Stuck in an East Texas old folks home, they must face off against a redneck mummy.Skyhorse Publishing, under our Night Shade and Talos imprints, is proud to publish a broad range of titles for readers interested in science fiction (space opera, time travel, hard SF, alien invasion, near-future dystopia), fantasy (grimdark, sword and sorcery, contemporary urban fantasy, steampunk, alternative history), and horror (zombies, vampires, and the occult and supernatural), and much more. While not every title we publish becomes a New York Times bestseller, a national bestseller, or a Hugo or Nebula award-winner, we are committed to publishing quality books from a diverse group of authors.

    A version of the story was published in the magazine Whirlwind in 1890, and Machen revised and extended it for its book publication (together with another story, "The Inmost Light") in 1894. On publication it was widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, although it has since garnered a reputation as a classic of horror. Machen’s story was only one of many at the time to focus on Pan as a useful symbol for the power of nature and paganism. The title was taken from the poem "A Musical Instrument" published in 1862 by Elizabeth Barrett Browning, in which the first line of every stanza ends "... the great god Pan.

    His European visits were infrequent enough to have kept unimpaired the freshness of his eye, and he was always struck anew by the vast and consummately ordered spectacle of Paris: by its look of having been boldly and deliberately planned as a background for the enjoyment of life, instead of being forced into grudging concessions to the festive instincts, or barricading itself against them in unenlightened ugliness, like his own lamentable New York. But to-day, if the scene had never presented itself more alluringly, in that moist spring bloom between showers, when the horse-chestnuts dome themselves in unreal green against a gauzy sky, and the very dust of the pavement seems the fragrance of lilac made visible-to-day for the first time the sense of a personal stake in it all, of having to reckon individually with its effects and influences, kept Durham from an unrestrained yielding to the spell. Paris might still be-to the unimplicated it doubtless still was-the most beautiful city in the world; but whether it were the most lovable or the most detestable depended for him, in the last analysis, on the buttoning of the white glove over which Fanny de Malrive still lingered.

    And then one night there came a knock at the door of a quiet lodging house in the Marylebone Road. . . . This novel, based on the Jack the Ripper murders, was made into a film by Alfred Hitchcock.

    It is the 1860s; Japan is closed to foreigners and this has to be a clandestine operation. During his undercover negotiations with the local baron, Joncour's attention is arrested by the man's concubine, a girl who does not have Oriental eyes. Although the young Frenchman and the girl are unable to exchange so much as a word, love blossoms between them, conveyed by a number of recondite messages in the course of four visits the Frenchman pays to Japan. How their secret affair develops and how it unfolds is told in a narration as beautiful, smooth and seamless as a piece of the finest silk.

    and his friends George and Harris decide that a jaunt up the Thames would suit them to a 'T'. But when they set off, they can hardly predict the troubles that lie ahead with tow-ropes, unreliable weather-forecasts and tins of pineapple chunks - not to mention the devastation left in the wake of J.'s small fox-terrier Montmorency. Three Men in a Boat was an instant success when it appeared in 1889, and proved so popular that Jerome reunited his now older - but not necessarily wiser - heroes in Three Men on the Bummel, for a picaresque bicycle tour of Germany. With their benign escapism, authorial discursions and wonderful evocation of the late-Victorian 'clerking classes', both novels hilariously capture the spirit of their age.

    His two earliest, and perhaps most accessible, successes—A Portrait of the Artist as a Young Man and Dubliners—are here brought together in one volume. Both works reflect Joyce’s lifelong love-hate relationship with Dublin and the Irish culture that formed him.In the semi-autobiographical Portrait, young Stephen Dedalus yearns to be an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book’s inventive style is apparent from its opening pages, a record of an infant’s impressions of the world around him—and one of the first examples of the “stream of consciousness” technique.Comprising fifteen stories, Dubliners presents a community of mesmerizing, humorous, and haunting characters—a group portrait. The interactions among them form one long meditation on the human condition, culminating with “The Dead,” one of Joyce’s most graceful compositions centering around a character’s epiphany. A carefully woven tapestry of Dublin life at the turn of the last century, Dubliners realizes Joyce’s ambition to give his countrymen “one good look at themselves.” Kevin J. H. Dettmar is Professor of English and Cultural Studies at Southern Illinois University Carbondale. He is the author or editor of a half-dozen books on James Joyce, modernist literature, and rock music. He is currently finishing a term as President of the Modernist Studies Association.--back cover

    But this worldly, sarcastic, and perhaps even wicked woman may have been made for something greater than love.In her portrait of Myra and in her exquisitely nuanced depiction of her marriage, Cather shows the evolution of a human spirit as it comes to bridle against the constraints of ordinary happiness and seek an otherworldly fulfillment. My Mortal Enemy is a work whose drama and intensely moral imagination make it unforgettable.

    Working as a carriage man for a Count, Ivan accidentally causes the death of a monk, which leads to his being ostracized by the local peasantry . . . until the dead monk returns as a ghost to guide him through trouble upon trouble.

    Contains 3 novellas originally published between 1952-1959: The Cloven Viscount, The Baron In the Trees, The Non-Existent Knight.

    From shopkeepers to kings, everyone wants the help of Sherlock Holmes, but can he solve these mysteries?

    Arthur, the Marquis of Douro, his beautiful wife, Marion, and their infant son lead a happy and carefree existence in the city of Verdopolis—until a chance encounter brings the youthful Marchioness’ childhood governess back into their lives. The meeting proves to be the catalyst for an increasingly tortuous series of events involving blackmail, imposture, and shocking revelations regarding the birth of the young Marchioness. Will the Marquis ever forgive his wife her secret? English novelist Charlotte Brontë is best remembered for her perennially popular novel, Jane Eyre.

    Steinbeck tackles two important literary traditions here; American naturalism, with its focus on the conflict between natural instincts and the demand to conform to society's norms, and the short story cycle. Set in the heart of 'Steinbeck land', the lush Californian valleys.

    In addition to works by Edgar Allan Poe, Arthur Conan Doyle, Bram Stoker, Wilkie Collins!, and other well-known writers, it features several sensationalized retellings of famous folk legends and accounts of notorious highwaymen. The book includes two full-length novels: the original 1818 text of Frankenstein, which was considered more shocking before Mary Shelley toned down its gruesomeness for the better-known 1831 edition, and Sweeney Todd: The Demon Barber of Fleet Street, a genuine penny dreadful that has served as the foundation for all accounts of Sweeney Todd written since. The book will appeal to readers who are currently enjoying the literary horror mash-ups featured on the hit Sky Atlantic series Penny Dreadful.Includes: - Aurelia, or, The Tale of a Ghoul by E.T.A. Hoffman

    Severin finds his ideal of voluptuous cruelty in the merciless Wanda von Dunajew. This is a passionate and powerful portrayal of one man's struggle to enlighten and instruct himself and others in the realm of desire. Published in 1870, the novel gained notoriety and a degree of immortality for its author when the word "masochism"—derived from his name—entered the vocabulary of psychiatry. This remains a classic literary statement on sexual submission and control.