Showcasing the finest weird fiction published in 2017, volume 5 of the Year's Best Weird Fiction is the final, triumphant volume in the acclaimed series. Editors Robert Shearman and Michael Kelly bring their knowledge and skill to this fifth and final volume of the Year's Best Weird Fiction. Michael Kelly - Foreword Robert Shearman - Introduction Kurt Fawver - The Convexity of Our Youth Ben Loory - The Rock Eater Brenna Gomez - Corzo Kathleen Kayembe - You Will Always Have Family: A Triptych Daniel Carpenter - Flotsam Michael Mirolla - The Possession Ian Muneshwar - Skins Smooth as Plantain, Hearts Soft as Mango Claire Dean - The Unwish Kristi DeMeester - Worship Only What She Bleeds David Peak - House of Abjection Helen Marshall - The Way She is With Strangers Joshua King - The Anteater Jenni Fagan - When Words Change the Molecular Composition of Water Alison Littlewood - The Entertainment Arrives Chavisa Woods - Take the Way Home That Leads Back to Sullivan Street Carmen Maria Machado - Eight Bites Eric Schaller - Red Hood Rebecca Kuder - Curb Day Adam-Troy Castro - The Narrow Escape of Zipper-Girl K.L. Pereira - Disappearer Camilla Grudova - The Mouse Queen Brian Evenson - The Second Door Nadia Bulkin - Live Through This Paul Tremblay - Something About Birds

No longer the purview of esoteric readers, weird fiction is enjoying wide popularity. Its remit includes ghost stories, the strange, macabre, supernatural, fantasy, and the outre. Weird fiction is an intersecting of themes and ideas that explore and subvert the Laws of Nature. It is the most diverse and welcoming of all genres.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode? As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Acclaimed author Kathe Koja brings her expert eye and editorial sense to the second volume of the Year's Best Weird Fiction. Contributing authors include Julio Cortazar, Jean Muno, Karen Joy Fowler, Caitlin R. Kiernan, Nick Mamatas, Carmen Maria Machado, Nathan Ballingrud, and more. No longer the purview of esoteric readers, weird fiction is enjoying wide popularity. Chiefly derived from early 20th-century pulp fiction, its remit includes ghost stories, the strange and macabre, the supernatural, fantasy, myth, philosophical ontology, ambiguity, and a healthy helping of the outre. At its best, weird fiction is an intersecting of themes and ideas that explore and subvert the Laws of Nature. It is not confined to one genre, but is the most diverse and welcoming of all genres.

This two-volume set offers comprehensive coverage of horror literature that spans its deep history, dominant themes, significant works, and major authors, such as Stephen King, Edgar Allan Poe, and Anne Rice, as well as lesser-known horror writers. Many of today's horror story fans—who appreciate horror through movies, television, video games, graphic novels, and other forms—probably don't realize that horror literature is not only one of the most popular types of literature but one of the oldest. People have always been mesmerized by stories that speak to their deepest fears. Horror Literature through History shows 21st-century horror fans the literary sources of their favorite entertainment and the rich intrinsic value of horror literature in its own right. Through profiles of major authors, critical analyses of important works, and overview essays focused on horror during particular periods as well as on related issues such as religion, apocalypticism, social criticism, and gender, readers will discover the fascinating early roots and evolution of horror writings as well as the reciprocal influence of horror literature and horror cinema. This unique two-volume reference set provides wide coverage that is current and compelling to modern readers—who are of course also eager consumers of entertainment. In the first section, overview essays on horror during different historical periods situate works of horror literature within the social, cultural, historical, and intellectual currents of their respective eras, creating a seamless narrative of the genre's evolution from ancient times to the present. The second section demonstrates how otherwise unrelated works of horror have influenced each other, how horror subgenres have evolved, and how a broad range of topics within horror—such as ghosts, vampires, religion, and gender roles—have been handled across time. The set also provides alphabetically arranged reference entries on authors, works, and specialized topics that enable readers to zero in on information and concepts presented in the other sections.

From shambling zombies to Gothic ghosts, horror has entertained thrill-seeking readers for centuries. A versatile literary genre, it offers commentary on societal issues, fresh insight into the everyday and moral tales disguised in haunting tropes and grotesque acts, with many stories worthy of critical appraisal. This collection of new essays takes in a range of topics, focusing on historic works such as Ann Radcliffe's Gaston de Blondeville (1826) and modern novels including Max Brooks' World War Z. Other contributions examine weird fiction, Stephen King, Richard Laymon, Indigenous Australian monster mythology and horror in picture books for young children.

In science fiction's early days, stories often looked past 1984 to the year 2000 as the far unknowable future. Here now, on the brink of the twenty-first century, the future remains as distant and as unknowable as ever . . . and science fiction stories continue to explore it with delightful results: Collected in this anthology are such imaginative gems as: "The Wedding Album" by David Marusek. In a high-tech future, the line between reality and simulation has grown thin . . . and it's often hard to tell who's on what side. "Everywhere" by Geoff Ryman. Do the people who live in utopian conditions ever recognize them as such? "Hatching the Phoenix" by Frederik Pohl. One of science fiction's Grand Masters returns with a star-crossing tale of the Heechee---the enigmatic, vanished aliens whose discarded technology guides mankind through the future. "A Hero of the Empire" by Robert Silverberg. Showing that the past is as much a province of the imagination as the future, this novelette returns to an alternate history when the Roman Empire never fell to show us just how the course of history can be altered. The twenty-seven stories in this collection imaginatively take us to nearby planets and distant futures, into the past and into universes no larger than a grain of sand. Included here are the works of masters of the form and of bright new talents. Supplementing the stories are the editor's insightful summation of the year's events and a lengthy list of honorable mentions, making this book a valuable resource in addition to serving as the single best place in the universe to find stories that stir the imagination and the heart.

In the new millennium, what secrets lay beyond the far reaches of the universe? What mysteries belie the truths we once held to be self evident? The world of science fiction has long been a porthole into the realities of tomorrow, blurring the line between life and art. Now, in The Year's Best Science Fiction: Thirty-Second Annual Collection the very best SF authors explore ideas of a new world. This venerable collection brings together award winning authors and masters of the field such as Robert Reed, Alastair Reynolds, Damien Broderick, Elizabeth Bear, Paul McAuley and John Barnes. And with an extensive recommended reading guide and a summation of the year in science fiction, this annual compilation has become the definitive must-read anthology for all science fiction fans and readers interested in breaking into the genre.

This anthology marks the 29th edition of the award-winning annual compilationof the year's best science fiction stories.

In the new millennium, what secrets lay beyond the far reaches of the universe? What mysteries belie the truths we once held to be self evident? The world of science fiction has long been a porthole into the realities of tomorrow, blurring the line between life and art. Now, in The Year's Best Science Fiction: Thirty-First Annual Collection the very best SF authors explore ideas of a new world in the year's best short stories. This venerable collection brings together award winning authors and masters of the field such as Robert Reed, Alastair Reynolds, Damien Broderick, Elizabeth Bear, Paul McAuley and John Barnes. And with an extensive recommended reading guide and a summation of the year in science fiction, this annual compilation has become the definitive must-read anthology for all science fiction fans and readers interested in breaking into the genre.