Seamlessly blending classic horror and a dramatic narrative with sharp social commentary,
follows four American Indian men after a disturbing event from their youth puts them in a desperate struggle for their lives. Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in a violent, vengeful way.

Walking through his own house at night, a twelve-year-old thinks he sees another person stepping through a doorway. Instead of the people who could be there, his mother or his brother, the figure reminds him of his long-gone father, who died mysteriously before his family left the reservation. When he follows it he discovers his house is bigger and deeper than he knew.
The house is the kind of wrong place where you can lose yourself and find things you'd rather not have. Over the course of a few nights, the boy tries to map out his house in an effort that puts his little brother in the worst danger, and puts him in the position to save them . . . at terrible cost.

Walking through his own house at night, a twelve-year-old thinks he sees another person stepping through a doorway. Instead of the people who could be there, his mother or his brother, the figure reminds him of his long-gone father, who died mysteriously before his family left the reservation. When he follows it he discovers his house is bigger and deeper than he knew.
The house is the kind of wrong place where you can lose yourself and find things you'd rather not have. Over the course of a few nights, the boy tries to map out his house in an effort that puts his little brother in the worst danger, and puts him in the position to save them . . . at terrible cost.

In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.

Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship . Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds , asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares . The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka .

An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.

From master anthologist Ellen Datlow comes an all-original of weird tales inspired by the strangeness of Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass and What Alice Found There .

Between the hallucinogenic, weird, imaginative wordplay and the brilliant mathematical puzzles and social satire, Alice has been read, enjoyed, and savored by every generation since its publication. Datlow asked eighteen of the most brilliant and acclaimed writers working today to dream up stories inspired by all the strange events and surreal characters found in Wonderland.

Featuring stories and poems from Seanan McGuire, Catherynne M. Valente, Delia Sherman, Genevieve Valentine, Priya Sharma, Stephen Graham Jones, Richard Bowes, Jeffrey Ford, Angela Slatter, Andy Duncan, C.S.E. Cooney, Matthew Kressel, Kris Dikeman, Jane Yolen, Kaaron Warren, Ysbeau Wilce, and Katherine Vaz.

Table of Contents:

“Gentle Alice” Kris Dikeman
“My Own Invention” Delia Sherman
“Lily-White & the Thief of Lesser Night” C. S. E. Cooney
“Conjoined” Jane Yolen
“Mercury” Priya Sharma
“Some Kind of Wonderland” Richard Bowes
“Alis” Stephen Graham Jones
“All the King’s Men” Jeffrey Ford
“Run, Rabbit” Angela Slatter
“In Memory of a Summer’s Day” Matthew Kressel
“Sentence Like a Saturday” Scanan McGuire
“Worrity, Worrity” Andy Duncan
“Eating the Alice Cake” Kaaron Warren
“The Queen of Hats” Ysabeau S. Wilce
“A Comfort, One Way” Genevieve Valentine
“The Flame After the Candle” Catherynne M. Valente
“Moon, and Memory, and Muchness” Katherine Vaz
“Run, Rabbit, Run” Jane Yolen

An anthology of original horror stories edited by Bram Stoker Award ® winners Vince A. Liaguno and Rena Mason that showcases authors from historically excluded backgrounds telling terrifying tales of what it means to be, or merely to seem, "other."
Offering new stories from some of the biggest names in horror as well as some of the hottest up-and-coming talents, Other Terrors will provide the ultimate reading experience for horror fans who want to examine fear of "the other."
Be they of a different culture, a different background, a different sexual orientation or gender identity, a different belief system, or a different skin color, some people simply aren't part of the community's majority—and are perceived as scary. Humans are almost instinctively inclined to fear what's different, and there are a multitude of individuals who have spent far too long on the outside looking in. And the thing about the outside is . . . it's much larger than you think.
In Other Terrors, horror writers from a multitude of underrepresented backgrounds have created stories of everyday people, places, and things where something shifts, striking a deeper, much more primal, chord of fear. Are our eyes playing tricks on us, or is there something truly sinister lurking under the surface of what we thought we knew? And who among us is really the other, after all?
CONTRIBUTORS Tananarive Due, Jennifer McMahon, S.A. Cosby, Stephen Graham Jones, Alma Katsu, Michael T h omas Ford, Ann Dávila Cardinal, Christina Sng, Denise Dumars, Usman T. Malik, Annie Neugebauer, Gabino Iglesias, Hailey Piper, Nathan Carson, Shanna Heath, Tracy Cross, Linda D. Addison, Maxwell I. Gold, Larissa Glasser, Eugen Bacon, Holly Lyn Walrath, Jonathan Lees, M. E. Bronstein, Michael H. Hanson

A bold, clever, and sublimely sinister collection that dares to ask the question: “Are you ready to be un-settled?” Featuring stories by:

Norris Black, Amber Blaeser-Wardzala, Phoenix Boudreau, Cherie Dimaline, Carson Faust, Kelli Jo Ford, Kate Hart, Shane Hawk, Brandon Hobson, Darcie Little Badger, Conley Lyons, Nick Medina, Tiffany Morris, Tommy Orange, Mona Susan Power, Marcie R. Rendon, Waubgeshig Rice, Rebecca Roanhorse, Andrea L. Rogers, Morgan Talty, D.H. Trujillo, Theodore C. Van Alst Jr., Richard Van Camp, David Heska, Wanbli Weiden, Royce Young, Wolf Mathilda Zeller.

Many Indigenous people believe that one should never whistle at night. This belief takes many forms: for instance, Native Hawaiians believe it summons the Hukai’po, the spirits of ancient warriors, and Native Mexicans say it calls Lechuza, a witch that can transform into an owl. But what all these legends hold in common is the certainty that whistling at night can cause evil spirits to appear—and even follow you home.

These wholly original and shiver-inducing tales introduce listeners to ghosts, curses, hauntings, monstrous creatures, complex family legacies, desperate deeds, and chilling acts of revenge. Introduced and contextualized by bestselling author Stephen Graham Jones, these stories are a celebration of Indigenous peoples’ survival and imagination, and a glorious reveling in all the things an ill-advised whistle might summon.

Source title: Mongrels: A Novel

From the New York Times bestselling author of The Only Good Indians comes a tale of the American West, writ in blood.

This chilling historical novel is set in the nascent days of the state of Montana, following a Blackfeet Indian named Good Stab as he haunts the fields of the Blackfeet Nation looking for justice.

It begins when a diary written in 1912 by a Lutheran pastor is discovered within a wall in 2012. What is unveiled is a slow massacre, a nearly forgotten chain of events that goes back to 217 Blackfeet dead in the snow, told in the transcribed interviews with Good Stab, who shares the narrative of his peculiar and unnaturally long life over a series of confessional visits.

This is an American Indian revenge story, captured in the vivid voices of the time, by one of the new masters of literary horror, Stephen Graham Jones.

Winner of the Bram Stoker Award for Best Novel
In her quickly gentrifying rural lake town Jade sees recent events only her encyclopedic knowledge of horror films could have prepared her for in this latest chilling novel that “will give you nightmares. The good kind, of course” (BuzzFeed) from the Jordan Peele of horror literature, Stephen Graham Jones.
“Some girls just don’t know how to die…”
Shirley Jackson meets Friday the 13th in My Heart Is a Chainsaw, written by the New York Times bestselling author of The Only Good Indians Stephen Graham Jones, called “a literary master” by National Book Award winner Tananarive Due and “one of our most talented living writers” by Tommy Orange.
Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life.
Jade Daniels is an angry, half-Indian outcast with an abusive father, an absent mother, and an entire town that wants nothing to do with her. She lives in her own world, a world in which protection comes from an unusual source: horror movies…especially the ones where a masked killer seeks revenge on a world that wronged them. And Jade narrates the quirky history of Proofrock as if it is one of those movies. But when blood actually starts to spill into the waters of Indian Lake, she pulls us into her dizzying, encyclopedic mind of blood and masked murderers, and predicts exactly how the plot will unfold.
Yet, even as Jade drags us into her dark fever dream, a surprising and intimate portrait emerges…a portrait of the scared and traumatized little girl beneath the Jason Voorhees mask: angry, yes, but also a girl who easily cries, fiercely loves, and desperately wants a home. A girl whose feelings are too big for her body. My Heart Is a Chainsaw is her story, her homage to horror and revenge and triumph.

A NEW YORK TIMES BESTSELLER

From USA TODAY bestselling author Stephen Graham Jones comes a " masterpiece " ( L
ocus Magazine
) of a novel about revenge, cultural identity, and the cost of breaking from tradition. Labeled "one of 2020's buzziest horror novels" ( Entertainment Weekly ), this is a remarkable horror story that "will give you nightmares--the good kind of course" ( BuzzFeed ).

From New York Times bestselling author Stephen Graham Jones comes a novel that is equal parts psychological horror and cutting social commentary on identity politics and the American Indian experience. Fans of Jordan Peele and Tommy Orange will love this story as it follows the lives of four American Indian men and their families, all haunted by a disturbing, deadly event that took place in their youth. Years later, they find themselves tracked by an entity bent on revenge, totally helpless as the culture and traditions they left behind catch up to them in a violent, vengeful way.