On the surface Drago appeared to be like most small rural towns.But it was not.The village had a most unsavory history. Unexplained disappearances, sudden deaths.People just vanished, never to be found.

    As with his other gigs, he sets rules for himself: no leaving the house for any reason, refrain from outside contact, and sleep during the day.When Thomas Ruth, Felix's oldest friend and fellow horror film obsessive, joins him on the project, the two dance around a recent and unspeakably painful rough-patch in their friendship, but eventually fall into their old rhythms of dark humor and movie trivia. That's when things start going wrong: screams from upstairs, figures in the thresholds, and more than what should be in any basement. Felix realizes the book he's writing, and his very state of mind, is tilting from nonfiction into all out horror, and the shocking climax answers a question that's been staring these men in the face all along: In Rotter House, who's haunting who?

    Marie Vandelly For the lucky among us, life is what you make of it, but for Dixie Wheeler, the theme music for her story was chosen by another long ago, on the day her father butchered her mother and brothers and then slashed a knife across his own throat. Only one-year-old Dixie was left alive, infamously known as Baby Blue for the song left playing in the aftermath of the slaughter. Twenty-five years later, Dixie is still desperate for a connection to the family she can’t remember, so when her childhood home goes up for sale, Dixie sets aside all reason and moves in, re-creating a macabre decor with her family’s salvaged furniture. But as the ghosts of her family seemingly begin to take up residence in the home that was once theirs, Dixie starts to question her own sanity and wonders if the evil force menacing her is that of her father, or a demon of her own making. In order to make sense of her present, Dixie becomes determined to unravel the truth of her past and seeks out the detective who originally investigated the murders. But the more she learns, the more she opens up the uncomfortable possibility that the sins of her father may belong to another, and, perhaps most tragically, to Dixie herself. As bodies begin to pile up around her, Dixie must find a way to expose the lunacy behind her family’s massacre and redeem what little remains of her soul.

    Its labyrinthine halls, built by her mad ancestors, are filled with echoes of the past: ghosts and memories knotted together as one. In the presence of phantoms, it's all Sam can do to disentangle past from present in her daily life. But when her pregnant sister Elizabeth moves in after a fight with her husband, something in the house shifts. Already navigating her tumultuous relationship with Elizabeth, Sam is even more unsettled by the appearance of a new ghost: a faceless boy who commits disturbing acts—threatening animals, terrorizing other children, and following Sam into the depths of the house wielding a knife. When it becomes clear the boy is connected to a locked, forgotten room, one which is never entered, Sam realizes this ghost is not like the others. This boy brings doom. As Elizabeth's due date approaches, Sam must unravel the mysteries of Wakefield before her sister brings new life into a house marked by death. But as the faceless boy grows stronger, Sam will learn that some doors should stay closed—and some secrets are safer locked away forever.

    Louis recounts how he became a vampire at the hands of the radiant and sinister Lestat and how he became indoctrinated, unwillingly, into the vampire way of life. His story ebbs and flows through the streets of New Orleans, defining crucial moments such as his discovery of the exquisite lost young child Claudia, wanting not to hurt but to comfort her with the last breaths of humanity he has inside. Yet, he makes Claudia a vampire, trapping her womanly passion, will, and intelligence inside the body of a small child. Louis and Claudia form a seemingly unbreakable alliance and even "settle down" for a while in the opulent French Quarter. Louis remembers Claudia's struggle to understand herself and the hatred they both have for Lestat that sends them halfway across the world to seek others of their kind. Louis and Claudia are desperate to find somewhere they belong, to find others who understand, and someone who knows what and why they are.Louis and Claudia travel Europe, eventually coming to Paris and the ragingly successful Theatre des Vampires--a theatre of vampires pretending to be mortals pretending to be vampires. Here they meet the magnetic and ethereal Armand, who brings them into a whole society of vampires. But Louis and Claudia find that finding others like themselves provides no easy answers and in fact presents dangers they scarcely imagined.Originally begun as a short story, the book took off as Anne wrote it, spinning the tragic and triumphant life experiences of a soul. As well as the struggles of its characters, Interview captures the political and social changes of two continents. The novel also introduces Lestat, Anne's most enduring character, a heady mixture of attraction and revulsion. The book, full of lush description, centers on the themes of immortality, change, loss, sexuality, and power.source: annerice.com

    R. James is widely regarded as the father of the modern ghost story, and his tales have influenced horror writers from H. P. Lovecraft to Stephen King. First published in the early 1900s, they have never been out of print, and are recognized as classics of the genre. This collection contains some of his most chilling tales, including A View from a Hill, Rats, A School Story, The Ash Tree, and The Story of a Disappearance and an Appearance. Read by BAFTA and Emmy-award winning actor Derek Jacobi, and with haunting and evocative music, these tales cannot fail to send a shiver down your spine.

    Physically exhausted and mentally drained, she’s also wracked with guilt over her unfinished dissertation—a thesis on mid-century children’s literature.Enter a new upstairs neighbor: the ghost of quixotic children’s book writer Margaret Wise Brown—author of the beloved classic Goodnight Moon—whose existence no one else will acknowledge. It seems Margaret has unfinished business with her former lover, the once-famous socialite and actress Michael Strange, and is determined to draw Megan into the fray. As Michael joins the haunting, Megan finds herself caught in the wake of a supernatural power struggle—and until she can find a way to quiet these spirits, she and her newborn daughter are in terrible danger.Using Megan’s postpartum haunting as a powerful metaphor for a woman’s fraught relationship with her body and mind, Julia Fine once again delivers an imaginative and “barely restrained, careful musing on female desire, loneliness, and hereditary inheritances” (Washington Post).

    Though her death is ruled a suicide, veteran investigative journalist Scott McGrath suspects otherwise. As he probes the strange circumstances surrounding Ashley's life and death, McGrath comes face-to-face with the legacy of her father: the legendary, reclusive cult-horror film director Stanislaus Cordova--a man who hasn't been seen in public for more than thirty years. For McGrath, another death connected to this seemingly cursed family dynasty seems more than just a coincidence. Though much has been written about Cordova's dark and unsettling films, very little is known about the man himself. Driven by revenge, curiosity, and a need for the truth, McGrath, with the aid of two strangers, is drawn deeper and deeper into Cordova's eerie, hypnotic world. The last time he got close to exposing the director, McGrath lost his marriage and his career. This time he might lose even more.