Women Horror

In the town of Night Vale, there’s a faceless old woman who secretly lives in everyone’s home, but no one knows how she got there or where she came from...until now. Told in a series of eerie flashbacks, the story of The Faceless Old Woman goes back centuries to reveal an initially blissful and then tragic childhood on a Mediterranean Estate in the early 19th century, her rise in the criminal underworld of Europe, a nautical adventure with a mysterious organization of smugglers, her plot for revenge on the ones who betrayed her, and ultimately her death and its aftermath.

When her daughter Lotte was born, Dani had welcomed the chance to be a stay-at-home mother. To be good at something, for once. But now Dani can’t stop thinking about her seemingly healthy husband, Clark, dropping dead. Not because she hates him (not right now, anyway) but because it’s become abundantly clear to Dani that if he dies, she and Lotte will be left destitute. And then Dani discovers The Temple.

Clare Cassidy is no stranger to murder. A high school English teacher specializing in the Gothic writer R. M. Holland, she teaches a course on it every year. But when one of Clare’s colleagues and closest friends is found dead, with a line from R. M. Holland’s most famous story, “The Stranger”, left by her body, Clare is horrified to see her life collide with the story lines of her favorite literature.

Honey, I just want you to have everything you ever wanted. That’s what Jacy’s mom always told her. And Jacy felt like she finally did. Newly married and with a baby on the way, Jacy and her new husband, Jed, embark on their first road trip together to visit his father, Dr. Ash, in Michigan’s far-flung Upper Peninsula. The moment they arrive at the cottage snug within the lush woods, Jacy feels bathed in love by the warm and hospitable Dr. Ash, if less so by his house manager, the enigmatic Mrs. Brandt. But their Edenic first days take a turn when Jacy has a health scare.

Suzette knows her clever and manipulative seven-year-old daughter doesn’t love her. She can see the hatred and jealousy in her eyes. And as Hanna’s subtle acts of cruelty threaten to tear her and her husband apart, Suzette fears her very life may be in grave danger....

Vermont, 1950. There's a place for the girls whom no one wants - the troublemakers, the illegitimate, the too smart for their own good. It's called Idlewild Hall. And in the small town where it's located, there are rumors that the boarding school is haunted. Four roommates bond over their whispered fears, their budding friendship blossoming - until one of them mysteriously disappears.... Vermont, 2014. As much as she's tried, journalist Fiona Sheridan cannot stop revisiting the events surrounding her older sister's death.

In 2008, nine mountaineers failed to return from a winter backpacking trip in the New Mexico mountains. At their final campsite, searchers found a bizarre scene: something had appeared at the door of their tent so terrifying that it impelled them to slash their way out and flee barefoot to certain death in a blizzard. Despite a diligent search, only six bodies were found, two violently crushed and inexplicably missing their eyes. The case, given the code name “Dead Mountain” by the FBI, was never solved. Now, two more bodies from the lost expedition are unexpectedly discovered in a cave.

Max and Pip are the strongest couple you know. They're best friends, lovers - unshakable. But then their son gets sick and the doctors put the question of his survival into their hands. For the first time, Max and Pip can't agree. They each want a different future for their son. What if they could have both? A gripping and propulsive exploration of love, marriage, parenthood, and the road not taken, After the End brings one unforgettable family from unimaginable loss to a surprising, satisfying, and redemptive ending and the life they are fated to find.

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.

Once a celebrated author of short stories now in his twilight years, Anthony Peardew has spent half his life collecting lost objects, trying to atone for a promise broken many years before. Realising he is running out of time, he leaves his house and all its lost treasures to his assistant Laura, the one person he can trust to fulfil his legacy and reunite the thousands of objects with their rightful owners. But the final wishes of the Keeper of Lost Things have unforeseen repercussions which trigger a most serendipitous series of encounters....

After Grand-mere Ursule gives her life to save her family, their magic seems to die with her. Even so, the Orchires fight to keep the old ways alive, practicing half-remembered spells and arcane rites in hopes of a revival. And when their youngest daughter comes of age, magic flows anew. The lineage continues, though new generations struggle not only to master their power, but also to keep it hidden. But when World War II looms on the horizon, magic is needed more urgently than ever.

Regency widow Lily Adler is looking forward to spending the autumn away from the social whirl of London. When she arrives in Hampshire with her friends, the Carroways, she doesn’t expect much more than a quiet country visit and the chance to spend time with her charming new acquaintance, Matthew Spencer. But something odd is afoot in the small country village. A ghost has taken up residence in the Belleford manor, a lady in grey who wanders the halls at night, weeping and wailing.

Invite Hannibal Lecter into the palace of your mind and be invited into his mind palace in turn. Note the similarities in yours and his, the high vaulted chambers of your dreams, the shadowed halls, the locked storerooms where you dare not go, the scrap of half-forgotten music, the muffled cries from behind a wall. In one of the most eagerly anticipated literary events of the decade, Thomas Harris takes us once again into the mind of a killer, crafting a chilling portrait of insidiously evolving evil - a tour de force of psychological suspense.

Melanie is only going through the motions of living since refusing Jack Trenholm’s marriage proposal. When she is roused one night by the sound of a ghostly infant crying, she chooses to ignore it. She simply does not have the energy to deal with one more crisis. That is, until the remains of a newborn buried in an old christening gown are found hidden in the foundation of her house. As the hauntings on Tradd Street slowly become more violent, Melanie decides to find out what caused the baby’s untimely death.

In 1692, Bridget Bishop was hanged as a witch. Two hundred years later, her legacy lives on in the scions of two very different lines: one dedicated to using their powers to heal and help women in need; the other, determined to grasp power for themselves by whatever means necessary. This clash will play out in the fate of Annis, a young woman in Gilded Age New York who finds herself a pawn in the family struggle for supremacy. She'll need to claim her own power to save herself - and resist succumbing to the darkness that threatens to overcome them all.

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.

Four bodies have been discovered along Europe’s riverbanks, placed with care—and completely drained of blood. Pinpricks on their throats indicate a slender murder weapon, but DNA found in the wounds suggests something far more sinister. Tasked with investigating, the FBI recruits Agents Della Hamilton and Mason Carter to Blackbird, an international offshoot of the Krewe of Hunters. If you want to catch a vampire killer, you need agents who can speak with the dead.

The horror genre is full of remarkable writers—masters of prose that can make your skin crawl, your pulse quicken, and your breath ragged. But nothing is as special as a badass female author who evokes a sense of fear and dread so intense that it affects the listener for days afterward.

1589. Scottish housemaid Geillis and Danish courtier Margareta lead opposite lives, but they both know one thing: when a man cries “witch”, no woman is safe. Yet when the marriage of King James VI and Princess Anna of Denmark brings Geillis and Margareta together, everything they supposed about good, evil, men, and women, is cast in a strange and brilliant new light. For the first time in history, could black magic – or rumours of it – be a very real tool for women’s political gain?

Like any enterprising woman, Bea knows what she’s worth and is determined to get all she deserves—it just so happens that what she deserves is to marry rich. Filthy rich. After years of forced instruction by her mother in the art of swindling men, a now-solo Bea wants nothing more than to close and lock the door on their sordid partnership so she can disappear safely into old-money domesticity, sealing the final phase of her escape. When Bea chooses her ultimate target in the fully loaded, thoroughly dull and blue-blooded Collin Case, she’s ready to deploy all of her tricks one last time.