Andre

September 1913. A young Pole suffering from tuberculosis arrives at Wilhelm Opitz’s Guesthouse for Gentlemen in the village of Görbersdorf, a health resort in the Silesian mountains. Every evening the residents gather to imbibe the hallucinogenic local liqueur and debate the great issues of the day: Monarchy or democracy? Do devils exist? Are women born inferior? War or peace? Meanwhile, disturbing things are happening in the guesthouse and the surrounding hills. Someone—or something—seems to be watching, attempting to infiltrate this cloistered world.

“There have never been as many exquisitely built stories in existence than there are now,” proclaims guest editor Lauren Groff in her introduction. This abundance led to a volume of robust stories with the nerve to push against narrative expectations. The Best American Short Stories 2024 boasts a collection of twenty stories that “buzz with their own strange logic.” Daring and resonant, the stories in this volume invite in Groff “a feeling that both the author and I were simultaneously discovering something together.”

In 1938 Maugham wrote, "Fact and fiction are so intermingled in my work that now, looking back on it, I can hardly distinguish one from the other." Maugham also wrote that most of his short stories were inspired by accounts he heard firsthand during his travels to the lonely outposts of the British Empire. In volume three of this series, we present all of the remaining short stories which Maugham published after World War I and which he subsequently caused to be republished in various collections.

William Somerset Maugham (1874�1965) was born at the height of British imperial power. When he died, the British Empire was all but a memory. In Maugham's lifetime, as his civilization slowly disappeared, people from all walks of life, the proud, the urbane, the crude, and the desperate, passed beneath the lens of his dispassionate scrutiny. Transformed into some of the most unforgettable literary works of the 20th century, his experiences re-emerged in his plays, fiction, and essays.

We meet our ill-tempered protagonist—the story’s titular “brat”—at a low moment, but not yet at rock bottom. The Gabriel of the novel is mourning the death of his father as well as a recent breakup and struggling to finish writing his second book. Alone and aimless, he agrees to move back into his parents’ house to clear it out for sale. Here, the clichés end.

Continuing a century-long tradition of cutting-edge literary excellence, this year's edition contains twenty prizewinning stories chosen from the thousands published in magazines over the previous year. Guest editor Lauren Groff has brought her own refreshing perspective to the prize, selecting stories by an engaging mix of celebrated names and emerging voices and including several stories in translation.

Returning to the city that inspired his first prize-winning book, Lost in the City, Jones has filled this new collection with people who call Washington, D.C., home. Yet it is not the city's power brokers that most concern him but rather its ordinary citizens.

In June 1917, W. S. Maugham was asked by the British Secret Intelligence Service, to undertake a special mission in Russia to support Kerensky's government. The mission failed, and two and a half months later, the Bolsheviks took control. Maugham subsequently said that if he had been able to get there six months earlier, he might have succeeded. Quiet and observant, Maugham had a good temperament for intelligence work. The writer used his spying experiences as the basis for his collection of short stories called Ashenden: Or the British Agent. They became the prototype for the modern espionage novel.

Disability is not just the story of someone we love or the story of whom we may become; rather it is undoubtedly the story of our nation. Covering the entirety of US history from pre-1492 to the present, A Disability History of the United States is the first audiobook to place the experiences of people with disabilities at the center of the American narrative. In many ways, it’s a familiar telling. In other ways, however, it is a radical repositioning of US history. By doing so, the book casts new light on familiar stories, such as

A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write?