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Johann Christoph Friedrich Schiller was born on 10th November 1759, in Marbach, Württemberg, the sole son of six children, into a very religious family. Although primarily admired for his plays Schiller also wrote histories, poetry and some notable translations. In his short story ‘The Criminal from Lost Honour’ the layers of a man’s life are examined as perhaps only Schiller and his literary genius can.

During the Victorian era the publishing of magazines and periodicals accelerated at a phenomenal rate. This really was mass market publishing to a hungry audience eager for literary sustenance. Many of our greatest authors contributed and expanded their reach whilst many fledging authors also found a ready source for their nascent works and careers. Amongst the very many was ‘The Yellow Book’.

William Sydney Porter was born on 11th September 1862 in Greensboro, North Carolina. At age 3 his mother died from tuberculosis. From an early age it was clear Porter had a large appetite for reading as he absorbed the world around him. He was a member of several singing and dramatic groups when he met 17 year old Athol Estes, daughter of a wealthy Austin family. Despite her mother’s objection owing to Athol’s tuberculosis, they began courting and in July 1887, they eloped and soon married.

William Sydney Porter was born on 11th September 1862 in Greensboro, North Carolina. At age 3 his mother died from tuberculosis. From an early age it was clear Porter had a large appetite for reading as he absorbed the world around him. He was a member of several singing and dramatic groups when he met 17 year old Athol Estes, daughter of a wealthy Austin family. Despite her mother’s objection owing to Athol’s tuberculosis, they began courting and in July 1887, they eloped and soon married.

Stefan Zweig was born on the 28th November 1881 in Vienna, then part of the Austro-Hungarian Empire, and into a wealthy Jewish family with interests in banking and textiles. Zweig first published in 1900 and two decades later was a popular and highly regarded author in many parts of the world, although not in England. He was also the librettist with Richard Strauss of two operas and a keen collector of autographed musical manuscripts. His collection of over two hundred pieces was later donated to the British Library.

Short stories have always been a sort of instant access into an author’s brain, their soul and heart. They can lift our lives into locations, people and experiences with a sweep of landscape, narration, feelings and emotions that is difficult to achieve elsewhere. Jack London is widely regarded as one of America’s pre-eminent writers of the great outdoors. His stories are raw and, at times, harrowing, but always dependable fare. His work also includes stories on pandemics and bizarre scientific experiments. An author so much more than the usual wrapper proclaims.

The bookshelves of American literature are incredible collections that have gathered together centuries of very talented authors. From this continent their fame spread and whilst among their number many are now forgotten or neglected their talents endure. Among them is the talented but obscure authoress Regina Miriam Bloch.

Ryūnosuke Niihara was born in Kyōbashi, Tokyo in Japan on the 1st March 1892. Sadly, his mother suffered severe mental illness after his birth and so, at only eight months old, he was sent to be raised by his maternal uncle and aunt, from whom he received the Akutagawa family name. Akutagawa published "Rashōmon" in 1915 and whilst it was disliked by his friends everyone else knew better. As other short stories followed so did his growing literary reputation as the father of the Japanese short story.

Murder comes in two familiar forms. Whether as a crime of passion with high emotions or a cold dispassionate plot to take life in order to gain in some way, the act strikes us all as somehow inhuman. Beneath us as civilised beings. But however we cloak our animal instincts the need to remove a human being and gain relief from abuse or gain from money, the term is just the same – MURDER. Robert Louis Stevenson, Arthur Conan Doyle, J M Barrie, W W Jacobs and many others bring their literary heft to bear in as calculating a way as any killer could.

The inevitable is understood by each and every one of us who faces the final calling. So too are the effects on those left behind. The memories are there but the empty space, the void can never be refilled. It remains a dark, unreliable pit of loneliness. The sadness and often depression, the lack of will to continue may swamp us all. Unquenchable, undeniable. But loss can, after mourning, give the opportunity to reappraise the lost and how we can each move forward. In the literary world an accessible balance can be given.

Life has the capacity of great moments and attainment, of lives well lived, fulfilling for ourselves and for those we touch. But for others life is arduous. There is no spark to ignite the curiosity, to explore and achieve a stability and a growth to their lives. Indeed their lives, in their own eyes, become almost meaningless, their sense of themselves subsumed under a myriad of problems, whether real or imagined. Seismic events in a life might crush them; the loss of a loved one for instance. Coping is difficult, support hard to find and isolation abounds.

Art and life. Each the mirror of the other. This then is the classic definition of what ‘Realism’ as a writing form really is. Some might call it a fancy term for the mundane day to day pursuits but in the hands of an author it comes alive. We are drawn into characters and landscapes that we can empathize with, we can, metaphorically speaking, help shoulder their burden, be on the long trail with them whatever the landscapes, the hurdles, incidents and other people may place in their literary way.

Our ‘fight of flight’ response is something hardwired into the primitive part of our brain. Our need to survive, to outlive whatever danger poses, that immediate threat to our lives is little short of a marvel. Everything else is abandoned in order to survive. Whilst in modern times that ability has been somewhat modified and ‘reasoned’ away to an extent, in past years it’s what usually kept you alive. In this volume people struggle valiantly to survive and to exist no matter the extent of the threat they face.

Mental illness though can still carry a stigma. A case of ‘you’re not trying hard enough’, ‘or knuckling down and getting on with it’. But in more recent decades mental issues have come to be recognised as an illness, a disease rather than an affliction. We all remember horror stories of lobotomy’s and electric shock being used to ‘cure’ what society viewed as anti-social behaviour but illness, mental or physical is very real. Depression, schizophrenia, breakdown, psychosis are alarming events to have or to witness.

Loss in any form seems to burden us with more weight than anything that can possibly be gained or learnt from. The loss of a person, a loved one, is often overwhelming. Lives so interwoven that the severing or loss of one life leaves the other weakened, unable to function for some time. Recovery comes in a myriad of forms but is usually debilitating, slow and, in the end, we are not as whole as we once were.It is a subject that authors return to again and again.

When we read or listen, words can have a transforming effect. Our mood can alter in the space of a few sentences from joy to sadness. And not just our mood. These words can affect us physically, they can engage our emotions and even in their sadness bring a lump to our throat and tears to our eyes. Sometimes the relief can be palpable. Our authors, from Anton Chekhov, Stephen Crane, Willa Cather, Katherine Mansfield and a wealth of others, are well aware of what their talents will evoke. Genius has many names.

During the Victorian era the publishing of magazines and periodicals accelerated at a phenomenal rate. This really was mass market publishing to a hungry audience eager for literary sustenance. Many of our greatest authors contributed and expanded their reach whilst many fledging authors also found a ready source for their nascent works and careers. Amongst the very many was ‘The Yellow Book’.

Short stories have always been a sort of instant access into an author’s brain, their soul and heart. The Russian Literary Tradition has justly earned a magnificent reputation. The Russian Empire of the Czars was a huge and disparate patchwork of peoples ruled by an overbearing elite that employed a middle-class bureaucracy to keep the working class firmly underfoot. Within its vaulted ranks are a role call of many of the greatest literary talents of the ages.

Short stories have always been a sort of instant access into an author’s brain, their soul and heart. In this series we try to offer up tried and trusted ‘Top Tens’ across many different themes and authors. But any anthology will immediately throw up the questions – Why that story? Why that author? Ambrose Bierce is an author whose words take us one way and then send us another. These miniature masterpieces all have a central truth and plausibility that seems to vanish in an ending that can be anything from wry, to shocking to hallucinatory.

Anton Chekhov, Guy de Maupassant, Kate Chopin. These three names thrill the literary world as well as our own. They have gravitas, they have knowledge, experience and they have the literary style and panache to seduce our imagined world. Each has written a short story on pleasured lips placed on another’s flesh. For Chekhov it was a kiss in a darkened room that happened by mistake. Who was she? For Chopin it was a kiss that almost derailed a hoped-for marriage proposal. Why did he do that? For de Maupassant it was a niece seeking advice from her Aunt on when to kiss and whom. And did she?