"The Red Empress is the only home Erzelle has known since the day her family was lured aboard and murdered, victims of a grisly ritual meant to make the elite immortal. Erzelle plays her harp for the diners inside this ghoul-infested riverboat, knowing her own death looms, escaping through the music that'w all she has left of her parents ..."--Page 4 of cover.

Between the 1950s and 1970s, Black Power coalesced as activists advocated a more oppositional approach to fighting racial oppression, emphasizing racial pride, asserting black political, cultural, and economic autonomy, and challenging white power. In Concrete Demands, Rhonda Y. Williams provides a rich, deeply researched history that sheds new light on this important social and political movement, and shows that the era of expansive Black Power politics that emerged in the 1960s had long roots and diverse trajectories within the 20th century. Looking at the struggle from the grassroots level, Williams highlights the role of ordinary people as well as more famous historical actors, and demonstrates that women activists were central to Black Power. Vivid and highly readable, Concrete Demands is a perfect introduction to Black Power in the twentieth century for anyone interested in the history of black liberation movements.

“Rich word choices and settings that blend speculative concepts with quotidian reality highlight this stellar anthology of prose and poetry from well-known editor Mike Allen (Clockwork Phoenix) and his wife and copublisher, Anita Allen ... This anthology is a winner from cover to cover.” —Publishers Weekly, starred review This new anthology from the creative team behind the critically-acclaimed Clockwork Phoenix series assembles beautiful poetry and strange prose from the first year of the digital journal Mythic Delirium. Funded by Kickstarter, this international gathering of writers spans cultures and blurs genres, showcasing work that, in the words of co-editor Mike Allen, "makes our notoriously offbeat Clockwork Phoenix seem like a product of the straight and narrow." With contributions from Marie Brennan, Ken Liu, Alexandra Seidel, Karthika Naïr, Sonya Taaffe, C.S.E. Cooney, S. Brackett Robertson, Amal El-Mohtar, Virginia M. Mohlere, Georgina Bruce, Patty Templeton, David Sklar, Liz Bourke, Jennifer Crow, Brittany Warman, Yoon Ha Lee, Brigitte N. McCray, Nicole Kornher-Stace, Kenneth Schneyer, Robert Davies, Lisa M. Bradley, Sandi Leibowitz, J.C. Runolfson, Christina Sng, Beth Cato, Rhonda Parrish, Cedar Sanderson, Yukimi Ogawa, Mari Ness, Lynette Mejía and Jane Yolen. Cover art by Hugo Award winner Galen Dara.

This statement was true when H. P. Lovecraft first wrote it at the beginning of the twentieth century, and it remains true at the beginning of the twenty-first century. The only thing that has changed is what is unknown. With each passing year, science, technology, and the march of time shine light into the craggy corners of the universe, making the fears of an earlier generation seem quaint. But this “light” creates its own shadows. The Best Horror of the Year, edited by Ellen Datlow, chronicles these shifting shadows. It is a catalog of terror, fear, and unpleasantness, as articulated by today’s most challenging and exciting writers. The best horror writers of today do the same thing that horror writers of a hundred years ago did. They tell good stories—stories that scare us. And when these writers tell really good stories that really scare us, Ellen Datlow notices. She’s been noticing for more than a quarter century. For twenty-one years, she coedited The Year’s Best Fantasy and Horror, and for the last six years, she’s edited this series. In addition to this monumental cataloging of the best, she has edited hundreds of other horror anthologies and won numerous awards, including the Hugo, Bram Stoker, and World Fantasy awards. More than any other editor or critic, Ellen Datlow has charted the shadowy abyss of horror fiction. Join

The ground-breaking, boundary-pushing, award-nominated series of fantasy anthologies series returns for a fourth installment through the miracle of Kickstarter, bringing you eighteen brand new tales of beauty and strangeness. You'll find the light-hearted and the bleak, the surreal become familiar and the familiar turned inside-out. Each story leads you into unmapped territory, there to find shock and delight. With stories by Yves Meynard, Ian McHugh, Nicole Kornher-Stace, Richard Parks, Gemma Files, Yukimi Ogawa, A.C. Wise, Marie Brennan, Alisa Alering, Tanith Lee, Cat Rambo, Shira Lipkin, Corinne Duyvis, Kenneth Schneyer, Camille Alexa, Benjanun Sriduangkaew, Patricia Russo and Barbara Krasnoff. Table of Contents “Our Lady of the Thylacines” by Yves Meynard “The Canal Barge Magician’s Number Nine Daughter” by Ian McHugh “On the Leitmotif of the Trickster Constellation in Northern Hemispheric Star Charts, Post-Apocalypse” by Nicole Kornher-Stace “Beach Bum and the Drowned Girl” by Richard Parks “Trap-Weed” by Gemma Files “Icicle” by Yukimi Ogawa “Lesser Creek: A Love Story, A Ghost Story” by A.C. Wise “What Still Abides” by Marie Brennan “The Wanderer King” by Alisa Alering “A Little of the Night” by Tanith Lee “I Come from the Dark Universe” by Cat Rambo “Happy Hour at the Tooth and Claw” by Shira Lipkin “Lilo Is” by Corinne Duyvis “Selected Program Notes from the Retrospective Exhibition of Theresa Rosenberg Latimer” by Kenneth Schneyer “Three Times” by Camille Alexa “The Bees Her Heart, the Hive Her Belly” by Benjanun Sriduangkaew “The Old Woman With No Teeth” by Patricia Russo “The History of Soul 2065″ by Barbara Krasnoff Praise for Clockwork Phoenix 4 This book is in several distinct ways a look into the future: the future of fantasy and science fiction, diverse, strange, and wonderful; the future of these individual writers, many of whom are at or near the beginning of careers which promise to be interesting; and, additionally, the future of publishing, in which a crowd-sourced publication from a very small press can produce, and can present professionally and beautifully, work which is at the height of what is being written in genre. This particular phoenix has risen from its ashes triumphant. — Strange Horizons Clockwork Phoenix 4, much like its predecessors, is a high quality, well-organized, engaging anthology. — Tor.com A first rate series of anthologies … The book is stylistically of a piece with its predecessors — a set of well-written stories occupying multiple subgenres, usually in the same story, often ambiguously. — Locus The tone ranges from dark to heartwarming and simple. The overall quality is high … Several of the pieces are quite challenging. Readers will do well to pick up a copy. — Locus Online What makes this fourth edition so special is that it belongs to an impassioned community of writers and readers who went above and beyond to make it happen. … All eighteen [stories] have the power to pull the reader out of his own reality and transport or transform them entirely. — Cabinet des Fées This 4th volume of Clockwork Phoenix contains an excellent diversity of speculative fiction ranging from cold and hopeless to harsh but victorious and warm and fulfilling. It was a pleasure to read. — Tangent Online What kind of stories will you find in Clockwork Phoenix 4? Only those that are magical, imaginative, heart-wrenching, just plain bizarre, forward-looking, backward-looking, biological, romantic, hopeful, darkly funny and openly frightening. All the words that describe the best speculative fiction you’ve ever read apply. In fact, if this isn’t the epitome of speculative fiction, I don’t know what is. — Little Red Reviewer

NOW WITH NEW BONUS CONTENT! 2014 Shirley Jackson Award finalist for best collection 2014 This Is Horror Award finalist for best collection 2015 Chesley Award finalist for best cover Mike Allen has put together a first class collection of horror and dark fantasy. Unseaming burns bright as hell among its peers. --Laird Barron, author of The Beautiful Thing That Awaits Us All Allen's stories deliver solid shivering terror tinged with melancholy sorrow over the fragility of humankind. --Publishers Weekly, starred review The stories ... range from the sly to the splatteringly horrific, with every nuance of dread and menace in between. --Library Journal, starred review Everyone in the world awakens covered in blood-and no one knows where the blood came from. A childhood doll arrives to tear its owner's reality limb from limb. A portal to the spirit realm stretches wide on the Appalachian Trail, and something more than human crawls through on eight legs. Words of comfort change to terrifying sounds as a force from outside time speaks through them. The buttons in the bin will unseam your flesh to bare your nastiest secrets. Opening with "The Button Bin," a finalist for the Nebula Award for Best Short Story, and culminating with its sequel, "The Quiltmaker," which Bram Stoker Award and Shirley Jackson Award winner Laird Barron has hailed as Mike Allen's masterpiece, this debut collection gathers fourteen horror tales that, in the words of Barron's introduction, "rival anything committed to paper by the likes of contemporary masters such as Clive Barker, Ramsey Campbell, or Caitlín Kiernan. This is raw, visceral, and sometimes bloody stuff. Primal stuff." More praise for Unseaming: Throughout Unseaming, reality is usually in bad shape right from the start-and from there things proceed to go downhill. Such is the general background and trajectory of life in Mike Allen's fictional world. More could be said, of course, but there's one thing that I feel especially urged to say: these stories are fun. Not "good" fun, and certainly not "good clean" fun. They are too unnerving for those modifiers, too serious, like laughter in the dark-unnerving, serious laughter that leads you through Mr. Allen's funhouse. The reality in there is also in bad shape, deliberately so, just for the seriously unnerving fun of it. The prose is poetic, except it's nonsense poetry, the poetry of deteriorating realities, intermingling realities, realities without Reality. And all the while that unnerving, serious laughter keeps getting louder and louder. Are we having fun yet? --Thomas Ligotti, author of Teatro Grottesco and The Spectral Link Allen can write as lyrically and as viscerally as the best of them ... an exceptional debut collection. --Locus Mike Allen's Unseaming confirms his status as a poet who writes in dread and awe rather than ink. His most recurrent themes are those of wrenching loss and transformative retribution, with a liberal helping of the literal fear of God(s); sowing out a hundred different apocalypses, personal and otherwise, these stories reap an unforgettable crop of nightmares, sketching a chimeric universe in which shape-changing is less a rumour or an option than a sad, simple inevitability. Not to be missed. --Gemma Files, author of We Will All Go Down Together Mike Allen blends a poet's attention to language with a crime reporter's instinct for the darker precincts of human behavior...These stories glow with demonic energy, and what they illuminate are the faces of our secret selves, screaming back at us from the mirror's depths. --John Langan, author of The Wide, Carnivorous Sky and Other Monstrous Geographies Offbeat, gruesome conceits and expert delivery. --Asimov's Science Fiction One of the most original practitioners of the body horror subgenre since Clive Barker's Books of Blood. --Rue Morgue

A stunning debut! “Ogawa’s debut collection of 17 speculative shorts stuns with its delicacy … Harkening back to the oldest folk and fairy tales and raising pointed questions about how humans value and devalue each other, this is a showstopper.” —Publishers Weekly, starred review “Her work is unexpected, often horrific, and always enthralling. Weaving Japanese folklore in with the new, the weird, and science fiction horror elements, Ogawa’s body of work is prolific and evergreen.” —Thea James, Tor.com A monster wearing the stolen dress of a deceased mother agrees to help the woman’s orphaned son. A girl whose blood can cause hallucinogenic visions makes a daring escape from the merchants who traffic her. In a society where people are prized for their jewel-hued skins—indigo, silver, amber, emerald—one girl endures brutal bruises to shine brightest of all, while another, her eyes sealed inside a featureless helmet, risks death to retrieve colors from the outside world. In the future of that culture, one where androids serve with brimming resentment and artificially altering one’s skin color can be a crime, the most ordinary in appearance can prove the best detectives, and the most subtly effective rebels. On a far distant space station, another android encounters a goddess humans forgot. “At pure surface level, these works appear rooted in the fantastical and magical, but as soon as you think you’ve found your footing and understand where you are, Ogawa warps your perception almost imperceptibly until the world is completely unfamiliar again.” —Haralambi Markov, Tor.com Like Smoke, Like Light, the debut collection of short fiction from Japanese author Yukimi Ogawa, gathers seventeen tales that Locus Magazine has described as constructed in a “wild—but still grounded, feeling more like SF than fantasy—fashion.” As novelist and poet Francesca Forrest writes in her introduction, “Ogawa is a remarkable light in the science fiction and fantasy firmament,” who “writes unsettling stories that are by turns horrifying and touching.” This book “give us space and time to think about how we really feel about tricky questions—like what makes a monster” and how loving families can be found when one accepts “the forms they choose to wear.” Cover and interior illustrations by Paula Arwen Owen More praise for Like Smoke, Like Light “Inventive, fantastical, and original; Ogawa transforms mythology, ghost stories, and the tropes of science fiction into fresh, new visions.” —A. C. Wise, Bram Stoker, British Fantasy, Shirley Jackson, and World Fantasy award-nominated author of The Ghost Sequences “Yukimi Ogawa’s first collection reveals her as a superb talent. These unsettling, sometimes harrowing journeys lead always toward grace and strange beauty.” —C. C. Finlay, winner of the World Fantasy Award and author of the Traitor to the Crown series “These luminous stories—playful one minute, tragic the next—feel like the folklore of some alternate reality world. Often, they explore themes of how our identity is linked with our physicality … how others perceive us, and the ways in which that outside perception affects how we perceive ourselves. Yukimi Ogawa’s tales are as enchanting, heartbreaking, and gorgeous as the characters they revolve around.” —Jeffrey Thomas, Bram Stoker Award finalist and author of Punktown and The Unnamed Country