This was one of those "stay up all night, call out of work so you can read just one more chapter" kind of books.
Henderson is an absolute master of worldbuilding and suspense, and her take on vampire lore perfectly showcases this. This story of a lower-class "blood maid" moving into a Victorian manor home in service of a mysterious, vampiric employer had such phenomenal explorations of class differences and power imbalance, absolutely bubbling sensual tension, and so many twists that I often had to put the book down and stare at a wall to digest.
I adored the way that queerness was an accepted and ingrained part of this world, along with the examples of female friendship and the steampunk Victorian gothic vibes throughout.
NOMINATED FOR BEST HORROR NOVEL in the GOODREADS READERS CHOICE AWARDS...
'A lurid, luscious debauch of a book.' Guardian
'An unforgettable feast of decadence and depravity, House of Hunger cements Henderson's place as one of the great gothic writers of our generation.' S T GIBSON, author of A Dowry of Blood
A young woman is drawn into the upper echelons of a society where blood is power in this dark and enthralling Gothic novel from the author of The Year of the Witching.
WANTED: A bloodmaid of exceptional taste. Must have a keen proclivity for life's finer pleasures. Girls of…
I truly believe that this poetry collection is a must-read; I have never read anything before that so validated my experiences, fears, and feelings of moving through the world as a woman. That is the central thread of the collection, along with the true crime genre, and why women, statistically, seem so enthralled by it.
Even as someone who does not often consume true crime or read much poetry, I read this cover to cover in one sitting and was nearly moved to tears at points simply because of how succinctly Gatwood put my own experiences and emotions into words. It is wonderfully inclusive in its explorations of womanhood and gave me such a sense of community through Gatwood's sharp phrasing and heart-wrenching imagery.
A dazzling debut collection of raw and explosive poems about growing up in a sexist, sensationalized world, from a thrilling new feminist voice.
i’m a good girl, bad girl, dream girl, sad girl girl next door sunbathing in the driveway i wanna be them all at once, i wanna be all the girls I’ve ever loved —from “Girl”
Lauded for the power of her writing and having attracted an online fan base of millions for her extraordinary spoken-word performances, Olivia Gatwood now weaves together her own coming-of-age with an investigation into our culture’s romanticization of violence against women. At times…
This feminist take on a werewolf story was the perfect balance of funny and seriously moving, with a good dose of stomach-twisting body horror tossed in occasionally.
I went into this story expecting horror and humor, and while it certainly has both, it was the exploration of ways the world takes woman's agency of their own bodies that really moved me. The main character's transformation into a werewolf serves as a subtle and masterfully crafted metaphor for surviving sexual assault, with an embracing of female rage that was so satisfying to read.
Harrison is a master of feminist horror that is perfectly balanced with humor and outlandish events that are still firmly grounded in our world. I finished the book feeling both empowered and a little nauseated (in the best way).
A young woman in need of a transformation finds herself in touch with the animal inside in this gripping, incisive USA Today bestselling novel from the author of Cackle and The Return.
Rory Morris isn’t thrilled to be moving back to her hometown, even if it is temporary. There are bad memories there. But her twin sister, Scarlett, is pregnant, estranged from the baby’s father, and needs support, so Rory returns to the place she thought she’d put in her rearview. After a night out at a bar where she runs into Ian, an old almost-flame, she hits a large…
Traveling to be with her fiancé's terminally ill mother in her last days, Saoirse Read expected her introduction to the family’s ancestral home would be bittersweet. But the stark thrust of Langdon Hall is forbidding and cold as those within. Her fiancé’s parents make no secret of their distaste for Saoirse, and their feelings have long since spread to their son.
While wandering the gardens, Saoirse slips back through time to 1818. There she meets Theo Page, a man like her fiancé but softer, who clearly harbors a fervent interest in her. As Saoirse slips back and forth in time, the attraction between the two grows, but so does the grief of her own time and the gnawing presence of her mind’s shadows.
