This collection features the most comprehensive yearly overview of horror around the world in all its incarnations, an impressively researched necrology, and a list of indispensable contact addresses for the dedicated reader and budding writer alike. This is the very best of new short stories and novellas by today's masters of the macabre. Contributors include such names as Neil Gaiman, Gene Wolfe, Brian Keene, Michael Marshall Smith, Ramsey Campbell, Kim Newman, Elizabeth Massie, Glen Hirshberg, Peter Atkins, and Tanith Lee. This is required reading for any fan of ghoulish fiction.

After burning up the blacktop in New Mexico with The Fast Red Road and rewriting Indian history on the Great Plains with The Bird is Gone, Stephen Graham Jones now takes us to Montana. Set on a Blackfeet Indian reservation, the life of one Indian boy, Doby Saxon, is laid bare through the eyes of those who witness it: his near-death experience, his suicide attempts, his brief glimpse of victory, and the unnecessary death of one of his best friends.

 

But through Doby there emerges a connection to the past, to an Indian Agent who served the United States Government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian Agent have impacted the lives of generations of Blackfeet Indians. And the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history hurtling towards him.

 

Jones's beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life.

The Nebraska Sandhills are the largest remaining relic of the majestic prairies that once extended from the Missouri River to the Rocky Mountains. This vast but fragile expanse comes to life in The Last Prairie, a collection of twenty essays by Stephen R. Jones ranging from fascinating descriptions of dancing prairie-chickens, courting fireflies, and the annual migratory flight of a half-million sandhill cranes to equally vivid accounts of trailblazing homesteaders, range wars, and devastating storms. The Last Prairie is both a paean and an elegy for a place where you can walk for miles through shoulder-high grass or sit on a hill for hours with only the cry of the curlew and the hiss of the wind for company—a place Jones sought for decades and for whose survival he now fears.

The author's vast historical canvas lends a rare perspective and urgency to the book's discussion of recent efforts to save the Niobrara River from dams and developers. Jones speaks eloquently to such timeless themes as humanity's search for community and the ties that bind us with nature. Infused with quiet pathos and vibrant imagery, The Last Prairie is a triumph of the essayist's art.

This edition of The Mammoth Book of Best New Horror comes with another generous sampling of the past year's best horror fiction, earning acclamations from the likes of Kirkus Reviews and Publishers Weekly. With contributions from such favorites as Ramsey Campbell and Kim Newman, along with the talented likes of Neil Gaiman, China Mieville, Graham Joyce, Paul McCauley, Stephen Gallagher, Caitlin R. Kiernan, Jay Russell, Glen Hirshberg and many more, the hair-raising tales in this edition hold nightmares for travelers in alien lands, unveil the mystery and menace lurking in our everyday reality, explore the terrors of the supernatural, and honor horror's classic tradition. Like all of the other volumes in this series, award-winning editor Stephen Jones once again brings us the best new horror, revisiting momentous events and chilling achievements on the dark side of fantasy in 2004.

The North American prairie extends across eighteen states and provinces in the heartland of the United States and Canada, and many prairie preserves are within easy driving distance of large cities. This new field guide provides detailed profiles of 48 major North American prairie preserves and capsule descriptions of 120 smaller preserves. Each preserve profile includes practical information on what times of year to visit, how to get there, where to go hiking and camping--and even boating. Each profile also covers weather conditions and wildlife of special interest, in addition to the flora, fauna, and natural history of the preserve. More than 250 stunning color photos illustrate everything from scarab dung beetles and orchids to bison wallows and hailstorms.

In Others Unknown, Stephen Jones, Timothy McVeigh's lawyer in his trial for the 1995 bombing of the Murrah Office Building in Oklahoma City, provides the fullest possible account of the worst act of terrorism in American history. In a complete revision of his 1998 hardcover, Jones tells for the first time the whole story of his investigation of the case, including what he was told by McVeigh and what he learned about others involved in the conspiracy. His account differs significantly from the tale McVeigh is telling as he faces execution for his crimes.

In interviews with Buffalo News journalists, reported in their recently released book American Terrorist(ReganBooks, April 2000), McVeigh claims total responsibility for the bombing, saying 'It was my choice and my control to hit that building when it was full.' In Others Unknown Jones sets the record straight, saying what he could not say when he first wrote this book, before McVeigh effectively waived attorney-client privilege: that based on what he learned as McVeigh's counsel, Jones knows that the bombing was a conspiracy, and that McVeigh was not its mastermind. 'I'm not trying to say he was innocent. He has exaggerated his guilt to protect others. He played a role, but he was a foot soldier, a mule, not the general,' says Jones.

'I know it did not happen the way he tells it in his book.'

Jones reports in detail what McVeigh told him as the case progressed; explains why McVeigh did not plead guilty; and shows McVeigh's real role in the conspiracy and how he obstructed his own defense. This is the definitive historical record of a heinous act of murderous rage; an account indispensable to understanding what happened. And, says PublicAffairs CEO and publisher Peter Osnos:

'We think it's important that Tim McVeigh not be given the final word.'

The Fast Red Road—A Plainsong is a novel which plunders, in a gleeful, two-fisted fashion, the myth and pop-culture surrounding the American Indian. It is a story fueled on pot fumes and blues, borrowing and distorting the rigid conventions of the traditional western. Indians, cowboys, and outlaws are as interchangeable as their outfits; men strike poses from Gunsmoke, and horses are traded for Trans-Ams. Pidgin, the half-blood protagonist, inhabits a world of illusion—of aliens, ghosts, telekinesis, and water-pistol violence—where television offers redemption, and 'the Indian always gets it up the ass.'

Having escaped the porn factories of Utah, Pidgin heads for Clovis, NM to bury his father, Cline. But the body is stolen at the funeral, and Pidgin must recover it. With the aid of car thief Charlie Ward, he criscrosses a wasted New Mexico, straying through bars, junkyards, and rodeos, evading the cops, and tearing through barriers 'Dukestyle.' 'Charlie Ward slid his thin leather belt from his jeans and held it out the window, whipping the cutlass faster, faster, his dyed black hair unbraiding in the fifty mile per hour wind, and they never stopped for gas.' Along the way, Pidgin escapes a giant coyote, survives a showdown with Custer, and encounters the remnants of the Goliard Tribe—a group of radicals to which Cline belonged.

Pidgin's search allows him to reconcile the death of his father with five hundred years of colonial myth-making, and will eventually place him in a position to rewrite history. Jones tells his tale in lean, poetic prose. He paints a bleak, fever-burnt west—a land of strip-joints, strip-malls, and all you can eat beef-fed-beef stalls, where the inhabitants speak a raw, disposable lingo. His vision is dark yet frighteningly recognizable. In the tradition of Gerald Vizenor's Griever, The Fast Red Road—A Plainsong blazes a trail through the puppets and mirrors of myth, meeting the unexpected at every turn, and proving that the past—the texture of the road—can and must be changed.