This collection of works by classic writers spans more than a century—from 19th-century trailblazers such as John William Polidori, Nathaniel Hawthorne, and Washington Irving to 20th-century masters like Saki, Edith Wharton, and Franz Kafka. The fear of the unknown is a driving force in literature, and the horror genre surpasses all others in bringing this idea to the forefront of the reader's consciousness. A wide range of cultures and classes of society are represented in this volume, reminding us that dark forces lurk all around us—for even in broad daylight, a shadow exists somewhere.

     The red flag was that he said he was Satan. But the deal was good: Listen to Satan’s story in exchange for some donuts. And Doug only half-fulfilled his part of the bargain. But maybe he should have listened better, because during his friend Bryce’s next scheme (theft with light to moderate treason—the usual), Doug and the rest of his friends—Lulu (the fun one) and Charlene (the not fun one)—end up with a powerful artifact, a small metal cube with world-ending power that Lulu decorated with bunnies. And now everyone wants the bunny cube, which means Doug, Bryce, Lulu, and Charlene are being pursued by an insane supermodel general, an army of sadists, a vast criminal organization, a smaller, more-in-startup-mode criminal organization, and an unstoppable killing machine—the worst kind of killing machine. Doug and his friends may be a bunch of losers who aren’t particularly smart or good at anything, but they have one thing going for them: a really cool name for their mercenary group. And now it’s up to Hellbender to save the world—well, what’s left of it. It’s pretty ruined and war-torn already. But, you know, they live there, so they kind of need it. It’s a mess, but that’s what you get for listening to Satan. Or half-listening.

    In the title story, on a murky evening in a warmly lit club off St James, a bishop listens closely as a paranormal detective recounts his most memorable case, one whose horrifying denouement took place in that very building. In 'The Front Room', a devoutly Christian mother tries to protect her children from the evil influence of their grandmother, both when she is alive and when she is dead. A lonely boy finds a friend in 'Boy Number 21', but years later he is forced to question the nature of that friendship, and to ask whether ghosts can perish in fires.This is Susan Hill at her best, telling characteristically flesh-creeping and startling tales of thwarted ambition, terrifying revenge and supernatural stirrings that will leave readers wide-awake long into the night.

    One stormy night, their solitude is interrupted by a benighted traveller, a Countess who turns out to be a friend from Clermont's past.

     A violent attack that happened nearly a decade ago has left twenty-seven-year-old Avery Tullinger barely able to walk outside. Following her estranged father’s death, she inherits Whickering Place, a historic mansion in Asheville, North Carolina, currently occupied by two tenants: Colin Gallagher, a young doctor, and his mysterious brother, Pearse. Soon after moving in, Avery learns that her father’s life in the house was consumed by the supernatural … and the activity appears to be starting again. As paranormal events within the house escalate, so does Avery’s attraction for Pearse, even though Colin warns her that his younger brother is involved in a dangerous cult called The Colony. Faced with losing Whickering Place, her heart, and even her life, Avery is forced to make unimaginable choices. And as Whickering Place becomes the focal point for The Colony’s bloody rituals, the house’s dark history threatens to repeat itself. At turns a novel of terror and a story of love, Whickering Place is a paranormal thriller of nonstop suspense about the risks of living and loving outside safe boundaries and the relationships that change, motivate, and sustain us.

    But then again, there aren't many writers with such irrepressible genius as John Fante.The John Fante Reader is the important next step in the reintroduction of this influential author to modern audiences. Combining excerpts from his novels and stories, as well as his never-before-published letters, this collection is the perfect primer on the work of a writer -- underappreciated in his time -- who is finally taking his place in the pantheon of twentieth-century American writers.

    Essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theater, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film, the struggles between high and popular culture, and changing attitudes towards human identity, life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

    Bursting with intrigue and suspense, they resurrect the deepest and darkest of all our fears: that a monster lurks, and it lurks within us. Introductions by Dr Maria Mellins and Dr Peter Howell, Senior Lecturers in Gothic literature at St Mary's University, London, this collection offers additional insight into these audiobooks, their authors and their legacies. Starting with Robert Louis Stevenson's Dr Jekyll and Mr Hyde, Richard Armitage tells the story of a conflicted man who seeks to free the monster inside him from the clutches of his conscience. Following his celebrated performances of David Copperfield and David Hewson's Romeo and Juliet for Audible, Armitage delivers another powerhouse performance as the narrator of this Gothic tale. Shilling shocker enthusiast Stevenson was celebrated throughout his life. In contrast to Mary Shelley, who was often overshadowed by her husband's work, Stevenson lived comfortably by his pen. It was only with the release of Frankenstein that Shelley finally distinguished herself. Frankenstein was groundbreaking in its ability to fuse passion and romance with gore and horror. Narrated by Dan Stevens, who rose to fame through Downton Abbey, and Beauty and the Beast, the story of science student Victor Frankenstein has been artfully retold. Testing the limits of science, Frankenstein fashions a living being from the conjoined body parts of rotting cadavers. Horrified at the end result, he abandons his monster, leaving him to endure a life of isolation and loneliness. A poignant example of human weakness and our inability to take responsibility for our actions, Frankenstein is both moving and terrifying. That leads us to the gruesome tale of Count Dracula, the bloodthirsty father of the undead. Narrated by Greg Wise, star of The Crown and Sense and Sensibility; Greg depicts a young lawyer whose services are hired by a sinister Transylvanian count. Releasing Dracula 80 years after Frankenstein, Bram Stoker was greatly influenced by Shelley's writing style and similarly propels the story along through diary entries, letters and newspaper cuttings. Possessed of grisly imagery and unexpected twists, it's no wonder that Dracula still manages to shake us to our very core. All that remains is to offer a note of caution: this collection is not for the fainthearted. Old as these tales may be, do not mistake the unsettling nature of their content. Grab some popcorn, turn the speakers up and enjoy. Just don't say we didn't warn you.

    G. Wells was greeted in 1896 by howls of protest from reviewers, who found it horrifying and blasphemous. They wanted to know more about the wondrous possibilities of science shown in his first book, The Time Machine, not its potential for misuse and terror. In The Island of Dr. Moreau, a shipwrecked gentleman named Edward Prendick, stranded on a Pacific island lorded over by the notorious Dr. Moreau, confronts dark secrets, strange creatures, and a reason to run for his life.While this riveting tale was intended to be a commentary on evolution, divine creation, and the tension between human nature and culture, modern readers familiar with genetic engineering will marvel at Wells’s prediction of the ethical issues raised by producing “smarter” human beings or bringing back extinct species. These levels of interpretation add a richness to Prendick’s adventures on Dr. Moreau’s island of lost souls without distracting from what is still a rip-roaring good read.

     A photographer reluctantly agrees to take images of an abandoned manor house on the Dorset cliff tops only to find the building is not completely empty. . .

    Gathering works from the previously published Monday or Tuesday, as well as stories published in American and British magazines, this book compiles some of the best shorter fiction of one of the most important writers of our time.

    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?

    But when a small Italian girl, whom she had been hired to escort across Europe, vanished into thin air on the Paris Express, even Kate was assailed by doubts and fears. Why had no-one admitted to seeing the girl board the train? And which of the two men in Kate's life was desperately trying to kill her? Caught in a terrifying web of betrayal and deceit, accused on all sides of being the victim of hallucinations, Kate found herself questioning which was the friend, and which the enemy—with absolutely no help to hand.

    Considered one of the English language's greatest writers, he was acclaimed for his rich storytelling and memorable characters, and achieved massive worldwide popularity in his lifetime. The popularity of his novels and short stories has meant that not one has ever gone out of print. Dickens wrote serialised novels, the usual format for fiction at the time, and each new part of his stories was eagerly anticipated by the reading public. Among his best-known works are Sketches by Boz (1836), The Pickwick Papers (1837), Oliver Twist (1838), Nicholas Nickleby (1839), Barnaby Rudge (1841), A Christmas Carol (1843), Martin Chuzzlewit (1844), David Copperfield (1850), Bleak House (1853), Little Dorrit (1857), A Tale of Two Cities (1859), Great Expectations (1861) and Our Mutual Friend (1865).

    They built it outside the Suffolk town so it would not infect the healthy with its horrors. But the town itself is long gone, washed away by the North Sea. Only the Leper House remains, a shelter for the unwanted. A bereaved man strays there on a stormy night when the bell tolls once again beneath the waves. In a nearby house, a woman waits for history to repeat itself. When time isn’t what it seems, nor is love and nor are ghosts. And nor are we. The Leper House is a 19,000-word novella, written for Kindle Singles and available here for the first time. Andrew Taylor is a British crime and historical novelist whose books include the international bestseller, The American Boy (a Richard-and-Judy selection), and the Roth Trilogy (filmed for TV as Fallen Angel). Among his many awards are the Cartier Diamond Dagger for Lifetime Excellence in crime writing. His latest novel is The Scent of Death, winner of the 2013 Historical Dagger.