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First came the time-storm, which erased half the population. Then came the dinosaur apocalypse ... How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: THE BLUE DANCERS Erin Jones DON’T GO DOWN THERE Kemal Onor FLIES IN THE DEATH HOUSE Paul Lee IN BETWEEN Cullen Corkery MAGILLA Wess Mongo Jolly PUT IT ON Jamie Redact RACHEL: A POST-APOCALYPTIC RAPUNZEL Melissa Rose Rogers TERFARIM THE FRUMIOUS Joe Pan WE ARE ALL GOBLINS A.J. Van Belle BEYOND THE BLACK CURTAIN Wayne Kyle Spitzer

The final Flashback begins ... It's all led to this. All the characters and situations of the Flashback/Dinosaur Apocalypse come together in a final trilogy of tales that will close out and define the saga. Join Ank and Williams, the crew of Gargantua, the kids from Thunder Road, and so many others as they heed the call to adventure one last time and face the very architects of the Flashback! From The War-torn Hills of Earth: The gold fog rolled and so did the water, foaming and frothing, revealing first the photonics mast and communications antennas, then The Sarpedon’s black, sea-slicked sail and forward fins, then its great, dark, parabolic bow—which breached the surface at an angle, like the plesiosaurs and ichthyosaurs and mosasaurs swimming alongside—until, still steaming forward, the ship was fully surfaced and its aft fins visible; at which three people—two men and a small woman with a bob haircut—appeared in the sail. “Jesus,” gasped Puckett, the engineering chief, as he looked at the beasts, which filled the water for as far as the eye could see (which nonetheless wasn’t very far, due to the fog). “If I hadn’t seen it myself, I wouldn’t have believed it. The sonar doesn’t lie.” Captain O’Neil was more circumspect. “But why, goddammit. That’s what I want to know. I’ve certainly never seen them migrate en masse like this—like Hammerhead sharks. What’s the reason?” Both of them had to shout over the crash and commotion of the waves. Pang signed excitedly at them as the wind chopped her hair. “What’s she saying?” Puckett, who’d been working with her, paraphrased: “She’s saying, ‘What if they were called too—only in a different way?’” He watched as she continued to sign. “‘Or—considering the dream used sound and imagery instead of words—the exact same way?’” O’Neil looked at the marine animals as they leapt and dove and swam powerfully alongside. Aye, but for a different reason, he thought. “Ho!” cried Chief Puckett suddenly. “The Santa Monica Pier!” O’Neil peered into the fog and saw the tiny silhouette of a Ferris wheel emerging from the gloom, then unhooked his mic. “Half ahead, revolutions 500—and mind the beasties.” He looked at Pang. “Yes, I’m going to send a team ashore. And no, you’re not—” And that’s when it happened: that’s when the pterodactyl flapped down like an oyster-white threshing machine and snatched her up by the shoulders—began rising. That’s when O’Neil drew his sidearm—even as Puckett grabbed her by the ankle—but couldn’t get a shot in through the pounding wings and Pang’s own flailing—until there was the briefest of openings, andhedid fire. Until he got lucky, and the bird fell and so did Pang—still being gripped by her ankle—so that she was flipped upside down and slammed against the sail—which her head hit like a rock. So that she was knocked unconscious even as Puckett and O’Neil held tightly and ultimately dragged her back into the conning tower. After which, drearily—for they were unable to wake her or get any sort of reaction at all—there was nothing to do but take her to the infirmary and monitor her. Nothing to do, frankly, but pray.

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: A DAY WITH DADDY Brian J. Smith A GOOD NAME Malcolm Todd APOCALYPTOPHILIA Matthew Wollin JUST BREATHE DL Shirey KING RAT H.V. Patterson SACRIFICE FLY John Prather THE SPECTACULAR DEATH OF BILLY NICHOLS Joel Fishbane VICTORY IN DEATH JR Blanes NEVER SWIM ALONE Clay Waters THE DREAMING CITY Wayne Kyle Spitzer

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: MOTHER STORY Lee Landey LIGHTSIREN Tim McHugh MEN’S HELL CLUB Fred Nolan ONE OF THESE NIGHTS H. Thomas SHADOWS IN THE LIGHT Todd Sullivan SOMEWHERE ANYWHERE Kevin Brown THE HAUNTING OF THE HAUNTED HOUSE K. Danckert THE NEW NORMAL Matthew McAyeal BEER AND TENTACLES Bill Link THE GHOSTS IN THEIR BOROUGHS Wayne Kyle Spitzer

The final Flashback begins ... It's all led to this.   All the characters and situations of the Flashback/Dinosaur Apocalypse come together in a final trilogy of tales that will close out and define the saga. Join Ank and Williams, the crew of Gargantua, the kids from Thunder Road, and so many others as they heed the call to adventure one last time and face the very architects of the Flashback! Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

With just hours to go before the Flashback, L.A. explodes in racial unrest ...   From Sun-Dogs:   It happens so fast we barely have time to notice how wrong everything it is, how incongruous—how empty the intersection at Florence and Normandie feels, how the palms and other vegetation—the grass itself—all seem to have grown and multiplied. Or that the streets are now full of abandoned cars and trucks—as though everyone has just gotten up and wandered off, wandered into the smoke—or that we are being triangulated from the instant we touch down: triangulated and set upon—all of it before we've even unloaded our equipment or Peter has shut off the engine. All of it in a virtual eyeblink.   All of it, in short, in a perfect whirlwind—as the jackals, the wolves, the fucking emus (only with lashing tails and monitor lizard teeth), descend on us like flies, like marauders. As Peter takes the helicopter up and I do the only thing I can; which is pretty much to drag Sunny into the nearby Chevron (even as the engine whines and the animals scatter), and, ultimately, watch her bleed out and die in my arms.   And then it's over, and I'm alone, and there is nothing but the television squawking and a lone siren. Then it's just me and Bizarro L.A. and Patty Severinsen-Wood—the eleven o'clock news anchor—who apparently hasn't gotten the memo. “It is, ah, now eleven o’clock and, ah, tonight a community is venting its fury over the verdicts in the Troy Harper beating trial. Fires are raging in South Central Los Angeles at this hour—a testament to the anger and frustration felt by many of its residents. It began just a few hours after the verdicts were announced, with people looting stores and setting them on fire, but quickly escalated to assaults and beatings; four drivers, at least, pulled from their vehicles and attacked. Chaos also erupted at the downtown Parker Center, L.A.’s police headquarters, where scuffles broke out throughout the evening. Meanwhile, police in riot gear can mostly just stand by, hoping by their presence to somehow keep a grasp on order. We’re going live to one of our news …” But I’m no longer listening, only tittering uncontrollably. I’m no longer doing much of anything but marveling at the absurdity of it all—the futility. And then I’m not even doing that; but just staring at Sunny. Then I’m crying as the tv drones on and the whump-whump of the helicopter slowly remanifests.  

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: CLARITY Mark J. Schultis CONSUMED Ophelia Vang THE MIRROR Angelisa Fontaine-Wood ALUKA OF THE WITCH DOCTORS Wayne Kyle Spitzer MY FEELINGS ARE PLOTTING AGAINST ME Sabina Malik PUMP AND GO Caitlyn Pace SPLENDID ISOLATION Peter Emmett Naughton THE NIGHT WITCH Robert John Jenson UNINVITED GUESTS Adam Newnham VISITOR Jeremy Schnee

Barbara Cartland was the most prolific and popular romantic author of the Twentieth Century enchanting millions of readers with her unequalled tales of pure romance, dashing heroes, beautiful heroines, and of course, her trademark happy endings. Now, as a tribute to Her Majesty the Queen on her Diamond Jubilee and to Barbara’s enduring appeal to romantics everywhere, her publishers have launched her past collection - The Eternal Collection. The collection includes - Elizabethan Lover, The Little Pretender, A Ghost in Monte Carlo and A Duel of Hearts which were all in circulation at the time Queen Elizabeth ascended to the throne in 1952. The books are available at the Kindle Store at Amazon.co.uk – or from Amazon.com. Ian McCorquodale, Barbara Cartland’s son, said, “My mother would have been so delighted that modern technology can now make her glorious and timeless romances so readily available to new generations of readers all over the world.”

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse ... How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne'er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what's to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation's capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

From The Dragons of Autumn: May became June, which became July, which became August, and I didn’t see Ghost … although I left him something every day, something which was always gone when I returned, at least at first. By September, however, he’d stopped taking what I left him completely—nor would he appear when called—and I began to worry. That would have been about the time I started getting serious with Jenny—holding hands at the indoor skating rink, kissing for the first time in the balcony at The Muppet Movie —as well as my first growth spurt, all in the legs, which made me feel gangly and insecure but also made me taller than Jen, which I liked, and which she liked, too. It was also around the time the murders started happening, and what become known as the Comet’s Tail Mangler—at first just in the local paper but soon the national ones as well and finally the NBC Nightly News—started making waves across the country. Nor was that the only national news story to touch me; for my parents’ missing flight was back in the spotlight also—primarily because the business tycoon who had resumed the search (after the Coast Guard and Federal Aviation Administration abandoned it) had now given up, too. For Shad and my grandma, it was case closed—again. For me, it was the beginning of a season of denial that would last clear through September and into the school year; a season in which I became more convinced than ever that my parents were still alive. “Denial can be a powerful thing,” my mother had once said (I believe it was in the context of someone’s rumored drug and/or alcohol addiction), but for me, in that fear-addled fall of 1979, it became something more; something akin to an obsession or even a psychosis; something which rendered me deaf, dumb, and blind—to the reports of wreckage having been spotted by a private flight out of Honolulu in the wee hours of Christmas morning; to the reports of the victims of the Mangler having been mauled as if by an animal— mauled, and partially eaten. Indeed, I had even begun looking forward to introducing them to Jenny (when they were finally picked up from Gilligan’s Island, which is how I imaged their circumstances), had even selected a date: New Years, 1980—the day the call would come. The day the news would be announced that survivors had been found and that they were in good health; the day we would drive to the airport in Grandma’s black GTO and watch my parents descend the steps like soldiers returning from Vietnam, their faces tanned from the South Pacific, their necks adorned with leis. In the end, however, the New Year brought news of a different sort—though news that struck home regardless—for the latest victim of the Mangler turned out to be Stuart Dalton himself: decorated veteran, local hero (for his service in Vietnam), and a close, personal friend of our parents—so close that we were invited to his funeral; where I ended up in line behind his widow for the viewing of the casket, a casket which had been draped with a veil to prevent scrutiny of the body. Even now, some forty years later, it would be difficult to describe what I felt that day, as Song Li offered her final words and her husband lay hidden beneath the gauze and the reality of what had occurred—what had been occurring, ever since the death of the convict—came crashing down; as Song said goodbye to her “darling Stuart” and I said hello to reality (for the first time in months, possibly even since my parents had disappeared), and knew, though the thought of it tore me down the middle, what had to be done. If, that was, I could even find the portal. If, that was … I could find my friend.

Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. In this issue:   THE RAISING OF HESTER MACRAE E.M. Anderson   QUERY LETTER Riley Winchester   OCTOBER MARDI GRAS Mary Jo Rabe   SHE AIN'T HEAVY Anthony Ferguson   THE SQUARE OF STARS Laurence Klavan   THE GIRL WITH CHARTREUSE HAIR Terry Sanville   THE GYRE Samuel Finn   THE SPUD Gregg Sapp   TIMBER AND ITS PURPOSES Charles Wilkinson   URBAN DECAY Wayne Kyle Spitzer   So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses!

She is on the road again, listening to an AM talk show as she drives along. Frodo hangs his head out the window, tongue dangling. She is feeling better. She passes a sign that reads: OPEN RANGE, NEXT 10 MILES. The topic of the radio program concerns human cloning and the problem of needing so many hosts to achieve a single successful embryo. As she drives along, listening, she passes a dead cow off to the side of the road. Through her rearview mirror, she watches it disappear behind her as the talk show continues: "I mean, where is this all going? Are we going to just keep birthing mutated babies until we finally see something we like? What of all the rejects? Do we just truck 'em to the baby dump?" She shifts her gaze back to the road. There is a human body there. She cries out, yanking the wheel. The tires of her car barely miss the body as she careens off the road and stalls. She collapses against the wheel. The radio program drones on. Finally, she gets out, and Frodo follows. He meanders into the desert as she walks slowly toward the body, the breeze blowing her hair across her face—draws steadily toward the nude, broken corpse of a twentysomething year-old woman, lying face down in the gravel. She looks after Frodo; he is out toward the horizon, sniffing at something on the ground. She halts near—but not too near—the cadaver. It lies there in the gray light, flies buzzing all about it, its flesh bluish-white, its hair black and matted. It is bent back upon itself like a ragdoll. Beth peers both directions along the length of the highway, seeking help, but is utterly alone. The only sound is that of the flies. Cautiously, she nudges the body over with the tip of her shoe. The woman has been gutted of her reproductive organs—which causes Beth to leap back, clasping her mouth. Frodo barks in the distance as Beth realizes that she recognizes the woman. It is the attractive gal from the doctor's office. It is the woman she'd made special note of. She glances toward the dog as he excitedly trots up. He has an umbilical cord in his jaws. He is dragging along a human fetus. Beth screams as he drops it at her feet, and it spins like a top. The fetus is horribly mutated and appears to be only partly human. She backs toward her car, horrified, as he picks it up again and runs toward her. She screams at him, getting in the car, then starts the engine, causing the dog to drop the fetus and leap inside ...

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: THE FINE ART OF LETTING GO Victoria Alexis THE GLASS FOLIO Ben Curl THE TEACHER Jeff D. Thompson SURVIVALIST Kevin Brown THE HAUNTING OF PIEDRAS BLANCAS DC Diamondopolous THAT EMPTY SPLENDOR Chase Dearinger WET BARK Wayne Kyle Spitzer FRANNY’S ART PROJECT Ryan T. Jenkins RED SANDS AT MORNING R. Wayne Gray THE DISTORTED EQUATION Vishnu Priya V

When a gang of rednecks kills the mate of a local sea legend ... the result is bloody terror. From Lean Season:   "Shut up, " said Handlebar. He wiped his lip. "Listen." The floorboards were shifting beneath their feet. Carl looked around. "What is it?" "Is it under the dock?" said Ned. Handlebar ignored them, listening. The planks of the pier flexed and fell like piano keys. Lonny retreated still further. "Maybe we should get back inside." "You gonna swim for it?" said Stanley. "We're cut off." Lonny looked at the cedar pole laying across the deck, and the downed lines which popped and frizzled. His lower lip started to tremble. Suddenly, starting at the apex of the dock, the floorboards jumped—rifling and breaking and splintering in a line. The men clambered off Chin, scattering as something split the dock up the middle, like a torpedo. Chin turned, saw a wave of busting boards rushing at him. He scrambled to his feet and dove out of the way, landed at the edge where he saw a dark shape sweep past just below the surface. A tail—long as the first creature's entire body. Everything stopped, and there was a silence. "Stay alert," shouted Chin. He scrambled away from the edge. "It hasn't gone. It's still under the dock." Everyone looked at each other as wood creaked and water lapped. Even Handlebar seemed frightened and disheveled. "Screw this shit, man," said Lonny. He backed toward the cafe, toward the spitting electrical cables. His eyes were bugged out and his flesh had gone white as bird shit. He dropped his rifle. Handlebar stared at his own boots, which were soaked in blood. He seemed to be having some sort of internal crisis. He reached up with a trembling hand and twisted his mustache repeatedly. He came out of it suddenly and looked at Lonny. "Hey. Kid. Listen." He walked toward him, changing clips. "You're taking all this too seriously. It's toying with us, that’s all." He held out his shotgun to him. "Here. The goo—Chin—he's right. It's still beneath the dock. Probably scared. Why don't you do the honors?" Lonny hesitated, trembling. "Y-you mean it's just trying to scare us?" Handlebar tweaked his nose. "That's right." The fire returned to the young man's eyes—almost. He looked around the shattered dock, at the riddled corpse and the oily, bloody water, at the spitting power lines and the dead lights, the peeling boardwalk on the shore. He shook his head. "No, it's not. It—it doesn't pretend, like you. It's gonna kill us, that's all." He stepped closer. "Can’t you see that? You posing hillbilly? The spill's given it a—a lean season. It's sick, and it' s hungry, and …" He glanced at the corpse. "We probably just killed its mate."

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a bi-monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: CLOUDS Wayne Kyle Spitzer ME AND NO-ME Robert Pope LAUREN Cameron Trost THE VOICE OF SAVAGES WOOD Tim Jeffreys THE GOLDEN ROSE Alexandra Amick BETWEEN STOPS John Mangio MALPRACTICE James Mathews URNE Michael Fowler PREDATOR IN A PINAFORE DRESS Tre Luna ANGEL HOUSE Tim Newton Anderson

Ank and Williams ( The Ank Williams Story, A Dinosaur is a Man's Best Friend, Flashback Twilight ) return in an all-new adventure which picks up right where Flashback Twilight left off. Join them as they're recruited by an aging king in post-apocalyptic Canada and charged with transporting his daughter across country to Edmonton--a journey fraught with peril including vicious albertosauruses, a 700-pound prehistoric beaver, were-raptors, and more!

After breaking their sworn oaths in a fit of forbidden passion, a sacrificial bride (Shekalane) and her fearsome escort (the ferryman Dravidian) find themselves alone and on the run in the subterranean river-world of Ursathrax. From Beyond the Black Curtain: Permission would not have been granted, nor did he ask; instead, he went straight to the detention block after his meeting with the prefect and located Shekalane's cell. It was easy to do, for it was the only one with a light beneath its door. Indeed, it was the only one in the entire cellblock that was occupied. “Shekalane,” he whispered, crouching, and braced the meal flap open with his finger. “It’s Dravidian.” At last she said, sounding distant and utterly confused: “I cannot see you. Opening the flap triggers a light: It—it hurts my eyes, and burns the skin of my face. And yet it is cold —the cell, I mean. So cold.” He withdrew his finger, allowing the flap to close, and thought he heard her teeth chatter. The dragger’s great paddle wheel churned. “Why have you come to me, Dravidian of the ferrymen?” “You are about to be interviewed by the prefect himself, Asmodeus. During this interview you will be asked about your involvement with Valdus and his revolution. Answer him truthfully—names, dates, tactical information—he has assured me personally that you will be spared if you do so. Do you understand?” A silence followed. “Spared. That’s a curious choice of words. I trust by this you mean I will not be punished or killed … but that I will still be delivered into sexual slavery.” “Shekalane …” “I’ve had a great amount of time to think, Dravidian. It’s—it’s in our nature; we women, that when faced with a closed door yet another door opens … in our minds. And I’ve decided that Valdus has been right all along: the Lottery must end.” She paused as the great ship rumbled all around them. “And I’ve decided something else; which is that his methods are justified, after all. Indeed, what is death—physical death, I mean—when compared to imprisonment and the suffocation of one’s soul? The former at least provides an escape; but the latter …. No, Dravidian, I will not cooperate. Not even if I am tortured unto death.” “You don’t mean that, Shekalane.” “What know you of what I mean and what I do not? You, who mistook a ploy, and a successful one, for an expression of love for Valdus? You, who in turn used that to retreat into your former self and turn your back on all that we have learned and experienced? No, I tell you plainly that I will not submit, and you—your order—will be forced to destroy me. Now please, go away. For, although I love you, I cannot abide by what you have done.” At last Dravidian lowered his head. “Nor can I abide by what you have done, Shekalane. For by aiding and abetting Valdus, if only in bringing him comfort, you did also turn your back—on all his crimes and victims. And you would aid him still.” He stood and swung his mask around on its strap, prepared to put it on. “It would seem we are at an impasse, at last. Whatever our fates, then …” He fingered the façade’s velvety lining. “Know that you, too, are loved.” Then he whirled to leave and, whirling, came face to face with a brownie in a dung-colored goblin mask and holding a tray—who quickly looked away and just as quickly looked back, as though recognizing him as someone personally significant to him. Dravidian stared at him for perhaps two breaths, taken aback by the directness of his gaze, and sensing, too, something—well, he could not define it, and quickly placed his mask to his face and depressed the pad at his temple, sealing it with a hiss.

Simone Leigh is English but has lived in Spain for the last few years. Here, she divides her time between working on her tan, decorating her beautiful villa, writing erotica and swimming naked in her swimming pool. According to one recent internet troll, she is 'beyond redemption'.

Jonesing for a drive-in theater and a hotrod El Camino? It's the dawn of the 1970s and everything is changing. The war in Vietnam is winding down. So is the Apollo Space Program. The tiny northwestern city of Spokane is about to host a World's Fair. But the Watergate Hearings and the re-entry of Skylab and the eruption of Mount Saint Helens are coming…as are killer bees and Ronald Reagan. Enter 'The Kid,' a panic-prone, hyper-imaginative boy whose life changes drastically when his father brings home an astronaut-white El Camino. As the car's deep-seated rumbling becomes a catalyst for the Kid's curiosity, his ailing, over-protective mother finds herself fending off questions she doesn't want to answer. But her attempt to redirect him on his birthday only arms him with the tool he needs to penetrate deeper—a pair of novelty X-Ray Specs—and as the Camino muscles them through a decade of economic and cultural turmoil, the Kid comes to believe he can see through metal, clothing, skin—to the center of the universe itself, where he imagines something monstrous growing, spreading, reaching across time and space to threaten his very world.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse ... How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

In a land of wind and willows, two canoeists encounter some other-worldly wind turbines. From The Sentinels: Dunn: He said that he was taking the way of the wind and the sky, and that he was going in—to Them—by which I presume he meant going into the tower and scaling the ladder. And he said other things: That our thoughts made patterns in their world—left ‘prints,’ as it were—as did theirs in ours; and that that was how they’d found us, by listening to our thoughts, zeroing in on our patterns. And he said that Bobby was merely a bundle of sensory organs wrapped in a skin of decaying matter and so wasn’t important, wasn’t needed. That only they mattered—they, the beings attached to and inhabiting the turbines. And that … that … Detective Shaw: What, Mrs. Dunn? Say it. Dunn: But … don’t you see? It doesn’t matter what he said, because it wasn’t him speaking, not really. Bobby would never have described a human being as just a bundle of sensory organs; he truly believed, with every fiber of his being, that we were more than that—more than just the sum of our parts—it was what inspired him to become a doctor in the first place. And knowing what I knew, knowing what kind of man he was, I pressed him, telling him that Bobby did matter—that he mattered to his patients and that he mattered to me—more than I would ever be able to describe. And then I approached him and embraced him and told him I loved him—feeling, for the briefest of moments, the spirals beginning to close on his back—and he smiled, his eyes returning to normal, after which he said, or started to say, “I love …” (room tone) Detective Shaw: (inaudible) He—he told you he loved you? Dunn: No. He … his eyes rolled back … and then his face, it … it simply imploded. In a spiral. Like someone had flushed a toilet full of blood and brains.

A black Corvette which is not what it seems ... wind turbines standing sentinel between worlds ... a tower crane with a beastly inhabitant ... these are tales of the machines we live--and sometimes die--by: machines which transport, that build our roads and bridges. Machines which operate in our hands and penetrate the clouds--which can take us to the edge of the universe and beyond. Machines which sometimes break down--go wrong--become inhabited. Become possessed.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse.   How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.   Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse.   In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: COYOTE AND HUNTER Brenden Pontz THE GREEN WORLD Terry Sanville THE LEVIATHAN Harold Hoss HOMING PIGEON Mehitabel Shapiro THE EULOGY Max Rissman MINT Stephen McQuiggan SÉ DO BHEATHA 'BHAILE Derek Alan Jones THE APB Rocky Boudreaus THE TERROR IN LAKE MICHIGAN Kelly Piggott THE PRIMEVAL WORLD Wayne Kyle Spitzer

The race is on to get out of post-apocalypse New York in an all-new Flashback thriller. Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes. From The Ghosts in Their Boroughs: She loosed her hair and shook her head, allowing the locks to spill down her shoulder—and I zoomed in on them to get a focus. “Do I look any different?” she hollered. “Yeah … you shine.” Which she did, like a candelabra, as the lights reflected off her hair, her skin, her beaded jacket. As the music played and she reached for the brass ring—and got it. As she circled and laughed and gripped the pole and the camera went click, click, click. That’s when I saw them; or thought I did. The shapes. Gathered beyond the farthest poles (I’d zoomed up on the opposite side whilst waiting for her to come back around); gathered like outsized crows. That’s when I focused through and saw their eyes; their awful, red, vertically slit eyes, before dropping the camera and unslinging my rifle—pointing it directly at them … and finding them gone. That’s when I realized that I was starting to lose it—to slip, as the writer Hugo Eagleton once said. That the terror and uncertainty of what had happened—the sky, the missing people, the remaining people who seemed intent on burning the city down—had affected me more than I realized. Sylvia, for her part, only looked at me like I was insane. And I would have agreed with her; had I not looked behind her and saw them again. Had I not seen with my own eyes their black bodies and crimson snouts as they weaved between horses and slowly closed the gap; as they stalked her like panthers and the carousel went around, the music like a carnival, the horses rising and falling. As they closed to within about twelve feet of her and I fired—causing them to stop and to crouch and to look around—only to inch forward again as I resumed shooting (missing, it seemed, every time). Until there was an ear-piercing pulse which I recognized as coming from Madsen’s sound cannon (he’d demonstrated it for us before we set out) and the animals scattered—even as Sylvia crouched and covered (from the excruciating noise) and I did the same; paralyzed, debilitated.

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: QUESTIONS A MAN OUGHT NOT TO ASK Elizabeth Broadbent STRANGE WATER Steve Carr HOLY MOUNTAIN C.J. Scuffins THE DEVIL’S TRIANGLE Wayne Kyle Spitzer MAKE IT A DOUBLE Warren Benedetto THE UNSCARED CROW Cody Nowack STRONGMAN SAFARI Mark Mellon THE GECKO KING Sam Fletcher BIRTH STORY Taryn Martinez

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: THE DEAD WORLD Donald McCarthy THE WHEEL Sam Fletcher RED’S PLACE Douglas Young NIGHT OF THE TRELLIS Arthur Davis THE DEVIL DRIVES A ‘66 Wayne Kyle Spitzer THE SLIDE Michael Balletti DOORS BEST LEFT CLOSED Bill Link EXODUS John Andrew Karr A MIMICRY OF NIGHT Jon Michael Kelly DESCENT Nick Young

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: ANOTHER MAN’S POISON Marlin Bressi FEAR AND LOATHING IN ALPHA CENTAURI Colby Woodland LEGACY William Jensen RAIN Rod Marsden SPIDERS, SPIDERS, EVERYWHERE! Bill Link SUBSCRIBED Mikel J. Wisler THE HAND COLLECTOR Christian Riley THE SCARECROW Kurt Newton THE SOUND A.S. Remland KINGS OF THE ROAD Wayne Kyle Spitzer

dark horse /ˈdärk ˈˌhôrs/ noun 1. a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate" Join us for a monthly tour of writers who give as good as they get. From hard science-fiction to stark, melancholic apocalypses; from Lovecraftian horror to zombies and horror comedy; from whimsical interludes to tales of unlikely compassion--whatever it is, if it's weird, it's here. So grab a seat before the starting gun fires, pour yourself a glass of strange wine, and get ready for the running of the dark horses. In this issue: BAGGAGE Brian Hogan CROWDIDDLY Stephan Mcquiggan ETERNAL Sheldon Woodbury THE WINE-DARK EARTH Wayne Kyle Spitzer KALEIDOSCOPE T.K. Howell NIGHT SWIMMING Matthew Fries THE SHADOW BOX Frederick Pangbourne THE BAT AND THE CRESCENT MOON Bill Link THE WOMAN AND THE MAZE DC Mallery TO CATCH A GOD Daniel Lidman

In a world beyond imagination, they would stand by each other no matter what ... After a devastating time-storm called the Flashback eliminates most the population and recolonizes the world with prehistoric flora and fauna, three boys bearing a powerful talisman set out on an impossible quest. An all-new post-apocalyptic adventure for mature young adults set in the same world as Flashback, A Survivor's Guide to the Dinosaur Apocalypse, Ank and Williams, A Reign of Thunder and The Lost Country.

How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth.

In retrospect, I wish I'd continued recording, for what I saw in that instant is difficult to describe, even now. Suffice it to say that it had a body like that of a manta ray—upon who's tail the balloonist had been impaled—or a manta ray combined with a bat, albeit huge, and that it was covered with a kind of camouflage which reminded me of pictures I'd seen of Jupiter—just a roil of purples and pinks and browns. I suppose that was when it first hit me: the possibility that there might be a connection between this thing and the Jupiter 6 probe. That the probe might have brought something back, even if it had just been a sprinkling of microbes on its surface.And then there was an explosion somewhere above us, the concussion of which rocked our balloon, and we all looked up to see Gas Monkey—my God, it was like the sun!—on fire; and yet that wasn't all we saw, for as it dropped it became evident that there were more of the bat/manta ray things attached, suckling it as it fell, crawling upon it like flies. Then it passed us like some kind of great meteor—its occupants shrieking and calling out—and was gone below, the heat of it still painting our faces, its awful smell, which was the smell of rotten eggs, filling our nostrils.And then we were just drifting, all of us crouched low in the basket … and the only sounds were those of Karen sobbing and my own pounding heart.

First came the time-storm, which erased half the population. Then came the Riders on the Storm.   Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.   Includes every Flashback/Dinosaur Apocalypse story through 2021, in the order in which they were written.

How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth.

Blood-thirsty carnosaurs ... gangs of hipsters .... post-apocalypse Seattle and Los Angeles are to die for.How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth.These are the stories of a group of experienced survivors and their incredible machine, Gargantua: How they came to possess it, and what they did with it after. This is the recounting of a heist in Seattle in which they barely escaped with their lives and a journey to Lost Angeles to find their forever home--which just happened to be occupied when they got there.Welcome to the Flashback.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse.   How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.Welcome to the world of the Flashback.

From The Fields Tinged with Red: “Mm.” He spat for the first time that morning and looked out over the green fields. “Any sign of our friend?”“Not hide nor sickle-claw.”But Teddy had focused on something; something out by the freshly painted barn (which nonetheless leaned precariously; a result of the hurricane-like winds that had attended the Flashback, no doubt), and frowned. “You sure about that?”“What do you mean?” Nick followed his gaze but saw nothing, only a rusted-out van and some equally rusted drums, and something he hadn’t noticed before (probably because they hadn’t been there, he was sure of it): a stand of hoary cycad bushes. Literally—cycad bushes. In rolling wheat country. In Eastern Washington. After a bitter winter.“I’m afraid I don’t—”But there was something; something partially obscured by the van and the cycad bushes; something brown and tan and red and mottled green; a thing which didn’t move, didn’t breathe, which didn’t even seem to be alive—until it adjusted its head slightly and he could no longer miss it, no longer even look away.“Oh, he’s a ninja, that one,” said Selena, having joined them at the railing. “A real cucumber. Silent Jim; that’s his name.”“Shhh,” whispered Teddy.“I don’t get it,” said Nick. “I mean, is he just curious, or is he afraid, is he stalking us, wh—”“Jesus, gods, would you be quiet?” Teddy appeared taught as a whip. “And bring me that damn rifle. Hurry.”He mumbled as Selena fetched it: “How you too are ever going to survive a dinosaur freaking apocalypse is beyond me.” He reached for the weapon as she approached but she hesitated before handing it over. “What? What is it?” he grumbled.“Nothing, it’s nothing,” she said, and handed him the gun. “It’s just that, maybe this isn’t a good idea.”He braced his elbow on the railing and aimed even as Nick looked at her sharply. “What are you talking about?”“I mean, what if it’s the wrong thing? What if it turns out we need those bullets more than we’ll need that beef? Or what if it’s some kind of ambush, or—”“Shut her up or I will,” growled Teddy, even as he eyed the scope and fingered the trigger. “We’ve got one shot at—”She took a step closer. “Wait—”And there was a crack! and a recoil and the shot echoed along the hills, even as Nick looked and saw the animal darting into the brush and zigzagging through the tall grass—before tripping once (but just as quickly recovering) and vanishing into a stand of trees.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes. From The Wine Dark Earth: What is it? I sign, gripping the M14’s handguard (which has become slick with sweat); locking eyes with Beth. Will thinks he heard something; something in one of the shops. Something big—heavy. He says to check our flanks. I just stare at her, bewildered. But I don’t want to check my flank, I think. Because if I do, I might see something; something I won’t be able to unsee. Something I’ll have to react to. And I’m not ready for that. But then, of course, I do—check my flank, that is. Then I look into the dusty, broken window of Swanberg’s and, seeing only handcrafts and crystals and strings of fine beads, begin to exhale—deeply; wondering what it was I was so afraid of (for it is only the dogs, I am certain; the stringy, pitiable creatures we saw in the street; the slim, spare scavengers whom, having now inherited the earth, have simply followed us up from the pier). Then I just stare at the crystals; the prisms—the lovely, pure, many-faceted gems—which manage to glimmer even though there is so very little light. At which, strangely, something seems almost to blink—to shutter and reopen. At which something does blink; just as surely as I am standing there. Something blue; ovoid, which glitters like a gem. Something which is encompassed by dark, tapered brow ridges and cruelly-curved hornlets; and bright-yellow markings—like a witch-doctor or a cannibal. Something I glimpse only briefly, fleetingly, in semi-profile—before it flits back into darkness and is gone.

Roadkill ... A funny thing happened to Roger and Savanna Aldiss on the Interstate. They hit a dinosaur. But that's nothing compared to what awaits them down the road ... for something is at work to reverse time itself, something which makes the clouds boil, glowing with strange lights, and ancient trees to appear out of nowhere. Something against which Roger, Savanna, and a handful of others will make their final stand. From Flashback: The cop was just standing there, staring at the trees. And staring at the rex, too—though he clearly didn't know it. “My God,” Savanna pleaded. “You can't just let him be ripped to pieces …” Omar raised an eyebrow. “No?” He slid off the table and approached her. “And why not?” She hesitated. His face hovered in her own like some foam-latex Halloween mask—Uncle Pervis, perhaps, or Baby Stinky. “You, you just can’t,” she stammered. He cocked his head to one side and smiled broadly, wickedly. “You ever been to prison, sugar-muffin?” His teeth seemed covered with a yellow, pussy substance which reminded Savanna of that gummy liquid SPAM was packed in. She shook her head. “That's too bad …. they'd like you there.” He stepped closer and Savanna felt his coat pressing against her breasts, the reek of liquor-sweat and pitted-out leather seeming to radiate off him in waves. “You ever heard stories about what goes on inside?” Again, she shook her head. The glass of the window was cold against her back, as if it had frosted on the inside. “They stick you in a little room to rot,” he said, and with the word rot came an invisible cloud of stale barley which made her eyes water and her throat want to close in on itself. “But the trick is, they don't put you in there alone. No, they always put you in there with some shifty-eyed S.O.B. who's crazier even then you are …” His voice had become a quavering hiss, like sparks running along a fuse. “They put you in there with some poetry-writing faggot, or some jittering crackpot who's so hard-up for a cigarette he picks butts out of the toilet, or some darkie …” He glanced sidelong at the cashier and menaced him with molten eyes, but the stout black man was unmoved. “… who's built like Mike Tyson and wants you to be his joy-boy. And if that's what he wants, that's what he'll get … because you're not going anywhere. And don't think the guards will help you, sister. Because they won’t. They’ll just walk right by whistling and swinging their keys. You're helpless, just like you’re helpless now …”

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse.How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse.It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne'er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what's to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation's capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas.In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded. Welcome to the world of the Flashback, a world in which man’s cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere, all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you, for better or for worse. It is a world where frightened commuters will do battle with murderous bikers even as primordial monsters close in, and others will take refuge in an underground theme park only to find their worst enemy is themselves. Where ordinary people—ne’er-do-wells on a cross-country motorcycle trip, a woman on a redeye flight to Hell, a sensitive boy stricken with visions of what’s to come--will find themselves in extraordinary situations, and a gunslinger and his telekinetic ankylosaurus will embark on a dangerous quest. A world where travelers will be trapped with an unravelling President of the United States and a band of survivors will face roving packs of monsters and men in post-apocalyptic Seattle; where rioting teenagers will face deadly predators (as well as their own demons) while ransacking the nation’s capital; where a Native-American warrior will seek to bury his past--and offer an elegy for all the Earth--in what remains of Las Vegas. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

In a world beyond imagination, they would stand by each other no matter what ... After a devastating time-storm called the Flashback eliminates most the population and recolonizes the world with prehistoric flora and fauna, three boys bearing a powerful talisman set out on an impossible quest. An all-new post-apocalyptic adventure for mature young adults set in the same world as Flashback, A Survivor's Guide to the Dinosaur Apocalypse, Ank and Williams, A Reign of Thunder and The Lost Country.

First came the time-storm, which erased half the population. Then came the Dinosaur Apocalypse … How did it all begin? That depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.These are the stories of a group of experienced survivors and their incredible machine, Gargantua: How they came to possess it, and what they did with it after. This is the recounting of a heist in Seattle in which they barely escaped with their lives ... and a journey to Lost Angeles to find their forever home--which just happened to be occupied when they got there. These are their Travels With Gargantua ...

And then we waited, watching the trucks with their billowing flags slowly move along the ridge, watching them go.   Last night I saw Lester Maddox on a TV show / With some smart-ass New York Jew / The Jew laughed at Lester Maddox / And the audience laughed at Lester Maddox too …   I heard gunshots—nothing major, just some idiot in the Tucker train shooting at the sky.   So I went to the park and I took some paper along / And that's where I made this song …   And then it started, the Apache firing two Hellfire missiles which hit a group of pickups at the start of the train and instantly blew them to pieces, glass and shrapnel flying, a body tumbling in the air.   We talk real funny down here / We drink too much, we laugh too loud / We're too dumb to make it in no northern town …   Two more missiles fired, this time at the other end of the train, blowing pickups and blue flags into the air, sending a cab higher than anything else—like the turrets of those Iraqi tanks in the first Gulf War—hurling a Rugged Terrain tire along the ridge, which eventually rolled down the hill.   We're keeping the niggers down …   More missiles, like scaled-up bottle rockets: hitting the column like hammers, making fireballs of King Cabs and beds of people; spitting from the chopper's hardpoints like fireworks, like flairs, incinerating skin and catching hair on fire, I knew, and didn't care, obliterating pennants and banners.   We're rednecks, we're rednecks / We don't know our ass from a hole in the ground …   Until he'd finally fired everything: Hellfires and Hydras, Stingers and Spikes, all of them hissing and screaming, finding their targets; all of them lighting the ridge up like the Fourth of July, or maybe the volcano at The Mirage, in Las Vegas, each making our world safer and saner and more secure—more righteous, more lost.   Each bringing smoke and silence and peace—like the lights in the sky themselves—to the war-torn hills of Earth.

First came the time-storm, which erased half the population. Then came the Dinosaur Apocalypse …   How did it all begin? Well, that depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn’t take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn’t take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.   Collected herein are the stories in which Love mattered.   From Love in the Age of Reptiles:   There were six of them, as I said—all of whom rushed us the instant our feet touched the ground. All of whom snarled and charged us like wolverines as we raised our weapons and fired—the flare gun cracking and hissing, blanching the scarlet haze (for the sun had painted everything red and gold), its projectile punching through one of the raptors’ chests and lighting it up so that its ribs were backlit briefly and I could see, if only for an instant, its burning, beating heart.   Yet still they came, another one leaping at me even as I dropped the gun—which clattered against the planks—as I dropped it and grabbed the thing by its neck—then brought the knife down with my other hand and stabbed it between the eyes.   “Run!” I shouted, even as Amanda shot another—her second—and then bolted toward the shore, drawing the others so that I was able to snatch up the flare gun and quickly reload it; so that I was able to pursue them and to shoot one in the back—while Amanda turned and took out the last of them (shooting it in the head so that the back of its skull exploded like a spaghetti dinner thrown against the wall; so that it collapsed, writhing, about 10 feet in front of her—whereupon she quickly approached it and shot it again, just to be sure).   And then she looked at me (as the dead and dying animals lay all around us) and I looked back: our chests heaving; our faces covered in sweat, our worn clothes bloody and disheveled, and I knew that she knew—which was that today we were the predators, the thing needing to be feared—the killers. And that neither of us needed to worry; not about food or other predators or mysterious lights in the sky or anything. Because we were the masters of our fate, we and no one else, not even God. And we were the master of the world’s fate, too.   At which she ran to me and we collided and I held her fast, there on the long jetty in the Atlantic Ocean (in the Bermuda Triangle), there beneath a day moon and the blood-red sky, in an instant in which it was good, so very good, not to be afraid, not to be alone. And as to what may or may not have happened in those breaths, those pulse points between that moment and the next—the next day, the next search, the next milestone; as to that, I offer only a quote from Gandhi: “Speak only if it improves upon the silence.”

First came the time-storm, which erased half the population. Then came the dinosaur apocalypse. Welcome to the world of the Flashback, a world in which man's cities have become overgrown jungles and extinct animals wander the ruins. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere and all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to challenge you: for better or for worse. In short, it is a world where anything can and will happen. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes. “Jesus. Just—Jesus,” said Amelia, staring at the decomposing body. “How long do you think it’s been here?”  I examined it where it was sprawled on the back porch, facing the ocean, its skin blackened and clinging to the bones—like it had been vacuum sealed—its wispy hair fluttering. "Hard to say. Few weeks. Maybe a month.” I batted away the flies. “Long enough for the organs to liquify.”  “How—how do you know?”  I studied the holes in its head, a smaller one which was about the size of a dime and a larger, more cavernous one—the exit wound. “Because, otherwise, there’d be brains all over.” I stepped over it and picked up the gun, checked its chamber. “There’s still bullets in it.”  She stared at me tentatively as I closed the chamber and gripped the weapon in both hands—neither of us saying anything. At last I nodded to the back door—the screen of which banged back and forth in the wind—and tried to brace myself. “You ready?”  She shook her head.  “Let’s go,” I said. And then she was holding the screen as I inched forward and gripped the knob—turning it slowly, carefully, easing the door open. Stepping into a room which was dark as pitch; which reeked of cat piss and despair.  

The Apocalypse. The End Times. Armageddon. Whether it's from a virus or a meteor, the end is always coming. How will you deal with it?

Welcome to the Big Empty, the world after the Flashback, a world in which most the population has vanished and where dinosaurs roam freely. You can survive here, if you're lucky, and if you're not in the wrong place at the wrong time--which is everywhere and all the time. But what you'll never do is remain the same, for this is a world whose very purpose is to change you: for better or for worse. So take a deep dive into these loosely connected tales of the Dinosaur Apocalypse (each of which can be read individually or as a part of the greater saga): tales of wonder and terror, death and survival, blood and beauty. Do it today, before the apocalypse comes.

First came the time-storm, which erased half the population. Then came the Dinosaur Apocalypse …   How did it all begin? Well, that depends on where you were and who you ask. In some places it started with the weather—which quickly became unstable and began behaving in impossible ways. In still others it started with the lights in the sky, which shifted and pulsed and could not be explained. Elsewhere it started with the disappearances: one here, a few there, but increasing in occurrence until fully three quarters of the population had vanished. Either way, there is one thing on which everyone agrees—it didn't take long for the prehistoric flora and fauna to start showing up (often appearing right where someone was standing, in which case the two were fused, spliced, amalgamated). It didn't take long for the great Time-displacement called the Flashback—which was brief but had aftershocks, like an earthquake—to change the face of the earth. Nor for the stories, some long and others short, some from before the maelstrom (and resulting societal collapse) and others after, to be recorded.   Welcome to the Lost Country.

dark horse /ˈdärk ˈˌhôrs/ noun 1.   a candidate or competitor about whom little is known but who unexpectedly wins or succeeds. "a dark-horse candidate"   Join editor Robert Weller for a curated tour of nine writers who always give as good as they get. From hard science-fiction (James C. Glass’ Singularity for Hire) to dark and brutal prehistoric apocalypses (Wayne Kyle Spitzer’s A Survivor’s Guide to the Dinosaur Apocalypse), from Lovecraftian horror (Bill Link’s Torchlight Parade) to zombies and horror comedy (Andy Kumpon’s Seeds of the Dead); from farcical romps near foggy moors (Ron Ford’s Dr. Jekyll in Love) to lyric and whimsical interludes (M. Kari Barr’s A Father’s Legacy). Indeed, even from absurd capers (Kevin M. Penelerick’s Brother Bob) to tales of unlikely compassion (Erik Schubach’s Scythe), you’ll be sure to find it here. So grab a seat before the starting gun fires, poor yourself a glass of strange wine, and get ready for the running of the dark horses …    

There was a single, sharp tap of the drums followed by a rapid succession of beats as the crushed velvet curtains spread and the audience gasped: for Tran had taken her position in the box and was even now being secured as Williams struck a gunfighter pose and his hand hovered next to his weapon. “Ladies and gentlemen, I think it goes without saying,” said the announcer over the speaker system, “Do not try this at home.” Williams relaxed his entire body even as his mind cycled through the calculations—altitude, the breeze, humidity, temperature, the curvature of the earth, the spinning of the earth … It was, like music, a largely mathematical proposition; a cold equation he’d had a gift for ever since he could remember, ever since he was a boy with a Daisy BB gun in the backyard of their southern California home. He focused on the knife blade as the balloons to each side of it warbled in the breeze. It was a funny thing, sharpshooting, so utterly unlike music, in that each time he did it he felt like he was doing it for the first time, felt like he was starting over from scratch. With music his fingers just automatically found the frets, just instantly knew where to begin and where to end; he never felt as though he were lost in a vortex of potentialities, never doubted his ability to perform. But sharpshooting was a different beast altogether. With sharpshooting he had to call on something outside of himself as well as from within—something which was not his to control. Something which either kissed him with its ghostly lips or turned away with perfect indifference—like love itself, he supposed. Or God. And then the drum taps stopped and he was alone with the breeze, and it was time to make the intuitive leap which would set the bullet in motion. And as he breathed out and drew his revolver and squeezed its trigger softer than he would a daisy, he knew, even before the crack! and the ka-chink! and the pop of the balloons, that the projectile had found its target. That it had found the slim blade and split like an atom—becoming two loaves rather than one—two soft but lethal slugs, which had spread like shrapnel in the Fresno heat and ruptured the red balloons—releasing their air in a vacuum-like rush and causing the audience to gasp and to cheer. And then his wife was there, having loosed her mock bonds and scrambled out of the tall wooden box (with its crushed velvet curtains and bulletproof glass), and she’d bowed to the audience before embracing him like the wind, and he had kissed her as he always did after completing their final act—when air raid sirens sounded and he looked at the sky, which had darkened with a storm front as fast-moving as it was inexplicable ...

“Those I can hear,” said Luna—and began retreating up the stairs again. “They only talk when they’re about to attack.” Williams, meanwhile, had focused on Ank. “Jesus … it called me by name.” Ank stared at him from beneath his brow. <A survivor of Devil’s Gorge, maybe?> Williams nodded slowly. “But how in God’s name? The only one who knew our names was … Unless—” <Unless the town was attacked by another pack of were-raptors after we left. Which would mean those outside could be anyone—Sheriff Decker, Katrina …> Williams misted up as he thought of the saloon girl who had shown him such affection. “I won’t shoot them, then.” <Now listen, Will. Don’t let your personal feelings—> “I said I won’t shoot them,” he snapped, and turned toward Luna, who was cowering at the top of the stairs. “We’ll have to find another way.” To Luna he said: “It’s all right, sweetie. Everything’s going to be all right.” <Dammit, Will, I can’t handle an entire pack on my own, and you know it. Now are we serious about making it to Tanelorn, or at least Barley’s, or not? Or have all our plans changed because a saloon girl threw a leg up on you in a town we will never see again?> “Meh,” Williams sighed angrily and moved toward the building’s front windows, which Ank had blocked with pinball machines and video games, with only partial success. <Don’t walk away from me when I’m talking to you, dammit!> Ank lumbered after him, the tiled floor cracking beneath his elephantine feet. <We made a pact. And what about the girl? Would you see her torn to pieces by those things while you simply watched?> “Go away!” Williams hissed. He peeked around one of the machines and saw the raptors lined up in the gathering dark, waiting to make their move, waiting to rush the snack bar and overwhelm them, waiting to kill them or, worse, to turn them into creatures like themselves. “Are you talking to me?” whined the girl, her voice seeming to bleed as if cut by invisible knives. “Why would you want me to go away all of a sudden?” “No—that’s not what I meant—I …” <I can’t do it, Will. They’ll swarm in beneath my armor and … they’ll tear me to pieces.> Williams held up his rifle—pressed his forehead against it. <We need your magic with that gun, Will. I need it. And if you don’t step up I’m going to have to … and, I won’t make it. Not this time.> “Come out, Williams!” “Yes, my love, come out!” A new voice. Her voice. Katrina. Williams squeezed his eyes shut. And then they were coming, he could hear their growls and the tapping of their awful sickle-claws against the cracked and broken pavement, and Ank was charging past him, breaking through the windows and walls, roaring defiantly, and when Williams looked up he saw the dinosaurs collide like thunderheads, heard Luna scream her piercing, drill bit scream, and knew they’d never make it to Barley, to say nothing of Tanelorn.

The original story upon which the film SHADOWS IN THE GARDEN is based ... and 7 other tales. A vignette of dream shimmers briefly in my mind. I remember I was crouched in a dark yard, this yard—staring at that same clothesline. I was cold, so cold, and frightened, and I didn't know why. It was far too dark to see anything clearly. I could tell only that there was something hung from the line. Approaching it, I saw how it swung back and forth in the night-wind heavily. It wasn't until I was close enough almost to touch it that I realized what it was. It was the pale woman's head ...

An omnibus of science-fiction, fantasy and horror stories from Wayne Kyle Spitzer, author of the Witch Doctor and Dinosaur Apocalypse series ... It is raining. That’s the first thing I notice, the first thing that tells me I am no longer in the cockpit. The second is that I’m bleeding—bleeding from the leg, which is making it difficult to press the attack. The third is that I’m dying—as is my opponent—dying beneath a blood red sky. “It is finished,” he says, stumbling forward and back—his blood flowing freely, his hair matted in sweat. “Look at you! Your broadsword is shattered. Your armor is compromised. Why is it you continue?” But I do not know why I continue—only that I was a Crash Diver once and will be so again, and so must face the vision, endure its consequences. Endure them so that future generations may bridge the gulf of galaxies! At last I say: “Are you better off? We die together, Sir Aglovere. Surely you— ” But I am baffled by my own voice, so familiar and yet strange, and by my own words, which have materialized from nowhere. And then he is charging, hacking at me wildly, and I am forced back along the hedgerow: until I lose my footing over a protruding root and topple headlong into the mud and bramble—whereupon my opponent falls on what’s left of my sword and is promptly run through, his entrails unspooling like loops of linked sausage and his eyes turning to empty glass. At length he says, “We kill ourselves,” and laughs, even as I push him off me. And then we just lay there, staring at the sky, neither of us saying anything, as our blood pools together and spirals down the slope. As the clouds continue to rumble—pouring rain into our dying eyes.

ABE: (looks around nervously) Swede…? He looks for SWEDEN again, and again sees only the tops of the bushes, roaring in the wind. A beat later there is another crack! Another splash! ABE whips around. He sees, a few feet out, what at first appears to be a human arm reaching up from a gurgling eddy—deaden spidery fingers groping. He focuses his eyes upon it: the pressure stops cold as we see it is merely a gnarled branch. ABE exhales. Then, as driftwood is proving scarce on the island, he breaks off some willow stems and tries to fish the branch closer. The current dislodges it as he looks on and it floats down stream, bobbing and turning on the waves. ABE watches it go; it looks rather like a hand again; gesturing to him, summon-ing. A real hand suddenly lands on his shoulder. He spins around. It is SWEDEN; he is shining a Coleman lantern directly into his eyes. SWEDEN: It's gone now. There was a sound. Like…. ABE squints in the glare, which obscures SWEDEN'S face. ABE: (breathes hard, listens) It's this awful wind. It roars such that I didn't even hear you approach! SWEDEN hands ABE a flashlight. SWEDEN: Here. ABE: Where were they? SWEDEN: In the stern. Under the ballast. ABE: (exhales) I wish this wind would go down…. SWEDEN doesn't say anything. There's clearly something very wrong. ABE: What? SWEDEN: We're not alone here. ACT 2, SCENE 12 EXT. THE FAR BANK. TWILIGHT. SWEDEN is standing with his back to us, facing the river. ABE approaches—he has taken the long way around the willows. SWEDEN turns slowly; the men look at each other. It is nearly dark. ABE: Sweden…? SWEDEN steps aside as the camera dollies past him and in on A CORPSE, a real one. It is caught up in the roots of the willows, several feet from the crumbling bank, chest-deep in the water, vertically positioned, bobbing up and down in a violent whirlpool. The corpse is wearing an Army-green or dark blue nylon parka, slick from the river, with a sopping fur-lined hood. The hood droops, obscuring the face from the top of the mouth up, the mouth which is stretched, contorted, whose chin is far too long. The whole body is stiff like a statue, its flesh an ashen gray-blue. Its hands are twisted and groping, like tree branches—willow branches. One is frozen with Rigor Mortis in such a way that it appears to be reaching out, its fingers gnarled, misshapen; they are too-long, really, to seem entirely human. The bony, branch-like index finger seems almost to be pointing, indicting the sky.     ABE: My God, Sweden…. (turns to his friend) What happened here?

The final book in the Flashback Saga ... They streamed out from the tree line in a veritable blitzkrieg, the guns of the tanks rotating and firing, the foot soldiers alternately taking cover behind vehicles and squeezing off bursts, the raptors and triceratops and stegosaurs charging—as Red and Charlotte and Roger and Savanna continued shooting and the children ran ammo and Bella lit the gasoline trenches, as Gojira and the clerk prepared shoulder-mounted rocket launchers. As hundreds of others joined the battle belatedly and began to kill and to be killed. And then they were there; they were at the gates, and the triceratops and stegosaurs had waded into the burning trenches and begun serving as bridges—sacrificing themselves so that the raptors and the foot soldiers could cross—even as a column of bulldozers fanned out along the perimeter and prepared to break the lines for good: dropping their blades—which rattled and clinked against the hail of gunfire—revving their engines, spewing black smoke.

They streamed out from the tree line in a veritable blitzkrieg, the guns of the tanks rotating and firing, the foot soldiers alternately taking cover behind vehicles and squeezing off bursts, the raptors and triceratops and stegosaurs charging—as Red and Charlotte and Roger and Savanna continued shooting and the children ran ammo and Bella lit the gasoline trenches, as Gojira and the clerk prepared shoulder-mounted rocket launchers. As hundreds of others joined the battle belatedly and began to kill and to be killed. And then they were there; they were at the gates, and the triceratops and stegosaurs had waded into the burning trenches and begun serving as bridges—sacrificing themselves so that the raptors and the foot soldiers could cross—even as a column of bulldozers fanned out along the perimeter and prepared to break the lines for good: dropping their blades—which rattled and clinked against the hail of gunfire—revving their engines, spewing black smoke.

Jonesing for a drive-in theater and a hotrod El Camino?It’s the dawn of the 1970s and everything is changing. The war in Vietnam is winding down. So is the Apollo Space Program. The tiny northwestern city of Spokane is about to host a World’s Fair. But the Watergate Hearings and the re-entry of Skylab and the eruption of Mount Saint Helens are coming…as are killer bees and Ronald Reagan.Enter ‘The Kid,’ a panic-prone, hyper-imaginative boy whose life changes drastically when his father brings home an astronaut-white El Camino. As the car’s deep-seated rumbling becomes a catalyst for the Kid’s curiosity, his ailing, over-protective mother finds herself fending off questions she doesn’t want to answer. But her attempt to redirect him on his birthday only arms him with the tool he needs to penetrate deeper—a pair of novelty X-Ray Specs—and as the Camino muscles them through a decade of economic and cultural turmoil, the Kid comes to believe he can see through metal, clothing, skin—to the center of the universe itself, where he imagines something monstrous growing, spreading, reaching across time and space to threaten his very world.Using the iconography of 20th century trash Americana—drive-in monster movies, cancelled TV shows, vintage comic books—Spitzer has written an unconventional memoir which recalls J.M. Coetzee’s Boyhood and Youth. More than a literal character, ‘The Kid’ is both the child and the adult. By eschewing the technique of traditional autobiography, Spitzer creates a spherical narrative in which the past lives on in an eternal present while retrospection penetrates the edges. X-Ray Rider is not so much a memoir as it is a retro prequel to a postmodern life—a cinematized “reboot” of what Stephen King calls the “fogged out landscape” of youth.Want to go for a ride?

After breaking their sworn oaths in a fit of forbidden passion, a sacrificial bride (Shekalane) and her fearsome escort (the ferryman Dravidian) find themselves alone and on the run in the subterranean river-world of Ursathrax. “Do you know what it is?” he said at last. She studied it, nodding slowly. “I think so. It’s a doorway, of sorts. It’s what awaits on the other side of death.” Dravidian nodded. “It is what Montair speaks of. Not death—but transition. For what winks out in one place winks on in another, always.” He stared at the fountain, his eyes seeming to dream. “If I were to step through that door ...” He turned to face her. “Would you come with me?” She looked at him longingly—at his fearsome mask—but hesitated. She trusted him, and yet, was this not how death would come? As a whispering seduction? “I don’t know yet,” she said. There was a soft hiss as he depressed the pad at his temple and swung the mask around to his back, then moved his lips to within a few centimeters of her own and paused, breathing slowly, seeming to draw her own breaths from her. “But you would consider it …” “But, Dravidian, where would we go? How would we survive?” He cupped her face in his hands. And though he was too close for her to see his face clearly, his beautiful eyes with their golden irises and Stygian pupils drew her in inexorably, like black holes with golden linings, if such a thing were even possible, and she whispered, “I would step through it ...” He took her in his arms and drew her slowly against him. “And would you find the strength within yourself to persevere even when the world turns its cold face against us?” “Yes,” she rasped. “Then run with me, Shekalane. To the end of Ursathrax and beyond …” And he gently but firmly locked his lips with her own.

It was the first night of the Sacrificium, a night of sacrifice and death, a night when the black coins tendered in the Lottery would be tendered back. It was also the Hora Mille Semitis, the Hour of a Thousand paths—for that is the day the Sacrificium had fallen on this year—the hour when best friends might become enemies, when lovers of longstanding might betray oaths, the hour in which anything and everything was possible. And the alignment was felt: from the upper echelons of the capitol to the poorest quarters of the downriver provinces. For the message of Valdus’ rebellion had spread—whether it was a tract nailed to a door before quickly being torn down or a blast in the night that caused the power to fail in entire regions. It was a night for dreaming and for huddled collusions, for the breeze to course through rustling leaves, for long dead hearts to awaken and start pumping blood. The Sacrificium had once more come to Ursathrax, but so had the Hour of a Thousand Paths, and Valdus’ Revolution, and something else, something elusive but impossible to ignore, nebulous, but as real as the River Dire, which seemed to have stolen into the world on the wind itself.