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By the early 1970s, President John F. Kennedy has survived several assassination attempts and-martyred, heroic-is now in his third term. Twenty-two-year-old Eugene Allen returns home from his tour of duty in Vietnam and begins to write a war novel-a book echoing and -about veterans who have their battlefield experiences "enfolded," wiped from their memories through drugs and therapy. In Eugene's fictive universe, veterans too damaged to be enfolded stalk the American heartland, reenacting atrocities on civilians and evading the Psych Corps, a federal agency dedicated to upholding the mental hygiene of the nation by any means necessary.

This alternative America, in which a veteran tries to reimagine a damaged world, is the subject of , the long-awaited first novel by David Means. The critic James Wood has written that Means's language "offers an exquisitely precise and sensuous register of an often crazy American reality." Means brings this talent to bear on the national trauma of the Vietnam era in a work that is outlandish, ruefully funny, and shockingly violent. Written in conversation with some of the greatest war narratives from the to the Rolling Stones' "Gimme Shelter," is a unique and visionary novel.

The best-selling author Carl Hiaasen takes the reins for the eleventh edition of this series, featuring twenty of the past year’s most distinguished tales of mystery, crime, and suspense.

Laura Lippman introduces us to a suburban soccer mom who moonlights as a call girl and who has a fateful encounter with a former client at her son’s soccer game. Ridley Pearson traces a famous author of horror tales who becomes trapped in a real one after his wife vanishes while jogging. Joyce Carol Oates travels to a New Jersey racetrack where the animals that break down are of the two-legged type. Lawrence Block tells the story of Keller, a hitman for hire who happens to live in Greenwich Village, loves spicy food, and collects stamps as a hobby. And Scott Wolven plunges us into the world of an ex-con who takes a job at a private and very illegal Nevada racetrack where each day millions are won and lost. Mostly lost.

As Carl Hiaasen notes in his introduction, “The stories in this collection would do honor to any anthology of short literature. More than transcending the genre of crime, they blow away its nebulous boundaries.” The Best American Mystery Stories 2007 is a powerful collection certain to delight mystery aficionados and all lovers of great fiction.

The PEN/O. Henry Prize Stories 2011 contains twenty unforgettable stories selected from hundreds of literary magazines. The winning tales take place in such far-flung locales as Madagascar, Nantucket, a Midwestern meth lab, Antarctica, and a post-apocalyptic England, and feature a fascinating array of characters: aging jazzmen, avalanche researchers, a South African wild child, and a mute actor in silent films. Also included are essays from the eminent jurors on their favorite stories, observations from the winners on what inspired them, and an extensive resource list of magazines.

Upon its publication, won a Los Angeles Times Book Prize, was nominated for a National Book Critics Circle Award, and received tremendous critical praise. Ranging across America, taking in a breathtaking array of voices and experiences, this story collection now stands as one of the finest of our time.

The Spot is an old blacksmith shed in which three men tweeze apart the intricacies of a botched bank robbery.

The Spot is a park on the Hudson River, where two lovers sense their affair is about to come to an end.

The Spot is at the bottom of Niagara Falls, where the body of a young girl floats as if caught in the currents of her own tragic story.

The Spot is in the ear of a Manhattan madman plagued by a noisy upstairs neighbor.

The Spot is a suburban hospital room in which a young father confronts his son's potentially devastating diagnosis.

The Spot is a dusty encampment in Nebraska where a gang of inept radicals plot a revolution.

The Spot draws thirteen new stories together into a masterful collection that shows David Means at his finest: at once comically detached and wrenchingly affecting, expansive and concise, wildly inventive and firmly rooted in tradition. Means's work has earned him comparisons to Flannery O'Connor (), Alice Munro, Bob Dylan, Jack Kerouac (), Hemingway, Sherwood Anderson (/NPR), Denis Johnson (), Poe, Chekhov, and Carver (), but the spot he has staked out in the American literary landscape is fully and originally his own.

“As our vision becomes more global, our storytelling is stretching in many ways. Stories increasingly change point of view, switch location, and sometimes pack as much material as a short novel might,” writes guest editor Elizabeth Strout. “It’s the variety of voices that most indicates the increasing confluence of cultures involved in making us who we are.” presents an impressive diversity of writers who dexterously lead us into their corners of the world.

In “Miss Lora,” Junot Díaz masterfully puts us in the mind of a teenage boy who throws aside his better sense and pursues an intimate affair with a high school teacher. Sheila Kohler tackles innocence and abuse as a child wanders away from her mother, in thrall to a stranger she believes is the “Magic Man.” Kirstin Valdez Quade’s “Nemecia” depicts the after-effects of a secret, violent family trauma. Joan Wickersham’s “The Tunnel” is a tragic love story about a mother’s declining health and her daughter’s helplessness as she struggles to balance her responsibility to her mother and her own desires. New author Callan Wink’s “Breatharians” unsettles the reader as a farm boy shoulders a grim chore in the wake of his parents’ estrangement.

“Elizabeth Strout was a wonderful reader, an author who knows well that the sound of one’s writing is just as important as and indivisible from the content,” writes series editor Heidi Pitlor. “Here are twenty compellingly told, powerfully felt stories about urgent matters with profound consequences.”