Little Sister Death is the stunning 'lost' horror novel of the late William Gay. Inspired by the famous 19th Century Bell Witch haunting of Tennessee, it follows the unravelling life of David Binder, a writer who moves his young family to a haunted farmstead to try and find inspiration for his faltering work. Beautifully written and structured, Little Sister, Death is a loving and faithful addition to the field of classic horror writing, eschewing any notions of irony or post-modern tricks as it aims, instead, straight for your soul.

From a celebrated master of the Southern Gothic comes a last collection of hard-hitting short fiction, his final posthumous work Beloved for his novels Twilight, The Long Home, and The Lost Country and his groundbreaking collection I Hate to See That Evening Sun Go Down, William Gay returns with one final posthumous collection of short stories, adapted from the archive found after his death in February 2012. In addition to previously unpublished short stories, Stories from the Attic includes fragments from two of the unpublished novels that were works in progress at the time of his death. Marked by his signature skill and bare-knuckled insight, this collection is a must-read for William Gay devotees and fans of Southern short fiction.

Nathan Winer is unknowingly working for a man who killed his father and has designs on his lover, and who brings with him a satanic force to the deep South. William Tell Oliver is the only member of the community to recognise the evil lurking within in the shape of Dallas Hardin but his inability to act at the most crucial of moments nearly yields disastrous consequences. William Gay's first novel is an epic narrative of love, death, faith and violence. It has earned him comparison with the greatest writers of the American South - Flannery O'Connor, Cormac McCarthy and Tennessee Williams.

Ten years after it was first announced, Dzanc is proud to deliver the lost novel from a master of the Southern Gothic--the work William Gay fans have anticipated for a decade.

Billy Edgewater is a harbinger of doom. Estranged from his family, discharged from the Navy, and touched by a rising desperation, he sets out hitchhiking home to East Tennessee, where his father is slowly dying.

On the road, separately, are Sudy and Bradshaw, brother and sister, and a one-armed con man named Roosterfish. All, in one way or another, have their pasts and futures embroiled with D.L. Harkness, a predator in all the ways there are. Hounded at every turn by scams, vigilantes, grievous loss, and unspeakable violence, Edgewater navigates the long road home, searching for a place that may be nothing but memory.

Hailed as "a seemingly effortless storyteller" by the New York Times Book Review and "a writer of striking talent" by the Chicago Tribune, William Gay, with this long-awaited novel, secures his place alongside Faulkner, O'Connor, and McCarthy as one of the greatest novelists in the Southern Gothic tradition.

Ottoman Architecture is the first modern history of Ottoman architecture written by Ottomans themselves, yet it is little known outside the field of late Ottoman studies. This magnificently-illustrated volume codifies the empire’s architectural history into a series of preliminary stages culminating in the efflorescence of the Ottoman classical tradition in the 16th century. At the same time, the text positions this imperial architectural legacy in relation to modernising projects in the late Ottoman Empire; in particular, the 'Ottoman architectural Renaissance' sponsored by Sultan Abdülaziz (r. 1861 face=Calibri>–1876). Moreover, as has been argued in other research, architecture is a prism through which the authors offer a larger analysis of modernity in the Ottoman Empire; an analysis where built heritage serves 'as an index for various stages in the transformation of the Ottoman state and civilization'.

When teenagers Kenneth and Corrie Tyler venture to their father's graveside they make a horrific discovery: their father is not buried in the casket they bought for him. The undertaker, Fenton Breece, has been grotesquely manipulating the dead. Armed with incriminating photographs, Tyler faces a desperate pursuit through eerie backwoods filled with tangled roads, rusted machinery, lost families and witches, and the most compelling Southern Gothic novel of the year.

Gay maps out a landscape of love and death, exploring the terrain where a person's love of life interacts with their fear of the dark unknown. He portrays a character looking for love that reaches beyond death--with occasional morbid consequences.

William Gay established himself as "the big new name to include in the storied annals of Southern Lit" (Esquire) with his debut novel, The Long Home, and his highly acclaimed follow-up, Provinces of Night. Like Faulkner's Mississippi and Cormac McCarthy's American West, Gay's Tennessee is redolent of broken souls. Mining that same fertile soil, his debut collection, I Hate to See That Evening Sun Go Down, brings together thirteen stories charting the pathos of interior lives. Among the colorful people readers meet are: old man Meecham, who escapes from his nursing home only to find his son has rented their homestead to "white trash"; Quincy Nell Qualls, who not only falls in love with the town lothario but, pregnant, faces an inescapable end when he abandons her; Finis and Doneita Beasley, whose forty-year marriage is broken up by a dead dog; and Bobby Pettijohn -- awakened in the night by a search party after a body is discovered in his back woods.

William Gay expertly sets these conflicted characters against lush backcountry scenery and defies our moral logic as we grow to love them for the weight of their human errors.

Suspecting that something is amiss with their father's burial, teenager Kenneth Tyler and his sister Corrie venture to his gravesite and make a horrific discovery: their father, a whiskey bootlegger, was not actually buried in the casket they bought for him. Worse, they learn that the undertaker, Fenton Breece, has been grotesquely manipulating the dead. Armed with incriminating photographs, Tyler becomes obsessed with bringing the perverse undertaker to justice. But first he must outrun Granville Sutter, a local strongman and convicted murderer hired by Fenton to destroy the evidence. What follows is an adventure through the Harrikin, an eerie backwoods filled with tangled roads, rusted machinery, and eccentric squatters--old men, witches, and families among them--who both shield and imperil Tyler as he runs for safety. With his poetic, haunting prose, William Gay rewrites the rules of the gothic fairytale while exploring the classic Southern themes of good and evil.

It’s 1952, and E.F. Bloodworth is finally coming home to Ackerman’s Field, Tennessee. Itinerant banjo picker and volatile vagrant, he’s been gone ever since he gunned down a deputy thirty years before. Two of his sons won’t be home to greet him: Warren lives a life of alcoholic philandering down in Alabama, and Boyd has gone to Detroit in vengeful pursuit of his wife and the peddler she ran off with. His third son, Brady, is still home, but he’s an addled soothsayer given to voodoo and bent on doing whatever it takes to keep E.F. from seeing the wife he abandoned. Only Fleming, E.F.’s grandson, is pleased with the old man’s homecoming, but Fleming’s life is soon to careen down an unpredictable path hewn by the beautiful Raven Lee Halfacre.

In the great Southern tradition of Faulkner, Styron, and Cormac McCarthy, William Gay wields a prose as evocative and lush as the haunted and humid world it depicts. Provinces of Night is a tale redolent of violence and redemption–a whiskey-scented, knife-scarred novel whose indelible finale is not an ending nearly so much as it is an apotheosis.

The "Alumni Grill" showcases new stories by award-winning Veterans from the first two Blue Moon Cafe collections hand-picked by editors William Gay and Suzanne Kingsbury. In this stunning anthology of Southern prose and poetry, beloved authors such as Tom Franklin, Suzanne Hudson and Brad Watson take us from the deep South of Alabama, through back-country Mississippi, to the hills of Appalachia. We feel the aftermath of murder, marvel at motherhood, taste sumptuous Southern cooking, stay out all night fishing, and ache from lost love. For fans of the Blue Moon Cafe series and anyone who loves short fiction, this collection highlights the endlessly rich and varied voices of the South.