The author deftly puts you inside the mind of a serial killer--succeeding not in writing about madness, but in writing with the logic of madness.

    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?

    Precociously bright, they spend their evenings in their parents’ attic discussing the macabre and unexplained, zealously rereading books on folklore, hauntings and the supernatural. In particular, they are obsessed with photographs of ghostly apparitions and the mix of terror and delight they provoke in their otherwise boring and safe childhoods.But when Tim and Abi decide to fake a photo of a ghost to frighten an unpopular school friend, they set in motion a deadly and terrifying chain of events that neither of them could have predicted, and are forced to confront the possibility that what began as a callous prank might well have taken on a malevolent life of its own.

    After months of accepting his lame excuses and strange behavior, his wife has had enough. She demands that he see a therapist, and George, desperate to save his unraveling marriage and redeem himself as a father and husband, reluctantly agrees. As he delves into his childhood memories, he begins to recall things he hasn’t thought of in twenty years. Events, people, and strange situations come rushing back. The odd, rambling letters his father sent home before he died. The jovial mother who started dating too soon after his father’s death. A boy who appeared one night when George was lonely, then told him secrets he didn’t want to know. How no one believed this new friend was real and that he was responsible for the bad things that were happening. Terrified by all that he has forgotten, George struggles to remember what really happened in the months following his father’s death. Were his ominous visions and erratic behavior the product of a grief-stricken child’s overactive imagination (a perfectly natural reaction to the trauma of loss, as his mother insisted)? Or were his father’s colleagues, who blamed a darker, more malevolent force, right to look to the supernatural as a means to end George’s suffering? Twenty years later, George still does not know. But when a mysterious murder is revealed, remembering the past becomes the only way George can protect himself–and his young family.A psychological thriller in the tradition of Donna Tartt’s The Secret History–with shades of The Exorcist–the smart and suspenseful A Good and Happy Child leaves you questioning the things you remember and frightened of the things you’ve forgotten.From the Hardcover edition.

    Good grades, good family, a paper route. But he is about to meet a different kind of teacher: Mr. Dussander. Todd knows all about Dussander's dark past. The torture. The death. The decades-old manhunt Dussander has escaped to this day. Yet Todd doesn't want to turn him in. Todd wants to know more. Much more. He is about to learn the real meaning of power—and the seductive lure of evil.

    She has died many times . . . but her many deaths are not final: They are comas, a waking slumber indistinguishable from death, each lasting days.Only two people know of Carol’s eerie condition. One is her husband, Dwight, who married Carol for her fortune, and—when she lapses into another coma—plots to seize it by proclaiming her dead and quickly burying her . . . alive. The other is her lost love, the infamous outlaw James Moxie. When word of Carol’s dreadful fate reaches him, Moxie rides the Trail again to save his beloved from an early, unnatural grave.And all the while, awake and aware, Carol fights to free herself from the crippling darkness that binds her—summoning her own fierce will to survive. As the players in this drama of life and death fight to decide her fate, Carol must in the end battle to save herself.

    Flo and Clara, two impressionable students, are obsessed with each other and with a daring young writer named Mary MacLane, the author of a scandalous bestselling memoir. To show their devotion to Mary, the girls establish their own private club and call it The Plain Bad Heroine Society. They meet in secret in a nearby apple orchard, the setting of their wildest happiness and, ultimately, of their macabre deaths. This is where their bodies are later discovered with a copy of Mary’s book splayed beside them, the victims of a swarm of stinging, angry yellow jackets. Less than five years later, The Brookhants School for Girls closes its doors forever—but not before three more people mysteriously die on the property, each in a most troubling way. Over a century later, the now abandoned and crumbling Brookhants is back in the news when wunderkind writer, Merritt Emmons, publishes a breakout book celebrating the queer, feminist history surrounding the “haunted and cursed” Gilded-Age institution. Her bestselling book inspires a controversial horror film adaptation starring celebrity actor and lesbian it girl Harper Harper playing the ill-fated heroine Flo, opposite B-list actress and former child star Audrey Wells as Clara. But as Brookhants opens its gates once again, and our three modern heroines arrive on set to begin filming, past and present become grimly entangled—or perhaps just grimly exploited—and soon it’s impossible to tell where the curse leaves off and Hollywood begins. A story within a story within a story and featuring black-and-white period illustrations.

    Jenkins and Ryan CagleAunty Green by John BlackburnMiss Mack by Michael McDowellSchool Crossing by Francis KingA Psychological Experiment by Richard MarshThe Progress of John Arthur Crabbe by Stephen GregoryThe Frozen Man by John TrevenaCalifornia Burning by Michael BlumleinLet Loose by Mary CholmondeleyOut of Sorts by Bernard TaylorThe Head and the Hand by Christopher PriestThe Ghost of Charlotte Cray by Florence MarryatThe Grim White Woman by M. G. LewisThe Terror on Tobit by Charles BirkinFurnished Apartments by Forrest ReidSomething Happened by Hugh FleetwoodThe Tarn by Hugh WalpoleThe Gentleman All in Black by Gerald Kersh

    The boy seems to have a psychic connection to something in the dark forest, something unseen... and evil. The old-timers in the region know the truth of the legendary creature that stalks the Pine Barrens. And they know the savagery it's capable of

    Its labyrinthine halls, built by her mad ancestors, are filled with echoes of the past: ghosts and memories knotted together as one. In the presence of phantoms, it's all Sam can do to disentangle past from present in her daily life. But when her pregnant sister Elizabeth moves in after a fight with her husband, something in the house shifts. Already navigating her tumultuous relationship with Elizabeth, Sam is even more unsettled by the appearance of a new ghost: a faceless boy who commits disturbing acts—threatening animals, terrorizing other children, and following Sam into the depths of the house wielding a knife. When it becomes clear the boy is connected to a locked, forgotten room, one which is never entered, Sam realizes this ghost is not like the others. This boy brings doom. As Elizabeth's due date approaches, Sam must unravel the mysteries of Wakefield before her sister brings new life into a house marked by death. But as the faceless boy grows stronger, Sam will learn that some doors should stay closed—and some secrets are safer locked away forever.

    Ever since, it is said, anyone who stays at the cabin is possessed by Gruvik's spirit and driven to drown themselves in the lake. What's more, Gruvik's restless ghost has been seen by many of the local people, prowling the woods by moonlight.Bjørn Werner, a young writer from Oslo, ignored the old superstitions and rented Dead Man's Cabin as a quiet spot to finish his book. Now he has disappeared, and the evidence suggests he threw himself in the lake in a fit of madness. The police write it off as a suicide, but his friends are not so sure. Kai Bugge, Bjørn's psychiatrist, believes in the suicide explanation, while private detective Harald Gran thinks it's a case of murder, and Gabriel Mørk, an expert in the occult, is certain that darker and otherworldly forces are at play. They travel to unravel the mystery of their friend's terrible fate, but not all of them will return alive from their stay at the Lake of the Dead ...André Bjerke's The Lake of the Dead (1942) was voted the all-time best Norwegian crime novel, and its atmospheric 1958 film adaptation is regarded as one of Norway's best films. This new translation is the first-ever American publication of Bjerke's classic, which features an unusual mixture of murder mystery and supernatural horror that will keep readers guessing until the thrilling conclusion.

    Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in a violent, vengeful way.

    Not out here. We never have. In Iain Reid’s second haunting, philosophical puzzle of a novel, set in the near-future, Junior and Henrietta live a comfortable, solitary life on their farm, far from the city lights, but in close quarters with each other. One day, a stranger from the city arrives with alarming news: Junior has been randomly selected to travel far away from the farm...very far away. The most unusual part? Arrangements have already been made so that when he leaves, Henrietta won't have a chance to miss him, because she won't be left alone—not even for a moment. Henrietta will have company. Familiar company. Told in Reid’s sharp and evocative style, Foe examines the nature of domestic relationships, self-determination, and what it means to be (or not to be) a person. An eerily entrancing page-turner, it churns with unease and suspense from the first words to its shocking finale.

    When Elizabeth takes a liking to Anna, she’s vaulted to the dream role of chambermaid, a far cry from the filthy servants’ quarters below. She receives wages generous enough to provide for her family, and the Countess begins to groom Anna as her friend and confidante. It’s not long before Anna falls completely under the Countess’s spell—and the Countess takes full advantage. Isolated from her former friends, family, and fiancé, Anna realizes she’s not a friend but a prisoner of the increasingly cruel Elizabeth. Then come the murders, and Anna knows it’s only a matter of time before the Blood Countess turns on her, too.

    destruction, and revenge. Dreams he kind of likes. Dreams he could make real, with Amity's help.Ten years later, Gwen's family moves to Amity for a fresh start. Instead, she's haunted by lurid visions, disturbing voices, and questions about her own sanity. But with her history, who would ever believe her? And what could be done if they did?Because Amity isn't just a house. She is a living force, bent on manipulating her inhabitants to her twisted will. She will use Connor and Gwen to bring about a violent end as she's done before. As she'll do again. And again. And again.Inspired by a true-crime story, Amity spans generations to weave an overlapping, interconnected tale of terror, insanity. danger, and death.