Lock the doors and turn on the lights! These seven blood-chilling tales of the macabre are a showcase of the supernatural that is sure to haunt your dreams. Includes John Polidori's genre-defining "The Vampyre," Edward Bulwer-Lytton's "Monos and Daimonos," Clemence Housman's "The Werewolf," plus 4 anonymous tales, including "The Curse" and "The Victim."

A deathless creature with an insatiable appetite for blood, Varney is the antihero of this epic, which predates Dracula and establishes many of the conventions associated with vampirism.Volume 1 of 2.

Filled with thrills and chills, this coloring book features bloodcurdling scenes from more than two dozen well-known tales of horror. Includes memorable scenes from Frankenstein, The Raven, The Legend of Sleepy Hollow, and more.

By the early 1830s the old school of Gothic literature was exhausted. Late Romanticism, emphasising as it did the uncertainties of personality and imagination, gave it a new lease of life. Gothic—the literature of disturbance and uncertainty—now produced works that reflected domestic fears, sexual crimes, drug filled hallucinations, the terrible secrets of middle class marriage, imperial horror at alien invasion, occult demonism and the insanity of psychopaths. It was from the 1830s onwards that the old gothic castle gave way to the country house drawing room, the dungeon was displaced by the sewers of the city and the villains of early novels became the familiar figures of Dr Jekyll and Mr Hyde, Dracula, Dorian Grey and Jack the Ripper. After the death of Prince Albert (1861), the Gothic became darker, more morbid, obsessed with demonic lovers, blood sucking ghouls, blood stained murderers and deranged doctors. Whilst the gothic architecture of the Houses of Parliament and the new Puginesque churches upheld a Victorian ideal of sobriety, Christianity and imperial destiny, Gothic literature filed these new spaces with a dread that spread like a plague to America, France, Germany and even Russia. From 1830 to 1914, the period covered by this volume, we saw the emergence of the greats of Gothic literature and the supernatural from Edgar Allan Poe to Emily Bronte, from Sheridan Le Fanu to Bram Stoker and Robert Louis Stevenson. Contributors also examine the fin-de-siècle dreamers of decadence such as Arthur Machen, M P Shiel and Vernon Lee and their obsession with the occult, folklore, spiritualism, revenants, ghostly apparitions and cosmic annihilation. This volume explores the period through the prism of architectural history, urban studies, feminism, 'hauntology' and much more. 'Horror', as Poe teaches us, 'is the soul of the plot'.

The year's best, and darkest, tales of terror, showcasing the most outstanding new short stories and novellas by both contemporary masters of the macabre and exciting newcomers. As ever, this acclaimed anthology also offers the most comprehensive annual overview of horror around the world in all its incarnations; a comprehensive necrology of famous names; and a list of indispensable contact addresses for the dedicated horror fan and writer alike. The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction. Praise for Stephen Jones: 'The best horror anthologist in the business is, of course, Stephen Jones, whose Mammoth Book of Best New Horror is one of the major bargains of this as of any other year.' Roz Kavaney 'An essential volume for horror readers.' Locus 'Stephen Jones . . . has a better sense of the genre than almost anyone in this country.' Lisa Tuttle, The Times Books

Drawing on a 200-year-old tradition, this original collection features a deft combination of vintage vampire tales with more contemporary stories. Anthologist Mike Ashley introduces a dozen fantasies that weave together dark, psychological elements with well-recognized vampire themes. His notes trace the development of vampire fiction, illustrating the genre's life beyond the well-known conventions established by Bram Stoker's Dracula. Selections range from Lord Byron's contribution to the legendary storytelling session that produced Mary Shelley's Frankenstein to Nancy Holder's "Blood Gothic," a modern perspective on the corrupting influence of the romantic vampire image. Additional contributors include Alexandre Dumas, Karl von Wachsmann, Tanith Lee, Elizabeth Lynn Linton, Julian Osgood Field, R. Murray Gilchrist, Dick Donovan, Brian Stableford, Sidney Bertram, and Ernst Raupach.

An imaginative update on H. P. Lovecraft's Cthulhu Mythos, this wicked satire of corporate culture traces a would-be writer's struggles at dead-end jobs where monsters lurk behind every cubicle.