"Legends of the Old West, plus characters both real and fictional, enliven the shenanigans, commencing with Buffalo Bill Cody, a head in a jar atop a mechanical body, escorting his Wild West Show by zeppelin to Japan."--Amazon.com.

What do the disembodied head of Buffalo Bill Cody, Annie Oakley, Frankenstein, the Tin Man, Captain Nemo, the Flying Dutchman, and the inestimable Ned the Seal have in common? Find out as they embark upon a spectacular set of nonstop steampunk adventures. For the first time, two epic chronicles, Zeppelins West and Flaming London, inscribed by a courageous young seal on his trusty notepad, are collected together in one volume. Leap from a flaming zeppelin with the stars of the Wild West Show in a desperate escape from an imperial Japanese enclave. Wash up upon the island of Doctor Moreau, in mortal danger from his unnatural experiments (and ignorant that Dracula approaches by sea). Unite with Jules Verne, Passpartout, and Mark Twain on a desperate voyage to the burning streets of London, which are infested with killer squid from outer space courtesy of H. G. Wells’s time machine. It’s a raucous steam-powered locomotive of shoot-’em-up Westerns, dime novels, comic books, and pulp fiction, as only Lansdale, the high-priest of Texan weirdness, could tell.

The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.

In 1907, H.G. Wells published a science fiction novel called The War in the Air. It proved to be portentous. In the early years of the First World War, German lighter-than-air flying machines, Zeppelins, undertook a series of attacks on the British mainland. German military strategy was to subdue Britain, both by the damage these raids caused and by the terrifying nature of the craft that carried them out.This strategy proved successful. The early raids caused significant damage, many civilian casualties and provoked terror and anger in equal measure. But the British rapidly learnt how to deal with these futuristic monsters. A variety of defence mechanisms were developed: searchlights, guns and fighter aircraft were deployed, the British learnt to pick up the airships’ radio messages and a central communications headquarters was set up. Within months aerial strategy and its impact on the lives of civilians and the course of conflict became part of human warfare. As the Chief of the Imperial German Naval Airship Division, Peter Strasser, crisply put it: ‘There is no such thing as a non-combatant any more. Modern war is total war.’Zeppelin Blitz is the first full, raid-by-raid, year-by-year account of the Zeppelin air raids on Britain during the First World War, based on contemporary official reports and documents.

Arguably (and who doesn’t like to argue?) the world’s bestselling cult author, Joe R. Lansdale is celebrated across several continents for his dark humor, his grimly gleeful horror, and his outlaw politics. Welcome to Texas. With hits like Bubba Ho-Tep and The Drive-In the Lansdale secret was always endangered, and the spectacular new Hap and Leonard Sundance TV series is busily blowing whatever cover Joe had left. Backwoods noir some call it; others call it redneck surrealism. Joe’s signature style is on display here in all its grit, grime, and glory, beginning with two (maybe three) previously unpublished Hap and Leonard tales revealing the roots of their unlikely partnership. Plus… A hatful and a half of Joe’s notorious Texas Observer pieces that helped catapult him from obscurity into controversy; and “Miracles Ain’t What They Used to Be,” Lansdale’s passionately personal take on the eternal tussles between God and Man, Texas and America, racism and reason—and religion and common sense. And Featuring: Our Outspoken Interview, in which piney woods dialect, Bible thumpery, martial arts, crime classics and Hollywood protocols are finally awarded the attention they deserve. Or don’t.

2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua Smith's chapter "Uncle Tom's Cabin Showdown" won the 2021 Don D. Walker Prize from the Western Literature Association Weird Westerns is an exploration of the hybrid western genre--an increasingly popular and visible form that mixes western themes, iconography, settings, and conventions with elements drawn from other genres, such as science fiction, horror, and fantasy. Despite frequent declarations of the western's death, the genre is now defined in part by its zombie-like ability to survive in American popular culture in weird, reanimated, and reassembled forms. The essays in Weird Westerns analyze a wide range of texts, including those by Native American authors Stephen Graham Jones (Blackfeet) and William Sanders (Cherokee); the cult television series Firefly and The Walking Dead; the mainstream feature films Suicide Squad and Django Unchained; the avant-garde and bizarre fiction of Joe R. Lansdale; the tabletop roleplaying game Deadlands: The Weird West; and the comic book series Wynonna Earp. The essays explore how these weird westerns challenge conventional representations by destabilizing or subverting the centrality of the heterosexual, white, male hero but also often surprisingly reinforce existing paradigms in their inability to imagine an existence outside of colonial frameworks.