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'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream.\n\nFirst published in 1988, The Wine-Dark Sea contains eight stories that build towards disturbing yet enigmatic endings, including the classic story 'Your Tiny Hand is Frozen.' \n\n'Of all the authors of uncanny tales, Aickman is the best ever . . . His tales literally haunt me; his plots and his turns of phrase run through my head at the most unlikely moments.' Russell Kirk

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream.\n\nFirst published in 1988, The Wine-Dark Sea contains eight stories that build towards disturbing yet enigmatic endings, including the classic story 'Your Tiny Hand is Frozen.' \n\n'Of all the authors of uncanny tales, Aickman is the best ever . . . His tales literally haunt me; his plots and his turns of phrase run through my head at the most unlikely moments.' Russell Kirk

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of Inside Number 9 and The League of Gentlemen -- with an introduction by Reece Shearsmith\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nCold Hand in Mine, first published in 1975, stands as one of Aickman's finest collections and contains eight tales including 'Pages from a Young Girl's Journal' which won the World Fantasy Award. \n\n'He had the ability to invest the daylight world with all the terrors of the night, and specialised in subverting notions of safety and sunshine into something sinister and unforgiving.' Christopher Fowler, Independent

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of Inside Number 9 and The League of Gentlemen -- with an introduction by Reece Shearsmith\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nCold Hand in Mine, first published in 1975, stands as one of Aickman's finest collections and contains eight tales including 'Pages from a Young Girl's Journal' which won the World Fantasy Award. \n\n'He had the ability to invest the daylight world with all the terrors of the night, and specialised in subverting notions of safety and sunshine into something sinister and unforgiving.' Christopher Fowler, Independent

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nDark Entries was first published in 1964 and contains six curious and macabre stories of love, death and the supernatural, including the classic story 'Ringing the Changes'. \n\nRobert Aickman (1914-1981) was the grandson of Richard Marsh, a leading Victorian novelist of the occult. Though his chief occupation in life was first as a conservationist of England's canals he eventually turned his talents to writing what he called 'strange stories.' Dark Entries (1964) was his first full collection, the debut in a body of work that would inspire Peter Straub to hail Aickman as 'this century's most profound writer of what we call horror stories.'

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nDark Entries was first published in 1964 and contains six curious and macabre stories of love, death and the supernatural, including the classic story 'Ringing the Changes'. \n\nRobert Aickman (1914-1981) was the grandson of Richard Marsh, a leading Victorian novelist of the occult. Though his chief occupation in life was first as a conservationist of England's canals he eventually turned his talents to writing what he called 'strange stories.' Dark Entries (1964) was his first full collection, the debut in a body of work that would inspire Peter Straub to hail Aickman as 'this century's most profound writer of what we call horror stories.'

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nThe Unsettled Dust was first published as a collection in 1990. Aickman received the British Fantasy Award for 'The Stains'.\n\n'We are all potential victims of the powers Aickman so skilfully conjures and commands.' Robert Bloch

'Reading Robert Aickman is like watching a magician work, and very often I'm not even sure what the trick was. All I know is that he did it beautifully.' Neil Gaiman\n\nFor fans of the BBC's Inside Number 9 and The League of Gentlemen\n\nAickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream. \n\nThe Unsettled Dust was first published as a collection in 1990. Aickman received the British Fantasy Award for 'The Stains'.\n\n'We are all potential victims of the powers Aickman so skilfully conjures and commands.' Robert Bloch

La raccolta \"Sub rosa\" comprende otto storie che attingono tanto alla tradizione della ghost story classica alla M.R. James, come nell’inquietante “La polvere sospesa”, quanto all’horror psicologico alla Henry James e Walter De La Mare, come nel dramma familiare di “Non più forte di un fiore” o nell’angosciante “La stanza interna”, sino alla tradizione della femme fatale nelle cupe atmosfere lagunari di “Mai visitare Venezia”.

Da quando i suoi genitori sono stati uccisi, Vivienne si è sempre sentita fuori posto, sballottata a destra e a manca in affidamento a diverse famiglie. Proprio quando l'indipendenza sembra finalmente possibile, pochi giorni prima del suo diciottesimo compleanno, è ricoverata in ospedale con sintomi che nessuno riesce a spiegare. Malgrado le perplessità dei medici, Deacon, un misterioso ragazzo, sostiene che abbia un Nevergene attivo. Quella diagnosi inverosimile è accompagnata da un avvertimento: Vivienne sta per diventare una cavia inconsapevole per la Humanitarian Organization for Order and Knowledge (l'Organizzazione Umanitaria per l'Ordine e la Conoscenza) - detta H.O.O.K. -. Per sfuggirvi, Vivienne si rifugia alla Neverland's Kensington Academy e impara a volare (volare per davvero), altrimenti rischia di diventare una cavia umana. Ma accettare un posto tra i PAN significa per lei abbandonare la sua vita e la sua famiglia adottiva per salvaguardare i segreti di Neverland... e rimanervi per sempre...

A dual-authored volume of poems from the multi-award winning Dickman twins - leading voices in America's outstanding generation of younger poets.\n\nAlthough the brothers extol differing inspirations (Matthew writes with the ebullience of Frank O'Hara, Allen Ginsberg and Jack Kerouac, Michael with the control of William Carlos Williams and Emily Dickinson), they are unified by the unflinching, remarkable verse they wrote when their older sibling tragically took his own life. It is these moving, grieving but life-affirming poems that solely comprise this dual-authored volume. Published in an inventive tête-bêche edition, the poems appear head-to-toe, communing in the middle, making Brother a searing but ultimately up-lifting journey of grief, love and family.\n\n'Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality . . . together, the resonance of the work is amplified.' New Yorker\n\nMatthew Dickman is the author of All-American Poem (2008), 50 American Plays (co-written with his twin brother Michael Dickman, 2012), Mayakovsky's Revolver (2012),Wish You Were Here (2013) and 24 HOURS (2014). He is the recipient of The May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College and a 2015 Guggenheim award. Matthew Dickman is the Poetry Editor of Tin House magazine. He lives in Portland, Oregon.\n\nMichael Dickman is the author of three books of poems, The End of the West (2009), Flies (2011, Winner of the James Laughlin Award), and Green Migraine (2015), as well as a book of plays, 50 American Plays, co-written with his twin brother, Matthew Dickman, in 2012. He lives in Princeton, New Jersey, where he is on the faculty at Princeton University.

A dual-authored volume of poems from the multi-award winning Dickman twins - leading voices in America's outstanding generation of younger poets.\n\nAlthough the brothers extol differing inspirations (Matthew writes with the ebullience of Frank O'Hara, Allen Ginsberg and Jack Kerouac, Michael with the control of William Carlos Williams and Emily Dickinson), they are unified by the unflinching, remarkable verse they wrote when their older sibling tragically took his own life. It is these moving, grieving but life-affirming poems that solely comprise this dual-authored volume. Published in an inventive tête-bêche edition, the poems appear head-to-toe, communing in the middle, making Brother a searing but ultimately up-lifting journey of grief, love and family.\n\n'Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality . . . together, the resonance of the work is amplified.' New Yorker\n\nMatthew Dickman is the author of All-American Poem (2008), 50 American Plays (co-written with his twin brother Michael Dickman, 2012), Mayakovsky's Revolver (2012),Wish You Were Here (2013) and 24 HOURS (2014). He is the recipient of The May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College and a 2015 Guggenheim award. Matthew Dickman is the Poetry Editor of Tin House magazine. He lives in Portland, Oregon.\n\nMichael Dickman is the author of three books of poems, The End of the West (2009), Flies (2011, Winner of the James Laughlin Award), and Green Migraine (2015), as well as a book of plays, 50 American Plays, co-written with his twin brother, Matthew Dickman, in 2012. He lives in Princeton, New Jersey, where he is on the faculty at Princeton University.

When a man's body is discovered near the picturesque town of Hay-on-Wye, his death appears to be 'unnatural' in every sense. Merrily Watkins is drafted in to investigate.\n\n'Rickman's writing style reflects his subject matter: spooky and indirect, elegantly crafted but always a sense of shadow behind you, that you've missed something you should have seen.' - New York Review Of Books\n\n'The wind was rising. A smokey cloud-mass shaped like a rabbit made a forward bound in slow motion and came apart over Hay Castle a mile away on the horizon . . .'\n\nHay-on-Wye: the Welsh-border town that became world-famous for declaring independence and crowning its own king. But now black clouds are gathering, to meet rising shadows from the past. As the town fights for its future, a man drowns in a deep pool below a waterfall, a woman disappears, and diocesan exorcist Merrily Watkins - alone and vulnerable - uncovers a secret history of dark magic and ritual murder.

When a man's body is discovered near the picturesque town of Hay-on-Wye, his death appears to be 'unnatural' in every sense. Merrily Watkins is drafted in to investigate.\n\n'Rickman's writing style reflects his subject matter: spooky and indirect, elegantly crafted but always a sense of shadow behind you, that you've missed something you should have seen.' - New York Review Of Books\n\n'The wind was rising. A smokey cloud-mass shaped like a rabbit made a forward bound in slow motion and came apart over Hay Castle a mile away on the horizon . . .'\n\nHay-on-Wye: the Welsh-border town that became world-famous for declaring independence and crowning its own king. But now black clouds are gathering, to meet rising shadows from the past. As the town fights for its future, a man drowns in a deep pool below a waterfall, a woman disappears, and diocesan exorcist Merrily Watkins - alone and vulnerable - uncovers a secret history of dark magic and ritual murder.

December, and the river is rising. The village of Ledwardine has never been flooded in living memory. Within days it will be an island. There's no electricity. The church is serving as a temporary mortuary for two people who drowned. Only one man feels safer. An aggressively-atheist author has been moved, for his own safety, Rushdie-style, into a secluded house just outside the village. Fundamentalist Christians have hated him for years. Now he's offended the Muslims. Bad move. Meanwhile, archaeologists, assisted by Merrily's teenage daughter, Jane, are at work in Coleman's Meadow, unearthing an ancient row of standing stones which some people would rather stay buried. The atheist's temporary home is close to the site. And his young wife is becoming conspicuously agitated. Is it the fear of discovery -- or the kind of fear that she, of all people, could never disclose? One thing is clear: the last person who's going to be welcome in that house is an exorcist.\nWith the flood water washing up Church Lane towards the vicarage and the shop running out of cigarettes it looks like a cold and complex Christmas for Merrily Watkins in an ancient community forced to untangle its own history against the swirling uncertainty of the future.