But what happens where the human world touches the domain of races ancient and alien? Museum curators, surveyors, police officers, archaeologists, mathematicians; from derelict buildings to country houses to the London Underground, another world is just a breath away, around the corner, watching and waiting for you to step into its power. The Private Life of Elder Things is a collection of new Lovecraftian fiction about confronting, discovering and living alongside the creatures of the Mythos.

    The pale and secretive Lavinia wanders through the woods, Asenath is a precocious teenager with an attitude, and the Ancient Egyptian pharaoh Nitocris has found a new body in distant America. And do you have time to hear a word from our beloved mother Shub-Niggurath?Defiant, destructive, terrifying, and harrowing, the women in She Walks in Shadows are monsters and mothers, heroes and devourers. Observe them in all their glory. Iä! Iä!TABLE OF CONTENTS“Bitter Perfume” Laura Blackwell“Violet is the Color of Your Energy” Nadia Bulkin“Body to Body to Body” Selena Chambers“Magna Mater” Arinn Dembo“De Deabus Minoribus Exterioris Theomagicae” Jilly Dreadful“Hairwork” Gemma Files“The Head of T’la-yub” Nelly Geraldine García-Rosas (translated by Silvia Moreno-Garcia)“Bring the Moon to Me” Amelia Gorman“Chosen” Lyndsey Holder“Eight Seconds” Pandora Hope“Cthulhu of the Dead Sea” Inkeri Kontro“Turn out the Lights” Penelope Love“The Adventurer’s Wife” Premee Mohamed“Notes Found in a Decommissioned Asylum, December 1961″ Sharon Mock“The Eye of Juno” Eugenie Mora“Ammutseba Rising” Ann K. Schwader“Cypress God” Rodopi Sisamis“Lavinia’s Wood” Angela Slatter“The Opera Singer” Priya Sridhar“Provenance” Benjanun Sriduangkaew“The Thing in The Cheerleading Squad” Molly Tanzer“Lockbox” E. Catherine Tobler“When She Quickens” Mary Turzillo“Shub-Niggurath’s Witnesses” Valerie Valdes“Queen of a New America” Wendy N. Wagner

    Psychopathy is boring. Coldness is boring. She's interested in feeling, and when her stories turn violent (as they frequently do), it's with a surreal emotional barbarity that distorts the entire world. You can mop up blood with any fabric. Maggie's concern is with the wound left behind, because the wound never leaves-it haunts. As a result, each of these stories leaves a wound of its own. Some weep, watching as you try (and fail) to recover. Others laugh. But never without feeling."-B.R. Yeager, author of Negative Space"And once finished, I felt like my tongue had been misplaced, guts heavy and expanded ... gums numb with a tongue that'd been put elsewhere, my mouth clean around a pipe weaving up through pitch and shadow ... and well past ready, primed for delight, waiting but knowing I had already been filled to skin; crying shit, hearing piss, fingernails seeping bile, pores dribbling blood, soles slopping off and out to meet a drain mid-floor ..."-Christopher Norris, author of Hunchback '88

    Dick and Thomas Harris, Etchinson's award-winning fiction is justly known for its creepy ambiance.

    Like Ghelderode's plays, the stories are marked by a powerful imagination and a keen sense of the grotesque, but in these the author speaks to us still more directly. Written at a time of illness and isolation, and conceived as a fresh start, Spells was Ghelderode's last major creative work, and he claimed it as his most personal and deeply felt one: a set of written spells through which his fears, paranoia and nostalgia found concrete form.By turns mystical, macabre and whimsically humorous, and set in the unsettled atmosphere of Brussels, Ostend, Bruges and London, Spells conjures up an uncanny realm of angels, demons, masks, effigies and apparitions, a twilit, oppressed world of diseased gardens, dusty wax mannequins and sinister relics.Combining the full contents of both the 1941 and 1947 editions, this translation of Spells is the most comprehensive edition yet published.Michel de Ghelderode was born in Brussels in 1898. After nearly a decade of penning fiction, drama, literary journalism and puppet plays, in 1926 he began to write almost entirely for the theater and the following ten years saw the creation of most of his major plays. After 1936 he suffered from poor health and his involvement with the theater diminished. In the later 1940s, performances of his plays in Paris sparked a major awakening of interest in his work. Ghelderode died in 1962; the interior of his apartment, packed with books, pictures, puppets and masks, has been reassembled in Brussels as the Musee-Bibliotheque Michel de Ghelderode.

    In this book you'll find two ghost stories and a tale of ancestral demoniac horror. In the big white house on the hill angels are said to appear . . . When the children left the house, their toys remained . . . A confused and vengeful presence occupies the home of a first-time buyer . . .

    Searching these sinister stacks you will find:A church picnic at a haunted reservoir where only a twelve year-old boy is aware that something waits in the water…A burnt-out teacher that finds a friend… in his cancer…The secret to surviving the zombie apocalypse…An inoculation for Lycanthropy which may be more horrible than the disease…Young lovers that, on the eve of World War II, partake of a most forbidden fruit…A haunted carnival ride which delivers its passengers into the unexpected…21 tales of night terror, night madness, nightmares, night woe and night wonder…Welcome to The Night LibraryBe warned: The late fees are killer!

    Kiernan, Molly Tanzer, Lois H. Gresh, Nancy Kilpatrick, Elizabeth Bear, Gemma Files and many more fully color illustrated by Daniele Serra, Dreams from the Witch House highlights some of the very best women writers of weird fiction and Lovecraftian horror. The history of the Old World is shrouded in secrecy. Creatures and forces unimaginable inhabited this realm for eons, long before any human navigated the surface of the earth. As the Old Ones have slumbered or observed from afar, humans have assembled civilization upon this fragile planet. Yet the whispers from the elders have been growing stronger, their energy once again seeping into the world. These whispers are being felt throughout the earth; from the roots of our flora to the dreams of our children. They are preparing us for what is to come. In Dreams from the Witch House: Female Voices of Lovecraftian Horror the most intuitive dreamers have been assembled to give us glimpses into these ancient terrors and their whispered warnings. Featuring authors Joyce Carol Oates, Caitlín R. Kiernan, Lois Gresh, Gemma Files, Nancy Kilpatrick, Elizabeth Bear, Storm Constantine and others accompanied by the lavish artwork of Daniele Serra, Dreams from the Witch House: Female Voices of Lovecraftian Horror is a representation of some of the finest cosmic horror and weird fiction from female authors in the field today.

    Weaving tales of the everyday world transformed into an unrecognizable place, where reason no longer exists and logic ceases to explain the workings of the universe, Clive Barker provides the stuff of nightmares in packages too tantalizing to resist.Never one to shy away from the unimaginable or the unspeakable, Clive Barker breathes life into our deepest, darkest nightmares, creating visions that are at once terrifying, tender, and witty.The Books of Blood confirm what horror fans everywhere have known for a long time: We will be hearing from Clive Barker for many years to come. This first volume contains the short stories : "The Book of Blood," "The Midnight Meat Train," "The Yattering and Jack," "Sex, Death, and Starshine," and "In the Hills, the Cities."

    Datlow has produced a collection filled with some of the most powerful voices in the field: Pat Cadigan, Terry Dowling, Jeffrey Ford, Christopher Fowler, Glen Hirshberg, K. W. Jeter, Joyce Carol Oates, and Lucius Shepard, to name a few. Each author approaches fear in a different way, but all of the stories' characters toil within their own hell. An aptly titled anthology, Inferno will scare the pants off readers and further secure Ellen Datlow's standing as a preeminent editor of modern horror.

    Moses by Joyce Carol OatesWorse than Bones by Ramsey CampbellKing of Outer Space by Peter AtkinsPiano Bar Blues by Melanie TemThose Vanished I Recognize by Tom PiccirilliInland, Shoreline by Darren O. GodfreyThe Window by by Joel LaneAuthor, Author by Gordon LinznerHammerhead by Richard LaymonImbroglio by Conrad WilliamsTransorbital Love Probe by Th. MetzgerThe Impressionists in Winter by Susan FryWhose Ghosts These Are by Charles L. GrantPerdido: A Fragment from a Work in Progress by Peter StraubIn Real Life by William F. NolanPound Rots in Fragrant Harbour by Lisa MortonApologia by Robert DevereauxThe Bird Catcher by S.P. Somtow

    Tilly's seance --Mrs. Amworth --In the tube --Roderick's story --Reconciliation --Face --Spinach --Bagnell terrace --A tale of an empty house --Naboth's vineyard --Expiation --Home sweet home --"And no bird sings" --Corner house --Corstophine --Temple --Step --Bed by the window --James Lamp --Dance --Hanging of Alfred Wadham --Pirates --Wishing-well --Bath-chair --Monkeys --Christopher comes back --Sanctuary --Thursday evenings --Psychical mallards --Clonmel witch burning.

    Weird Women, edited by award-winning anthologists Lisa Morton and Leslie S. Klinger, collects some of the finest tales of terror by authors as legendary as Louisa May Alcott, Frances Hodgson Burnett, and Charlotte Gilman-Perkins, alongside works of writers who were the bestsellers and critical favorites of their time—Marie Corelli, Ellen Glasgow, Charlotte Riddell—and lesser known authors who are deserving of contemporary recognition.As railroads, industry, cities, and technology flourished in the mid-nineteenth century, so did stories exploring the horrors they unleashed. This anthology includes ghost stories and tales of haunted houses, as well as mad scientists, werewolves, ancient curses, mummies, psychological terrors, demonic dimensions, and even weird westerns. Curated by Klinger and Morton with an aim to presenting work that has languished in the shadows, all of these exceptional supernatural stories are sure to surprise, delight, and frighten today’s readers.

    Lovecraft. Beyond being modern updates of the pulp horror of the 1930s, these stories seamlessly intertwine the Cthulhu Mythos into modern day conspiracy theory and the myths of alien abduction and visitation.

    M. Homes. “It is a place where things are not what they seem; even on a morning that is sunny and clear there is always the threat of darkness looming, of things taking a turn for the worse.” Jackson’s characters–mostly unloved daughters in search of a home, a career, a family of their own–chase what appears to be a harmless dream until, without warning, it turns on its heel to seize them by the throat. We are moved by these characters’ dreams, for they are the dreams of love and acceptance shared by us all. We are shocked when their dreams become nightmares, and terrified by Jackson’s suggestion that there are unseen powers–“demons” both subconscious and supernatural–malevolently conspiring against human happiness.In this volume Joyce Carol Oates, our leading practitioner of the contemporary Gothic, presents the essential works of Shirley Jackson, the novels and stories that, from the early 1940s through the mid-1960s, wittily remade the genre of psychological horror for an alienated, postwar America. She opens with The Lottery (1949), Jackson’s only collection of short fiction, whose disquieting title story–one of the most widely anthologized tales of the twentieth century–has entered American folklore. Also among these early works are “The Daemon Lover,” a story Oates praises as “deeper, more mysterious, and more disturbing than ‘The Lottery,’” and “Charles,” the hilarious sketch that launched Jackson’s secondary career as a domestic humorist.Here too are Jackson’s masterly short novels The Haunting of Hill House (1959), the tale of an achingly empathetic young woman chosen by a haunted house to be its new tenant, and We Have Always Lived in the Castle (1962), the unrepentant confessions of Miss Merricat Blackwood, a cunning adolescent who has gone to quite unusual lengths to preserve her ideal of family happiness. Rounding out the volume are 21 other stories and sketches that showcase Jackson in all her many modes, and the essay “Biography of a Story,” Jackson’s acidly funny account of the public reception of “The Lottery,” which provoked more mail from readers of The New Yorker than any contribution before or since.