Weird fiction, a literary mode defined by Lovecraft as possessing “a certain atmosphere of breathless and unexplainable dread of outer, unknown forces”, is usually spoken about in the same sentence as names such as Algernon Blackwood, Arthur Machen, William Hope Hodgson, M.R. James, and, of course, H.P. Lovecraft. Unlike the earlier and related genre, the gothic, the names of women very rarely turn up in discussions of weird fiction, unless when referring to writers who came later in its development, from the 1950s onward. And even then, far too little. It’s high time, therefore, for the release of this new collection of short stories from Handheld Press, edited by expert on women’s supernatural fiction, Melissa Edmundson, whom Sublime Horror readers might remember from Avenging Angels and her reading list of ghost stories by Victorian women.
Born in Greece, raised in Ireland, educated in England, and a writing career forged in America – perhaps it is Lafcadio Hearn’s lack of a permanent home that resulted in his openness towards and interest in other cultures. If we look back on Hearn’s career and works, it is a recording of folklore and local customs that stands out most clearly.
In Search of Darkness, now available to pre-order, is a documentary love letter to American 80s horror films. It examines the films of each year consecutively, interweaving them with discussions on different topics, from special effects to the decade’s iconic women of horror. You can read what I thought in my review. David Weiner is the writer and director of In Search of Darkness and, with excitement and press coverage ramping up, we had a chat about the film’s making.
Julia Armfield’s short story collection salt slow opens with “Mantis”, a story about a teenage girl whose body is changing. But unlike her peers’, her body is changing in a more unexpected, more monstrous way.
A huge congratulations to Catriona Ward whose novel Little Eve won Best Horror Novel at the British Fantasy Awards, presented today at FantasyCon 2019 in Glasgow. Little Eve is a 1920s murder mystery set on a remote Scottish island within a nature-worshipping cult and is one of our favourite horror novels of the last couple of years.
Worse Than Death is the new game from Canadian indie developer Benjamin Rivers – a short horror adventure about a school reunion gone very bloodily wrong.
Cursed Britain opens by posing the question: if your misfortunes gradually escalated and piled on top of one another, would you – could you – believe yourself cursed? If you came to that conclusion, one a younger you would have found preposterous, what would you do about it?
Coming to this new Netflix horror over a week after its launch and, being a user of Twitter, I was subjected to a range of diverse opinions. And some strong emotions too. At first I thought, “what’s all the fuss about?” In the Tall Grass got off to a promising start – the production was slick and stylish, the idea was novel and, at first glance, quite neat and concise. But as the running time dragged on, In the Tall Grass progressively lost its way.
Ask a horror reader which book of 2019 they’re most excited about and one might reasonably answer with King’s The Institue or Tremblay’s Growing Things, to give two notable examples. In other words, new books from mainstays of the horror genre. I would answer with Andrew Michael Hurley’s Starve Acre. I would say this not only for the simple reason that Hurley is one of my favourite contemporary novelists writing horror fiction but for what Hurley represents.
In Search of Darkness, a crowdfunded documentary that showcases 80s horror, is the ultimate nostalgia trip. For anyone who grew up in the 80s or otherwise quenched their passion for horror on the films of this decade, this 4-hour-plus love letter will have you pining for the days when more was really more – more blood, gorier special effects, but not necessarily more budget. Nor, when we look at the 80s oeuvre as a whole, more quality.