Duck Macatarsney cares for her biker dad, Duke, whose MS is getting worse. Duke is a spliff-smoking (for medicinal reasons you understand), bike-riding, heavy-metal- and horror-movie-loving, pizza-eating widower who has brought up Duck since the death of her mum in a crash. The two of them are just about surviving when one morning the Duke wakes up blind and the Duck hears Social Services are coming to take her away.The Monster in the Hall follows Duck as she tries to protect her world from the terrifying prospect of change.David Greig's The Monster in the Hall premiered at the Citizens Theatre, Glasgow, in autumn 2010, and was staged at the Traverse Theatre, Edinburgh in 2011 as part of the Edinburgh Festival Fringe.

Monsters have been spotted everywhere, not just hiding under a child’s bed, lurking in the closet, or springing forth from folkloric tales. For many people, monsters are nothing more than myth, folklore, and legend combined. For others—and particularly those who have encountered monstrous forms surfacing and emerging from shadowy caves, from the dark waters of ancient lakes, and from the vast jungles and forests of our worlds—monsters are all too terrifyingly real. Werewolves, Bigfoot, the Loch Ness Monster, the Chupacabra, Mothman, the Abominable Snowman, and sea serpents may represent the most famous monsters, but they are not alone. In fact, quite the opposite: monsters can be found all across the planet. Exploring the history, folklore, pop culture, and the world of the supernatural, The Monster Book: Creatures, Beasts, and Fiends of Nature is a comprehensive resource of the monster menagerie that exists on planet earth. This fascinating look at monsters has 120 photographs, drawings, and illustrations to bring the nearly 200 entries to life, including The Mongolian Death Worm; The Beast of Bray Road; The Owlman of England; The Yeren of China; Mokele Mbembe; Living Pterosaurs; The Flatwoods Monster; The Labynkyr Devil; Alien Big Cats; Lizard Man; Lake Worth Monster; The Beast of Gevaudan; Megalania, the Monstrous Monitor; South American Sasquatch; Nessie’s lesser known cousin; The Jersey Devil; Sea Serpents; Orang Pendek; and Phantom Black Dogs. Stories of these creatures are told around flickering campfires on chilly nights in the woods, before tucking excited kids into bed, on prime-time television documentaries, and on late-night radio talk shows. Tales of terrifying creatures that the world of science assures us don’t exist. But try telling that to the witnesses. This richly researched reference overflows with fascinating information to make readers think about—and reconsider—their next visit to the woods. This fascinating read also includes a helpful bibliography and an extensive index, adding to its usefulness.

The Monster is an 1898 novella by American author Stephen Crane (1871-1900). The story takes place in the small, fictional town of Whilomville, New York. An American-African coachman named Henry Johnson, who is employed by the town's physician, Dr. Trescott, becomes horribly disfigured after he saves Trescott's son from a fire. When Henry is branded a ""monster"" by the town's residents, Trescott vows to shelter and care for him, resulting in his family's exclusion from the community. The novella reflects upon the 19th-century social divide and ethnic tensions in America. The fictional town of Whilomville, which is used in 14 other Crane stories, was based on Port Jervis, New York, where Crane lived with his family for a few years during his youth. It is thought that he took inspiration from several local men who were similarly disfigured, although modern critics have made numerous connections between the story and the 1892 lynching in Port Jervis of a man of color named Robert Lewis.

Abby doesn't believe the story that there is a monster roaming the campus until she finds herself is in danger.

An enlightening collection of inter-disciplinary research on the multifarious incarnations of the monster, 'Monstrous Manifestations' invites the reader to venture into the deepest anxieties of the human psyche.

Hosting the Monster responds to the call of the monstrous with, not rejection, but invitation. Positing the monster as that which defies classification, the essays in this collection are an ongoing engagement with that which lies outside of established boundaries. With chapters ranging from the monstrous mother or the deformed child to subjectivity in transition, this volume is not only of interest to film and gender scholars and literary and cultural theorists but also students of popular culture or horror. Its wide appeal stems from its invitation both to entertain the monster and to widen the call to and the listening for the monsters that have not yet, and perhaps must not yet, come calling back. This sense of hospitality and non-hostility is one guiding principle of this collection, suggesting that the ability to survey and research the otherwise may reveal more about the subjectivity of the self through the wisdom of the other, however monstrous the manifestation.

Two hundred years ago, Christopher planted an enchanted rose which began Fairyland Old, in the age when fairies ruled the entire magical realm in harmony with the creatures of the woods and the monsters who dwelled there. That is, until the greed of the monsters drove the fairies to banish them, in which the lands were divided to become Fairyland and Monsterland. Now Kay and Rob, two adventurous friends, make their way into the forest and eat magical berries that whisk them away to the wondrous world. But, why are they there? What is the purpose? They soon uncover the deep secrets of the land hidden within the pages of two ancient books; the Book of Fairies and the Book of Monsters. Yet one book remains, the Lost Book, which fell away and was thought to be gone forever. But, who has the Lost Book? What awaits within it? Kay and Rob question this and more. What power does the precious Rainbow Crystal hold and even more importantly, who is the famed Christopher that the books foretell of? Answers are found through a journey of self discovery by the children and the simple act of believing in themselves and others leads them to the truth.

From the author called the best mystery writer in the English-speaking world ("Time") comes her newest novel featuring Inspector Wexford.

A thrilling and gruesome look at the science that influenced Mary Shelley's Frankenstein. The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: or, The Modern Prometheus by Mary Shelley had a huge impact on the gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe'en costumes. Even the name 'Frankenstein' has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for such an extraordinary novel? Clues are dotted throughout Georgian science and popular culture. The years before the book's publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists. Making the Monster explores the scientific background behind Mary Shelley's book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, 'monsters' and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation.