Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

As the author of more than two dozen novels and hundreds of short stories, as well as essays, reviews, and columns, Ramsey Campbell is one of the most prolific writers in the field of horror literature. The consistently high level of quality in his work has resulted in every major award that weird fiction has to offer, including the Grand Master Award of the World Horror Convention, the Lifetime Achievement Award of the Horror Writers Association, and the Living Legend Award of the International Horror Guild. Strangely, though, relatively little criticism has been written about Campbell. In Ramsey Campbell: Critical Essays on the Modern Master of Horror, Gary William Crawford has assembled a collection of articles that examine the work of one of weird fiction's most revered writers. These essays looks at a number of elements that characterize Campbell's stories and novels, including comparisons to H.P. Lovecraft, who was an early inspiration; Campbell's modern variations of Gothic fiction; his concept of evil; religious subtext in his fiction; and how adversities Campbell has faced have shaped his life and his work. In all, these essays pay homage to Campbell's painstaking craftsmanship and show that there is much to be mined in his fiction. Because Campbell is so important in the genre of horror literature, this book serves as a much needed affirmation of his work. It will be of interest to scholars of supernatural fiction in general, but also to devoted fans of this major figure in weird fiction.

Throughout its limited run beginning in 2014, the HBO series True Detective has presented viewers with unique takes on the American crime drama on television, marked by literary and cinematic influences, heavyweight performances, and an experimental approach to the genre. At times celebrated and opposed, the series has ignited a range of ongoing critical conversations about representations of gender, depictions of place, and narrative forms. True Detective: Critical Essays on the HBO Series includes a breadth of scholarly chapters that cross disciplinary boundaries, interrogate a range of topics, and ultimately promise to further contribute to critical debates surrounding the series.

Alexander Lindsay (1812 80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 3 covers the schools of Siena, Florence and Bologna, then moves north to look at Cologne, D rer, and Cranach, the Van Eycks and the Netherlandish School. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.

Alexander Lindsay (1812 80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 2 covers Gothic architecture; the art of the Lombards; Pisano and Giotto, and their schools and followers. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.

Alexander Lindsay (1812 80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 1 covers philosophical method, Christian symbolism and mythology, Roman art, and Byzantine art, which Lindsay sees as having stimulated the Western revival. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.

From the first shot fired by his grandfather on a jungle trail in 1903 to the day his father captured plans for the Chinese invasion of South Korea, William Crawford Woods’s family has fought in nearly every American war of the twentieth century. Drawing on his family’s letters, journals, official records, and other artifacts found in his grandmother’s attic, Woods has revived their stories—accounts of his grandfather, who served in the Philippine War and World War I; of his uncle, who rose from a West Point cadet to staff command in the 11th Airborne and died in action in the Battle of Manila in World War II; and of his own father, who transformed himself from a sedentary lawyer into a soldier and a spy. To lighten the dramatic and emotional load of his family’s service, Woods occasionally calls on memories of his own time in the army, which he calls “brief, bloodless, and largely comic.”Woods fortifies this work of nonfiction with his skills as a novelist, crafting dramatic scenes and engaging dialog, offering far more than operational battlefield stories. He explores the wider impact of war, as we learn of his grandfather’s struggles with his wife’s patrician parents; his uncle’s involvement with Cy Caldwell, a superstar aviator of the 1930s; and his father’s swift ascent from civilian to counterspy. Stand in the Fire is both an engrossing chronicle of a family who served in every American conflict from the Philippine War to the Cold War and a profoundly personal window into a family’s patriotic inheritance. This intimately documented history vividly conveys successive generations’ personal calls to serve, tells the stories of their paths to selfhood through military experience, and reflects on how they found fulfillment and adventure in their service, as well as evasion of the domestic scene. Woods has skillfully created a memoir about the construction of memory forged in military service and American masculinity. Stand in the Fire is a powerful exploration of the love between fathers and sons and an attempt to honor family valor. “I became aware of a debt to my ancestors I felt I could discharge by writing this book,” Woods writes. “It was a way of keeping faith with those ancestors.”