From the dreaded remnants of long-dead civilisations to unhallowed monstrosities scheming in the darkness, Lovecraft's stories have never lost their power to astound and unsettle. this graphic anthology breathes new life into classic works of weird fiction. Praise for The Lovecraft Anthology: Volume I:"When a graphic novel comes along representing some of Lovecraft’s greatest tales, it has a lot to live up to. I’m happy to say that the graphic novel compilation The Lovecraft Anthology, Vol. 1 provides the goods." —GeekDad.com

    For those who already know these tales, the poignant introduction is a window on the creator's mind. Reflecting back after 14 years, Barker writes: I look at these pieces and I don't think the man who wrote them is alive in me anymore.... We are all our own graveyards I believe; we squat amongst the tombs of the people we were. If we're healthy, every day is a celebration, a Day of the Dead, in which we give thanks for the lives that we lived; and if we are neurotic we brood and mourn and wish that the past was still present. Reading these stories over, I feel a little of both. Some of the simple energies that made these words flow through my pen--that made the phrases felicitous and the ideas sing--have gone. I lost their maker a long time ago. These enthusiastic tales are not ashamed of visceral horror, of blood splashing freely across the page: "The Midnight Meat Train," a grisly subway tale that surprises you with one twist after another; "The Yattering and Jack," about a hilarious demon who possesses a Christmas turkey; "In the Hills, the Cities," an unusual example of an original horror premise; "Dread," a harrowing non-supernatural tale about being forced to realize your worst nightmare; "Jacqueline Ess: Her Will and Testament," about a woman who kills men with her mind. Some of the tales are more successful than others, but all are distinguished by strikingly beautiful images of evil and destruction. No horror library is complete without them. --Fiona Webster

    This book is guaranteed to horrify you in the best way possible. Open it up, turn the page, and take a journey to a world consumed with mystery in madness.

    Here, in one volume, are his masterpieces of mystery, terror, humor, and adventure, including stories such as The Tell-Tale Heart, The Cask of Amontillado, The Black Cat, The Masque of the Red Death, The Murders in the Rue Morgue, The Purloined Letter, and The Pit and the Pendulum, to name just a few, that defined American romanticism and secured Poe as one of the most enduring literary voices of the nineteenth century.

     "PAPERCLIP" by Kenneth Hite. "A Spider With Barbed-Wire Legs" by Davide Mana. "Le Pain Maudit" by Jeff C. Carter. "Cracks in the Door" by Jason Mical. "Ganzfeld Gate" by Cody Goodfellow. "Utopia" by David Farnell. "The Perplexing Demise of Stooge Wilson" by David J. Fielding. "Dark" by Daniel Harms."Morning in America" by James Lowder. "Boxes Inside Boxes" and "The Mirror Maze" by Dennis Detwiller. "A Question of Memory" by Greg Stolze. "Pluperfect" by Ray Winninger. "Friendly Advice" by Gareth Ryder-Hanrahan. "Passing the Torch" by Adam Scott Glancy. "The Lucky Ones" by John Scott Tynes. "Syndemic" and an introduction by Shane Ivey. These stories are recommended for mature readers. Excerpted from the introduction: We know a program called Delta Green really existed. You can find a couple of references to it in documents uncovered by Freedom of Information Act requests. Delta Green was a psychological operations unit in World War II, created to take advantage of the bizarre occult beliefs of Axis leaders. The public documents, which may have been released with the name unredacted by mistake, don’t say whether it had any success. The OSS was shut down after the war. Many of its people helped launch the CIA in 1947. We can only speculate whether the OSS’s lessons from Delta Green informed the CIA’s notorious psychological operations in the coming decades.  Conspiracy theorists have done more than speculate. Delta Green came back as a secret project to track down Nazis after the war, they say. Delta Green brought federal agents, spies, and special forces together for missions too secret even for the CIA. Delta Green was the precursor and rival to Majestic-12, the U.S. government conspiracy that allied itself with aliens after Roswell. Delta Green fights otherworldly monsters and evil sorcerers under the cover of the Global War on Terror. Once you climb into the rabbit hole, the fall never ends. In this book we turn up tales from the rabbit hole: Delta Green case histories rendered as short stories. They begin in the Dust Bowl, with a Naval intelligence unit supposedly called “P4” and memories of the abandoned New England town of Innsmouth (another bottomless well of conspiracy theories). They look at the days after World War II when secret agents pursued Nazis all over Europe, the early CIA attempted its first infamous schemes, and anticommunist witch-hunts seized on American terrors back home. They bring us through the Cold War desperation of the Seventies and Eighties, when America was shocked by its own crimes and Delta Green allegedly went underground again. And they come to the present day, and a Delta Green divided after it rebuilt itself in the secret government—but many old outlaws refused to trust the new order.

    In his first collection, North American Lake Monsters, Nathan Ballingrud carved out a distinctly singular place in American fiction with his “piercing and merciless” (Toronto Globe and Mail) portrayals of the monsters that haunt our lives—both real and imagined: “What Nathan Ballingrud does in North American Lake Monsters is to reinvigorate the horror tradition” (Los Angeles Review of Books). Now, in Wounds, Ballingrud follows up with an even more confounding, strange, and utterly entrancing collection of six stories, including one new novella. From the eerie dread descending upon a New Orleans dive bartender after a cell phone is left behind in a rollicking bar fight in “The Visible Filth” to the search for the map of hell in “The Butcher’s Table,” Ballingrud’s beautifully crafted stories are riveting in their quietly terrifying depictions of the murky line between the known and the unknown.

    Lovecraft, the American master of horror, understood with horrible clarity that all things must die. After summer is winter, and life inevitably gives way to frozen sterility. In our modern world, we live cushioned existences, and congratulate ourselves on our supposed escape from the old dangers. We think ourselves caught out of nature’s reach by our technological wizardry. Safely cocooned. This foolishness blinds us to the truth that our elder forebears could not avoid. Engulfed by the rhythms of the world, they understood... Autumn means death. There are far worse fates than mere death, of course. As blight spreads, the leaves wither and fall — as do the most important foundations of life. There is nothing more horrible than watching the sources of meaning in your world unravel before you. But these things we cherish are just pretty lies. In autumn’s cold grasp, the bright petals of our reality shrivel and die. Beneath them, there is nothing but the insanity of the howling void. Faced with inevitable, agonizing corruption, death is a gentle blessing. The stories collected in "Autumn Cthulhu" reflect the darkest, most ancient truths of the season. Inside, you’ll find nineteen beautiful, terrifying glimpses of decay and loss inspired by Lovecraft’s work. Be sure that you want the burden of understanding before venturing further, though. The dissolving strands of mind, of love, of legacy within leave no room for merciful doubt. The true meaning of life is that there is no meaning.

    Since her death in 1965, her place in the landscape of twentieth-century fiction has grown only more exalted.As we approach the centenary of her birth comes this astonishing compilation of fifty-six pieces—more than forty of which have never been published before. Two of Jackson’s children co-edited this volume, culling through the vast archives of their mother’s papers at the Library of Congress, selecting only the very best for inclusion.Let Me Tell You brings together the deliciously eerie short stories Jackson is best known for, along with frank, inspiring lectures on writing; comic essays about her large, boisterous family; and whimsical drawings. Jackson’s landscape here is most frequently domestic: dinner parties and bridge, household budgets and homeward-bound commutes, children’s games and neighborly gossip. But this familiar setting is also her most subversive: She wields humor, terror, and the uncanny to explore the real challenges of marriage, parenting, and community—the pressure of social norms, the veins of distrust in love, the constant lack of time and space.For the first time, this collection showcases Shirley Jackson’s radically different modes of writing side by side. Together they show her to be a magnificent storyteller, a sharp, sly humorist, and a powerful feminist.This volume includes a foreword by the celebrated literary critic and Jackson biographer Ruth Franklin.

    Collecting the creme de la creme of the horror and fantasy fields, this third volume amasses the best from 1989, including works by Scott Baker, Pat Cadigan, Joe Haldeman, Tanith Lee, Jonah Carroll, Robert McCammon and Bruce Sterling, as well as extensive overviews of the year in horror and fantasy, and Ed Bryant's survey of the year's movies.

    Though known by many for novels like I Am Legend and his sixteen Twilight Zone episodes, Matheson truly shines in his chilling, masterful short stories. Since his first story appeared in 1950, virtually every major writer of science fiction, horror, and fantasy has fallen under his influence, including Stephen King, Neil Gaiman, Peter Straub, and Joe Hill, as well as filmmakers like Stephen Spielberg and J.J. Abrams. Matheson revolutionized horror by taking it out of Gothic castles and strange cosmos and setting it in the darkened streets and suburbs we recognize as our own. He infused tales of the fantastic and supernormal with dark explorations of human nature, delving deep into the universal dread of feeling alone and threatened in a dangerous world. The Best of Richard Matheson brings together his greatest hits as chosen by Victor LaValle, an expert on horror fiction and one of its brightest talents, marking the first major overview of Matheson's legendary career.

     From their interrogation of Sax (where he spoke exclusively in inhuman tongues) to a related drug raid on a seedy rock club rife with arcane symbols and otherworldly lyrics, they suspect that they are on the trail of something awful… but nothing can prepare them for the creeping insanity and unspeakable terrors they will face in the small harbor town of Innsmouth.  NEONOMICON collects Alan Moore’s 2010 comic book series for the first time in its entirety – including his original story, THE COURTYARD, which chronicled Aldo Sax’s tragic encounter with the (somewhat) mortal agents of the Old Ones!

     Original novellas by the modern masters of vampire fiction: NANCY COLLINS TANITH LEE KIM NEWMAN S.P. SOMTOW BRIAN STABLEFORD CHELSEA QUINN YARBRO

    No pastiches and no stories in his style. Using variety in tone, setting, point of view, time, but no direct reference in the story to Lovecraft or his works. Featuring work by Laird Barron, Brian Evenson, Caitlin R. Kiernan, Jeffrey Ford, Nathan Ballingrud, and many more, with a stunning cover by Hellboy creator Mike Mignola.

    A father hears strange voices on his daughter's baby monitor. A trio of gravediggers faces a swarm of supernatural creatures. A group of teenagers puts a mausoleum legend to the test. A husband and wife take a stroll through a corn maze that they'll never forget. Tales From Valleyview Cemetery contains seventeen interconnected tales of terror -- legends of a town and cemetery entrenched in occult practice, macabre history, and a demon elemental waiting for his people's return. A collection of short horror stories written in the vein of the "Scary Stories To Tell in the Dark" books.

    Yet Nesbit had a much darker side, which revealed itself in her tales of terror and the supernatural. Most of these tales were written before the author established herself as a writer of children's stories, and were soon overshadowed, to be nearly forgotten—with one or two exceptions—for almost one hundred years.In 1988, Hugh Lamb edited In the Dark for the Equation Chillers series, and has now added a further seven stories for this expanded edition. Included are such famous tales as 'Man-Size in Marble' and 'John Charrington's Wedding', along with less well known—but equally chilling—stories of the supernatural and the macabre. In Nesbit's twilight world, the dead return from the grave; scientists pursue knowledge to the gates of death—and beyond; souls are bartered to the Devil in exchange for one last wish; a casual wager leads to madness; and a seemingly harmless maker of models exacts a terrible price for a wrong done years before.In his introduction, Hugh Lamb examines the colourful life of Edith Nesbit, painting a portrait of a woman whose unconventional life set her apart from her Victorian and Edwardian contemporaries in the ghost story genre. He also looks at some of the events and experiences which may have inspired Nesbit's supernatural fiction—events which, in the author's words, gave her 'nights and nights of anguish and horror, long years of bitterest fear and dread'.CONTENTS: Introduction by Hugh Lamb; Man-Size in Marble; Uncle Abraham's Response; From the Dead; The Haunted Inheritance; The Three Drugs; The Letter in Brown Ink; The Violet Car; John Charrington's Wedding; No. 17; The Pavilion; The House of Silence; The Mystery of the Semi-Detached; In the Dark; The Head; The Ebony Frame; Hurst of Hurstcote; The Five Senses; The Haunted House; The Shadow; The Detective; The Power of Darkness.