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“I talk like a lady who knows what she wants” is how the vagrant begins her story in “Trailer Girl”. As she struggles to rescue what she says is a wild girl hiding in the gully, the neighbors become more certain than ever that the child is imaginary--until there’s a murder. Stark and disturbing, “Trailer Girl” is the story of cycles of child abuse and the dream to escape them. In “Psychic”, a clairvoyant knows she’s been hired by a murderer, in “Leadership” a tiny spaceship lands between a boy and his parents, in “Venice”, a woman performs the Heimlich maneuver on an ex-husband, then flees by gondola, and in “White”, a grandfather explains to his grandson how a family is like a collection of chicken parts. Frequently violent, always passionate, these often short short stories are full-strength, as strong and precise as poetry.
“I talk like a lady who knows what she wants” is how the vagrant begins her story in “Trailer Girl”. As she struggles to rescue what she says is a wild girl hiding in the gully, the neighbors become more certain than ever that the child is imaginary--until there’s a murder. Stark and disturbing, “Trailer Girl” is the story of cycles of child abuse and the dream to escape them. In “Psychic”, a clairvoyant knows she’s been hired by a murderer, in “Leadership” a tiny spaceship lands between a boy and his parents, in “Venice”, a woman performs the Heimlich maneuver on an ex-husband, then flees by gondola, and in “White”, a grandfather explains to his grandson how a family is like a collection of chicken parts. Frequently violent, always passionate, these often short short stories are full-strength, as strong and precise as poetry.
National Book Award winner M. T. Anderson returns to future Earth in a sharply wrought satire of art and truth in the midst of colonization. When the vuvv first landed, it came as a surprise to aspiring artist Adam and the rest of planet Earth — but not necessarily an unwelcome one. Can it really be called an invasion when the vuvv generously offered free advanced technology and cures for every illness imaginable? As it turns out, yes. With his parents’ jobs replaced by alien tech and no money for food, clean water, or the vuvv’s miraculous medicine, Adam and his girlfriend, Chloe, have to get creative to survive. And since the vuvv crave anything they deem classic Earth culture (doo-wop music, still life paintings of fruit, true love), recording 1950s-style dates for the vuvv to watch in a pay-per-minute format seems like a brilliant idea. But it’s hard for Adam and Chloe to sell true love when they hate each other more with every passing episode. Soon enough, Adam must decide how far he’s willing to go — and what he’s willing to sacrifice — to give the vuvv what they want.
The #1 international bestselling debut novel about the wisdom of the very young, the mischief of the very old, and the magic that happens along the way Millie Bird, seven years old and ever hopeful, always wears red gumboots to match her curly hair. Her struggling mother, grieving the death of Millie's father, leaves her in the big ladies' underwear department of a local store and never returns. United at this fateful moment with two octogenarians seekers, she embarks with them upon a road trip to find Millie's mother. Together they will discover that old age is not the same as death, that the young can be wise, and that letting yourself feel sad once in a while just might be the key to a happy life.
A spectacular new anthology of the best short-short fiction from across the United States. It has been more than thirty years since the term “flash fiction” was first coined, perfectly describing the power in the brevity of these stories, each under 1,000 words. Since then, the form has taken hold in the American imagination. For this latest installment in the popular Flash Fiction series, James Thomas, Sherrie Flick, and John Dufresne have searched far and wide for the most distinctive American voices in short-short fiction. The 73 stories collected here speak to the diversity of the American experience and range from the experimental to the narrative, from the whimsical to the gritty. Featuring fiction from writers both established and new, including Aimee Bender, K-Ming Chang, Bonnie Jo Campbell, Bryan Washington, Robert Scotellaro, and Luis Alberto Urrea, Flash Fiction America is a brilliant collection, radiating creativity and bringing together some of the most compelling and exciting contemporary writers in the United States.
This big-hearted story of kindness—reminiscent of The Day the Crayons Quit—is written by the bestselling author of Ordinary People Change the World and illustrated by the Caldecott Medal-winning creator of Beekle. Sunday quit, just like that. She said she was tired of being a day. And so the other days of the week had no choice but to advertise: "WANTED: A NEW DAY. Must be relaxing, tranquil, and replenishing. Serious inquires only." Soon lots of hopefuls arrived with their suggestions, such as Funday, Bunday, Acrobaturday, SuperheroDay, and even MonstersWhoResembleJellyfishDay! Things quickly got out of hand . . . until one more candidate showed up: a little girl with a thank-you gift for Sunday. The girl suggested simply a nice day--a day to be kind. And her gratitude made a calendar's worth of difference to Sunday, who decided she didn't need to quit after all. When we appreciate each other a little bit more, all the days of the week can be brand-new days where everything is possible.
A peg-legged youngster uses his bartering skills to trade for sails, anchors, a ship's wheel and other necessary supplies to fix his ship and make a friend in the process.
A trio of friends from New York City find themselves trapped inside a mechanical board game that they must dismantle in order to save themselves and generations of other children in this action-packed debut that’s a steampunk Jumanji with a Middle Eastern flair. Nothing can prepare you for The Gauntlet… It didn’t look dangerous, exactly. When twelve-year-old Farah first laid eyes on the old-fashioned board game, she thought it looked…elegant. It is made of wood, etched with exquisite images—a palace with domes and turrets, lattice-work windows that cast eerie shadows, a large spider—and at the very center of its cover, in broad letters, is written: The Gauntlet of Blood and Sand. The Gauntlet is more than a game, though. It is the most ancient, the most dangerous kind of magic. It holds worlds inside worlds. And it takes players as prisoners.
O Pioneers! was oh so long ago, and yet Willa Cather's masterpiece has proven to be an enduring template for readers' notions of Nebraska writing. The short stories collected here, so richly various in style, theme, and subject matter, should put an end to any such plain thinking about writing from this anything-but-plain state. Nebraska writers all, the authors explore the Midwest, a vastness of small towns, corn, cattle, football, and family businesses. They also venture far afield, to desolate western lives, crowded urban relationships, poignant couplings, comic families, and the worldly idiosyncrasies of characters everywhere. Whether about aging or coming-of-age, leave-taking or coming home, falling apart or finding love, these stories represent contemporary fiction at its best, from the high style of Richard Dooling's "Immortal Man" to Kent Haruf's soft-spoken "Dancing," from Ron Hansen's "My Communist" to Jonis Agee's earthy, offbeat "Binding the Devil." Original, spirited, and surprising, these contemporary writings depict a modern world on the move and extend the tradition of great fiction from Nebraska into the twenty-first century.