Death can’t stop Love She lost her fiancé years ago. He’s looking for something that feels like home. When they meet at the Halloween Fest, will they embrace the supernatural elements bringing them together and give love a second chance? Trixie: I lost the love of my life days before Halloween, only hours after he proposed, and every year since then he’s come to visit me in my dreams—except this year. So, when a stranger (who reminds me of him in every way) comes to down with his sights set on me, I have to wonder if he is a trick or a treat. If he’s a trick—well, my heart's already broken. But if he’s a treat—he’s the happily ever-after I thought I lost years ago. What do I have to lose, besides my mind, if I play trick-or-treat with the new guy in town? Treat: I woke up from a coma three months ago, and nothing of my previous life has felt right. So, I follow my instincts into the Sangre de Cristo mountains to a little town hosting a Halloween Festival, and suddenly everything feels right. Right place, right time, and right girl who shines like a beacon in an otherwise muted world. The closer I get to her, the more I realize the man on the inside is not the man on the outside, and if I want to stay, I have to convince her to risk her heart and love me as the man she once loved. This is a Contemporary Romance with a Paranormal Twist - just in time for Halloween!

Another bumper crop of Halloween short-fiction from the pumpkin-master himself, the Trickster! This, our second collection of themed tales, presents six new themes for 2018:- Halloween House, Pumpkin Head, Trick or Treat, Haunted Forests and Trees, Bob Apple, and Fancy Dress. 30+ short stories all between 666-1,000 words. All proceeds go to charity (Homeless Women's Shelters Ltd).

Art and ambition meet sublime moments of dread in Matthew R. Davis’ Bites Eyes, a collection of sinister and terrifying vignettes from the award-winning author and rising star of Australian horror. Within, you’ll find ghosts celebrating heartbreaking holidays, deadly music that spells death for any who hear it, unsettling children who take extraordinary steps, lethal butchers lurking in plain sight, ancient evils, and much more. Collected together for the first time, these thirteen macabre morsels offer a taste of the terrifying, the sinister, the dangerous, and the disturbed. Every bite’s a pleasure, yet comes with a delectable thrill of fear.

The stage is set for revolution. Legends will rise in this dramatic New York Times and USA Today bestselling conclusion to Trickster’s Choice, the spy adventure from the fantasy author who is legend herself: Tamora Pierce! No longer a slave, Aly has risen through the ranks of the rebellion to become a master of spies. And just in time, she is brought out of exile and into the heart of the snakes’ den that is the Copper Isles royal court. Still, Aly must keep her wager with the trickster god and protect her charges: Sarai, the beautiful, dramatic, and rash potential queen, and Dove, the more cautious and often overlooked younger sister. Can they step out of the shadows and prove they’re a force to be reckoned with? As the revolution builds, Aly’s relationship with half crow, half man Nawat deepens. But he must be prepared to step into a role bigger than his personal desires. And Aly must balance her passion for overthrowing the cruel leaders with the dangers lurking around every corner. Can she rise to the challenge . . . and what price must she pay for changing a kingdom’s destiny? “Tamora Pierce’s books shaped me not only as a young writer but also as a young woman. She is a pillar, an icon, and an inspiration. Cracking open one of her marvelous novels always feels like coming home.” —SARAH J. MAAS, #1 New York Times bestselling author “Tamora Pierce didn’t just blaze a trail. Her heroines cut a swath through the fantasy world with wit, strength, and savvy. Her stories still lead the vanguard today. Pierce is the real lioness, and we’re all just running to keep pace.” —LEIGH BARDUGO, #1 New York Times bestselling author

This is the third anthology of Halloween stories from the pumpkin-master himself, the Trickster! Our tricky theme this year 'The Seven Deadly Sins' means for each of the 7 sins, we've gathered a crop of 7 spooky stories of 700 words each, giving you a real treat of 49 short stories! All proceeds this year go to Charity: Water. Artwork by horror writer and artist Greg Chapman, and edited by an international lineup of 2 co-editors and 7 sub editors (one for each 'sin') and assisted by Steve Dillon from 'Things in the Well'.

If the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies have attempted to deal with their diversity in a comprehensive way. Now one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century. To explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes. A significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration, but, at their most radical, playfully portray Stuart ideology as empty rhetoric. Tricksters and Estates is a truly comprehensive work, offering serious critical readings of many plays that have never before received close attention and fresh insights into more familiar works. By juxtaposing the comedies of such lesser-known playwrights as Orrery, Lacy, and Rawlins with those of more familiar figures like Behn, Wycherley, and Dryden, the author invites a greater appreciation than has previously been possible of the meaning and function of Restoration comedy. This intelligent and wide-ranging study promises is a standard work in its field.