Fourteen short stories by Ryan Hunter. Collected and rewritten, most of the stories are over five years old, however, others have been written especially for this book, and some additional material has been added. Interior Illustrations by Rowan Wulfe. she can be contacted through her Facebook Page Altar Image designs.Cover image from www.coolchaser.com

The year is 1689. Situated on the northern boundary of the Massachusetts Bay colony, the town of Cold Marsh is a place of secrets, a village characterized by repression and guilt. Fourteen years have passed since the outbreak of King Philip's War and darkness has come to the Cold Marsh. Two of the town's young women have vanished under mysterious circumstances, and the country seethes with rumors of witchcraft and devilry. Even their God has abandoned them. When a third young woman disappears, the men of the village determine to leave the safety of the village and enter the other world of the woods in search of her. Revenants is a lyrical evocation of the colonial landscape, a poetic meditation on the hills and wilds of that vanished country. It also brings back to life, with breathing intimacy, the inner landscape of sombre repression known to the settlers of New England.

From the bestselling team that brought you PRIMORDIAL! Archaeologists excavating a mass grave in a historic New York City cemetery make a gruesome discovery: stacked like cord wood are skeletal remains going back decades, but all have one thing in common. Each skull bears a hole in the exact same location. When their friend is murdered investigating this bizarre discovery, Jake Crowley and Rose Black set off in search of the killer. Their path will take them to abandoned hospitals, hidden chambers, and into the depths of the strange world that lies beneath New York City in search of Edgar Allan Poe's secret journal. An action-packed occult thriller!

Fleeing from his ferocious and parasitic pack, Braden accidentally stumbles across a former werewolf slayer. A double-edged sword of opportunity and death presents itself. The loner attempts to convince his new acquaintance to assist him in terminating his unwanted clan. Contemplating available options, the retired lycanthrope hunter debates whether to engage in one last mission and help an outcast slaughter his own family or simply kill the abomination that stands before her. In any event, given the current unexpected circumstances, the lady knows that she cannot remain in the sanctuary provided by a sleepy backwoods village.

There is growing interest in the internationality of the literary Gothic, which is well established in English Studies. Gothic fiction is seen as transgressive, especially in the way it crosses borders, often illicitly. In the 1790s, when the English Gothic novel was emerging, the real or ostensible source of many of these uncanny texts was Germany. This first book in English dedicated to the German Gothic in over thirty years redresses deficiencies in existing English-language sources, which are outdated, piecemeal, or not sufficiently grounded in German Studies.

Through detailed close readings alongside investigations into the history of print culture, Marta Fossati traces the development of the South African short story in English from the late 1920s to the first decade of the twenty-first century. She examines a selection of short stories by important Black South African writers (Rolfes and Herbert Dhlomo, Peter Abrahams, Can Themba, Alex La Guma, Mtutuzeli Matshoba, Ahmed Essop, and Zoë Wicomb) with an alertness to the dialogue between ethics and aesthetics performed by these texts. This new history of Black short fiction problematises and interrogates the often-polarised readings of Black literature in South Africa that can be torn between notions of literariness, protest, and journalism. Due to material constraints, short fiction in South Africa circulated first and foremost through local print media, which Fossati analyses in detail to show the cross-fertilisation between journalism and the short story. While rooted in the South African context, the short stories considered also hold a translocal dimension, allowing us to explore the ethical and aesthetic practice of intertextuality. These are writings that complicate the aesthetics/ethics binary, generic classifications, and the categories of the literary and the political. Theoretically eclectic in its approach, although largely underpinned by a narratological analysis, The South African Short Story in English, 1920-2010: When Aesthetics Meets Ethics offers a fresh perspective on the South African short story in English, spotlighting several hitherto marginalised figures in South African literary studies.