To know them will be to know him. And thus we have decided to release a new and expanded third edition of Robert Bloch’s Mysteries of the Worm. This collection contains four more Mythos tales–”The Opener of the Way”, “The Eyes of the Mummy”, “Black Bargain”, and “Philtre Tip”–not included in the first two editions.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    Lovecraft has inspired writers of supernatural fiction, artists, musicians, filmmakers, and gamers. His themes of cosmic indifference, the utter insignificance of humankind, minds invaded by the alien, and the horrors of history—written with a pervasive atmosphere of unexplainable dread—remain not only viable motifs, but are more relevant than ever as we explore the mysteries of a universe in which our planet is infinitesimal and climatic change is overwhelming it. In the early twenty-first century the best supernatural writers no longer imitate Lovecraft, but they are profoundly influenced by the genre and the mythos he created. New Cthulhu: The Recent Weird presents some of the best of this new Lovecraftian fiction—bizarre, subtle, atmospheric, metaphysical, psychological, filled with strange creatures and stranger characters—eldritch, unsettling, evocative, and darkly appealing.

    To the reader of 1922 it presented a shocking look at a little known phenomenon. Today, while we are more familiar with drugs because of their widespread use in our culture, Diary of a Drug Fiend remains one o fthe most intense, detailed and accurate accounts of drug addiction and the drug experience.The book was written by Crowley after years of deep personal study and experimentation with drugs. It is the story of a young man and woman who fall madly in love and whirl through Europe in a frenzied haze of heroin/cocaine adventure. Their ecstacy is brought to an abrupt end when their drug supply is cut off and despair replaces joy. Through the guidance of King Lamus, a master Adept, they free themselves from the entanglements of addition by the application of practical Magick.The narrative carries the reader aloft through the brilliance of the imagery created by this master of language; his prose development parallels the growth and increasing depth of his characters in an uncanny fashion. This is a book to be read and reread. It will also prove a useful document to doctors, lawyers, police and addicts for its unique and precise presentation of the psychology of addiction and the possibility of its cure through the development of the True Will.

    But visitors Gerald Sternbruck and Ernst Carlsberg soon realise that the still waters of the lake conceal a frightful evil that preys on flora, fauna - and human beings.Then they discover that the same evil first manifested itself before the valley was flooded - and may have been the basis for H.P. Lovecraft's classic story The Colour out of Space.For fifty years one waman has been planning her revenge on the monstrous force which caused the strange shimmering colours -- and sucks the very life from the people in its clutches....

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    Steel your nerves, reach into your weapons locker, and tie tight your running shoes as humanity takes up arms against the monsters and gods of H. P. Lovecraft’s Cthulhu Mythos. Grab your pistols, your knives, your gearpunk grenades. Confront deep ones, mi-go, and flying polyps. Fight in the past, present and future, from the birth of the shotgun to the end of the world. Escape by car, carriage, and hot air balloon. Above all, remember to count your bullets...you may need the last one for yourself.

    S. Lewis, J. R. R. Tolkien, Madeleine L'Engle, Charles Williams, G. K. Chesterton, John Buyan, Dante and others is examined in this introductory volume to Christian mythopoeia.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    "A perfect work like no other. (Calasso) has re-created . . . the morning of our world."--Gore Vidal. 15 engravings.

    Thule was supposed to be a Nazi myth, but when a defector from the SS occult sciences division, the Karotechia, brings proof of Thule's reality, Delta Green's course is clear: the alien city and its technological and occult secrets must be denied to the enemy at all costs. But the true masters of Thule are fighting their own war. A traitor from the past endangers their eons-old plan to shape the future. The survival of mankind depends on the fate of Thule; but to destroy Thule or save it? Which choice will save mankind? Written by Dennis Detwiller with cover Art by Samuel Araya.

    Utilizing nearly two hundred examples of modern fantasy, author Farah Mendlesohn uses this system to explore how fiction writers construct their fantastic worlds. Mendlesohn posits four categories of fantasy--portal-quest, immersive, intrusion, and liminal--that arise out of the relationship of the protagonist to the fantasy world. Using these sets, Mendlesohn argues that the author's stylistic decisions are then shaped by the inescapably political demands of the category in which they choose to write. Each chapter covers at least twenty books in detail, ranging from nineteenth-century fantasy and horror to extensive coverage of some of the best books in the contemporary field. Offering a wide-ranging discussion and penetrating comparative analysis, Rhetorics of Fantasy will excite fans and provide a wealth of material for scholarly and classroom discussion.Includes discussion of works by over 100 authors, including Lloyd Alexander, Peter Beagle, Marion Zimmer Bradley, John Crowley, Stephen R. Donaldson, Stephen King, C. S. Lewis, Gregory Maguire, Robin McKinley, China Mieville, Suniti Namjoshi, Philip Pullman, J. K. Rowling, Sheri S. Tepper, J. R. R. Tolkien, Tad Williams

    Reza Negarestani bridges the appalling vistas of contemporary world politics and the War on Terror with the archeologies of the Middle East and the natural history of the Earth itself. CYCLONOPEDIA is a middle-eastern Odyssey, populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, corpses of ancient gods and other puppets. The journey to the Underworld begins with petroleum basins and the rotting Sun, continuing along the tentacled pipelines of oil, and at last unfolding in the desert, where monotheism meets the Earth's tarry dreams of insurrection against the Sun. 'The Middle East is a sentient entity - it is alive!' concludes renegade Iranian archeologist Dr. Hamid Parsani, before disappearing under mysterious circumstances. The disordered notes he leaves behind testify to an increasingly deranged preoccupation with oil as the 'lubricant' of historical and political narratives. A young American woman arrives in Istanbul to meet a pseudonymous online acquaintance who never arrives. Discovering a strange manuscript in her hotel room, she follows up its cryptic clues only to discover more plot-holes, and begins to wonder whether her friend was a fictional quantity all along. Meanwhile, as the War on Terror escalates, the US is dragged into an asymmetrical engagement with occultures whose principles are ancient, obscure, and saturated in oil. It is as if war itself is feeding upon the warmachines, leveling cities into the desert, seducing the aggressors into the dark heart of oil ...

    How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    / My journey to your depths begins tonight / To serve immortal till the stars turn right."These lines from a poem by Ann K. Schwader are the coda for this fine collection of tales about H.P. Lovecraft's Innsmouth--that decadent, smugly rotting New England town where half-human creatures with forbidding batrachian faces follow the arcane practices of the Esoteric Order of Dagon. In his erudite and witty introduction, Robert M. Price calls Innsmouth "the most effective, most evocative ... example of Lovecraft's full-blown alien civilizations." The Innsmouth Cycle includes 13 stories and 3 poems, including the three tales by Lord Dunsany, Robert W. Chambers, and Irvin S. Cobb that inspired Lovecraft's "The Shadow over Innsmouth." This collection is planned as the first of a pair, the second half of which will be Tales of Innsmouth, containing (according to Price) all new works of "fishy fiction."A fun detail: this book is "respectfully dedicated to Ben Chapman, the Creature from the Black Lagoon." --Fiona Webster