Short stories filled with “satire, mischief, and menace” by the author of The Talented Mr. Ripley (Harper’s Bazaar). These ten stories chronicle a world gone slightly mad, with dark, inventive takes on environmental degradation, apocalyptic disaster, political chaos, religious conservatism, and more. From a winner of both an O. Henry Award and a Silver Dagger Award, among other honors, and the author of Strangers on a Train, the basis for the classic Hitchcock film, this collection of short fiction is filled with “afterimages that will tremble—but stay—in our minds” (The New Yorker). “Whereas we read Stephen King or Ruth Rendell to relish the thrills that come from carefully controlled verbal terror, Highsmith is not to be taken so lightly. She conveys a firm, unshakable belief in the existence of evil—personal, psychological, and political. . . . The genius of Tales—and all of Highsmith’s writing—is that it is at once deeply disturbing and exhilarating.” —The Boston Phoenix “Combining the best features of the suspense genre with the best of existential fiction . . . The stories are fabulous, in all senses of that word.” —Paul Theroux

Originally published in Great Britain by Polar Press Limited.

"A border zone of the macabre, the disturbing, the not-quite accidental." —John Gross, New York Times Book Review Horrific tragedy becomes disturbingly ordinary in The Black House, a masterful collection of short stories, written during a particularly dark time in Patricia Highsmith's life. As readers will discover, the work eerily evokes the warm familiarities of suburban life: the manicured lawns, the white picket fences, and the local pubs, each providing the backbone for her chilling portraits. Seemingly small indiscretions and infidelities—along with love affairs and murder—consume the characters that commit them. Cycles of destructive jealousy overwhelm the cheating protagonists of "Blow It" and "When in Rome," and the title story explores small-town male camaraderie and the destructive secret it masks. This enthralling collection of eleven stories presents Highsmith at her finest: melancholy, suspenseful, and sizzling with a powerful awareness of human emotion.

With the savage humor of Waugh and the macabre sensibility of Poe, Patricia Highsmith (1921-1995) brought a distinctly contemporary acuteness to her prolific body of noir fiction. Including over 60 short stories written throughout her career, this collection reveals the stunning versatility and terrifying power of her work.

This book examines how to ensure that the preventive measures are worthwhile and effective, and how people can make decisions individually and collectively at different levels of government.

Read a free excerpt here! American engineers have done astounding things to bend the Mississippi River to their will: forcing one of its tributaries to flow uphill, transforming over a thousand miles of roiling currents into a placid staircase of water, and wresting the lower half of the river apart from its floodplain. American law has aided and abetted these feats. But despite our best efforts, so-called “natural disasters” continue to strike the Mississippi basin, as raging floodwaters decimate waterfront communities and abandoned towns literally crumble into the Gulf of Mexico. In some places, only the tombstones remain, leaning at odd angles as the underlying soil erodes away. Mississippi River Tragedies reveals that it is seductively deceptive—but horribly misleading—to call such catastrophes “natural.” Authors Christine A. Klein and Sandra B. Zellmer present a sympathetic account of the human dreams, pride, and foibles that got us to this point, weaving together engaging historical narratives and accessible law stories drawn from actual courtroom dramas. The authors deftly uncover the larger story of how the law reflects and even amplifies our ambivalent attitude toward nature—simultaneously revering wild rivers and places for what they are, while working feverishly to change them into something else. Despite their sobering revelations, the authors’ final message is one of hope. Although the acknowledgement of human responsibility for unnatural disasters can lead to blame, guilt, and liability, it can also prod us to confront the consequences of our actions, leading to a liberating sense of possibility and to the knowledge necessary to avoid future disasters.