Deep in the dark of the mine, Vivian has found an impossible thing that has no place being there: a fully operational diner in the middle of the cavern, where the jukebox songs are all her favorites and memories abound. It’s a place where Vivian is on display, like it or not, and every buried thing comes to the surface. Here, she is forced to confront her worst memories…and the Mismatch Man himself.
There’s a monster lurking outside of Minersville, and he’s tired of hiding. Everyone thinks Viv’s crazy. Delusional. That she didn’t see what she saw. Everyone, that is, except the locals. Vivian copes the best way she can—with a visit to the local watering hole—but it’s what happens after that changes everything. The Mismatch Man is hungry, you see…and Vivian’s many wounds have never healed.
This fresh installment of Scott Snyder’s Dark Spaces anthology unearths a monster in the twisted underbelly of Pennsylvania mine country. There’s a monster lurking outside of Minersville, and he’s tired of hiding. Everyone thinks Viv’s crazy. Delusional. That she didn’t see what she saw. Everyone, that is, except the locals. Vivian copes the best way she can—with a visit to the local watering hole—but it’s what happens after that changes everything. The Mismatch Man is hungry, you see…and Vivian’s many wounds have never healed. Jeremy Lambert picks up the torch of Scott Snyder’s chilling Dark Spaces anthology in The Hollywood Special, a new dark tale of intrigue and the bad things people do.
We all wear masks…but Vivian has a thousand, all of them have come back to haunt her and most of them are more monstrous than you could ever imagine. The haunting memory of Vivian’s ex-husband threatens to destroy Vivian’s psyche, along with her desperate search for Molly. Lou tries to find Vivian but instead finds himself drowning in his own past, facing demons he hoped to NEVER see again.
Detective Madoc spent three years in the Dungeon, changing his body and mind forever. He’s getting perilously close to discovering the mysteries the Dungeon contained and who was responsible for keeping him inside. But the Dungeon Master doesn’t want those secrets revealed and will do what is necessary to destroy everything Madoc escaped with. This latest collaboration between Scott Snyder (Dark Nights: Death Metal) and Hayden Sherman (Detective Comics), the team behind Dark Spaces: Wildfire, takes the Dark Spaces horror anthology series to chilling new places. You might have to cover your eyes to read it!
This book expands the discourse as well as the nature of critical commentary on science fiction, speculative fiction and futurism – literary and cinematic by Black writers. The range of topics include the following: black superheroes; issues and themes in selected works by Octavia Butler; selected work of Nalo Hopkinson; the utopian and dystopian impulse in the work of W.E. B. Du Bois and George Schuyler; Derrick Bell’s Space Traders; the Star Trek Franchise; female protagonists through the lens of race and gender in the Alien and Predator film franchises; science fiction in the Caribbean Diaspora; commentary on select African films regarding near-future narratives; as well as a science fiction/speculative literature writer’s discussion of why she writes and how. This book was published as a special issue of African Identities: An International Journal.
Celebrity-socialite Reno Selleti doesn't believe in very much beyond Instagram comments, hipster drugs, and the flash of paparazzi cameras, so when a friend invites her to an EYES WIDE SHUT-type party she goes along mostly for the lulz. But the joke doesn't feel as funny when she realizes it's an actual occult ritual, and suddenly she's seeing things... horrifying apparitions trying to warn her. "RUN." Like Darren Aronofsky remaking DRAG ME TO HELL, There's Nothing There is a stylish & hallucinatory thriller about losing yourself in the bright lights and finding yourself at rock bottom. By your new favorite artist Maria Llovet and Patrick Kindlon (We Can Never Go Home). Collects issues 1-4.
Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings—introduced in this collection by critic and curator Aruna D'Souza—offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.
