Social Horror

Brooklyn Stevens sits in a pool of her own blood, tied up and gagged. No one outside of these dank basement walls knows she’s here. No one can hear her scream. A terrifying tale in the tradition of Carrie and The Exorcist.

Jazz Dent has been shot and left to die in New York City. His girlfriend Connie is in the clutches of Jazz's serial killer father, Billy. And his best friend Howie is bleeding to death on the floor of Jazz's own home in tiny Lobo's Nod. Somehow, these three must rise above the horrors their lives have become and find a way to come together in pursuit of Billy. But then Jazz crosses a line he's never crossed before, and soon the entire country is wondering: "Like father, like son?" Who is the true monster?

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.

All of a sudden, the most ordinary things have taken on a sinister edge: a penny on a doormat. An odd man in a brown suit under a streetlamp. The persistent sound of an ax chopping in the middle of the night. He keeps telling himself that this is Seaham, a sleepy seaside town where nothing ever happens. Or at least nothing did, until his dad’s construction company opened up the cliff beneath the old—some say cursed—Langdon place.

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.

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.

ASBOs may be the pride and joy of New Labour, but they don't cut much ice with Horace Rumpole - he takes the old-fashioned view that if anyone is going to be threatened with a restriction of their liberty then some form of legal proceeding ought to be gone through first. When one of the Timson children is given an ASBO for playing football in the street, Rumpole soon realizes something fishy is going on.

Much has been written about the storied New Hollywood of the 1970s, but while Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film - aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, New York Times critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age.

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.

Alex's second attempt to break out has failed. This time his punishment will be much worse than before. Because in the hidden, bloodstained laboratories beneath the prison, he will be made into a monster. As the warden pumps something evil into his veins - a sinisterly dark nectar - Alex becomes what he most fears: a superpowered minion of Furnace. How can he escape when the darkness is inside him?

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.

After a soul-crushing Tinder date, a woman returns to her apartment to cook some squid and seethe. Her eye starts to itch; her memory starts to skip, and she starts to spiral. Offense is an auditory explosion and an exploration of the rash of loneliness...and what happens when the voices inside our heads start to warp.

This series follows spunky inventor Kimmie Tuttle, who lost her allowance after taking her dad's bowling ball apart. She has to come up with creative solutions to not only buy spare parts, but to also save the day as she faces problems with some mythical sources.

Analyzing the way in which horror has been used throughout history to articulate the fears and taboos of the current generation, Darryl Jones considers the continuing evolution of the genre today. As horror is mass marketed to mainstream society in the form of romantic vampires and blockbuster hits, it also continues to maintain its former shadowy presence on the edges of respectability, as banned films and violent internet phenomena push us to question both our own preconceptions and the terrifying capacity of human nature.

Lili St. Crow’s darkly exhilarating Strange Angels novels have won a devoted readership. In the third book of the series, Crow’s unusual heroine, Dru Anderson, has been through the ringer, what with a missing mother, her father turning all undead on her, and forces of evil that just won’t seem to let her be. On the run from a predator with a taste for her blood, Dru can count on help from Graves and Christophe—but they just might do more harm than good as they battle for her affections.

Horror films promise an experience: fear. But how exactly do filmmakers pull this off? The truth is, there's more to it than just loud noises and creepy images. With the affection of a true horror fan and the critical analysis of a scientist, Nesseth explains how audiences engage horror with both their brains and bodies, and teases apart the elements that make horror films tick. Nightmare Fuel covers everything from jump scares to creature features, serial killers to the undead, and the fears that stick around to those that fade over time.

The Dark Side is a narrative account of the decisions the U.S. made after September 11, decisions that not only violated the Constitution, but also hampered the pursuit of Al Qaeda. In gripping detail, Jane Mayer relates specific cases, shown in real time against the larger tableau of Washington, looking at the intelligence gained and the price paid. In all cases, there were incalculable losses in terms of moral standing, our country's place in the world, and its sense of itself.

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.

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.

Gothic media moguls Meg Hafdahl and Kelly Florence, authors of The Science of Monsters and The Science of Women in Horror, and co-hosts of the Horror Rewind podcast present a guide to the Stephen King stories and characters we all know and love. Through interviews, literary and film analysis, and bone-chilling discoveries, The Science of Stephen King delves into the uniquely horrific Stephen King universe to uncover the science behind the legendary novels that have become an integral part of modern pop culture.