While pulling a Halloween prank, a group of teenagers find the town’s homeless man covered in blood, muttering about a witch. Most of the residents of Pride Falls assume he’s responsible for whatever terrible fate has befallen the missing town librarian, but pet photographer turned crime scene photographer Kiki Long doesn’t see it that way. She pursues an alternate theory while attempting to convince her incarcerated husband to grant her a divorce, avoid a creepy stalker, and figure out the perfect costume to wear to her friend’s Halloween bash. Hard to say whether she’s got a shot of pulling any of it off.

The second book in a sexy, dark and gripping new paranormal romance series by New York Times bestselling author Jocelynn Drake.

A special agent for a supernatural task force hunts down a runaway mummy bent on raising hell in this adventure by a New York Times–bestselling author. Coop, a master thief sort of gone legit, save the world from an ancient doomsday device—heroism that earned him a gig working for the Department of Peculiar Science, a fearsome top secret government agency that polices the odd and the strange. Now Woolrich, Coop’s boss at the DOPS, has Coop breaking into a traveling antiquities show to steal a sarcophagus containing the mummy of a powerful Egyptian wizard named Harkuf. Coop pulls off the heist without a hitch. And it’s not his fault that when DOPS opened the sarcophagus they didn’t find the mummy they were expecting. Well, it was the right mummy, but it wasn’t exactly dead—and now it’s escaped. Being a typical boss, Woolrich blames his underling for the screw-up and wants Coop to find the missing Harkuf, pronto. Digging into Harkuf’s history, Coop thinks the mummy is hunting for an ancient magical manuscript that will help bring his old lover back to life. Which wouldn’t be so bad if she wasn’t a warrior sorceress hell-bent on conquering the world with undead armies. Coop would very much like to run from the oncoming chaos. It’s one thing to steal a mummy, but another to have to deal with head-hunting bureaucrats, down-on-their-luck fortune tellers, undead mailroom clerks, and a rather unimpressed elephant. Unfortunately, there’s nowhere to run. If Coop wants the madness to stop, he must suck it up and play hero once more. But if he manages to save the world AGAIN, he’s definitely going to want a lot of answers—and a raise. Praise for The Wrong Dead Guy “A goofy, flamboyant, and breathless horror adventure by one of the genre’s sharpest creators.” —Kirkus Reviews “[The Wrong] Dead Guy is a riot. It’s just plain dangerous fun.” —NPR “[Kadrey’s] plotting is as deft as ever, weaving eight broad story arcs into one overarching narrative that’s entertainingly unpredictable.” —Publishers Weekly

Walking Dead Man "s Blog is horror fiction with class and it moves through many unique plots and styles. Gary Morton can write fiction of any length. Something few authors can do. He "s offbeat, then gruesome then straight horroror telling a ghost story or on a slug hunt. The book moves through so many tales as to keep youalways turning the pages.Frank Web (Fright Library)

Las galas del difunto/ The Dead Man's Finery (1926) and La hija del capitán/ The Captain's Daughter (1927) are two of four tragic farceswritten by Ramón del Valle-Inclán for the theatre. Translated here for the first time into English, the plays demonstrate the dramatist's evolving theory of the esperpento as a satirical genre.

Scotty Chase and his four best friends make plans for their trick-or-treat night while walking their pets. They run into four girls who live in their neighborhood, walking their pets too. A squirrel causes some problems. They keep having a hard time keeping their pets on their leashes. All but two of their pets eat candy. The guys' plan is to scare the girls at the haunted house, scare someone at Deadman's Curve, toilet-paper some houses, and egg one house in particular. Something goes wrong when they go to the haunted house. Their pets break their leashes and go under the haunted house, where they find something surprising. They are in their neighborhood but not. It is really strange. Time flies when you're having fun. Scotty gets help after a couple of their pets are dognapped, and six of his friends are taken hostage. Scotty and Scooter get attacked by two Rottweilers and a German shepherd. Something happens to their pets. Don't eat the candy there. Scotty ends up being a daddy. Scotty gets some reinforcements to help keep the kids safe. Someone betrays Scotty and his friends. Scotty plans a rescue, and they get a strong ally. Scotty has trouble with his morals. Something happens to one of the kids, and Scotty loses it. There's a man down. Two big surprises happen.

"Dark fantasy has a new heroine." -- SFX When the dead call, she answers. Bounty hunting is a helluva job, but it pays the bills. And it lets Necromance Dante Valentine forget her issues -- like struggling with her half-demon side and the memory of her lover's death. Now psychics all over the city are being savagely murdered -- and a piece of the past Dante thought she'd buried is stalking the night with a vengeance. Too bad she's got no way to tell which fiend -- or friend -- to trust. Or that her most horrifying nightmares are gathering to take one kick-ass bounty hunter down for the count. But that's only the beginning. The Devil just called. He's looking for Dante's lover -- the one he killed. . .

“Call me Ishmael. Ishmael Jones. I am the man in the shadows, that even the shadows are afraid of. The secret agent whose life is the greatest secret of all. And some of the cases I work are trickier than others.” A rogue agent has come in from the cold and wants to spill his secrets. The Organisation wants Ishmael to find out if Frank Parker is who he says he is, what he really knows, and why he has emerged from the shadows after all this time. Ishmael heads to Ringstone Lodge in Yorkshire where Parker is being held to find that an atmosphere of fear and suspicion prevails. As he and his fellow residents are menaced by a series of alarming and inexplicable incidents, Ishmael sets out to prove that it’s human trickery rather than any supernatural being behind the seemingly ghostly goings-on. But matters take an unexpected turn when one of their number is brutally murdered, and once again Ishmael must turn detective in order to entrap a twisted killer before they strike again.

“Okay, I know what you’re thinking, but let’s get one thing straight: No. I’m not a vampire. I mean, yes, I rely on blood to sustain my part-human, semi-immortal lifestyle, but that’s as far as it goes, alright?” For the dead man talking, each death is only a new beginning – as long as someone can be relied upon to donate enough blood to bring him back to life. But it’s hard to fit in when you’re legally dead, and a youth marred by constant reinventions has made relationships and employment seem futile. Unable to gain a foothold in the real world, he begins to question what it means to be human, to be a monster, and to exist. Offering a fresh and frequently hilarious take on immortality, Dead Man Talking is the story of one man's many lives: from a hedonistic quest to determine whether pleasure alone can bring fulfilment, to a wayward journey of discovery with the self-styled King of the Goths. At the point of giving up, he finally comes to understand the meaning of life – but nothing is without cost, and his genetics will not allow him to escape his fate.

When Ferdinand "Jelly Roll" Morton sat at the piano in the Library of Congress in May of 1938 to begin his monumental series of interviews with Alan Lomax, he spoke of his years on the West Coast with the nostalgia of a man recalling a golden age, a lost Eden. He had arrived in Los Angeles more than twenty years earlier, but he recounted his losses as vividly as though they had occurred just recently. The greatest loss was his separation from Anita Gonzales, by his own account "the only woman I ever loved," to whom he left almost all of his royalties in his will. In Dead Man Blues, Phil Pastras sets the record straight on the two periods (1917-1923 and 1940-1941) that Jelly Roll Morton spent on the West Coast. In addition to rechecking sources, correcting mistakes in scholarly accounts, and situating eyewitness narratives within the histories of New Orleans or Los Angeles, Pastras offers a fresh interpretation of the life and work of Morton, one of the most important and influential early practitioners of jazz. Pastras's discovery of a previously unknown collection of memorabilia—including a 58-page scrapbook compiled by Morton himself—sheds new light on Morton's personal and artistic development, as well as on the crucial role played by Anita Gonzales. In a rich, fast-moving, and fascinating narrative, Pastras traces Morton's artistic development as a pianist, composer, and bandleader. Among many other topics, Pastras discusses the complexities of racial identity for Morton and his circle, his belief in voodoo, his relationships with women, his style of performance, and his roots in black musical traditions. Not only does Dead Man Blues restore to the historical record invaluable information about one of the great innovators of jazz, it also brings to life one of the most colorful and fascinating periods of musical transformation on the West Coast.