Wild, but curiously childlike; wise and yet playful; existing outside the confines of conventional morality, and yet bringing hope and clarity to everyone whose lives they touch.” —Joanne Harris, author of Chocolat, from her introduction to this book. Charles de Lint’s readers have been asking him to put together story collections featuring their favourite Newford characters. The crow girls are among his best-loved characters, so de Lint obliged by gathering their stories all under one roof, so to speak. Some other members of the Newford repertory company show up here, but at the forefront of each story are these two little wild girls with their big personalities. This book features an introduction by Joanne Harris and an afterword by the de Lint. Cover art by Tara Larsen Chang (www.taralarsenchang.com). These stories have all been published before. “Crow Girls” is also available in The Very Best of Charles de Lint and in Moonlight and Vines; “Twa Corbies” in Moonlight and Vines; “The Buffalo Man” in Tapping the Dream Tree; and “A Crow Girls’ Christmas” in Muse and Reverie. “Make a Joyful Noise,” published in a limited edition by Subterranean Press, has not appeared in any of his previous collections. "Nobody does urban fantasy better than Charles de Lint. He has a gift for creating engaging, fully realized characters, totally believable dialogue, and a feeling that magic is just around the corner … He can make you believe 'as many as six impossible things before breakfast.' " —Amazon.com Editorial Review "De Lint's elegant prose and effective storytelling continue to transform the mundane into the magical at every turn. Highly recommended." —Library Journal, Copyright 1998 Reed Business Information, Inc. "In many hands, the urban fantasy plot involving strange beings just around the corner fails dismally. It does not in the hands of the reliable, the inimitable de Lint … —Booklist " de Lint…clearly has no equal as an urban fantasist and very few equals among fantasists as a folklorist." —Booklist Charles de Lint is the modern master of urban fantasy. Folktale, myth, fairy tale, dreams, urban legend—all of it adds up to pure magic in de Lint's vivid, original world. No one does it better. — Alice Hoffman Charles de Lint writes like a magician. He draws out the strange inside our own world, weaving stories that feel more real than we are when we read them. He is, simply put, the best. — Holly Black Unlike most fantasy writers who deal with battles between ultimate good and evil, de Lint concentrates on smaller, very personal conflicts. Perhaps this is what makes him accessible to the non-fantasy audience as well as the hard-core fans. Perhaps it’s just damned fine writing. —Quill & Quire

    And the city of Thundermist, Rhode Island casts one of the longest shadows of all. With a population of 40,000 people, it might not seem like the most populated place on earth, but every citizen there has a story to tell, some more sinister than others. Look past the city’s pious Catholic façade and you shall see dead children floating face down in its sewers, witches corrupting susceptible minds with blasphemous books, and demons capering on the frescos of its haunted churches. It is a city where even the most innocent of objects—a quilt, a video game, a snow globe, a notebook—can act as a key that unlocks the doors to Doom, Delirium, and Death. The city has long since faded away: all that lingers is its nightmares, in the form of these ten testimonials from the damned, tales of strange and unproductive thinking. Will you open these pages and conduct an autopsy of your own on this dead city? But be warned: the scalpel that dissects the shadows is also the scalpel that cuts both ways.

    Now Emma Donovan and her friends want to investigate the abandoned orphanage and the bridge that is rumored to haunt anyone who visits. Emma swears she's not afraid of anything. But when she visits the bridge, her fearlessness will be put to the ultimate test."

    From The Day the Earth Stood Still and Close Encounters of the Third Kind, to Battleship, Prometheus and beyond, our hopes and fears of alien contact have been fuelled by the silver screen. But what messages does Hollywood impart to us about our possible otherworldly neighbours, from where do UFO movies draw their inspiration, and what other factors – cultural or conspiratorial – might influence their production and content? Silver Screen Saucers is a timely and revealing examination of the interplay between Hollywood’s UFO movies and the UFO phenomenon itself, from 1950 to present day.The book grants the reader a rare, close-up examination of the DNA that builds our perceptions of the UFO mystery: one strand of this DNA weaves real events, stories and people from the historical record of UFOlogy, while the other spins and twists with the film and TV products they have inspired. With our alien dreams and nightmares now more fully visualized onscreen than ever before, Silver Screen Saucers asks the question: what does it all mean? Are all UFO stories just fever dreams from LA screenwriters, or are they based in something else? Could any of them be real and are they part of a bigger message?From interviews with screenwriters and directors whose visions have been shaped by their lifelong UFO obsessions; to Presidents Carter and Reagan talking aliens with Spielberg at the White House; to CIA and Pentagon manipulation of UFO-themed productions; to movie stars and producers being stalked by real Men in Black, Silver Screen Saucers provides fresh perspective on the frequently debated but little understood subject of UFOs & Hollywood.The book addresses questions such as: •Does Hollywood fuel the UFO mythos, or vice versa? In other words, are our beliefs about alien visitation shaped by UFO movies, or are UFO movies shaped by our beliefs about alien visitation?•Do Hollywood’s UFO movies fictionalize the UFO phenomenon in the public mind, actualize it, or both? •If and when humanity makes full and open contact with an unearthly intelligence, would we, as cinemagoers, be able to divorce Hollywood’s historical imaginings from the reality with which we are presented? Indeed... •Should we? After all, a great deal of Hollywood’s UFO movie content has been closely informed by supposedly factual UFOlogical literature, events and debates. Perhaps, then, there is more truth to be found in Hollywood’s UFO movies than we might imagine – which raises the question: •Just how has so much dense UFOlogical theory (by its very nature ‘fringe’ and subcultural) managed find its way into Hollywood’s populist science fiction narratives? Is Hollywood’s incorporation of UFO lore attributable to a “Hollywood UFO conspiracy” designed to acclimate us to a UFO/alien reality, or is it merely the result of a natural cultural process?

    Ah, the carefree, sunny days of childhood. And oh, the terrifying, dark nights. Nights when you closed your eyes tight, afraid to open them and see the painted, eternally leering face of a clown mere inches from your own. Nights when you could look out your bedroom window and watch the scarecrows walk across the lonely cornfields. When every story your parents told you seemed to include monsters. And when even the teddy bear by your side had fangs and plans of his own. Travel back to those nights of horror - and sleep tight!

    Each work is accompanied by the artist s bio and text explaining the artist s personal connection to their chosen urban legend. Urban legends serve as our modern day mythology. Based on cultural traditions and morality tales, these stories prey upon our collective fears and provoke strong, emotional responses. Traditionally, in order for these legends to survive, a mix of text and imagery was used in storytelling, heightening the power of the legend as it passed down through generations. More recently, the Internet has encouraged the rapid dissemination of these modern legends, many of which can be traced back to the original folklore that inspired them. Artists include: Llyn Foulkes, Laurie Lipton, Naida Osline, Victoria Reynolds, Jim Shaw, Jeffrey Vallance, Marnie Weber, Chris Wilder, and Robert Williams. Encompassing a wide range of mediums, including painting, sculpture, photography and video, in order to capture the essence of each urban legend. Author and urban legends expert Jan Brunvand and art writers Tyler Stallings, Doug Harvey, and Mat Gleason will contribute essays. The catalog will also include essays by both curators as well as full color images of the artwork and short statements from each artist discussing their work in the exhibition."