The novelist, who famously eschewed literary awards and other national recognitions, leaves behind a corpus of work that transcends its genre and tells deeply immersive psychological stories.
Being able to see King’s horrors is a significant drawback in terms of their emotional and affective impact – with one exception.
Black creators have made their mark in horror film and literature, though they have had to work to get noticed. There are signs that this is changing.
“You can imagine that character – Max Renn – you can imagine him having a Twitter account after going through and seeing the true colours of society.”
The Horror Show: Sue Carter on sleepovers, un-ironic humour, and why she’ll never watch The Human Centipede
“I have always been drawn to adrenaline-cranking moments that straddle that delicate space between hysterical fright and laughter.”
Upending the radical vision of much 1960s and ’70s American horror cinema, the following decades saw a reactionary retrenchment, argues the academic and critic.
The 1972 British film, about survivors of a cave-in relegated to life as cannibals in the tunnels under London, is a grim critique of how capitalism treats its workers.
Clover codified the notion of the final girl, but her 1992 text on the modern horror film extends her inquiry further than just that.
The original Leatherface asks whether Tobe Hooper’s 1974 film classic can be considered horror without any supernatural elements.
The genre that preys on the subconscious is more varied and interesting that it is frequently given credit for.