Books like The Tale of Raw Head and Bloody Bones by Jack Wolf

An allegorical novella descibing the rehabilitation of bitter, miserly businessman Ebenezer Scrooge. The reader is witness to his transformation as Scrooge is shown the error of his ways by the ghost of former partner Jacob Marley and the spirits of Christmas past, present and future. The first of the Christmas books (Dickens released one a year from 1843–1847) it became an instant hit.

Brought up in the household of a powerful Baron, Candide is an open-minded young man, whose tutor, Pangloss, has instilled in him the belief that 'all is for the best'. But when his love for the Baron's rosy-cheeked daughter is discovered, Candide is cast out to make his own way in the world. And so he and his various companions begin a breathless tour of Europe, South America and Asia, as an outrageous series of disasters befall them - earthquakes, syphilis, a brush with the Inquisition, murder - sorely testing the young hero's optimism.

Chiunque abbia visto qualche film del terrore con al centro una costruzione abitata da sinistre presenze si sarà trovato a chiedersi almeno una volta perché le vittime di turno (giovani coppie, gruppi di studenti, scrittori alla vana ricerca di ispirazione) non optino, prima che sia troppo tardi, per la soluzione più semplice – e cioè non escano dalla stessa porta dalla quale sono entrati, allontanandosi senza voltarsi indietro. Bene, a tale domanda, meno oziosa di quanto potrebbe parere, questo romanzo di Shirley Jackson – il suo più noto – fornisce una risposta, forse la prima. Non è infatti la fragile, sola, indifesa Eleanor Vance a scegliere la Casa, dilatando l’esperimento paranormale in cui l’ha coinvolta l’inquietante professor Montague molto oltre i suoi presunti limiti. È piuttosto la Casa – con la sua torre buia, le porte che sembrano aprirsi da sole, le improvvise folate di gelo – a scegliere, per sempre, Eleanor Vance. E a imprigionare insieme a lei il lettore, che tenterà invano di fuggire da una costruzione romanzesca senza crepe, in cui – come ha scritto il più celebre discepolo della Jackson, Stephen King – «ogni svolta porta dritta in un vicolo buio».

The governess of two enigmatic children fears their souls are in danger from the ghosts of the previous governess and her sinister lover.

The children were at the Theatre, acting to Three Cows as much as they could remember of Midsummer Night's Dream. Their father had made them a small play out of the big Shakespeare one, and they had rehearsed it with him and with their mother till they could say it by heart. They began when Nick Bottom the weaver comes out of the bushes with a donkey's head on his shoulders, and finds Titania, Queen of the Fairies, asleep. The children are put in deep holes in the ground and then shot. The Queen of The Fairies was going to save them but she fell a sleep in the bushes.

Two 19th century stage illusionists, the aristocratic Rupert Angier and the working-class Alfred Borden, engage in a bitter and deadly feud; the effects are still being felt by their respective families a hundred years later. Working in the gaslight-and-velvet world of Victorian music halls, they prowl edgily in the background of each other's shadowy life, driven to the extremes by a deadly combination of obsessive secrecy and insatiable curiosity. At the heart of the row is an amazing illusion they both perform during their stage acts. The secret of the magic is simple, and the reader is in on it almost from the start, but to the antagonists the real mystery lies deeper. Both have something more to hide than the mere workings of a trick.

"When newly widowed Elsie is sent to see out her pregnancy at her late husband's crumbling country estate, The Bridge, what greets her is far from the life of wealth and privilege she was expecting. When Elsie married handsome young heir Rupert Bainbridge, she believed she was destined for a life of luxury. But with her husband dead just weeks after their marriage, her new servants resentful, and the local villagers actively hostile, Elsie has only her husband's awkward cousin for company. Or so she thinks. Inside her new home lies a locked door, beyond which is a painted wooden figure--a silent companion--that bears a striking resemblance to Elsie herself. The residents of The Bridge are terrified of the figure, but Elsie tries to shrug this off as simple superstition--that is, until she notices the figure's eyes following her. A Victorian ghost story that evokes a most unsettling kind of fear, this is a tale that creeps its way through the consciousness in ways you least expect--much like the silent companions themselves"--

The third book to feature the classic crime-solving detective, Chief Inspector Wexford. Anita Margolis has vanished. Dark and exquisite, Anita's character is as mysterious as her disappearance. There was no body, no crime - nothing more concrete than an anonymous letter and the intriguing name of Smith. According to headquarters, it wasn't to be considered a murder enquiry at all. With the letter providing them with only one questionable lead to follow, Wexford and his sidekick Inspector Burden are compelled to make enquiries. They soon discover Anita is wealthy, flighty, and thoroughly immoral. The straight-laced Burden has a very clear idea of what happened to her. But Wexford has his own suspicions...

1919. Mama is ill. Father has taken a job abroad. Nanny Jane is too busy to pay any attention to Henrietta and the things she sees - or thinks she sees - in the shadows of their new home, Hope House. All alone, with only stories for company, Henry discovers that Hope House is full of strange secrets: a forgotten attic, ghostly figures, mysterious firelight that flickers in the trees beyond the garden. One night she ventures into the darkness of Nightingale Wood. What she finds there will change her whole world...

Trey thought he was the only one..

Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.

Torn between her heart’s passion and duty to her kingdom, a young queen makes a dark choice… Robert Dudley, Earl of Leicester was the most powerful man in England during the reign of Elizabeth I. Handsome and clever, he drew the interest of many women—but it was Elizabeth herself that loved him best of all. Their relationship could have culminated in marriage but for the existence of Amy Robsart, Robert's tragic young wife, who stood between them and refused to be swept away to satisfy a monarch’s desire for a man that was not rightfully her own. But when Amy suddenly dies, under circumstances that many deem to be mysterious at best, the Queen and her lover are placed under a dark cloud of suspicion, and Elizabeth is forced to make a choice that will define her legacy.

During a time of great upheaval, the citizens of Venice make a pact that will change the world. The landsmen of the city broker a treaty with a water-dwelling tribe of deepsmen, cementing the alliance through marriage. The mingling of the two races produces a fresh, peerless strain of royal blood. To protect their shores, other nations make their own partnerships with this new breed--and then, jealous of their power, ban any further unions between the two peoples. Dalliance with a deepswoman becomes punishable by death. Any "bastard" child must be destroyed. This is an Earth where the legends of the deep are true--where the people of the ocean are as real and as dangerous as the people of the land. This is the world of intrigue and betrayal that Kit Whitfield brings to life in an unforgettable alternate history: the tale of Anne, the youngest princess of a faltering England, struggling to survive in a troubled court, and Henry, a bastard abandoned on the shore to face his bewildering destiny, finding himself a pawn in a game he does not understand.Yet even a pawn may checkmate a king.

"Arthur Kipps, a junior solicitor, is summoned to attend the funeral of Mrs Alice Drablow, the sole inhabitant of Eel Marsh House, unaware of the tragic secrets which lie hidden behind the shuttered windows. The house stands at the end of a causeway, wreathed in fog and mystery, but it is not until Arthur glimpses a wasted young woman, dressed all in black, at the funeral, that a creeping sense of unease begins to take hold, a feeling deepened by the reluctance of the locals to speak of the woman in black - and her terrible purpose."--Back cover.

Medieval magic, murder, and mayhem! It is 1164, and for a hundred years England has been ruled by the Normans. A young Saxon boy named Durwin, crippled by a childhood accident, had caught the eye of a Norman sage teaching at a rural school of magic. Realizing that the boy had promise, Durwin was made stable boy, and eventually allowed to attend classes. Now twenty, Durwin is proficient enough that he is assigned to teach, but the other sages refuse to promote him and he is hassled by the Norman juniors for his disability. But those troubles turn out to be the least of his worries when he manages to corrects errors in an ancient corrupted spell, which promptly prophesies murder. Sure enough, word soon reaches the school that one of the local count's house sage has died, perhaps slain by black magic. Durwin is whisked away to the family's castle, only to find that one death was only the beginning. The young sage quickly learns of a dizzying plot to assassinate King Henry. Dropped into the middle of the complex politics of England's royal courts, can Durwin stop them in time?

Numin, the second son of the murdered King Kardak, is very popular with the people of Mestain. This angers his evil brother Duroc. Young Numin must flee Mestain to escape the assassins hired by his brother. But dark prophesies and mysterious dreams indicate a violent death for Numin. And the wolves... what about the wolves... Is there something more terrifying than his deepest fears?