Previous ed. published in 2009 by Leisure Books.

After their car breaks down in the seediest part of the city, Kerri and her friends take shelter in an abandoned row house. But it's not abandoned at all. The inhabitants are no longer human--and they don't take kindly to intruders. Original.

This book examines writing in the Gothic mode which subverts the dominant national narrative of the British home front. Instead of seeing wartime experience as a site of fellowship and emotional resilience, Elizabeth Bowen, Anna Kavan, Mervyn Peake, Roy Fuller and others depict shadowy figures on the margin of the nation.

This collection explores global dystopic, grotesque and retold narratives of degeneration, ecological and economic ruin, dystopia, and inequality in contemporary fictions set in the urban space. Divided into three sections—Identities and Histories, Ruin and Residue, and Global Gothic—The New Urban Gothic explores our anxieties and preoccupation with social inequalities, precarity and the peripheral that are found in so many new fictions across various media. Focusing on non-canonical Gothic global cities, this distinctive collection discusses urban centres in England’s Black Country, Moscow, Detroit, Seoul, Hong Kong, Bangkok, Singapore, Dehli, Srinigar, Shanghai and Barcelona as well as cities of the imaginary, the digital and the animated. This book will appeal to anyone interested in the intersections of time, place, space and media in contemporary Gothic Studies. The New Urban Gothic casts reflections and shadows on the age of the Anthropocene.

Stories from our latest collection feature gritty murders on the streets of Chicago, New York, L.A., London and Paris, horrors in dark alleys, as well as many more scenes from urban crime that elicit a dark curiosity. Classic authors are cast with previously unpublished stories by exciting budding contemporary crime writers to bring you the latest anthology in our successful series. New, contemporary and notable writers featured are: T.J. Berg, Judi Calhoun, Ramsey Campbell, Meg Elison, Rich Larson, C.L. McDaniel, Dan Micklethwaite, Trixie Nisbet, Thana Niveau, Josh Pachter, Michael Penncavage, Jennifer Quail, Zandra Renwick, K.W. Roberts, Leo X. Robertson, David Tallerman, Salinda Tyson, Rachel Watts, and Chris Wheatley. Classic authors include Robert Barr, Wilkie Collins, Jack London, Edgar Wallace, Oscar Wilde and more.

Two titans of modern horror-Brian Keene and Bryan Smith-team up for the terrifying crossover sequel to both Keene's URBAN GOTHIC and Smith's THE FREAKSHOW. The Westgate Galleria Mall was once a sprawling, shining monument to American consumerism and suburban growth. Now, it is a crumbling reminder of how both have fallen-an architectural ghost, haunting the outskirts of society. That makes it the perfect filming location for a YouTube channel devoted to the exploration of abandoned places. But the mall isn't as empty as it seems and the residents have sinister obscene plans for them. Now, with the daylight still hours away, both he hunters and the hunted will fight to stay alive...and desperately try to make it home. SUBURBAN GOTHIC by Brian Keene and Bryan Smith-Home is where is the severed heart is...

This is the first major full-length study of Victorian Gothic fiction. Combining original readings of familiar texts with a rich store of historical sources, A Geography of Victorian Gothic Fiction is an historicist survey of nineteenth-century Gothic writing--from Dickens to Stoker, Wilkie Collins to Conan Doyle, through European travelogues, sexological textbooks, ecclesiastic histories and pamphlets on the perils of self-abuse. Critics have thus far tended to concentrate on specific angles of Gothic writing (gender or race), or the belief that the Gothic 'returned' at the so-called fin de siècle. Robert Mighall, by contrast, demonstrates how the Gothic mode was active throughout the Victorian period, and provides historical explanations for its development from late eighteenth century, through the 'Urban Gothic' fictions of the mid-Victorian period, the 'Suburban Gothic' of the Sensation vogue, through to the somatic horrors of Stevenson, Machen, Stoker, and Doyle at the century's close. Mighall challenges the psychological approach to Gothic fiction which currently prevails, demonstrating the importance of geographical, historical, and discursive factors that have been largely neglected by critics, and employing a variety of original sources to demonstrate the contexts of Gothic fiction and explain its development in the Victorian period.