My PhD work focused on horror fiction and film, and I spent ten years teaching about horror (I even included two of my recommended books in courses). The academic stuff is more a symptom than a cause of my passion for the scary. I’ve been a horror freak forever, becoming interested in vampires by age four, reading Stephen King and writing stories to frighten classmates by age nine, and putting a poster of Freddy Krueger on my wall at age ten. Extremes of fiction take me away from extremes of real life, which are much harder to handle.
From the mind of a nineteen-year-old member of the English Parliament, this book inaugurated the splatter side of the horror tradition, and it freaked late 18th-century critics out. I love it for all its gruesome irreverence, for how far it’s willing to go for shocks, for its wild, gender-bending sexuality, and so much more.
Although I find parts of it genuinely disgusting, I think it’s more amusing than scary… that said, its inset storytelling and interwoven major plotlines are a hoot to follow. The corruption of the title character is so, so easy and goes so, so far.
The object of his primary lust is so ridiculously pure… orchestrated to maximize the impact of the final confrontations, of course, and they are extreme.
Matthew Lewis's Gothic masterpiece, depicting a holy man slowly becoming entangled in a web of sin, The Monk is edited with an introduction by Christopher MacLachlan in Penguin Classics.
Savaged by critics for its blasphemy and obscenity, particularly since the author was a Member of Parliament, The Monk soon attracted thousands of readers keen to see if this Gothic novel lived up to its lurid reputation. With acute psychological insight, Lewis shows the diabolical decline of Ambrosio, a worthy superior of the Capuchins of Madrid who is tempted by Matilda, a young girl who has entered his monastery disguised as…
This was Poe’s only novel, and I don’t know why more people don’t read it. Yes, it has problems with race and some political issues… most novels of its time do… but it also contains the scary elements for which Poe is best known (extreme claustrophobia à la live burial, storytellers with questionable sanity) as well as cannibalism and other terrors collected very efficiently in the guise of a seafaring adventure tale.
I love its almost unwavering intensity and grimness, how it dares to create a world where nearly everything is horrible. What I love most is probably its mind-boggling ending, which I see as an open door for much cosmic horror to come.
Poe found the germ of the story he would develop into ARTHUR GORDON PYM in 1836 in a newspaper account of the shipwreck and subsequent rescue of the two men on board. Published in 1838, this rousing sea adventure follows New England boy, Pym, who stows away on a whaling ship with its captain's son, Augustus. The two boys repeatedly find themselves on the brink of death or discovery and witness many terrifying events, including mutiny, cannibalism, and frantic pursuits. Poe imbued this deliberately popular tale with such allegorical richness, biblical imagery, and psychological insights that the tale has come…
I love this one for its extremes of thought rather than any extremes of violence, though it implies the slaughter of an entire civilization. It’s the mountains and the mountains beyond mountains, each range more sublime than the last, more likely to dash your comprehension against their rocks, that is the genius here, the idea that no matter how horrific something seems, what’s really horrific is always right behind it, outside your capacity for seeing it completely.
Lovecraft is the master of describing the indescribable, and I think this novella is where he does it best. (Un)Naturally, the book’s greatest triumph is the shoggoths, creatures that defy both form and understanding, and madness comes to life. Brilliant!
At the Mountains of Madness is a science fiction-horror novella by American author H. P. Lovecraft.
An expedition to Antarctica goes horribly wrong as a group of explorers stumbles upon some mysterious ancient ruins, with devastating consequences. At the Mountains of Madness ranks among Lovecraft's most terrifying novellas, and is a firm favourite among fans of classic horror.
This book originally consisted of six short collections of novellas and stories, but they’ve since been gathered into a two-volume set, so I’m hoping I can count them as one. They go together, and I think they’re nearly all excellent.
When I was a kid, these stories helped build a bridge for me, from the likes of Stephen King (whom I still adore) to new imaginative worlds of horror that include all kinds of transgressive imagery.
I love how Barker combines the fantastic with the visceral, blurs lines between the monstrous and the human, and makes desire dark, dirty, and wonderful. I also love these stories for all they taught me and helping usher in modern extreme/hardcore horror.
Rediscover the true meaning of fear in this collection of horror stories from Clive Barker, New York Times bestselling author and creator of the Hellraiser series.
Everybody is a book of blood; wherever we're opened, we're red.
In this tour de force collection of brilliantly disturbing tales, Clive Barker combines the extraordinary with the ordinary, bringing to life our darkest nightmares with stories that both seduce and devour. As beautiful as they are terrible, the pages of this volume are stained with unsettling imagery, macabre humor, and visceral dread. Here then are the…
I’ve been blown away by the high quality in a lot of 21st-century splatterpunk/hardcore/extreme horror, but nobody’s extremes have impressed me quite like Wrath James White’s.
I love the insane magic he works with a deceptively simple premise: a young man can resurrect people who forget the circumstances of the deaths and return, but he’s a bad young man. The result is a blend of classic Gothic tropes related to a woman terrorized by a powerful man combined with just about every kind of physical violation imaginable.
I respect White’s gross-outs, but more than that, I respect the bleakness, the deep, deep horror of the premise taken so far in such a bad way.
Dale McCarthy has a unique and miraculous ability. He can bring the dead back to life, though the resurrected have no memory of their deaths. But not every miracle comes from God, and not every healer is a saint.
Ever since her new neighbor moved in, Sarah Lincoln has been having terrible nightmares. Last night she dreamed she and her husband were brutally murdered in their beds. This morning she found bloody sheets in the laundry and bloodstains on her mattress. And the nightmare is the same, night after night after night. With no one prepared…
When Megan met Carter at Harvard, their college romance took a mystical turn thanks to a book that gave them the power to do almost anything, with disastrous results. Years later, their young daughter has terminal cancer. The book offers a cure: they can save their firstborn by sacrificing their second. But Megan and Carter don’t have a second… yet.
Confined to their New York apartment, Megan begins nine months of hell, and she and Carter enter a spiral that flecks the American East Coast with mangled bodies. Descending Lines takes a gut-wrenching question—how far would you go to save your child?—and turns it into a fast-paced nightmare.
Kelly Simmons has been published in 12 countries by Simon & Schuster and Sourcebooks, and her widely praised novels are frequently compared to Big Little Lies.
Her new book, The Off Season, is set on the tranquil shores of the Chesapeake Bay, where headstrong thirteen-year-old Savannah bursts into the local police department, insisting her mother’s drowning was anything but an accident. She’s forced to tangle with the languid Bay police department as well as the year-rounder adults and teens who might be complicit not just in her mother’s death but a decades-old cold case.
For fans of Lisa Jewell and Liane Moriarty. Published in 12 countries by Simon & Schuster and Sourcebooks, Kelly's widely praised novels are frequently compared to BIG LITTLE LIES.
THE OFF SEASON explodes on the tranquil shores of the Chesapeake Bay. A headstrong thirteen-year-old girl insists her mother’s drowning was anything but an accident. She’s forced to tangle with the languid bay police department as well as the year-rounder adults and teens who might be complicit not just in her mother’s death, but a decades-old cold case. With echoes of GONE GIRL and STAND BY ME, it’s part crime, part…
