<b>Enter the sublime, upside-down / inside-out world of William H. Gass . . . in this case where the<i>Eyes</i> have it every which way, including up . . . in a dazzling new collection of novellas and stories (six in all) from one of the most revered writers of our time, author of sixteen books, among them, the universally acclaimed<i>The Tunnel</i> (&quot;An extraordinary achievement&quot;--Michael Dirda, <i>The Washington Post</i>);<i>Middle C</i>(&quot;Exhilaratingly ingenious&quot;--Cynthia Ozick, <i>The New York Times Book Review</i> cover); and<i>Life Sentences</i> (&quot;A literary miracle&quot;--<i>The New York Observer</i>).</b><br><br>This enchanting, Gassian journey begins with &quot;In Camera,&quot; an investigation into what is likely to develop when a possibly illicit collection of photographs becomes the object of a greedy salesman's loving eyes . . . In &quot;Charity,&quot; a young lawyer, whose business it is to keep hospital equipment honestly produced, offers a simple gift and is brought to the ambiguous heart of charity itself. &quot;Don't Even Try, Sam&quot; tells of the battered, old piano Dooley Wilson plays in<i>Casablanca</i> as it complains in an interview of its treatment during the making of the picture. &quot;Soliloquy for a Chair&quot; is just that, a rumination by a folding chair in a barber shop that is ultimately bombed . . . and in &quot;The Toy Chest,&quot; Disneylike creatures take on human roles and worries and live in an atmosphere of a child's imagination.<br><br>A glorious fantasia; each, quintessentially Gass; each, a virtuoso delight.