I am a novelist and an academic. My own writing often evokes both the Gothic and the supernatural, and I enjoy the pleasures of plot: mystery, intrigue, and suspense. The popular literature of a particular culture will often tell you more about what that culture fears than the complex high art written at the same time. But where the project becomes really interesting is the moment when a writer exploits the literature of terror to investigate the human psyche and the dark side of the mind. All these tales are also award-winning films. In every case the book is more frightening.
When I began teaching Mary Shelley’s Frankensteinthe most common error was to confuse the Monster and his Maker. Surely the Monster’s name is Frankenstein? This confusion goes straight to the moral heart of Shelley’s book. The Monster and the scientist in my tale are the same person. My character, known as Röhm, is brilliant, charismatic, erotic, and evil. He is the tempter, the predator, the lover - and resistance is futile. But the single mother and her son who are bound to him do resist. Can they ever escape?
The Deadly Space Between is a book of ghosts, haunted by Frankenstein. It’s the only one of my books that I find unsettling to re-read. Even though I know what’s going to happen.
When I first read this famous tale, I was about seventeen and still lived with my parents when I wasn’t at boarding school or hitch-hiking around Europe. I began reading in bed late at night and couldn’t put it down even when I wanted to do so. The story begins at a Christmas gathering around a fire but moves to a large house in the country where a young governess is in charge of two strange children. I have always found children uncanny; they seem to exist at the point where innocence and evil meet. Henry James is a master of ambiguity and truly disturbing dialogue. I finished reading and couldn’t put the light out or go anywhere near the bedroom window.
'A most wonderful, lurid, poisonous little tale' Oscar Wilde
The Turn of the Screw, James's great masterpiece of haunting atmosphere and unbearable tension, tells of a young governess sent to a country house to take charge of two orphans, Miles and Flora. Unsettled by a dark foreboding of menace within the house, she soon comes to believe that something, or someone, malevolent is stalking the children in her care. Is the threat to her young charges really a malign and ghostly presence, or a manifestation of something else entirely?
Edited and with an Introduction and Notes by David Bromwich Series…
Montague Rhodes James, dean and provost of King’s College Cambridge, read this tale at the College Christmas gathering in 1903. James’ ghost stories often involved traditional scholars – confirmed bachelors, rather like himself. The bleak East Anglian landscape plays a significant role and here a Professor takes time off to play golf and get on with some writing at a seaside resort. He finds a strange bronze whistle in a ruined round church site. There is a second bed in the rented room at his boarding house.
I love the thrill that M.R. James describes as "pleasant terror," but his tales are often much darker. He unveils an uncanny sexual horror in the images that haunt this terrifying story. I still see them when I close my eyes.
Montague Rhodes James OM, MA, FBA (1 August 1862 – 12 June 1936), who used the publication name M. R. James, was an English author, medievalist scholar and provost of King's College, Cambridge (1905–1918), and of Eton College (1918–1936). He is best remembered for his ghost stories, which are regarded as among the best in the genre. James redefined the ghost story for the new century by abandoning many of the formal Gothic clichés of his predecessors and using more realistic contemporary settings. However, James's protagonists and plots tend to reflect his own antiquarian interests. Accordingly, he is known as…
The Birdsis a tale of invasion. The rural West country setting appears safe, predictable. But Nat, an ordinary farm labourer, notices at once when the birds begin to mingle "in strange partnership." The description of the mass of gulls, riding the waves, waiting for the tide to turn, is unforgettable, superb. The birds are united against a single enemy, and they have a plan. They don’t care how many of their numbers die as long as they annihilate humanity.
I love apocalypse tales and this is one of the greatest stories about what happens when nature turns against us.
'How long he fought with them in the darkness he could not tell, but at last the beating of the wings about him lessened and then withdrew . . . '
A classic of alienation and horror, 'The Birds' was immortalised by Hitchcock in his celebrated film. The five other chilling stories in this collection echo a sense of dislocation and mock man's sense of dominance over the natural world.
The mountain paradise of 'Monte Verita' promises immortality, but at a terrible price; a neglected wife haunts her husband in the form of an…
One of my writer friends recommended this American novel and I’m still recovering gently. The scenario is classic: a summer gathering at a haunted house to smoke out and study the supposedly active ghosts. The research team includes a bizarre cast of characters: two disturbed young women, the heir to Hill House, a professor of parapsychology, his dotty wife who meddles with the spirit world, and her boyfriend who carries a gun. Don’t underestimate the house itself.
What is particularly brilliant is the mixture of sinister terror and pure black comedy. I read this book in two sittings, pausing only to have a very stiff drink. The suspense is almost unbearable at times and the mixture of hilarity and horror truly unsettling.
Part of a new six-volume series of the best in classic horror, selected by Academy Award-winning director of The Shape of Water Guillermo del Toro
Filmmaker and longtime horror literature fan Guillermo del Toro serves as the curator for the Penguin Horror series, a new collection of classic tales and poems by masters of the genre. Included here are some of del Toro's favorites, from Mary Shelley's Frankenstein and Ray Russell's short story "Sardonicus," considered by Stephen King to be "perhaps the finest example of the modern Gothic ever written," to Shirley Jackson's The Haunting of Hill House and stories…
I read the novel when I saw that Jane Campion had chosen to adapt the book for her latest film. I have nerves of cast iron. But I found this book truly terrifying. The subject is human evil – the sadistic, twisted cruelty of which men are capable, both to animals, and other human beings. The descriptive writing is extraordinary: the ranch, the mountains, and the wild lands of Montana appear before your eyes. The family is almost destroyed by the predatory, violent brother Phil. He is like a Shakespearean villain: magnetic, charismatic, spellbinding, brilliant, and vicious.
Campion softens the edges of the story at every step in her wonderful film. And I can understand why. Had she filmed the book the movie would be banned. Read the book.
Born Nameless. Raised in ice and snow. Destined to rule.
Arya Nameless has sidestepped her destiny in favour of joining House Ravenstrike and helping Thiara Ravenstrike become High Warlord of Dunidaen. First, Arya must ensure that Thiara’s only son, Rorin, succeeds in running the Dreadwater Gate into Khadini, a deadly rite of passage that none have survived for decades. If they triumph, Arya will be named general of Ravenstrike’s army and land a political blow against their powerful adversary, Warlord Mathas Crowtalon.
Yet Khadini holds challenges far beyond what they expected. And while Arya contends with wild jungles, fierce enemy warriors, and potential new allies, the Nightstalker continues to seek her with relentless intensity. The monsters hunting her wield a dark magic she has no way of countering. Survival relies on staying hidden, secret.
Yet, when Arya’s wyvern calls, the time for hiding is over.
Born Nameless. Raised in ice and snow. Destined to rule.
Arya Nameless has sidestepped her destiny in favour of joining House Ravenstrike and helping Thiara Ravenstrike become High Warlord of Dunidaen. First, Arya must ensure that Thiara's only son, Rorin, succeeds in running the Dreadwater Gate into Khadini, a deadly rite of passage that none have survived for decades. If they triumph, Arya will be named general of Ravenstrike's army and land a political blow against their powerful adversary, Warlord Mathas Crowtalon.
Yet Khadini holds challenges far beyond what they expected. And while Arya contends with wild jungles, fierce enemy…
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