"Number Thirteen," "The Mezzotint," "Canon Alberic's Scrapbook," and more. Renowned for their wit, erudition and suspense, these stories are each masterfully constructed and represent a high achievement in the ghost genre. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    The family -- which refuses to believe in him -- is in Wilde's way a commentary on the British nobility of the day -- and on the Americans, too. The tale, like many of Wilde's, is rich with allusion, but ends as sentimental romance...

    Jekyll and Mr. HydeMedical school students Fettes and Macfarlane are charged with the unenviable task of receiving and paying for the institution’s research cadavers. When Fettes recognizes the dead body of a woman he saw alive and well just the day before, he suspects murder. Macfarlane, however, insists that the authorities would never believe they had nothing to do with her death. Reluctantly, Fettes agrees to keep quiet, but soon regrets his decision when another familiar corpse turns up—and takes on a life of its own.

    We boys used to overrun the place, and I can still recall my youthful terror not only at the morbid strangeness of this sinister vegetation, but at the eldritch atmosphere and odor of the dilapidated house, whose unlocked front door was often entered in quest of shudders.

    He was a gullible and excitable fellow, often so terrified by locals' stories of ghosts that he would hurry through the woods on his way home, singing to keep from hysterics. Until late one night, he finds that maybe they're not just stories. What is that dark, menacing figure riding behind him on a horse? And what does it have in its hands? And why wasn't schoolteacher Crane ever seen in Sleepy Hollow again?

    Here, in one volume, are his masterpieces of mystery, terror, humor, and adventure, including stories such as The Tell-Tale Heart, The Cask of Amontillado, The Black Cat, The Masque of the Red Death, The Murders in the Rue Morgue, The Purloined Letter, and The Pit and the Pendulum, to name just a few, that defined American romanticism and secured Poe as one of the most enduring literary voices of the nineteenth century.

    At Gip's urging, the two go in — and things grow more and more curious by the minute. Counters, store fixtures, and mirrors seem to move around the room, and the shopkeeper is most mysterious of all. Gip is thrilled by all he sees, and his father is at first amused, but when things become stranger and sinister father is no longer sure where reality ends and illusion begins. Fantastical illustrations underscore the macabre atmosphere of the tale, make this a perfect book read aloud together again and again.

    Are their malefactions at the root of the haunting -- or is there something darker, something much more unknowable at work? (Jacketless library hardcover.)

    Only one person knows the truth: Adrienne Beauvier, granddaughter of the Comte de Challembelles and cousin to the man who built the castle.Clairvoyant from the time she could talk, Adrienne’s visions show her the secrets of those around her. When her visions begin to reveal dark mysteries of her own aristocratic French family, Adrienne is confronted by her formidable Aunt Marie, who is determined to keep the young woman silent at any cost. Marie wrenches Adrienne from her home in France and takes her to America, to Miramont Castle, where she keeps the girl isolated and imprisoned. Surrounded by eerie premonitions, Adrienne is locked in a life-or-death struggle to learn the truth and escape her torment.Reminiscent of Daphne du Maurier’s Rebecca, this hauntingly atmospheric tale is inspired by historical research into the real-life Miramont Castle in Manitou Springs, Colorado.

    Published the same year as her first novel, Adam Bede, this overlooked work displays the gifts for which George Eliot would become famous—gritty realism, psychological insight, and idealistic moralizing. It is unique from all her other writing, however, in that it represents the only time she ever used a first-person narrator, and it is the only time she wrote about the supernatural. The tale of a man who is incapacitated by visions of the future and the cacophony of overheard thoughts, and yet who can’t help trying to subvert his vividly glimpsed destiny, it is easy to read The Lifted Veil as being autobiographically revealing—of Eliot’s sensitivity to public opinion and her awareness that her days concealed behind a pseudonym were doomed to a tragic unveiling (as indeed came to pass soon after this novella’s publication). But it is easier still to read the story as the exciting and genuine precursor of a moody new form, as well as an absorbing early masterpiece of suspense.The Art of The Novella SeriesToo short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

    Carnacki, the Ghost-Finder is a collection of supernatural detective short stories by author William Hope Hodgson.

    This collection of short and chilling ghost stories was originally published in 1913 and is loosely organized into four categories: The Ways of Ghosts, including "An Arrest," in which a murderer is escorted back to jail by the prison guard he murdered to escape; Soldier Folk including "A Man with Two Lives," in which a man dead and buried returns to claim his belongings, Some Haunted Houses, including "The Other Lodgers," in which a man checks into what he believes is a hotel only to discover it is an abandoned hospital, and Mysterious Disappearances, including "The Difficulty of Crossing a Field," in which a man disappears in full view of witnesses while crossing a field.

    A young English gentleman of means, Aubrey is immediately intrigued by Lord Ruthven, the mysterious newcomer among society’s elite. His unknown origin and curious behavior tantalizes Aubrey’s imagination. But the young man soon discovers a sinister character hidden behind his new friend’s glamorous facade.   When the two are set upon by bandits while traveling together in Europe, Ruthven is fatally injured. Before drawing his last breath, he makes the odd request that Aubrey keep his death and crimes secret for a year and a day. But when Ruthven resurfaces in London—making overtures toward Aubrey’s sister—Aubrey realizes this immortal fiend is a vampyre.   John William Polidori’s The Vampyre is both a classic tale of gothic horror and the progenitor of the modern romantic vampire myth that has been fodder for artists ranging from Anne Rice to Alan Ball to Francis Ford Coppola. Originally published in 1819, many decades before Bram Stoker’s Dracula, and misattributed to Polidori’s friend Lord Byron, The Vampyre has kept readers up at night for nearly two hundred years.

    Half-seen figures who glare from dark towers and dusty windows- silent, foul phantoms who, day by day, night by night, come closer, ever closer. With growing horror, the helpless governess realizes the fiendish creatures want the children, seeking to corrupt their bodies, possess their minds, own their souls... But worse-much worse- the governess discovers that Miles and Flora have no terror of the lurking evil. For they want the walking dead as badly as the dead want them.