Five other tales describe folk in Britain's lowest professional class between the late-1950s and 60s.

    To escape, they decide to return to Jesse's childhood home of Haven. On the perilous journey they encounter a deserted genetics lab. That evening the results of a genetic experiment, five massive dogs working as a team, walk into their camp. The dogs finally disappear back into the dark. On a second visit, the dogs become friends of the family. As they near Haven, a sheriffs warning about a brutal gang, triggers a buried childhood memory for Jesse and the gangs involvement in the death of his parents. The gang decides to visit Haven. The Colters set a brutally effective trap. Jesse is severely injured, but survives. Sarah and Jesse, with the help of their friends, build a future and slowly things get better. At the end Jessie is alone and dying. It's his time, and he feels complacent. He's an old man with a bent back and a deep love for Sarah, sitting in a small clearing on the side of a mountain overlooking Haven.

     Centuries ago, when Earth's Darkfolk -- vampires, werewolves, witches and other creatures -- were threatened by humanity, they departed our planet's dimension and journeyed to a shadowy realm, where they built the great city of Necropolis. Matthew Adrion is an Earth cop who came through a portal to Necropolis on a case, died, and was resurrected as a zombie. Unable to return home, he works as a private investigator on the very mean streets of this shadowy, dark city.

    They were destined to be together forever.DoBut Jana's destiny was fatally flawed. And now she's in Dead School, where Mars Dreamcote lurks in the back of the classroom, with his beguiling blue eyes, mysterious smile, and irresistibly warm touch.UsMichael and Jana were incomplete without each other. There was no room for Mars in Jana's life—or death—story. Jana was sure Michael would rush to her side soon.PartBut things aren't going according to Jana's plan. So Jana decides to do whatever it takes to make her dreams come true—no matter what rules she has to break.

    We had a flood plan in place. We could even have dealt with zombies. Probably.But no one expected the end to be quite so . . . sticky . . . or strawberry scented.

    Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, film-maker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he's convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius.All that's left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to recreate the lost masterwork while attempting to keep pace with an ever-fracturing culture of "likes" and arbitrary denunciations that are simultaneously his bete noire and his raison d'etre.A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.

    Horrific specters walking the streets. A drug that promises to change the world. An apocalyptic cult. Something is stirring in the city of Duluth, Minnesota. Ever since a celebrated researcher announced the creation of a new experimental drug—a drug with the potential to cure the mind of countless ills—people have been disappearing. When a grad student involved with the drug's development unexpectedly commits suicide, a private detective is tasked with unearthing the details of her tumultuous final days. This miracle drug may not be what it seems. Others touched by the drug begin to see things—horrible things—and find themselves transported into a nightmarish world where an ancient evil stirs. Those who taste the drug are left spiraling into horror. Dark figures tail them on the street, and the scenery of their nightmares begins to encroach upon waking life, blurring the lines between dreams and reality. Their terrifying experiences make up the individual fragments of a dire mosaic. As the pieces fall into place, they come to realize the unspeakable horrors that await all of mankind. Midnight is looming, and the sun may never rise again over the city of Duluth.

    In Anthem, Rand examines a frightening future in which individuals have no name, no independence, and no values. Equality 7-2521 lives in the dark ages of the future where all decisions are made by committee, all people live in collectives, and all traces of individualism have been wiped out. Despite such a restrictive environment, the spark of individual thought and freedom still burns in him--a passion which he has been taught to call sinful. In a purely egalitarian world, Equality 7-2521 dares to stand apart from the herd--to think and choose for himself, to discover electricity, and to love the woman of his choice. Now he has been marked for death for committing the ultimate sin. In a world where the great "we" reign supreme, he has rediscovered the lost and holy word--"I."

    Delving deeply into the Mormon ritual of blood sacrifice used in the murders, Rudd, along with his newly discovered half-brother, Lael, becomes swept up in the psychological and atavistic effects of this violent, antique ritual. As the past and the present become an increasingly tangled knot, Rudd is found at the scene of a multiple murder at a remote campsite with minor injuries and few memories. Lyndi, the daughter of the victims, tries to help Rudd recover his memory and, together, they find a strength unique to survivors of terrible tragedies. But Rudd, desperate to protect Lyndi and unable to let the past be still, tries to manipulate their Mormon wedding ceremony to trick the priests (and God) by giving himself and Lyndi new secret names—names that match the killer and the victim in the one hundred-year-old murder. The nightmare has just begun . . .

    M. Homes. “It is a place where things are not what they seem; even on a morning that is sunny and clear there is always the threat of darkness looming, of things taking a turn for the worse.” Jackson’s characters–mostly unloved daughters in search of a home, a career, a family of their own–chase what appears to be a harmless dream until, without warning, it turns on its heel to seize them by the throat. We are moved by these characters’ dreams, for they are the dreams of love and acceptance shared by us all. We are shocked when their dreams become nightmares, and terrified by Jackson’s suggestion that there are unseen powers–“demons” both subconscious and supernatural–malevolently conspiring against human happiness.In this volume Joyce Carol Oates, our leading practitioner of the contemporary Gothic, presents the essential works of Shirley Jackson, the novels and stories that, from the early 1940s through the mid-1960s, wittily remade the genre of psychological horror for an alienated, postwar America. She opens with The Lottery (1949), Jackson’s only collection of short fiction, whose disquieting title story–one of the most widely anthologized tales of the twentieth century–has entered American folklore. Also among these early works are “The Daemon Lover,” a story Oates praises as “deeper, more mysterious, and more disturbing than ‘The Lottery,’” and “Charles,” the hilarious sketch that launched Jackson’s secondary career as a domestic humorist.Here too are Jackson’s masterly short novels The Haunting of Hill House (1959), the tale of an achingly empathetic young woman chosen by a haunted house to be its new tenant, and We Have Always Lived in the Castle (1962), the unrepentant confessions of Miss Merricat Blackwood, a cunning adolescent who has gone to quite unusual lengths to preserve her ideal of family happiness. Rounding out the volume are 21 other stories and sketches that showcase Jackson in all her many modes, and the essay “Biography of a Story,” Jackson’s acidly funny account of the public reception of “The Lottery,” which provoked more mail from readers of The New Yorker than any contribution before or since.

    Edwin is approached by a vampire, who offers him the prospect of eternal life if Edwin will help him with the troubles the modern world has presented his kind. It's Edwin versus Nosferatu in this insightful satire of the highly exploited vampire genre. Novella-length, 27,000 words

    There they will confront madness, murder, and the ultimate evil so that their billionaire host might find the key to life beyond the grave. But as they learn, dead souls dwell in The Pines. And death is just the beginning...

    Inside this folder are the letters, memos and transcripts for a young soldier named George Smith, a quiet young man with a terrible past and a shocking secret. As Outerbridge conducts George's therapy, he gradually discovers the truth about George's traumatic childhood, his twisted romance with an older woman named Anna, and the unusual obsession George keeps hidden from the world. With the masterful touch that earned him the Hugo and Nebula awards, Theodore Sturgeon creates a character capable both of unsettling violence and irresistible humanity.

    This was a war to make the world safe for democracy. And if democracy was made safe, then nothing else mattered - not the millions of dead bodies, nor the thousands of ruined lives... This is no ordinary novel. This is a novel that never takes the easy way out: it is shocking, violent, terrifying, horrible, uncompromising, brutal, remorseless and gruesome... but so is war. Winner of the National Book Award.

    She hunts for men at bars, online, at home— the place doesn’t matter, neither does the man. Her victims then must live the aftermath of their assault in the form of doubt from the police, feelings of shame alienation from their friends and family and the haunting of a horrible woman who becomes the phantom on which society projects its greatest fears, fascinations and even misogyny. All the while the police are without leads and the media hound the victims, publicly dissecting the details of their attack.What is extraordinary is how as years pass these men learn to heal, by banding together and finding a space to raise their voices. Told in alternating viewpoints signature to each voice and experience of the victim, these pages crackle with emotion, ranging from horror to breathtaking empathy.