Here are 100 books that It Came from the Closet fans have personally recommended if you like
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I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
Brandon Grafius is a prolific author in this area and I found this book to be a very good interaction between someone who is a Christian minister and a horror movie fan.
While this isn’t Grafius’ first book on the subject, it is his first to attempt to explain “why”—why would a normal, upstanding citizen watch horror? It helps debunk the idea that only social outcasts or disgruntled individuals watch horror. (Surveys indicate well over half of people in the United States admit to liking horror films.)
This coming out of the horror closet is a personal and very readable account.
Horror can be a valuable conversation partner for the spiritual questions that animate so many of us.
Whether through a movie, television show, novel, or even myth, horror as a genre has always spoken to our deepest human fears and anxieties: fear of death, of the unknown, of knowing too much. Whether you're looking at classic narratives like Frankenstein, which shows us the consequences of stretching knowledge farther than it's safe to go, or contemporary films like Get Out, which explores racism and white guilt, horror provides a window into our culture and what makes us human. The same can…
I'm a Senior Lecturer in Film and Television with a particular passion for the horror genre – the first film books I ever read were about Horror. I'm also a confirmed Italophile. I became fascinated by Mario Bava – and later, Italian horror more broadly – before I saw his films from accounts and images of them in books and magazines. The films weren’t easy to see before video, DVD/blu-ray or streaming, and so I was on a mission over time to track them all down. This is how cult reputations often develop – from obscurity to re-evaluation – and that was one of the things I wanted to address in my book.
This is possibly the film book I flick through more than any other, usually to check a review.
Again, it covers the Horror genre broadly (year by year) but introduced me to a lot more European entries that I had never heard of, as well as horror films from Japan and other countries. I disagree with many of the critical opinions in the book but that doesn’t make them any less interesting.
This is the best single volume book on the horror film, the definitive reference work devoted to the subject. It contains entries on every movie even remotely connected to the genre, whether it is a 19-century silent, a grade "Z" schlocker, or an "art" film by the likes of Fritz Lang or Ingmar Bergman. Each entry contains a full list of credits and a descriptive review. Hardy writes about horror movies with such enthusiasm and intelligence that you feel you're getting the low down on the genre from a sincere and learned friend.
I’ve been creating female-fronted Science Fiction stories since I was a child. My love for Star Wars motivated me to go to film school and then spend years working on the representation of women in Science Fiction movies, TV series, and video games. I’ve written about characters like Leia Organa and Hera Syndulla in Star Wars,Dana Scully in The X-Files,Sarah Connor in The Terminator, and Elisabeth Shaw in Prometheus. I have recently started sharing some of my research on Medium. Some of the books on this list have supported my research for over 15 years while I discovered others during my doctoral studies.
This book has been central to my research on women in Science Fiction although I am not a Horror fan.
Given how often women are thrown through gendered-based violence in different genres, Clover’s study brings many useful points for not only Horror itself, but also thrillers, action films, and Fantasy.
It investigates different facets of women’s representation and their fight against sexualized trials. My favorite chapters are those on the body in the slasher film, the discussion on women’s stories versus men’s stories, and the revenge narrative.
From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented--notably the slasher movie's "final girls"--as they endure fear and degradation before rising to save themselves. The lesson was not lost on the…
One summer night in a small prairie city, 18-year-old Gabriel Reece accidentally outs himself to his redneck brother Colin, flees on his motorcycle, and gets struck by lightning on his way out of town.
He’s strangely fine, walking away from his melted pile of bike without a scratch. There’s no…
I am a writer based in Brooklyn, NY. My books include The Unofficial Hocus Pocus Cookbook, XOXO: A Cocktail Book, and consulting for Are You My Wine? Clearly, I am very interested in drinking, eating, and pop culture. When we started talking about a follow-up project for The Unofficial Hocus Pocus Cookbook, my mind first went to my daughter Beatrice. I was excited for the day when she could watch the movie with me and share a part of my own life as a kid. I knew that many other millennial parents probably felt the same way, and so I knew I wanted to do a book that would enhance that experience.
If you like the horror movie genre, you’re going to love this book!
The author covers a ton of classic horror movies like Psycho, Jaws, Scream, and more and writes recipe intros that are super clever and full of excellent movie references.
One thing that I really like about this cookbook is that the author includes a dish and a drink for every movie and also puts in some fun suggestions for games to play while you watch!
Slay movie night with frighteningly delicious food and cocktail creations inspired by your favorite scary movies, perfect for fans of spooky season and movie buffs alike!
If you're looking for kitschy Pinterest recipes like coffin-shaped cookies or zombie finger sandwiches, look elsewhere. With The Horror Movie Night Cookbook, you’ll enjoy thoughtful and tasty food and cocktail pairings inspired by the actual content of chilling classics like Jaws, Psycho, Scream, The Conjuring, The Evil Dead, Halloween, and more of horror’s most frightening favorites! Inside you’ll find recipes like:
Crawling Steak (Poltergeist)
Campfire Sour (The Blair Witch Project)
Zombie Baby Kale Salad…
I grew up religious but loving scary things—horror movies, scary comic books, Dark Shadows, andThe Twilight Zone. Even the music of Alice Cooper. While I’m no longer religious, I have a doctorate in religious studies and I still have a fascination with media that cause fear. I also write horror stories. BeyondHoly HorrorI have written two more books on religion and horror and I read every book about this odd combination as soon as I can get my hands on it. I believe you should never judge people by their tastes in media—they can be decent folk even if they like horror.
This book opened my eyes to how a scholar of religion could engage with horror films. I sat in my hotel room and started reading it the day I purchased it because I couldn’t wait until I got back home to start it.
Douglas Cowan deftly demonstrates how horror films engage in conversation with religion and he does this in non-technical language. In a culture where religion, or at least organized religion, is in decline, it still has incredible power in pop culture.
Many religious people avoid horror like they would a real monster. Sacred Terror, apart from suggesting a title for my book, shows horror and religion both benefit from the discussion. Cowan has written other good books on the subject as well.
Sacred Terror examines the religious elements lurking in horror films. It answers a simple but profound question: When there are so many other scary things around, why is religion so often used to tell a scary story? In this lucid, provocative book, Douglas Cowan argues that horror films are opportune vehicles for externalizing the fears that lie inside our religious selves: of evil; of the flesh; of sacred places; of a change in the sacred order; of the supernatural gone out of control; of death, dying badly, or not remaining dead; of fanaticism; and of the power--and the powerlessness--of religion.
I have spent my entire working life tied to the virtuous cycle of reading, writing, and (I hope) thinking. Since my own first novel came out over twenty years ago, I have never lost my passion for reading, as I suspect that if I did, I would also lose my passion to write, and the fascination with other people and the world that fuels it. All these books have informed, gently or severely, my new novel, High John The Conqueror, encapsulating the incongruous mix between the given and the unbelievable that I find in life, and try to employ in my own work.
This is a volume that defies genre, in part a supernatural memoir, encyclopedia of horror films, and a treatise on the existence of other dimensions. I love a book that doesn’t conform to the rules and tropes of a single genre, where you basically know that what you are getting will adhere to what is or is not allowed, on the basis of the categories assigned to it by the publisher. Cronin testifies to her personal experience of ghosts, and what the nature of reality must be to support such entities. I follow her in looking to mix horror and the uncanny into supposedly banal and quotidian reality, the supernatural just another facet of life, and not a sensationalist realm that requires a world of its own.
Blue Light of the Screen is about what it means to be afraid - about immersion, superstition, delusion, and the things that keep us up at night. A creative-critical memoir of the author's obsession with the horror genre, Blue Light of the Screen embeds its criticism of horror within a larger personal story of growing up in a devoutly Catholic family, overcoming suicidal depression, uncovering intergenerational trauma, and encountering real and imagined ghosts.As Cronin writes, she positions herself as a protagonist who is haunted by what she watches and reads, like an antiquarian in an M.R. James ghost story whose…
When Lara was four years old, her father moved from Rochester, New York, to Anchorage, Alaska, a distance of over 4,000 miles. She spent her childhood chasing after him, flying a quarter of the way around the world to tug at the hem of his jacket.
I’ve been a fan of horror since I got sucked into Scooby-Doo as a three-year-old. When I started my academic career, I kind of kept that passion tucked inside as something to be embarrassed about – after all, I wanted to do serious work, and horror movies aren’t serious, right? Graduate school made me rethink that assumption, and pushed me towards seriously considering the engagement of horror and religion. I wrote my dissertation on a chapter of the Book of Numbers as a slasher narrative, and I haven’t looked back since.
Wiggins looks at how the Bible as a physical, tangible book plays an important role in horror movies – it doesn’t even need to be read to have power and be a crucial part of the plot. The book takes a deep dive into what the Bible means as a cultural symbol, even beyond our relationship to the words contained in its pages.
What makes you afraid? It may be more than what you think. Horror films have been exploiting our fears almost from the moment movies were invented. Lurking unseen in the corner of horror, however, is something unexpected: the Bible. Sit back while the curtain parts and watch as the Good Book appears in both supporting and starring roles in the most unlikely of cinema genres. Starting with Psycho and running up through the 2010s, horror films, monster movies and thrillers will flash across the screen with Scripture plainly in view. Holy Writ is not always what it seems. The Bible…
What could possibly captivate the mind more than monsters? As a kid, I eagerly consumed books from authors like R.L. Stine, Stephen King, and HP Lovecraft. I watched George Romero, Wes Craven, and John Carpenter, and played games like Dungeons and Dragons, Vampire: The Masquerade, andThe Call of Cthulhu.When I discovered monster studies in my PhD years—a way to read monsters as cultural productions that tell us something about the people that create them—I was hooked. Ever since, I get to continue reading my favorite books, watching my favorite movies, and playing my favorite games. It’s just that now someone’s paying me to do it.
Part theory, part media analysis, and all awesome, Nelson’s work traces the rise of the “Protestant Gothic” tradition in the United States and the way in which this dark and gloomy literary tradition came to inform most of the media we consume today. From zombies to vampires, HP Lovecraft to Guillermo del Toro, Nelson reveals the ways that the Protestant Gothic has shaped modern literature, television, and film into a space of religious imagining that we don’t even recognize.
The Gothic, Romanticism's gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today's Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives.
To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She…
I am and have always been fascinated with supernatural creatures, particularly if they have horns and dwell in the dark swamps of wooded hinterlands. I spent a greater part of my childhood in the African bush. A formative experience was the day an isangoma(witchdoctor) cast knuckle bones at me in a particularly energetic frenzy. Rather than being scared, I was fascinated by the power these little bones had to command spirits and creatures I had only seen in my nightmares. An obsession was born.
One word: Mr. Jitters. After her filmmaker dad is attacked and nearly killed in New York City, Lola Nox is sent to live with the grandmother she’s never met in an eerie town called Harrow Lake, the shooting location of her dad’s most iconic horror movie. But Harrow Lake is a sinister little town full of strange legends and the locals seem determined to keep it that way. With disappearances that the police shove under the rug and now a ghostly presence that has started following her everywhere, Lola is about to meet the thing that keeps this backwater little town in its firm, creepy grip. This novel reminded me of everything brilliant in The Babadook and Mr. Jitters might even give him a run for his money.
A must-have thriller that will keep you gripped, keep you guessing, and keep you up all night.
"A captivating and creeping mystery full of brilliantly twisting turns and dark secrets. You will race through this chilling, thrilling book." --Holly Jackson, bestselling author of A Good Girl's Guide to Murder
Lola Nox is the daughter of a celebrated horror filmmaker--she thinks nothing can scare her.
But when her father is brutally attacked in their New York apartment, she's quickly packed off to live with a grandmother she's never met in Harrow Lake, the eerie town where her father's most iconic horror…
I’m a Pushcart-nominated writer of (mostly) young adult and adult horror and suspense. I primarily write about the fear of isolated and sparsely populated places, which makes sense: I grew up in the rural hinterlands of northeast Pennsylvania, steeped in dark cornfields, eerie quiet, and weird characters. I now live in the Philadelphia area with my husband and rescue dog in a creaky, century-old house, giving myself agita about the creepy crawlspace in the basement. I’m the author of two novels: A Misfortune of Lake Monsters (YA horror, July 2024) and The Trajectory of Dreams (adult psychological suspense, 2013).
As a major fan of horror films generally, I could not say no to this book. Although some may argue that this is not a YA novel and doesn’t belong on this list, I say hogwash.
Graduating high school senior Jade, half Native American, is obsessed with slasher movies as a way to deal with the horrors of her everyday life: small town, questionable reputation, alcoholic dad, being Other, seeing her town fall for the charms of the mucky-mucks developing waterfront land on her town’s reportedly cursed lake, etc.
This book is super voicey, with a lovely use of language (and a barrage of horror movie references, which was so fun for me), with central commentary on post-colonialism, gentrification, and trauma. Also, without giving away the ending, I can say that it was truly bonkers slasher delightfulness!
Tuck this book into a waterproof bag, and row out to the middle…
The Jordan Peele of horror fiction turns his eye to classic slasher films: Jade is one class away from graduating high-school, but that's one class she keeps failing local history. Dragged down by her past, her father and being an outsider, she's composing her epic essay series to save her high-school diploma.
Jade's topic? The unifying theory of slasher films. In her rapidly gentrifying rural lake town, Jade sees the pattern in recent events that only her encyclopedic knowledge of horror cinema could have prepared her for. And with the arrival of the Final Girl, Letha Mondragon, she's convinced an…
