The F.Scott/Tolstoy/Ahab Accumulator, 2002
The Face of Natalie, 2008
A Far-away Guitar, 1950
Farewell Summer, 1980
Fee Fie Foe Fum, 1993
Fever Dream, 1948
They put him between fresh, clean, laundered sheets and there was always a newly squeezed glass of thick orange juice on the table under the dim pink lamp. All Charles had to do was call and Mom or Dad would stick their heads into his room to see how sick he was.
He was fifteen, Charles was. It was mid September, with the land beginning to burn with autumn. He lay in the bed for three days before the terror overcame him.
His hand began to change. His right hand. He looked at it and it was hot and sweating there on the counterpane, alone. It fluttered, it moved a bit. Then it lay there, changing colour.
Fill Me with Wonder, You Architects, 1991
Final victim, 1946
The Finnegan, 1996
To say that I have been haunted for the rest of my life by the affair Finnegan is to grossly understate the events leading up to that final melancholy. Only now, at threescore and ten, can I write these words for an astonished constabulary who may well run with picks and shovels to unearth my truths or bury my lies.
The facts are these:
Three children went astray and were missed. Their bodies were found in the midst of Chatham Forest and each bore no marks of criminal assassination, but all had suffered their lifeblood to be drained. Only their skin remained like that of some discolored vineyard grapes withered by sunlight and no rain.
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The Fire Balloons, 1951
The Fireflies, 2007
First Day, 2002
It was while he was eating breakfast that Charles Douglas glanced at his newspaper and saw the date. He took another bite of toast and looked again and put the paper down.
"Oh, my God," he said.
Alice, his wife, startled, looked up. "What?"
"The date. Look at it! September fourteenth."
"So?" Alice said.
"The first day of school!"
"Say that again," she said.
"The first day of school, you know, summer vacation's over, everyone back, the old faces, the old pals."
The First Night of Lent, 1956
A Flight of Ravens, 1964
Fly Away Home, 2009
The Flying Machine, 1953
In the year A.D. 400, the Emperor Yuan held his throne by the Great Wall of China, and the land was green with rain, readying itself toward the harvest, at peace, the people in his dominion neither too happy nor too sad.
Early on the morning of the first day of the first week of the second month of the new year, the Emperor Yuan was sipping tea and fanning himself against a warm breeze when a servant ran across the scarlet and blue garden tiles, calling, "Oh, Emperor, Emperor, a miracle!"
The Fog Horn, 1951
Out there in the cold water, far from land, we waited every night for the coming of the fog, and it came, and we oiled the brass machinery and lit the fog light up in the stone tower. Feeling like two birds in the gray sky, McDunn and I sent the light touching out, red, then white, then red again, to eye the lonely ships. And if they did not see our light, then there was always our Voice, the great deep cry of our Fog Horn shuddering through the rags of mist to startle the gulls away like decks of scattered cards and make the waves turn high and foam.
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Forever and the Earth, 1950
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Four-Way Funeral, 1984
The Fox and the Forest, 1950
There were fireworks the very first night, things that you should be afraid of perhaps, for they might remind you of other more horrible things, but these were beautiful, rockets that ascended into the ancient soft air of Mexico and shook the stars apart in blue and white fragments. Everything was good and sweet, the air was that blend of the dead and the living, of the rains and the dusts, of the incense from the church, and the brass smell of the tubas on the bandstand which pulsed out vast rhythms of "La Paloma." The church doors were thrown wide and it seemed as if a giant yellow constellation had fallen from the October sky and lay breathing fire upon the church walls; a million candles sent their color and fumes about. Newer and better fireworks scurried like tight-rope walking comets across the cool-tiled square, banged against adobe cafe walls, then rushed on hot wires to bash the high church tower, in which boys' naked feet alone could be seen kicking and re-kicking, clanging and tilting and re-tilting the monster bells into monstrous music. A flaming bull blundered about the plaza chasing laughing men and screaming children.
Free Dirt, 1996
The cemetery was in the center of the city. On four sides it was bounded by gliding streetcars on glistening blue tracks and cars with exhaust fumes and sound. But, once inside the wall, the world was lost. For half a mile in four directions the cemetery raised midnight trees and headstones that grew from the earth, like pale mushrooms, moist and cold. A gravel path led back into darkness and within the gate stood a Gothic Victorian house with six gables and a cupola. The front-porch light showed an old man there alone, not smoking, not reading, not moving, silent. If you took a deep breath he smelled of the sea, of urine, of papyrus, of kindling, of ivory, and of teak. His false teeth moved his mouth automatically when it wanted to talk. His tiny yellow seed eyes twitched and his poke-hole nostrils thinned as a stranger crunched up the gravel path and set foot on the porch step.
From the Dust Returned, 1994
Frost and Fire, 1946
The Fruit at the Bottom of the Bowl, 1953