31 Days of Stories 2022, Day 13: “Dread” by Clive Barker
Barker’s psychologically tense story examines the price we pay for confronting our darkest fears.
A Blog About Books and Reading
A Blog About Books and Reading
Barker’s psychologically tense story examines the price we pay for confronting our darkest fears.
In its examination of the roots of American horror cinema, this single-volume survey is valuable, though it lacks follow-through in its second half.
Neither of the houses in these two books is haunted in the traditional sense; the evil comes from the people and environs that surround them.
In this suite of sixteen uncanny tales, memory and loss are manifest in the spectres that haunt various characters.
A volume of cultural criticism about Vampira and a new memoir by the creator of Elvira: Mistress of the Dark show how much, and how little, the two have in common.
Horror doesn’t gel with those who’ve propped up CanLit respectability – that is, chiefly cishet, nondisabled white people, Pottle writes.
The pop culture phenomenon resulted in board games and a central character’s appearance alongside Bozo the Clown.
Nia DaCosta’s re-imagining of the 1992 film Candyman proves more effective because it does not traffic in white voyeurism in its examination of Black trauma.
What could possibly go wrong?
“By scaring you in your seat without actually posing a threat, you have the opportunity to practice your emotion regulation skills, particularly with regard to fear.”