Social Horror

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.

Megan Crewe has received both critical accolades and popular acclaim for her young adult novels. The Way We Fall launches a new series featuring 16-year-old Kaelyn, whose island community is quarantined after the outbreak of a deadly virus. Before long, people begin to turn against each other as they fight for dwindling supplies. Remarkably, in the midst of this chaos, Kaelyn discovers both an unlikely ally and a surprising love interest. And with prospects for survival growing dimmer with each passing moment, she will need all the help she can get.

From New York Times best-selling author Stephen Graham Jones comes a novel that is equal parts psychological horror and cutting social commentary on identity politics and the American-Indian experience. Fans of Jordan Peele and Tommy Orange will love this story as it follows the lives of four American-Indian men and their families, all haunted by a disturbing, deadly event that took place in their youth. Years later, they find themselves tracked by an entity bent on revenge, totally helpless as the culture and traditions they left behind catch up to them in a vengeful way.

It’s winter break at St. Vladimir’s, but Rose is feeling anything but festive. A massive Strigoi attack has put the school on high alert, and now the Academy’s crawling with Guardians - including Rose’s hard-hitting mother, Janine Hathaway. And if hand-to- hand combat with her mom wasn’t bad enough, Rose’s tutor Dimitri has his eye on someone else, her friend Mason’s got a huge crush on her, and Rose keeps getting stuck in Lissa’s head while she’s making out with her boyfriend, Christian.

The recent Strigoi attack at St. Vladimir’s Academy was the deadliest ever in the school’s history, claiming the lives of Moroi students, teachers, and guardians alike. Even worse, the Strigoi took some of their victims with them . . . including Dimitri.

Alma Katsu calls My Heart Is a Chainsaw “a homage to slasher films that also manages to defy and transcend genre.” On the surface is a story of murder in small-town America. But beneath is its beating heart: a biting critique of American colonialism, Indigenous displacement, and gentrification, and a heartbreaking portrait of a broken young girl who uses horror movies to cope with the horror of her own life.

Today we think statistics are the enemy, numbers used to mislead and confuse us. That’s a mistake, Tim Harford says in The Data Detective. We shouldn’t be suspicious of statistics - we need to understand what they mean and how they can improve our lives: they are, at heart, human behavior seen through the prism of numbers and are often “the only way of grasping much of what is going on around us”.

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 American Scary, noted cultural historian and Columbia professor Jeremy Dauber takes the listener to the startling origins of the horror genre in the United States, drawing a surprising through-line between the lingering influence of the European Gothic, the enslaved insurrection tales propagated by slaveholders, and the apocryphal chronicles of colonial settlers kidnapped by Native Americans, among many others.

In Captive in Iran, Maryam and Marziyeh recount their 259 days in Evin. It’s an amazing story of unyielding faith - when denying God would have meant freedom. Of incredible support from strangers around the world who fought for the women’s release. And of bringing God’s light into one of the world’s darkest places - giving hope to those who had lost everything, and showing love to those in despair.

The world is increasingly unthinkable, a world of planetary disasters, emerging pandemics, and the looming threat of extinction. In this book, Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live - a central motif of the horror genre. In the Dust of This Planet explores these relationships between philosophy and horror.

Machen's novella The Great God Pan is often cited as one of Lovecraft's most notable influences. In it, Dr. Raymond's ultimate goal is to devise a way to open the mind of man so that he may experience all the world has to offer. He calls this "seeing the great god Pan". After much study of the human mind, he devises an experiment that involves minor brain surgery. He performs this experiment on a young woman named Mary, but when she awakens she is terrified and mentally crippled.

Written against the backdrop of contemporary Argentina, and with a resounding tenderness toward those in pain, in fear, and in limbo, The Dangers of Smoking in Bed is Mariana Enriquez at her most sophisticated, and most chilling.

Seth Grahame-Smith delivers the definitive, essential guide to making it through a horror movie in one piece. As hilarious as it is useful (if you’re trapped in a scary flick, that is), How to Survive a Horror Movie covers all the bases. Trapped in a haunted house? Check. Stalked by an evil doll? Check. Wandering aimlessly through the remains of the old world as a plague of zombies sweeps over the planet? Check.

Jazz is a likable teenager. But he's also the son of a (now incarcerated) infamous serial killer, and "Dear Old Dad" has taught Jazz everything he knows. But what Jazz doesn't know is whether or not he is destined to follow in his father's footsteps. He knows he has urges, but he also knows that he has a conscience, that he can follow his own path. And so, in an effort to right his father's wrongs, Jazz decides to help the police (although they don't know it yet) hunt down "The Impressionist" - a new serial killer in town.

Last Halloween, Eleanor, Pip, and Otto narrowly escaped the clutches of the evil January Society and their leader. But life in the too-quiet Eden Eld isn’t safe just yet: According to the bargain they made with Mr. January, it’s now his sister’s turn to hunt the three of them. And her methods are a bit more...treacherous. When their friends and neighbors begin disappearing, abducted by strange, mud-drenched monsters, Eleanor and her two best friends must race to uncover their enemy’s secrets. If they fail, their families will be next.

Dan, Abby, and Jordan remain traumatized by the summer they shared in the Brookline asylum. Much as they'd love to move on, someone is determined to keep the terror alive, sending the teens photos of an old-timey carnival, with no note and no name. Finally, Dan receives a list of coordinates pointing to abandoned houses in the town near Brookline, and he is convinced that the only way to end this nightmare once and for all is to return to New Hampshire College and follow the trail.

Sharon Marshall was a brilliant and beautiful student whose future was filled with promise—until her murderous, fugitive father drew her into a lifetime of deception that became one of the most baffling cases in the annals of American true crime.

More than a decade ago, Mira fled her small, segregated hometown in the south to forget. With every mile she traveled, she distanced herself from her past: from her best friend Celine, mocked by their town as the only white girl with black friends; from her old neighborhood; from the eerie Woodsman plantation rumored to be haunted by the spirits of slaves; from the terrifying memory of a ghost she saw that terrible day when a dare-gone-wrong almost got Jesse—the boy she secretly loved—arrested for murder. But now Mira is back to attend Celine's wedding at the plantation.

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.