Grad student Devin Toulson is writing his dream thesis on Myths in American History, but when his research takes him on a journey reaching back centuries, Devin finds something horrifying. Something that crosses cultures, locations, and eras. Something that returns for a bloody feeding every 23 years. Will this young man's investigation uncover simply an urban legend or will he come face to face with an immortal monster that has terrorized humanity from the shadows since man first walked the country?

The Secret History of the Creeper continues! Over the centuries, the immortal monster has left a path of misery, despair, and death and as our intrepid researcher Devon uncovers more and more, the Creeper gets angrier and angrier.

As Devon dives into his research on the mythical "Creeper", he has no idea how long this evil has existed! Will he uncover the true history of the seemingly immortal monster before the Creeper finds him? Plus: The Aztec Empire!?!?

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.

Here are over 40 scary, hair-raising, and frightening stories of the supernatural and the paranormal. These are first-person narratives that are unexplained and possibly inexplicable. All of them have been reported to John Robert Colombo, Canada’s Master Gatherer of the Arcane, by men and women from various parts of the country, and they’re published here in the words of the informants themselves, the witnesses to these wonders. Here, you will have the opportunity to read about: A woman from Ottawa who is visited nightly by her dead husband. A man from Quebec who is haunted by visions of the past. The couple from Regina, Saskatchewan, who commune with spirits through a Ouija board. The woman from Newcastle, Ontario, who finds the house of her dreams with a terrible secret.

Here are over 40 scary, hair-raising, and frightening stories of the supernatural and the paranormal. These are first-person narratives that are unexplained and possibly inexplicable. All of them have been reported to John Robert Colombo, Canada’s Master Gatherer of the Arcane, by men and women from various parts of the country, and they’re published here in the words of the informants themselves, the witnesses to these wonders. Here, you will have the opportunity to read about: A woman from Ottawa who is visited nightly by her dead husband. A man from Quebec who is haunted by visions of the past. The couple from Regina, Saskatchewan, who commune with spirits through a Ouija board. The woman from Newcastle, Ontario, who finds the house of her dreams with a terrible secret.

The seventh volume in Knopf’s critically acclaimed Complete Lyrics series, published in Johnny Mercer’s centennial year, contains the texts to more than 1,200 of his lyrics, several hundred of them published here for the first time. Johnny Mercer’s early songs became staples of the big band era and were regularly featured in the musicals of early Hollywood. With his collaborators, who included Richard A. Whiting, Harry Warren, Hoagy Carmichael, Jerome Kern, and Harold Arlen, he wrote the lyrics to some of the most famous standards, among them, “Too Marvelous for Words,” “Jeepers Creepers,” “Skylark,” “I’m Old-Fashioned,” and “That Old Black Magic.” During a career of more than four decades, Mercer was nominated for the Academy Award for Best Song an astonishing eighteen times, and won four: for his lyrics to “On the Atchison, Topeka, and the Santa Fe” (music by Warren), “In the Cool, Cool, Cool of the Evening” (music by Carmichael), and “Moon River” and “Days of Wine and Roses” (music for both by Henry Mancini). You’ve probably fallen in love with more than a few of Mercer’s songs–his words have never gone out of fashion–and with this superb collection, it’s easy to see that his lyrics elevated popular song into art.

"With detailed information about identification, calls, habitat, breeding, nesting, and behavior, this reference guide has the most up-to-date information about natural history, taxonomy, biology, ecology, migration and conservation status."--Book jacket.

Grad student Devin Toulson is writing his dream thesis on Myths in American History, but when his research takes him on a journey reaching back centuries, Devin finds something horrifying. Something that crosses cultures, locations, and eras. Something that returns for a bloody feeding every 23 years. Will this young man's investigation uncover simply an urban legend or will he come face to face with an immortal monster that has terrorized humanity from the shadows since man first walked the country?

Eddie doesn't like to read but finds himself spending lots of time reading with the library volunteer, Grandpa Vamps. Could Eddie be under the spell of a vampire disguised as Grandpa Vamps?