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A collection of Ghostly Tales from Somerset County, Pennsylvania and beyond.
A collection of eight scary stories about zombies.
A collections of horror stories that includes some of the best and most famous authors of the genre includint Edgar Allen Poe, H.P. Lovecraft, and Bram Stoker.
Looking for short stories to get your class in the Halloween spirit? Want to introduce your ESL students to some great American urban legends? Looking for quick and easy reads for the horror lover in your class? This collection of 16 classic creepy stories or urban legends are just the thing! Don't worry, they're classroom-safe with minimal gore or blood and maximum suspense and twist. A few are even funny or a bit touching. Introduce your class to: * The Hook - two friends drive off ripping the hook off of a hook-handed killer who was about to attack them * Don't Turn on the Lights - a college students' roommate is killed while she's in the room * The Last Ride - a boy who died on a Ferris wheel surprises a new fair worker * The Warning - a woman thinks the man flashing his high beams at her is a killer, but the truth is much worse! * Teddy Bear - a young woman discovers the ghost in her house loves stuffed animals as much as she does. and more.... The book also contains comprehension questions at the back that fit any story. Four story starter prompts let students create their own scary stories! It's perfect as a graded reader, a fun Halloween treat, or a the beginning of a writing unit for students to create their own scary stories.
The iconic anthology series of horror tales that's now a feature film! The three Scary Stories books come together in this ebook collection to form a timeless collection of chillingly scary tales and legends. Folklorist Alvin Schwartz offers up some of the most alarming tales of horror, dark revenge, and supernatural events of all time. The ebooks in this collection feature Stephen Gammell’s artwork from the original Scary Stories books. Read if you dare! Includes Scary Stories to Tell in the Dark, More Scary Stories, and Scary Stories 3.
The iconic anthology series of horror tales that's now a feature film! Scary Stories to Tell in the Dark is a timeless collection of chillingly scary tales and legends, in which folklorist Alvin Schwartz offers up some of the most alarming tales of horror, dark revenge, and supernatural events of all time. Available for the first time as an ebook, Stephen Gammell’s artwork from the original Scary Stories to Tell in the Dark appears in all its spooky glory. Read if you dare! And don't miss More Scary Stories to Tell in the Dark and Scary Stories 3!
Multiple Bram Stoker Award–winning author Jonathan Maberry compiles more than twenty stories and poems—written by members of the Horror Writers Association—in this terrifying collection about our worst fears. What scares you? Things that go bump in the night? Being irreversibly different? A brutal early death? The unknown? This collection contains stories and poetry by renowned writers—all members of the Horror Writers Association—about what they fear most. These spooky stories include mermaids, ghosts, and personal demons, and are edited by Jonathan Maberry, multiple Bram Stoker award winner and author of the Rot & Ruin series. Contributors are Linda Addison, Ilsa J. Bick, Kendare Blake, Zac Brewer, Rachel Caine, Christopher Golden, Nancy Holder, Ellen Hopkins, Josh Malerman, Cherie Priest, Madeleine Roux, Carrie Ryan, Jade Shames, Brendan Shusterman, Neal Shusterman, Lucy A. Snyder, Marge Simon, R. L. Stine, Rachel Tafoya, Steve Rasnic Tem, Tim Waggoner, and Brenna Yovanoff.
Contemporary American horror literature for children and young adults has two bold messages for readers: adults are untrustworthy, unreliable and often dangerous; and the monster always wins (as it must if there is to be a sequel). Examining the young adult horror series and the religious horror series for children (Left Behind: The Kids) for the first time, and tracing the unstoppable monster to Seuss's Cat in the Hat, this book sheds new light on the problematic message produced by the combination of marketing and books for contemporary American young readers.
"Take the fatal shot," said Horseshoe. He must have laid down his rifle because I remember him helping to steady my own. "Easy now, you'll own this forever—" I stared the thing in the eye and squeezed the trigger. It threw back its head, rising up. It gasped for breath, spitting more blood. It barked at the sky. Then it fell, head thumping against the deck. Its serpentine neck slumped. The rest of its blood spread over the boards and rolled around our boots and flowed between the planks. I was the first to step forward, looking down at the thing through drifting smoke. Its remaining eye seemed to look right back. I got down on my knees to look closer. The thing exhaled, causing the breathing holes at the top of its head, behind its eyes, to bubble. I waited for it to inhale, staring into its eye—I could see myself there as well as the others, could see the sky and the scattered clouds. The whole world seemed contained in that moist little ball. Then the eye rolled around white—it shrunk, drying, and the thing's neck constricted. And it died. Horseshoe slapped my back, massaged my neck. "How's it feel, little buddy?" But I didn't know what I felt. I could only stare at the eye, now empty.
Scare Tactics identifies an important but overlooked tradition of supernatural writing by American women. Jeffrey Weinstock analyzes this tradition as an essentially feminist attempt to imagine alternatives to a world of limited possibilities. In the process, he recovers the lives and works of authors who were important during their lifetimes and in the development of the American literary tradition, but who are not recognized today for their contributions. Between the end of the Civil War and roughly 1930, hundreds of uncanny tales were published by women in the periodical press and in books. These include stories by familiar figures such as Edith Wharton, Harriet Beecher Stowe, and Charlotte Perkins Gilman, as well as by authors almost wholly unknown to twenty-first-century readers, such as Josephine Dodge Bacon, Alice Brown, Emma Frances Dawson, and Harriet Prescott Spofford. Focusing on this tradition of female writing offers a corrective to the prevailing belief within American literary scholarship that the uncanny tale, exemplified by the literary productions of Irving, Poe, and Hawthorne, was displaced after the Civil War by literary realism. Beyond the simple existence of an unacknowledged tradition of uncanny literature by women, Scare Tactics makes a strong case that this body of literature should be read as a specifically feminist literary tradition. Especially intriguing, Weinstock demonstrates, is that women authors repeatedly used Gothic conventions to express discontentment with circumscribed roles for women creating types of political intervention connected to the broader sphere of women's rights activism. Paying attention to these overlooked authors helps us better understand not only the literary marketplace of their time, but also more familiar American Gothicists from Edgar Allan Poe to Shirley Jackson to Stephen King.