Philon, heir to a pirate empire, is determined to take a wife. And not just any wife either. No, he has set his eyes on Arianna Delora, a green-eyed beauty with a tongue as swift as her blade. Unfortunately, Arianna also happens to be the only child of his father's mortal enemy, but such details do not deter Philon.
Tonight, Arianna is supposed to undertake the sacred ritual that will turn her from a girl into a woman. This ritual is the most important night of her life, but Arianna is uncertain. She enjoys the free life of a pirate and she does not want to give it up for the so-called joys of womanhood. Nor is she thrilled when Philon, son of her father's sworn enemy, suddenly shows up at the ritual, babbling about making her his wife.
This is a short story of 4800 words or approx. 16 print pages.
Beatrice Harraden (1864-1936) was a British writer and suffragette. "The Umbrella-Mender" is a disturbing tale about an eccentric man who runs a repair shop for umbrellas. One evening he is surprised by a knock at the door. Outside is a man who tells the umbrella-mender that his son is on his death-bed and wishes to see his father. The umbrella-mender sets off at once with the stranger. In the course of their conversation on the journey, the stranger explains that he himself has murdered the umbrella-mender's son. The tension between the two men and the need for revenge, atonement and closure forms the rest of the story and the story has multiple twists and surprises.
In a rundown farmhouse near isolated, rural Dunwich, a bizarre family conjures and nurtures an evil entity from another realm, with the purpose of destroying the world and delivering it to ancient gods to rule, and only an aged university librarian can stop them. The Dunwich Horror was first published in 1929 in Weird Tales.
Thomas Anstey Guthrie (1856-1934) was an English novelist and journalist who wrote his comic novels under the pseudonym F. Anstey.'Mrs. Brassington-Claypott's Children's Party' is a humorous tale of a family trying to keep up with their social set in hosting a children's party. Ambitious and snobbish but somewhat restricted financially, Mrs. Brassington-Claypott agrees to her maid's recommendation of a conjurer with whom she is acquainted...and when he agrees to perform unpaid, the hostess jumps at the chance.But the conjurer is not at all like anyone expected...and things quickly get out of control....
“Outstanding” stories from the bestselling author—“as though David Lynch had been let loose on the set of a drawing-room comedy” (The Times). The Museum of Doubt is a collection of surreal and unnerving short stories from award-winning writer James Meek. The array of characters who populate Meek’s vague and elusive worlds are driven by paranoia and doubts, as well as hopes and fears of things only half-glimpsed. “Ricochets between the supernatural and the suburban throughout . . . the writing fizzes . . . This is true experimental writing: careless of taboo, teeming with ideas, elusive yet utterly controlled.” —The Guardian “The maniac energy of Kerouac pulses throughout the prose, but there is also a hallucinatory horror and hyper-realist constraint miraculously balanced in a manner which suggests the perfect fusion of Kafka and Kelman.” —Scotsman “Demanding and rewarding, lyrical and vernacular, smart and entertaining.” —Times Literary Supplement “Bristling with wit and invention, these tales are full of hair-brained schemes, hair-raising moments, and incredibly close shaves . . . tongue-twisting wordplay, clipped dialogue and well-groomed characters . . . These stories are all collector’s items.” —The Sunday Herald “Stories of antler eaters, fish smokers and suburban psychopaths make up this often startling and always disturbing collection.” —Duncan McLean, author of Bunker Man “One of the country’s finest writers.” —GQ
More than sixty stories, poems, and essays are included in this wide-ranging collection by the extravagantly versatile Raymond Carver. Two of the stories—later revised for What We Talk About When We Talk About Love—are particularly notable in that between the first and the final versions, we see clearly the astounding process of Carver's literary development.
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