Joe Hill

Ben Templesmith, Steve Niles

Ben Templesmith, Steve Niles

Steve Niles Kelly Sue DeConnick

Alex Sanchez, Dan Wickline

Steve Niles Dan Wickline

Steve Niles

Ben Templesmith

Ernst Gunther

Neil Gaiman

Neil Gaiman Sam Kieth

Neil Gaiman Dave Mckean

Neil Gaiman

Neil Gaiman

Steven Brust

Neil Gaiman American Gods is Neil Gaiman's best and most ambitious novel yet, a scary, strange, and hallucinogenic road-trip story wrapped around a deep examination of the American spirit. Gaiman tackles everything from the onslaught of the information age to the meaning of death, but he doesn't sacrifice the razor-sharp plotting and narrative style he's been delivering since his Sandman days.

Shadow gets out of prison early when his wife is killed in a car crash. At a loss, he takes up with a mysterious character called Wednesday, who is much more than he appears. In fact, Wednesday is an old god, once known as Odin the All-father, who is roaming America rounding up his forgotten fellows in preparation for an epic battle against the upstart deities of the Internet, credit cards, television, and all that is wired. Shadow agrees to help Wednesday, and they whirl through a psycho-spiritual storm that becomes all too real in its manifestations. For instance, Shadow's dead wife Laura keeps showing up, and not just as a ghost—the difficulty of their continuing relationship is by turns grim and darkly funny, just like the rest of the book.

Armed only with some coin tricks and a sense of purpose, Shadow travels through, around, and underneath the visible surface of things, digging up all the powerful myths Americans brought with them in their journeys to this land as well as the ones that were already here. Shadow's road story is the heart of the novel, and it's here that Gaiman offers up the details that make this such a cinematic book—the distinctly American foods and diversions, the bizarre roadside attractions, the decrepit gods reduced to shell games and prostitution. "This is a bad land for Gods," says Shadow.

More than a tourist in America, but not a native, Neil Gaiman offers an outside-in and inside-out perspective on the soul and spirituality of the country—our obsessions with money and power, our jumbled religious heritage and its societal outcomes, and the millennial decisions we face about what's real and what's not. —Therese Littleton

Steven T. Seagle Becky Cloonan

Steven T. Seagle Becky Cloonan

Neil Gaiman

Christopher Pike

Kate Santon

Joss Whedon

Joss Whedon

Joss Whedon

Ayn Rand

L.a Banks

Maggie Stiefvater

Mike Mignola, Christopher Golden From celebrated comic artist Mike Mignola and award-winning novelist Christopher Golden comes a work of gothic storytelling like no other. Reminiscent of the illustrated tales of old, here is a lyrical, atmospheric novel of the paranormal—and a chilling allegory for the nature of war.

“Why do dead men rise up to torment the living?” Captain Henry Baltimore asks the malevolent winged creature. The vampire shakes its head. “It was you called us. All of you, with your war. The roar of your cannons shook us from our quiet graves…. You killers. You berserkers…. You will never be rid of us now.”

When Lord Henry Baltimore awakens the wrath of a vampire on the hellish battlefields of World War I, the world is forever changed. For a virulent plague has been unleashed—a plague that even death cannot end.

Now the lone soldier in an eternal struggle against darkness, Baltimore summons three old friends to a lonely inn—men whose travels and fantastical experiences incline them to fully believe in the evil that is devouring the soul of mankind.

As the men await their old friend, they share their tales of terror and misadventure, and contemplate what part they will play in Baltimore’s timeless battle. Before the night is through, they will learn what is required to banish the plague—and the creature who named Baltimore his nemesis—once and for all.

Carol Belanger Grafton

Trethewey

Ben Templesmith, Bram Stoker

Valeria Manferto De Fabianis

P.C. Cast

Howard Chaykin David Tischman

Kelley Armstrong Successful journalist by day, the world's only female werewolf by night, Bitten's Elena Michaels agonizes over ordinary girl stuff like her weight, her career, and her sexy new live-in boyfriend. The last thing she wants to do is return to the pack but, as Kelley Armstrong reveals in her hit horror debut, no matter how desperately Elena tries to leave her animal nature behind, once bitten there's no going back:I stretch and blink. When I look around, the world has mutated to an array of colors unknown to the human eye, blacks and browns and grays with subtle shadings that my brain still converts to blues and greens and reds. I lift my nose and inhale. With the Change, my already keen senses sharpen even more. I pick up scents of fresh asphalt and rotting tomatoes and window-pot mums and day-old sweat and a million other things, mixing together in an odor so overwhelming I cough and shake my head. As I turn, I catch distorted fragments of my reflection in a dented trash can. My eyes stare back at me. I curl my lips and snarl at myself. White fangs flash in the metal. When alpha male Jeremy recalls Elena from her pseudonormal existence in Toronto to help the pack put down an uprising by solo "mutts," she encounters her charismatic ex, Clay, and the sexual charge gets downright bloodthirsty. Far more than pure horror, Bitten is full of sly humour—on one level, it can be read as an extended PMS metaphor. Armstrong's style is winning this Canadian a serious international cult following; her Women of the Otherworld series continues with Stolen. —Deirdre Hanna

Kim Harrison

Dave Mckean Neil Gaiman

Richard Bachman

Patricia Briggs

Anne Rice

Richelle Mead

Jennifer Armintrout

Annette Curtis Klause Characterizing the adolescent experience as monstrous is not exactly a new idea. M.T. Anderson's woefully confused teen vampire in Thirsty and Jean Thesman's reluctant young witch in The Other Ones serve as excellent examples of this metaphor set to fiction. But no one really captures how our hormones make us howl as well as Annette Curtis Klause. Blood and Chocolate chronicles the longings and passions of one Vivian Gandillon, teenage werewolf. Her pack family, recently burned out of their West Virginia home by suspicious neighbors, has resettled in a sleepy Maryland suburb. At her new school, Viv quickly falls for sensitive heartthrob Aiden, a human—or "meat-boy," as her pack calls him. Soon she is trying to tame her undomesticated desires to match his more civilized sensibilities. "He was gentle. She hadn't expected that. Kisses to her were a tight clutch, teeth, and tongue... His eyes were shy beneath his dark lashes, and his lips curved with delight and desire—desire he wouldn't force on her... he was different." But Vivian's animal ardor cannot be stilled, and she must decide if she should keep Aiden in the dark about her true nature or invite him to take a walk on her wild side.

Klause poetically describes the violence and sensuality of the pack lifestyle, creating a hot-blooded heroine who puts the most outrageous riot grrrls to shame. Blood and Chocolate is a masterpiece of adolescent angst wrapped in wolf's clothing, and its lovely, sensuous taste is sure to be sweet on the teenage tongue. (Ages 13 and older) —Jennifer Hubert

Laurell Hamilton When Anita Blake's boss at Animators, Inc., informs her that she's expected to raise 300-year-old zombies from a field of jumbled bones just to settle a land dispute, she's understandably annoyed. But as soon as she arrives in Branson, Missouri, to do the deed, the job gets more interesting. A psychotic sword-wielding vampire starts committing multiple murders in the area, and Anita must call on Jean-Claude, her powerful fanged suitor, for help. As always, Anita prevails over the undead, keeping Jean-Claude at arm's length, clearing the cemetery land of an ancient enchantment, and nailing the vampiric killer in one fell swoop.

Laurell Hamilton Anita Blake makes a living raising the dead. She also executes rogue vampires and villains among the local were-folk. Marks bind her to Jean-Claude, the Master vampire of St. Louis and her lover, and to her ex-fiancé, a powerful werewolf who heads up the local pack. Anita shares some of their magic, and her own power over the dead keeps growing. But so does the body count and the situations that force Anita to bend or break her own rules.

In Blue Moon, Anita's ex Richard is jailed in Tennessee, accused of rape. When Anita arrives with a lawyer and an entourage of vampires and 'weres' supplied by Jean-Claude, it's clear that something is rotten in Myerton. The local cops are corrupt, and the trolls Richard was studying are threatened. But if she sticks around to investigate, the local Master vampire will attack her and her friends. The local werewolf clan isn't rushing to welcome her either, and her self-control is going to the, um, wolves.

Blue Moon is the eighth book in Hamilton's Anita Blake: Vampire Hunter series; newcomers should start with earlier books. The protagonists' development and their relationships to each other and to the large cast of continuing secondary characters are what make these books so compelling. Be warned—there—there's steamy sex and graphic violence here, though Anita does reflect on her moral position. But if dark urban fantasy featuring those who hunt the night appeals, pounce on this series. —Nona Vero

Patricia Briggs

Richard Mehtzger

Franz Zeier

Stephenie Meyer

Bertolt Brecht

Raymond Buckland This 1986 classic is not only an excellent introduction to the Wiccan religion and earth-based religions in general, it's also a workbook that can take the serious student to the equivalent level of third-degree Gardnerian. Though Raymond Buckland was a student of the late great Gerald Gardner, this manual does not adhere to a specific branch or denomination of witchcraft, but rather seeks to teach the elements and philosophies common to all, whether Celtic, Saxon, Finnish, or what have you. Buckland is credited with bringing the "old religion" to the U.S., and covens and solitary witches practicing the craft in the U.S. today have him to thank for getting it out of the closet. While Buckland's Complete Book of Witchcraft is a must-have for any serious Wiccan practitioner, it is full of down-to-earth spiritual wisdom, which makes it a wonderful addition to the library of any broadminded seeker on the path toward the One. —P. Randall Cohan

Laurell Hamilton Burnt Offerings is the seventh in Laurell K. Hamilton's genre-straddling Anita Blake: Vampire Hunter series. Anita carries a gun and an attitude: "Questions are great, but only if you know the answers. If you ask questions and the answers surprise you, you look silly. Hard to be threatening when you look ill-informed."

As Burnt Offerings unfolds, Anita agrees to help track down a possible psychic firestarter. She's also policing the local werewolf pack, though she's split up with their alpha, Richard. Then Jean-Claude, the vampire Master of the City and her lover, needs her help to confront a visiting delegation of the vampires' ruling council. They wonder how he got the power to destroy a council member and believe him dangerous to the hierarchy.

This fast-paced, urban fantasy includes gore, hardboiled mystery and a romantic triangle. The vampires and werewolves are as three-dimensional as the human characters, allowing us to join Anita in wondering who the real monsters are and to understand how her increased personal involvement with them is alienating her from her human colleagues. —Nona Vero

Christopher Pike

Tiffany Trent

Andy Budd Simon Collison Cameron Moll

Michael Ledet, Joanne Amort

Felix Witting, M.L. Patrizi

Rachel Caine

J.D Salinger Since his debut in 1951 as The Catcher in the Rye, Holden Caulfield has been synonymous with "cynical adolescent." Holden narrates the story of a couple of days in his sixteen-year-old life, just after he's been expelled from prep school, in a slang that sounds edgy even today and keeps this novel on banned book lists. It begins,

"If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don't feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them."

His constant wry observations about what he encounters, from teachers to phonies (the two of course are not mutually exclusive) capture the essence of the eternal teenage experience of alienation.

Stephen King

Jan Arrigo

Katherine M. Ramsland

Laura Whitcomb

Laurell Hamilton Laurell K. Hamilton's legions of eager fans will be pleased to see Cerulean Sins, the eleventh novel in her Anita Blake, Vampire Hunter series, which is set on an alternate Earth where magic works and vampires and werewolves are real. When a sinister stranger tries to hire the magically potent Anita Blake to raise the dead, she finds herself embroiled in the search for a vicious, supernatural serial killer, and also in the clandestine international politics of the vampires. And as she becomes more deeply enmeshed in cruel plots and counterplots, her tangled personal life only becomes more demanding, more wrenching, and more erotically fraught.

With ten previous books in the Anita Blake series, Cerulean Sins is not the place to start. Though author Hamilton artfully reveals the backstory in small doses, the numerous returning characters and the complex history will overwhelm most newcomers (and even the most devoted fans may find that the backfilling slows the pace). Also, the characters frequently stand around talking and psychoanalyzing one another, which makes for static stretches unlikely to hold a new reader's attention. Newcomers should start with the first book, Guilty Pleasures. —Cynthia Ward

Dan Simmons

C.S. Lewis

Dianne Sylvan

Laurell Hamilton The third novel of Hamilton's Anita Blake series has the petite necromancer fighting a giant cobra and a rogue vampire, Alejandro, who wants her for his human servant. Anita is still resisting the advances of Jean-Claude, St. Louis's master vampire, but she does need him on her side, if not in her bed. Anita's reluctant involvement in the odd goings-on at the supernatural Circus of the Damned introduces her to Richard, the werewolf of her dreams, and Larry, her powerful but nervous partner in zombie-raising.

Mystery fans will love the tightly plotted, Paretsky-esque action, and horror fans will love just about everything in this unusual series.

Steven Heller

Vicki Pettersson

Cassandra Clare

Cassandra Clare

Cassandra Clare

Cassandra Clare

Charlaine Harris

William Butler Yeats, Richard J. Finneran William Butler Yeats, whom many consider this century's greatest poet, began as a bard of the Celtic Twilight, reviving legends and Rosicrucian symbols. By the early 1900s, however, he was moving away from plush romanticism, his verse morphing from the incantatory rhythms of "I will arise and go now, and go to Innisfree" into lyrics "as cold and passionate as the dawn." At every stage, however, Yeats plays a multiplicity of poetic roles. There is the romantic lover of "When You Are Old" and "A Poet to His Beloved" ("I bring you with reverent Hands / The books of my numberless dreams..."). And there are the far more bitter celebrations of Maud Gonne, who never accepted his love and engaged in too much politicking for his taste: "Why should I blame her that she filled my days / With misery, or that she would of late / Have taught to ignorant men most violent ways, / Or hurled the little streets upon the great, / Had they but courage equal to desire?" There is also the poet of conscience—and confrontation. His 1931 "Remorse for Intemperate Speech" ends: "Out of Ireland have we come. / Great hatred, little room, / Maimed us at the start. / I carried from my mother's womb / A fanatic heart."

Yeats was to explore several more sides of himself, and of Ireland, before his Last Poems of 1938-39. Many are difficult, some snobbish, others occult and spiritualist. As Brendan Kennelly writes, Yeats "produces both poppycock and sublimity in verse, sometimes closely together." On the other hand, many prophetic masterworks are poppycock-free—for example, "The Second Coming" ("Turning and turning in the widening gyre / The falcon cannot hear the falconer; / Things fall apart; the centre cannot hold; / Mere anarchy is loosed upon the world...") and such inquiries into inspiration as "Among School Children" ("O body swayed to music, O brightening glance, How can we know the dancer from the dance?"). And at his best, Yeats extends the meaning of love poetry beyond the obviously romantic: love becomes a revolutionary emotion, attaching the poet to friends, history, and the passionate life of the mind. —Kerry Fried

Terry Pratchett Le "disque-monde" est plat, porté par quatre éléphants debout sur le dos d'une tortue naviguant dans le cosmos. Tout le monde le sait et quoiqu'en disent certaines sectes, c'est la vérité. C'est en tout cas vrai pour cet univers délirant où toutes les règles sont faites pour être transgressées.

Les héros de ce monde sont à son image : atypiques.
Rincevent, magicien malchanceux froussard et raté, ne connaît qu'un seul sort mais il n'ose pas le lancer car il pourrait tout détruire.
Mémé Ciredutemps, sorcière d'un certain âge, ne peut que diriger tous ceux qui l'entourent, elle ne fait d'ailleurs que très rarement usage de sa magie car tout le monde la connaît et lui obéit.
La Mort, la faucheuse avec son grand suaire et sa faux bien aiguisée, grande humaniste incomprise.

Pratchett consacre chacun de ses romans à un de ces personnages même s'il arrive qu'ils se rencontrent de temps en temps, car tout est possible dans cet univers totalement fou et plein d'humour qui n'est pas sans rappeler ceux de Fredric Brown (Martiens, go home !) ou de Robert Sheckley (La Dimension des miracles). —Laurent Schneitter

Scott Cunningham

Neil Gaiman Coraline lives with her preoccupied parents in part of a huge old house—a house so huge that other people live in it, too... round, old former actresses Miss Spink and Miss Forcible and their aging Highland terriers ("We trod the boards, luvvy") and the mustachioed old man under the roof ("'The reason you cannot see the mouse circus,' said the man upstairs, 'is that the mice are not yet ready and rehearsed.'") Coraline contents herself for weeks with exploring the vast garden and grounds. But with a little rain she becomes bored—so bored that she begins to count everything blue (153), the windows (21), and the doors (14). And it is the 14th door that—sometimes blocked with a wall of bricks—opens up for Coraline into an entirely alternate universe. Now, if you're thinking fondly of The Lion, the Witch, and the Wardrobe or Alice's Adventures in Wonderland, you're on the wrong track. Neil Gaiman's Coraline is far darker, far stranger, playing on our deepest fears. And, like Roald Dahl's work, it is delicious.

What's on the other side of the door? A distorted-mirror world, containing presumably everything Coraline has ever dreamed of... people who pronounce her name correctly (not "Caroline"), delicious meals (not like her father's overblown "recipes"), an unusually pink and green bedroom (not like her dull one), and plenty of horrible (very un-boring) marvels, like a man made out of live rats. The creepiest part, however, is her mirrored parents, her "other mother" and her "other father"—people who look just like her own parents, but with big, shiny, black button eyes, paper-white skin... and a keen desire to keep her on their side of the door. To make creepy creepier, Coraline has been illustrated masterfully in scritchy, terrifying ink drawings by British mixed-media artist and Sandman cover illustrator Dave McKean. This delightful, funny, haunting, scary as heck, fairy-tale novel is about as fine as they come. Highly recommended. (Ages 11 and older) —Karin Snelson

Penny Colman

Adrian Hepworth

Joseph Fein Lll Jerome Fein

Stephen Hunt

Steve Niles

Scott Cunningham

Scott Cunningham

Laurell Hamilton

Denise Dumars

Del Howison, Jeff Gelb

John Cobb

Nancy A. Collins Mike Mignola

Stephen King In 1985, 39-year-old Stephen King announced in public that his pseudonymous alter ego, Richard Bachman, was dead. (Never mind that he revived him years later to write The Regulators.) At the beginning of The Dark Half (1989), 39-year-old writer Thad Beaumont announces in public that his own pseudonym, George Stark, is dead.

Now, King didn't want to jettison the Bachman novel, titled Machine Dreams, that was he working on. So he incorporated it in The Dark Half as the crime oeuvre of George Stark, whose recurring hero/alter ego is an evil character named Alexis Machine.

Thad Beaumont's pseudonym is not so docile as Stephen King's, though, and George Stark bursts forth into reality. At that point, two stories kick into gear: a mystery-detective story about the crime spree of George Stark (or is it Alexis Machine?) and a horror story about Beaumont's struggle to catch up with his doppelganger and kill him dead.

This is not the first time that Stephen King has written a dark allegory about the fiction writer's situation. As the New York Times writes, "Misery (1987) is a parable in chiller form of the popular writer's relation to his audience, which holds him prisoner and dictates what he writes, on pain of death. The Dark Half is a parable in chiller form of the popular writer's relation to his creative genius, the vampire within him, the part of him that only awakes to raise Cain when he writes, the fratricidal twin who occupies 'the womblike dungeon' of his imagination." —Fiona Webster

Susan Cooper "When the Dark comes rising, six shall turn it back,
Three from the circle, three from the track;
Wood, bronze, iron; water, fire, stone;
Five will return, and one go alone."With these mysterious words, Will Stanton discovers on his 11th birthday that he is no mere boy. He is the Sign-Seeker, last of the immortal Old Ones, destined to battle the powers of evil that trouble the land. His task is monumental: he must find and guard the six great Signs of the Light, which, when joined, will create a force strong enough to match and perhaps overcome that of the Dark. Embarking on this endeavor is dangerous as well as deeply rewarding; Will must work within a continuum of time and space much broader than he ever imagined.

Susan Cooper, in her five-title Dark Is Rising sequence, creates a world where the conflict between good and evil reaches epic proportions. She ranks with C.S. Lewis and J.R.R. Tolkien in her ability to deliver a moral vision in the context of breathtaking adventure. No one can stop at just one of her thrilling fantasy novels. Among many other prestigious awards, The Dark Is Rising is a Newbery Honor Book and a Carnegie Medal Honor Book. (Ages 8 and older) —Emilie Coulter

Timothy Roderick This is one of the rare books on magic written in a concise manner rather than with intentional vagueness or a cryptic tone. I imagine this is due, in part, to Roderick's theory that the darker side of the psyche should be explored rather than hidden. With plenty of documentation and references to back up his work, Roderick fuses ideas from witchcraft with Jungian psychology to show how embracing the dark aspects of oneself leads to spiritual enlightenment.

Stephen King Finally, after thirty-three years, a horrific and life-altering accident, and thousands of desperately rabid fans in the making, Stephen King's quest to complete his magnum opus rivals the quest of Roland and his band of gunslingers who inhabit the Dark Tower series. Loyal DT fans and new readers alike will appreciate this revised edition of The Gunslinger, which breathes new life into Roland of Gilead, and offers readers a "clearer start and slightly easier entry into Roland's world."

King writes both a new introduction and foreword to this revised edition, and the ever-patient, ever-loyal "constant reader" is rewarded with secrets to the series's inception. That a "magic" ream of green paper and a Robert Browning poem, came together to reveal to King his true "ka" is no real surprise (this is King after all), but who would have thought that the squinty-eyed trio of Clint Eastwood, Lee Van Cleef, and Eli Wallach would set the author on his true path to the Tower? While King credits Tolkien for inspiring the "quest and magic" that pervades the series, it was Sergio Leone's The Good, the Bad, and the Ugly that helped create the epic proportions and "almost absurdly majestic western backdrop" of Roland's world.

To King, The Gunslinger demanded revision because once the series was complete it became obvious that "the beginning was out of sync with the ending." While the revision adds only 35 pages, Dark Tower purists will notice the changes to Allie's fate and Roland's interaction with Cort, Jake, and the Man in Black—all stellar scenes that will reignite the hunger for the rest of the series. Newcomers will appreciate the details and insight into Roland's life. The revised Roland of Gilead (nee Deschain) is embodied with more humanity—he loves, he pities, he regrets. What DT fans might miss is the same ambiguity and mystery of the original that gave the original its pulpy underground feel (back when King himself awaited word from Roland's world). —Daphne Durham

Stephen King Read about the author.

Stephen King Read about the author.

Stephen King

Stephen King Set in a world of extraordinary circumstances, filled with stunning visual imagery and unforgettable characters, The Dark Tower series is unlike anything you have ever read. The final book opens like a door to the uttermost reaches of Stephen King's imagination. You've come this far. Come a little farther. Come all the way. The sound you hear may be the slamming of the door behind you. Welcome to The Dark Tower.

Chelsea Quinn Yarbro

Ellen Datlow

Kim Harrison Lynsay Sands Lori Handeland Kelley Armstrong

Kristin Norget

Rosoff Beimler

Charlaine Harris

Kim Harrison

Jill Thompson

Neil Gaiman Chris Bachalo Mark Buckingham Dave Mckean

Neil Gaiman

David Hine

Chris Claremont Peter Milligan

Thuri Calafia

Grey Cat

Stephen Graham Jones

Christine Warren

Steven Heller

Alisa Sheckley

Kelley Armstrong On the surface, it's a common domestic situation. Typically rebellious teen Savannah is constantly butting heads with protective guardian mother Paige Winterbourne. But the standard teen traumas pale in comparison to Savannah's difficulties. To begin with, her mother Eve, a black witch, was murdered, and now evil telekinetic half-demon Leah O'Donnell is trying to gain custody of her, by legal or foul means. Standing in Leah's way is Paige, a rather typical twentysomething entrepreneur, trying to come to terms with this motherhood thing. That, and her status as leader of the American Coven.

Welcome to East Falls, a sleepy small town outside of Boston that turns out to be a veritable hotbed of occult activity. It is also the locale for Dime Store Magic, a thoroughly entertaining supernatural thriller. As with Buffy the Vampire Slayer, Dime Store Magic features a contemporary setting and outwardly normal characters. This device provides scope for humour and social satire, and Kelley Armstrong proves adept at both. For instance, there is Savannah's observation that "all the best sorcerers are lawyers. Well, until they get older and become politicians." In fact, a young sorcerer lawyer, Luis Cortez, becomes Paige and Savannah's best ally in the fight against the evil forces terrorizing them. In Dime Store Magic, the third in Armstrong's Women of the Otherworld series following Bitten and Stolen, she displays a nice ear for dialogue, an imaginative way of describing the differing characteristics of witches, demons, and sorcerers, and skill in piling on the suspense, which adds up to one fun read. —Kerry Doole

Maya Deren

Bram Stoker

Margot Adler Popular demand for this clear-sighted compendium of information about the rebirth of Pagan religion hasn't waned since its initial publication in 1979. Distinguished by the journalism of US National Public Radio columnist Margot Adler, Drawing Down the Moon explains this diverse and burgeoning religion's philosophies and activities while dispelling stereotypes that have long been associated with it. Most people don't realise that "pagan" simply refers to pre-Christian polytheistic nature religions such as the various Native American creeds, Japanese Shinto, Celtic Druidry and Western European Wicca. Originally, the word pagan meant "country dweller" and was a derogatory term in third-century Rome, not unlike calling someone a "hick" today. If you find yourself feeling queasy when you hear the words witch or pagan, a healthy dose of re-education via Drawing Down the Moon could be the cure. —P. Randall Cohan

Alisa Kwitney

Jeff Nicholson

H.P. Lovecraft "One is drawn into Lovecraft by the very air of plausibility and characteristic understatement of the prose, the question being When will the weirdness strike?" writes Joyce Carol Oates in The New York Review of Books. Del Rey has reprinted Lovecraft's stories in three large-format paperbacks. This second volume, 25 tales in all, collects the classic "Case of Charles Dexter Ward," the phantasmagoric novel "The Dream-Quest of Unknown Kadath," several fantasies inspired by Lord Dunsany and other stories. Introduction by Neil Gaiman (author of the Sandman comics).

Stephen King It would be impossible to convey the wonder and the horror of Stephen King's latest novel in just a few words. Suffice it to say that Duma Key, the story of Edgar Freemantle and his recovery from the terrible nightmare-inducing accident that stole his arm and ended his marriage, is Stephen King's most brilliant novel to date (outside of the Dark Tower novels, in which case each is arguably his best work). Duma Key is as rich and rewarding as Rita Hayworth and the Shawshank Redemption (yes, that Shawshank Redemption), and as truly scary as anything King has written (and that's saying a lot). Readers who have "always wanted to try Stephen King" but never known where to start should try a few pages of Duma Key—the frankness with which Edgar reveals his desperate, sputtering rages and thoughts of suicide is King at the top of his game. And that's just the first thirty pages.... —Daphne Durham

Duma Key: Where It All Began
A Note from Chuck Verrill, the Longtime Editor of Stephen King
In the spring of 2006 Stephen King told me he was working on a Florida story that was beginning to grow on him. "I'm thinking of calling it Duma Key," he offered. I liked the sound of that—the title was like a drumbeat of dread. "You know how Lisey's Story is a story about marriage?" he said. "Sure," I answered. The novel hadn't yet been published, but I knew its story well: Lisey and Scott Landon—what a marriage that was. Then he dropped the other shoe: "I think Duma Key might be my story of divorce."

Pretty soon I received a slim package from a familiar address in Maine. Inside was a short story titled "Memory"—a story of divorce, all right, but set in Minnesota. By the end of the summer, when Tin House published "Memory," Stephen had completed a draft of Duma Key, and it became clear to me how "Memory" and its narrator, Edgar Freemantle, had moved from Minnesota to Florida, and how a story of divorce had turned into something more complex, more strange, and much more terrifying.

If you read the following two texts side by side——"Memory—"Memory" as it was published by Tin House and the opening chapter of Duma Key in final form- -you'll see a writer at work, and how stories can both contract and expand. Whether Duma Key is an expansion of "Memory," or "Memory" a contraction of Duma Key. I can't really say. Can you?

—Chuck Verrill

"Memory"
Memories are contrary things; if you quit chasing them and turn your back, they often return on their own. That's what Kamen says. I tell him I never chased the memory of my accident. Some things, I say, are better forgotten.

Maybe, but that doesn’t matter, either. That's what Kamen says.

My name is Edgar Freemantle. I used to be a big deal in building and construction. This was in Minnesota, in my other life. I was a genuine American-boy success in that life, worked my way up like a motherf—-er, and for me, everything worked out. When Minneapolis–St. Paul boomed, The Freemantle Company boomed. When things tightened up, I never tried to force things. But I played my hunches, and most of them played out well. By the time I was fifty, Pam and I were worth about forty million dollars. And what we had together still worked. I looked at other women from time to time but never strayed. At the end of our particular Golden Age, one of our girls was at Brown and the other was teaching in a foreign exchange program. Just before things went wrong, my wife and I were planning to go and visit her.

I had an accident at a job site. That's what happened. I was in my pickup truck. The right side of my skull was crushed. My ribs were broken. My right hip was shattered. And although I retained sixty percent of the sight in my right eye (more, on a good day), I lost almost all of my right arm.

I was supposed to lose my life, but I didn’t. Then I was supposed to become one of the Vegetable Simpsons, a Coma Homer, but that didn't happen, either. I was one confused American when I came around, but the worst of that passed. By the time it did, my wife had passed, too. She's remarried to a fellow who owns bowling alleys. My older daughter likes him. My younger daughter thinks he’s a yank-off. My wife says she’ll come around.

Maybe sí, maybe no. That's what Kamen says.

When I say I was confused, I mean that at first I didn’t know who people were, or what had happened, or why I was in such awful pain. I can't remember the quality and pitch of that pain now. I know it was excruciating, but it's all pretty academic. Like a picture of a mountain in National Geographic magazine. It wasn’t academic at the time. At the time it was more like climbing a mountain.

Continue Reading "Memory" Duma Key
How to Draw a Picture
Start with a blank surface. It doesn't have to be paper or canvas, but I feel it should be white. We call it white because we need a word, but its true name is nothing. Black is the absence of light, but white is the absence of memory, the color of can't remember.

How do we remember to remember? That's a question I've asked myself often since my time on Duma Key, often in the small hours of the morning, looking up into the absence of light, remembering absent friends. Sometimes in those little hours I think about the horizon. You have to establish the horizon. You have to mark the white. A simple enough act, you might say, but any act that re-makes the world is heroic. Or so I’ve come to believe.

Imagine a little girl, hardly more than a baby. She fell from a carriage almost ninety years ago, struck her head on a stone, and forgot everything. Not just her name; everything! And then one day she recalled just enough to pick up a pencil and make that first hesitant mark across the white. A horizon-line, sure. But also a slot for blackness to pour through.

Still, imagine that small hand lifting the pencil... hesitating... and then marking the white. Imagine the courage of that first effort to re-establish the world by picturing it. I will always love that little girl, in spite of all she has cost me. I must. I have no choice. Pictures are magic, as you know.

My Other Life
My name is Edgar Freemantle. I used to be a big deal in the building and contracting business. This was in Minnesota, in my other life. I learned that my-other-life thing from Wireman. I want to tell you about Wireman, but first let's get through the Minnesota part.

Gotta say it: I was a genuine American-boy success there. Worked my way up in the company where I started, and when I couldn’t work my way any higher there, I went out and started my own. The boss of the company I left laughed at me, said I'd be broke in a year. I think that's what most bosses say when some hot young pocket-rocket goes off on his own.

For me, everything worked out. When Minneapolis–St. Paul boomed, The Freemantle Company boomed. When things tightened up, I never tried to play big. But I did play my hunches, and most played out well. By the time I was fifty, Pam and I were worth forty million dollars. And we were still tight. We had two girls, and at the end of our particular Golden Age, Ilse was at Brown and Melinda was teaching in France, as part of a foreign exchange program. At the time things went wrong, my wife and I were planning to go and visit her.

Continue Reading Duma Key

Scott Cunningham

Lynne Truss

Stephenie Meyer

Judika Illes

Theresa Cheung

Robert Bringhurst This lovely, well-written book is concerned foremost with creating beautiful typography and is essential for professionals who regularly work with typographic designs. Author Robert Bringhurst writes about designing with the correct typeface; striving for rhythm, proportion, and harmony; choosing and combining type; designing pages; using section heads, subheads, footnotes, and tables; applying kerning and other type adjustments to improve legibility; and adding special characters, including punctuation and diacritical marks. The Elements of Typographic Style teaches the history of and the artistic and practical perspectives on a variety of type families that are available in Europe and America today.

The last section of the book classifies and displays many type families, offers a glossary of typography terms, and lists type designers and type foundries. The book briefly mentions digital typography, but otherwise ignores it, focusing instead on general typography and page- and type-design issues. Its examples include text in a variety of languages—including English, Russian, German, and Greek—which is particularly helpful if your work has a multinational focus.

Yasmine Galenorn From traditional notions such as the idea that a mirror facing a door is a magical portal, to contemporary ideas like the construction of a magical collage from magazine clippings, Galenorn successfully combines the old with the new in this accessible guide to witchcraft. Emphasis on witchcraft, because from the start, Galenorn firmly states that she is a witch, not Wiccan, and while she has nothing against Wicca, she strongly feels the two are not the same. While this viewpoint may consternate some readers, she has a point. Compared to the methods of most covens, her work is much less formal, which many beginners or solitary practitioners will find attractive and which also makes this a good book to read if you find yourself in a magical rut. —Brian Patterson

Cosmic Debris

Bob Curran

Christopher Paolini Here's a great big fantasy that you can pull over your head like a comfy old sweater and disappear into for a whole weekend. Christopher Paolini began Eragon when he was just 15, and the book shows the influence of Tolkien, of course, but also Terry Brooks, Anne McCaffrey, and perhaps even Wagner in its traditional quest structure and the generally agreed-upon nature of dwarves, elves, dragons, and heroic warfare with magic swords.

Eragon, a young farm boy, finds a marvelous blue stone in a mystical mountain place. Before he can trade it for food to get his family through the hard winter, it hatches a beautiful sapphire-blue dragon, a race thought to be extinct. Eragon bonds with the dragon, and when his family is killed by the marauding Ra'zac, he discovers that he is the last of the Dragon Riders, fated to play a decisive part in the coming war between the human but hidden Varden, dwarves, elves, the diabolical Shades and their neanderthal Urgalls, all pitted against and allied with each other and the evil King Galbatorix. Eragon and his dragon Saphira set out to find their role, growing in magic power and understanding of the complex political situation as they endure perilous travels and sudden battles, dire wounds, capture and escape.

In spite of the engrossing action, this is not a book for the casual fantasy reader. There are 65 names of people, horses, and dragons to be remembered and lots of pseudo-Celtic places, magic words, and phrases in the Ancient Language as well as the speech of the dwarfs and the Urgalls. But the maps and glossaries help, and by the end, readers will be utterly dedicated and eager for the next book, Eldest. (Ages 10 to 14) —Patty Campbell

Christopher Pike

Kim Harrison

Stephen King In his introduction to Everything's Eventual, horror author extraordinaire Stephen King describes how he used a deck of playing cards to select the order in which these 14 tales of the macabre would appear. Judging by the impact of these stories, from the first words of the darkly fascinating "Autopsy Room Four" to the haunting final pages of "Luckey Quarter," one can almost believe King truly is guided by forces from beyond.

His first collection of short stories since the release of Nightmares & Dreamscapes in 1993, Everything's Eventual represents King at his most undiluted. The short story format showcases King's ability to spook readers using the most mundane settings (a yard sale) and comfortable memories (a boyhood fishing excursion). The dark tales collected here are some of King's finest, including an O. Henry Prize winner and "Riding the Bullet," published originally as an e-book and at one time expected by some to be the death knell of the physical publishing world. True to form, each of these stories draws the reader into King's slightly off-center world from the first page, developing characters and atmosphere more fully in the span of 50 pages than many authors can in a full novel.

For most rabid King fans, chief among the tales in this volume will be "The Little Sisters of Eluria," a novella that first appeared in the fantasy collection Legends, set in King's ever-expanding Dark Tower universe. In this story, set prior to the first Dark Tower volume, the reader finds Gunslinger Roland of Gilead wounded and under the care of nurses with very dubious intentions. Also included in this collection are "That Feeling, You Can Only Say What It Is in French," the story of a woman's personal hell; "1408," in which a writer of haunted tour guides finally encounters the real thing; "Everything's Eventual," the title story, about a boy with a dream job that turns out to be more of a nightmare; and "L.T.'s Theory of Pets," a story of divorce with a bloody surprise ending.

King also includes an introductory essay on the lost art of short fiction and brief explanatory notes that give the reader background on his intentions and inspirations for each story. As with any occasion when King directly addresses his dear Constant Readers, his tone is that of a camp counselor who's almost apologetic for the scare his fireside tales are about to throw into his charges, yet unwilling to soften the blow. And any campers gathered around this author's fire would be wise to heed his warnings, for when King goes bump in the night, it's never just a branch on the window. —Benjamin Reese

Bill Willingham

Michael Zulli, Neil Gaiman

Rachel Caine

Christopher Pike

Lauren Kate

J.R.R. Tolkien

Chuck Palahniuk The only person who gets called Ballardesque more often than Chuck Palahniuk is, well... J.G. Ballard. So, does Portland, Oregon's "torchbearer for the nihilistic generation" deserve that kind of treatment? Yes and no. There is a resemblance between Fight Club and works such as Crash and Cocaine Nights in that both see the innocuous mundanities of everyday life as nothing more than the severely loosened cap on a seething underworld cauldron of unchecked impulse and social atrocity. Welcome to the present-day U.S. of A. As Ballard's characters get their jollies from staging automobile accidents, Palahniuk's yuppies unwind from a day at the office by organizing bloodsport rings and selling soap to fund anarchist overthrows. Let's just say that neither of these guys are going to be called in to do a Full House script rewrite any time soon.

But while the ingredients are the same, Ballard and Palahniuk bake at completely different temperatures. Unlike his British counterpart, who tends to cast his American protagonists in a chilly light, holding them close enough to dissect but far enough away to eliminate any possibility of kinship, Palahniuk isn't happy unless he's first-person front and center, completely entangled in the whole sordid mess. An intensely psychological novel that never runs the risk of becoming clinical, Fight Club is about both the dangers of loyalty and the dreaded weight of leadership, the desire to band together and the compulsion to head for the hills. In short, it's about the pride and horror of being an American, rendered in lethally swift prose. Fight Club's protagonist might occasionally become foggy about who he truly is (you'll see what I mean), but one thing is for certain: you're not likely to forget the book's author. Never mind Ballardesque. Palahniukian here we come! —Bob Michaels

Maria V. Snyder

Rough Guide

Kim Harrison

Matt Fraction

Mark Waid

John Broome Paulo Siqueira Carmine Infantino Ross Andru

Peter Straub

Kim Harrison

Melissa Marr

Neil Gaiman

Frommers Reid Bramblett Richard Jones

Mary Herczog

Richelle Mead

Bill Jaaska, Mike Collins, Jim Lee, Whilce Portacio, Lee Weeks, Jason Gorder, Chris Claremont, Howard Mackie

John Layman

John Layman Georges Jeanty

Mark Gatter

Melvyn Willin

Stephen King Kees Moerbeek

Katie MacAlister

Rachel Caine

Patricia Monaghan

David Leeming Jake Page

Holly Black

Holly Black

Neil Gaiman

Kim Harrison

Zsuzsanna Emese Budapest

Neil Gaiman

Libba Bray

Stephen King This novel taps into what Stephen King does best: character-driven storytelling. The setting is the small "death house" of a Southern prison in 1932. The charming narrator is an old man looking back on the events, decades later. Maybe it's a little too cute, maybe the pathos is laid on a little thick, but it's hard to resist the colorful personalities and simple wonders of this supernatural tale. As Time magazine put it, "Like the best popular art, The Green Mile has the courage of its cornier convictions ... the palpable sense of King's sheer, unwavering belief in his tale is what makes the novel work as well as it finally does." And it's not a bad choice for giving to someone who doesn't understand the appeal of Stephen King, because the one scene that is out-and-out gruesome can be easily skipped by the squeamish. The Green Mile was nominated for a 1997 Bram Stoker Award.

Ann Moura

Susan Cooper

Susan Cooper

Kat Richardson

Ravenheart Zell

Ed Fitch

Laurell Hamilton Anita Blake may be small and young, but vampires call her the Executioner. Anita is a necromancer and vampire hunter in a time when vampires are protected by law—as long as they don't get too nasty. Now someone's killing innocent vampires and Anita agrees—with a bit of vampiric arm-twisting—to help figure out who and why.

Trust is a luxury Anita can't afford when her allies aren't human. The city's most powerful vampire, Nikolaos, is 1,000 years old and looks like a 10-year-old girl. The second most powerful vampire, Jean-Claude, is interested in more than just Anita's professional talents, but the feisty necromancer isn't playing along—yet. This popular series has a wild energy and humor, and some very appealing characters—both dead and alive.

Aldren A. Watson

Mark Henry

J.K. Rowling Readers beware. The brilliant, breathtaking conclusion to J.K. Rowling's spellbinding series is not for the faint of heart—such revelations, battles, and betrayals await in Harry Potter and the Deathly Hallows that no fan will make it to the end unscathed. Luckily, Rowling has prepped loyal readers for the end of her series by doling out increasingly dark and dangerous tales of magic and mystery, shot through with lessons about honor and contempt, love and loss, and right and wrong. Fear not, you will find no spoilers in our review—to tell the plot would ruin the journey, and Harry Potter and the Deathly Hallows is an odyssey the likes of which Rowling's fans have not yet seen, and are not likely to forget. But we would be remiss if we did not offer one small suggestion before you embark on your final adventure with Harry—bring plenty of tissues.

The heart of Book 7 is a hero's mission—not just in Harry's quest for the Horcruxes, but in his journey from boy to man—and Harry faces more danger than that found in all six books combined, from the direct threat of the Death Eaters and you-know-who, to the subtle perils of losing faith in himself. Attentive readers would do well to remember Dumbledore's warning about making the choice between "what is right and what is easy," and know that Rowling applies the same difficult principle to the conclusion of her series. While fans will find the answers to hotly speculated questions about Dumbledore, Snape, and you-know-who, it is a testament to Rowling's skill as a storyteller that even the most astute and careful reader will be taken by surprise.

A spectacular finish to a phenomenal series, Harry Potter and the Deathly Hallows is a bittersweet read for fans. The journey is hard, filled with events both tragic and triumphant, the battlefield littered with the bodies of the dearest and despised, but the final chapter is as brilliant and blinding as a phoenix's flame, and fans and skeptics alike will emerge from the confines of the story with full but heavy hearts, giddy and grateful for the experience. —Daphne Durham

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Begin at the Beginning
Harry Potter and the Philosopher's Stone

Hardcover
Paperback Harry Potter and the Chamber of Secrets

Hardcover
Paperback Harry Potter and the Prisoner of Azkaban

Hardcover
Paperback Harry Potter and the Goblet of Fire

Hardcover
Paperback Harry Potter and the Order of the Phoenix

Hardcover
Paperback Harry Potter and the Half-Blood Prince

Hardcover
Paperback
Why We Love Harry
Favorite Moments from the Series
There are plenty of reasons to love Rowling's wildly popular series—no doubt you have several dozen of your own. Our list features favorite moments, characters, and artifacts from the first five books. Keep in mind that this list is by no means exhaustive (what we love about Harry could fill ten books!) and does not include any of the spectacular revelatory moments that would spoil the books for those (few) who have not read them. Enjoy.

Harry Potter and the Philosopher's Stone
* Harry's first trip to the zoo with the Dursleys, when a boa constrictor winks at him.
* When the Dursleys' house is suddenly besieged by letters for Harry from Hogwarts. Readers learn how much the Dursleys have been keeping from Harry. Rowling does a wonderful job in displaying the lengths to which Uncle Vernon will go to deny that magic exists.
* Harry's first visit to Diagon Alley with Hagrid. Full of curiosities and rich with magic and marvel, Harry's first trip includes a trip to Gringotts and Ollivanders, where Harry gets his wand (holly and phoenix feather) and discovers yet another connection to He-Who-Must-No-Be-Named. This moment is the reader's first full introduction to Rowling's world of witchcraft and wizards.
* Harry's experience with the Sorting Hat.

Harry Potter and the Chamber of Secrets
* The de-gnoming of the Weasleys' garden. Harry discovers that even wizards have chores—gnomes must be grabbed (ignoring angry protests "Gerroff me! Gerroff me!"), swung about (to make them too dizzy to come back), and tossed out of the garden—this delightful scene highlights Rowling's clever and witty genius.
* Harry's first experience with a Howler, sent to Ron by his mother.
* The Dueling Club battle between Harry and Malfoy. Gilderoy Lockhart starts the Dueling Club to help students practice spells on each other, but he is not prepared for the intensity of the animosity between Harry and Draco. Since they are still young, their minibattle is innocent enough, including tickling and dancing charms.

Harry Potter and the Prisoner of Azkaban
* Ron's attempt to use a telephone to call Harry at the Dursleys'.
* Harry's first encounter with a Dementor on the train (and just about any other encounter with Dementors). Harry's brush with the Dementors is terrifying and prepares Potter fans for a darker, scarier book.
* Harry, Ron, and Hermione's behavior in Professor Trelawney's Divination class. Some of the best moments in Rowling's books occur when she reminds us that the wizards-in-training at Hogwarts are, after all, just children. Clearly, even at a school of witchcraft and wizardry, classes can be boring and seem pointless to children.
* The Boggart lesson in Professor Lupin's classroom.
* Harry, Ron, and Hermione's knock-down confrontation with Snape.

Harry Potter and the Goblet of Fire
* Hermione's disgust at the reception for the veela (Bulgarian National Team Mascots) at the Quidditch World Cup. Rowling's fourth book addresses issues about growing up—the dynamic between the boys and girls at Hogwarts starts to change. Nowhere is this more plain than the hilarious scene in which magical cheerleaders nearly convince Harry and Ron to jump from the stands to impress them.
* Viktor Krum's crush on Hermione—and Ron's objection to it.
* Malfoy's "Potter Stinks" badge.
* Hermione's creation of S.P.E.W., the intolerant bigotry of the Death Eaters, and the danger of the Triwizard Tournament. Add in the changing dynamics between girls and boys at Hogwarts, and suddenly Rowling's fourth book has a weight and seriousness not as present in early books in the series. Candy and tickle spells are left behind as the students tackle darker, more serious issues and take on larger responsibilities, including the knowledge of illegal curses.

Harry Potter and the Order of the Phoenix

* Harry's outburst to his friends at No. 12 Grimmauld Place. A combination of frustration over being kept in the dark and fear that he will be expelled fuels much of Harry's anger, and it all comes out at once, directly aimed at Ron and Hermione. Rowling perfectly portrays Harry's frustration at being too old to shirk responsibility, but too young to be accepted as part of the fight that he knows is coming.
* Harry's detention with Professor Umbridge. Rowling shows her darker side, leading readers to believe that Hogwarts is no longer a safe haven for young wizards. Dolores represents a bureaucratic tyrant capable of real evil, and Harry is forced to endure their private battle of wills alone.
* Harry and Cho's painfully awkward interactions. Rowling clearly remembers what it was like to be a teenager.
* Harry's Occlumency lessons with Snape.
* Dumbledore's confession to Harry.

Harry Potter and the Half-Blood Prince

* The introduction of the Horcrux.
* Finding out Arthur Weasley's pet name for Molly and his dearest ambition.
* Harry's private lessons with Dumbledore.
* Harry's attempt to boost Ron's confidence at Quidditch.
* Luna's Quidditch commentary.
* The effects of Felix Felicis.

Magic, Mystery, and Mayhem: A Conversation with J.K. Rowling

"I am an extraordinarily lucky person, doing what I love best in the world. I’m sure that I will always be a writer. It was wonderful enough just to be published. The greatest reward is the enthusiasm of the readers." —J.K. Rowling

Find out more about Harry's creator in our exclusive interview with J.K. Rowling.

Did You Know? The Little White Horse was J.K. Rowling's favorite book as a child. </ a> Jane Austen is Rowling's favorite author. Roddy Doyle is Rowling's favorite living writer.

J.K. Rowling In Harry Potter and the Goblet of Fire, J.K. Rowling offers up equal parts danger and delight—and any number of dragons, house-elves, and death-defying challenges. Now 14, her orphan hero has only two more weeks with his Muggle relatives before returning to Hogwarts School of Witchcraft and Wizardry. Yet one night a vision harrowing enough to make his lightning-bolt-shaped scar burn has Harry on edge and contacting his godfather-in-hiding, Sirius Black. Happily, the prospect of attending the season's premier sporting event, the Quidditch World Cup, is enough to make Harry momentarily forget that Lord Voldemort and his sinister familiars—the Death Eaters—are out for murder.

Readers, we will cast a giant invisibility cloak over any more plot and reveal only that You-Know-Who is very much after Harry and that this year there will be no Quidditch matches between Gryffindor, Ravenclaw, Hufflepuff, and Slytherin. Instead, Hogwarts will vie with two other magicians' schools, the stylish Beauxbatons and the icy Durmstrang, in a Triwizard Tournament. Those chosen to compete will undergo three supreme tests. Could Harry be one of the lucky contenders?

But Quidditch buffs need not go into mourning: we get our share of this great game at the World Cup. Attempting to go incognito as Muggles, 100,000 witches and wizards converge on a "nice deserted moor." As ever, Rowling magicks up the details that make her world so vivid, and so comic. Several spectators' tents, for instance, are entirely unquotidian. One is a minipalace, complete with live peacocks; another has three floors and multiple turrets. And the sports paraphernalia on offer includes rosettes "squealing the names of the players" as well as "tiny models of Firebolts that really flew, and collectible figures of famous players, which strolled across the palm of your hand, preening themselves." Needless to say, the two teams are decidedly different, down to their mascots. Bulgaria is supported by the beautiful veela, who instantly enchant everyone—including Ireland's supporters—over to their side. Until, that is, thousands of tiny cheerleaders engage in some pyrotechnics of their own: "The leprechauns had risen into the air again, and this time, they formed a giant hand, which was making a very rude sign indeed at the veela across the field."

Long before her fourth installment appeared, Rowling warned that it would be darker, and it's true that every exhilaration is equaled by a moment that has us fearing for Harry's life, the book's emotions running as deep as its dangers. Along the way, though, she conjures up such new characters as Alastor "Mad-Eye" Moody, a Dark Wizard catcher who may or may not be getting paranoid in his old age, and Rita Skeeter, who beetles around Hogwarts in search of stories. (This Daily Prophet scoop artist has a Quick-Quotes Quill that turns even the most innocent assertion into tabloid innuendo.) And at her bedazzling close, Rowling leaves several plot strands open, awaiting book 5. This fan is ready to wager that the author herself is part veela—her pen her wand, her commitment to her world complete. (Ages 9 and older) —Kerry Fried

J. K. Rowling

J. K. Rowling

J. K. Rowling Age 9 and over

Harry Potter and the Prisoner of Azkaban is the third, and possibly the best, book in the phenomenally successful, award-winning Harry Potter series by JK Rowling.

After just about surviving yet another summer with the dreadful Dursleys, the arrival of Aunt Marge is the final straw and, in a fit of anger, Harry casts a spell on her, causing her to blow up like a balloon. He fully expects to be expelled from Hogwarts for his blatant flaunting of the rule not to use magic outside term time, but the arrival of the mysterious Knight Bus and a meeting with Cornelius Fudge, the Minister of Magic, result in Harry enjoying the rest of the holidays in the wonderful surroundings of the Leaky Cauldron.

Meanwhile Sirius Black—one-time friend of Harry's parents, implicated in their murder and follower of "You- Know-Who"—escapes from Azkaban and this has serious implications for Harry. Back at Hogwarts, Harry's movements are restricted by the presence of the Dementors—guards from Azkaban on the look out for Black.

Stephen Fry's endearingly snooty vocal chords are a perfect match for Rowling's superb storytelling, and Fry manages to give even further depth to a complex and absorbing plot by adding an irreverent wit and a deep-rooted touch of class to a compelling and magical tale that, once heard, will never be forgotten. Age 9 and over —Susan Harrison

J.K. Rowling What makes the Harry Potter series so successful? Maybe it's the fact that J.K. Rowling doesn't write children's books, she writes children's stories, more in the tradition of the Brothers Grimm than Dr. Seuss. The exploits of Harry and his friends captivate even the shortest attention spans by engaging the imagination with vivid characters and fast-moving action, instead of trying to merely catch the eye with colorful pictures or pop-up effects. Not surprisingly, the Potter tales sound wonderful read aloud, and adapt to the audiobook format extremely well. Broadway actor Jim Dale's impressive vocal range gives each character in the book its own distinctive voice—a considerable task, given the pantheon of witches, warlocks, ghosts, ghouls, dwarves, and elves that Harry encounters in his second outing. And thankfully, since the book is read unabridged, no one's favorite character is omitted. Engaging for children without being childish, the audio version of Harry Potter and the Chamber of Secrets is worthy addition to the deservedly popular series. (Running time: 9 hours, 7 CDs) —Andrew Nieland

J.K. Rowling Say you've spent the first 10 years of your life sleeping under the stairs of a family who loathes you. Then, in an absurd, magical twist of fate you find yourself surrounded by wizards, a caged snowy owl, a phoenix-feather wand, and jellybeans that come in every flavor, including strawberry, curry, grass, and sardine. Not only that, but you discover that you are a wizard yourself! This is exactly what happens to young Harry Potter in J.K. Rowling's enchanting, funny debut novel, Harry Potter and the Sorcerer's Stone. In the nonmagic human world—the world of "Muggles"—Harry is a nobody, treated like dirt by the aunt and uncle who begrudgingly inherited him when his parents were killed by the evil Voldemort. But in the world of wizards, small, skinny Harry is famous as a survivor of the wizard who tried to kill him. He is left only with a lightning-bolt scar on his forehead, curiously refined sensibilities, and a host of mysterious powers to remind him that he's quite, yes, altogether different from his aunt, uncle, and spoiled, piglike cousin Dudley.

A mysterious letter, delivered by the friendly giant Hagrid, wrenches Harry from his dreary, Muggle-ridden existence: "We are pleased to inform you that you have been accepted at Hogwarts School of Witchcraft and Wizardry." Of course, Uncle Vernon yells most unpleasantly, "I AM NOT PAYING FOR SOME CRACKPOT OLD FOOL TO TEACH HIM MAGIC TRICKS!" Soon enough, however, Harry finds himself at Hogwarts with his owl Hedwig... and that's where the real adventure—humorous, haunting, and suspenseful—begins. Harry Potter and the Sorcerer's Stone, first published in England as Harry Potter and the Philosopher's Stone, continues to win major awards in England. So far it has won the National Book Award, the Smarties Prize, the Children's Book Award, and is short-listed for the Carnegie Medal, the U.K. version of the Newbery Medal. This magical, gripping, brilliant book—a future classic to be sure—will leave kids clamoring for Harry Potter and the Chamber of Secrets and Harry Potter and the Prisoner of Azkaban. (Ages 8 to 13) —Karin Snelson

Clarence John Laughlin John H. Lawrence Jonathan Williams

Joseph Conrad

Stephen King Stephen King's collection of five stories about '60s kids reads like a novel. The best is "Low Men in Yellow Coats," about Bobby Garfield of Harwich, Connecticut, who craves a Schwinn for his 11th birthday. But his widowed mom is impoverished, and so bitter that she barely loves him. King is as good as Spielberg or Steven Millhauser at depicting an enchanted kid's-eye view of the world, and his Harwich is realistically luminous to the tiniest detail: kids bashing caps with a smoke-blackened rock, a car grille "like the sneery mouth of a chrome catfish," a Wild Mouse carnival ride that makes kids "simultaneously sure they were going to live forever and die immediately."

Bobby's mom takes in a lodger, Ted Brautigan, who turns the boy on to great books like Lord of the Flies. Unfortunately, Ted is being hunted by yellow-jacketed men—monsters from King's Dark Tower novels who take over the shady part of town. They close in on Ted and Bobby, just as a gang of older kids menace Bobby and his girlfriend, Carol. This pointedly echoes the theme of Lord of the Flies (the one book King says he wishes he'd written): war is the human condition. Ted's mind-reading powers rub off a bit on Bobby, granting nightmare glimpses of his mom's assault by her rich, vile, jaunty boss. King packs plenty into 250 pages, using the same trick Bobby discerns in the film Village of the Damned: "The people seemed like real people, which made the make-believe parts scarier."

Vietnam is the otherworldly horror that haunts the remaining four stories. In the title tale, set in 1966, University of Maine college kids play the card game Hearts so obsessively they risk flunking out and getting drafted. The kids discover sex, rock, and politics, become war heroes and victims, and spend the '80s and '90s shell-shocked by change. The characters and stories are crisscrossed with connections that sometimes click and sometimes clunk. The most intense Hearts player, Ronnie Malenfant ("evil infant"), perpetrates a My Lai-like atrocity; a nice Harwich girl becomes a radical bomber. King's metaphor for lost '60s innocence is inspired by Donovan's "sweet and stupid" song about the sunken continent, and his stories hail the vanished Atlantis of his youth with deep sweetness and melancholy intelligence. —Tim Appelo

Sorita D'Este

Mike Mignola, John Byrne

Mike Mignola

Mike Mignola

Mike Mignola, Frank Darabont, Charles de Lint, Graham Joyce

John Lust

Clare Gibson

Felix Barker

Philip Pullman In the epic trilogy His Dark Materials, Philip Pullman unlocks the door to worlds parallel to our own. Dæmons and winged creatures live side by side with humans, and a mysterious entity called Dust just might have the power to unite the universes—if it isn't destroyed first. The three books in Pullman's heroic fantasy series, published as trade paperbacks, are united here in one dazzling boxed set that includes The Golden Compass, The Subtle Knife, and The Amber Spyglass. In these new editions, each chapter opens with artwork by Pullman himself, along with chapter quotations from the likes of Milton, Donne, Black, Byron, and the Bible that did not appear in earlier editions. Join Lyra, Pantalaimon, Will, and the rest as they embark on the most breathtaking, heartbreaking adventure of their lives. The fate of the universe is in their hands. (Ages 13 and older)

David Raizman

Z Budapest

Brian Michael Bendis

Laurence K. Withers

Richard Matheson One of the most influential vampire novels of the 20th century, I Am Legend regularly appears on the "10 Best" lists of numerous critical studies of the horror genre. As Richard Matheson's third novel, it was first marketed as science fiction (for although written in 1954, the story takes place in a future 1976). A terrible plague has decimated the world, and those who were unfortunate enough to survive have been transformed into blood-thirsty creatures of the night. Except, that is, for Robert Neville. He alone appears to be immune to this disease, but the grim irony is that now he is the outsider. He is the legendary monster who must be destroyed because he is different from everyone else. Employing a stark, almost documentary style, Richard Matheson was one of the first writers to convince us that the undead can lurk in a local supermarket freezer as well as a remote Gothic castle. His influence on a generation of bestselling authors—including Stephen King and Dean Koontz—who first read him in their youth is, well, legendary. —Stanley Wiater

Robert Shea

Steve Niles Jeff Mariotte

Mark Waid Amid the hype for "popular" superhero characters, every once in a while there comes along a real sleeper—a genuinely well-written and well-drawn superhero book. Such is the case with Flash. And from the pages of this increasingly popular series comes a new character, Bart Allen, the grandson of Barry Allen, the original Flash. Bart was born in the 30th century and raised in a virtual-reality playpen where his super powers had no real consequences. Now, relocated to 20th-century Alabama where he must train to become Impulse, Bart realizes that his reckless streak can lead to real trouble.

Tiffany Trent

Laurell Hamilton As Incubus Dreams opens, Anita Blake may be America's most powerful vampire hunter and necromancer. So it's no surprise that the Regional Preternatural Crime Investigation Team seeks her assistance when a St. Louis stripper is murdered and the evidence points to unusual serial killers: a group of seven vampires. It appears a master vampire has gone rogue—and may prove too powerful for Anita Blake, even if she can gain help from not only her vampire consort, Master of the City Jean-Claude, but from the wereleopard king Micah, her other lover, and the alpha werewolf Richard, her bitter ex-lover.

It would be an exaggeration to say that Laurell K. Hamilton's Incubus Dreams (2004) is just one sex scene after another. This twelth novel in her bestselling Anita Blake, Vampire Hunter series presents a wedding, a murder, and a lot of relationship angst before getting down and dirty on page 89; and the sex scenes pause on page 377 to let the mystery plot resume. The series deftly blends elements of alternate history, horror, romance, erotica, and mystery, but anyone reading Incubus Dreams for the murder plot is going to be frustrated. However, Incubus Dreams is a considerably stronger and more interesting book than its talky predecessor, Cerulean Sins, and fans will enjoy the many new developments in Anita's complicated love life. —Cynthia Ward

Amazon Exclusive Content

Interview with the Vampire Writer
With two bestselling series featuring supernatural heroines under her belt, one has to wonder if Laurell K. Hamilton is truly in touch with a world beyond ours. Hamilton spoke with Amazon.com about her work, her characters, and her plans for the future.

Kelley Armstrong

Melissa Marr

Christopher Penczak

Stephen King Morgan Read about the author.

Anne Rice

Kala Trobe

Patricia Briggs

Holly Black

Greg Behrendt, Amiira Ruotola-Behrendt

Mario Costantino

Peter Trippi

J.K. Rowling Now, the classic books from the library of the Hogwarts School of Witchcraft and Wizardry—Fantastic Beasts & Where to Find Them and Quidditch Through the Ages—are available in hardcover in a sturdy boxed gift set. (These books are written by J.K. Rowling herself under the pseudonyms Newt Scamander and Kennilworthy Whisp.) Finally, Muggles will have the chance to discover where the Quintaped lives, what the Puffskein eats, and why it is best not to leave milk out for a Knarl. The Quidditch textbook explains where the Golden Snitch came from, how the Bludgers came into existence, and why the Wigtown Wanderers have pictures of meat cleavers on their clothes. Both books, designed to look like Harry Potter's actual, used Hogwarts textbooks, feature silly scribblings from Harry, Ron, and Hermione. Proceeds from the sale of this gift set will go to improving and saving the lives of children around the world. Harry Potter fans, rejoice! (All ages)

Luisah Teish

Rh Value Publishing

Stephen King

Harding

Laurell Hamilton Anita Blake, vampire hunter, is now herself a hunted woman. Who put the $500,000 price on her head—a man or a monster? It's not just her own skin she needs to save; the rivalry between her werewolf boyfriend, Richard, and Marcus, the other alpha werewolf in his pack, has come to full boil. And there's always Jean-Claude, the vampire who's been waiting for just the right moment to slip inside Anita's head and heart. Don't assume anything, though—Hamilton—Hamilton's probably got a few more surprises in store.

Carrie Vaughn

Jacqueline Carey

Maggie Stiefvater

Christopher Pike

Laurell Hamilton Harold Gaynor offers Anita Blake a million dollars to raise a 300-year-old zombie. Knowing it means a human sacrifice will be necessary, Anita turns him down. But when dead bodies start turning up, she realizes that someone else has raised Harold's zombie—and that the zombie is a killer. Anita pits her power against the zombie and the voodoo priestess who controls it. Notice to Hollywood: forget Buffy the Vampire Slayer; Anita Blake is the real thing.

Kerr Cuhulain

Joshua C. Taylor

Carlo Pedretti

Dr. David Franklin

St. Martin's Press

Maggie Stiefvater

Stephen King Since his first novel was published in 1974, Stephen King has stretched the boundaries of the written word, not only bringing horror to new heights, but trying his hand at nearly every possible genre, including children's books, graphic novels, serial novels, literary fiction, nonfiction, westerns, fantasy, and even e-books (remember The Plant?). With Lisey's Story, once again King is trying something different. Lisey's Story is as much a romance as it is a supernatural thriller—but don't let us convince you. Who better to tell readers if King has written a romantic thriller than Nora Roberts? We asked Nora to read Lisey's Story and give us her take. Check out her review below. —Daphne Durham

Guest Reviewer: Nora Roberts

Nora Roberts, who also writes under the pseudonym J.D. Robb, is the author of way too many bestselling books to name here (over 150!), but some of our favorites include: Angel's Fall, Born in Death, Blue Smoke, and The Reef.

Stephen King hooked me about three decades ago with that sharply faceted, blood-stained jewel, The Shining. Through the years he's bumped my gooses with kiddie vampires, tingled my spine with beloved pets gone rabid, justified my personal fear of clowns and made me think twice about my cell phone. I've always considered The Stand—a long-time favorite—a towering tour de force, and have owed its author a debt as this was the first novel I could convince my older son to read from cover to cover.

But with Lisey's Story, King has accomplished one more feat. He broke my heart.

Lisey's Story is, at its core, a love story—heart-wrenching, passionate, terrifying and tender. It is the multi-layered and expertly crafted tale of a twenty-five year marriage, and a widow's journey through grief, through discovery and—this is King, after all—through a nightmare scape of the ordinary and extraordinary. Through Lisey's mind and heart, the reader is pulled into the intimacies of her marriage to bestselling novelist Scott Landon, and through her we come to know this complicated, troubled and heroic man.

Two years after his death, Lisey sorts through her husband's papers and her own shrouded memories. Following the clues Scott left her and her own instincts, she embarks on a journey that risks both her life and her sanity. She will face Scott's demons as well as her own, traveling into the past and into Boo'ya Moon, the seductive and terrifying world he'd shown her. There lives the power to heal, and the power to destroy.

Lisey Landon is a richly wrought character of charm and complexity, of realized inner strength and redoubtable humor. As the central figure she drives the story, and the story is so vividly textured, the reader will draw in the perfumed air of Boo'ya Moon, will see the sunlight flood through the windows of the Scott's studio—or the night press against them. Her voice will be clear in your ear as you experience the fear and the wonder. If your heart doesn't hitch at the demons she faces in this world and the other, if it doesn't thrill at her courage and endurance, you're going to need to check with a cardiologist, first chance.

Lisey's Story is bright and brilliant. It's dark and desperate. While I'll always consider The Shining, my first ride on King's wild Tilt-A-Whirl, a gorgeous, bloody jewel, I found, on this latest ride, a treasure box heaped with dazzling gems.

A few of them have sharp, hungry teeth. —Nora Roberts

Jill Thompson

Charlaine Harris

Laurell Hamilton The zombie-raising business gets slow in December, so Anita Blake is starting to see some oddball cases. She's got a neatly typed list of eight missing lycanthropes given to her by Marcus, the leader of the local werewolf pack, who wants her to find them. The trouble is, Anita's occasionally furry boyfriend Richard is locked in a power struggle with Marcus. Jean-Claude, master vampire of the city and Anita's other love interest, is getting jealous as well. To top it off, Anita has to solve some horrific murders and keep her bounty-hunting friend Edward from killing Richard and Jean-Claude. Hamilton alternates between funny and fearsome in this larky series about a monster hunter with a few dark secrets.

Jobe Makar Danny Patterson

Ilona Andrews

Ilona Andrews

Ilona Andrews

Maria Snyder

Pepin Van Roojen

Kevyn Aucoin Based on Aucoin's best-selling books, Making Faces and The Art of Makeup, this calendar bursts with the lusciously made-up faces of Lisa Marie Presley, Andie McDowell, Cher, Isabella Rosellini, and Courtney Love like you've never seen them before. Rosellini, for example, looks just like Barbra Streisand, circa Hello, Dolly; and Presley makes a dead-ringer for Marilyn Monroe. Full-color sketches scattered throughout the days of the month give step-by-step illustrations for re-creating each look, and other beauty tips are scattered throughout.

Kristin Cast, P.C Cast, P.C. Cast

Neil Gaiman

Arthur Golden According to Arthur Golden's absorbing first novel, the word "geisha" does not mean "prostitute," as Westerners ignorantly assume—it means "artisan" or "artist." To capture the geisha experience in the art of fiction, Golden trained as long and hard as any geisha who must master the arts of music, dance, clever conversation, crafty battle with rival beauties, and cunning seduction of wealthy patrons. After earning degrees in Japanese art and history from Harvard and Columbia—and an M.A. in English—he met a man in Tokyo who was the illegitimate offspring of a renowned businessman and a geisha. This meeting inspired Golden to spend 10 years researching every detail of geisha culture, chiefly relying on the geisha Mineko Iwasaki, who spent years charming the very rich and famous.

The result is a novel with the broad social canvas (and love of coincidence) of Charles Dickens and Jane Austen's intense attention to the nuances of erotic maneuvering. Readers experience the entire life of a geisha, from her origins as an orphaned fishing-village girl in 1929 to her triumphant auction of her mizuage (virginity) for a record price as a teenager to her reminiscent old age as the distinguished mistress of the powerful patron of her dreams. We discover that a geisha is more analogous to a Western "trophy wife" than to a prostitute—and, as in Austen, flat-out prostitution and early death is a woman's alternative to the repressive, arcane system of courtship. In simple, elegant prose, Golden puts us right in the tearoom with the geisha; we are there as she gracefully fights for her life in a social situation where careers are made or destroyed by a witticism, a too-revealing (or not revealing enough) glimpse of flesh under the kimono, or a vicious rumor spread by a rival "as cruel as a spider."

Golden's web is finely woven, but his book has a serious flaw: the geisha's true romance rings hollow—the love of her life is a symbol, not a character. Her villainous geisha nemesis is sharply drawn, but she would be more so if we got a deeper peek into the cause of her motiveless malignity—the plight all geisha share. Still, Golden has won the triple crown of fiction: he has created a plausible female protagonist in a vivid, now-vanished world, and he gloriously captures Japanese culture by expressing his thoughts in authentic Eastern metaphors.

Amber Kizer

Andreas Lindholm Anders F. Ronnblom

Laurell Hamilton

L.A Banks In fiction, film, and TV, vampires are a dominant trend of the young millennium. Is it is because the blood-suckers are a perfect metaphor for corrupt politicians and corporate executives? Because alternative sexualities are gaining acceptance? Because the idea of living forever (even if undead) is so alluring? The reasons are unclear. What is clear is that the hottest subgenre (in both popularity and sensuality) is the vampire-huntress subgenre, thanks to Laurell K. Hamilton's Anita Blake, Vampire Hunter and Joss Whedon's Buffy the Vampire Slayer. With L.A. Banks's debut novel, Minion, a tough, sexy new vampire huntress challenges the dominance of Anita Blake and Buffy.

Damali Richards is a rising star of Warriors of Light Records—but her fans would never guess that she is also the most important vampire hunter in a millennium. However, unfortunately for the inexperienced young huntress, the vampires and demons have both discovered her existence. An age-old war escalates to unprecedented heights of violence as the dark forces strive to slay Damali before she comes of age and gains her full powers.

Damali is an appealing heroine, the concept is intriguing, and the series is promising. However, the first novel is rocky. Damali is a vampire-killing martial artist, and Minion presents an epic struggle between good and evil, yet the novel neglects to include a climactic battle between Damali and the bad guys (or much of a climax at all; a sequel is obviously forthcoming). Another problem is that Damali's teacher withholds crucial information from not only the huntress, but also her guardians, who should have learned everything many years ago. In contrast, the characters frequently tell each other things they already know. Readers craving the twisted erotic charge of the Anita Blake novels or the Buffy-Spike relationship may be dissatisfied that sexual tension is less important to Minion; and readers seeking Hamiltonian melodrama may also be disappointed. —Cynthia Ward

Stephen King

Christopher Pike

John Michael Greer

Patricia Briggs

Rachel Caine

Rachel Caine

Rachel Caine

Rachel Caine

June Nadle

Cameron Rogers

George

Laurell Hamilton

Neil Gaiman Charles Vess Stardust is an utterly charming fairy tale in the tradition of The Princess Bride and The Neverending Story. Neil Gaiman, creator of the darkly elegant Sandman comics and author of The Day I Swapped My Dad for Two Goldfish, tells the story of young Tristran Thorn and his adventures in the land of Faerie. One fateful night, Tristran promises his beloved that he will retrieve a fallen star for her from beyond the Wall that stands between their rural English town (called, appropriately, Wall) and the Faerie realm. No one ever ventures beyond the Wall except to attend an enchanted flea market that is held every nine years (and during which, unbeknownst to him, Tristran was conceived). But Tristran bravely sets out to fetch the fallen star and thus win the hand of his love. His adventures in the magical land will keep you turning pages as fast as you can—he and the star escape evil old witches, deadly clutching trees, goblin press-gangs, and the scheming sons of the dead Lord of Stormhold. The story is by turns thrillingly scary and very funny. You'll love goofy, earnest Tristran and the talking animals, gnomes, magic trees, and other irresistible denizens of Faerie that he encounters in his travels. Stardust is a perfect read-aloud book, a brand-new fairy tale you'll want to share with a kid, or maybe hoard for yourself. (If you read it to kids, watch out for a couple of spicy sex bits and one epithet.) —Therese Littleton

Neil Gaiman

Mike Carey Glenn Fabry

Neil Gaiman Neverwhere's protagonist, Richard Mayhew, learns the hard way that no good deed goes unpunished. He ceases to exist in the ordinary world of London Above, and joins a quest through the dark and dangerous London Below, a shadow city of lost and forgotten people, places, and times. His companions are Door, who is trying to find out who hired the assassins who murdered her family and why; the Marquis of Carabas, a trickster who trades services for very big favors; and Hunter, a mysterious lady who guards bodies and hunts only the biggest game. London Below is a wonderfully realized shadow world, and the story plunges through it like an express passing local stations, with plenty of action and a satisfying conclusion. The story is reminiscent of Douglas Adams's The Hitchhiker's Guide to the Galaxy, but Neil Gaiman's humor is much darker and his images sometimes truly horrific. Puns and allusions to everything from Paradise Lost to The Wonderful Wizard of Oz abound, but you can enjoy the book without getting all of them. Gaiman is definitely not just for graphic-novel fans anymore. —Nona Vero

Patricia Monaghan

Michael Castleman

Stephenie Meyer

Leonard Victor Huber Peggy McDowell Mary Louise Christovich

Florence Robert

Julie Smith, Ed.

Louis Martinie Sallie Ann Glassman

Carolyn Morrow Long

Sergei Lukyanenko

Laurell Hamilton Anita Blake, the tough, sexy vampire executioner, zombie animator, and police consultant for preternatural crimes in St. Louis, hunts monsters in New Mexico in the ninth book of Laurell K. Hamilton's excellent series. Edward, Anita's mentor in slaying, asks Anita to return the favor that she has owed him since she killed a backup he brought in to protect her. He needs Anita's preternatural expertise as well as her firepower. Something is skinning and mutilating a few of its chosen victims, and dismembering others. Edward has no idea what creature could be responsible for such heinous crimes.

Summoning Anita has its downside for Edward, since it means letting her onto his turf. Anita is surprised to find that this normally aggressive man has a personal life, and shocked by his ability to be entirely different from the stone cold killer she's known. She also has problems with the cop in charge in Albuquerque, who believes her powers must be evil, and with the other backups Edward has brought in. Most of all, she has to deal with her own vulnerability—she—she's tried to shut down her ties to her vampire and werewolf lovers and go it alone, but it turns out to be harder than she thought.

Anita's usual supporting cast is missing, and she's taking time out from her complex love life, but there's plenty of bloody action, vampires, werewolves, and Aztec ritual. Plus a lot more about Edward. Fans will find this installment similar to the earlier books in the series, particularly The Laughing Corpse. —Nona Vero.

Jane Irwin

Ilona Andrews

Ken Kesey

Joanna Woolfolk

Bill Jemas

TJ Fisher Roy F. Guste

Rober Van De Castle

Christopher Penczak

Kim Harrison

S Hinton According to Ponyboy, there are two kinds of people in the world: greasers and socs. A soc (short for "social") has money, can get away with just about anything, and has an attitude longer than a limousine. A greaser, on the other hand, always lives on the outside and needs to watch his back. Ponyboy is a greaser, and he's always been proud of it, even willing to rumble against a gang of socs for the sake of his fellow greasers—until one terrible night when his friend Johnny kills a soc. The murder gets under Ponyboy's skin, causing his bifurcated world to crumble and teaching him that pain feels the same whether a soc or a greaser. This classic, written by S. E. Hinton when she was 16 years old, is as profound today as it was when it was first published in 1967.

Susan Cooper

Judith Gleason

PETA

Starhawk, M. Macha Nightmare

Graham Harvey

Susan Kay

Kyoung Hoon Lee

Oscar Wilde A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

Ken Follett

William C. Davis

Holly Black

Maria Snyder

Melissa Marr

Libba Bray

Patricia Monaghan

Christopher Pike

Christopher Pike

Graham Harvey

Jackie Kessler

H.P. Lovecraft "There is a melancholy, operatic grandeur in Lovecraft's most passionate work," writes Joyce Carol Oates in The New York Review of Books, "... a curious elegiac poetry of unspeakable loss, of adolescent despair, and an existential loneliness so pervasive that it lingers in the reader's memory, like a dream, long after the rudiments of Lovecraftian plot have faded." Del Rey has reprinted Lovecraft's stories in three large-format paperbacks. This third volume collects one poem, one story fragment, and 26 tales not included in the first two, including "Herbert West—Reanimator,—Reanimator," "The Lurking Fear," "Dagon," "The Unnameable," and the classic short novel "At the Mountains of Madness." Introduction by Barbara Hambly. Beautiful cover art by surrealist John Jude Palencar.

Christopher Pike

Barbara Ann Kipfer

Tony Bedard

Robert Rodi

Rough Guide

Junior League of Covington

Paula Morris Rebecca couldn't feel more out of place in New Orleans, where she comes to spend the year while her dad is traveling. She's staying in a creepy old house with her aunt. And at the snooty prep school, the filthy-rich girls treat Rebecca like she's invisible. Only gorgeous, unavailable Anton Grey seems to give Rebecca the time of day, but she wonders if he's got a hidden agenda. Then one night, in Lafayette Cemetery, Rebecca makes a friend. Sweet, mysterious Lisette is eager to talk to Rebecca, and to show her the nooks and crannies of the city. There's just one catch: Lisette is a ghost. A ghost with a deep, dark secret, and a serious score to settle. As Rebecca learns more from her ghost friend — and as she slowly learns to trust Anton Grey — she also uncovers startling truths about her own history. Will Rebecca be able to right the wrongs of the past, or has everything been ruined beyond repair?

PRAISE FOR PAULA MORRIS'S NOVEL QUEEN OF BEAUTY:

"A stunning debut novel...a masterful work." — The New Zealand Herald

Scott Smith Eerie, terrifying, unputdownable—Scott Smith’s first novel since his best-selling A Simple Plan (“Simply the best suspense novel of this year—hell, of the 1990s”—Stephen King). The Ruins follows two American couples, just out of college, enjoying a pleasant, lazy beach holiday together in Mexico as, on an impulse, they go off with newfound friends in search of one of their group—the young German, who, in pursuit of a girl, has headed for the remote Mayan ruins, site of a fabled archeological dig.

This is what happens from the moment the searchers—moving into the wild interior—begin to suspect that there is an insidious, horrific “other” among them . . .

Steve Niles Jeff Mariotte

Adrian Alphona, Brian K Vaughan

Adrian Alphona, Brian K Vaughan

Adrian Alphona, Jo Chen, Brian K Vaughan

Adrian Alphona, Craig Yeung, Brian K Vaughan

Adrian Alphona, Takeshi Miyazawa, Brian K Vaughan

Adrian Alphona, Brian K Vaughan

Elizabeth Huston

Neil Gainman

Bill Willingham

Mike Carey

Bill Willingham

Neil Gaiman, Malcolm Jones III, Mike Dringenberg, Michael Zulli, Clive Barker This volume of Neil Gaiman's THE SANDMAN book series features the first appearance of Death, the Sandman's older sister. As Clive Barker says in his Introduction, ". . . there is a wonderful willful quality to this mix . . .slapstick comedy, mystical musings, and the grimmest collection of serial killers this side of Death Row." Eighth printing. Graphic novel format. Mature readers.

Neil Gaiman, Malcolm Jones III, Charles Vess, Steve Erickson The third book of the Sandman collection is a series of four short comic book stories. What's remarkable here (considering the publisher and the time that this was originally published) is that the main character of the book—the Sandman, King of Dreams—serves only as a minor character in each of these otherwise unrelated stories. (Actually, he's not even in the last story.) This signaled a couple of important things in the development of what is considered one of the great comics of the second half of the century. First, it marked a distinct move away from the horror genre and into a more fantasy-rich, classical mythology-laden environment. And secondly, it solidly cemented Neil Gaiman as a storyteller. One of the stories here, "A Midsummer Night's Dream," took home the World Fantasy Award for best short story—the first time a comic was given that honor. But for my money, another story in Dream Country has it beat hands down. "A Dream of a Thousand Cats" has such hope, beauty, and good old-fashionedchills that rereading it becomes a welcome pleasure. —Jim Pascoe

Neil Gaiman Samuel R. Delany Shawn Macmanus Colleen Doran Bryan Talbot You may have heard somewhere that Neil Gaiman's Sandman series consisted of cool, hip, edgy, smart comic books. And you may have thought, "What the hell does that mean?" Enter A Game of You to confound the issue even more, while at the same time standing as a fine example of such a description. This is not an easy book. The characters are dense and unique, while their observations are, as always with Gaiman, refreshingly familiar. Then there's the plot, which grinds along like a coffee mill, in the process breaking down the two worlds of this series, that of the dream and that of the dreamer. Gaiman pushes these worlds to their very extremes—one is a fantasy world with talking animals, a missing princess, and a mysterious villain called the Cuckoo; the other is an urban microcosm inhabited by a drag queen, a punk lesbian couple, and a New York doll named Barbie. In almost every way this book sits at 180 degrees from the earlier four volumes of the Sandman series—although the less it seems to belong to the series, the more it shows its heart. —Jim Pascoe

Neil Gaiman Jill Thompson Vince Locke Peter Straub One might think that the climax of the 10-volume Sandman series would come in the last book, or even the second to last. But indeed the heart and soul of Neil Gaiman's magnum opus lies here in Brief Lives. It could be because one of the most central mysteries—that of the Sandman's missing brother—is revealed here (in fact, the plot of this volume is the search for this member of the Endless). It could be because everything that comes after this volume, however surprising or unexpected, is inevitable. But it's more because this is a story about mortality and loss, the difficulty of change, the purpose of remembering, the purpose of forgetting, and the importance of humanity. If you have wanted to find out what all the good buzz on this great comic book series is about and haven't read any Gaiman before, don't be turned off by this volume's pivotal position in the larger story of the Sandman series. This book might actually operate better as a stand-alone story, in that its depth and compassion are more condensed, pure, and brief. —Jim Pascoe

Neil Gaiman With The Sandman: Endless Nights, bestselling author Neil Gaiman returns to the characters (and medium) that made him famous. It's a collection of seven short stories, each illustrated by some of the best artists working in contemporary comics (eg, Frank Quitely, Glenn Fabry and Milo Manara) and focusing on the Endless—the anthropomorphic manifestations of seven universal concepts: Death, Desire, Dream, Despair, Delirium, Destruction and Destiny. So, it's a collection of fantasy stories, but don't let that put you off. Gaiman is much more than a typical fantasy storyteller—his strength has always been his ability to ground his epic concepts within a sympathetically human framework. That's one of the reasons why the original Sandman series was so successful—nowadays, thanks to the work of creators like Neil Gaiman (and, of course, Alan Moore), it's difficult to remember a time when comics (or graphic novels, or sequential storytelling, or whatever people want to call them nowadays) weren't taken very seriously as a "grown-up" medium.

That said, Endless Nights is a bit hit and miss. Perhaps unsurprisingly, the best story here is Dream ("The Heart of a Star"), where Gaiman and artist Miguelanxo Prado revisit the Sandman's protagonist and tell a short, poignant love story from the character's past, carefully constructed to please fans without baffling newcomers. "15 Portraits of Despair", with Barron Storey's art and Dave McKean's designs, is not a story but a collection of darkly-toned, disturbing vignettes, while Bill Sienkiewicz's art for Delirium ("Going Inside") is appropriately manic and unhinged. But, unfortunately, some of the stories here lack any real depth: Frank Quitely's art for Destiny ("Endless Nights") adds a grandiose scale to a story that is little more than a character sketch (albeit a beautiful one), while the Destruction story ("On the Peninsula") squanders what could have been an interesting idea if Gaiman had had more time and space to flesh it out. Still, Endless Nights should be enough to keep Sandman fans happy, while acting as a useful introduction to these characters for any newcomers. And if it gets more people reading Sandman, that can only be a good thing. —Robert Burrow

Neil Gaiman

DC Comics "Wake up, sir. We're here." It's a simple enough opening line—although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.

In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly—which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, I greatly prefer the roguish breaking of new ground in this book to the often dull precision of the concluding volumes of the Sandman series. —Jim Pascoe

DC Comics In many ways, Season of Mists is the pinnacle of the Sandman experience. After a brief intermission of four short stories (collected as Dream Country) Gaiman continued the story of the Dream King that he began in the first two volumes. Here in volume 4, we find out about the rest of Dream's Endless family (Desire, Despair, Destiny, Delirium, Death, and a seventh missing sibling). We find out the story behind Nada, Dream's first love, whom we met only in passing during Dream's visit to hell in the first book. When Dream goes back to hell to resolve unfinished business with Nada, he finds her missing along with all of the other dead souls. The answer to this mystery lies in Lucifer's most uncharacteristic decision—a delicious surprise.

There is something grandiose about this story, in which each chapter ends with such suspense and drive to read the next. This book is best summed up by a toast taken from the second chapter: "To absent friends, lost loves, old gods, and the season of mists; and may each and every one of us always give the devil his due." —Jim Pascoe

Neil Gaiman Yoshitaka Amano Sandman fans should feel lucky that master fantasy writer Neil Gaiman discovered the mythical world of Japanese fables while researching his translation of Hayao Miyazaki's film Princess Mononoke. At the same time, while preparing for the Sandman 10th anniversary, he met Yoshitaka Amano, his artist for the 11th Sandman book. Amano is the famed designer of the Final Fantasy game series. The product of Gaiman's immersion in Japanese art, culture, and history, Sandman: Dream Hunters is a classic Japanese tale (adapted from "The Fox, the Monk, and the Mikado of All Night's Dreaming") that he has subtly morphed into his Sandman universe.

Like most fables, the story begins with a wager between two jealous animals, a fox and a badger: which of them can drive a young monk from his solitary temple? The winner will make the temple into a new fox or badger home. But as the fox adopts the form of a woman to woo the monk from his hermitage, she falls in love with him. Meanwhile, in far away Kyoto, the wealthy Master of Yin-Yang, the onmyoji, is plagued by his fears and seeks tranquility in his command of sorcery. He learns of the monk and his inner peace; he dispatches demons to plague the monk in his dreams and eventually kill him to bring his peace to the onmyoji. The fox overhears the demons on their way to the monk and begins her struggle to save the man whom at first she so envied.

Dream Hunters is a beautiful package. From the ink-brush painted endpapers to the luminous page layouts—including Amano's gate-fold painting of Morpheus in a sea of reds, oranges, and violets—this book has been crafted for a sensuous reading experience. Gaiman has developed as a prose stylist in the last several years with novels and stories such as Neverwhere and Stardust, and his narrative rings with a sense of timelessness and magic that gently sustains this adult fairy tale. The only disappointment here is that the book is so brief. One could imagine this creative team being even better suited to a longer story of more epic proportions. On the final page of Dream Hunters, in fact, Amano suggest that he will collaborate further with Mr. Gaiman in the future. Readers of Dream Hunters will hope that Amano's dream comes true. —Patrick O'Kelley

Neil Gaiman Frank Mcconnell

Neil Gaiman When Brant and Charlene wreck their car in a horrible snowstorm in the middle of nowhere, the only place they can find shelter is a mysterious little inn called World's End. Here they wait out the storm and listen to stories from the many travelers also stuck at this tavern. These tales exemplify Neil Gaiman's gift for storytelling—and his love for the very telling of them. This volume has almost nothing to do with the larger story of the Sandman, except for a brief foreshadowing nod. It's a nice companion to the best Sandman short story collection, Dream Country, (and it's much better than the hodgepodge Fables and Reflections). World's End works best as a collection—it—it's a story about a story about stories—all wrapped up in a structure that's clever without being cute, and which features an ending nothing short of spectacular. —Jim Pascoe

Neil Gaiman "Wake up, sir. We're here". It's a simple enough opening line—although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.

In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly—which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, there is a roguish breaking of new ground in this book which is preferable to the often dull precision of the concluding volumes of the Sandman series. —Jim Pascoe

Alisa Kwitney

Vicki Pettersson

Robert A. Wilson

Milo Rigaud

Anne Rice Her first book since Memnoch the Devil, Anne Rice takes us now into the world of Isaiah and Jeremiah, and the destruction of Solomon's temple, to tell the story of Azriel, Servant of the Bones. He is ghost, genji, demon, angel—pure spirit made visible. He pours his heart out to us as he journeys from an ancient Babylon of royal plottings and religious upheavals to the Europe of the Black Death and to the modern world. There he finds himself, amidst the towers of Manhattan, in confrontation with his own human origins and the dark forces that have sought to condemn him to a life of evil and destruction.

Maggie Stiefvater

Barbara London Jim Stone

Annette Curtis Klause

Susan Cooper

Elizabeth Carmichael Chlo\353 Sayer

Kim Barnouin, Rory Freedman

Stanley Brandes

Arin Murphy-Hiscock

Silver RavenWolf

The Pepin Press

Christopher Pike

Starhawk

Richelle Mead

Mary Roach If author Mary Roach was a college professor, she'd have a zero drop-out rate. That's because when Roach tackles a subject—like the posthumous human body in her previous bestseller, Stiff: The Curious Lives of Human Cadavers, or the soul in the winning Spook: Science Tackles the Afterlife—she charges forth with such zeal, humour, and ingenuity that her students (er, readers) feel like they're witnessing the most interesting thing on Earth. Who the heck would skip that? As Roach informs us in her introduction, "This is a book for people who would like very much to believe in a soul and in an afterlife for it to hang around in, but who have trouble accepting these things on faith. It's a giggly, random, utterly earthbound assault on our most ponderous unanswered question." Talk about truth in advertising. With that, Roach grabs us by the wrist and hauls butt to India, England, and various points in between in search of human spiritual ephemera, consulting an earnest bunch of scientists, mystics, psychics, and kooks along the way. It's a heck of a journey and Roach, with one eyebrow mischievously cocked, is a fantastically entertaining tour guide, at once respectful and hilarious, dubious yet probing. And brother, does she bring the facts. Indeed, Spook's myriad footnotes are nearly as riveting as the principal text. To wit: "In reality, an X-ray of the head could not show the brain, because the skull blocks the rays. What appeared to be an X-ray of the folds and convolutions of a human brain inside a skull—an image circulated widely in 1896—was in fact an X-ray of artfully arranged cat intestines." Or this: "Medical treatises were eminently more readable in Sanctorius's day. Medicina statica delved fearlessly into subjects of unprecedented medical eccentricity: 'Cucumbers, how prejudicial,' and the tantalizing 'Leaping, its consequences.' There's even a full-page, near-infomercial-quality plug for something called the Flesh-Brush." While rigid students of theology might take exception to Roach's conclusions (namely, we're just a bag of bones killing time before donning a soil blanket) it's hard to imagine anyone not enjoying this impressively researched and immensely readable book. And since, as Roach suggests, each of us has only one go-round, we might as well waste downtime with something thoroughly fun. —Kim Hughes

Stephanie Rose Bird

Mary Roach

Kelley Armstrong When two desperate witches lure part-time journalist and full-time werewolf Elena Michaels into a carefully laid trap, she quickly learns that her perceptions about humanity are based on some fundamental flaws. In Kelley Armstrong's supernatural thriller, Stolen, the world is populated with vampires, demons, half-demons, magical shamans, and other supernatural races living anonymously among the human population—a concept that Elena has a hard time accepting, just as she struggled with her own lupine identity in Armstrong's remarkable debut, Bitten. But when Elena returns to her werewolf pack in upstate New York, pack leader Jeremy reveals that the threat people pose to the supernatural races should not be taken lightly. When Jeremy, Elena, and her lover Clay decide to take action to protect their pack, Elena gets kidnapped on the orders of a power-crazed billionaire. While being held captive she learns that while some magical beings are good and some evil, none are capable of more outright cruelty and savage betrayal than ordinary, non-magical human beings.

Armstrong actively solicited reader input via her web site while writing the second title of her Women of the Otherworld series. This unconventional creative strategy sheds light on Armstrong's justified literary confidence. Her large cast of characters is fully realized, despite their great diversity, which ranges from insecure research scientists to unreliable half-demons, as well as Paige, an orphaned and highly volatile adolescent witch. Most gratifyingly, Armstrong's horror is tempered with a sly and very satisfying dose of humour: "Across the room was the Ladies Auxiliary snack table," Armstrong describes Elena's first impression of a conference of supernaturals under attack.

The only thing missing was a blue-haired matron doling out goodies and guarding her cash box.... On the rear wall, a handwritten sign reminded snackers that coffee and doughnuts were a quarter each, followed by a red line clarifying that this meant fifty cents for both a doughnut and coffee.... I really hoped the Legion folks were responsible for the goodies and the sign. Otherwise... well, I didn't want to consider the alternative.

—Deirdre Hanna

Lisa Rogak

Al Rose

Richelle Mead

Richelle Mead

Richelle Mead

Richelle Mead

Richelle Mead

SARK

Dan Simmons

Julia Parker Derek Parker

Robin Mckinley

Lexa Rosean

Libba Bray

Pamela Lloyd

Vicki Pettersson

Catherine Wishart Ever since the publication of Silver Ravenwolf's incredibly popular Teen Witch, it seems that books about pagan religion for teens are popping up everywhere. Author Catherine Wishart takes a slightly different approach in her spiritual how-to book by focusing solely on the worship of the Goddess (which many pagan teen practitioners know is at the heart of most earth-centered religions). Wishart’s Teen Goddess is divided into two sections. The first, entitled "The Basics" provides the reader with some common concepts of pagan practices, including a short history of goddess worship, mediation exercises, and tips for casting spells. Unfortunately, Wishart's basics are a little too "basic," providing only a superficial coverage of pagan religion, and focusing far too much on using goddess worship as a tool to get "kisses from cute boys," or solve serious problems like anorexia, without mentioning that medical help may also be needed. The second section, entitled "The Goddesses" is by far the better half of the book, giving full mythological profiles of several goddesses from different world religions, discussions of their symbols and strengths, meditations and prayers specific to that goddess, and activities playfully called "Goddess Workouts" that encourage positive thinking and journaling. While Wishart's book may be a nice addition to the growing library of a serious teen pagan, novices might be better off taking a look at SpellCraft for Teens by Gwinevere Rain, or Solitary Witch by Silver Ravenwolf. For a deeper treatment of goddess worship, teens could also try The Goddess Path by Patricia Monaghan. (Ages 12 and older) —Jennifer Hubert

Geoff Johns

Ben Raab Geoff Johns

Geoff Johns Mark Waid

Geoff Johns Tony Daniel Sandra Hope

Geoff Johns Adam Beechen Tony Daniel

Geoff Johns

Marv Wolfman Geoff Johns Bill Willingham

Zora N Hurston

Melvyn Willin

Ellen Lupton

Diane Setterfield

Holly Black Sixteen-year-old Kaye Fierch is not human, but she doesn't know it. Sure, she knows she's interacted with faeries since she was little—but she never imagined she was one of them, her blond Asian human appearance only a magically crafted cover-up for her true, green-skinned pixie self. First-time author Holly Black explores Kaye's self-discovery and dual worlds in her riveting, suspenseful novel Tithe: A Modern Faerie Tale. The book has its faults: it slips into shock-value mode; the descriptions are often overwritten (sunset on the water looks like the sun slit his wrists in a bathtub); the language is overly, unnecessarily explicit; and the writing often unpolished. Still, the story's pull is undeniable, and readers under its spell will be hard-pressed to put the book down.

The novel begins in a bar in Philly, where Kaye's alcoholic rock-singer mother's boyfriend tries to kill her. For their own safety, mother and daughter quickly move back to grandma's on the New Jersey shore where Kaye grew up. This ugly turn of events was all rigged by the Faerie world, as it turns out, a world Black describes in deliciously vivid, if rather overblown, detail. Kaye, a drinking, smoking, foul-mouthed high school dropout in the land of mortals, soon finds herself embroiled—as a human sacrifice, no less—in a battle between Faerieland's Seelie and more malevolent Unseelie courts. The beautiful, mysterious knight Roiben, torn between worlds himself, falls in love with Kaye—the brave, clever changeling—against his better judgment. Throughout the electrifying journey to the horrific underworld of this modern faerie fantasy, teen readers will relate to a hard-luck tough girl who feels alienated, discovers her best qualities in the worst of circumstances, and finally finds a place between worlds where she can feel at home. (Ages 13 and older) —Karin Snelson

Silver RavenWolf Silver RavenWolf is one of the most widely recognized names in circles of witchcraft, and with good reason; she has written some of the best guides to contemporary Witchcraft available. To Ride a Silver Broomstick is a handbook aimed at the beginner, and doesn't get bogged down in history, dogma, or gender roles. It is a workbook for the individual, whether one is a solitary practitioner or part of a coven, that covers the basics of the craft—from useful vocabulary to setting up an altar—and briefly delves into more advanced concepts such as astral projection and telepathy. To Ride a Silver Broomstick may not be the most comprehensive single volume on the subject of witchcraft, but RavenWolf focuses on the aspects most important to a beginner, and keeps her introduction to the craft approachable and easy to follow. —Brian Patterson

Sigmund Freud

Karen Chance

Vicki Pettersson On the surface she's a sexy, sophisticated socialite, at home among the beautiful people of the Las Vegas upper crust. But Joanna Archer inhabits another world: a place ordinary humans cannot see . . . a dangerous dimension where an eternal battle rages between the agents of Light and Shadow. And Joanna is both.

Stalked by an enigmatic doppelganger from a preternatural realm, Joanna can feel the Light failing—which is propelling her toward a terrifying confrontation with the ultimate master of evil, the dark lord of Shadow: her father.

Vegas is all about winning big . . . or losing everything. To save her friends, her future, her worlds, Joanna Archer must gamble it all by fully embracing the darkness inside her.

Yasmine Galenorn

Warren Ellis

Warren Ellis Warren Ellis (whose recent work includes the excellent The Authority) is a fine comics writer. Spider Jerusalem, his tortured journalist protagonist, is a wonderful creation. Back on the Street is the first in the Transmetropolitan series and essential as an introduction to Spider and his world. Preacher's Garth Ennis introduces the book, rightly praising "the finest, blackest humour, and the purest hate, and a sense of justice hissed through gritted teeth". If the message is sometimes a little heavily, a little clumsily overbearing, this does not detract too much from a great story. Ellis has produced a fine comic series in Transmetropolitan. This is a future classic.

The scenario goes something like this. Spider Jerusalem left the City ages ago and grew an awful lot of hair up on a mountain. The City was just too corrupt, too sinful, too unbearable a place for a journalist with a heightened, if awry, sense of what's right, what's wrong. Then his editor calls. Spider still owes him two books. A contract from way back when. And if he doesn't come up with the goods there will be consequences. Trouble is, Spider can only write when he's in the City, hasn't written a thing since he left. He doesn't want to go back but he has to write, has to go back. So he returns to the trouble and the turmoil, back to the mess that feeds him as a writer and gets himself a story. A punk he used to know, Fred Christ, is causing trouble. Fred is the leader of the Transients (humans knowingly infused with alien genes) and he wants them to have their own land and is ready to lead a rebellion to achieve that end. The authorities, obviously, see things differently. And Spider sees through both group's hypocrisies... —Mark Thwaite

Warren Ellis

Warren Ellis

Warren Ellis It's no wonder he hates it here. Spider Jerusalem, journalist and hero of sorts in Warren Ellis' Transmetropolitan, wades through a sewer of poverty and high-tech despair daily in his efforts to understand and report on America. In The New Scum, Ellis contrasts the powerful, in the form of presidential candidates, with the powerless, who are begging and hustling on the streets. The satire is savage and rarely subtle, but the author takes care to show some human warmth lest the comic descend into the nihilism it warns against. The plot, largely secondary to the characters and background events, focuses loosely on Jerusalem's assignment to interview the two candidates, each psychotic and unfit for any office. His bodyguard and personal assistant, meanwhile, discover the terrors of pleasure in a post-nanotech world with unlimited credit. The election-eve climax fully captures the anxiety and depression that come from having no real choice in matters of great importance. Either Ellis or his creation deserves a Pulitzer. —Rob Lightner

Warren Ellis Nobody ever accused Warren Ellis of lacking imagination. The latest collection of the Spider Jerusalem saga, Transmetropolitan: Lonely City, is packed with laser-guided satire and neo-adolescent wish fulfillment in the form of a bowel disruptor. Sliding his story of government manipulation and counter-manipulation between moments of reflection and observation makes Ellis's downbeat ending a bit less nihilistic than it could have been. Despite the gulf separating us from Jerusalem's City, it's not hard to draw parallels between his milieu of police-run riots and state-maintained misery and our own less colorful environment. Lonely City drags the man who's more "anti" than "hero" out into the world he professes to hate and forces him to do something about it, while never descending into the boring comic-book morality he fights daily. —Rob Lightner

Warren Ellis

Warren Ellis

Warren Ellis

Warren Ellis

Warren Ellis

John D. Seymour

Amber K

Stephenie Meyer

Mark Millar

Mark Millar

Mark Millar

Mark Millar

Mark Millar

Mark Millar

Marvel Comics

Brian Michael Bendis

Brian K. Vaughan

Brian K. Vaughan

Brian K Vaughan

Brian K Vaughan Geoff Johns

Brian K Vaughan

Stephen King

Thomas Lynch "...I had come to know that the undertaking that my father did had less to do with what was done to the dead and more to do with what the living did about the fact of life that people died," Thomas Lynch muses in his preface to The Undertaking. The same could be said for Lynch's book: ostensibly about death and its attendant rituals, The Undertaking is in the end about life. In each case, he writes, it is the one that gives meaning to the other. A funeral director in Milford, Michigan, Lynch is that strangest of hyphenates, a poet-undertaker, but according to Lynch, all poets share his occupation, "looking for meaning and voices in life and love and death." Looking for meaning takes him to all sorts of unexpected places, both real and imagined. He embalms the body of his own father, celebrates the rebuilt bridge to his town's old cemetery, takes issue with the Jessica Mitfords of this world, and envisages a "golfatorium," a combination golf course and cemetery that could restore joy to the last rites. In "Crapper," Lynch even contemplates the subtleties of the modern flush toilet and its relationship to the messy business of dying: "Just about the time we were bringing the making of water and the movement of bowels into the house, we were pushing the birthing and marriage and sickness and dying out." Death and fatherhood, death and friendship, death and faith and love and poetry—these are the concerns that power Lynch's undertaking. Throughout, Lynch pleads the case for our dead—who are, after all, still living through us—with an eloquence marked by equal parts whimsy, wit, and compassion. In the last essay, "Tract," he envisions almost wistfully the funeral he'd choose for himself, and then relinquishes that, too. Funerals, after all, are for the living. The dead, he reminds us, don't care. —Mary Park

Holly Black

Richelle Mead

Anne Rice After the spectacular debut of Interview with the Vampire in 1976, Anne Rice put aside her vampires to explore other literary interests—Italian castrati in Cry to Heaven and the Free People of Color in The Feast of All Saints. But Lestat, the mischievous creator of Louis in Interview, finally emerged to tell his own story in the 1985 sequel, The Vampire Lestat.

As with the first book in the series, the novel begins with a frame narrative. After over a half century underground, Lestat awakens in the 1980s to the cacophony of electronic sounds and images that characterizes the MTV generation. Particularly, he is captivated by a fledgling rock band named Satan's Night Out. Determined both to achieve international fame and end the centuries of self-imposed vampire silence, Lestat takes command of the band (now renamed "The Vampire Lestat") and pens his own autobiography. The remainder of the novel purports to be that autobiography: the vampire traces his mortal youth as the son of a marquis in pre-Revolutionary France, his initiation into vampirism at the hands of Magnus, and his quest for the ultimate origins of his undead species.

While very different from the first novel in the Vampire Chronicles, The Vampire Lestat has proved to be the foundation for a broader range of narratives than is possible from Louis's brooding, passive perspective. The character of Lestat is one of Rice's most complex and popular literary alter egos, and his Faustian strivings have a mythopoeic resonance that links the novel to a grand tradition of spiritual and supernatural fiction. —Patrick O'Kelley

Isa Chandra Moskowitz

Isa Chandra Moskowitz, Terry Hope Romero

James Curl

Sallie Ann Glassman Like many native religions, Vodou (often referred to as "Voodoo") has been scorned and ridiculed in mainstream Judeo-Christian communities. "The word 'Vodou' sends chills down the spines of most people, and conjures up age-old terrors of sorcery, black magic, and bogeymen lurking under the bed," writes author Sallie Ann Glassman (New Orleans Voodoo Tarot/Book and Card Set). This enticing compendium of the origins and practice of Vodou makes for a fascinating read, explaining how music, dance, and artistic expression are the heart and soul of this complicated religion. "What I discovered was a vibrant, beautiful, and ecstatic religion that was free from dogma, guilt or coercion," says Glassman, a thoughtful and articulate Jewish woman who first began studying New Orleans Vodou in 1975.

Its sophisticated spiritual philosophy has absorbed rituals from every place it's entered. The dances and customs of French Colonial New Orleans mix with the Native American Indian use of rattles and cornmeal. Yet many of its numerous magical deities come from the west coast of Africa, where Vodou originated. It is now reported to have 50 million followers worldwide, but with compelling invitations such as this one, it is bound to attract many more converts. —Gail Hudson

Martha Ward