#1 New York Times Bestseller From #1 New York Times bestselling author Neil Gaiman, a haunting novel that explores the awesome power of memory, friendship, and sacrifice―one of ten classic Gaiman works repackaged with elegant original watercolor art by acclaimed artist Henry Sene Yee "A novel about the truths--some wonderful, some terrible--that children know and adults do not." --Time Magazine Returning to his childhood home to attend a funeral, a middle-aged man is drawn back to a place once alive with monsters and magic; to a past where the impossible is all too frighteningly real . . . A haunting meditation on memory, wonder, friendship, and sacrifice, The Ocean at the End of the Lane, which was named "Book of the Year" by the UK National Book Awards, is a groundbreaking triumph of storytelling as delicate as a butterfly's wing and as menacing as a knife in the dark.

"Since Dracula first appeared, vampires have become the ghoul of choice for many horror fans. Today, vampires can be anyone, [and] in this collection of [13] chilling, funny, and sensitive stories the undead include even the girl next door. Any reader with the slightest thirst for blood won't go away hungry." —BL. 1992 Best Books for Young Adults (ALA) 1992 Books for the Teen Age (NY Public Library)

Cara is so ugly, mirrors would rather break than show her reflection. Not even her own parents can deny her ugliness, and nothing can make up for the cruelty of her schoolmates. Tormented and tortured by the shallow people of Flock’s Rest, Cara’s life is miserable. Then Cara receives a shimmering note from some exotic place suggesting that there’s more to her than meets the eye. Cara wonders if her destiny has something to do with her recurring dreams of a beautiful green valley where the people are so accepting, her ugliness doesn’t matter. Soon, Cara discovers that her valley of dreams is real. It’s a place where the ugliest of ducklings can become swans. A swan, however, can have a serious taste for revenge . . . deadly revenge.

In the past hundred years, since the publication of Bram Stoker's infamous book, no literary figure has enjoyed a more horrific resiliency than Count Dracula. In film, television, novels, and short stories, he keeps coming back to life, fed by the vital imaginative energies of a world-wide audience that cannot seem to resist his abominable charms. Aristocratic and urbane, deeply erotic and profoundly evil, Dracula's bloodsucking savagery has cast a mesmerizing fascination not only over his victims but over his readers as well. And, as Leonard Wolf suggests, "Vampire fiction...exerts an amazing pull on readers for a reason that we may find disturbing. The blood exchange—the taking of blood by the vampire from his or her victim is, all by itself, felt to be a singularly symbolic event. Symbolic and attractive!" Now, in Blood Thirst: One Hundred Years of Vampire Fiction, Leonard Wolf brings together thirty tales in which vampires of all varieties make their ghastly presence felt—male and female, human and non-human, humorous and heroic—all of them kin to the dreadful bat. From Lafcadio Hearn, Mary E. Wilkins-Freeman, Edith Wharton, August Derleth, and Ray Bradbury to such contemporary masters as Anne Rice, Stephen King, Joyce Carol Oates, John Cheever, and Woody Allen, and in settings as diverse as rural New England and outer space, this collection offers readers a dazzling compendium of vampire stories. Wolf organizes the collection into six categories—The Classic Adventure Tale, The Psychic Vampire, The Science Fiction Vampire, The Non-Human Vampire, The Comic Vampire, and The Heroic Vampire—which allows readers to see the many guises Dracula's descendants have assumed and the many ways they can be interpreted. In his penetrating introduction, Wolf argues that such an arrangement enables us to see the evolution of the vampire from an unmitigated evil to a creature we are more likely to identify with. "In a century in which God and Satan have become increasingly irrelevant in the popular arts, there has been an accompanying secularization of the vampire idea. And, as the stories in Blood Thirst will show, sympathy for the vampire has grown as we have become increasingly interested in the workings of the mind." Indeed, the vampire's ability to change over time, to draw into itself such a richness of symbolic meanings, to conjure itself into so many diabolical shapes, may account for the enduring appeal of the literature written about it. Here, then, is a definitive collection for aficionados and novices alike, and whether readers find the vampires who inhabit these pages sympathetic or horrific, psychologically intriguing or spiritually repellent, morbidly seductive or comically absurd, Blood Thirst gives us all something to sink our teeth into.

Maze Runner meets The Sixth Sense in this high-stakes survival story from New York Times bestseller Andrew Klavan. What should have been an ordinary morning is about to spiral into a day of unrelenting terror. As a reporter for his high school newspaper, Tom is always on the lookout for an offbeat story. But from the moment he woke up this morning, his own life has been more bizarre than any headline could ever tell. The streets of his town are suddenly empty and silent. A strange fog has drifted in from the sea and hangs over everything. And something is moving in that fog. Something evil. Something hungry. Closing in on Tom. Tom's terrified girlfriend Marie says the answers lie at the Santa Maria Monastery, a haunted ruin standing amidst a forest blackened by wildfire. But can he trust her? A voice that seems to be coming from beyond the grave is warning him that nothing is what it seems. Only one thing is certain: with his world collapsing around him, Tom has only a few hours to recover the life he knew--before he, too, is lost forever in this nightmare city. "Klavan retains his James Patterson--like gift for keeping pages turning, and the mystery behind it all--having to do with Tom's school-newspaper exposé on the performance-enhancing drug use of the football team--is a juicy one, and well handled." --Booklist | "Klavan's background in thrillers comes to the forefront, and the mysterious clues lead to elegant, intense chase sequences and a well-crafted mystery." --Publishers Weekly | "Klavan again hits readers with a story filled with such vivid imagery that one might find themselves looking over their shoulder to make sure they aren't the one being followed. The story--set partly in reality and partly somewhere else--grabs the reader from the first page and makes one wonder what could possibly happen next. The writing is stellar." --RT Book Reviews

Modern Japanese Short Stories is a remarkable collection of Japanese stories from the pioneers of contemporary Japanese literature. This volume's twenty-five stories by as many authors display a wide range of style and subject matter--offering a revealing picture of modern Japanese culture and society. The stories in this anthology include: "Tattoo" by Junichiro Tanizaki--a large spider tattooed on the back of a young woman results in unexpected changes "Autumn Mountain" by Ryunosuke Akutagawa--vivid memories of a beautiful painting leads a man to wonder if the it ever actually existed "The Priest and His Love" by Yukio Mishima--a Buddhist priest finds his path to enlightenment challenged after falling in love "The Moon on the Water" by Nobel Prize winner Yasunari Kawabata--a young woman who cared for her ailing first husband through most of their marriage regrets remarrying after his death Featuring a new foreword by Japanese literary scholar Seiji Lippit and striking woodcut illustrations by Masakazu Kuwata, the stories are translated by the editor, Ivan Morris, and Edward Seidensticker, George Saito, and Geoffery Sargent. This collection of short stories shows why Japanese literature is so highly valued today--it teaches not only about Japan, but about the human condition and the possibilities of art.

Bluebirds by Catulle Mendès (1841-1909), here delightfully translated for the first time into English by Brian Stableford, is fascinating, not only because it illustrates a particular evolution within the pattern of the author's own works, but because that pattern reflects a more general one associated with the evolution from the French Romanticism of the first half of the nineteenth century to the Decadent and Symbolist Movements of the fin-de-siècle. Mendès was one of the key figures in the latter phases of that process of development, launching his literary career in the 1860s under the patronage of Théophile Gautier, whose daughter Judith he married--much against her father's wishes--in 1866, and then becoming a leading figure among the "Parnassians" who attempted a renewal and revivification of Romantic ideals, before he entered wholeheartedly into the Decadent Movement launched in the 1880s. The stories in the present collection extend over a linear spectrum, moving by degrees from the affected sentimentality of Romanticism to a darker and somewhat jaundiced world-view that illustrates the Decadent sensibility very well, although all the stories were written in advance of the enormous fashionability that the sensibility in question achieved in the late 1880s.