I’m a middle school science teacher, and many of my students are “readers,” the ones that constantly have their heads in books when they aren’t dragged away by classwork. I created this list because they remind me of what I enjoyed about reading when I was their age, the environment. Characters and plots were great, but I wanted a book to take me somewhere I’d never been. Whether it was the Klondike or soaring through clouds, I needed to believe it was real, someplace I might see for myself. Vivid descriptions that provide fuel for imagination make reading more dynamic.
Jack London is by far my favorite writer of youth-accessible literature, and White Fang is one of his best. My senses came alive as I read about a wolf’s struggle to survive and adapt to changes in its environment. Reading his description of a world through the experience of an animal was transformative. The Klondike became a real and deadly place, vibrant and alive.
Born in the wilds of the freezing cold Yukon, White Fang - half-dog, half-wolf - is the only animal in the litter to survive. He soon learns the harsh laws of nature, yet buried deep inside him are the distant memories of affection and love. Will this fiercely independent creature of the wild learn to trust man again?
Richard Adams, prize-winning author of Watership Down, introduces this chilling, beautiful tale of the wild.
I’ve written across genres, including mysteries like The Last Policeman and big works of alternate history like Underground Airlines. But Bedbugs—now republished as The Bonus Room—was one of my first books, and very dear to my heart. I’ve always loved books that pit a single, relatively helpless protagonist against some inexplicable force that he or she cannot begin to fathom. A force that can’t be reasoned with or bargained with. You just have to beat it. Perhaps that’s why I love these books about man vs. beast—the natural world is our friend, and animal are subservient to us…until suddenly, terrifyingly, they’re not.
Wells is one of the great early masters of science fiction, creator of The Time Machine and The War of the Worlds,but with Moreau he was also one of the masters of what David Cronenberg fans know as body horror—the gross, startling, and menacing intermingling of the human body with exterior elements.
In this case, pumas, pigs, you name it. With characters like Ape-Man and Sloth-Man, there is a definitely campiness here, but never enough to distract from the fact that it’s deeply, resonantly disturbing.
I’m a writer of sapphic horror and romance fiction, and a professor of nineteenth and twentieth literature and Women’s and Gender Studies. I’ve been an avid reader of ghost-focused fiction since I was a little kid. This fascination was, in part, encouraged by my horror-loving parents, but I think I’ve just always loved being scared, and for me, the scariest thing imaginable is a haunted house. I’ve read widely in the genre, by turns spooked, thrilled, and baffled, and this reading eventually encouraged me to write my own haunted house novels. If you love a chilling tale, you’re going to love the books on this list.
While there are haunted house-like novels before James’s 1898 classic, this in many ways is a granddaddy of modern haunted tales. An isolated country estate? Check. A creepy housekeeper? Check. Two even creepier children, possibly possessed? Check, check! When the unnamed narrator is hired as the new governess in a remote country home in England, she arrives to find that her two young wards are already nearly corrupted by the ghosts of the former governess and groundskeeper. As she works to save them, the narrator herself is threatened, both by the ghosts and by the children she’s meant to save. The psychological possibilities of this book, however, linger at the edges of the text, threatening to undermine the whole notion of what this haunting really is.
A young, inexperienced governess is charged with the care of Miles and Flora, two small children abandoned by their uncle at his grand country house. She sees the figure of an unknown man on the tower and his face at the window. It is Peter Quint, the master's dissolute valet, and he has come for little Miles. But Peter Quint is dead.
Like the other tales collected here - `Sir Edmund Orme', `Owen Wingrave', and `The Friends of the Friends' - `The Turn of the Screw' is to all immediate appearances a ghost story. But are the appearances what they…
As a writer of Gothic-inflected suspense and horror fiction, I just can’t help it: I love to be scared! We are lucky to be in a time when so many wonderful thrillers, mysteries, suspense, and horror stories are being written and published, but I have a great love for the classics of the genre. These are the books I turn to again and again, not just to marvel at their craft and ingenuity, but to feel the skin prickle on my arms and shoulders and the hairs rise on the back of my neck. Whether for the first or the twentieth time, let these masterworks cast their spells over you.
I have been a fan of Gothic and melodrama since I first watched the 1931 film Frankenstein with Boris Karloff–and I was delighted to discover that the book is even better and so much more than what we’ve ever seen on screen.
Frankenstein’s monster is articulate and soulful in Mary Shelley’s atmospheric, dread-filled original novel, and his plight is all the more moving because of it. She wrote it when she was just 18 years old, still grieving over the death of her first child two years earlier. I feel her aching sorrow on every page.
One of the BBC's '100 Novels That Shaped Our World'
'That rare story to pass from literature into myth' The New York Times
Mary Shelley's chilling Gothic tale was conceived when she was only eighteen, living with her lover Percy Shelley on Lake Geneva. The story of Victor Frankenstein who, obsessed with creating life itself, plunders graveyards for the material to fashion a new being, but whose botched creature sets out to destroy his maker, would become the world's most famous work of horror fiction, and remains a devastating exploration of the limits of human creativity. Based on the third…
I’m a retired professor of American literature (Queens College, City University of New York) and a true-crime historian who has been writing nonfiction books about some of our nation’s most heinous serial killers and mass murderers for over thirty years.
Until I entered grad school for my Ph.D. in American literature, I had never heard the name Charles Brockden Brown and my guess is that few people alive today would recognize it. In his own time, however, he was an important literary figure. The author of a quartet of books composed in a yearlong creative frenzy at the close of the 18th century, he is regarded as "The Father of the American Novel." As the creator of our nation's first Gothic fiction, he was a major influence on writers like Poe and Hawthorne. His 1798 novel Wieland was inspired by a sensational crime that happened seventeen years earlier in upstate New York, when a farmer named James Yates, allegedly acting under orders from a divine voice, slaughtered his entire family. If by "best" we're talking about most enjoyably readable, then Wieland, like all Brown’s novels, doesn't exactly qualify. But it's…
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I had the passion to write Necessary Deeds because: 1) as someone who'd spent 20+ years writing novels, dealing with untrustworthy literary agents, and book-doctoring other writers’ novels in order to pay rent, I'd come to know betrayal (“best friend” writers who stole drafts of mine and called them their own, novelists who backstabbed me after I helped them land agents and book contracts, and so on); 2) like many people who lived through the drug-and-alcohol-laced Eighties, I had a long relationship with someone that ended because they cheated on me. So I never doubted that, as I wrote Necessary Deeds, my heart knew well what motivated its characters.
Much as I enjoyed the film based on this novella by Stephen King (which I now understand is a standalone book—I read it as part of a story collection long ago), I enjoyed the novella more.
Why? Because of its extraordinarily likeable narrative voice, which has caused people worldwide to find themselves rooting for its narrator. How can you not want to know what’ll happen next to someone so candid and down-to-earth—who has experienced homicide and love so intensely? Especially when he wants intimacy yet also feels threatened by it.
In fact, just after I finished reading the Shawshank novella, I vowed to write a novel about someone in NYC who exuded those same attributes: candor, humility, and understated yet solid wisdom about murder and affairs of the heart. And after several years of writing with this goal, I finally tapped into the voice of Matt Connell, the narrator of…
The No. 1 bestselling author Stephen King's beloved novella, Rita Hayworth and Shawshank Redemption - the basis for the Best Picture Academy Award-nominee The Shawshank Redemption - about an unjustly imprisoned convict who seeks a strangely satisfying revenge, is now available as a standalone book.
There's a guy like me in every state and federal prison in America, I guess - I'm the guy who can get it for you.
And new convict Andy Dufresne wants two things from fellow prisoner Red: a small rock-hammer for carving stones and a giant poster of Rita Hayworth.
As my debut novel demonstrated, I’m a massive fan of Gothic literature. Compelling stories are found in many genres, but rarely with such atmosphere and style. The freedom and enjoyment of writing in this category are unparalleled, offering an excuse to use language your editor would prefer to eliminate from contemporary fiction.
Gothic novels took the romance genre and added elements of death, inheritance, gloomy locations, and supernatural twists. Ann Radcliffe's Mysteries of Udolpho is the canonical example of this style.
The book features a detailed rendering of the many locations featured in the book, one of which is the oppressive castle named in the title. Radcliffe conjures entire moods in this story, and you'll be whisked along in the footsteps of Emily St. Aubert as she's spirited away by the villainous Montoni.
The book also features in Jane Austen's Northanger Abby, as Catherine and Isabella both read it.
`Her present life appeared like the dream of a distempered imagination, or like one of those frightful fictions, in which the wild genius of the poets sometimes delighted. Rreflections brought only regret, and anticipation terror.'
Such is the state of mind in which Emily St. Aubuert - the orphaned heroine of Ann Radcliffe's 1794 gothic Classic, The Mysteries of Udolpho - finds herself after Count Montoni, her evil guardian, imprisions her in his gloomy medieval fortress in the Appenines. Terror is the order of the day inside the walls of Udolpho, as Emily struggles against Montoni's rapacious schemes and the…
I so love thrillers because they delve into that area of ourselves that can be ‘safely’ afraid and give you that adrenaline rush that nature taught us is fight or flight. Thrillers teach us lessons, too, about people and the psychology of the most dangerous ones in our society. Through reading into this genre, I learned a lot about life before I even lived it, and I learned to recognize the less wholesome traits that humanity can have. What’s fascinating to me most is exploring those dark sides of the human psyche in order to make comparisons on what is right or wrong with some people’s behavior.
This was the very first thriller book I read, and it terrified me. I was 11 years old when I picked this book up and delved into the world of Fred (who calls himself Ferdinand) and his kidnap victim, Miranda. Approaching this from a young mind, I saw something of romance in the obsessive tale, but that romance soon revealed itself to be a terrifying story of abduction, stalking, and murder.
Why do I still love this book? Maybe it was the first time I realized I wanted to be a writer. But it was stunningly written, provocative, and left me thinking about the characters. It is a classic that should always be in print.
The Collector (1963) is disturbing, engrossing, unforgettable -- the story of an obsessive young man and the girl he kidnaps and holds prisoner in his cellar.
As someone who grew up a child of the sixties amidst suburban conformity but with a decidedly nonconformist gothic sensibility, I have wanted to find a way to combine these contradictory forces. Happily, as a professor of literature and film studies at Hofstra University, I was able to achieve my goal last year when I taught "(Un)Dead Girls and (Un)Safe Spaces: The Suburban Gothic in Film" and "Suburban Horrors" (a literature class). Unaware however that a global pandemic would mean teaching these courses via Zoom, my students and I found ourselves trapped within the confines of our own boxes in a suburban nightmare while discussing fictional and film narratives about sinister neighbors, monsters in closets, murderous family members, conspiratorial racists, and uncanny house hauntings. Oh, the horrible irony.
The possibility of evil. Not only is this the title of the first selection in this collection of classic and newly printed stories by the queen of suburban gothic – it is the essence of her uncanny literary witchcraft, where subtle twists and sudden turns force readers to confront a creeping unease in post-WWII America. No hideous monsters or grotesque horrors here. Instead, sinister insinuation and irrational fears invade the “safe” suburban spaces. A man believes someone is stalking him on his way home from work. Anonymous poison pen letters threaten a community. A runaway teenager reappears several years later … and seems to be someone else.
The deconstruction of so-called normality is what makes these stories so unsettling. Who knows what evil lurks behind the white picket fences? Shirley Jackson does.
The perfect read for Hallowe'en, this new hardback volume of Jackson's finest stories reveals the queen of American gothic at her unsettling, mesmerising best
There's something nasty in suburbia. In these deliciously dark tales, the daily commute turns into a nightmarish game of hide and seek, the loving wife hides homicidal thoughts and the concerned citizen might just be an infamous serial killer. In the haunting world of Shirley Jackson, nothing is as it seems and nowhere is safe, from the city streets to the country manor, and from the small-town apartment to the dark, dark woods...
I took a deep dive into
Lovecraft’s oeuvre this year in an effort to make my way through Alan Moore’s
fantastic “Providence” (which constantly references HPL).
At the Mountains of Madness clearly stands
out as his magnum opus. After a long,
suspenseful trip to Antarctic wastelands, we discover an origin story for much
of Lovecraft’s entire mythos, in the form of the “Elder Gods”, who despite their utter otherness still invoke
our sympathies.
The love and detail
which Lovecraft puts into describing these creatures and what they were
attempting to do is mesmerizing, and I’m surprised how often I’ve returned to
this singular piece. If you only
read one HPL story, this vision of alien gods and lost civilizations will stay
with you long after you've turned the last page.
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.
