Horror Studies

Carlos Castaneda takes the listener into the very heart of sorcery, challenging both imagination and reason, shaking the very foundations of our belief in what is “natural” and “logical”. His landscape is full of terrors and mysterious forces, as sharply etched as a flash of lightning on the deserts and mountains where don Juan takes him to pursue the sorcerer’s knowledge - the knowledge that it is the Eagle that gives us, at our births, a spark of awareness, that it expects to reclaim at the end of our lives and which the sorcerer, through his discipline, fights to retain.

In the early 20th century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world's map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war. From Nosferatu to Frankenstein's monster and the Wolf Man, the touchstones of horror can all trace their roots to the bloodshed of the First World War.

In December 1975, the Lutz family moved into their new home on suburban Long Island. George and Kathleen Lutz knew that, one year earlier, Ronald DeFeo had murdered his parents, brothers, and sisters in the house, but the property - complete with boathouse and swimming pool - and the price were too good to pass up. This is the shocking true story of an American dream that turned into a nightmare beyond imagining for the Lutz family, who were forced to flee their new home in terror.

Whether for entertainment, under the guise of medicine, or to propel consumerism, heinous acts are perpetrated daily on women’s bodies. In Body Horror: Capitalism, Fear, Misogyny, Jokes, award-winning journalist Anne Elizabeth Moore catalogs the global toll of capitalism on our physical autonomy. Weaving together unflinching research and surprising humor, these essays range from investigative—probing the Cambodian garment industry, the history of menstrual products, or the gender biases of patent law—to uncomfortably intimate.

From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented.

Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart—the eccentric'—the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play.

In I Am Not a Serial Killer, John Wayne Cleaver saved his town from a murderer even more appalling than the serial killers he obsessively studies, using his own repressed homicidal proclivities to even the odds. But it turns out even demons have friends, and the disappearance of one has brought another to Clayton County. Soon there are new victims for John to work on at the mortuary, and a new mystery to solve. But this time something's different. John has tasted death, and the dark nature he used as a weapon might now be using him.

On December 26, 1973, The Exorcist was released. Within days it had become legend. Moviegoers braved hours-long lines in winter weather to see it. Some audience members famously fainted or vomited. Half a century later, the movie that both inspired and transcends the modern horror genre has lost none of its power to terrify and unsettle. The Exorcist Legacy reveals the complete story of this cultural phenomenon, from the real-life exorcism in 1949 Maryland that inspired William Peter Blatty's bestselling novel on which the movie is based, to its many sequels, prequels, TV series, and homages.

They're an iconic part of history's most celebrated birth. But what do we really know about the Three Kings of the Nativity, besides the fact that they followed a star to Bethlehem bearing strange gifts? The Bible has little to say about this enigmatic trio. But leave it to Seth Grahame-Smith, the brilliant and twisted mind behind Abraham Lincoln: Vampire Hunter and Pride and Prejudice and Zombies to take a little mystery, bend a little history, and weave an epic tale.

Roberts writes stories from a wide variety of locations: "Night of the Hunt" in Hendersonville, North Carolina; "Return of the Bell Witch" in Adams, Tennessee; "The Shenandoah Stage" in New Market, Virginia; "Chain Gang Man" in Decatur, Alabama; "Fort Mountain" in Fort Mountain, Georgia; "Laura" in Campbellsville, Kentucky; and "The Coming of the Demon" in Middleway, West Virginia.

This annotated edition of the classic Gothic novel, Frankenstein, by Mary Shelly includes an historical introduction, an overview, study of the themes present in the book, and a list of famous quotes.

Zach's alone, he's lost his job, and the rent's coming due. He thinks he knows all about bad luck, but he's about to find out what it really means. In high school, Mal was the golden boy. Then he lost his way. Now he's back on track, working his way through college and looking toward the future. They've never met, but one summer night, everything changes. They find themselves in desperate trouble, trapped and bound together in darkness.

On the table of psychiatrist Robert Cavendish lay a strange set of papers, claimed to be the journal of the infamous Whitechapel murderer whose crimes instilled terror on the streets of Victorian London. Delving deeper into the journal, Robert is convinced of its authenticity, and finds that the words of the Ripper have a strange and compelling effect on him. Unable to cast the pages aside, he is drawn into the dark, sinister world of Jack the Ripper. Robert is about to find out just how thin the line between sanity and madness really is. But can he distinguish fact from fantasy?

Despite the high number of programs and their evident popularity, paranormal reality television has to date received little critical attention. Ghost Channels provides an overview of the paranormal reality television genre, its development, and its place in television history. Conducting in-depth analyses of over thirty paranormal television series, author Amy Lawrence suggests these programs reveal much about Americans' contemporary fears.

A sharply personal and expansive essay collection dedicated to the strange and absurd beauty of horror films, exploring the complications of gender, the insidiousness of class ascension, and the latent violence hidden in our own uncanny reflections.

Sleep Study is a book about a couple who finds themselves in the mysterious web of a sleep study. The lines between dreams and reality blur as Dawn, our female protagonist, returns to the Sleep Center to search for her missing husband.

This quintessential classic: the famous tale by Washington Irving of Ichabod Crane, schoolmaster of Sleepy Hollow and his chance encounter with the spectral fiend, the Headless Horseman!

Last time evil came, it left mayhem and sorrow in its wake. What will be the costs this second time around? Zoey has made it through her first semester of Magic Acadamey, barely. Still reeling from her losses, she realizes she doesn’t quite fit into this school either. While she hunts for those responsible for killing her parents, she uncovers more riddles and secrets. Her relationship with the three "hot" guys grows more complicated, including that one might not have escaped the dark mages unscathed. But can she really trust any of them?

"An impassioned call for solidarity and unity in a time of political and social uncertainty."

Whether through a movie, television show, novel, or even myth, horror as a genre has always spoken to our deepest human fears and anxieties: fear of death, of the unknown, of knowing too much. Whether you're looking at classic narratives like Frankenstein, or contemporary films like Get Out, which explores racism and white guilt, horror provides a window into our culture and what makes us human. The same can be said of religion.