Physically exhausted and mentally drained, she’s also wracked with guilt over her unfinished dissertation—a thesis on mid-century children’s literature.Enter a new upstairs neighbor: the ghost of quixotic children’s book writer Margaret Wise Brown—author of the beloved classic Goodnight Moon—whose existence no one else will acknowledge. It seems Margaret has unfinished business with her former lover, the once-famous socialite and actress Michael Strange, and is determined to draw Megan into the fray. As Michael joins the haunting, Megan finds herself caught in the wake of a supernatural power struggle—and until she can find a way to quiet these spirits, she and her newborn daughter are in terrible danger.Using Megan’s postpartum haunting as a powerful metaphor for a woman’s fraught relationship with her body and mind, Julia Fine once again delivers an imaginative and “barely restrained, careful musing on female desire, loneliness, and hereditary inheritances” (Washington Post).

    LovecraftActor, journalist, devotee of Celtic Christianity and the Holy Grail legend, Welshman Arthur Machen is considered one of the fathers of weird fiction, a master of mayhem whose work has drawn comparisons to H. P. Lovecraft and Edgar Allan Poe. Readers will find the perfect introduction to his style in this new collection. With the title story, an exercise in the bizarre that leaves the reader disoriented virtually from the first page, Machen turns even fundamental truths upside down. "There have been those who have sounded the very depths of sin," explains the character Ambrose, "who all their lives have never done an 'ill deed.'"

    Merrily Watkins had never wanted a picture-perfect parish — or a huge and haunted vicarage. Nor had she wanted to walk straight into a local dispute over a controversial play about a strange 17th-century clergyman accused of witchcraft. But this is Ledwardine, steeped in cider and secrets. And, as Merrily and her daughter Jane discover, it is a village where horrific murder is an age-old tradition.

    Wimbourne Books presents the first in a series of rare or out-of-print ghost stories from Victorian authors. With an introduction by author Alastair Gunn, Volume 1 in the series spans the years 1852 to 1899 and includes stories from a wide range of female authors; English, Irish, Scottish, Welsh and American. Includes tales by Mary Elizabeth Braddon, Charlotte Riddell, Isabella Banks and Gertrude Atherton. Readers new to this genre will discover its pleasures; the Victorian quaintness, the sometimes shocking difference in social norms, the almost comical politeness and structured etiquette, the archaic and precise language, but mostly the Victorians’ skill at stoking our fears and trepidations, our insecurities and doubts. Even if you are already an aficionado of the ghostly tale there is much within these pages to interest you. Wait until the dark of the stormy night arrives, lock the doors, shutter the windows, light the fire, sit with your back to the wall and bury yourself in the Victorian macabre. Try not to let the creaking floorboards, the distant howl of a dog, the chill breeze that caresses the candle, the shadows in the far recesses of your room, disturb your concentration.

    . . or not.Joining these haunting works are stories linked to Tremblay’s previous novels. The tour de force metafictional novella Notes from the Dog Walkers deconstructs horror and publishing, possibly bringing in a character from A Head Full of Ghosts, all while serving as a prequel to Disappearance at Devil’s Rock. “The Thirteenth Temple” follows another character from A Head Full of Ghosts—Merry, who has published a tell-all memoir written years after the events of the novel. And the title story, Growing Things, a shivery tale loosely shared between the sisters in A Head Full of Ghosts, is told here in full.From global catastrophe to the demons inside our heads, Tremblay illuminates our primal fears and darkest dreams in startlingly original fiction that leaves us unmoored. As he lowers the sky and yanks the ground from beneath our feet, we are compelled to contemplate the darkness inside our own hearts and minds.Growing things --Swim wants to know if it's as bad as swim thinks --Something about birds --The getaway --Nineteen snapshots of Dennisport --Where we all will be --The teacher --Notes for "The Barn in the Wild" --_______ --Our town's monster --A haunted house is a wheel upon which some are broken --It won't go away --Notes from the dog walkers --Further questions for the somnambulist --The ice tower --The society of the monsterhood --Her red right hand --It's against the law to feed the ducks --The thirteenth temple --Notes --Acknowledgments --Credits

    When seventeen-year-old Andrew Taylor is transplanted from his American high school to a British boarding school—a high-profile academy for the sons of England’s finest—his father hopes that the boy’s dark past will not follow him from across the Atlantic. But blood, suspense, and intrigue quickly surround Andrew once again as he finds himself struggling with a deadly mystery left unsolved by a student from Harrow School’s past—the enigmatic poet Lord Byron.

    Ever since her father was killed when she was just a child, Miranda Crabtree has kept her head down and her eyes up, ferrying contraband for a mad preacher and his declining band of followers to make ends meet and to protect an old witch and a secret child from harm.But dark forces are at work in the bayou, And when the preacher makes an unthinkable demand, it sets Miranda on a desperate, dangerous path, forcing her to consider what she is willing to sacrifice to keep her loved ones safe.

    Now his sudden death allows her to return to New York to make a fresh start, restoring Liefdehuis, a dilapidated Hyde Park mansion, and hopefully her reputation at the same time. However, fresh starts aren't as easy as they seem, as Alva discovers when stories of a haunting at Liefdehuis begin to reach her. But Alva doesn't believe in ghosts. So when the eccentric and brilliant professor, Samuel Moore, appears and informs her that he can get to the bottom of the mystery that surrounds Liefdehuis, she turns him down flat. She doesn't need any more complications in her life―especially not a handsome, convention-flouting, scandal-raising one like Sam. Unfortunately, though Alva is loath to admit it, Sam, a pioneer in electric lighting and a member of the nationally-adored Moore family of scientists, is the only one who can help. Together, the two delve into the tragic secrets wreathing Alva's new home while Sam attempts to unlock Alva's history―and her heart. Set during the Gilded Age in New York City, The Widow of Rose House is a gorgeous debut by Diana Biller, with a darkly Victorian Gothic flair and an intrepid and resilient American heroine guaranteed to delight readers.

    A young English gentleman of means, Aubrey is immediately intrigued by Lord Ruthven, the mysterious newcomer among society’s elite. His unknown origin and curious behavior tantalizes Aubrey’s imagination. But the young man soon discovers a sinister character hidden behind his new friend’s glamorous facade.   When the two are set upon by bandits while traveling together in Europe, Ruthven is fatally injured. Before drawing his last breath, he makes the odd request that Aubrey keep his death and crimes secret for a year and a day. But when Ruthven resurfaces in London—making overtures toward Aubrey’s sister—Aubrey realizes this immortal fiend is a vampyre.   John William Polidori’s The Vampyre is both a classic tale of gothic horror and the progenitor of the modern romantic vampire myth that has been fodder for artists ranging from Anne Rice to Alan Ball to Francis Ford Coppola. Originally published in 1819, many decades before Bram Stoker’s Dracula, and misattributed to Polidori’s friend Lord Byron, The Vampyre has kept readers up at night for nearly two hundred years.

    They are drawn to the suspiciously inexpensive Cliff End, feared amongst locals as a place of disturbance and ill omen. Gradually, the Fitzgeralds learn of the mysterious deaths of Mary Meredith and another strange young woman. Together, they must unravel the mystery of Cliff End's uncanny past - and keep the troubled young Stella, who was raised in the house as a baby, from returning to the nursery where something waits to tuck her in at night... The second in Tramp's Recovered Voices series, this strange, bone-chilling story was first published in 1942, and was adapted for the screen as one of Hollywood's most successful ghost stories, The Uninvited, in 1944.

    This anthology brings together 29 of the greatest horror stories of the period from 1816 to 1912, from the British, Irish, American, and European traditions. It ranges widely across the sub-genres to encompass authors whose terror-inducing powers remain unsurpassed. The book includes stories by some of the best writers of the century - Hoffmann, Poe, Balzac, Dickens, Hawthorne, Melville, Zola - as well as established genre classics such as M. R. James, Arthur Machen, Bram Stoker, Algernon Blackwood, Charlotte Perkins Gilman and others. It includes rare and little-known pieces by writers such as William Maginn, Francis Marion Crawford, W. F. Harvey, and William Hope Hodgson, and shows the important role played by periodicals in popularizing the horror story. Wherever possible stories are reprinted in their first published form, with background information about their authors and helpful, contextualizing annotation. Darryl Jones's lively introduction discusses horror's literary evolution and its articulation of cultural preoccupations and anxieties. These are stories guaranteed to freeze the blood, revolt the senses, and keep you awake at night: prepare to be terrified!

    But as the stories unfold, a newer and more surprising narrative emerges, one that is perhaps the most frightening of all.

    The repercussions will be felt for generations...Sixteen-year-old photography enthusiast Zoey has been fascinated by the haunted, burnt-out ruins of Medwyn Mill House for as long as she can remember--so she and her best friend, Poulton, run away from home to explore them. But are they really alone in the house? And who will know if something goes wrong?In 1851, seventeen-year-old Roan arrives at the Mill House as a ward--one of three, all with something to hide from their new guardian. When Roan learns that she is connected to an ancient secret, she must escape the house before she is trapped forever.1583. Hermione, a new young bride, accompanies her husband to the wilds of North Wales where he plans to build the largest water mill and mansion in the area. But rumors of unholy rituals lead to a tragic occurrence and she will need all her strength to defeat it.Three women, centuries apart, drawn together by one Unholy Pact. A pact made by a man who, more than a thousand years later, may still be watching...

    It's not the kind of place you'd want to end up. But it's where Jess Moulson could be spending the rest of her life.It's a place where even the walls whisper.And one voice belongs to a little boy with a message for Jess.Will she listen?

    The stories are: The Beckoning Fair One, Phantas, Rooum, Benlian, Io, The Accident, The Cigarette Case, & Hic Jacket.Excerpt: ...off!" he ordered me. "I'll send for you again when I want you!" He thrust me out. "An asylum, Mr. Benlian," I thought as I crossed the yard, "is the place for you!" You see, I didn't know him then, and that he wasn't to be judged as an ordinary man is. Just you wait till you see.... And straight away, I found myself vowing that I'd have nothing more to do with him. I found myself resolving that, as if I were making up my mind not to smoke or drink-and (I don't know why) with a similar sense that I was depriving myself of something. But, somehow, I forgot, and within a month he'd been in several times to see me, and once or twice had fetched me in to see his statue. In two months I was in an extraordinary state of mind about him. I was familiar with him in a way, but at the same time I didn't know one scrap more about him. Because I'm a fool (oh, yes, I know quite well, now, what I am) you'll think I'm talking folly if I even begin to tell you what sort of a man he was. I don't mean just his knowledge (though I think he knew everything-sciences, languages, and all that) for it was far more than that. Somehow, when he was there, he had me all restless and uneasy; and when he wasn't there I was (there's only the one word for it) jealous-as jealous as if he'd been a girl! Even yet I can't make it out.... And he knew how unsettled he'd got me; and I'll tell you how I found that out. Straight out one night, when he was sitting up in my place, he asked me: "Do you like me, Pudgie?" (I forgot to say that I'd told him they used to call me Pudgie at home, because I was little and fat; it was odd, the number of things I told him that I wouldn't have told anybody else.) "Do you like me, Pudgie?" he said. As for my answer, I don't know how it spurted out. I was much more surprised than he was, for I really didn't intend it. It was for all the world as if somebody else was talking with my mouth. "I loathe and adore you!" it came; and then I looked round,...