S. A. Cosby's All the Sinners Bleed meets Percival Everett's Erasure in this literary thriller following the grandson of a famous Black actress from the 1920s to the 1940s, now a filmmaker himself, who returns to his grandmother's cabin retreat in the California mountains only to encounter the legacy of her rage born in Old Hollywood.

Award-winning author Tananarive Due returns with the follow-up to the multi-award-winning The Reformatory in this generational novel of rage. With flashbacks to Johnny’s grandmother—who brushed shoulders with giants like Lena Horne, Clark Gable, and Hattie McDaniel—this novel explores three generations, beginning with Mazelle Washington’s life as a young actress. Fifty years after Mazelle’s death, Johnny will discover the secret she kept and nurtured since she was a child, when she had a dark wish come true.

A monster lurks outside Mazywood, hidden for generations, and Johnny brought his family to its hunting grounds.

The home that belonged to Angela Toussaint's late grandmother is so beloved that the townspeople in Sacajawea, Washington call it the Good House. But that all changes one summer when an unexpected tragedy takes place behind its closed doors, and the Toussaint's family history--and future--is dramatically transformed. 

Angela has not returned to the Good House since her son, Corey, died there two years ago. But now, Angela is finally ready to return to her hometown and go beyond the grave to unearth the truth about Corey's death. Could it be related to a terrifying entity Angela's grandmother battled seven decades ago? And what about the other senseless calamities that Sacajawea has seen in recent years? Has Angela's grandmother, an African American woman reputed to have powers, put a curse on the entire community? 

A thrilling exploration of secrets, lies, and divine inspiration, The Good House will haunt readers long after its chilling conclusion.

A gripping, page-turning “masterpiece” (Joe Hill, #1 New York Times bestselling author of The Fireman) set in Jim Crow Florida that follows Robert Stephens Jr. as he’s sent to a segregated reform school that is a chamber of terrors where he sees the horrors of racism and injustice, for the living, and the dead.

Gracetown, Florida.

June 1950.

Twelve-year-old Robbie Stephens Jr. is sentenced to six months at the Gracetown School for Boys, a reformatory, for kicking the son of the largest landowner in town in defense of his older sister, Gloria. So begins Robbie’s journey further into the terrors of the Jim Crow South and the very real horror of the school they call The Reformatory.

Robbie has a talent for seeing ghosts, or haints. But what was once a comfort to him after the loss of his mother has become a window to the truth of what happens at the reformatory. Boys forced to work to remediate their so-called crimes have gone missing, but the haints Robbie sees hint at worse things. Through his friends Redbone and Blue, Robbie is learning not just the rules, but how to survive. Meanwhile, Gloria is rallying every family member and connection in Florida to find a way to get Robbie out before it’s too late.

The Reformatory is a “hallucinatory, haunting, terrifying, and moving” (S.A. Cosby, bestselling author of All the Sinners Bleed) work of historical fiction written as only American Book Award–winning author Tananarive Due could, by piecing together the life of the relative her family never spoke of and bringing his tragedy and those of so many others at the infamous Dozier School for Boys to the light in this riveting novel.

Winner of a Shirley Jackson Award

For fans of “The Lottery” and The Hunger Games, this novel set in a small town with a sinister tradition is chilling in the best possible way.

“Curdle Creek is a thoughtful, sinister tour-de-force.”
―Tananarive Due, L.A. Times Book Prize-winning author of The Reformatory

Welcome to Curdle Creek, a place just dying to make you feel at home.

Osira, a forty-five-year-old widow, is an obedient follower of the strict conventions of the remote all-Black town that’s stuck in the past and governed by ominous rituals including a one in, one out population policy. Though she’s always been considered blessed, her luck changes when her grown children run off to parts unknown, she comes in second to last in the Running of the Widows, and her father flees after his name is called in the annual Moving On ceremony.

Forced to jump into a well in a test of allegiance, Osira finds herself transported first back in time, and then into another realm where she must answer for crimes committed by Curdle Creek. Exile forces her to jump realms again, landing Osira even farther away from home, in rural England. Safe there as long as she sticks to the rules, she quickly learns there are consequences for every kindness. Each jump could lead Osira anywhere, but will she ever find a place to call home?

Curdle Creek is an American Gothic in the tradition of Shirley Jackson that offers a mash-up of the surreal and literary horror that will appeal to fans of Ring Shout, The Salt Grows Heavy, and Lovecraft Country. Yvonne Battle-Felton’s propulsive tale is layered and eerie and quite unlike anything else.

Nineteen original horror stories exploring ancient sites, uncovering forgotten histories and prising open the tombs of the past, from award-winning authors and editors Dan Coxon and Philip Fracassi.

Perfect for fans of Ellen Datlow.

Unearthed digs beneath these crumbling structures to reveal their archaic pasts, and their darkest secrets. Featuring the best modern writers of horror and dark fantasy, these stories explore the caverns and the catacombs, the ruined temples and the monoliths – and drag an ancient evil back into the light.

Featuring stories from:
Tananarive Due
Christopher Golden
Josh Malerman
Tim Lebbon
Eric LaRocca
A.M. Shine
Jonathan Maberry
Hildur Knútsdóttir
Ai Jiang
A. G. Slatter
Mark Chadbourn
Priya Sharma
Benjamin Percy
V. Castro
Gemma Amor
Cavan Scott
Premee Mohamed
Hache Pueyo
Steve Toase

In a world without white people, what does it mean to be Black?

One day, a cataclysmic event occurs: all of the white people in America walk into the nearest body of water. A year later, Charlie Brunton is a Black man living in an entirely new world. Having served time in prison for a wrongful conviction, he’s now a professor of electric and solar power systems at Howard University when he receives a call from someone he wasn’t even sure existed: his daughter Sidney, a nineteen-year-old left behind by her white mother and step-family.

Traumatized by the event, and terrified of the outside world, Sidney has spent a year in isolation in Wisconsin. Desperate for help, she turns to the father she never met, a man she has always resented. Sidney and Charlie meet for the first time as they embark on a journey across a truly “post-racial” America in search for answers. But neither of them are prepared for this new world and how they see themselves in it.

Heading south toward what is now called the Kingdom of Alabama, everything Charlie and Sidney thought they knew about themselves, and the world, will be turned upside down. Brimming with heart and humor, Cebo Campbell’s astonishing debut novel is about the power of community and connection, about healing and self-actualization, and a reckoning with what it means to be Black in America, in both their world and ours.

A stunning collection of Black American horror short stories curated by the prolific author-editor-scholar team of Maurice Broaddus and Dr. Chesya Burke.

Edited by award-winning writer, community organizer and educator Maurice Broaddus and scholar, professor and award-winning author Dr. Chesya Burke, with an introduction by Dr. Burke, Black Horror: Canonical Voices from Then to Now is a landmark anthology offering the evolution of Black American literary horror while boldly imagining its future. The stories within recognize the legacy of Black horror, its literary milestones, cultural roots, and innovative voices, while pushing the genre into new, daring territory. Authors featured in the anthology include: Tananarive Due, P. Djeli Clark, Linda D. Addison, Brandon Massey, Justina Ireland, Jewelle Gomez, Sheree Renee Thomas, Wrath James White and Victor Lavalle. It also includes a small selection of stories chosen from open submissions. This book revels in the power of horror to unsettle, illuminate, or transform, while drawing from Black American cultural histories, mythologies, and lived experiences; it will surprise you with fresh nightmares, folklore, and futures, honoring the past while writing fearlessly toward tomorrow.

The Flame Tree Beyond and Within short story collections bring together tales of myth and imagination by modern and contemporary writers, carefully selected by anthologists, and sometimes featuring short stories from a single author. Overall, the series presents a wide range of diverse and inclusive voices with myth, folkloric-inflected short fiction, and an emphasis on the supernatural, science fiction, the mysterious and the speculative. The books themselves are gorgeous, with foiled covers, printed edges and published only in hardcover editions, offering a lifetime of reading pleasure.

We Need to Talk about Kevin as if written by Jason Reynolds and Tananarive Due meets Model Home by Rivers Solomon in an innovative twist on the haunted house novel: about a mother desperate to protect her sons from the twin specters of gun violence and otherworldly menace in their public housing project.

Nona McKinley raised three boys in the Hester Gardens section of Medford, Michigan, an impoverished community divided by those who follow their faith in God and those who turn to crime to survive. With her drug dealer husband behind bars and her eldest son shot to death at eighteen, Nona has devoted herself to ensuring her other children escape their brother’s fate.

Her second son Marcus is on the right path. He's a valedictorian heading to an Ivy League school. He can get out.

But then, strange things start happening to Nona and other residents: mysterious footsteps are heard when she’s alone, people have phantom encounters in the streets, unattended appliances go off at all hours. Even more concerning is the state of Nona’s living sons. Her youngest, Lance, is hanging around with a bad crowd, and Marcus becomes moody and secretive. Sometimes he even seems to act like a different person entirely.

Nona has her secrets too. Her affair with the married church pastor has been weighing on her conscience, but that’s not the only guilt haunting her. She fears that someone—or something— is seeking revenge for an act she made in a moment of weakness to protect her family. And now everyone in Hester Gardens must pay the price . . .

In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.

Winner of the Bram Stoker Award for Best Novel

In her quickly gentrifying rural lake town Jade sees recent events only her encyclopedic knowledge of horror films could have prepared her for in this latest chilling novel that “will give you nightmares. The good kind, of course” (BuzzFeed) from the Jordan Peele of horror literature, Stephen Graham Jones.

“Some girls just don’t know how to die…”

Shirley Jackson meets Friday the 13th in My Heart Is a Chainsaw, written by the New York Times bestselling author of The Only Good Indians Stephen Graham Jones, called “a literary master” by National Book Award winner Tananarive Due and “one of our most talented living writers” by Tommy Orange.

Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life.

Jade Daniels is an angry, half-Indian outcast with an abusive father, an absent mother, and an entire town that wants nothing to do with her. She lives in her own world, a world in which protection comes from an unusual source: horror movies…especially the ones where a masked killer seeks revenge on a world that wronged them. And Jade narrates the quirky history of Proofrock as if it is one of those movies. But when blood actually starts to spill into the waters of Indian Lake, she pulls us into her dizzying, encyclopedic mind of blood and masked murderers, and predicts exactly how the plot will unfold.

Yet, even as Jade drags us into her dark fever dream, a surprising and intimate portrait emerges…a portrait of the scared and traumatized little girl beneath the Jason Voorhees mask: angry, yes, but also a girl who easily cries, fiercely loves, and desperately wants a home. A girl whose feelings are too big for her body. My Heart Is a Chainsaw is her story, her homage to horror and revenge and triumph.