Though published second after Altmann's Tongue, The Din of Celestial Birds (1997) consists of the best of Evenson's early stories. They take place in a country (perhaps several countries) that seems at once everywhere and nowhere, haunted by birds, ghosts, poverty, tyranny, and the permeability of the line between the living and the dead. These stories offer a heady mix of absurdity and bleakness on the one hand and exuberant magic realism on the other.

In Dark Property, a woman carries a dying baby across a desert waste, moving toward a fortress harboring a mysterious resurrection cult. Menaced by scavengers, she nevertheless begins to suspect that the reality within the fortress may be even more unsettling than the blasted environment outside. In Contagion and Other Stories, Evenson takes his audiences into a world that is at once apocalyptic, dark, observant, and grotesque without ever dipping into static genre conventions.

Imagine having recurring nightmares of a woman who has one normal leg and one baby leg, and then waking up to wonder if today will be the day when they—whoever “they” are—find you and kill you. Unless you’re missing the point. Maybe “they” already have “you” and the world is a great deal more grotesque than you could ever imagine. Film noir collides with virtual worlds in this dark and strange novella that only Brian Evenson could have written.

A woman falling out of sync with the world; a king’s servant hypnotized by his murderous horse; a transplanted ear with a mind of its own—the characters in these 25 stories live as interlopers in a world shaped by mysterious disappearances and unfathomable discrepancies between the real and imagined, revealing the breadth and depth of Evenson’s uncanny vision.

When Rudd, a troubled teenager, embarks on a school research project, he runs across the secret Mormon ritual of blood sacrifice and its role in a 1902 murder committed by the grandson of Brigham Young. Along with his newly discovered half brother, Rudd becomes swept up in the psychological and atavistic effects of this violent, antique ritual. As the past and the present become an increasingly tangled knot, Rudd is found—with minor injuries and few memories—at the scene of a multiple murder on a remote campsite.

X doesn’t have a name. He thought he had one—or many—but that might be the result of the failing memories of the personalities imprinted within him. Or maybe he really is called X. He’s also not as human as he believes himself to be. But when he discovers the existence of another—above ground, outside the protection of the Warren—X must learn what it means to be human, or face the destruction of their two species.

A newborn’s absent face appears on the back of someone else’s head, a filmmaker goes to gruesome lengths to achieve the silence he’s after for his final scene, and a therapist begins, impossibly, to appear in a troubled patient's room late at night. In these stories of doubt, delusion, and paranoia, no belief, no claim to objectivity, is immune to the distortions of human perception. Here, self-deception is a means of justifying our most inhuman impulses—whether we know it or not.

A sentient, murderous prosthetic leg; shadowy creatures lurking behind a shimmering wall; brutal barrow men: Of all the terrors that populate The Glassy, Burning Floor of Hell, perhaps the most alarming are the beings who decimated the habitable Earth: humans. In this new short-story collection, Brian Evenson envisions a chilling future beyond the Anthropocene that forces excruciating decisions about survival and self-sacrifice in the face of toxic air and a natural world torn between revenge and regeneration.

A provocative collection of literary horror stories by one of America’s most acclaimed and inventive writers whose unique prose “can be soul-shaking” (New Yorker).

Lay provost Eldon Fochs is a happily married father of four. Based on his disturbing dreams, he may also be a sex criminal. His therapist isn’t sure, and his church is determined to protect its reputation. Written from the perspectives of Fochs, his analyst Dr. Alexander Feshtig, and the letters exchanged between Feshtig and his superiors in the church, Father of Lies is Brian Evenson’s fable of power, paranoia, and the dangers of blind obedience. It offers a terrifying vision of how far institutions will go to protect themselves from the innocents who may be their victims.

Still reeling from a brutal dismemberment, detective Kline is forcibly recruited to solve a murder inside a religious cult that takes literally the New Testament idea that you should cut off your hand if it offends you. Armed only with his gun, his wits, and a gift for self-preservation, Kline must navigate a gauntlet of lies, threats, and misinformation. All too soon he discovers that the stakes are higher than he thought and that his survival depends on an act of sheer will.

In this new collection, Richard Thomas has crafted 14 stories that push the boundaries of dark fiction in an intoxicating, piercing blend of fantasy, science fiction, and horror. Equally provocative and profound, each story is masterfully woven with transgressive themes that burrow beneath the skin.

Michael Shea (1946-2014) was one of the finest American authors of speculative fiction of modern times, and Polyphemus (1987), originally published as a limited edition hardcover by Arkham House, features the best of his short fiction, in which he deftly blends the genres of horror, fantasy, and science fiction. A landmark collection of modern speculative fiction returns at long last in this edition.

John Langan, author of the Bram Stoker Award-winning novel The Fisherman, returns with ten new tales of cosmic horror in Corpsemouth and Other Autobiographies. In these stories, he continues to chart the course of twenty-first century weird fiction, from the unfamiliar to the familial, the unfathomably distant to the intimate.

Drunk customers. Shoplifting raccoons. Otherworldly visitors. As night shift clerk at the 24-hour gas station at the edge of town, Jack has pretty much seen it all.

A sentient, murderous prosthetic leg; shadowy creatures lurking behind a shimmering wall; brutal barrow men: Of all the terrors that populate The Glassy, Burning Floor of Hell, perhaps the most alarming are the beings who decimated the habitable Earth: humans. In this new short-story collection, Brian Evenson envisions a chilling future beyond the Anthropocene that forces excruciating decisions about survival and self-sacrifice in the face of toxic air and a natural world torn between revenge and regeneration.

Evenson's first collection of 25 short stories and one novella, Altmann's Tongue (1994), garnered comparisons to Paul Bowles, Poe, and Kafka and is considered by many an existential masterpiece.

Still reeling from a brutal dismemberment, detective Kline is forcibly recruited to solve a murder inside a religious cult that takes literally the New Testament idea that you should cut off your hand if it offends you. Armed only with his gun, his wits, and a gift for self-preservation, Kline must navigate a gauntlet of lies, threats, and misinformation. All too soon he discovers that the stakes are higher than he thought and that his survival depends on an act of sheer will.

A woman falling out of sync with the world; a king’s servant hypnotized by his murderous horse; a transplanted ear with a mind of its own—the characters in these 25 stories live as interlopers in a world shaped by mysterious disappearances and unfathomable discrepancies between the real and imagined, revealing the breadth and depth of Evenson’s uncanny vision.

A provocative collection of literary horror stories by one of America’s most acclaimed and inventive writers whose unique prose “can be soul-shaking” (New Yorker).