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.
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.”
Michael Kelly branches out with a throwback to the pulp periodicals of yore
Weird Horror, an offshoot of the publisher’s book imprint, Undertow Publications, is a nostalgic magazine in the EC Comics, Weird Tales vein.
“You don’t really believe what you read”: Stephen King on the attraction of horror fiction
Horror fiction provides a buffer against the ongoing stresses and upheavals of the real world.
The law of unintended consequences: “The Fly” by George Langelaan
The story, which originally appeared in 1957, includes a framing structure that distances the reader from the main action.
Tony Burgess on the most terrifying reading experience of his life
“I thought there were things this book could do to me that were dangerous.”
Joyce Carol Oates on “the psyche’s deepest and most profound revelations”
In a brief survey of some core Western texts, Oates asks the key question, why do we want to experience fear in an aesthetic context?
Terror takes flight: “Nightmare at 20,000 Feet” by Richard Matheson
Of all the genre master’s classic novels and stories, none comes close to the sheer paranoid terror of this ruthless chiller.
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 actual worth of the things you make”: “Wolverton Station” by Joe Hill
Hill’s Gothic tale is an exuberant mashup of Warren Zevon, Little Red Riding Hood, and “An American Werewolf in London.”