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Browse the horror, thriller and suspense catalog by content type.

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The Devil Takes You Home (2022)
The Devil Takes You Home (2022)This genre-defying, Bram Stoker award-winning thriller follows a father desperate to salvage what's left of his family—even if it means a descent into violence. Buried in debt due to his young daughter’s illness, his marriage at the brink, Mario reluctantly takes a job as a hitman, surprising himself with his proclivity for violence. After tragedy destroys the life he knew, Mario agrees to one final job: hijack a cartel’s cash shipment before it reaches Mexico. Along with an old friend and a cartel-insider named Juanca, Mario sets off on the near-suicidal mission, which will leave him with either a cool $200,000 or a bullet in the skull. But the path to reward or ruin is never as straight as it seems. As the three complicated men travel through the endless landscape of Texas, across the border and back, their hidden motivations are laid bare alongside nightmarish encounters that defy explanation. One thing is certain: even if Mario makes it out alive, he won’t return the same. The Devil Takes You Home is a panoramic odyssey for fans of S.A. Cosby’s southern noir, Blacktop Wasteland, by way of the boundary-defying storytelling of Stephen Graham Jones and Silvia Moreno-Garcia. NAMED A BEST BOOK OF THE YEAR BY: NPR, Harper's Bazaar, Chicago Tribune, Vulture, Oprah Daily, CrimeReads, The Millions, and many more! An Edgar Award Finalist • A Bram Stoker Award Winner • A Shirley Jackson Award Finalist • A Book of the Month Club Pick • An August Indie Next List Selection • An ABA Indie Bestseller
Together We Rot (2023)
Together We Rot (2023)A teen girl looking for the truth about her missing mother forms a reluctant alliance with her former best friend...in exchange for hiding him from his cult-leading family. “All hail the new queen of YA horrormance! Arndt’s unputdownable debut crackles with wit and seethes with terrors just beneath the surface. Equal parts tender and grisly, Together We Rot will sink its roots into you.”—Allison Saft, New York Times bestselling author of A Far Wilder Magic Wil Greene’s mom has been missing for over a year, and the police are ready to call the case closed—they claim she skipped town and you can’t find a woman who wants to disappear. But she knows her mom wouldn’t just leave…and she knows the family of her former best friend, Elwood Clarke, has something to do with it. Elwood has been counting down the days until his 18th birthday—in dread. It marks leaving school and joining his pastor father in dedicating his life to their congregation, the Garden of Adam. But when he comes home after one night of after a final goodbye with his friends, already self-flagellating for the sins of drinking and disobeying his father, he discovers his path is not as virtuous as he thought. He’s not his father’s successor, but his sacrifice. For the woods he’s grown up with are thirsty, and must be paid in blood. Now on the run from a family that wants him dead, he turns to the only one who will believe him: Wil. Together, they form a reluctant partnership; she’ll help him hide if he helps her find evidence that his family killed her mother. But in the end they dig up more secrets than they bargained for, unraveling decades of dark cult dealings in their town, led by the Clarke family. And there’s a reason they need Elwood’s blood for their satanic rituals. Something inhuman is growing inside of him. Everywhere he goes, the plants come alive and the forest calls to him, and Wil isn’t sure if she can save the boy she can’t help but love.
The Turn of the Screw and Other Stories (1898)
The Turn of the Screw and Other Stories (1898)A young, inexperienced governess is charged with the care of Miles and Flora, two small children abandoned by their uncle at his grand country house. She sees the figure of an unknown man on the tower and his face at the window. It is Peter Quint, the master's dissolute valet, and he has come for little Miles. But Peter Quint is dead. Like the other tales collected here - `Sir Edmund Orme', `Owen Wingrave', and `The Friends of the Friends' - `The Turn of the Screw' is to all immediate appearances a ghost story. But are the appearances what they seem? Is what appears to the governess a ghost or a hallucination? Who else sees what she sees? The reader may wonder whether the children are victims of corruption from beyond the grave, or victims of the governess's `infernal imagination', which torments but also entrals her? `The Turn of the Screw' is probably the most famous, certainly the most eerily equivocal, of all ghostly tales. Is it a subtle, self-conscious exploration of the haunted house of Victorian culture, filled with echoes of sexual and social unease? Or is it simply, `the most hopelessly evil story that we have ever read'? The texts are those of the New York Edition, with a new Introduction and Notes. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Woman, Eating (2022)
Woman, Eating (2022)A young, mixed-race vampire must find a way to balance her deep-seated desire to live amongst humans with her incessant hunger in this stunning debut novel from a writer-to-watch. Lydia is hungry. She's always wanted to try Japanese food. Sashimi, ramen, onigiri with sour plum stuffed inside - the food her Japanese father liked to eat. And then there is bubble tea and iced-coffee, ice cream and cake, and foraged herbs and plants, and the vegetables grown by the other young artists at the London studio space she is secretly squatting in. But, Lydia can't eat any of these things. Her body doesn't work like those of other people. The only thing she can digest is blood, and it turns out that sourcing fresh pigs' blood in London - where she is living away from her vampire mother for the first time - is much more difficult than she'd anticipated. Then there are the humans - the other artists at the studio space, the people at the gallery she interns at, the strange men that follow her after dark, and Ben, a boyish, goofy-grinned artist she is developing feelings for. Lydia knows that they are her natural prey, but she can't bring herself to feed on them. In her windowless studio, where she paints and studies the work of other artists, binge-watches Buffy the Vampire Slayer and videos of people eating food on YouTube and Instagram, Lydia considers her place in the world. She has many of the things humans wish for - perpetual youth, near-invulnerability, immortality – but she is miserable; she is lonely; and she is hungry - always hungry. As Lydia develops as a woman and an artist, she will learn that she must reconcile the conflicts within her - between her demon and human sides, her mixed ethnic heritage, and her relationship with food, and, in turn, humans - if she is to find a way to exist in the world. Before any of this, however, she must eat.