Horror
The Ultimate List of Must-Read Horror
Curious readers and fans of monsters and the macabre, get ready to bulk up your TBR piles! Sadie "Mother Horror" Hartmann has curated the best selection of modern horror books, including plenty of deep cuts. Indulge your heart's darkest desires to be terrified, unsettled, disgusted, and heartbroken with stories that span everything from paranormal hauntings and creepy death cults to small-town terrors and apocalyptic disasters. Each recommendation includes a full synopsis as well as a quick overview of the book's themes, style, and tone so you can narrow down your next read at a glance. Featuring a foreword by New York Times bestselling author Josh Malerman and five brand-new essays from rising voices in the genre, this illustrated reader's guide is perfect for anyone who dares to delve into the dark.
WHILE THE COMMON BELIEF is that "body horror" as a subgenre of horror fiction dates back to the 1970s, Joyce Carol Oates suggests that Medusa, the snake-haired gorgon in Greek mythology, is the "quintessential emblem of female body horror." In A Darker Shade of Noir: New Stories of Body Horror by Women Writers, Oates has assembled a spectacular cast to explore this subgenre focusing on distortions to the human body in the most fascinating of ways.
"Should we know nothing of the female monsters of antiquity," Oates writes in her introduction to the volume, "still we would know that body horror in its myriad manifestations speaks most powerfully to women and girls. To be female is to inhabit a body that is by nature vulnerable to forcible invasion, susceptible to impregnation and repeated pregnancies, condemned to suffer childbirth, often in the past early deaths in childbirth and in the aftermath of childbirth."
"A feminist gothic that evokes Shirley Jackson's The Haunting of Hill House." -- New York Times Book Review
Once upon a time Orla was: a woman, a painter, a lover. Now she is a mother and a wife, and when her husband Nick suggests that their city apartment has grown too small for their lives, she agrees, in part because she does agree, and in part because she is too tired to think about what she really does want. She agrees again when Nick announces with pride that he has found an antiquated Georgian house on the Dorset cliffs--a good house for children, he says, tons of space and gorgeous grounds. But as the family settles into the mansion--Nick absent all week, commuting to the city for work--Orla finds herself unsettled. She hears voices when no one is around; doors open and close on their own; and her son Sam, who has not spoken in six months, seems to have made an imaginary friend whose motives Orla does not trust.
Four decades earlier, Lydia moves into the same house as a live-in nanny to a grieving family. Lydia, too, becomes aware of intangible presences in the large house, and she, like Orla four decades later, becomes increasingly fearful for the safety of the children in her care. But no one in either woman's life believes her: the stories seem fanciful, the stuff of magic and mayhem, sprung from the imaginations of hysterical women who spend too much time in the company of children.
Are both families careening towards tragedy? Are Orla and Lydia seeing things that aren't there? What secrets is the house hiding? A feminist gothic tale perfectly suited for the current moment, A Good House for Children combines an atmospheric mystery with resonant themes of motherhood, madness, and the value of a woman's work.
CD Publications, 1992. Signed edition limited to 750 copies, of which this is number 247. Black cloth slipcase; dust jacket protected; maroon cloth; binding tight; text clean and bright. VG/VG
As they relax after dinner on Christmas Eve, the members of a family and their guests turn to telling ghost stories. These ghoulish accounts range from the melancholy to the macabre, and get increasingly bizarre as the ghosts leap out of the tales and make an appearance in the family's home. Fact and fiction, the real and unreal collide, until the reader is not sure who is haunting whom.
A masterful work of comic horror, Jerome K. Jerome's After-Supper Ghost Stories is a witty look at why Christmas Eve is so perfect for ghost stories and why ghosts love the Yuletide season.
Arkham House, 1957. 1st edition; dust jacket protected; not price clipped; black cloth; endpapers toned; binding good; text clean. G/G
Arkham House, 1977. 1st edition; dust jacket protected; black cloth; binding good; text clean. G+/G+
Shingletown, CA: Mark V. Ziesing, 1989. Signed limited edition, no. 373/500. Tan cloth slipcase; dust jacket protected; brown cloth; binding good; text clean. VG/VG