It’s a hot summer night in a small town in North Carolina. A pretty girl named Anna Shockley has arrived in the emergency room after a drug overdose. And so, David Livingston, emergency room orderly, fledgling artist, and incorrigible romantic, meets the obsession of a lifetime.   When David moves into the communal house where Anna lives, he soon discovers that Anna Shockley is dangerous to herself and others—and that there are those around her, drawn by the “doomed shout” of her beauty, who are far more dangerous.

Obsessed with H. P. Lovecraft’s “Great Old Ones”, Philip Kenan keeps malign cosmic entities at bay by constantly revising his novel, The Despicable Quest. While Philip’s preoccupied with the monsters lurking behind every cubicle at his dead-end job, his exasperated girlfriend flees—heading straight into the horror that lies at the heart of the corporate world.

In The Return of Count Electric and Other Stories, William Browning Spencer demonstrates a wildly imaginative, non-stop narrative skill in the tradition of Roald Dahl and John Collier.

It’s a hot summer night in a small town in North Carolina. A pretty girl named Anna Shockley has arrived in the emergency room after a drug overdose. And so, David Livingston, emergency room orderly, fledgling artist, and incorrigible romantic, meets the obsession of a lifetime.   When David moves into the communal house where Anna lives, he soon discovers that Anna Shockley is dangerous to herself and others—and that there are those around her, drawn by the “doomed shout” of her beauty, who are far more dangerous.

Obsessed with H. P. Lovecraft’s “Great Old Ones”, Philip Kenan keeps malign cosmic entities at bay by constantly revising his novel, The Despicable Quest. While Philip’s preoccupied with the monsters lurking behind every cubicle at his dead-end job, his exasperated girlfriend flees—heading straight into the horror that lies at the heart of the corporate world.

In The Return of Count Electric and Other Stories, William Browning Spencer demonstrates a wildly imaginative, non-stop narrative skill in the tradition of Roald Dahl and John Collier.