Women Horror

London, 1852. Genevieve Timmons has made her living posing as a spiritualist to swindle wealthy believers, until one misstep lands her in a jail cell awaiting the noose. Then a stranger, Mr. Lockhart, arrives to make her a peculiar offer. The lord he serves, Mr. Pemberton, has been grieving the mysterious death of his beautiful bride-to-be for six months. Although no foul play was ever uncovered, the young lord is convinced that she was murdered.

When Marlow House reopens as a bed and breakfast, one of its first guests is Danielle's former mother-in-law, who Danielle has not talked to since moving to Oregon. The mother-in-law brings with her one of the country's top mediums. Or as Danielle calls him, one of the country's top con-men.

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....

Always up for trying something new, Kath and her friends from the fiber and needlework group TGIF - Thank Goodness It's Fiber - are visiting Cloud Hollow Farm for the day to learn the fine art of dyeing. With spring in the air, the friends head out to greet the sheep. But the sheep are more interested in something else - two bodies spread under a tall tree. And one of those bodies is someone they know. Kath's friends nudge her to investigate.

One June day when Mia Jacob can no longer see a way to survive, the power of words saves her. The Scarlet Letter was written almost two hundred years earlier, but it seems to tell the story of Mia’s mother, Ivy, and their life inside the Community—an oppressive cult in western Massachusetts where contact with the outside world is forbidden. But how could this be? How could Nathaniel Hawthorne have so perfectly captured the pain and loss that Mia carries inside her?

In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds...and remembers.

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.

Melanie Middleton has grown accustomed to renovating old houses, but she never imagined she'd have to renovate her own life to include her estranged mother. Ginnette Prioleau Middleton left Charleston 35 years ago. She's returned wanting to protect the daughter she's never really known after receiving an ominous premonition. Melanie never wanted to see her mother again, but with some prodding from her partner, Jack Trenholm, she agrees. With their combined psychic abilities, they find a vengeful dark spirit whose strength has been growing for decades.

Connie Goodwin is an expert on America’s fractured past with witchcraft. A young, tenure-track professor in Boston, she’s earned career success by studying the history of magic in colonial America - especially women’s home recipes and medicines - and by exposing society's threats against women fluent in those skills. But beyond her studies, Connie harbors a secret: She is the direct descendant of a woman tried as a witch in Salem, an ancestor whose abilities were far more magical than the historical record shows.

Beatrice Bird is plagued by ghosts. It’s a gift she’s had since she was a small child. Unfortunately, it’s a gift that has grown more intense, shifting from flashes and feelings to physical manifestations she can’t escape. In a desperate attempt for relief, Beatrice flees her home, her partner, and a psychology practice in San Francisco for a remote island with only nuns and a few cows for company. She sees as few people as she possibly can. She doesn’t call home. Then she meets Anne Iredale, a timid woman who has lost everything that matters to her.

Jewell Parker Rhodes follows up her acclaimed Voodoo Dreams with a present-day mystery surrounding the gifts of an ancestor of the Voodoo Queen. Doctor Marie Levant can't explain why she's drawn to New Orleans, or why it's comforting and unsettling at the same time. And she can't shake her haunting dreams. But when she delivers a dead woman's baby, Marie knows malevolent forces are at work, and it's up to her to stop them.

London, 1754. Six years after leaving her illegitimate newborn at the Foundling Hospital, Bess Bright returns to reclaim the daughter she has never known. Dreading the worst, that she has died in care, she is astonished to discover someone pretending to be Bess has already claimed her. Her life is turned upside-down as she tries to find out who has taken her little girl - and why.

Pebble Cove is not the sleepy coastal town Rosemary remembers from her childhood. Ghosts are everywhere, and only she can see them. When Rosemary Woodmere inherits her estranged grandmother's Victorian tea house, she doesn’t expect to also inherit a ghost named Asher from the 1920s. Things get weirder for Rosemary. Her grandma was supposedly murdered. A body washes up on the beach, and the police suspect her of the man's murder. She's trying to navigate her newfound ability to talk to ghosts. And she doesn't even know the first thing about tea.

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.

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.

Hay-on-Wye, 1400. War is brewing in the Welsh borders. Catrin is on the brink of womanhood and falling in love for the first time. Her father is a soothsayer playing a dangerous game, playing on the mixed loyalties and furious rivalries between Welsh princes and English lords. For 200 years the Welsh people have lain under the English yoke, dreaming of independence. And finally it looks as though the charismatic Owain Glyndwr may be the man legend talks of.

Five years ago Susannah Harper's son, Joel, went missing without trace. Bereft of her son and then of her husband, Susannah has rebuilt her life around helping others. But then, on the last night of Hull Fair, a fortune-teller makes an eerie prediction. She tells her that this Christmas Eve, Joel will finally come back to her. As her carefully constructed life begins to unravel, Susannah is forced to confront the buried truths of her family's past.

The house called Sunset has been Marcia's summer home for her entire life. Both of her parents died there, and she and her brother spent their youth exploring its rambling hallways and seaside grounds. They love the old house, but Marcia's sister-in-law has never taken to it. Juliette loathes the sea, and soon comes to loathe her husband as well. After they divorce, Juliette pays a final visit to Sunset, demanding alimony. She is there for a few tense days before she disappears. It takes them a week to find her body.

Satisfy your craving for extraordinary authors and exceptional fiction: Meet the women writers who defied convention to craft some of literature’s strangest tales, from Frankenstein to The Haunting of Hill House and beyond. Frankenstein was just the beginning: horror stories and other weird fiction wouldn’t exist without the women who created it. From Gothic ghost stories to psychological horror to science fiction, women have been primary architects of speculative literature of all sorts. And their own life stories are as intriguing as their fiction.

Emmie Wilcox was only six when her sister, Roxy, was thrown out of their New York City apartment. Their stern father's military style left no room for rebellion, and Roxy was continually defiant and rebellious. Emmie is obedient, respectful. Two sisters, total opposites - yet Emmie is secretly obsessed with the mystery and imposed silence surrounding Roxy. She wants excitement, and being a good girl all the time is harder than it seems. Finally, Emmie goes behind her father's back to track down and spy on the sister she can't help but be fascinated with.