Melding supernatural horror with hardboiled noir, espionage, and a scientific backbone, Barron’s stories have garnered critical acclaim and have been reprinted in numerous year’s best anthologies and nominated for multiple awards, including the Crawford, International Horror Guild, Shirley Jackson, Theodore Sturgeon, and World Fantasy awards.Barron returns with his third collection, The Beautiful Thing That Awaits Us All. Collecting interlinking tales of sublime cosmic horror, including “Blackwood’s Baby”, “The Carrion Gods in Their Heaven”, and “The Men from Porlock”, The Beautiful Thing That Awaits Us All delivers enough spine-chilling horror to satisfy even the most jaded reader.

    Collection of short fiction by the author of Résumé with Monsters• The Wedding Photographer in Crisis• Haunted by the Horror King• The Entomologists at Obala• The Return of Count Electric• Graven Images• Pep Talk• Looking Out for Eleanor• Snow• A Child's Christmas in Florida• Best Man• Daughter Doom

    Experience the horror of Tade Thompson's The Murders of Molly Southbourne.The rule is simple: don't bleed.For as long as Molly Southbourne can remember, she's been watching herself die. Whenever she bleeds, another molly is born, identical to her in every way and intent on her destruction.Molly knows every way to kill herself, but she also knows that as long as she survives she'll be hunted. No matter how well she follows the rules, eventually the mollys will find her. Can Molly find a way to stop the tide of blood, or will she meet her end at the hand of a girl who looks just like her?

    Not out here. We never have. In Iain Reid’s second haunting, philosophical puzzle of a novel, set in the near-future, Junior and Henrietta live a comfortable, solitary life on their farm, far from the city lights, but in close quarters with each other. One day, a stranger from the city arrives with alarming news: Junior has been randomly selected to travel far away from the farm...very far away. The most unusual part? Arrangements have already been made so that when he leaves, Henrietta won't have a chance to miss him, because she won't be left alone—not even for a moment. Henrietta will have company. Familiar company. Told in Reid’s sharp and evocative style, Foe examines the nature of domestic relationships, self-determination, and what it means to be (or not to be) a person. An eerily entrancing page-turner, it churns with unease and suspense from the first words to its shocking finale.

    After Jerry stumbles delirious from a bloody accident, a beautiful girl rescues the boy and brings him home to her decrepit apartment complex.Soon Jerry discovers a hidden entrance into the attic, a crawlspace through which he can secretly enter any apartment.But he isn't the only person aware of the secret entrance.Crawlspace is a terrifying journey into urban legend, darkness, and murder.

    They are all suffering from short-term memory loss and they can't remember why or how they got on this ship. The onboard computer (MAC) tells them that it was programmed to wake them up early. They believe MAC woke them up by mistake. They can't re-enter suspended animation, there's only enough food for a few months, and they are too far away to return to Earth ... but even if they could return, MAC tells them that the Earth has been destroyed by nuclear war. They realize that they are all going to die on this ship.Cromartie, the unelected leader of their group, tries his best to keep the others calm, but soon they are at each other's throats. After one of them is found murdered, Cromartie and Sanders form an alliance. Cromartie tells Sanders that pieces of his memories are beginning to come back to him in his dreams; he believes he's seeing clues to their survival.But after the next murder, Cromartie and Sanders must work fast to find the mind-blowing key to their survival and figure out which one of them is the killer before it's too late.

    ‘Chauthi khidaki’ is a fantastic scientific tale built around the concept of Time. ‘Porkhel’ uses theanalogy of a childat play with her dolls, to highlight that human beings are mere pawns in the hands of Fate. ‘Sucheta Chakrapani ani Ticha Kokilkanth’ tackles the tangle between an artiste and her art – a fantastic rendering reminiscent of magical realism. Matkari’s stories give us the feeling of entering a jungle at dusk. The reader begins his journey along the border that separates reality from fantasy. Matkari employs different narrative styles and structure to lead the reader along familiar as well as unfamiliar paths in this jungle.While being immensely attractive, this journey takes the reader into ever deeper regions.

    At 21, her age and her unladylike interest in automatons have sealed her fate as an undesirable marriage prospect. But a devastating plague sends Alice off in a direction beyond the pale—towards a clandestine organization, mad inventors, life-altering secrets, and into the arms of an intrepid fiddle-playing airship pilot.

    The man who has a tale of his own to tell.A story within a story within a story, MY NAME IS MISTER GRIEF continues the Luke Smitherd tradition of making the reader wonder 'what would I do?' while transporting them to the place where everyone has a secret and the impossible is possible.

    Instead of the people who could be there, his mother or his brother, the figure reminds him of his long-gone father, who died mysteriously before his family left the reservation. When he follows it he discovers his house is bigger and deeper than he knew. The house is the kind of wrong place where you can lose yourself and find things you'd rather not have. Over the course of a few nights, the boy tries to map out his house in an effort that puts his little brother in the worst danger, and puts him in the position to save them . . . at terrible cost.

    He writes letters to his brother and to others, including a friend still in jail, to whom he progressively reveals the intriguing pieces of a strange and fantastic narrative. When he meets a real estate agent who tells him he is, to his utter surprise, the heir to a huge old house in town, long empty, he moves in. He is immediately confronted by an array of supernatural creatures and events, by love and danger. His life is utterly transformed and we read on, because we must know more. We revise our opinions of him, and of others, with each letter, piecing together more of the story as we go. We learn things about magic, and another world, and about the sorcerer Mr. Black, who originally inhabited the house. And then knowing what we now know only in the end, perhaps we read it again.

    Wrapped in the woman’s arms is a baby, stone-cold, not breathing, and without a pulse. But then his eyes open and look up at Wanda — and he begins to move.The family hides the child — whom they name Stony — rather than turn him over to authorities that would destroy him. Against all scientific reason, the undead boy begins to grow. For years his adoptive mother and sisters manage to keep his existence a secret — until one terrifying night when Stony is forced to run and he learns that he is not the only living dead boy left in the world.

    His childhood is his darkest secret, but after a near fatal accident along a deserted road, the darkness he was sure he’d escaped rears its ugly head… and smiles.But this time, he isn’t the only one who sees the soulless eyes of his past. This time, his six-year-old daughter Charlie leans into his ear and whispers: Daddy, I saw it too.And then she begins to change.Faced with reliving the nightmares of his childhood, Jack watches his daughter spiral into the shadows that had nearly consumed him twenty years before. But Charlie isn’t the only one who’s changing. Jack never outran the darkness. It’s been with him all along. And it’s hungrier than ever. A new breed of dark fiction: the subtlety of Seed will haunt you, and the end will wickedly satisfy.

    Jennifer Webb has invented proprietary virtual reality technology that purports to heal psychological wounds by running clients through scenarios straight out of horror movies and nightmares. In a carefully controlled environment, with a medical cocktail running through their veins, sisters might develop a bond they’ve been missing their whole lives—while running from the bogeyman through a simulated forest. But…can real change come so easily?Esther Hoffman doubts it. Esther has spent her entire journalism career debunking pseudoscience, after phony regression therapy ruined her father’s life. She’s determined to unearth the truth about Dr. Webb’s budding company. Dr. Webb’s willing to let her, of course, for reasons of her own. What better advertisement could she get than that of a convinced skeptic? But Esther’s not the only one curious about how this technology works. Enter real-world threats just as frightening as those created in the lab. Dr. Webb and Esther are at odds, but they may also be each other’s only hope of survival.

    Monsters, real and imagined, external and internal, are the subject. They are us and we are them and Ballingrud's intense focus makes these stories incredibly intense and irresistible.These are love stories. And also monster stories. Sometimes these are monsters in their traditional guises, sometimes they wear the faces of parents, lovers, or ourselves. The often working-class people in these stories are driven to extremes by love. Sometimes, they are ruined; sometimes redeemed. All are faced with the loneliest corners of themselves and strive to find an escape.Nathan Ballingrud was born in Massachusetts but has spent most of his life in the South. He worked as a bartender in New Orleans and New York City and a cook on offshore oil rigs. His story "The Monsters of Heaven" won the inaugural Shirley Jackson Award. He lives in Asheville, North Carolina, with his daughter.