Seventeen-year-old Kate Moran wakes one morning to the beginnings of a head cold but shrugs it off and goes to school anyway. By her midmorning art class, Kate's runny nose gives way to violent seizures and a hideous scene of self-cannibalization. She dies soon after. When a homeless man meets a similarly gruesome — and mystifying — fate, the Centers for Disease Control in Atlanta sends pathologist Alice Austen to investigate. What she uncovers is the work of a killer, a man who calls himself Archimedes and is intent on spreading his deadly Cobra virus throughout New York City. A silent crisis erupts, with Austen and a secret FBI forensic team rushing to expose the terrorist.

Even more frightening than Preston's story about the fictitious Cobra virus, however, is the truth that lies beneath it. As the author writes in his introduction, "The nonfiction roots of this book run deep.... My sources include eyewitnesses who have seen a variety of biological-weapons installations in different countries, and people who have developed and tested strategic bioweapons." In fact, the only reason The Cobra Event was not written as nonfiction is that none of Preston's sources would go on record.

Woven throughout the novel are sections of straight nonfiction reporting that reveal the terrifying truth about the development of biological weapons and the clandestine operations of Russia and Iraq. Three years of research and more than 100 interviews with high-level sources in the FBI, the U.S. military, and the scientific community went into The Cobra Event. The result is sure to shock you.

In the thirteen stories gathered for this volume, Irving evokes the colorful landscapes of his Hudson Valley hometown, and conjures characters and creatures from its historical past for a unique kind of weird tale that speaks directly to America's experience as a fledgling nation fashioning its own folk heritage.

Selections include

This volume includes several if Irving's fanciful retellings of classic continental folktales and legends. As colorful and imaginative as any of his American tales, they reveal Irving to have been one of the most creative writers to have bridged the European and American Gothic traditions.

The first great adventure story in the Western canon, The Odyssey is a poem about violence and the aftermath of war; about wealth, poverty, and power; about marriage and family; about travelers, hospitality, and the yearning for home.

In this fresh, authoritative version—the first English translation of The Odyssey by a woman—this stirring tale of shipwrecks, monsters, and magic comes alive in an entirely new way. Written in iambic pentameter verse and a vivid, contemporary idiom, this engrossing translation matches the number of lines in the Greek original, thus striding at Homer’s sprightly pace and singing with a voice that echoes Homer’s music.

°Âľ±±ô˛ő´Ç˛Ô’s Odyssey captures the beauty and enchantment of this ancient poem as well as the suspense and drama of its narrative. Its characters are unforgettable, from the cunning goddess Athena, whose interventions guide and protect the hero, to the awkward teenage son, Telemachus, who struggles to achieve adulthood and find his father; from the cautious, clever, and miserable Penelope, who somehow keeps clamoring suitors at bay during her husband’s long absence, to the “complicatedâ€� hero himself, a man of many disguises, many tricks, and many moods, who emerges in this translation as a more fully rounded human being than ever before.

A fascinating introduction provides an informative overview of the Bronze Age milieu that produced the epic, the major themes of the poem, the controversies about its origins, and the unparalleled scope of its impact and influence. Maps drawn especially for this volume, a pronunciation glossary, and extensive notes and summaries of each book make this an Odyssey that will be treasured by a new generation of scholars, students, and general readers alike.