Guilt follows all men—even into the depths of an alien ocean. Kale does what he can to keep men alive, but after three years his own guilt wears. Understaffed, underfunded and little thought of, they complete the terraforming tasks too dangerous for everyone else. Now the scientists have seeded the biggest storm yet, and its arrival will force Kale to finally face his guilt once and for all.

The clue-puzzle, legal thriller, and classic whodunit are just a few of the subgenres within the widely popular crime fiction genre. However, despite its popularity among readers, the crime short story genre has yet to be fully explored by scholars. This book offers a deep-dive into crime short stories written by a wide range of authors, tracing the history and evolution of the crime short story. The book offers an accessible and original examination of crime short stories, focusing on compelling themes such as miscarriage of justice, feminism, environmental crime and toxic masculinity.

Set in Detroit during the Depression, Doerr tells the affecting story of Tom, meant to die of a weak heart before he is 18, who is cossetted by his mother, but shown a world of possibilities by the flame-haired Ruby.

The Voice in the Night, a short story by William Hope Hodgson, has been adapted by the cinema a number of times, most prominently in the 1963 Japanese film “Matango”. It also appeared in Alfred Hitchcock's paperback anthology “Alfred Hitchcock Presents: Stories They Wouldn't Let Me Do on TV”. William Hope Hodgson (1877 – 1918) was an English author that produced essays and novels, that mixes horror, fantastic fiction and science fiction. Hodgson used his experiences at sea to his short stories, many of which are set on the ocean. Hodgson’s single most famous story is probably The Voice in the Night”, where a fisherman’s aboard a ship in the North Pacific, on night watch in a fog-bank, hears a voice call out from the sea. The voice asks for food, but it insists it can come no closer, that it fears the light, and that God is merciful. In payment for the food it tells a frightening tale… The Voice in the Night integrates the collection “Classics of World Literature”, developed by Atlântico Press, a publisher company present in the global editorial market, since 1992.

Short story publishing is flourishing in the 21st century and is no longer seen as a poor relation of the novel. But what is a short story? And how do you write one? Robert Graham takes you through everything you need to know, from how a writer works to crafting and editing your own fiction. This heavily revised edition features new chapters by contemporary fiction writers. Stressing the importance of reading broadly and deeply, the book includes a wide range of prompts and writing exercises. It teaches you how to read as a writer and write like somebody who has read. You will learn the elements of craft you need to produce short stories, and one of the key writer's disciplines: reflecting on your own work. Whether you are a student or an experienced author, this book will teach you how to write short stories – and reflect on the creative processes involved. The book features chapters from writer-teachers James Friel, Rodge Glass, Ursula Hurley, Heather Leach, Helen Newall, Jenny Newman, James Rice and Tom Vowler.

The instant New York Times bestseller and publishing phenomenon: Marina Keegan’s posthumous collection of award-winning essays and stories “sparkles with talent, humanity, and youth” (O, The Oprah Magazine). Marina Keegan’s star was on the rise when she graduated magna cum laude from Yale in May 2012. She had a play that was to be produced at the New York Fringe Festival and a job waiting for her at The New Yorker. Tragically, five days after graduation, Marina died in a car crash. Marina left behind a rich, deeply expansive trove of writing that, like her title essay, captures the hope, uncertainty, and possibility of her generation. Her short story “Cold Pastoral” was published on NewYorker.com. Her essay “Even Artichokes Have Doubts” was excerpted in the Financial Times, and her book was the focus of a Nicholas Kristof column in The New York Times. Millions of her contemporaries have responded to her work on social media. As Marina wrote: “We can still do anything. We can change our minds. We can start over…We’re so young. We can’t, we MUST not lose this sense of possibility because in the end, it’s all we have.” The Opposite of Loneliness is an unforgettable collection of Marina’s essays and stories that articulates the universal struggle all of us face as we figure out what we aspire to be and how we can harness our talents to impact the world. “How do you mourn the loss of a fiery talent that was barely a tendril before it was snuffed out? Answer: Read this book. A clear-eyed observer of human nature, Keegan could take a clever idea...and make it something beautiful” (People).