So-called “genre” fiction has had, since its inception, an issue with defining itself. Even the word itself is vague, coming from the same root as the less-flattering description “generic”. It implies a mass of different types, clustered together haphazardly and cowering beneath the monolithic purity of the much more proper literary fiction.
We live in a time of remixes. Arguably, we live in a time that is itself a remix. Culture, history and politics all seem to repeat themselves, changed only slightly from one iteration to the next, with increasing rapidity. Whether it’s blockbuster movie sagas or wars in the Middle East, everything seems unpleasantly familiar.
“How would a zombie really decompose in Night of the Living Dead? Are there instances of shape shifting in nature like in The Wolfman? What is the science behind the night terrors that inspired the creation of Freddy Krueger? Is there scientific data supporting ghost detection like the tools used in Poltergeist? What is the psychological drive that compels cannibals like Hannibal Lecter?”
To say that Tobe Hooper’s The Texas Chain Saw Massacre is one of the cornerstones of modern horror is an understatement. What has been one of its enduring impacts, at least to me, is the sharp juxtaposition of what could be argued to be a family movie against almost casual brutality, tuning viewers in across the span of decades to a story of fear that feels timeless at its core.
We’re cheating slightly this month by starting off with four books released not in November but on Halloween, which is close enough for us and it’d be a real shame not to highlight them. Blame publishers for thinking 31 October is a great date to release books. As always, this is not an exhaustive list. If you think there’s a book we’ve caused grave injustice to by leaving off, leave a comment or get in touch.
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.
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?
Because I’m a woman who loves horror, people always ask me who my favourite women horror writers are, and I’m a little ashamed to admit I don’t always have the best response. Beyond the obvious choices like Mary Shelley or Shirley Jackson, sometimes it’s hard to come up with a comprehensive list when your bookshelf is made up of 90% white men.
The Devils is Ken Russell’s notorious 1971 historical drama telling the extraordinary story of a case of possession in 17th century France, in the city of Loudun. I start with possession because, were this any other story, that would be the most extraordinary part. But this isn’t a film about possession; it is a film about the dangers of religion and politics colliding, and it’s message is as resonant today as it was on release (and on publication of the Aldous Huxley book, The Devils of Loudun from 1952, on which the film is partly based).
It’s been a little while since we published a roundup of the latest horror books so it’s nice to return with quite an exciting bunch for September. Stephen King’s The Institute is certainly the biggest name on this list – read our review. Is there a book we’ve missed that you think should be included? Leave a comment or get in touch.