A UNESCO collection of 17th century Chinese short stories.

Short stories and stories excerpted from longer works, arranged in sections: Boys and girls here and there, Of courage and adventure, Folk tales: animals around the world, When America was younger, Enchantment and wonder, Humor and tall tales, Of man's best friends: horses and dogs, From myths and fables to legend and history.

“He struck a match to look at his watch. In the flare of the light they saw a young woman just at Pitot’s elbow—a young woman dressed all in black, with pale gold hair, and a baby sleeping on her shoulder. She glided to the edge of the bridge and stepped noiselessly off into the black waters.”—from Ghost Stories of Old New Orleans Ghosts are said to wander along the rooftops above New Orleans’ Royal Street, the dead allegedly sing sacred songs in St. Louis Cathedral, and the graveyard tomb of a wealthy madam reportedly glows bright red at night. Local lore about such supernatural sightings, as curated by Jeanne deLavigne in her classic Ghost Stories of Old New Orleans, finds the phantoms of bitter lovers, vengeful slaves, and menacing gypsies haunting nearly every corner of the city, from the streets of the French Quarter to Garden District mansions. Originally printed in 1944, all forty ghost stories and the macabre etchings of New Orleans artist Charles Richards appear in this new edition. Drawing largely on popular legend dating back to the 1800s, deLavigne provides vivid details of old New Orleans with a cast of spirits that represent the ethnic mélange of the city set amid period homes, historic neighborhoods, and forgotten taverns. Combining folklore, newspaper accounts, and deLavigne’s own voice, these phantasmal tales range from the tragic—brothers, lost at sea as children, haunt a chapel on Thomas Street in search of their mother—to graphic depictions of torture, mutilation, and death. Folklorist and foreword contributor Frank A. de Caro places the writer and her work in context for modern readers. He uncovers new information about deLavigne’s life and describes her book’s pervasive lingering influence on the Crescent City’s culture today.

Vivian Manasc, one of the founders of Manasc Isaac Architects, has pioneered sustainable architecture in Canada. Her work in partnership with Indigenous communities has been her greatest inspiration, and it has transformed the very nature of her practice. Through the profound lessons of the seven Grandfather Teachings, Vivian came to understand that the process of planning and designing a building should be a circle, with the beginning and end of the story linked together. The stories Vivian tells in Old Stories, New Ways are also framed by these teachings of Courage, Love, Wisdom, Respect, Truth, Humility and Honesty, with each teaching illuminating an aspect of how working with Dene, Cree, Saulteaux, Métis, Inuit and Inuvialuit communities has influenced her design practice.

From Genesis to the Book of Daniel, this ebook recounts 35 stories from the Old Testament in a modern and inviting way, combining spirited illustrations with spare, eloquent prose. Acclaimed illustrator Serge Bloch expertly captures the many scenes in these beloved tales, conveying extraordinary breadth of emotion and action in his seemingly simple drawings. Biblical expert Frédéric Boyer and poet and translator Cole Swensen contribute accessible and enlightening text, further illuminating the stories with notes on their history and symbolism. Full of contemporary resonance, here are universal stories of love, anger, betrayal, faith, and courage—revealed in a way that encourages readers of all ages and faiths to engage with them anew.

Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.

Presented here are nine tales from the celebrated Ming dynasty Sanyan collection of vernacular stories compiled and edited by Feng Menglong (1574–1646), the most knowledgeable connoisseur of popular literature of his time in China. The stories he collected were pivotal to the development of Chinese vernacular fiction, and their importance in the Chinese literary canon and world literature has been compared to that of Boccaccio’s Decameron and the stories of One Thousand and One Nights. Peopled with scholars, emperors, ministers, generals, and a gallery of ordinary men and women in their everyday surroundings—merchants and artisans, prostitutes and courtesans, matchmakers and fortune-tellers, monks and nuns, servants and maids, thieves and imposters—the stories provide a vivid panorama of the bustling world of imperial China before the end of the Ming dynasty. The three volumes constituting the Sanyan set—Stories Old and New, Stories to Caution the World, and Stories to Awaken the World, each containing forty tales—have been translated in their entirety by Shuhui Yang and Yunqin Yang. The stories in this volume were selected for their popularity with American readers and their usefulness as texts in classes on Chinese and comparative literature. These unabridged translations include all the poetry that is scattered throughout the original stories, as well as Feng Menglong’s interlinear and marginal comments, which point out what seventeenth-century readers of the stories were being asked to appreciate.