Saul Garamond returns from a journey in late evening and sneaks into his bedroom to avoid a confrontation with his estranged father. He awakes to the intrusion of police and the news that his father has been murdered and he is the number-one suspect. Forgotten in a jail cell, he is freed by a peculiar, stinking, and impossibly strong stranger—only to find rescue may be worse than imprisonment. The plot moves through subterranean and rooftop London quick as a techno beat, as Saul discovers his curious heritage and finds himself marked for death in an age-old secret war among frightful inhuman powers.

 China Miéville's urban fantasy novel, King Rat, is an impressive, even daring, debut. It is a Lost Prince story that avoids both black-and-white morality and the standard fantasy-novel adoration of royalty. Furthermore, it is inspired by the unlikeliest of sources, the Rat King legend and the Pied Piper of Hamelin fairy tale. Finally, King Rat, powered and propelled by the rhythms of jungle/drum-'n'-bass music, is a fantasy novel set in the 1990s that genuinely captures the 1990s. —Cynthia Ward

     Vampires are the most fearsome and fascinating of all creatures of folklore. For the first time, detailed accounts of the vampire and how its tradition developed in different cultures are gathered in one volume by eminent folklorist Alan Dundes. Eleven leading scholars from the fields of Slavic studies, history, anthropology, and psychiatry unearth the true nature of the vampire from its birth in graveyard lore to the modern-day psychiatric patient with a penchant for drinking blood.

       The Vampire: A Casebook takes this legend out of the realm of literature and film and back to its dark beginnings in folk traditions. The essays examine the history of the word “vampire;” Romanian vampires; Greek vampires; Serbian vampires; the physical attributes of vampires; the killing of vampires; and the possible psychoanalytic underpinnings of vampires. Much more than simply a scary creature of the human imagination, the vampire has been and continues to haunt the lives of all those who encounter it—in reality or in fiction.

In and of itself, the story of a man with one foot in Heaven and one foot in Hell is hardly original. But in the hands of Garth Ennis and Steve Dillon, the story of Jesse Custer becomes a blasphemous masterpiece seething with originality. Custer is a former Texas minister who was joined with a spiritual being called "Genesis." Now Custer is on a journey to find God, but not in the traditional enlightenment sense. I mean track Him down and give Him a piece of his mind. Along for the journey are his gun-friendly girlfriend and his Irish punk vampire buddy. Until the End of the World starts with a flashback to Jesse's childhood, when he watched his father get shot in the head. That kicks off "All in the Family," the first of two stories in this collection. The second story, "Hunters," features the character Jesus de Sade. Yes, even if you've known for years how hip and cool comics are, you won't believe you're reading something this outrageous. And as Kevin Smith points out in his introduction, this is one book "that actually surpasses its hype."—Jim Pascoe

Truth be told, Neil Gaiman and Dave McKean's picture book The Wolves in the Wallsis terrifying. Sure, the story is fairytale-like and presented in a jaunty, casually nonsensical way, but it is absolutely the stuff of nightmares. Lucy hears wolves hustling, bustling, crinkling and crackling in the walls of the old house where her family lives, but no one believes her. Her mother says it's mice, her brother says bats, and her father says what everyone seems to say: "If the wolves come out of the walls, it's all over." Lucy remains convinced, as is her beloved pig-puppet, and her worst fears are confirmed when the wolves actually do come out of the walls.

Up to this point, McKean's illustrations are spectacular, sinister collages awash in golden sepia tones evocative of the creepy beauty in The City of Lost Children. The wolves explode into the story in scratchy pen-and-ink, all jaws and eyes. The family flees to the cold, moonlit garden, where they ponder their future. Her brother suggests they escape to outer space where there's "nothing but foozles and squossucks for billions of miles". Lucy wants to live in her own house...and she wants the pig-puppet she left behind.

Eventually she talks her family into moving back into the once-wolfish walls, where they peek out at the wolves who are watching their television and spilling popcorn on slices of toast and jam, dashing up the stairs and wearing their clothes. When the family can't stand it anymore, they burst forth from the walls, scaring the wolves, who shout "And when the people come out of the walls, it's all over!" The wolves flee and everything goes back to normal...until the tidy ending when Lucy hears "a noise that sounded exactly like an elephant trying not to sneeze". Adult fans of this talented pair will revel in the quirky story and its darkly gorgeous, deliciously shadowy trappings, but the young or faint of heart, beware. The book is recommended for ages nine and above. —Karin Snelson, Amazon.com

Neverwhere's protagonist, Richard Mayhew, learns the hard way that no good deed goes unpunished. He ceases to exist in the ordinary world of London Above, and joins a quest through the dark and dangerous London Below, a shadow city of lost and forgotten people, places, and times. His companions are Door, who is trying to find out who hired the assassins who murdered her family and why; the Marquis of Carabas, a trickster who trades services for very big favors; and Hunter, a mysterious lady who guards bodies and hunts only the biggest game. London Below is a wonderfully realized shadow world, and the story plunges through it like an express passing local stations, with plenty of action and a satisfying conclusion. The story is reminiscent of Douglas Adams's The Hitchhiker's Guide to the Galaxy, but Neil Gaiman's humor is much darker and his images sometimes truly horrific. Puns and allusions to everything from Paradise Lost to The Wonderful Wizard of Oz abound, but you can enjoy the book without getting all of them. Gaiman is definitely not just for graphic-novel fans anymore. —Nona Vero

Editor Brian Thomsen admits that film was his entrée into the world of science fiction. After watching classics such as Fantastic Voyage and Voyage to the Bottom of the Sea, he discovered that many of the most dramatic presentations were based on written stories. So he sought out the authors, read their works, and became enthralled by the golden word as well as the silver screen. Years later he decided to compile an anthology of stories that were translated to film, and the result is The Reel Stuff. The book contains 12 works by writers such as Philip K. Dick and John Varley; some writers are well known and others are not as readily recognizable. Included in the anthology are Dick's "Second Variety" and "We Can Remember It for You Wholesale," which turned up on screen as Screamers and Total Recall, respectively. Also included, but less well known, is Robert Silverberg's "Amanda and the Alien," which was turned into a made-for-cable movie of the same name. There's even an H.P. Lovecraft story here, "Herbert West: Reanimator," which Hollywood made into Re-Animator, a campy SF horror classic. —Craig E. Engler

Forget J.K. Rowling. Forget Lemony Snicket. Forget Phillip Pullman. Christopher Grahame is the premier children's author of the twenty-first century. From a handful of homespun tales told to his own children at bedtime, Chris Grahame is a publishing phenomenon. With his work translated into everything from Aborigine to Zulu, he is the cornerstone of a multi-million dollar, franchise spewing empire. Is it any surprise then that under all this pressure something has to give? Unfortunately, it's Chris's mind. Stricken by mysterious headaches and blackouts that plagued his childhood, Chris once again finds himself walking the avenues and boulevards of Castrovalva - the fantasy realm he dreamt up as a boy, to while away his recuperation. But like Chris, Castrovalva has also changed. Deluged in mud, blood, and barbed wire, war has come to wonderland. Chris tries to tell himself it's all a bad dream. . .so why can't he wake up?