Women of Horror and Speculative Fiction in Their Own Words


Book Description

What makes science fiction genres better than others at challenging social conventions, especially gender? Are speculative works structured differently when addressed to traditionally under-portrayed individuals or communities? This collection of interviews elicits truly honest and thought-provoking responses that focus on the biographical dimension in speculative fiction, questions of intersectionality, genre (re)definitions and the politicization of fiction. It gives voice to women of different races, nations, classes and sexual orientations who write and edit speculative fiction – such as Ellen Datlow, Kathe Koja, Angela Mi Young Hur, Eugen Bacon, and Cat Rambo. The interviews clarify how the junction of genre and gender is a key element to understanding this literary field, while simultaneously contextualizing and theorizing the interview itself, as a literary genre and a research tool.




Monster, She Wrote


Book Description

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. Everyone knows about Mary Shelley, creator of Frankenstein, who was rumored to keep her late husband’s heart in her desk drawer. But have you heard of Margaret “Mad Madge” Cavendish, who wrote a science-fiction epic 150 years earlier (and liked to wear topless gowns to the theater)? If you know the astounding work of Shirley Jackson, whose novel The Haunting of Hill House was reinvented as a Netflix series, then try the psychological hauntings of Violet Paget, who was openly involved in long-term romantic relationships with women in the Victorian era. You’ll meet celebrated icons (Ann Radcliffe, V. C. Andrews), forgotten wordsmiths (Eli Colter, Ruby Jean Jensen), and today’s vanguard (Helen Oyeyemi). Curated reading lists point you to their most spine-chilling tales. Part biography, part reader’s guide, the engaging write-ups and detailed reading lists will introduce you to more than a hundred authors and over two hundred of their mysterious and spooky novels, novellas, and stories.




The Science of Women in Horror


Book Description

From scream queens to femmes fatale, horror isn’t just for the boys. Gothic media moguls Meg Hafdahl and Kelly Florence, authors of The Science of Monsters, and co-hosts of the Horror Rewind podcast called “the best horror film podcast out there” by Film Daddy, present a guide to the feminist horror movies, TV shows, and characters we all know and love. Through interviews, film analysis, and bone-chilling discoveries, The Science of Women in Horror uncovers the theories behind women’s most iconic roles of the genre. Explore age-old tropes such as “The Innocent” like Lydia in Beetlejuice, “The Gorgon” like Pamela Voorhees in Friday the 13th, and “The Mother” like Norma Bates in Pyscho and Bates Motel, and delve deeper into female-forward film and TV including: The Haunting of Hill House Teeth Chilling Adventures of Sabrina Buffy the Vampire Slayer And so much more! Join Kelly and Meg in The Science of Women in Horror as they flip the script and prove that every girl is a “final girl.”




Let's Play White


Book Description

White brings with it dreams of respect, of wealth, of simply being treated as a human being. It's the one thing Walter will never be. But what if he could play white, the way so many others seem to do? Would it bring him privilege or simply deny the pain? The title story in this collection asks those questions, and then moves on to challenge notions of race, privilege, personal choice, and even life and death with equal vigor. From the spectrum spanning despair and hope in "What She Saw When They Flew Away" to the stark weave of personal struggles in "Chocolate Park," Let's Play White speaks with the voices of the overlooked and unheard. "I Make People Do Bad Things" shines a metaphysical light on Harlem's most notorious historical madame, and then, with a deft twist into melancholic humor, "Cue: Change" brings a zombie-esque apocalypse, possibly for the betterment of all mankind. Gritty and sublime, the stories of Let's Play White feature real people facing the worlds they're given, bringing out the best and the worst of what it means to be human. If you're ready to slip into someone else's skin for a while, then it's time to come play white. Reviews: "The label of "dark fantasy and horror" fits this collection both ironically and genuinely. Haunted by history and past wrongs, Burke's characters are never alone, never safe, never comfortable. She weaves African and African-American historical legend and standard horror themes into stories that range from gritty subway gore fests to a sympathetic take on zombies. The magnificent closing novella, "The Teachings and Redemption of Ms. Fannie Lou Mason," follows a "hoodoo woman" as she nurtures and protects twin girls with similar powers and shows them what they are meant to do. If the urban realism doesn't always seem quite realistic, the depth of Burke's characters, the weight of their decisions, and their choices make this the very opposite of escapist fantasy. (July 2011)" Publishers Weekly "Let's Play White is a brutally honest book and the fact that the unthinkable happens, like a talking rat, a few zombies or communication with the dead, the underlying truthfulness is so powerful that it supersedes any implausible element. Although race is an essential backdrop to the stories, this is not a book about white racism against blacks. Instead, Burke touches on a variety of prejudices to let the reader know that color is not the only way in which we discriminate. Although some might cringe at the idea of reading a book about unfairness, racism and the dark tendencies of human nature, Burke's impeachable openness and undeniable writing skills make "Let's Play White" a very enjoyable read that fans of all literature should enjoy." Austin Post, Gabino Iglesias "Human is many different things all at once. "Let's Play White" is a collection of short stories from Chesya Burke as she discusses issues of race and the problems we face regardless of it, and what links us all together in our plight of life. Thoughtful and thought provoking, "Let's Play White" is a fine choice that is a worthy addition to any literary short fiction collection, highly recommended." Midwest Book Review " Chesya Burke’s writing style is just mesmerizing – there is an undeniable lyricism there but also a tangible darkness and pain. Readers who enjoy their fantasy decidedly dark and deep should check out this profoundly moving collection asap." Paul Goat Allen, B&N Books Club Blurbs: "These raw, brutal stories, often with intriguingly open endings, display an odd and unsettling relationships to the poetry of violence. These dark tales announce the arrival of a formidable new master of the macabre." —Samuel R. Delany, author of Dhalgren and Through the Valley of the Nest of Spiders "What a stunning collection. Let’s Play White… and so on time. [Chesya Burke has] touched something special in [her] stories. I’m a big Octavia Butler fan and I see a peek of that as well as some latter-day Toni Morrison [within these pages]. I see the light and warmth [Chesya is] offering. There definitely is magic in that. The short story, next to poetry, is the most difficult writing form. [Chesya has] tamed it and made it yield to [her] touch." --Nikki Giovanni, Grammy-nominated spoken word artist and poet




Women Who Wrote


Book Description

Meet the women who wrote. They wrote against all odds. Some wrote defiantly; some wrote desperately. Some wrote while trapped within the confines of status and wealth. Some wrote hand-to-mouth in abject poverty. Some wrote trapped in a room of their father’s house, and some went in search of a room of their own. They had lovers and families. They were sometimes lonely. Many wrote anonymously or under a pseudonym for a world not yet ready for their genius and talent. We know many of their names—Austen and Alcott, Brontë and Browning, Wheatley and Woolf—though some may be less familiar. They are here, waiting to introduce themselves. They marched through the world one by one or in small sisterhoods, speaking to each other and to us over distances of place and time. Pushing back against the boundaries meant to keep us in our place, they carved enough space for themselves to write. They made space for us to follow. Here they are gathered together, an army of women who wrote and an arsenal of words to inspire us. They walk with us as we forge our own paths forward. These women wrote to change the world. The perfect keepsake gift for the reader in your life Anthology of stories and poems Book length: approximately 90,000 words




Women, Monstrosity and Horror Film


Book Description

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy.




To Be Devoured


Book Description

"How can a tale be brutal and tender, grotesque and beautiful all at the same time? I don't know, but Sara Tantlinger achieves it in To Be Devoured. Hypnotic, erotic, and gory, this is a novella that will sear itself into your imagination. Highly recommended!" -Jonathan Janz, Author of Marla and The Siren and the Specter "Sara Tantlinger's To Be Devoured capitalizes on our macabre preoccupation with the uglier side of nature, with love that topples into obsession, and with madness that is strangely beautiful in its barbarity. Her writing is equivalent to those unremitting avian beings her protagonist is so enamored of: It will hook its talons through your flesh, sink its neck into the ribboned edges of your wounds, and only relinquish your blighted body when it has swallowed your very soul." -Christa Carmen, author of Something Borrowed, Something Blood-Soaked, winner of the Indie Horror Book Awards for Best Debut Collection "Vultures, obsession, and an unnatural hunger: What more can you want in a horror story? With To Be Devoured, Sara Tantlinger has done it again as she ratchets up the terror in wonderfully surprising ways while crafting prose that's always a heady blend of the vicious and the vibrant. A book that's absolutely not to be missed!" -Gwendolyn Kiste, Bram Stoker Award-winning author of The Rust Maidens




The Year of the Witching


Book Description

A young woman living in a rigid, puritanical society discovers dark powers within herself in this stunning, feminist fantasy debut. In the lands of Bethel, where the Prophet's word is law, Immanuelle Moore's very existence is blasphemy. Her mother’s union with an outsider of a different race cast her once-proud family into disgrace, so Immanuelle does her best to worship the Father, follow Holy Protocol, and lead a life of submission, devotion, and absolute conformity, like all the other women in the settlement. But a mishap lures her into the forbidden Darkwood surrounding Bethel, where the first prophet once chased and killed four powerful witches. Their spirits are still lurking there, and they bestow a gift on Immanuelle: the journal of her dead mother, who Immanuelle is shocked to learn once sought sanctuary in the wood. Fascinated by the secrets in the diary, Immanuelle finds herself struggling to understand how her mother could have consorted with the witches. But when she begins to learn grim truths about the Church and its history, she realizes the true threat to Bethel is its own darkness. And she starts to understand that if Bethel is to change, it must begin with her.




Eat the Mouth That Feeds You


Book Description

WINNER OF THE WHITING AWARD PEN AMERICA LITERARY FINALIST Recommended by Héctor Tobar as an essential Los Angeles book in the New York Times. Carribean Fragoza's debut collection of stories reside in the domestic surreal, featuring an unusual gathering of Latinx and Chicanx voices from both sides of the U.S./Mexico border, and universes beyond. "Eat the Mouth That Feeds You is an accomplished debut with language that has the potential to affect the reader on a visceral level, a rare and significant achievement from a forceful new voice in American literature."—Kali Fajardo-Anstine, New York Times Book Review, and author of Sabrina and Corina Carribean Fragoza's imperfect characters are drawn with a sympathetic tenderness as they struggle against circumstances and conditions designed to defeat them. A young woman returns home from college, only to pick up exactly where she left off: a smart girl in a rundown town with no future. A mother reflects on the pain and pleasures of being inexorably consumed by her small daughter, whose penchant for ingesting grandma's letters has extended to taking bites of her actual flesh. A brother and sister watch anxiously as their distraught mother takes an ax to their old furniture, and then to the backyard fence, until finally she attacks the family’s beloved lime tree. Victories are excavated from the rubble of personal hardship, and women's wisdom is brutally forged from the violence of history that continues to unfold on both sides of the US-Mexico border. "Eat the Mouth that Feeds You renders the feminine grotesque at its finest."—Myriam Gurba, author of Mean "Eat the Mouth that Feeds You will establish Fragoza as an essential and important new voice in American fiction."—Héctor Tobar, author of The Barbarian Nurseries "Fierce and feminist, Eat the Mouth That Feeds You is a soul-quaking literary force."—Dontaná McPherson-Joseph, The Foreword, *Starred Review ". . . a work of power and a darkly brilliant talisman that enlarges in necessary ways the feminist, Latinx, and Chicanx canons."—Wendy Ortiz, Alta Magazine "Fragoza's surreal and gothic stories, focused on Latinx, Chicanx, and immigrant women's voices, are sure to surprise and move readers."—Zoe Ruiz, The Millions "This collection of visceral, often bone-chilling stories centers the liminal world of Latinos in Southern California while fraying reality at its edges. Full of horror and wonder."—Kirkus Reviews, *Starred Review "Fragoza's debut collection delivers expertly crafted tales of Latinx people trying to make sense of violent, dark realities. Magical realism and gothic horror make for effective stylistic entryways, as Fragoza seamlessly blurs the lines between the corporeal and the abstract."—Publishers Weekly "The magic realism of Eat the Mouth that Feeds You is thoroughly worked into the fabric of the stories themselves . . . a wonderful debut."—Brian Evenson, author of Song for the Unraveling of the World




Familiar Spirit


Book Description

'By the time it was over I was so thoroughly violated that I needed to scrub my brain with steel wool' Tor.com In Award-winning author Lisa Tuttle's first solo novel Sarah is looking for a fresh start and a home of her own, but something is waiting for her in the night . . . When Sarah breaks up with the partner she has shared her home with for the last year, she is determined to make a new start. The house she finds, nestled in the woods just back from the road, seems like the perfect place to do that. Almost from the moment she looks at it, Sarah knows that it should belong to her. But this house has invisible eyes that watch Sarah from the darkness. For the previous owner, Valerie, is keeping a secret: one that involves the house, a ritual . . . and a spirit called back from the grave. 'She brings to the literature a subtlety and power, which, sometimes shading into horror, is a quite distinctive voice demanding to be heard . . . exceptional, very female, art' Independent on Sunday