Nathan Ripley on the intimidation of writing in “the best genre”
The author of psychological thrillers says his respect for the horror genre may explain why he has had difficulty writing in the genre.
“I am a singularity”: “Event Horizon” by Sunny Moraine
The house in the story – a living thing that demands to be fed – is a metaphor for difference and the other.
Nick Cutter, aka Craig Davidson, on the allure of Asian horror
Manga creator Junji Ito’s work is a terrifying combination of enclosed spaces, group mania, and obsessive desire, writes Cutter.
Critic Darryl Jones on the history and appeal of a disreputable genre
The Irish critic writes that horror, like all avant-garde art, operates at the extremes and tests its recipients’ tolerance levels.
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.
Stephen Graham Jones’s self-aware metafictional slasher The Last Final Girl
The American novelist’s violent, cheeky 2012 book displays a true fan’s knowledge of, and enthusiasm for, the cinematic subgenre.
Andrew Pyper on why he writes horror fiction
The number one reason? It’s fun.
The mystery behind the death of Edgar Allan Poe
Edgar Allan Poe died on October 7, 1849 under conspicuously mysterious circumstances. A Buzzfeed mini-documentary speculates on what might have happened to him.
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.
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.