His chilling mythology established a gateway between the known universe and an ancient dimension of otherworldly terror, whose unspeakable denizens and monstrous landscapes - dread Cthulhu, Yog-Sothoth, the Plateau of Leng, the Mountains of Madness - have earned him a permanent place in the history of the macabre.In Tales of the Cthulhu Mythos, a pantheon of horror and fantasy's finest authors pay tribute to the master of the macabre with a collection of original stories set in the fearsome Lovecraft tradition.Contents:- Iä! Iä! Cthulhu Fhtagn! (1990) by Jim Turner [as by James Turner] - The Call of Cthulhu (1928) by H.P. Lovecraft- The Return of the Sorcerer (1931) by Clark Ashton Smith- Ubbo-Sathla (1933) by Clark Ashton Smith- The Black Stone (1931) by Robert E. Howard- The Hounds of Tindalos (1929) by Frank Belknap Long- The Space-Eaters (1928) by Frank Belknap Long- The Dweller in Darkness (1944) by August Derleth- Beyond the Threshold (1941) by August Derleth- The Shambler from the Stars (1935) by Robert Bloch- The Haunter of the Dark (1936) by H.P. Lovecraft- The Shadow from the Steeple (1950) by Robert Bloch- Notebook Found in a Deserted House (1951) by Robert Bloch- The Salem Horror (1937) by Henry Kuttner- The Terror from the Depths (1976) by Fritz Leiber- Rising with Surtsey (1971) by Brian Lumley- Cold Print (1969) by Ramsey Campbell- The Return of the Lloigor (1969) by Colin Wilson- My Boat (1976) by Joanna Russ- Sticks (1974) by Karl Edward Wagner- The Freshman (1979) by Philip José Farmer- Jerusalem's Lot (1978) by Stephen King- Discovery of the Ghooric Zone (1977) by Richard A. LupoffCover illustration by John Jude Palencar

    A gripping, unsettling and utterly chilling collection of short stories from one of Britain's best loved storytellers.

    Michael Sims, whose previous Victorian collections Dracula's Guest (vampires) and The Dead Witness (detectives) have been widely praised, has gathered twelve of the best stories about humanity's oldest supernatural obsession. The Phantom Coach includes tales by a surprising, often legendary cast, from Charles Dickens and Margaret Oliphant to Henry James, Rudyard Kipling, and Arthur Conan Doyle, as well as well as lost gems by forgotten masters such as Mary E. Wilkins Freeman and W.F. Harvey. Amelia Edwards' chilling story gives the collection its title, while Ambrose Bierce (“The Moonlit Road”), Elizabeth Gaskell, (“The Old Nurse's Story”) and W. W. Jacobs (“The Monkey's Paw”) will turn you white as a sheet. With a skillful introduction to the genre and notes on each story by Michael Sims, The Phantom Coach is a spectacular collection of ghostly Victorian thrills.

    There's still a whole world of Dahl to discover in a newly collected book of his deliciously dark tales for adults . . . 'The cruelest lies are often told in silence . . .' Why do we lie? Why do we deceive those we love most? What do we fear revealing? In these ten tales of deception master storyteller Roald Dahl explores our tireless efforts to hide the truth about ourselves.Here, among many others, you'll read about how to get away with the perfect murder, the old man whose wagers end in a most disturbing payment, how revenge is sweeter when it is carried out by someone else and the card sharp so good at cheating he does something surprising with his life.Roald Dahl reveals even more about the darker side of human nature in seven other centenary editions: Lust, Madness, Cruelty, Innocence, Trickery, War and Fear.

    A medical procedure reveals an object of worship. A carnivorous reptile divides and cauterizes a town. Amelia Gray’s curio cabinet expands in Gutshot, where isolation and coupling are pushed to their dark and outrageous edges. These singular stories live and breathe on their own, pulsating with energy and humanness and a glorious sense of humor. Hers are stories that you will read and reread—raw gems that burrow into your brain, reminders of just how strange and beautiful our world is. These collected stories come to us like a vivisected body, the whole that is all the more elegant and breathtaking for exploring its most grotesque and intimate lightless viscera.

    We are lucky that she did so, since among the results were these short stories of rare quality. In their use of dreams, ancient anecdote, and ruined or dilapidated buildings ('Florence Flannery', 'The Fair Hair of Ambrosine') they are at times in the finest tradition of The Castle of Otranto and the Gothic revival which had chilled the blood of the British public a hundred and fifty years earlier. But her stories are more subtle in their construction, and often use simple materials ('The Crown Derby Plate', Elsie's Lonely Afternoon'), interweaving their terror and mystery with the commonplace of everyday life. Their mastery of detail, sureness of expression and acute reading of human nature give them a sinister force, which is realistic and unnerving, yet at the same time tinged with pity and compassion.

    Beginning with the supposedly true accounts that captivated Byron and Shelley, the stories range from Edgar Allan Poe's "The Oval Portrait" and Sheridan Le Fanu's "Carmilla" to Guy de Maupassant's "The Horla" and Mary Elizabeth Braddon's "Good Lady Ducayne." Sims also includes a nineteenth-century travel tour of Transylvanian superstitions, and rounds out the collection with Stoker's own "Dracula's Guest"-a chapter omitted from his landmark novel.Vampires captivated the Victorians, as Sims reveals in his insightful introduction: In 1867, Karl Marx described capitalism as "dead labor, which, vampire-like, lives only by sucking living labor"; while in 1888 a London newspaper invoked vampires in trying to explain Jack the Ripper's predations. At a time when vampires have been re-created in a modern context, Dracula's Guest will remind readers young, old, and in between of why the undead won't let go of our imagination.

    I began to suspect something was wrong with the gothic building when its family fled in the middle of the night, the children screaming, the mother crying. They never came back to pack up their furniture. No family stays long. Animals avoid the place. Once, I thought I saw a woman's silhouette pacing through the upstairs room... but that seems impossible; no one was living there at the time. A new occupant, Anna, has just moved in. I paid her a visit to warn her about the building. I didn't expect us to become friends, but we did. And now that Marwick House is waking up, she's asked me to stay with her. I never intended to become involved with the building or its vengeful, dead inhabitant. But now I have to save Anna... before it's too late for the both of us.

    Byatt, Angela Carter, Charlotte Brontë, Antonia Fraser, Penelope Lively, Ruth Rendell, Edith Wharton, and many more. Here lost loves, past enmities, and unwanted memories mingle with the inexplicable as unquiet souls return to repay kindnesses, settle scores, and haunt the imagination. All of the writers demonstrate a subtle power to delight and chill at the same time as they explore the ghostly margins of the supernatural.

    As with his other gigs, he sets rules for himself: no leaving the house for any reason, refrain from outside contact, and sleep during the day.When Thomas Ruth, Felix's oldest friend and fellow horror film obsessive, joins him on the project, the two dance around a recent and unspeakably painful rough-patch in their friendship, but eventually fall into their old rhythms of dark humor and movie trivia. That's when things start going wrong: screams from upstairs, figures in the thresholds, and more than what should be in any basement. Felix realizes the book he's writing, and his very state of mind, is tilting from nonfiction into all out horror, and the shocking climax answers a question that's been staring these men in the face all along: In Rotter House, who's haunting who?

    CareyThe brightest names in horror showcase a ghastly collection of eighteen ghost stories that will have you watching over your shoulder, heart racing at every bump in the night. In “My Life in Politics” by M.R. Carey the spirits of those without a voice refuse to let a politician keep them silent. In “The Adjoining Room” by A.K. Benedict a woman finds her hotel neighbour trapped and screaming behind a door that doesn’t exist. George Mann’s “The Restoration” sees a young artist become obsessed with returning a forgotten painting to its former glory, even if it kills her. And Laura Purcell’s “Cameo” shows that the parting gift of a loved one can have far darker consequences than ever imagined…These unsettling tales from the some of the best modern horror writers will send a chill down your spine like someone has walked over your grave…or perhaps just woken up in their own.

    Crammed into old houses and hotels, abandoned prisons and empty hospitals, the spirits that linger continue to capture our collective imagination, but why? His own fascination piqued by a house hunt in Los Angeles that revealed derelict foreclosures and "zombie homes," Dickey embarks on a journey across the continental United States to decode and unpack the American history repressed in our most famous haunted places. Some have established reputations as "the most haunted mansion in America," or "the most haunted prison"; others, like the haunted Indian burial grounds in West Virginia, evoke memories from the past our collective nation tries to forget.            With boundless curiosity, Dickey conjures the dead by focusing on questions of the living—how do we, the living, deal with stories about ghosts, and how do we inhabit and move through spaces that have been deemed, for whatever reason, haunted? Paying attention not only to the true facts behind a ghost story, but also to the ways in which changes to those facts are made—and why those changes are made—Dickey paints a version of American history left out of the textbooks, one of things left undone, crimes left unsolved. Spellbinding, scary, and wickedly insightful, Ghostland discovers the past we're most afraid to speak of aloud in the bright light of day is the same past that tends to linger in the ghost stories we whisper in the dark.From the Hardcover edition.

    Down the road from a working-class British pub, along the brick wall of a narrow alley, if the conditions are exactly right, you’ll find the entrance to Slade House. A stranger will greet you by name and invite you inside. At first, you won’t want to leave. Later, you’ll find that you can’t. Every nine years, the house’s residents — an odd brother and sister — extend a unique invitation to someone who’s different or lonely: a precocious teenager, a recently divorced policeman, a shy college student. But what really goes on inside Slade House? For those who find out, it’s already too late... Spanning five decades, from the last days of the 1970s to the present, leaping genres, and barreling toward an astonishing conclusion, this intricately woven novel will pull you into a reality-warping new vision of the haunted house story—as only David Mitchell could imagine it.

    Be careful what you do. Ghosts are everywhere. In houses new and old. In lonely walks and grim gatherings. Underneath the wallpaper. Riding through the night.These are some of the spookiest ghost stories ever written, from authors including Edgar Allan Poe, Robert Louis Stevenson, Bram Stoker, and Henry James.Prepare to be haunted...

    Until she woke up in a coffin.Ushers die young. Ushers are cursed. Ushers can never leave their house, a house that haunts and is haunted, a house that almost seems to have a mind of its own. Madeline’s life—revealed through short bursts of memory—has hinged around her desperate plan to escape, to save herself and her brother. Her only chance lies in destroying the house.In the end, can Madeline keep her own sanity and bring the house down? The Fall is a literary psychological thriller, reimagining Edgar Allan Poe’s classic The Fall of the House of Usher.