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› Find signed collectible books: '9 Magic Wishes'
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› Find signed collectible books: 'Bird's Nest'
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› Find signed collectible books: 'Come Along With Me'
If you were thrilled by Shirley Jackson's "The Lottery" but aren't familiar with her other stories, don't miss the chance to pick up this important collection edited by the author's husband. In addition to "The Lottery," it includes classics like "The Beautiful Stranger" (body snatcher theme with a twist), "The Summer People" (a tale of sinister villagers), "A Visit" (a lyrical ghost story), "The Rock" (where death is a short, shy gentleman), and "The Bus" (Jackson's most overtly ghoulish and frightening story of all). The unfinished novel Come Along with Me is mesmerizing, and Jackson's "Biography of a Story" is an utterly hilarious account of readers' reactions when "The Lottery" was first published in the New Yorker in 1948. As the New York Times said, "Everything this author ... has in it the dignity and plausibility of myth ... Shirley Jackson knew better than any writer since Hawthorne the value of haunted things." [via]
› Find signed collectible books: 'The Dark Descent'
If you could have only one anthology of dark stories, this would be the one to have. Having observed that "fans of horror fiction most often restrict their reading to books and stories given a horror category label, thus missing some of the finest pleasures in that fictional mode," David G. Hartwell assembles here 56 important tales within an insightful critical framework; his purpose is to "clear the air and broaden future considerations of horror." Several well-known classics are included, but there are also dozens of lesser-known horror tales, including many by science fiction and literary writers. Get one copy for yourself. Get another for that friend or relative who doesn't understand why you like to read horror. [via]
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› Find signed collectible books: 'Hangsman'
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› Find signed collectible books: 'The Haunting'
Shirley Jackson's The Haunting of Hill House has unnerved readers since its original publication in 1959. A tale of subtle, psychological terror, it has earned its place as one of the significant haunted house stories of the ages.
Eleanor Vance has always been a loner--shy, vulnerable, and bitterly resentful of the 11 years she lost while nursing her dying mother. "She had spent so long alone, with no one to love, that it was difficult for her to talk, even casually, to another person without self-consciousness and an awkward inability to find words." Eleanor has always sensed that one day something big would happen, and one day it does. She receives an unusual invitation from Dr. John Montague, a man fascinated by "supernatural manifestations." He organizes a ghost watch, inviting people who have been touched by otherworldly events. A paranormal incident from Eleanor's childhood qualifies her to be a part of Montague's bizarre study--along with headstrong Theodora, his assistant, and Luke, a well-to-do aristocrat. They meet at Hill House--a notorious estate in New England.
Hill House is a foreboding structure of towers, buttresses, Gothic spires, gargoyles, strange angles, and rooms within rooms--a place "without kindness, never meant to be lived in...."
Although Eleanor's initial reaction is to flee, the house has a mesmerizing effect, and she begins to feel a strange kind of bliss that entices her to stay. Eleanor is a magnet for the supernatural--she hears deathly wails, feels terrible chills, and sees ghostly apparitions. Once again she feels isolated and alone--neither Theo nor Luke attract so much eerie company. But the physical horror of Hill House is always subtle; more disturbing is the emotional torment Eleanor endures. Intense, literary, and harrowing, The Haunting of Hill House belongs in the same dark league as Henry James's classic ghost story, The Turn of the Screw. --Naomi Gesinger [via]
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› Find signed collectible books: 'Haunting of Hill House'
Shirley Jackson's The Haunting of Hill House has unnerved readers since its original publication in 1959. A tale of subtle, psychological terror, it has earned its place as one of the significant haunted house stories of the ages.
Eleanor Vance has always been a loner--shy, vulnerable, and bitterly resentful of the 11 years she lost while nursing her dying mother. "She had spent so long alone, with no one to love, that it was difficult for her to talk, even casually, to another person without self-consciousness and an awkward inability to find words." Eleanor has always sensed that one day something big would happen, and one day it does. She receives an unusual invitation from Dr. John Montague, a man fascinated by "supernatural manifestations." He organizes a ghost watch, inviting people who have been touched by otherworldly events. A paranormal incident from Eleanor's childhood qualifies her to be a part of Montague's bizarre study--along with headstrong Theodora, his assistant, and Luke, a well-to-do aristocrat. They meet at Hill House--a notorious estate in New England.
Hill House is a foreboding structure of towers, buttresses, Gothic spires, gargoyles, strange angles, and rooms within rooms--a place "without kindness, never meant to be lived in...."
Although Eleanor's initial reaction is to flee, the house has a mesmerizing effect, and she begins to feel a strange kind of bliss that entices her to stay. Eleanor is a magnet for the supernatural--she hears deathly wails, feels terrible chills, and sees ghostly apparitions. Once again she feels isolated and alone--neither Theo nor Luke attract so much eerie company. But the physical horror of Hill House is always subtle; more disturbing is the emotional torment Eleanor endures. Intense, literary, and harrowing, The Haunting of Hill House belongs in the same dark league as Henry James's classic ghost story, The Turn of the Screw. --Naomi Gesinger [via]
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› Find signed collectible books: 'Just an Ordinary Day'
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› Find signed collectible books: 'Life Among the Savages'
Can this be the author of such chilling tales as The Lottery and The Haunting of Hill House? An ordinary housewife stuck in a big, shabby house with three marvelous, demanding children and a charming husband who takes detached interest in the chaos they generate? Yes, it's Shirley Jackson all right: the precision of her observations and prose is familiar, even if her humor is something of a surprise. Not until Anne Lamott's Operating Instructions in 1993 would another woman write with such honesty about the maddening multitude of trivial, essential chores that constitute a mother's life. But Jackson nailed it first, 40 years earlier, in her hilarious chronicle of life in a small Vermont town, where getting the kids to school on time requires the combined gifts of a drill sergeant and a lady's maid. The saga of her son's bumpy adjustment to kindergarten, frequently anthologized as Charles, is justly famous, but Jackson's account of the Department Store Trip from Hell (two kids, two toy guns, one doll carriage and doll, mayhem in revolving doors and escalators) is even funnier. Although her memoirs are as merciless as her ghost stories, you may not notice because you're laughing so hard. --Wendy Smith [via]
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› Find signed collectible books: 'The Lottery: And Other Stories'
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› Find signed collectible books: 'The Magic of Shirley Jackson'
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› Find signed collectible books: 'Raising Demons'
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› Find signed collectible books: 'Road Through the Wall'
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› Find signed collectible books: 'Strong Force: The Story of Physicist Shirley Ann Jackson'
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› Find signed collectible books: 'Sundial'
Aunt Fanny has always been somewhat peculiar. No one is surprised that while the Halloran clan gathers at the crumbling old mansion for a funeral she wanders off to the secret garden. But when she reports the vision she had there, the family is engulfed in fear, violence, and madness. For Aunt Fanny's long-dead father has given her the precise date of the final cataclysm!
The Amereon edition is a smythe sewn hardcover book made in the USA. [via]
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› Find signed collectible books: 'We Have Always Lived in the Castle'
Visitors call seldom at Blackwood House. Taking tea at the scene of a multiple poisoning, with a suspected murderess as one's host, is a perilous business. For a start, the talk tends to turn to arsenic. "It happened in this very room, and we still have our dinner in here every night," explains Uncle Julian, continually rehearsing the details of the fatal family meal. "My sister made these this morning," says Merricat, politely proffering a plate of rum cakes, fresh from the poisoner's kitchen. We Have Always Lived in the Castle, Shirley Jackson's 1962 novel, is full of a macabre and sinister humor, and Merricat herself, its amiable narrator, is one of the great unhinged heroines of literature. "What place would be better for us than this?" she asks, of the neat, secluded realm she shares with her uncle and with her beloved older sister, Constance. "Who wants us, outside? The world is full of terrible people." Merricat has developed an idiosyncratic system of rules and protective magic, burying talismanic objects beneath the family estate, nailing them to trees, ritually revisiting them. She has made "a powerful taut web which never loosened, but held fast to guard us" against the distrust and hostility of neighboring villagers.
Or so she believes. But at last the magic fails. A stranger arrives--cousin Charles, with his eye on the Blackwood fortune. He disturbs the sisters' careful habits, installing himself at the head of the family table, unearthing Merricat's treasures, talking privately to Constance about "normal lives" and "boy friends." Unable to drive him away by either polite or occult means, Merricat adopts more desperate methods. The result is crisis and tragedy, the revelation of a terrible secret, the convergence of the villagers upon the house, and a spectacular unleashing of collective spite.
The sisters are propelled further into seclusion and solipsism, abandoning "time and the orderly pattern of our old days" in favor of an ever-narrowing circuit of ritual and shadow. They have themselves become talismans, to be alternately demonized and propitiated, darkly, with gifts. Jackson's novel emerges less as a study in eccentricity and more--like some of her other fictions--as a powerful critique of the anxious, ruthless processes involved in the maintenance of normality itself. "Poor strangers," says Merricat contentedly at last, studying trespassers from the darkness behind the barricaded Blackwood windows. "They have so much to be afraid of." --Sarah Waters [via]
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› Find signed collectible books: 'The Witchcraft of Salem Village'
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