With no shortage of sprawling high-concept, spine-chilling thrills, and inspired art, the Clive Barker Omnibus is a great launching point into his dark universe.

    MAXWELL PRINCE brings his signature style of one-shot storytelling to the world of clowns—and he’s invited SOME OF THE COMIC INDUSTRY’S BEST ARTISTS to join him for the ride.HAHA is a genre-jumping, throat-lumping look at the sad, scary, hilarious life of those who get paid to play the fool—but these ain’t your typical jokers.With issues drawn by VANESA DEL REY (REDLANDS), GABRIEL WALTA (Vision), ROGER LANGRIDGE (Thor), and more, HAHA peeks under the big top, over the rainbow, and even inside a balloon to tell a wide-ranging slew of stories about “funny” men and women, proving that some things are so sad you just have to laugh.

    Each book in the series has been designed with today's young reader in mind. As the words come to life, students will develop a lasting appreciation for great literature.The humor of Mark Twain...the suspense of Edgar Allan Poe...the danger of Jack London...the sensitivity of Katherine Mansfield. Creative Short Stories has it all and will prove to be a welcome addition to any library.

    Here, a young man in need of room meets a most accommodating landlady...The Landlady is taken from the short story collection Kiss Kiss, which includes ten other devious and shocking stories, featuring the wife who pawns the mink coat from her lover with unexpected results; the priceless piece of furniture that is the subject of a deceitful bargain; a wronged woman taking revenge on her dead husband, and others.

    Henry, originally published in 1906, has become one of the best known and most beloved of Chistmas tales. An exuberant couple urged on by their love, make great sacrifices in order to purchase the perfect Christmas gift for the other. The husband sells his gold watch in order to buy expensive combs for his wife's luxurious locks. While the wife sells her hair to the wigmaker in order to buy a chain suitable for her husband's handsome timepiece. When all is revealed on Christmas Eve, the sweet irony of their dual generosity leaves them, whether they know it or not, as the wisest of gift givers: "But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. O all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi."The artist Joel Priddy employs the same twists of reciprocity in his own work and is well suited to adapting and updating this classic for a modern audience.

    We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Whitechapel murders of 1888. Weighing in at 576 pages, From Hell is certainly the most epic of Moore's works and remarkably and is possibly his finest effort yet in a career punctuated by such glorious highlights as Watchmen and V for Vendetta. Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. His Ripper's brutal activities are the epicentre of a conspiracy involving the very heart of the British Establishment, including the Freemasons and The Royal Family. A popular claim, which is transformed through Moore's exquisite and thoroughly gripping vision, of the Ripper crimes being the womb from which the 20th century, so enmeshed in the celebrity culture of violence, received its shocking, visceral birth. Bolstered by meticulous research that encompasses a wide spectrum of Ripper studies and myths and coupled with his ability to evoke sympathies in such monstrous characters, Moore has created perhaps the finest examination of the Ripper legacy, observing far beyond society's obsessive need to expose Evil's visage. Ultimately, as Moore observes, Jack's identity and his actions are inconsequential to the manner in which society embraced the Fear: "It's about us. It's about our minds and how they dance. Jack mirrors our hysterias. Faceless, he is the receptacle for each new social panic." Eddie Campbell's stunning black and white artwork, replete with a scratchy, dirty sheen, is perfectly matched to the often-unshakeable intensity of Moore's writing. Between them, each murder is rendered in horrifying detail, providing the book's most unnerving scenes, made more so in uncomfortable, yet lyrical moments as when the villain embraces an eviscerated corpse, craving understanding; pleading that they "are wed in legend, inextricable within eternity". Though technically a comic, the term hardly begins to describe From Hell's inimitable grandeur and finesse, as it takes the medium to fresh heights of ingenuity and craftsmanship. Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. —Danny Graydon

    It was a "big country needing big men and women to live in it." Here are three more of his fine short stories about the West. West of the Tularosa Ruth Kermitt, owner of the Tumbling K ranch, made a deal with old Tom McCracken, owner of the Firebox spread, to buy his ranch. That's why the Tumbling K's foreman, Ward McQueen, and some of the Tumbling K crew have come to take possession. But in a deserted bunkhouse on the Firebox, they find the body of Jimmy McCracken, son of the former owner, who was clearly killed in a gunfight. Then, Sheriff Bill Foster shows up with a posse. Riding with that posse is Neal Webb, who claims that he owns the Firebox and that he's got a transfer deed signed by Jimmy McCracken conveying that ownership. Webb seizes the opportunity to accuse Ward McQueen and his men of killing McCracken in order to claim possession of the Firebox. Despite his innocence, McQueen sees that he will have a tough time staying out of jail long enough to discover who the real killers are. Home in the Valley Steve Mehan had accomplished what many had believed to be impossible. He had taken cattle from the home range in Nevada to California in the dead of winter. Not only that, he had been successful in selling them. Now the money from the sale is on deposit with the Dake & Company bank in Sacramento. That $24,000 will save all five ranches in Paiute Valley that had supplied cattle for the drive. Mehan is feeling good about all of this when, to his shock, he reads in the newspaper that Dake & Company has failed. And there is one nasty hombre who is mighty happy to hear this. He sneeringly tells Mehan that those ranchers have lost out and since they can't pay their debt--and he will become the new owner. But Mehan isn't ready to give up. There is a bank branch in Portland, Oregon, and if Mehan can get to it and withdraw the money before the steamer boat heading for Portland arrives with the news of the bank failure, he wins. To do that, Mehan will have to start out immediately, hoping for stamina, luck, and a long relay of good horses to cover those hundreds of miles. West Is Where the Heart Is Jim London is on his way home. During the four years of the War between the States, he has not been home, seen his wife, Jane, or been able to send word of his whereabouts. For all she knew, he was dead. Fellows have told him she wouldn't have waited for him, but London believes differently. Then, just two hundred miles from home, London comes across a burned-out wagon train. Nine wagons had been hit by the Comanches, and they left only a ruin behind: overturned wagons, dead livestock, ransacked belongings, and dead bodies strewn on the ground. Yet Jim discovers that not everyone is dead. He finds little Betty Jane, a five-year-old who had been able to hide successfully during the attack. The only thing to be done is for him to take her along with him. But during their journey, he discovers that the child knows something that no one else does.

    Gorey tells the tale of 26 children (each representing a letter of the alphabet) and their untimely deaths in rhyming dactylic couplets, accompanied by the author's distinctive black and white illustrations. It is one of Edward Gorey's best-known books, and is the most notorious amongst his roughly half-dozen mock alphabets.[2] It has been described as a "sarcastic rebellion against a view of childhood that is sunny, idyllic, and instructive". The morbid humor of the book comes in part from the mundane ways in which children die, such as falling down the stairs or choking on a peach. Far from illustrating the dramatic and fantastical childhood nightmares, these scenarios instead poke fun at the banal paranoias that come as a part of parenting.

    Sainsbury. Two short, punchy, action-packed episodes in each book.They murdered his parents, shot him in the head, and left him to die. They should have made sure.Twenty years after Tom Lewis watched his parents die, those responsible are being killed. One by one.Gentle, brain-damaged Tom, a giant of a man who can barely speak, can’t be responsible for their deaths. Can he?When Tom Lewis was shot, something new was created. Something unique. Something deadly. Something patient enough to plan revenge for twenty long years.Meet Bedlam Boy

    Now, more than a hundred years later, this image-rich work has been interpreted by artist Sara Barkat—in a manner that combines both philosophical thought and visual intrigue.Sometimes understood as feminist literature, sometimes understood as exploring mental illness, and sometimes understood as both at the same time, this story is oddly poetic even when it is chilling and challenging. The tale contains subtexts that touch upon the nature of Imagination, as well as the act of Writing, and the artist has enhanced these subtexts with the inclusion of Victorian flower symbols, such as thistle for independence and lupine for imagination. Watch, too, for the appearance of some of history’s most imaginative art, refashioned and in dialog with the story at hand, which gives a sense of timelessness and broader societal import to the tale.

    Next is a story from HELLBLAZER #245 and #246 by new superstars Jason Aaron (SCALPED) and Sean Murphy (JOE THE BARBARIAN) following a doomed documentary crew exploring the mystery behind what happened to Mucous Membrane – Constantine's former punk band.

    P. Lovecraft. Written between March and August 1921, it was first published in Weird Tales, April 1926. In this work, a mysterious man who has been living alone in a castle for as long as he can remember decides to break free in search of human contact. "The Outsider" is one of Lovecraft's most commonly reprinted works and is also one of the most popular stories ever to be published in Weird Tales.

    Crumb's Kafka is a vibrant biography that examines this Czech writer and his works in a way that a bland texbook never could! R. Crumb's Kafka goes far beyond being explication or popularization or survey. It's a work of art in its own right, a very rare example of what happens when one very idiosyncratic artist absorbs another into his worldview without obliterating the individuality of the absorbed one. Crumb's art is filled with Kafka's insurmountable neuroses. They are all there: Gregor Samsa's sister, the luscious Milena Jesenska, the Advacate's "nurse" Leni, Olda and Frieda, and the ravishing Dora Diamant-drawn in that mixture of self-commandtantalizing knowingness, and sly sexuality, that amazonian randines and thick-limbed physicality that is Crumb.Crumb's idiosyncratic illustrations add a new dimension to the already idiosyncratic world of Kafka. Includes adaptations of "The Judgment," "The Trial," "The Castle," "A Hunger Artist," and "The Metamorphosis."

    The survivors took refuge behind giant walls. Today, the threat of the Titans is a distant memory, and a boy named Eren yearns to explore the world beyond Wall Maria. But what began as a childish dream will become an all-too-real nightmare when the Titans return and humanity is once again on the brink of extinction... This free sampler features the first chapter of Attack on Titan! NOW A HIT ANIME FROM ADULT SWIM AND FUNIMATION!

    Ott plunges into the darkness with five new graphic horror novelettes: "The Prophet," "The Wonder Pill," "La Lucha," "The Hotel," and the title story, each executed in his hallucinatory and hyper-detailed scratchboard style and running between 16 to 20 pages. The first story in the book introduces the other four: A little girl visits an amusement park. She looks fascinated, but finds everything too expensive. Finally, behind the rollercoaster she eyeballs a small booth with "CINEMA PANOPTICUM" written on it. Inside there are boxes with screens. Every box contains a movie; the title of each appears on each screen. Each costs only a dime, so the price is right for the little girl. She puts her money in the first box: "The Prophet" begins. In the film, a vagrant foresees the end of the world and tries to warn people, but nobody believes him. They will soon enough. In the second film, "The Wonderpill," a short-sighted man initially goes blind from some pills his doctor gave him, but soon the blindness wears off and he finds they accord quite a view. "La Lucha," the third story, introduces a Mexican wrestler who fights against death himself. In a typical Ott twist, he wins and loses at the same time. The final story, "The Hotel," depicts a traveler who goes to sleep in what seems to be an otherwise empty hotel. His awakening is the stuff of nightmares... Ott's O. Henry-esque plot twists will delight fans of classic horror like The Twilight Zone and Tales From the Crypt, or modern efforts like M. Night Shamalayan's films; his artwork will haunt you long after you've put the book down.