When we first meet Pearl—young in years but advanced in her drinking—she’s on the lam, sitting at a hotel bar in Florida, throwing back gin and tonics with her infant son cradled in the crook of her arm. But her escape is brief, and the relief she feels at having fled her abusive husband, and the Northeastern island his family calls home, doesn’t last for long. Soon she’s being shepherded back. The island, for Pearl, is a place of madness and pain, and her round-the-clock drinking spurs on the former even if it dulls the latter. And through this lens—Pearl’s fragile consciousness—readers encounter the horror and triumph of both childhood and motherhood in a new light.            With language that flits between exuberance and elegy, the plainspoken and the poetic, Joy Williams has blended, as Rick Moody writes, “the arresting improbabilities of magic realism, with the surrealism of the folkloric revival . . . and with the modernist foreboding of Under the Volcano,” and created something entirely original and entirely consuming.

    One of life’s few consolations for Marek is his enduring bond with the blind village midwife, Ina, who suckled him as a baby, as she did so many of the village’s children. Ina’s gifts extend beyond childcare: she possesses a unique ability to communicate with the natural world. Her gift often brings her the transmission of sacred knowledge on levels far beyond those available to other villagers, however religious they might be. For some people, Ina’s home in the woods outside of the village is a place to fear and to avoid, a godless place. Among their number is Father Barnabas, the town priest and lackey for the depraved lord and governor, Villiam, whose hilltop manor contains a secret embarrassment of riches. The people’s desperate need to believe that there are powers that be who have their best interests at heart is put to a cruel test by Villiam and the priest, especially in this year of record drought and famine. But when fate brings Marek into violent proximity to the lord’s family, new and occult forces upset the old order. By year’s end, the veil between blindness and sight, life and death, the natural world and the spirit world, civility and savagery, will prove to be very thin indeed.

    Bess Hardemon, a tough and canny young teacher living in the mid-nineteenth century, is determined to make a difference at her new school, Priors Heath. Under the austere gaze of the Reverend Carnegie and his deputy, Miss Simms, the young girls remain underfed and unstimulated -- until the arrival of the bright, motivated young Bess.At the cost of her own chance of finding love, Bess remains trapped by her duty, a confinement echoed a century later by Sarah, a teacher at the modern-day Priors Heath who must make her own choice between her duty to her pupils and her efforts to save a broken marriage.

    As the city of Turin suffers a twenty-day "phenomenon of collective psychosis" culminating in nightly massacres that hundreds of witnesses cannot explain, the Library is shut down and erased from history. That is, until a lonely salaryman decides to investigate these mysterious events, which the citizenry of Turin fear to mention. Inevitably drawn into the city’s occult netherworld, he unearths the stuff of modern nightmares: what’s shared can never be unshared.An allegory inspired by the grisly neo-fascist campaigns of its day, The Twenty Days of Turin has enjoyed a fervent cult following in Italy for forty years. Now, in a fretful new age of "lone-wolf" terrorism fueled by social media, we can find uncanny resonances in Giorgio De Maria’s vision of mass fear: a mute, palpitating dread that seeps into every moment of daily existence. With its stunning anticipation of the Internet—and the apocalyptic repercussions of oversharing—this bleak, prescient story is more disturbingly pertinent than ever.Brilliantly translated into English for the first time by Ramon Glazov, The Twenty Days of Turin establishes De Maria’s place among the literary ranks of Italo Calvino and beside classic horror masters such as Edgar Allan Poe and H. P. Lovecraft. Hauntingly imaginative, with visceral prose that chills to the marrow, the novel is an eerily clairvoyant magnum opus, long overdue but ever timely.

    Then one day Sam wakes to find the tooth fairy sitting on the edge of his bed—but this is not the benign figure of childhood myth. This is an enigmatic presence that both torments and seduces him, changing his life forever.

    St John Fox, celebrated novelist, hasn’t seen her in six years. He’s unprepared for her afternoon visit, not least because she doesn’t exist. He’s infatuated with her. But he also made her up.“You’re a villain,” she tells him. ‘A serial killer . . . can you grasp that?”Will Mr Fox meet his muse’s challenge, to stop murdering his heroines and explore something of love? What will his wife Daphne think of this sudden change in her husband? Can there be a happy ending – this time?

    Like him, they are diminutive but graceful, unique, and with surprising depths. Perhaps that's why he answers the enigmatic personal ad in his collector's magazine.Letter by letter, Bramber Winters reveals more of her strange, sheltered life in an institution on Bodmin Moor, and the terrible events that put her there as a child. Andrew knows what it is to be trapped, and as they knit closer together, he weaves a curious plan to rescue her.On his journey through the old towns of England, he reads the fairy tales of Ewa Chaplin--potent, eldritch stories which, like her lifelike dolls, pluck at the edges of reality and thread their way into his mind. When Andrew and Bramber meet at last, they will have a choice--to break free and, unlike their dolls, come to life.A love story of two very real, unusual people, The Dollmaker is also a novel rich with wonders: Andrew's quest and Bramber's letters unspool around the dark fables that give our familiar world an uncanny edge. It is this touch of magic that, like the blink of a doll's eyes, tricks our own.

    They'll even build an invisible helicopter, to fly far away to a place where everyone will understand them... until they learn the only way to escape reality is to face it head-on.

    The book chronicles the adventures of Arthur as he draws the sword Excalibur from the anvil, proving his right to the throne, and as he courts and wins the heart of Guinevere. Later he suffers the treachery of the wicked Morgana le Fay and witnesses the tragic fate of the Enchanter Merlin. In Pyle’s classic retelling, the legends come alive in unsurpassed vividness. More powerful than any of Merlin’s spells, The Story of King Arthur and His Knights has enthralled and delighted generations of readers fascinated by chivalry, magic, and the unforgettable drama of medieval times.

    A librarian is called to a remote Canadian island to inventory the estate of a secretive Colonel whose most surprising secret is a bear who keeps the librarian company--shocking company.

    In a small Western Queensland town, a reserved young woman receives a note from one of her vanished brothers—a note that makes question her memories of their disappearance and her father’s departure.A beguiling story that proves that gothic delights and uncanny family horror can live—and even thrive—under a burning sun, Flyaway introduces readers to Bettina Scott, whose search for the truth throws her into tales of eerie dogs, vanished schools, cursed monsters, and enchanted bottles.In these pages Jennings assures you that gothic delights, uncanny family horror, and strange, unsettling prose can live—and even thrive—under a burning sun.Holly Black describes as “half mystery, half fairy tale, all exquisitely rendered and full of teeth.” Flyaway enchants you with the sly, beautiful darkness of Karen Russell and a world utterly its own.

    A boy named David sits beside her. She’s not his mother. He’s not her child. Together, they tell a haunting story of broken souls, toxins, and the power and desperation of family. Fever Dream is a nightmare come to life, a ghost story for the real world, a love story and a cautionary tale. One of the freshest new voices to come out of the Spanish language and translated into English for the first time, Samanta Schweblin creates an aura of strange psychological menace and otherworldly reality in this absorbing, unsettling, taut novel.

    Godwin Baxter's scientific ambition to create the perfect companion is realized when he finds the drowned body of Bella, but his dream is thwarted by Dr. Archibald McCandless's jealous love for Baxter's creation.The hilarious tale of love and scandal that ensues would be "the whole story" in the hands of a lesser author (which in fact it is, for this account is actually written by Dr. McCandless). For Gray, though, this is only half the story, after which Bella (a.k.a. Victoria McCandless) has her own say in the matter. Satirizing the classic Victorian novel, Poor Things is a hilarious political allegory and a thought-provoking duel between the desires of men and the independence of women, from one of Scotland's most accomplished author.

    Chava is unmoored and adrift as the ship arrives in New York harbor in 1899. Ahmad is a jinni, a being of fire born in the ancient Syrian desert, trapped in an old copper flask, and released in New York City, though still not entirely free. Ahmad and Chava become unlikely friends and soul mates with a mystical connection. Marvelous and compulsively readable, Helene Wecker's debut novel The Golem and the Jinni weaves strands of Yiddish and Middle Eastern literature, historical fiction and magical fable, into a wondrously inventive and unforgettable tale.

    Acclaimed editors Simon Strantzas and Michael Kelly bring their keen editorial sensibilities to the third volume of the Year's Best Weird Fiction. The best weird stories of 2015 features work from Robert Aickman, Matthew M. Bartlett, Sadie Bruce, Nadia Bulkin, Ramsey Campbell, Brian Conn, Brian Evenson, L.S. Johnson, Rebecca Kuder, Tim Lebbon, Reggie Oliver, Lynda E. Rucker, Robert Shearman, Christopher Slatsky, D.P. Watt, Michael Wehunt, Marian Womack, Genevieve Valentine No longer the purview of esoteric readers, weird fiction is enjoying wide popularity. Chiefly derived from early 20th-century pulp fiction, its remit includes ghost stories, the strange and macabre, the supernatural, fantasy, myth, philosophical ontology, ambiguity, and a healthy helping of the outre. At its best, weird fiction is an intersecting of themes and ideas that explore and subvert the Laws of Nature. It is not confined to one genre, but is the most diverse and welcoming of all genres.