The Pallbearers

“Paul Tremblay delivers another mind-bending horror novel . . . The Pallbearers Club is a welcome casket of chills to shoulder.” – Washington Post “Uncertainty is Tremblay’s stock-in-trade. Over the last decade, he has grown from hot new thing to horror icon without compromising on his uniquely inexplicable nightmares.” – Esquire “[A] deliciously confusing thriller.” – Weekend Edition (NPR) A cleverly voiced psychological thriller from the nationally bestselling author of The Cabin at the End of the World and Survivor Song. What if the coolest girl you’ve ever met decided to be your friend? Art Barbara was so not cool. He was a seventeen-year-old high school loner in the late 1980s who listened to hair metal, had to wear a monstrous back-brace at night for his scoliosis, and started an extracurricular club for volunteer pallbearers at poorly attended funerals. But his new friend thought the Pallbearers Club was cool. And she brought along her Polaroid camera to take pictures of the corpses. Okay, that part was a little weird. So was her obsessive knowledge of a notorious bit of New England folklore that involved digging up the dead. And there were other strange things – terrifying things – that happened when she was around, usually at night. But she was his friend, so it was okay, right? Decades later, Art tries to make sense of it all by writing The Pallbearers Club: A Memoir. But somehow this friend got her hands on the manuscript and, well, she has some issues with it. And now she’s making cuts. Seamlessly blurring the lines between fiction and memory, the supernatural and the mundane, The Pallbearers Club is an immersive, suspenseful portrait of an unusual and disconcerting relationship.

From the perennial New York Times bestseller comes a powerful new novel in which Detective Shane Scully, who grew up as an orphan, must revisit his painful childhood to find out who murdered the kind and charismatic man who became a father to him Abandoned by his parents as an infant, Scully was reared in an orphanage, Huntington House. The only positive thing in his young life was the attention of the Home's director, Walter "Pop" Dix. Pop, an avid surfer, would take a small group of kids for early morning surfing. He was the father none of them had ever had. That was thirty years ago. Now, Shane is forced to revisit these memories when Pop is found dead, the victim of an apparently self-inflicted shotgun blast. He leaves a message asking six specific people, all of whom attended Huntington House, to be his pallbearers, and Shane is one of the chosen. He and his fellow pallbearers don't believe it was a suicide. That leaves murder. But why, and by whom? Together, the pallbearers embark on a dangerous odyssey in pursuit of justice for Pop, and for retribution against those responsible for his death. Their journey takes them up against an unforeseen adversary whose power and influence far exceed anything they could have imagined.

An honest and unaffected collection of human experiences that deftly tackles themes of grief, loss, missed opportunities, and the pain of letting go. The stories in Michael Melgaard’s poignant debut collection, Pallbearing, offer candid snapshots of life in a small town, where the struggle to make ends meet forces people into desperate choices. In “Little to Lose,” a son confronts his mother over the crushing prison of debt created by her gambling addiction. The aging divorcee in “Coming and Going” spends her days in paranoid pursuit of evidence with which to incriminate her neighbours in the derelict trailer park where she lives. And in “Stewart and Rose,” lifelong friends find love after their respective partners die — and then face loss all over again. With deceptively spare prose that carries outsized emotional weight and pathos, Melgaard brings his characters to life in sharp-edged portraits and all-too-human dilemmas, creating engaging stories that resonate with honesty and depth, and linger in the imagination.

"For all the talk of the black aesthetic, few black novelists have broken sharply with the traditional devices of the realistic novel. One writer who departs from such conventions, however, is Ishmael Reed. . . . The Free-Lance Pallbearers uses an explosive combination of straightforward English prose, exaggerated black dialect, hip jargon, advertising slogans and long, howling uppercase screams." Newsweek

This is a study of the history and consequences of the revolutionary campaign to transform culture and ritual in northern Vietnam. Based on official documents and several years of field research, it provides a detailed account of the nature of revolutionary cultural reform in Vietnam.

In Pallbearers Envying the One Who Rides, we see the world through the melancholic eyes of Heart - blood-pumping organ, lover, poet and sceptical philosopher of the everyday. Heart reflects on the vagaries of love, the cruelties of time, on 'whether he is masculine enough', and on 'how some folks get pearls, others pebbles'. Dividing the Heart poems is the long Oh, Immobility, Death's Vast Associate, a jazzy disquisition on human isolation and inaction in the midst of a planet full of people brooding over similar concerns. With his characteristic black humour, maniacal imagination, and in straightforward language that rollercoasters in tone but with a mythic undertow, Stephen Dobyns has written a cycle of medieval morality poems for a new dark age.

'No More Haunted Dolls: Horror Fiction that Transcends the Tropes' is a multi-author work united by the common theme of critical analysis of the use of horror tropes in literature, film, and even video games. Tackling issues dealing with gender, race, sexuality, social class, religion, politics, disability, and more in horror, the authors are horror scholars hailing from varied backgrounds and areas of specialty. This book may be used as a resource for classes that study horror or simply as entertainment for horror fans; readers will consider diverse perspectives on the tropes themselves as well as their representation in specific works.