Empfehlungen basierend auf "Mary"

"A surreal excursion into heartache and horror narrated by a man undone by grief . . . Along with allusions to Rod Serling and The Exorcist, there are shades of H. P. Lovecraft, Stephen King, zombie literature and, at least once, A Hitchhiker’s Guide to the Galaxy . . . You don't want to read this book right before bed." ―Sarah Lyall, The New York Times Book Review“This intense cosmic horror with a touch of Mexican American folklore is incredibly creepy and moving.” ―Margaret Kingsbury, BuzzFeedIt was Vera’s idea to buy the Itza. The “world’s most advanced smart speaker!” didn’t interest Thiago, but Vera thought it would be a bit of fun for them amidst all the strange occurrences happening in the condo. It made things worse. The cold spots and scratching in the walls were weird enough, but peculiar packages started showing up at the house―who ordered industrial lye? Then there was the eerie music at odd hours, Thiago waking up to Itza projecting light shows in an empty room.It was funny and strange right up until Vera was killed, and Thiago’s world became unbearable. Pundits and politicians all looking to turn his wife’s death into a symbol for their own agendas. A barrage of texts from her well-meaning friends about letting go and moving on. Waking to the sound of Itza talking softly to someone in the living room . . .The only thing left to do was get far away from Chicago. Away from everything and everyone. A secluded cabin in Colorado seemed like the perfect place to hole up with his crushing grief. But soon Thiago realizes there is no escape―not from his guilt, not from his simmering rage, and not from the evil hunting him, feeding on his grief, determined to make its way into this world.A bold, original horror novel about grief, loneliness and the oppressive intimacy of technology, This Thing Between Us marks the arrival of a spectacular new talent.

From the macabre mind of a Bram Stoker Award-nominated author, this heart-pounding novel of horror and psychological suspense takes a ghost hunting reality TV crew into a world they could never have imagined.Fade to Black is the newest hit ghost hunting reality TV show. Led by husband and wife team Matt and Claire Kirklin, it delivers weekly hauntings investigated by a dedicated team of ghost hunting experts.Episode Thirteen takes them to every ghost hunter's holy grail: the Paranormal Research Foundation. This brooding, derelict mansion holds secrets and clues about bizarre experiments that took place there in the 1970s. It's also famously haunted, and the team hopes their scientific techniques and high tech gear will prove it. But as the house begins to reveal itself to them, proof of an afterlife might not be everything Matt dreamed of. A story told in broken pieces, in tapes, journals, and correspondence, this is the story of Episode Thirteen—and how everything went terribly, horribly wrong."An epistolary descent into a living nightmare . . . well-written and genuinely unsettling. Fans of paranormal documentaries, ghost-hunting shows, and found-footage horror will lose their minds over this one." —Kealan Patrick Burke, Bram Stoker Award winning author of Kin“A beautiful Russian doll of a story… Episode Thirteen hooks you, creeps you out, and then it overwhelms you. It’s House of Leaves meets Haunting of Hill House, in all the best possible ways.”—Peter Clines, NYT bestselling author of The Broken RoomFor more from Craig DiLouie, check out:The Children of Red PeakOur WarOne of Us

NATIONAL BESTSELLER • A high-stakes hide-and-seek competition turns deadly in this “marvelously creepy thrill ride of a book that keeps twisting until the very end” (Karen M. McManus, author of One of Us Is Lying)“The suspenseful plot combines elements of Thomas Tryon’s classic Harvest Home, Netflix’s Squid Game, and the social commentary of Jordan Peele’s film oeuvre and mixes these with a revelatory pacing reminiscent of Spielberg’s Jaws.”—BooklistThe challenge: Spend a week hiding in an abandoned amusement park and don’t get caught.The prize: enough money to change everything.Even though everyone is desperate to win—to seize a dream future or escape a haunting past—Mack is sure she can beat her competitors. All she has to do is hide, and she’s an expert at that.It’s the reason she’s alive and her family isn’t.But as the people around her begin disappearing one by one, Mack realizes that this competition is even more sinister than she imagined, and that together might be the only way to survive.Fourteen competitors. Seven days. Everywhere to hide but nowhere to run.Come out, come out, wherever you are.

Paul Tremblay’s terrifying twist to the home invasion novel—inspiration for the upcoming major motion picture from Universal Pictures“Tremblay’s personal best. It’s that good.” — Stephen KingSeven-year-old Wen and her parents, Eric and Andrew, are vacationing at a remote cabin on a quiet New Hampshire lake. Their closest neighbors are more than two miles in either direction along a rutted dirt road.One afternoon, as Wen catches grasshoppers in the front yard, a stranger unexpectedly appears in the driveway. Leonard is the largest man Wen has ever seen, but he is young, friendly, and he wins her over almost instantly. Leonard and Wen talk and play until Leonard abruptly apologizes and tells Wen, “None of what’s going to happen is your fault.” Three more strangers then arrive at the cabin carrying unidentifiable, menacing objects. As Wen sprints inside to warn her parents, Leonard calls out: “Your dads won’t want to let us in, Wen. But they have to. We need your help to save the world.”Thus begins an unbearably tense, gripping tale of paranoia, sacrifice, apocalypse, and survival that escalates to a shattering conclusion, one in which the fate of a loving family and quite possibly all of humanity are entwined. The Cabin at the End of the World is a masterpiece of terror and suspense from the fantastically fertile imagination of Paul Tremblay.

This genre-defying, Shirley Jackson and Bram Stoker award-winning thriller follows a father desperate to salvage what's left of his family—even if it means a descent into violence.Buried in debt due to his young daughter’s illness, his marriage at the brink, Mario reluctantly takes a job as a hitman, surprising himself with his proclivity for violence. After tragedy destroys the life he knew, Mario agrees to one final job: hijack a cartel’s cash shipment before it reaches Mexico. Along with an old friend and a cartel-insider named Juanca, Mario sets off on the near-suicidal mission, which will leave him with either a cool $200,000 or a bullet in the skull. But the path to reward or ruin is never as straight as it seems. As the three complicated men travel through the endless landscape of Texas, across the border and back, their hidden motivations are laid bare alongside nightmarish encounters that defy explanation. One thing is certain: even if Mario makes it out alive, he won’t return the same.The Devil Takes You Home is a panoramic odyssey for fans of S.A. Cosby’s southern noir, Blacktop Wasteland, by way of the boundary-defying storytelling of Stephen Graham Jones and Silvia Moreno-Garcia.NAMED A BEST BOOK OF THE YEAR BY: NPR, Harper's Bazaar, Chicago Tribune, Vulture, Oprah Daily, CrimeReads, The Millions, and many more!An Edgar Award Finalist • A Bram Stoker Award Winner • A Shirley Jackson Award Winner • A Book of the Month Club Pick • An August Indie Next List Selection • An ABA Indie Bestseller

“Wild, mesmerizing, perversely witty….A Valentine from hell.”—Janet Maslin, New York TimesThe publication of Joe Hill’s beautifully textured, deliciously scary debut novel Heart-Shaped Box was greeted with the sort of overwhelming critical acclaim that is rare for a work of skin-crawling supernatural terror. It was cited as a Best Book of the Year by Atlanta magazine, the Tampa Tribune, the St. Louis Post Dispatch, and the Village Voice, to name but a few. Award-winning, #1 New York Times bestselling Neil Gaiman of The Sandman, The Graveyard Book, and Anansi Boys fame calls Joe Hill’s story of a jaded rock star haunted by a ghost he purchased on the internet, “relentless, gripping, powerful.” Open this Heart-Shaped Box from two-time Bram Stoker Award-winner Hill if you dare and see what all the well-deserved hoopla is about.

A new mom in need of help opens her door to her long-estranged mother—only to invite something much darker inside—in this "fast-paced and frightening debut" (Rachel Harrison) about the long shadows cast by family secrets, perfect for readers of Grady Hendrix or Ashley Audrain.Flora is a new mom enamored of her baby girl, Iris, who has arrived a few weeks early. But with her husband still deployed, Flora must navigate the newborn stage alone. As the sleepless nights pass in the loneliness of their half-empty home, the edges of her reality begin to blur.Just as Flora becomes convinced she is losing her mind, a surprising guest shows up to help: Flora’s own mother, to whom she hasn’t spoken in years. Can they mend their fraught relationship? Or is there more that Flora’s mother isn’t telling her about the events that led to their estrangement?As stranger and scarier events unfold, Flora begins to fear that her mother’s secrets have allowed something truly evil to enter her home. She must decide: is her hold on reality slipping dangerously away? Or is she, in fact, the only thing standing between a terrifying visitor and her baby?

Pre-order now to get a book with red-stained edges – available only on the first printing!A chilling twist on the “cursed film” genre from the bestselling author of The Pallbearers Club and The Cabin at the End of the World.In June 1993, a group of young guerilla filmmakers spent four weeks making Horror Movie, a notorious, disturbing, art-house horror flick.The weird part? Only three of the film’s scenes were ever released to the public, but Horror Movie has nevertheless grown a rabid fanbase. Three decades later, Hollywood is pushing for a big budget reboot.The man who played “The Thin Kid” is the only surviving cast member. He remembers all too well the secrets buried within the original screenplay, the bizarre events of the filming, and the dangerous crossed lines on set that resulted in tragedy. As memories flood back in, the boundaries between reality and film, past and present start to blur. But he’s going to help remake the film, even if it means navigating a world of cynical producers, egomaniacal directors, and surreal fan conventions—demons of the past be damned.But at what cost?Horror Movie is an obsessive, psychologically chilling, and suspenseful feat of storytelling genius that builds inexorably to an unforgettable, mind-bending conclusion.

"A feminist gothic that evokes Shirley Jackson’s The Haunting of Hill House." -- New York Times Book ReviewOnce upon a time Orla was: a woman, a painter, a lover. Now she is a mother and a wife, and when her husband Nick suggests that their city apartment has grown too small for their lives, she agrees, in part because she does agree, and in part because she is too tired to think about what she really does want. She agrees again when Nick announces with pride that he has found an antiquated Georgian house on the Dorset cliffs—a good house for children, he says, tons of space and gorgeous grounds. But as the family settles into the mansion—Nick absent all week, commuting to the city for work—Orla finds herself unsettled. She hears voices when no one is around; doors open and close on their own; and her son Sam, who has not spoken in six months, seems to have made an imaginary friend whose motives Orla does not trust.Four decades earlier, Lydia moves into the same house as a live-in nanny to a grieving family. Lydia, too, becomes aware of intangible presences in the large house, and she, like Orla four decades later, becomes increasingly fearful for the safety of the children in her care. But no one in either woman’s life believes her: the stories seem fanciful, the stuff of magic and mayhem, sprung from the imaginations of hysterical women who spend too much time in the company of children.Are both families careening towards tragedy? Are Orla and Lydia seeing things that aren’t there? What secrets is the house hiding? A feminist gothic tale perfectly suited for the current moment, A Good House for Children combines an atmospheric mystery with resonant themes of motherhood, madness, and the value of a woman’s work.

NATIONAL BESTSELLER • Blue skies, empty land—and enough wide-open space to hide a horrifying secret. A woman with a past, a mysterious trunk, a town on the edge of nowhere, and an “absorbing, powerful” (BuzzFeed) new vision of the American West, from the award-winning author of The Changeling.“Propulsive . . . LaValle combines chills with deep insights into our country’s divides.”—Los Angeles TimesONE OF BOOKPAGE'S TEN BEST BOOKS OF THE YEAR • FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE AND LOCUS AWARD • LONGLISTED FOR THE MARK TWAIN AMERICAN VOICE IN LITERATURE AWARDA BEST BOOK OF THE YEAR: The New York Times Book Review, Time, NPR, Chicago Tribune, Los Angeles Times, The Washington Post, Esquire, Vulture, Paste, Tordotcom, Book Riot, Polygon, Chicago Public Library, Kirkus Reviews, Library JournalAdelaide Henry carries an enormous steamer trunk with her wherever she goes. It’s locked at all times. Because when the trunk opens, people around Adelaide start to disappear.The year is 1915, and Adelaide is in trouble. Her secret sin killed her parents, forcing her to flee California in a hellfire rush and make her way to Montana as a homesteader. Dragging the trunk with her at every stop, she will become one of the “lone women” taking advantage of the government’s offer of free land for those who can tame it—except that Adelaide isn’t alone. And the secret she’s tried so desperately to lock away might be the only thing that will help her survive the harsh territory.Crafted by a modern master of magical suspense, Lone Women blends shimmering prose, an unforgettable cast of adventurers who find horror and sisterhood in a brutal landscape, and a portrait of early-twentieth-century America like you’ve never seen. And at its heart is the gripping story of a woman desperate to bury her past—or redeem it.