A group of young boys steal a death mask from an antique store and face violent retribution. Inept criminals who dream of a big payday plot to kidnap a child. Four video store clerks venture into a freak Los Angeles snowstorm and discover that not all monsters are special effects. Two sisters convince themselves there's no reason to be afraid of Aunt Alice and her secrets, now that she's dead. An amnesiac suspects that the man who claims to love her may in fact be keeping her a prisoner. From riverside towns in the Midwest and a future Paris above the clouds, to ancient lycanthropes and vindictive pachyderms, this collection of supernatural terrors and heartbreaking reality from award-nominated Nicholas Day, author of Now That We're Alone and At the End of the Day I Burst into Flames, explores identity, addiction, love, and death. Plunge headfirst into fifteen tales of monsters, madness, and all the darkness human hearts can carry. Danger lurks around every corner, every decision a step closer to demise. Everybody gets what's coming to them in the end. But, of course, Nobody Gets Hurt.

These are his final moments. In the little city of Wood River, Illinois, a man nicknamed Firecracker knows the end is near. The fire is coming, just like it came for his father, his grandfather, and who knows how many men. After all, folks in those parts have a short-term memory when it comes to history, and lots of stories have a tendency to go to the grave. Maybe the fire was always there. Maybe it came along when the oil refinery went up in 1907. Who can say? Sometimes, a yarn like this is as close to a history book as a Midwest community and its people are apt to get. When it happened to his father, the doctors only called it an accident. But Firecracker's mother had a name for it: spontaneous combustion. Firecracker knows there is no way to escape this Act of God, so he retreats into his memories. Past and present become one and the same. The veil of reality pulls away and Death arrives in time for one last conversation, where Firecracker comes to terms with the mysteries of his own life, and realizes that some questions are not nearly as important as the moments which spawned them. From the first line of the tale that sees his eyes explode to--moments and pages later--his whole body being consumed by flame, Firecracker experiences his life and loves through a succession of memories, reveals his friendship with Death, and talks about the men in his family's unfortunate predisposition. This is a yarn about life and death and spontaneous human combustion. This is a tale of a man with a fire inside him. At the End of the Day I Burst into Flames is a horror story about how beautiful love can be.

Necrosaurus Rex tells the tale of Martin, a simple janitor, who takes an unfortunate trip through time, becomes a violent mutant, and the father of us all. There's 14 billion years crushed inside these pages, and most of them are pretty nasty. This book is a jet black rumination on the concept of miracles and the creation of the universe, a narrative whose lineage exists somewhere between Moravagine, Maldoror, and David Copperfield. Genesis, the Crucifixion, and Revelations reimagined as a transgressive nightmare. This is Necrosaurus Rex.

The 52 papers in this vary in content from summaries or state-of-knowledge treatments, to detailed contributions that describe new species. Although the distinction is subtle, the title (Vertebrate Paleontology in Utah) indicates the science of paleontology in the state of Utah, rather than the even more ambitious intent if it were given the title “Vertebrate Paleontology of Utah” which would promise an encyclopedic treatment of the subject. The science of vertebrate paleontology in Utah is robust and intense. It has grown prodigiously in the past decade, and promises to continue to grow indefinitely. This research benefits everyone in the state, through Utah’s muse ums and educational institutions, which are the direct beneficiaries.

What if Joseph wasn't the first man to be cuckolded by God? What if there was a cult of adulterated men who would do anything to kill him for fucking their wives into useless shells of nymphoid lust? What if a woman possessed was so utterly tormented, that the only way to save her soul was to perform a Sexorcism?What if a scaticallogically inclined man found a way to pleasure himself with bed bugs? What if a woman fell in love with a dinosaur? What if a seemingly innocent Furry gangbang turned out to be a mating ritual for a tribe of nomadic cannibal were-teddy bears?These questions and many more will be answered when StrangeHouse books takes you on a journey unlike any you've ever seen before with their debut anthology of strange erotic horror fiction, "Strange Sex".13 tales of erotic fiction from Kevin Strange, D.F. Noble, Rich Bottles, Jr., David C. Hayes, Elizadeth Hetherington and more exciting authors of today's strangest fiction.

In his first novel, This Is Horror and Wonderland Award-nominated author Nicholas Day invites you to take a journey into a Hell that is at once uncomfortably familiar, yet unlike anything you've ever encountered before: a surveyor finds himself pursued by flesh-eating donkeys in the furthest reaches of Oregon's desert; a mass-murderer leaves the sanctity of his mountain home to pursue a long-lost love, his guide an otherworldly raven possessed by a 19th century American humorist; in nearby Klamath Falls, two estranged childhood friends set off to find a missing father with the help of two aging cowboys; and a prisoner in her own home sees a vision of death and knows there is no escape. Pain is proselytizing. Death is the one, true faith. And everyone worships in their due time. The Gates of Nihil are wide open and waiting to?GRIND YOUR BONES TO DUST.

True creativity, the making of a thing which has not been in the world previously, is originality by definition. But while many claim to crave originality, they feel an obscure revulsion when confronted with it. The really new is uncomfortable and disturbing. Repetition of the familiar is preferred. The hailing of old ideas as original lowers the standard for invention and robs most creative people of the drive to do anything interesting, let alone seek out the universe of originality which is waiting, drumming its fingers, wondering why nobody calls. This is a book for all those who care not for the fashionable simulacra of the media creative, but for an understanding of the hard road to true originality. Part manual, part history of ideas, part manifesto – this a unique experimental journey around the outer limits of our culture. It debunks myths, contradicts familiar shiboleths and wages war on cliché and platitude as it has never been waged before. A rallying cry and disruptive book for those bored with merely thinking outside the box.