Other Stephen King Special Editions: https://darkregions.com/collections/all-products/products/stephen-king-limited-collectible-bundle-version-2-with-grab-bag
Stephen King and Owen King’s collaborative novel, Sleeping Beauties!
The manuscript for this epic novel was more than 800 pages, so this will be one of the largest books CD ever published with probably only IT by Stephen King topping it. This will be a HUGE book in more ways than one considering it is also the first novel ever co-written by Stephen King and Owen King! We recommend you do not wait to place your order because we suspect most of the copies will be reserved in record time.
About this Deluxe Special Edition:
In this spectacular father/son collaboration, the authors tell the highest of high-stakes stories: what might happen if women disappeared from the world of men?
In a future so real and near it might be now, something happens when women go to sleep; they become shrouded in a cocoon-like gauze. If they are awakened, if the gauze wrapping their bodies is disturbed or violated, the women become feral and spectacularly violent; and while they sleep they go to another place… The men of our world are abandoned, left to their increasingly primal devices. One woman, however, the mysterious Evie, is immune to the blessing or curse of the sleeping disease. Is Evie a medical anomaly to be studied? Or is she a demon who must be slain?
Set in a small Appalachian town whose primary employer is a women’s prison, Sleeping Beauties is a wildly provocative, gloriously absorbing father/son collaboration between Stephen King and Owen King.
Printed in two colors and bound in fine materials, and there will be no second printings.
Special Features Exclusive to this Collector’s Edition:
Deluxe oversized design (7 inches X 10 inches) featuring two color interior printingPrinted on a heavy interior specialty acid-free paper stock that is much thicker than the paper in a normal trade editionFeaturing two colors of hot foil stamping on the front boards and spine
Smyth sewn to create a more durable binding
Deluxe bindings for all editions with colored head and tail bands
Custom-made slipcase for the Gift Edition, custom-made traycase for the Signed Limited Edition, and hand-made traycase for the Deluxe Lettered Edition
Epic wrap-around full color dust jacket artwork by Jana Heidersdorf
A different full-color dust jacket for Signed Limited Edition
Six to Eight full-color interior paintings by Jana Heidersdorf printed on a high-quality glossy stock and tipped into the book
High-quality endpapers for all editions
Full-color signature sheets in the signed editions
Extremely collectible print run that is a tiny fraction of the print run of the trade hardcover edition from Scribner — and you won’t find this edition in chain bookstores!
Available from Dark Regions Press! Slipcased Oversized Hardcover Gift Edition of only 1,750 illustrated copies printed in two colors with two-color hot foil stamping, a fine binding, and housed in a custom-made slipcase exclusive to this edition.
There is a limit of one (1) Gift Edition per person or household.
Product Information: Published by Cemetery Dance. Shipping ETA: 2018.
The Complete Horror Timeline
Part 3 of 3: Mid-End of the 20th Century (1970 – 1999)*
This is the decade where film really started to see how far it could go in terms of gritty and sordid realism as America reeled from the images and their eventual loss of the Vietnam War. As Robert de Niro so prosaically put it: ‘Each night… I have to clean the come off the back seat. Some nights I clean off the blood.’ Outside the genre, violent movies were drawing the crowds, the like of Taxi Driver, The Godfather and The Deer Hunter, following on from 1967’s Bonnie and Clyde. It was also the decade of the (s)exploitation movie, though for the horror fan the most notable of these is Spermula, by its title alone (we’re not sure if The Sexorcist counts).
While there are certainly individual novels of great merit in the genre up to this point, fiction had been dominated by the short story since the demise of the Gothic Novel in the previous century. That all changed in this decade, and the novel would soon be the dominant form. Preceded by such successes as Levin , Fred Mustard Stewart’s The Mephisto Waltz (1969) and Blatty , the deluge began in 1973, soon finding Stephen King  as a champion.
The re-growth of the popularity of horror on the stage started slowly this decade, the first real indication being Don Taylor’s The Exorcism (1975), playing at London’s Comedy Theatre, starring Honor Blackman and Brian Blessed. The show didn’t last long due the death of another lead, Mary Ure, but received rave reviews. The Rocky Horror Show  and other successes had already occurred, including major adaptations of Blithe Spirit (originally by Noel Coward in 1942) and Sherlock Holmes (1974), with America taking the hint with The Crucifer of Blood (Paul Giovanni) three years later. Another American version of Dracula (1979)  was a ‘miracle of production design and barely concealed eroticism’, though the English tour somehow turned high drama into comic absurdity . This all set the stage, so to speak, for greater things to come, in the [1980s]
A critical year for all death and speed metal, gloom and doom rock fans with the release of Black Sabbath’s first album. Make all the cracks you want about their imbecility, their inability to play their instruments beyond the most rudimentary of levels, their pretentiousness, whatever — the fact remains that there could have been no satanic/death/end of the world/crazed killer from beyond the pale metal without these Birmingham lads. — Tristan Riley
Getting the whole gritty-film-thing off to a fine start was Stanley Kubrick’s A Clockwork Orange, based on Anthony Burgess’ novel of 1962. With its alienating view of rape, ultra-violence and Beethoven, it engendered a rather large amount of controversy, but also carried its own message about the rights of the individual. Not strictly a horror story, excess pushes it into the genre. Stanley Kubrick’s other major horrific foray was The Shining (1980). ‘At 14 [David Duchovny] saw A Clockwork Orange “which didn’t necessarily make me want to be an actor, but did make me want to be a criminal!”‘ [interview in The Sun-Herald, 21/1/96]. [Clippings]
The Complete Horror Timeline
Part 2 of 3: Into the 20th Century (1900 – 1969)
Joseph Conrad’s Heart of Darkness is published. As an exploration of the darker side of the soul it deserves mention, and is also considered the first twentieth century novel. Francis Ford Coppola moved the premise into Vietnam to see what would happen in 1979, whereas Nicholas Roeg’s telemovie (1994) was set in the original’s time period.
‘The Monkey’s Paw’ is W. W. Jacobs’ contribution to the genre, and a significant one it is — probably the most famous short horror story, certainly of those written this century.
The first collection from M. R. James, Ghost Stories of an Antiquary, is published, heralding one of the most respected of this century’s horror authors, particularly in his speciality of the quiet but creepy ghost story.
The Listener is published, a book of short stories by Algernon Blackwood containing his best-regarded work, ‘The Willows’. Blackwood was only one of a number of successful authors belonging to the Order of the Golden Dawn, an occult society created in 1888 by Samuel Liddell MacGregor Mathers, and whose most infamous member was Aleister Crowley. Other notable members were William Butler Yeats, Arthur Machen (debuting with ‘The Great God Pan’ in 1894), Lord Dunsany and the incredibly popular (in his time) Sax Rohmer who gave the world Dr Fu Manchu. This group represented not only most of the weird fiction originating in the UK at the time (one report lists Bram Stoker as a member), but is the last flourishing of English horror literature till James Herbert and Clive Barker .
Among the first experiments with film there were a number of gruesome and fantastic scenes, but the first real horror movie was probably William N. Selig’s 16 minute version of Dr Jekyll and Mr Hyde .
A shtriga (Latin: strix; Italian: strega; compare also Romanian: strigă; and Polish: strzyga) is a vampiric witch in traditional Albanian folklore. It is said that the shtriga sucks the blood of infants at night while they sleep, and then turns into a flying insect (traditionally a moth, fly, or bee) and flies away. Only the shtriga itself can cure those it has drained. The shtriga is often pictured as a woman—with a hateful stare (sometimes wearing a cape) and a horribly disfigured face—however, the possibility of a male shtriga (male nouns would be shtrigu or shtrigan) is just as likely.
According to legend, only the shtriga itself could cure those it had drained (often by spitting in their mouths), and those who were not cured inevitably sickened and died.
The name can be used to express that a person is evil. Northern Albanian folklore says that a woman is not born a witch; she becomes one, often because she cannot have babies or they die and the envy makes her evil. A strong belief in God could make people immune to a witch as God would protect them.
Usually, shtrigas were described as old or middle-aged women with grey, pale green, or pale blue eyes (called white eyes or pale eyes) (sybardha) and a crooked nose. Their stare would make people uncomfortable, and people were supposed to avoid looking them directly in the eyes because they have the evil eye (syliga) . To ward off a witch, people could take a pinch of salt in their fingers and touch their (closed) eyes, mouth, heart and the opposite part of the heart and the pit of the stomach and then throw the salt in direct flames saying “syt i dalçin syt i plaçin” or just whisper 3–6 times “syt i dalçin syt i plaçin” or “plast syri keq.”
“I used to wake up in strange places. I’d be covered in blood, but alive…”
I used to wake up in strange places. Park benches in new cities, orange groves among the fallen globes, motel parking lots at the edge of the dark woods. I’d be covered in blood, but alive. Now, I barely get down the block. I awake in the neighbors’ flower bed. The laundry room. The garbage bag by the door that I forgot to take downstairs before the moon took over the sky.
A kind stranger finds me, or a neighbor wakes me with a nasty voice. Today, it’s the school playground down the street and a policeman shaking his head. “Don’t make me haul you downtown, gramps. Go home and sober up.”
A dog walker passes me, a half-dozen mutts barking and straining at their leashes, their young canine bodies filled with energy. My body used to have that power. Now, it takes me a half hour to get home. My knee is enflamed, my hip aches, and sleeping on the slide has left me stooped over like the question mark. A small child, barely a snack, has to help me cross the street.
I’ve always feared the moon, ever since I got lost on a family camping trip and heard the howl. The reason for that fear has changed. It used to mean I’d hurt other people, now it just means I hurt myself.
What do I even look like now when the time comes? Mangy grey fur on wrinkled skin that clings to my skeleton like a dirty towel. Liver spots on my hairless belly. Cracks in my calcium-deficient claws.
I once was a monster, now I’m more waif than wolf.
I shower off the blood, put on a new pair of khakis, a fresh sweater. I grab my cane and hobble to Walgreens. They sell Luna bars. MoonPies. My monthly nightmare repackaged as tasty treats.
My trembling hands drop the items on the counter: Advil, Pepto-Bismol, Bengay, Band-Aids, ice pack, knee brace. “Looks like grandpa’s having a party tonight!” the cashier says with a wink. “Don’t get too crazy with this stuff. Haha.” He has a flush, round face. Just the right amount of marbling in the muscle.
When I was younger, I would’ve hidden in the park until he walked home.
I was a full of life back then, my whole future ahead of me like a wide open field to sprint through with the wind in my fur.
But now? Now all I can do is pretend to laugh, slide my card through the swiper, scribble on the receipt. Head home to await my sad transformation in my cramped apartment.
Perhaps this is what we all transform into, in the end: a tired old dog, alone and unloved, barking impotently at the dark sky.
(This piece was originally written for and performed at Symphony Space’s Selected Shorts: Flash Fiction event in partnership with BuzzFeed Books.)
About the Author
Lincoln Michel is the author of the story collection Upright Beasts (Coffee House Press, 2015), and the co-editor of the sci-fi flash-fiction anthology Gigantic Worlds (Gigantic Books, 2015). His stories and criticism have appeared in a number of publications, including The New York Times, Granta, Vice, Guernica, The Guardian, and the Pushcart Prize anthologies.
To learn more about Michel’s story collection, Upright Beasts, click here: