But business is lean and times are tight, so he’s thrilled when the aged and esteemed Augusta Withrow appears in his office, bearing an offer he really ought to refuse. She has a massive family estate to unload - lock, stock, and barrel. For a check and a handshake, it’s all his.It’s a big check. It’s a firm handshake. And it’s enough of a gold mine that he assigns his daughter Dahlia to personally oversee the project.Dahlia preps a couple of trucks, takes a small crew, and they caravan down to Chattanooga, Tennessee, where the ancient Withrow house is waiting - and so is a barn, a carriage house, and a small, overgrown cemetery that Augusta Withrow left out of the paperwork.Augusta Withrow left out a lot of things.The property is in unusually great shape for a condemned building. It’s empty, but it isn't abandoned. Something in the Withrow mansion is angry and lost. This is its last chance to raise hell before the house is gone forever, and there's still plenty of room in the strange little family plot.New from Cherie Priest, a modern master of supernatural fiction, The Family Plot is a haunted house story for the ages - atmospheric, scary, and strange, with a modern gothic sensibility that every bit as fresh as it is frightening.

    An isolated incident, say the experts. The experts are wrong. Across the world, children are killing their families. Is violence contagious? As chilling murders by children grip the country, anthropologist Hesketh Lock has his own mystery to solve: a bizarre scandal in the Taiwan timber industry.Hesketh has never been good at relationships: Asperger's Syndrome has seen to that. But he does have a talent for spotting behavioral patterns and an outsider's fascination with group dynamics. Nothing obvious connects Hesketh's Asian case with the atrocities back home. Or with the increasingly odd behavior of his beloved stepson, Freddy. But when Hesketh's Taiwan contact dies shockingly and more acts of sabotage and child violence sweep the globe, he is forced to acknowledge possibilities that defy the rational principles on which he has staked his life, his career, and, most devastatingly of all, his role as a father.Part psychological thriller, part dystopian nightmare, The Uninvited is a powerful and viscerally unsettling portrait of apocalypse in embryo.

    The house hasn’t been lived in for years, but they are drawn to its original features and surprisingly large garden, which stretches down into a beautiful apple orchard. It’s idyllic, remote, picturesque: exactly what they need to put the horror of the past behind them.One hundred and fifty years earlier, a huge oak tree was felled in front of the cottage during a raging storm. Beneath it lies a young man with a shock of red hair, presumed dead—surely no one could survive such an accident. But the red-haired man is alive, and after a brief convalescence is taken in by the family living in the cottage and put to work in the fields. The children all love him, but the eldest daughter, Eliza, has her reservations. There’s something about the red-haired man that sits ill with her. A presence. An evil.Back in the present, weeks after moving to the cottage and still drowning beneath the weight of insurmountable grief, Mary Coles starts to sense there’s something in the house. Children’s whispers, footsteps from above, half-caught glimpses of figures in the garden. A young man with a shock of red hair wandering through the orchard.Has Mary’s grief turned to madness? Or have the events that took place so long ago finally come back to haunt her…?

    But it is in her short stories that her extraordinary talents—as a fabulist, feminist, social critic, and weaver of tales—are most penetratingly evident. This volume presents Carter's considerable legacy of short fiction gathered from published books, and includes early and previously unpublished stories. From reflections on jazz and Japan, through vigorous refashionings of classic folklore and fairy tales, to stunning snapshots of modern life in all its tawdry glory, we are able to chart the evolution of Carter's marvelous, magical vision.

    The one who fought back, defeated the killer, and avenged her friends. The one who emerges bloodied but victorious. But after the sirens fade and the audience moves on, what happens to her?Lynnette Tarkington is a real-life final girl who survived a massacre twenty-two years ago, and it has defined every day of her life since. And she's not alone. For more than a decade she's been meeting with five other actual final girls and their therapist in a support group for those who survived the unthinkable, putting their lives back together, piece by piece. That is until one of the women misses a meeting and Lynnette's worst fears are realized--someone knows about the group and is determined to take their lives apart again, piece by piece.But the thing about these final girls is that they have each other now, and no matter how bad the odds, how dark the night, how sharp the knife, they will never, ever give up.

    From the author of Creep, Freak, and The Butcher, Jennifer Hillier’s “fine knack for creating hideous killers” (Booklist) is vividly on display.Welcome to Wonderland. By day, it’s a magical place boasting a certain retro charm. Excited children, hands sticky with cotton candy, run frenetically from the Giant Octopus ride to the Spinning Sombrero, while the tinkling carnival music of the giant Wonder Wheel—the oldest Ferris wheel in the Pacific Northwest—fills the air. But before daybreak, an eerie feeling descends. Maybe it’s the Clown Museum, home to creepy wax replicas of movie stars and a massive collection of antique porcelain dolls. Or maybe it’s the terrifyingly real House of Horrors. Or…maybe it’s the dead, decaying body left in the midway for all the Wonder Workers to see. Vanessa Castro’s first day as deputy police chief of Seaside, Washington, is off to a bang. The unidentifiable homeless man rotting inside the tiny town’s main tourist attraction is strange enough, but now a teenage employee—whose defiant picture at the top of the Wonder Wheel went viral that same morning—is missing. As the clues in those seemingly disparate crimes lead her down a mysterious shared path of missing persons that goes back decades, she suspects the seedy rumors surrounding the amusement park’s dark history might just be true. She moved to Seaside to escape her own scandalous past, but has she brought her family to the center of an insidious killer’s twisted game? Acclaimed author Jennifer Hillier’s bone-chilling thriller is masterful and fast-paced, hurtling toward a shocking, bloody conclusion.

    He’s the only person who understands her, and all Hanna wants is to live happily ever after with him. But Mommy stands in her way, and she’ll try any trick she can think of to get rid of her. Ideally for good.Meet Suzette.She loves her daughter, really, but after years of expulsions and strained home schooling, her precarious health and sanity are weakening day by day. As Hanna’s tricks become increasingly sophisticated, and Suzette's husband remains blind to the failing family dynamics, Suzette starts to fear that there’s something seriously wrong, and that maybe home isn’t the best place for their baby girl after all.

    One in the morning. Three people—a couple and their child—hurry out the door, but it’s too late for them. As the virtuosic and terrifying opening scene of Broken River unfolds, a spectral presence seems to be watching with cold and mysterious interest. Soon the house lies abandoned, and years later a new family moves in.Karl, Eleanor, and their daughter, Irina, arrive from New York City in the wake of Karl’s infidelity to start anew. Karl tries to stabilize his flailing art career. Eleanor, a successful commercial novelist, eagerly pivots in a new creative direction. Meanwhile, twelve-year-old Irina becomes obsessed with the brutal murders that occurred in the house years earlier. And, secretly, so does her mother. As the ensemble cast grows to include Louis, a hapless salesman in a carpet warehouse who is haunted by his past, and Sam, a young woman newly reunited with her jailbird brother, the seemingly unrelated crime that opened the story becomes ominously relevant.Hovering over all this activity looms a gradually awakening narrative consciousness that watches these characters lie to themselves and each other, unleashing forces that none of them could have anticipated and that put them in mortal danger. Broken River is a cinematic, darkly comic, and sui generis psychological thriller that could only have been written by J. Robert Lennon.

    The couple is spending the summer of 1969 in the rooms below hers while Frances is researching the architecture in the surrounding gardens. But she's distracted. Beneath a floorboard in her bathroom, she finds a peephole that gives her access to her neighbors’ private lives.To Frances' surprise, Cara and Peter are keen to get to know her. It is the first occasion she has had anybody to call a friend, and before long they are spending every day together: eating lavish dinners, drinking bottle after bottle of wine, and smoking cigarettes until the ash piles up on the crumbling furniture. Frances is dazzled.But as the hot summer rolls lazily on, it becomes clear that not everything is right between Cara and Peter. The stories that Cara tells don’t quite add up, and as Frances becomes increasingly entangled in the lives of the glamorous, hedonistic couple, the boundaries between truth and lies, right and wrong, begin to blur. Amid the decadence, a small crime brings on a bigger one: a crime so terrible that it will brand their lives forever.

    Now she wants justice. But is she blind to the truth?Christopher J. Yates’s cult hit Black Chalk introduced that rare writerly talent: a literary writer who could write a plot with the intricacy of a brilliant mental puzzle, and with characters so absorbing that readers are immediately gripped. Yates’s new book does not disappoint. Grist Mill Road is a dark, twisted, and expertly plotted Rashomon-style tale. The year is 1982; the setting, an Edenic hamlet some ninety miles north of New York City. There, among the craggy rock cliffs and glacial ponds of timeworn mountains, three friends—Patrick, Matthew, and Hannah—are bound together by a terrible and seemingly senseless crime. Twenty-six years later, in New York City, living lives their younger selves never could have predicted, the three meet again—with even more devastating results.

    Let them slip away like the words of some half-remembered song and when one came back, she wasn't the one we were trying to recall to begin with.'So begins Tikka Molloy's recounting of the summer of 1992 - the summer the Van Apfel sisters, Hannah, the beautiful Cordelia and Ruth - disappear.Eleven and one-sixth years old, Tikka is the precocious narrator of this fabulously endearing coming-of-age story, set in an eerie Australian river valley suburb with an unexplained stench. The Van Apfel girls vanish from the valley during the school's 'Showstopper' concert, held at the outdoor amphitheatre by the river. While the search for the sisters unites the small community on Sydney's urban fringe, the mystery of their disappearance remains unsolved forever.Brilliantly observed, sharp, lively, funny and entirely endearing, this novel is part mystery, part coming-of-age story - and quintessentially Australian. Think The Virgin Suicides meets Jasper Jones meets Picnic at Hanging Rock.

    "Straub at his spellbinding best".--Publishers Weekly.

    Ghosts, ghouls, incubi: all have one thing in common. They know Booth for one of their own . . .

    When originally published in 1985 by Harry Morris’s Silver Scarab Press, the book was hardly noticed. In 1989, an expanded version appeared that garnered accolades from several quarters. Writing in the Washington Post, the celebrated science fiction and fantasy author Michael Swanwick extolled: “Put this volume on the shelf right between H. P. Lovecraft and Edgar Allan Poe. Where it belongs.”The revisions in the present volume of Songs of a Dead Dreamer have been calculated to make its stories into enhanced incarnations of the originals. This edition is and will remain definitive.For those already familiar with the stories in Songs of a Dead Dreamer, an invitation is extended to return to them in their ultimate state. For those new to the collection, it is submitted to engage them with some of the most extraordinary tales of their kind. In either case, this publication of Songs of a Dead Dreamer offers evidence for why Ligotti has been judged to be among the most important authors in the history of supernatural horror.

    Shady, tree-lined streets, well-tended lawns and cozy homes. A nice, quiet place to grow up. Unless you are teenage Meg or her crippled sister, Susan. On a dead-end street, in the dark, damp basement of the Chandler house, Meg and Susan are left captive to the savage whims and rages of a distant aunt who is rapidly descending into madness. It is a madness that infects all three of her sons and finally the entire neighborhood. Only one troubled boy stands hesitantly between Meg and Susan and their cruel, torturous deaths. A boy with a very adult decision to make.