The highly acclaimed new play by the author of Sight Unseen and The Model Apartment .

From his first published story in the Paris Review in 1968, James Salter's stories have been universally acclaimed. Including his two published collections, Dusk and Other Stories (1988) and Last Night (2005), and the previously uncollected 'Charisma', this volume contains over twenty short stories by one of the finest writers of our time. Concerning men and women in their most intimate moments, struggling with loss, desire, or the burden of memory, each indelible narrative in the Collected Stories is marked by James Salter's great literary grace, his ability to show the subtleties of a character or situation with precision, and his equally assured ability to command reversals of fortune or shocking revelations.

This definitive collection establishes Williams as a major American fiction writer of the twentieth century. Tennessee Williams’ Collected Stories combines the four short-story volumes published during Williams’ lifetime with previously unpublished or uncollected stories. Arranged chronologically, the forty-nine stories, when taken together with the memoir of his father that serves as a preface, not only establish Williams as a major American fiction writer of the twentieth century, but also, in Gore Vidal’s view, constitute the real autobiography of Williams’ "art and inner life."

Collected Stories includes both volumes of the National Book Award–winning author Shirley Hazzard’s short-story collections—Cliffs of Fall and People in Glass Houses—alongside uncollected works and two previously unpublished stories Shirley Hazzard's Collected Stories is a work of staggering breadth and accomplishment. Taken together, these twenty-eight short stories are masterworks in telescoping focus, ranging from quotidian struggles between beauty and pragmatism to satirical send-ups of international bureaucracy, from the Italian countryside to suburban Connecticut. Hazzard's heroes are high-minded romantics who attempt to fit their feelings into the twentieth-century world of office jobs and dreary marriages. After all, as she writes in "The Picnic," "It was tempting to confine oneself to what one could cope with. And one couldn't cope with love." And yet it is the comedy, the tragedy, and the splendor of love, the pursuit and the absence of it, that animates Hazzard's stories and provides the truth and beauty that her protagonists seek. Hazzard once said, "The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature." Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising, and deeply felt.

Sweeping through crumbling towns, travelling fairs and windswept ports, Gabriel Garcia Marquez introduces a host of extraordinary characters and communities in his magical tales of everyday life."

New to Penguin Classics, the remarkable, devastating collected stories by the author of Wide Sargasso Sea. Some of Jean Rhys's most powerful writing is to be found in this rich, dark collection of her collected stories. Her fictional world is haunted by her own, painful memories: of cheap hotels and drab Parisian cafés; of devastating love affairs; of her childhood in Dominica; of drifting through European cities, always on the periphery and always perilously close to the abyss. Rendered in extraordinarily vivid, honest prose, these stories show Rhys at the height of her literary powers and offer a fascinating counterpoint to her most famous novel, Wide Sargasso Sea. This volume includes all the stories from her three collections,The Left Bank (1927), Tigers Are Better-Looking (1968) and Sleep It Off, Lady (1976).

Collected Stories includes both volumes of National Book Award-winning author Shirley Hazzard's short story collections - Cliffs of Fall and People in Glass Houses - alongside uncollected works and two previously unpublished stories. Twenty-eight works of short fiction in all, Shirley Hazzard's Collected Stories is a work of staggering breadth and talent. Taken together, Hazzard's short stories are masterworks in telescoping focus, 'at once surgical and symphonic' (New Yorker), ranging from quotidian struggles between beauty and pragmatism to satirical sendups of international bureaucracy, from the Italian countryside to suburban Connecticut. In an interview, Hazzard once said, 'The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature'. Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising and deeply felt.