Newly published poem by Vladimir Nabokov delves into the personal life of the Man of Steel
“The Man of To-morrow’s Lament” imagines Superman’s angst at not being able to live a normal life after marrying Lois Lane.
John le Carré mined moral ambiguity and Cold War paranoia to reinvent the modern espionage novel
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.
The Horror Show: Why it’s so difficult to adapt Stephen King’s books for film
Being able to see King’s horrors is a significant drawback in terms of their emotional and affective impact – with one exception.
The Horror Show: Tananarive Due and the rise of Black horror
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.
The Horror Show: Josh and Benny Safdie on what scares them
“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.”
The Horror Show: Christopher Sharrett on neoconservatism in the 1980s and ’90s horror film
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 Horror Show: Gary Sherman’s Death Line is a downbeat film that sympathizes with its monster
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.
The Horror Show: Carol J. Clover and gender subversion in the modern horror film
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 Horror Show: Gunnar Hansen on what constitutes horror
The original Leatherface asks whether Tobe Hooper’s 1974 film classic can be considered horror without any supernatural elements.