In the middle of the night, in a house on a quiet street in suburban Minneapolis, intruders silently murder Luke Ellis’s parents and load him into a black SUV. The operation takes less than two minutes. Luke will wake up at The Institute, in a room that looks just like his own, except there’s no window. And outside his door are other doors, behind which are other kids with special talents—telekinesis and telepathy—who got to this place the same way Luke did: Kalisha, Nick, George, Iris, and ten-year-old Avery Dixon. They are all in Front Half. Others, Luke learns, graduated to Back Half, “like the roach motel,” Kalisha says. “You check in, but you don’t check out.”
In this most sinister of institutions, the director, Mrs. Sigsby, and her staff are ruthlessly dedicated to extracting from these children the force of their extranormal gifts. There are no scruples here. If you go along, you get tokens for the vending machines. If you don’t, punishment is brutal. As each new victim disappears to Back Half, Luke becomes more and more desperate to get out and get help. But no one has ever escaped from the Institute.
Christopher is seven years old.
Christopher is the new kid in town.
Christopher has an imaginary friend.
We can swallow our fear or let our fear swallow us.
Single mother Kate Reese is on the run. Determined to improve life for her and her son, Christopher, she flees an abusive relationship in the middle of the night with her child. Together, they find themselves drawn to the tight-knit community of Mill Grove, Pennsylvania. It's as far off the beaten track as they can get. Just one highway in, one highway out.
At first, it seems like the perfect place to finally settle down. Then Christopher vanishes. For six long days, no one can find him. Until Christopher emerges from the woods at the edge of town, unharmed but not unchanged. He returns with a voice in his head only he can hear, with a mission only he can complete: Build a treehouse in the woods by Christmas, or his mother and everyone in the town will never be the same again.
Twenty years ago, Stephen Chbosky's The Perks of Being a Wallflower made readers everywhere feel infinite. Now, Chbosky has returned with an epic work of literary horror, years in the making, whose grand scale and rich emotion redefine the genre. Read it with the lights on.
A postapocalyptic take on the perennial classic "Little Red Riding Hood", about a woman who isn't as defenseless as she seems.
It's not safe for anyone alone in the woods. There are predators that come out at night: critters and coyotes, snakes and wolves. But the woman in the red jacket has no choice. Not since the Crisis came, decimated the population, and sent those who survived fleeing into quarantine camps that serve as breeding grounds for death, destruction, and disease. She is just a woman trying not to get killed in a world that doesn't look anything like the one she grew up in, the one that was perfectly sane and normal and boring until three months ago.
There are worse threats in the woods than the things that stalk their prey at night. Sometimes, there are men. Men with dark desires, weak wills, and evil intents. Men in uniform with classified information, deadly secrets, and unforgiving orders. And sometimes, just sometimes, there's something worse than all of the horrible people and vicious beasts combined.
Red doesn't like to think of herself as a killer, but she isn't about to let herself get eaten up just because she is a woman alone in the woods....
Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other "Bunny," and seem to move and speak as one.
But everything changes when Samantha receives an invitation to the Bunnies' fabled "Smut Salon," and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus "Workshop" where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision.
The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination.
A little door that opens to a world of fairy tale wonders becomes the blood-drenched stomping ground for a gang of hunters in “Faun.” A grief-stricken librarian climbs behind the wheel of an antique Bookmobile to deliver fresh reads to the dead in “Late Returns.” In “By the Silver Water of Lake Champlain,” two young friends stumble on the corpse of a plesiosaur at the water’s edge, a discovery that forces them to confront the inescapable truth of their own mortality . . . and other horrors that lurk in the water’s shivery depths. And tension shimmers in the sweltering heat of the Nevada desert as a faceless trucker finds himself caught in a sinister dance with a tribe of motorcycle outlaws in “Throttle,” co-written with Stephen King.
From the authors of the #1 New York Times bestseller Rhett & Link's Book of Mythicality and creators of Good Mythical Morning, a thrilling and darkly funny novel about two best friends fighting the sinister forces at the heart of their Southern town.
It’s 1992 in Bleak Creek, North Carolina—a sleepy little place with all the trappings of an ordinary Southern town: two Baptist churches, friendly smiles coupled with silent judgments, and an unquenchable appetite for pork products. Beneath the town’s cheerful façade, however, Bleak Creek teens live in constant fear of being sent to the Whitewood School, a local reformatory with a history of putting unruly youths back on the straight and narrow—a record so impeccable that almost everyone is willing to ignore the suspicious deaths that have occurred there over the past decade.
At first, high school freshmen Rex McClendon and Leif Nelson believe what they’ve been told: that the students’ strange demises were all just tragic accidents, the unfortunate consequence of succumbing to vices like Marlboro Lights and Nirvana. But when the shoot for their low-budget horror masterpiece, PolterDog, goes horribly awry—and their best friend, Alicia Boykins, is sent to Whitewood as punishment—Rex and Leif are forced to question everything they know about their unassuming hometown and its cherished school for delinquents.
Eager to rescue their friend, Rex and Leif pair up with recent NYU film school graduate Janine Blitstein to begin piecing together the unsettling truth of the school and its mysterious founder, Wayne Whitewood. What they find will leave them battling an evil beyond their wildest imaginations—one that will shake Bleak Creek to its core.
A chilling ghost story with a twist: the New York Times bestselling author of The Winter People returns to the woods of Vermont to tell the story of a husband and wife who don't simply move into a haunted house--they build one . . .
In a quest for a simpler life, Helen and Nate have abandoned the comforts of suburbia to take up residence on forty-four acres of rural land where they will begin the ultimate, aspirational do-it-yourself project: building the house of their dreams.
When they discover that this beautiful property has a dark and violent past, Helen, a former history teacher, becomes consumed by the local legend of Hattie Breckenridge, a woman who lived and died there a century ago.
With her passion for artifacts, Helen finds special materials to incorporate into the house--a beam from an old schoolroom, bricks from a mill, a mantel from a farmhouse--objects that draw her deeper into the story of Hattie and her descendants, three generations of Breckenridge women, each of whom died suspiciously.
As the building project progresses, the house will become a place of menace and unfinished business: a new home, now haunted, that beckons its owners and their neighbors toward unimaginable danger.
1906: A large manor house, Wake's End, sits on the edge of a bleak Fen, just outside the town of Wakenhyrst. It is the home of Edmund Stearn and his family – a historian, scholar and land-owner, he's an upstanding member of the local community. But all is not well at Wake's End. Edmund dominates his family tyrannically, in particular daughter Maud. When Maud's mother dies in childbirth and she's left alone with her strict, disciplinarian father, Maud's isolation drives her to her father's study, where she happens upon his diary.
During a walk through the local church yard, Edmund spots an eye in the undergrowth. His terror is only briefly abated when he discovers it's actually a painting, a 'doom', taken from the church. It's horrifying in its depiction of hell, and Edmund wants nothing more to do with it despite his historical significance. But the doom keeps returning to his mind. The stench of the Fen permeates the house, even with the windows closed. And when he lies awake at night, he hears a scratching sound – like claws on the wooden floor...
Wakenhyrst is a terrifying ghost story, an atmospheric slice of gothic, a brilliant exploration of the boundaries between the real and the supernatural, and a descent into the mind of a psychopath.
Inspired by a true story, this supernatural thriller for fans of horror and true crime follows a tale as it evolves every twenty years—with terrifying results.
Ella Louise has lived in the woods surrounding Pilot’s Creek, Virginia, for nearly a decade. Publicly, she and her daughter Jessica are shunned by their upper-crust family and the Pilot’s Creek residents. Privately, desperate townspeople visit her apothecary for a cure to what ails them—until Ella Louise is blamed for the death of a prominent customer. Accused of witchcraft, both mother and daughter are burned at the stake in the middle of the night. Ella Louise’s burial site is never found, but the little girl has the most famous grave in the South: a steel-reinforced coffin surrounded by a fence of interconnected white crosses.
Their story will take the shape of an urban legend as it’s told around a campfire by a man forever marked by his boyhood encounters with Jessica. Decades later, a boy at that campfire will cast Amber Pendleton as Jessica in a ’70s horror movie inspired by the Witch Girl of Pilot’s Creek. Amber’s experiences on that set and its meta-remake in the ’90s will ripple through pop culture, ruining her life and career after she becomes the target of a witch hunt. Amber’s best chance to break the cycle of horror comes when a true-crime investigator tracks her down to interview her for his popular podcast. But will this final act of storytelling redeem her—or will it bring the story full circle, ready to be told once again? And again. And again…
In the lineage of Peter Straub's Julia, Scott Thomas’ Violet is the disturbing tale of a woman haunted by her long-abandoned imaginary friend.
For many children, the summer of 1988 was filled with sunshine and laughter. But for ten-year-old Kris Barlow, it was her chance to say goodbye to her dying mother.
Three decades later, loss returns—her husband killed in a car accident. And so, Kris goes home to the place where she first knew pain—to that summer house overlooking the crystal waters of Lost Lake. It’s there that Kris and her eight-year-old daughter will make a stand against grief.
But a shadow has fallen over the quiet lake town of Pacington, Kansas. Beneath its surface, an evil has grown—and inside that home where Kris Barlow last saw her mother, an old friend awaits her return.
For fans of The Haunting of Hill House comes a dark tale of a mansion haunted by a legacy of tragedy and a family trapped by lies. Margot and Myron Spielman move to a new town, looking for a fresh start and an escape from the long shadow of their past. But soon after they buy Rawlingswood, a foreclosed mansion rumored to be haunted, they realize they’re in for more of the same…or worse. After a renovation fraught with injuries and setbacks, the Spielmans move in to the century-old house, and their problems quickly escalate. The home’s beautiful facade begins to crumble around them when their teenage son uncovers disturbing details of Rawlingswood’s history―a history of murder, betrayal, and financial ruin. The Spielmans’ own shameful secrets and lies become harder to hide as someone or something inside the house watches their every move. As tensions build between the family members, the home’s dark history threatens to repeat itself. Margot and Myron must confront their own ghosts and Rawlingswood’s buried past before the house becomes their undoing.
Noah Turner sees monsters.
His father saw them—and built a shrine to them with The Wandering Dark, an immersive horror experience that the whole family operates.
His practical mother has caught glimpses of terrors but refuses to believe—too focused on keeping the family from falling apart.
And his eldest sister, the dramatic and vulnerable Sydney, won’t admit to seeing anything but the beckoning glow of the spotlight . . . until it swallows her up.
Noah Turner sees monsters. But, unlike his family, Noah chooses to let them in.
When a young woman clears out her deceased grandmother’s home in rural North Carolina, she finds long-hidden secrets about a strange colony of beings in the woods.
When Mouse’s dad asks her to clean out her dead grandmother's house, she says yes. After all, how bad could it be?
Answer: pretty bad. Grandma was a hoarder, and her house is stuffed with useless rubbish. That would be horrific enough, but there’s more—Mouse stumbles across her step-grandfather’s journal, which at first seems to be filled with nonsensical rants…until Mouse encounters some of the terrifying things he described for herself.
Alone in the woods with her dog, Mouse finds herself face to face with a series of impossible terrors—because sometimes the things that go bump in the night are real, and they’re looking for you. And if she doesn’t face them head on, she might not survive to tell the tale.
From Hugo Award–winning author Ursula Vernon, writing as T. Kingfisher.
A newborn’s absent face appears on the back of someone else’s head, a filmmaker goes to gruesome lengths to achieve the silence he’s after for his final scene, and a therapist begins, impossibly, to appear in a troubled patient's room late at night. In these stories of doubt, delusion, and paranoia, no belief, no claim to objectivity, is immune to the distortions of human perception. Here, self-deception is a means of justifying our most inhuman impulses―whether we know it or not.
State Road 177 runs along the Suwannee River, between Fargo, Georgia, and the Okefenokee Swamp. Drive that route from east to west, and you’ll cross six bridges. Take it from west to east, and you might find seven.
But you’d better hope not.
Titus and Melanie Bell leave their hotel in Fargo for a second honeymoon canoeing the Okefenokee Swamp. But shortly before they reach their destination, they draw up to a halt at the edge of a rickety bridge with old stone pilings, with room for only one car . . .
When, much later, a tow-truck arrives, the driver finds Titus lying in the middle of the road, but Melanie is nowhere to be found.
A chilling anthology featuring nineteen pieces of short fiction from the multiple award-winning author of the national bestseller The Cabin at the End of the World and A Head Full of Ghosts..
In The Teacher, a Bram Stoker Award nominee for best short story, a student is forced to watch a disturbing video that will haunt and torment her and her classmates’ lives.
Four men rob a pawn shop at gunpoint only to vanish, one-by-one, as they speed away from the crime scene in The Getaway.
In Swim Wants to Know If It’s as Bad as Swim Thinks, a meth addict kidnaps her daughter from her estranged mother as their town is terrorized by a giant monster . . . or not.
Joining these haunting works are stories linked to Tremblay’s previous novels. The tour de force metafictional novella Notes from the Dog Walkers deconstructs horror and publishing, possibly bringing in a character from A Head Full of Ghosts, all while serving as a prequel to Disappearance at Devil’s Rock. “The Thirteenth Temple” follows another character from A Head Full of Ghosts—Merry, who has published a tell-all memoir written years after the events of the novel. And the title story, Growing Things, a shivery tale loosely shared between the sisters in A Head Full of Ghosts, is told here in full.
From global catastrophe to the demons inside our heads, Tremblay illuminates our primal fears and darkest dreams in startlingly original fiction that leaves us unmoored. As he lowers the sky and yanks the ground from beneath our feet, we are compelled to contemplate the darkness inside our own hearts and minds.
Growing things --
Swim wants to know if it's as bad as swim thinks --
Something about birds --
The getaway --
Nineteen snapshots of Dennisport --
Where we all will be --
The teacher --
Notes for "The Barn in the Wild" --
Our town's monster --
A haunted house is a wheel upon which some are broken --
It won't go away --
Notes from the dog walkers --
Further questions for the somnambulist --
The ice tower --
The society of the monsterhood --
Her red right hand --
It's against the law to feed the ducks --
The thirteenth temple --
The city of Elendhaven sulks on the edge of the ocean. Wracked by plague, abandoned by the South, stripped of industry and left to die. But not everything dies so easily. A thing without a name stalks the city, a thing shaped like a man, with a dark heart and long pale fingers yearning to wrap around throats. A monster who cannot die. His frail master sends him out on errands, twisting him with magic, crafting a plan too cruel to name, while the monster’s heart grows fonder and colder and more cunning.
These monsters of Elendhaven will have their revenge on everyone who wronged the city, even if they have to burn the world to do it.
A thrilling, atmospheric debut with the intensive drive of The Martian and Gravity and the creeping dread of Annihilation, in which a caver on a foreign planet finds herself on a terrifying psychological and emotional journey for survival.
When Gyre Price lied her way into this expedition, she thought she’d be mapping mineral deposits, and that her biggest problems would be cave collapses and gear malfunctions. She also thought that the fat paycheck—enough to get her off-planet and on the trail of her mother—meant she’d get a skilled surface team, monitoring her suit and environment, keeping her safe. Keeping her sane.
Instead, she got Em.
Em sees nothing wrong with controlling Gyre’s body with drugs or withholding critical information to “ensure the smooth operation” of her expedition. Em knows all about Gyre’s falsified credentials, and has no qualms using them as a leash—and a lash. And Em has secrets, too . . .
As Gyre descends, little inconsistencies—missing supplies, unexpected changes in the route, and, worst of all, shifts in Em’s motivations—drive her out of her depths. Lost and disoriented, Gyre finds her sense of control giving way to paranoia and anger. On her own in this mysterious, deadly place, surrounded by darkness and the unknown, Gyre must overcome more than just the dangerous terrain and the Tunneler which calls underground its home if she wants to make it out alive—she must confront the ghosts in her own head.
But how come she can't shake the feeling she’s being followed?
When Molly, home alone with her two young children, hears footsteps in the living room, she tries to convince herself it’s the sleep deprivation. She’s been hearing things these days. Startling at loud noises. Imagining the worst-case scenario. It’s what mothers do, she knows.
But then the footsteps come again, and she catches a glimpse of movement.
Suddenly Molly finds herself face-to-face with an intruder who knows far too much about her and her family. As she attempts to protect those she loves most, Molly must also acknowledge her own frailty. Molly slips down an existential rabbit hole where she must confront the dualities of motherhood: the ecstasy and the dread; the languor and the ferocity; the banality and the transcendence as the book hurtles toward a mind-bending conclusion.
In The Need, Helen Phillips has created a subversive, speculative thriller that comes to life through blazing, arresting prose and gorgeous, haunting imagery. Anointed as one of the most exciting fiction writers working today, The Need is a glorious celebration of the bizarre and beautiful nature of our everyday lives.
A man's pilgrimage becomes something from his darkest nightmares when secrets arise and ghosts haunt his path.
A woman has vanished on the Camino de Santiago, the ancient five-hundred-mile pilgrimage that crosses northern Spain. Daniel, an Irish expat, walks the lonely trail carrying his wife, Petra’s, ashes, along with the damning secret of how she really died.
When he teams up to walk with sporty California girl Ginny, she seems like the perfect antidote for his grieving heart. But a nightmare figure begins to stalk them, and his mind starts to unravel from the horror of things he cannot explain.
Unexpected twists and turns echo the path of the ancient trail they walk upon. The lines start to blur between reality and madness, between truth and the lies we tell ourselves.
*** Data collected from Goodreads.com and other online sources.