Here are 100 books that The Turn of the Screw fans have personally recommended if you like
The Turn of the Screw.
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The uncanny slips into the gaps between the objective world and the
world of human experience with all its dreams, apprehensions, and
intuitions. This intermediate space is the habitat of ghosts and also
the zone where my mind does its wanderings. It's where my books come, and
explorations of that space in other peoples' books draw me in, deeply
and inescapably.
I adored this fascinating twist on poltergeists! In writing about ghosts, what’s important isn’t only the stories of the dead but their relationship with the living.
The Ayres family—failing aristocrats in a decrepit mansion—might be haunted by the ghost of a dead Ayres child or else by an imposter. What fascinated me was the way their love and loss make them vulnerable to predation. It’s a quietly disturbing story with a very unquiet payoff.
After her award-winning trilogy of Victorian novels, Sarah Waters turned to the 1940s and wrote THE NIGHT WATCH, a tender and tragic novel set against the backdrop of wartime Britain. Shortlisted for both the Orange and the Man Booker, it went straight to number one in the bestseller chart. In a dusty post-war summer in rural Warwickshire, a doctor is called to a patient at Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house, once grand and handsome, is now in decline, its masonry crumbling, its gardens choked with weeds, the clock in its stable…
Two of my three novels have young women protagonists. I find young adulthood a fascinating time in women’s lives and I enjoy creating a character and putting her in a historical setting. The Second World War offers fertile ground for storytelling, and I grew up south of London after the war. My father’s unpublished memoir, in which he describes an event that he experienced in the war, inspired me to write about it, but I told the story through the eyes of the protagonist, Kate.
I loved the three-part format of this book divided by time periods. The first part, set in 1935, describes an event that took place on a hot summer day in the grounds of the family’s country house garden. It’s seen from the different perspectives of thirteen-year-old Briony and her older sister Cecelia. The story evolves from there in parts two and three in unpredictable and devastating ways.
I appreciated the book’s in-depth exploration of the power of a lie and the devastating consequences of that lie. This psychological study of adult Briony’s guilt and subsequent atonement eloquently depicts how war makes demands of even the most privileged citizens.
On the hottest day of the summer of 1934, thirteen-year-old Briony Tallis sees her sister Cecilia strip off her clothes and plunge into the fountain in the garden of their country house. Watching her is Robbie Turner, her childhood friend who, like Cecilia, has recently come down from Cambridge. By the end of that day, the lives of all three will have been changed for ever. Robbie and Cecilia will have crossed a boundary they had not even imagined at its start, and will have become victims of the younger girl's imagination. Briony will have witnessed mysteries, and committed a…
I write horror and crime thrillers grounded in my unusual lived experience as an author and attorney who has also overcome poverty, incarceration, and violent crime. I feel most fulfilled when I read a book that both entertains and expands me in meaningful ways, immersing me in lives, cultures, and history I might not otherwise know. So I love Social Horror novels, which feature characters who face significant human adversity beyond my own experience and leave me questioning what was worse, the human or the supernatural.
After a “massacre” of a herd of elk on a protected reservation forest—a scene which spoke more of frenzied bloodlust than hunting for sustenance—four Blackfoot men become the prey of a creature bent on revenge.
Jones’s narrative satisfied my thirst for wholly original horror while exploring the clash of Native American traditional and contemporary culture. The story touches on the characters’ drive to assimilate, guilt and sense of identity, and the need to move beyond resentments to create a life worth living.
I loved the originality of the beast, the slice of reservation life, and the endearing, flawed characters, all rendered with gorgeous precision.
"Thrilling, literate, scary, immersive." -Stephen King
The Stoker, Mark Twain American Voice in Literature, Bradbury, Locus and Alex Award-winning, NYT-bestselling gothic horror about cultural identity, the price of tradition and revenge for fans of Adam Nevill's The Ritual.
Ricky, Gabe, Lewis and Cassidy are men bound to their heritage, bound by society, and trapped in the endless expanses of the landscape. Now, ten years after a fateful elk hunt, which remains a closely guarded secret between them, these men - and their children - must face a ferocious spirit that is coming for them, one at a time. A spirit…
As the mother of four children, I have observed over the last twenty years how women are viewed and often judged under a stifling patriarchal lens. Writing about motherhood in all its glorious colours has been one way for me to channel my frustrations. Stories that reach out to women and give them a voice when they feel unheard are vital. In a world where appearances and facades are taking over our social media feeds, where filters blur out the rough edges of our lives, I’m more determined than ever to write female characters who are raw and flawed but also valued as an integral part of an evolving society.
From the very first page, I was intrigued by Shriver's exploration of maternal complexities. It shone a light on motherhood that I’d never seen before. I found the raw emotion and psychological depth unparalleled and loved how the narrative really delved into nature versus nurture and went so far as to question: are people born evil?
Being a mother myself, I couldn’t imagine living through the horror of my child becoming withdrawn and that disengagement resulting in such devastation in a community. The dismissal of the mother’s concerns by the father was also an interesting social commentary.
Finally, Shriver’s writing is beyond beautiful yet so accessible for the readers.
Eva never really wanted to be a mother; certainly not the mother of a boy named Kevin who murdered seven of his fellow high school students, a cafeteria worker and a teacher who had tried to befriend him. Now, two years after her son's horrific rampage, Eva comes to terms with her role as Kevin's mother in a series of startlingly direct correspondences with her absent husband Franklyn about their son's upbringing. Fearing that her own shortcomings may have shaped what her son has become, she confesses to…
As a horror writer, the evil kid subgenre holds great appeal to me. I’ve written about them a few times, most notably in my novella Sour Candy, which remains the most popular thing I’ve written, perhaps because, like in the books mentioned above, we don’t expect our children to be evil monsters, and when they are, we’re ill-prepared to deal with the threat. They’re still children, after all, and we’re supposed to love and protect them. The emotional quandaries this situation presents are fascinating to write about.
Stage’s wonderfully sinister novel documents the early years of a child who seems to have been born bad. The thrill in this one is the ever-escalating war between a precocious and seemingly sweet child and her anguished mother, who knows she’s being manipulated by her daughter, while the father remains oblivious to the horror. It’s unusual, and fun, to read a book in which we get to see things from the child’s perspective as she tries to drive her mother insane.
“Unnerving and unputdownable, Baby Teeth will get under your skin and keep you trapped in its chilling grip until the shocking conclusion.”―New York Times bestselling author Lisa Scottoline
One of Entertainment Weekly’s Must-Read Books for July | People Magazine's Book of the Week | One of Bustle's "Fifteen Books With Chilling Protagonists That Will Keep You Guessing" | One of PopSugar's "25 Must-Read Books That Will Make July Fly By!" | One of the "Biggest Thrillers of the Summer"―SheReads | "New & Noteworthy" ―USA Today | "Summer 2018 Must-Read"―Bookish | "One of 11 Crime Novels You Should Read in July"―Crime…
As an uncanny child myself, I always gravitated toward reading about the strange—whether in historical accounts or fiction—and as a passably normal adult, I often write from the perspective of “the other.” I never intentionally mix science fiction and paranormal elements into my work…they just happen to be my characters’ truths! So much of what we humans know about our world is filtered through our collective reality, and I love following the connecting threads and plucking at the flaws.
Really, what could be more uncanny than dozens of golden-eyed children conceived while an entire town was unconscious? To say nothing of the not-so-subtle complications of nature versus nurture as their mothers attempt—or avoid—bonding with their strange, unwanted progeny.
From the mid-century English setting to the focus on male narrative perspectives, Wyndham contrasts what’s normal and abnormal, human and “other,” with a simple tale that spawns (pun intended) a fear of perfect, emotionally disconnected children who cannot—or will not—be loved. A classic, through and through.
A genre-defining tale of first contact by one of the twentieth century’s most brilliant—and neglected—science fiction and horror writers, whom Stephen King called “the best writer of science fiction that England has ever produced.”
“In my opinion, [John] Wyndham’s chef d’oeuvre . . . a graphic metaphor for the fear of unwanted pregnancies . . . I myself had a dream about a highly intelligent nonhuman baby after reading this book.”—Margaret Atwood, Slate
What if the women of a sleepy English village all became simultaneously pregnant, and the children, once born, possessed supernatural—and possibly alien—powers?
As a horror writer, the evil kid subgenre holds great appeal to me. I’ve written about them a few times, most notably in my novella Sour Candy, which remains the most popular thing I’ve written, perhaps because, like in the books mentioned above, we don’t expect our children to be evil monsters, and when they are, we’re ill-prepared to deal with the threat. They’re still children, after all, and we’re supposed to love and protect them. The emotional quandaries this situation presents are fascinating to write about.
Hugely influential since its publication in the 1970s, Tryon’s deliciously twisted book about a pair of identical twins who happen to have different birthdays and are left to their own (unusual) devices after their father dies, has often been imitated, but never equaled. Shocking upon its initial release, jaded readers may see the ending coming now, but that doesn’t detract from the sheer ingenuity of the horror leading up to it. A masterpiece of psychological terror.
Holland and Niles Perry are identical thirteen-year-old twins. They are close, close enough, almost, to read each other’s thoughts, but they couldn’t be more different. Holland is bold and mischievous, a bad influence, while Niles is kind and eager to please, the sort of boy who makes parents proud. The Perrys live in the bucolic New England town their family settled centuries ago, and as it happens, the extended clan has gathered at its ancestral farm this summer to mourn the death of the twins’ father in a most unfortunate accident. Mrs. Perry still hasn’t recovered from the shock of…
Maybe because I grew up in San Diego, a city that boasts what ghost hunter Hans Holzer called the most haunted house in America, I’ve always loved ghost stories. I never encountered a ghost when I visited the Whaley House Museum, as Regis Philbin did when he spent the night, but I once took a photograph there that had an unexplained light streak on it. Although I conceived a passion for the printed word with my first Dick and Jane reader and wrote my first story at the age of six, it took me a few decades to fulfill my long-held desire to write a ghost story of my own.
This book had the greatest influence on my desire to write my own ghost story.
I liked the stalwart Brit characters, Roderick and Pamela, even though they were a bit slow putting together the clues. I figured out the secret before they did, which only added to the fun. The writing style is old-fashioned enough to add to the atmosphere, and the story is beautifully told.
A gothic, bone-chilling Irish ghost story first published in 1941 and now brought back into print. The title benefits from an introduction by well-known academic Professor Luke Gibbons and Martin Scorsese and various critics, including William K. Everson and Leonard Maltin, regard The Uninvited as one of the best ghost stories ever filmed.
I’ve always been fascinated by people’s motives whether that be in real life or written on the page. That’s what drew me to write in the thriller genre to begin with because at the core, it's about finding out why people do things. But sometimes this genre portrays female characters as either innocent damsels or evil femme fatales, neither of which captures that women are a mix of good and bad like all other people. That’s why I try to write my female protagonists in my novels, short stories, and fictional podcasts, in a way that makes them conflicted humans and causes them to experience both downfalls and triumphs.
As an avid horror fan, not much creeps me out. This book did.
The story follows Merry, a young girl who is certain her teenage sister, Marjorie is possessed. Soon her religious parents believe Marjorie is possessed as well and invite a film crew to document the strange happenings in their home and an attempted exorcism.
The details of this alleged possession are terrifying, especially told from the perspective of a nine-year-old girl.
But just when you think you understand what happened with their family, the last few pages turn the tables on you and cause you to question what Merry has told you, how good of a person she actually is, and ask yourself how responsible could a child be in this horrific circumstance.
The lives of the Barretts, a suburban New England family, are torn apart when fourteen-year-old Marjorie begins to display signs of acute schizophrenia. To her parents' despair, the doctors are unable to halt Marjorie's descent into madness. As their stable home devolves into a house of horrors, they reluctantly turn to a local Catholic priest for help, and soon find themselves the unwitting stars of The Possession, a hit reality television show.Fifteen years later, a bestselling writer interviews Marjorie's younger sister, Merry. As she recalls the terrifying events that took place when she was just eight years old, long-buried secrets…
I’m a scented candles and bubble bath girl. But my love of love doesn’t intersect with chocolate-covered strawberries and champagne; it’s a circle. I’m not sure if I’m inspired to write romance because of my reality or if my reality is enriched by my writing. In any case, I enjoy a healthy love life, which, to me, is a necessity when writing realistic love or sex scenes. I’ve dated…extensively, and it’s that very experience that makes my love scenes ring true. A little bit of a past goes a long way when devising a romantic scenario or plot. Comma placement can always be learned.
I’ve loved this book since I was thirteen. Even as an adolescent, I was swept up by the romance and the tragedy.
When I read this book, I’m instantly on the Yorkshire moors, sooty clouds hovering above, watching Heathcliff, his dark hair ruffling and his tattered sleeves flapping in the brittle wind. If unrequited love is a romance trope, then this book is the unqualified architect of the genre.
I periodically dust off my copy, yellowed pages and all, for a re-read. I’m such an immersive and visual reader; I can see the torture in Heathcliff’s eyes, the despair in Isabella’s, and the denial in Cathy’s. And just when I feel the setting is too dark and gothic, Hareton Earnshaw, the character I’ve come to view as the hero, realizes justice.
One of the great novels of the nineteenth century, Emily Bronte's haunting tale of passion and greed remains unsurpassed in its depiction of destructive love. Her tragically short life is brilliantly imagined in the major new movie, Emily, starring Emma Mackey in the title role.
Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket-sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition of Wuthering Heights features an afterword by David Pinching.
One wild, snowy night on the Yorkshire moors, a gentleman asks…
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