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For most people, the story of their lives is just that: the accumulation of time, encounters, and actions into a cohesive whole. But for an unfortunate few, that day-to-day existence is affected - perhaps infected is a better word - by memetic incursion: where fairy tale narratives become reality, often with disastrous results.

Meet the newest professor at Gooseberry Bluff Community College of Magic, Joy Wilkins. She may suffer from face blindness, but Joy can still recognize people by reading their auras - a skill that comes in handy for her real work as an undercover agent with the Federal Bureau of Magical Affairs. Her mission: Discover the source of weaponized demons being trafficked through the quaint school on the border of Minnesota and Wisconsin, and to locate her predecessor, the school’s missing History of Magic professor.

When L. Frank Baum introduced Dorothy and friends to the American public in 1900, The Wonderful Wizard of Oz became an instant, best-selling hit. Today the whimsical tale remains a cultural phenomenon that continues to spawn wildly popular books, movies, and musicals. Now, editors John Joseph Adams and Douglas Cohen have brought together leading fantasy writers such as Orson Scott Card and Jane Yolen to create the ultimate anthology for Oz fans.

William Shakespeare had nothing to do with the actor and moneylender William Shaksper from Stratford-upon-Avon. The man behind the nom de plume "William Shakespeare" was, in fact, a very well-educated aristocrat who often frequented the court of Elizabeth and whose real name was Edward de Vere, Earl of Oxford. The dramas of Shakespeare were not written for the Globe Theatre but for the Queen's court.

The Hierarchy, high priests of the religious order the Light, rules both the magical kingdom of Albi and its religion. Worshippers in the old ways of the Earth Mother, clandestinely scattered throughout the land, are persecuted as heretics. And when missionary student Rollo Woodbridge returns to his home in Albi, he is arrested for heresy and treason, setting off a chain of events that puts everyone’s life in jeopardy and plunges the kingdom into chaos.

When Evie Walker goes home to spend time with her dying father, she discovers that his creaky old house in Hope’s Fort, Colorado, is not the only legacy she will inherit. Hidden behind the basement door is a secret and magical storeroom, a place where wondrous treasures from myth and legend are kept safe until they are needed again.

These masterly poems span the whole of Nabokov's career from "Music", written in 1914, to the short, playful "To Vera", composed in 1974. The works are newly translated by Dmitiri Nabokov, and include "The University Poem", an extraordinary autobiographical poem in which Nabokov recalls his life in Cambridge, with its crooked alleys and age-old gates, teas at the vicar's and British girls. Included to are such poems as "To Russia" ("Will you leave me alone! I implore you!), the enchanting "Eve", and verse about America, sport, love, and poetry itself.

The Gift is the last of the novels Nabokov wrote in his native language and the crowning achievement of that period in his literary career. It is also his ode to Russian literature, evoking the works of Pushkin, Gogol, and others in the course of its narrative: the story of Fyodor Godunov-Cherdyntsev, an impoverished émigré poet living in Berlin, who dreams of the book he will someday write - a book very much like The Gift itself.

One of the twentieth century’s master prose stylists, Vladimir Nabokov was born in St. Petersburg in 1899.

Nabokov’s third novel, The Luzhin Defense, is a chilling story of obsession and madness. As a young boy, Luzhin was unattractive, distracted, withdrawn, sullen — an enigma to his parents and an object of ridicule to his classmates. He takes up chess as a refuge from the anxiety of his everyday life. His talent is prodigious and he rises to the rank of grandmaster — but at a cost: in Luzhin’s obsessive mind, the game of chess gradually supplants reality.

Glory is the wryly ironic story of Martin Edelweiss, a 22-year-old Russian émigré of no account, who is in love with a girl who refuses to marry him. Convinced that his life is about to be wasted and hoping to impress his love, he decides to embark upon a “perilous, daredevil project” — an illegal attempt to reenter the Soviet Union, from which he and his mother had fled in 1919. He succeeds — but at a terrible cost.

Nabokov’s fourth novel, The Eye, is as much a farcical detective story as it is a profoundly refractive tale about the vicissitudes of identities and appearances. Smurov, a lovelorn, excruciatingly self-conscious Russian émigré living in pre-war Berlin, commits suicide after being humiliated by a jealous husband, only to suffer even greater indignities in the afterlife as he searches for proof of his existence among fellow émigrés who are too distracted to pay him any heed.

This novel is the story of Dreyer, a wealthy and boisterous proprietor of a men’s clothing emporium. Ruddy, self-satisfied, and thoroughly masculine, he is perfectly repugnant to his exquisite but cold middle-class wife, Martha. Attracted to his money but repelled by his oblivious passion, she longs for their nephew instead, the thin, awkward, myopic Franz. Newly arrived in Berlin, Franz soon repays his uncle’s condescension in his aunt’s bed.

Koschei the Deathless is to Russian folklore what devils or wicked witches are to Western European culture: a menacing, evil figure; the villain of countless stories that have been passed on through story and text for generations. But Koschei has never before been seen through the eyes of Catherynne Valente, whose modernized and transformed take on the legend brings the action to modern times, spanning many of the great developments of Russian history in the 20th century.

This is the story of a place that never was: the kingdom of Prester John, the utopia described by an anonymous, 12th-century document which captured the imagination of the medieval world and drove hundreds of lost souls to seek out its secrets, inspiring explorers, missionaries, and kings. But what if it were all true? What if there was such a place, and a poor, broken priest once stumbled past its borders, discovering, not a Christian paradise, but a country where everything is possible....

Between life and death, dreaming and waking, at the train stop beyond the end of the world is the city of Palimpsest. To get there is a miracle, a mystery, a gift, and a curse - a voyage permitted only to those who’ve always believed there’s another world than the one that meets the eye. Those fated to make the passage are marked forever by a map of that wondrous city tattooed on their flesh after a single orgasmic night. To this kingdom of ghost trains, lion-priests, living kanji, and cream-filled canals come four travelers.

Taya, the metal-winged icarus whose investigation helped defeat a plot against Ondinium and its populace, is assisting her exalted husband Cristof Forlore on his first ambassadorial mission. They must learn about Mareaux’s experiments in airship technology and determine whether the ostensibly scientific vehicles might be used for warfare - a taboo for Ondiniums, whose domination of the air is tempered by a deep cultural abhorrence toward airborne weapons after the devastation of the Last War 1,000 years ago.

Taya soars over Ondinium on metal wings. She is an icarus - a courier privileged to travel freely across the city’s sectors and mingle indiscriminately among its castes. But even she can’t outfly the web of terrorism, loyalty, murder, and intrigue that snares her after a daring mid-air rescue.

Sherlock Holmes is bored and case-less, and relieving his boredom by alternating morphine and cocaine. Enter the charming Miss Mary Morstan, with whom Watson is instantly smitten. She requests the assistance of Holmes and Watson to solve the mysterious disappearance of her father, and the subsequent invitation to "have justice" by an anonymous letter writer.

In the interlocking Tales of the Dying Earth Vance explores the world at the end of time when sun is guttering. Light itself is different and Vance’s landscapes —described in language that is lyrical, seductive, and partly self-invented —are wild and surreal, full of opportunity and danger. On the Dying Earth, the rules of physics as we know them have been amended and replaced by magic. The laws of evolution have spun out creatures that are humanoid, hybrid, and often terrifying.

The Eyes of the Overworld is the first of Vance’s picaresque novels about the scoundrel Cugel. Here he is sent by a magician he has wronged to a distant unknown country to retrieve magical lenses that reveal the Overworld. Conniving to steal the lenses, he escapes and, goaded by a homesick monster magically attached to his liver, starts to find his way home to Almery. The journey takes him across trackless mountains, wastelands, and seas.