Fiction

INSISTENT VISIONS SERIES

The Insistent Visions series is a collection dedicated to returning to print neglected supernatural fiction, mysteries, science fiction, and adventure stories from the nineteenth century into affordable editions.

Image of the front cover of The Library Window.

“The big diamond blazed underneath in the hollow of her hand, like some dangerous thing hiding and sending out darts of light. The hand, which seemed to come almost to a point, with this strange ornament underneath, clutched at my half-terrified imagination…I felt as if it might clutch me with sharp claws, and the lurking, dazzling creature bite–with a sting that would go the heart.”

THE LIBRARY WINDOW, Margaret Oliphant

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Image of the front cover of A Study of Destiny.

“In a few hours I feel certain that my lips will be silent forever. I am impelled to make this confession by a reason that my story itself will explain, but should it so happen by any extraordinary circumstance that you should yet escape, I ask you as a last act of kindness to leave my body forever in this place.”

A STUDY OF DESTINY, Cheiro (Count Louis Hamon)

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Image of the front cover of The Caves of Death.

“The long, ghostly train wound slowly down the hill, and traversing the space at its foot, disappeared in a cave which yawned opposite. Would it ever end? Hundreds and hundreds of these hearses, half seen, imponderable as a mountain mist, vanished through the mouth of the cave….It was the funeral train of the souls of the dead, coming from the graves of their bodies…”

THE CAVES OF DEATH AND OTHER STORIES, Gertrude Atherton

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Image of the front cover of The Dead Hand and the Bride's Chamber.

“Paler in the pale light, more colourless than ever in the leaden dawn, he saw her coming, trailing herself along the floor towards him–a white wreck of hair, and dress, and wild eyes, pushing itself on by an irresolute and bending hand. “O, forgive me! I will do anything. O, sir, pray tell me I may live.”” –Charles Dickens, The Bride’s Chamber

Wilkie Collins (1824-1889) was a popular English author of some twenty-seven novels and fifty short stories. His best-known novels are The Moonstone and The Woman in White.

Charles Dickens (1812-1870) remains the most popular and influential of Victorian writers. Many of his books have become worldwide classics, including Oliver Twist, David Copperfield, and A Christmas Carol.

The Dead Hand by Wilkie Collins, and The Bride’s Chamber by Charles Dickens

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Image of the front cover of The Case of Charles Dexter Ward.

“I know how you wove the spell that brooded outside the years and fastened on your double and descendant; I know how you drew him into the past and got him to raise you up from your detestable grave; I know how he kept you hidden in his laboratory while you studied modern things and roved abroad as a vampire by night;….I know what you resolved to do when he balked at your monstrous rifling of the world’s tombs, and at what you planned afterward, and I know how you did it.”

THE CASE OF CHARLES DEXTER WARD, H.P. Lovecraft




SHORT STORY COLLECTIONS & ANTHOLOGIES

Image of the front cover of Ms Yamada's Toaster.

Winner of the 2008 Danahy Fiction Prize, a short story by Kelly Luce.

MS. YAMADA’S TOASER, Kelly Luce




Image of the front cover of Looking Backwards to Nowhere.

From the introduction: “Edward Bellamy’s LOOKING BACKWARD and William Morris’s NEWS FROM NOWHERE provide contrasting and nearly opposite visions of ideal communities in which equal distribution of wealth, equal rights for individuals, and general health and happiness prevail…. Contemporary readers will find challenging ideas and ample subjects for debate in these two visions of utopia. In the end, they demonstrate how difficult it is to agree on what constitutes the perfect social life. They show us how easy it is for one person’s utopian vision to be regarded by another as dystopian. They summon us to engage our own imaginations as we stretch to discover the strengths and shortcomings of what others have conceived as more perfect modes of living, and not to shrink from utopian ideas within the context of our own familiar and persistently imperfect present lives.”

LOOKING BACKWARD TO NOWHERE, TWO VISIONS OF UTOPIA, Edward Bellamy & William Morris




Image of the front cover of The End of a Good Party.

“Character is Jean Justice’s passion, and she makes it ours. The people she writes about, whether young or old, small town folk or urban academics, whether foolish or wistful or resigned—are tested in a world where the past remains unredeemed and, as always, irrecoverable. These are stories you read with a catch in your throat.” –Robert Dana 

THE END OF A GOOD PARTY AND OTHER STORIES Jean Ross Justice

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Image of the front cover of The Expert Witness.

“A gorgeous collection of deeply humane, quietly comic stories. Each tale is marked by profound compassion and wisdom.” –Dennis Lehane

“The writing is effortless and cuts quick and deep, one minute leaving you breathless with surprise, while the next you are aching with melancholy or chuckling out loud.” –James W. Hall

THE EXPERT WITNESS, Peter Meinke Drawings by Jeanne Clark Meinke

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Image of the front cover of Where Garagiola Waits.

“The stories in Rick Wilber’s Where Garagiola Waits are about baseball the way that Ray Bradbury’s The Martian Chronicles is about Mars. Baseball is the topic that affords Wilber access to the human heart, to memory, desire, hope, regret, love, and loss. It doesn’t hurt to have baseball in your blood to appreciate these stories, but anyone who has a functioning soul will resonate with these glimpses of American fantasy and reality.” –John Kessel

WHERE GARAGIOLA WAITS, Rick Wilber

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Image of the front cover of Willis T. Crossman's Vermont.

“These stories by W. Paul Cook (1880-1948)—written under the pen name Willis T. Crossman—first appeared in the 1930s and 1940s in newspapers, literary magazines, and a dozen books and booklets printed in very small numbers. Their limited circulation all but destined the stories to be lost and forgotten. But Paul Cook wouldn’t have produced them otherwise. Throughout his life he showed little inclination to profit from what he wrote and published. The Crossman books and pamphlets, set in type and printed by his own hands, impress one, above all else, as labors of love. Years earlier he’d published a magazine with the revealing motto: “For Love Only. Not For Sale.” That principle guided much of what he did throughout a long career as a professional and amateur printer. Love is evident in these stories and in the original printed items themselves: love his native Vermont’s history, her land, and especially her people.” –from the introduction by Sean Donnelly

WILLIS T. CROSSMAN’S VERMONT, W. Paul Cook

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PLAYS

Image of the front cover of A Map of Doubt and Rescue.

A winner of the Pinter Review Prize for Drama.

A Map of Doubt and Rescue is one of those rare works of art in which structure and meaning come together perfectly, taking its audience on a journey, in which, to paraphrase T.S. Eliot, we return to the place from which we began and know it fully for the first time. That theatrical journey celebrates art, vision, forgiveness, and above all our human interconnectedness which exists despite the limits of individual perspective. We leave the theatre assured that our private rooms open onto larger vistas which touch and are touched by all humanity. It is a remarkable, lyrical achievement in theatre.” –Francis Gillen

A MAP OF DOUBT AND RESCUE, a play by Susan Miller




Image of the front cover of Madagascar.

A winner of the Pinter Review Prize for Drama.

“With gorgeously wrought, resonant prose, J.T. Rogers has fashioned a singular and haunting detective story; one which suggests that life’s greatest challenge isn’t merely solving mysteries. Rather, it is to live tolerably among them, in a world without definitive answers. Madagascar is a potent, lyrical play by a writer of considerable craft.” –Doug Wright

MADAGASCAR, a play by J.T. Rogers




Image of the front cover of Manifest.

“How does one portray the unthinkable, the unspeakable: the Holocaust? Brian Silberman’s brilliant new play Manifest, which he daringly calls “a theatrical vaudeville,” approaches this unthinkable event from many perspectives, each of which in some way undercuts the others so that the audience is left finally with nothing so much as an appropriate silence, an emptiness, which is yet not without hope, for the many attempts to dramatize are in themselves defiance, and in their individual inadequacies the only possible history….” –Francis Gillen

MANIFEST, a play by Brian Silberman




Image of the front cover of The Toxic Wave and The Dressing Room.

“Both plays share a powerful social conscience–something we are not finding these days in so much theater that burrows inward….These plays, on the other hand, are shockingly real, coming to us in an era when our sensibilities have become hardened by war, violence, injustice, and when too many want to turn their heads away. Hussey insists on putting the issues before us–whether it is the senseless death of two boys arising out of greed and indifference, or the tragic death of one person by AIDs, representing really the death of millions in our world. The dialogue has life and the characters are real….” –Howard Zinn

THE TOXIC WAVE & THE DRESSING ROOM, two plays by Susan Hussey