Stephen Graham Jones Books in Order

Pidgin heads across New Mexico to bury his father, then has to chase the stolen corpse through a surreal, half-mythic West. It is wild, funny, and dangerous from the first page.

Texas deputy Jim Doe chases a killer whose trail leads straight back to his sister's long-ago disappearance. It starts like a manhunt and grows stranger and darker as it goes.

A collection of stories about Native life, family strain, race, and everyday violence, often with a weird or brutal turn. Jones shifts between realism and horror without ever losing the people.

In an alternate America where the Great Plains have been made Indian again, a stolen treaty could change everything. Jones turns political history into a wild, hallucinatory caper.

Jones blends crime, grief, and Texas unease in a dark, restless novel about damaged people circling old violence. The mood stays raw, and nobody gets to walk away clean.

Hale and his med school friends return to the house where his sister vanished, only to find a horror story waiting for them. Jones frames it like a lost movie trilogy brought terrifyingly to life.

On the Blackfeet reservation, Doby Saxon stands in the road and tries to do something impossible, change history. Jones builds a tense, time-bent novel out of family, vengeance, and the weight of the past.

Reality, games, grief, and a father's absence collapse into each other as Nolan Dugatti runs through a fractured world that will not hold still. It is strange, funny, and genuinely unsettling.

Dodd Raines comes shuffling back into Texas, bunny head and all, forcing a reckoning with the border patrol daughter he left behind. Jones makes the weird setup funny, sad, and surprisingly tender.

This collection gathers dark stories about loss, fear, family, and the terrible bargains people make under pressure. Jones moves from intimate menace to outright horror without losing the human core.

A man looks back on a west Texas childhood shaped by rumor, fear, and an old death that never settled. Part mystery, part memory piece, it turns hometown nostalgia into something raw and unsettling.

Lindsay survived one masked killer, but survival is not enough in a town full of final girls and slasher rules. Jones turns the genre inside out without losing the blood or the fun.

This dark collection moves through highways, small towns, and intimate relationships that keep sliding toward horror. Jones mixes tenderness, menace, and the sense that the world is stranger than it looks.

A Texas bake-off turns into a locked-room bloodbath when infected doughnuts turn pro wrestlers into zombies. It is fast, ridiculous, and exactly as messy as that setup promises.

A sixteen-year-old working the window at his father's drive-through urinal has to juggle floods, the urine mafia, and a failing love life. Somehow it is both gross-out funny and unexpectedly sweet.

A compact novella that turns a hard Texas setting into a pressure cooker of bad choices, memory, and danger. Jones keeps the scale small, then lets the unease do the real work.

William Colton Hughes is a serial killer with a voice you cannot trust and appetites he can barely contain. Jones makes the book funny, revolting, and unnervingly intimate.

A pulp-charged collection of stories full of sharp humor, horror energy, and sudden turns into the bizarre. The title tells you a lot about the spirit of the book, fast, weird, and happily unruly.

These stories live in the dark corners after ordinary life slips out of focus. Jones mixes grief, menace, and the uncanny in a collection where the quiet moments can be the most frightening.

This short piece imagines how anthropologists might respond to the apocalypse once zombies arrive. Jones turns an academic angle into a sly, unsettling end-of-the-world story.

Mary sees a strange boy float up from a tree, then learns her younger brother may be caught in the same impossible mystery. She has to protect him before the adults around them lose control.

Disgraced detective Nicholas Bruiseman returns to his hometown to work security at a storage facility and stumbles into a murder case full of old classmates and older ghosts. The noir voice is sharp and bitter.

These stories circle faith, damage, grace, and the people left trying to survive afterward. Jones moves easily between the ordinary and the uncanny, always keeping one foot in lived experience.

A research scientist finds proof of something supernatural and has to decide whether to hide it or tell the world. Either way, the discovery is going to haunt him.

Ten years after the zombie apocalypse, Jory Gray goes looking for the woman he loves and uncovers the secret history behind the end of the world. The real danger may be the truth itself.

This selected volume offers a wide sample of Jones's range, with stories, excerpts, and framing material that show how restless his fiction can be. It is a strong way to explore his earlier work.

An unnamed boy comes of age in a drifting family of werewolves who live on the edge of every town they enter. It is a monster novel, but even more a family novel.

A middle-aged chef's routine bike ride home is broken by an encounter that should not be there in the dark. Jones gets a lot of fear out of one road, one rider, and one wrong moment.

A twelve-year-old boy thinks he sees his dead father inside the house, then discovers the house is bigger and stranger than it should be. It is a ghost story about poverty, family, and danger.

A superhero comic idea born in childhood becomes a strange, personal meditation on friendship, art, and what happens when dreams really do come true. It is part graphic story, part reflection.

When a fifty-foot-tall Indian man rises from the sea, governments, media, and the military scramble to explain him. Jones uses giant-monster energy to slice into stereotype and spectacle.

A prank involving a mannequin goes horribly wrong, and suddenly nobody can tell whether the danger is supernatural, human, or both. The story is short, fast, and deeply off-kilter.

This first volume opens a gallery of dark comics and strange exhibits, each one leading to a new nightmare. It is built for readers who like their horror quick, visual, and varied.

Four Blackfeet men are hunted by the consequences of an elk hunt that should never have happened. Jones turns guilt, friendship, and community into a relentless supernatural revenge story.

A construction site by the creek feels wrong long before dark, and night only makes it worse. In a few pages, Jones builds a sharp little nightmare out of place, dread, and what may be waiting underground.

This graphic novel turns grief, motion, and memory into a lean visual story with a hard, propulsive edge. Jones uses the road and the ride to keep loss close at every turn.

Jade Daniels, a slasher-obsessed teenager in Proofrock, Idaho, spots the signs of a real killing spree before anyone else does. Her movie logic may be the town's best chance of surviving.

Two years after a bad breakup, Jenna finds what may be the perfect tool for revenge, a bloodthirsty Camaro. It is a lean revenge story with horror muscle under the hood.

A high school senior takes a babysitting job in a house with a grim past and finds the night spiraling into terror. Jones uses the familiar setup to mix haunted-house dread with teenage pressure and survival.

Millie Two Bears is living alone in the Blackfeet Nation when prairie dogs invade her land and a stranger enters her life. The story turns survival, vengeance, and isolation into slow-building pressure.

Conan heads into a mountain stronghold where brute force alone will not solve the danger waiting there. Jones brings speed, blood, and a grim sense of momentum to the sword-and-sorcery setup.

Jade Daniels returns to a frozen Proofrock just as a notorious killer arrives and the bodies start piling up again. The sequel widens the story without losing its sharp slasher edge.

In 1989 west Texas, seventeen-year-old Tolly Driver is cursed into becoming a killer and tells the story himself. Jones flips the slasher script by putting readers inside the monster's head.

When their rental truck breaks down, two friends waiting at a motel pass the time by telling stories about a strange carving outside. Jones turns a roadside delay into layered, creeping unease.

After years in prison, Jade Daniels returns to Proofrock for one last reckoning with the town, the lake, and everything still unfinished. The trilogy closes on grief, fury, and hard-won survival.

In a future where time travel has been made consequence-free, a young man decides to visit his parents two years earlier. That simple choice gives Jones plenty of room for trouble.

Across 1870, 1912, and 2012, an aging pastor and a Blackfeet vampire circle history, justice, and blood. Jones turns vampire fiction into something haunted by the American West.

A strange room becomes the center of an eerie, intimate nightmare about memory and perception. Jones keeps the setup spare, then lets the unease spread until even ordinary space feels unsafe.

This collection gathers dark stories about loss, fear, and the terrible bargains people make under pressure. Jones moves from intimate menace to outright horror without losing the human core.

Jones digs into the pull of horror itself, asking why fear stories matter and why readers keep returning to them. It reads like criticism and personal reflection at the same time.

Set after The Only Good Indians, this follow-up returns to Blackfeet country as old wounds start moving again. Jones goes back to unfinished business instead of easy closure.