In the big white house on the hill angels are said to appear. A forgotten tenant in an isolated building becomes addicted to milk. A strange goddess is worshipped by a home-invading disciple. The least remembered gods still haunt the oldest forests. Cannibalism occurs in high society at the end of the world. The sainted undead follow their prophet to the Great Dead Sea. A confused and vengeful presence occupies the home of a first-time buyer . . . In ghastly harmony with the nightmarish visions of the award-winning writer's novels, these stories blend a lifelong appreciation of horror culture with the grotesque fascinations and childlike terrors that are the author's own. Adam Nevill's best early horror stories are collected here for the first time.

    Traherne is temporarily crippled saving the life of his well-born friend, Jaspar. Thus, Jaspar is assured of inheriting his father's estate, but it is expected that Traherne will inherit great wealth as gratitude for saving the heir. But--surprise!--on the death of Jaspar's father all are shocked to learn that Traherne has been disinherited: the will has been changed at the last minute and only the suffering Traherne knows why but won't tell and then he falls in love with Jaspar's sister, the fair Octavia. However, Octavia is forbidden to marry, as Traherne is penniless.

    Modern editions use a later revised version printed in 1817 and featuring a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.It relates the events experienced by a mariner who has returned from a long sea voyage. The Mariner stops a man on his way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience, fear, and fascination as the Mariner's story progresses, as can be seen in the language style: for example, the use of narrative techniques such as personification and repetition to create a sense of danger, or the supernatural, or serenity, depending on the mood each different part of the poem.

    Somerset Maugham led many lives, including that of a doctor in London's slums, a successful playwright and novelist, an agent for British Intelligence during World War I, and a world traveler. In 1917, he took the first of many voyages to the Pacific Islands and the Far East, where his keen sense of observation found inspiration for some of his finest writing.Rain and Other South Sea Stories features one of Maugham's most famous tales, concerning the clash between a missionary and a prostitute. "Rain" was adapted for the stage and filmed on three separate occasions, its leading character portrayed by Gloria Swanson, Joan Crawford, and Rita Hayworth. This collection also includes "Macintosh," a psychological study of the competition between two officials; "The Fall of Edward Barnard," a tale of social rebellion that foreshadows The Razor's Edge; "The Pool," a portrait of a marriage between people from different cultures; and other compelling stories of life in the tropics.

    Taut, brooding, and densely atmospheric, these stories show us the ways in which murder can arise out of boredom, perversity can result from adolescent curiosity, and sheer evil might be the solution to unbearable loneliness. These tales are as horrifying as anything written by Clive Barker or Stephen King, but they are crafted with a lyricism and intensity that compel us to confront our secret kinship with the horrifying.

    Although Pakhom enjoys health and family happiness, he feels dissatisfied when he learns of the grand fortunes of his relatives. He decides to go on a quest for more land, only to find that with each new acquisition new problems develop... How Much Land Does A Man Need? gives a delightful insight into old Russian values

    After devoting their energies and income for ten years to replacing a borrowed diamond necklace which they have lost, a woman and her husband learn the irony of their efforts.

    Each story contains the common elements of the gothic tale--a warped sense of time, a claustrophobic setting, a link to archaic modes of thought, and the impression of a descent into disintegration. Yet taken together, they reveal the progression of the genre from stories of feudal villains amid crumbling ruins to a greater level of sophistication in which writers brought the gothic tale out of its medieval setting, and placed it in the contemporary world. Bringing together the work of such writers as Eudora Welty, Thomas Hardy, Edgar Allan Poe, William Faulkner, Arthur Conan Doyle, Joyce Carol Oates, and Jorge Luis Borges, The Oxford Book of Gothic Tales presents a wide array of the sinister and unsettling for all lovers of ghost stories, fantasy, and horror.

    Inspired by our native landscapes and traversing boundaries of the past and future, this collection is Tom Cox's first foray into fiction. Funny, strange and poignant, it elicits the unexpected and unseen to raise our hackles and set imaginations whirring.Inspired by our native landscapes, saturated by the shadows beneath trees and behind doors, listening to the run of water and half-heard voices, Tom Cox's first collection of short stories is a series of evocative and unsettling trips into worlds previously visited by the likes of M.R. James and E.F. Benson.Railway tunnels, the lanes and hills of the Peak District, family homes, old stones, shreds fluttering on barbed wire, night drawing in, something that might be an animal shifting on the other side of a hedge: Tom has drawn on his life-long love of weird fiction, folklore and nature's unregarded corners to write a collection of stories that will delight fans old and new, and leave them very uneasy about turning the reading lamp off.

    Prepare to have your blood chilled by six tales of fear and phantasmagoria…The Silent Bell: A doctor’s invention to prevent people being accidentally buried alive backfires on him with horrific results.The Stonegate Manor Collection: Lord Feltham’s paintings are worth a fortune, but also conceal a gruesome tragedy that has yet more lives to claim.The Haunting of Reverend Carson: The charlatan Musgrave makes a living pretending to talk to the dead, until he discovers his new client’s demons are more than merely spiritual.The Last Waltz: Through that miracle of technology, the Zoopraxiscope, a lonely man’s long-lost love is brought back to life before his very eyes.The Speaking Tube: John Barker is consumed with hatred for his malicious father and torments him with voices from hell, unaware of how close to the abyss he is himself.The Ghost Train: Alone aboard an empty train running along a dead track, Godfrey witnesses the grotesque secret that is entombed beneath Paddington Station.Go deeper into David Haynes’s world of the macabre…

    In these five stories there is danger on the high seas, an ungracious teacher of etiquette and an encyclopedia of an unknown planet - and Borges's unique imagination and intellect play throughout.

    Faraday, the son of a maid who has built a life of quiet respectability as a country physician, is called to a patient at lonely Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house, once impressive and handsome, is now in decline, its masonry crumbling, its gardens choked with weeds, the clock in its stable yard permanently fixed at twenty to nine. Its owners—mother, son, and daughter—are struggling to keep pace with a changing society, as well as with conflicts of their own. But are the Ayreses haunted by something more sinister than a dying way of life? Little does Dr. Faraday know how closely, and how terrifyingly, their story is about to become intimately entwined with his.

    There they create the album that will make their reputation, but at a terrifying cost: Julian Blake, the group’s lead singer, disappears within the mansion and is never seen or heard from again.Now, years later, the surviving musicians, along with their friends and lovers—including a psychic, a photographer, and the band’s manager—meet with a young documentary filmmaker to tell their own versions of what happened that summer. But whose story is true? And what really happened to Julian Blake?

    Beginning with the supposedly true accounts that captivated Byron and Shelley, the stories range from Edgar Allan Poe's "The Oval Portrait" and Sheridan Le Fanu's "Carmilla" to Guy de Maupassant's "The Horla" and Mary Elizabeth Braddon's "Good Lady Ducayne." Sims also includes a nineteenth-century travel tour of Transylvanian superstitions, and rounds out the collection with Stoker's own "Dracula's Guest"-a chapter omitted from his landmark novel.Vampires captivated the Victorians, as Sims reveals in his insightful introduction: In 1867, Karl Marx described capitalism as "dead labor, which, vampire-like, lives only by sucking living labor"; while in 1888 a London newspaper invoked vampires in trying to explain Jack the Ripper's predations. At a time when vampires have been re-created in a modern context, Dracula's Guest will remind readers young, old, and in between of why the undead won't let go of our imagination.

    This heady brew was caught nowhere better than in the revival of the Gothic tale in the late Victorian age, where the undead walked and evil curses, foul murder, doomed inheritance and sexual menace played on the stretched nerves of the new mass readerships. This anthology collects together some of the most famous examples of the Gothic tale in the 1890s, with stories by Arthur Conan Doyle, Vernon Lee, Henry James and Arthur Machen, as well as some lesser known yet superbly chilling tales from the era. The introduction explores the many reasons for the Gothic revival, and how it spoke to the anxieties of the moment.