The Long Black Coffin is a '67 GTO. A street-eater and a life-taker. Like an open grave, it's hungry for death. Vic Tamberlyn committed suicide in it. His son Kurt asphyxiated in it. Maybe there's no connection, but Kurt's best friend, Johnny Breede, doesn't believe it. He begins seeing dark connections, convinced that beneath the skin of the Coffin there beats a black, terrible heart. But it's even worse than he can imagine. For the Long Black Coffin has a history. And that history will lead Johnny into a web of murder, insanity, and sexual perversion. He'll learn gruesome family secrets that connect a decade-old series of child abductions to a primordial evil that lives on in the car in the form of a sadistic teenage girl. A girl whose mother was human, but whose father was anything but.

Marriage is proving anything but dull for Commander John Coffin, keeper of the peace in London's Second City. With grande dame of the stage Stella Pinero in his life, Coffin's days lack no drama." "When the curtain comes down on opening night in Stella's newly transformed theater, Joe and Josie Macintosh are found stabbed to death in their theater box. A curious note left next to their bodies reveals that Joe and Josie Macintosh have carried out a suicide pact. But the couple's double suicide follows closely on the heels of an unexpected visitor from Coffin's past: Inspector Harry Trent. Coffin worked with Trent years ago, and now Trent is searching for his identical twin brother -- a dangerous man; a man who might already have killed a woman; a man Trent fears might have threatened violence to the Macintoshes, the couple who fostered the twins as children. Coffin quickly realizes that the illusions of the theater mean that nothing is as it seems; such is the case in the Macintoshes' apparent suicide. As Coffin investigates the couple's death, he learns he must find not only their killer but also their true identities. And then there is the persistent, looming question: Who is Harry Trent and what is he capable of doing? The answer lies in the past - bizarre, terrifying, and horribly real. . . Coffin will find Stella's knowledge of the theater indispensable if he is to solve this mystery of Jekylls and Hydes on both sides of the footlights

Reader beware--you choose the scare! GIVE YOURSELF GOOSEBUMPS! You're off to visit your grandmother, whose house backs up to a graveyard. At first the tombstones seem far away. But every day they move a little closer. Then you discover the headstones are disappearing. But the dead aren't gone -- their ghosts are moving. Right into your grandmother's house!If you decide to stay, you must battle a warrior ghost. If you decide to run, one of the kid ghosts follows you home. Will you be haunted...for the rest of your life? The choice is yours in this scary GOOSEBUMPS adventure that's packed with over 20 super-spooky endings!

Egyptian coffin decoration is a complex and multidimensional phenomenon with its own history and evolution. ‘Yellow’ coffins were crafted in Thebes during a particular critical period in the Egyptian History, witnessing to a situation of political unrest and severe economic scarcity affecting Egypt, the Near East and the Mediterranean. And yet, there is no evidence for a decline in the production of these outstanding funerary artefacts. On the contrary, the corpus of ‘yellow’ coffins outnumbers the previous types of Egyptian anthropoid containers and stands out among the most complex and sophisticated objects ever crafted in the Ancient World. Besides this historical paradox, the ‘yellow’ corpus presents important epistemological challenges for our understanding of Egyptian material culture: what kind of space is created within the walls and forms of an anthropoid coffin? What role plays variability and change in this process? Last but not the least, can we understand the meaning behind the multiple shapes and endless variations adopted in coffin decoration during this period? This book addresses these questions presenting the results of a comparative study on coffin decoration involving an extensive sample of objects from the ‘yellow’ corpus dispersed in museums around the world. The results of this study reveal the principles of composition that ruled the work of the ancient Theban craftsmen and show how important coffin decoration was for the Theban priesthood of Amun to convey their own corporative values.