and genial tone will endear these mostly cozy stories to his many fans.
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From 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

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.

Product Description

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.

From Publishers Weekly

Starred Review. From a Colombian slum to the streets of Tehran, seven characters in seven stories struggle with very particular Swords of Damocles in Pushcart Prize winner Le's accomplished debut. In Halflead Bay, an Australian mother begins an inevitable submission to multiple sclerosis as her teenage son prepares for the biggest soccer game of his life. The narrator of Meeting Elise, a successful but ailing artist in Manhattan, mourns his dead lover as he anticipates meeting his daughter for the first time since she was an infant. The opening Love and Honor and Pity and Pride and Compassion and Sacrifice features a Vietnamese character named Nam who is struggling to complete his Iowa Writer's Workshop master's as his father comes for a tense visit, the first since an earlier estrangement shattered the family. The story's ironies—You could totally exploit the Vietnamese thing, says a fellow student to Nam—are masterfully controlled by Le, and reverberate through the rest of this peripatetic collection. Taken together, the stories cover a vast geographic territory (Le was born in Vietnam and immigrated to Australia) and are filled with exquisitely painful and raw moments of revelation, captured in an economical style as deft as it is sure. (May)
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Review

“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...

Product Description

Readers of Jeremy C. Shipp's fiction will be familiar with his minimalist, breakneck pacing, his surreal forays into political satire, and his seamless blending of science fiction, fantasy, and horror. Now, in his fourth book, the Bram Stoker Award finalist expands on what many critics and fans alike have long considered the most compelling aspect of his work-relationships. This story collection explores how a person's desire can infect their every action and interaction with others. The desire to protect. The desire to hurt. The desire to be desired. Fungus of the Heart explores what happens between people when society breaks down and the rules go out the window. Haunting and heartbreaking, pithy and potent, the quirky inhabitants of Shipp's bizarro world will carve an indelible line from your funnybone to your spleen to your emotional core.

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.

Review

Australian writer Matthew Revert purposely disregards the boring limits of consensus reality in favor of a better experiential flow for author and audience. He's been called a "bizarro" writer, but prefers the tag absurdist.

The stories in A Million Versions of Right are irreal, but not confrontationally so. Revert distorts familiar experiences while retaining enough of the commonplace to make them universal for even the most staid of readers. A consistent motif is the unremarkable reactions of his protagonists when faced with circumstances beyond the unlikely (like ejaculating a series of mustachioed tillers, as occurs in the title story, where readers are introduced to the narrator's "clockwork father"). --Denver Examiner, April 16, 2010

A Million Versions of Right, Mister Revert's collection of short stories, is an amazing achievement. Why? Well, because I hate short story collections. There's only one other short story collection I liked and that was the Bauchelain and Korbal Broach collection by Steven Erikson. But those were different. Very different to these. I just can't stand getting into a story and then being flipped out and told to get into the next, which is doomed to be not as much fun because I kind of just wanted to read more about that character. I prefer novels.

And what makes them so great isn't their ideas. It's the style. Mister Revert has, simply, one of the most efficient and highly readable styles I've ever read for this genre. In most cases you can feel the author's desperate need to try and impress. You can see they're just trying to one-up the weirdness. But Mister Rever succeeds in keeping a natural eccentricity which is toned down greatly by a near precision-based editing exercise. You can see he's worked and reworked each story - and if he hasn't, then the man needs to be wired up to a machine which forces him to write, because if this is what he can do without effort, then he needs to give us something he tried. It would kick our brains out.

If you like it weird, and you like it intelligent and you like it to challenge your mind, you can't go wrong with A Million Versions of Right, because no matter how wrong you think a short story is, this book will prove they can sometimes be all right. --Lateral Books, April 18, 2010

This book offers a crucial and refreshing difference that should instantly establish it as a prototype of the Bizarro genre (perhaps New Absurdist? Subject for a debate no doubt). That difference is: in these stories, the nonsensical actually makes sense and the illogical is firmly grounded on logic, i.e. they have a raison-d'être.

Granted, perhaps testicular annihilation and scrotum aesthetics shouldn't be appreciated by all. And the paralysing fear that one or more of the men' contained insemen' may be what decides to burst forth at that next toe-curling moment is rarely a popular water-cooler topic. Ditto for power blinks, malfunctioning bookmarks, and one particular comb-jar deep in the Hair District... But all these things fill the pages for a reason, brilliantly described and brought to life to reveal the shocking silliness that exists in those things we call conventions. --Full of Crow, December 27, 2009

From the Inside Flap

"Revert is an absurdist with dirty hands and a dirty mind, willing to take words to weird places to make you laugh when you shouldn't--and yet still do."
Kris Saknussemm, author of ZANESVILLE and PRIVATE MIDNIGHT

"Revert takes everyday human experiences and distorts them into until they are totally bizarre while keeping enough of the "everyday" around so it brings to mind the things that many of us experience in our lives. And that is why this book is totally sweet."
Bradley Sands, author of IT CAME FROM BELOW THE BELT and MY HEART SAID NO BUT THE CAMERA CREW SAID YES

"Revert's off the wall humor, which can be at times amazingly sharp, totally nonsensical, out of third base, or subtle enough to miss if your not paying attention, bring the stories to the level of bizarre fever dreams."
Ray Fracalossy, author of TALES FROM THE VINEGAR WASTELAND