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Horror Fiction in the 20th Century by Jess Nevins Pdf
Providing an indispensable resource for academics as well as readers interested in the evolution of horror fiction in the 20th century, this book provides a readable yet critical guide to global horror fiction and authors. Horror Fiction in the 20th Century encompasses the world of 20th-century horror literature and explores it in a critical but balanced fashion. Readers will be exposed to the world of horror literature, a truly global phenomenon during the 20th century. Beginning with the modern genre's roots in the 19th century, the book proceeds to cover 20th-century horror literature in all of its manifestations, whether in comics, pulps, paperbacks, hardcover novels, or mainstream magazines, and from every country that produced it. The major horror authors of the century receive their due, but the works of many authors who are less well-known or who have been forgotten are also described and analyzed. In addition to providing critical assessments and judgments of individual authors and works, the book describes the evolution of the genre and the major movements within it. Horror Fiction in the 20th Century stands out from its competitors and will be of interest to its readers because of its informed critical analysis, its unprecedented coverage of female authors and writers of color, and its concise historical overview.
Horror Fiction in the 20th Century by Jess Nevins Pdf
Beginning with the modern genre's roots in the 19th century, the book proceeds to cover 20th-century horror literature in all of its manifestations, whether in comics, pulps, paperbacks, hardcover novels, or mainstream magazines, and from every country that produced it. The major horror authors of the century receive their due, but the works of many authors who are less well-known or who have been forgotten are also described and analyzed. In addition to providing critical assessments and judgments of individual authors and works, the book describes the evolution of the genre and the major movements within it. Horror Fiction in the 20th Century' stands out because of its informed critical analysis, its unprecedented coverage of female authors and writers of color, and its concise historical overview.
Horror of the 20th Century by Robert E. Weinberg Pdf
The most renowned writers, illustrators, publishers, actors, and filmmakers are drawn together in this exquisite portrayal of horror. Every media from comics, paperbacks, hardcovers, and movies is represented in full color.
From the New York Times bestselling author of NOS4A2 and Horns comes this e-short story—from Joe Hill’s award-winning collection 20th Century Ghosts. Imogene is young and beautiful. She kisses like a movie star and knows everything about every film ever made. She's also dead and waiting in the Rosebud Theater for Alec Sheldon one afternoon in 1945. . . . Arthur Roth is a lonely kid with big ideas and a gift for attracting abuse. It isn't easy to make friends when you're the only inflatable boy in town. . . . Francis is unhappy. Francis was human once, but that was then. Now he's an eight-foot-tall locust and everyone in Calliphora will tremble when they hear him sing. . . . John Finney is locked in a basement that's stained with the blood of half a dozen other murdered children. In the cellar with him is an antique telephone, long since disconnected, but which rings at night with calls from the dead. . . .
The House on the Borderland by William Hope Hodgson Pdf
We rely on your support to help us keep producing beautiful, free, and unrestricted editions of literature for the digital age. Will you support our efforts with a donation? The House on the Borderland is unique in several ways. The narrative itself is a double-frame narrative: the editor of the volume is presenting a manuscript he found under mysterious circumstances, describing the account of two fishermen who themselves discovered a hand-written account of the cosmic haunting of a recluse’s remote home. Additionally, the novel is one of the earliest examples of the departure of horror fiction from the Gothic style of supernatural, psychological hauntings, to more realist, science-fiction/cosmic horror themes. The recluse is, among other events, transported to a mysterious supra-universal plane populated by monsters and elder gods; and his house withstands assaults from legions of monsters as he travels across time and the solar system. The book was very influential on H. P. Lovecraft, who himself was famous for the cosmic horror themes in his work. The concept of an uncaring, and even evil, universe that Lovecraft found so disturbing is front and center in this supremely strange novel.
The first book to cover global horror fiction during the twentieth century, the decades in which the horror genre matured and came of age, HORROR NEEDS NO PASSPORT covers hundreds of authors and stories and novels from 72 countries. The great majority of these works have never been translated into English and are mentioned only slightly, if at all, in the standard horror genre reference books. Yet these stories and novels contain a wealth of high quality horror, whether written by Angolan authors or Uruguayan authors. It's a shame that nearly all of these horror stories and novels are unknown to readers in the United States and the United Kingdom, as they would enjoy these works greatly if they could read them. The book does not contain an over-arching narrative; the horror literatures of the world are far too varied for any one narrative to fit. Instead, each author gets their own one or two paragraph entry, placing them in the context of their time and place and describing what their horror fiction is about, why their horror fiction matters, and whether or not their horror fiction is worth reading. The following, about the fantastic Belgian horror writer Thomas Owen, is typical of the entries: "A much different writer from Ghelderode was Thomas Owen, a lawyer, plant manager, and art critic who became interested in writing following a meeting with detective writer Stanislas-Andr Steeman. From 1941-1943 Owen wrote detective novels, but in 1942, inspired by and perhaps jealous of the success of his friend Jean Ray, Owen began writing fantastika, primarily horror of l'ecole belge de l'etrange variety. In his lifetime Owen would write two dozen novels and over 300 short stories, most of which were fantastika. Owen would become (with Jean Ray) the most important Belgian writer of fantastika and horror, and arguably its best writer and stylist. Jean Ray never produced Art (and never bothered to try), while Owen routinely achieved it. Owen had obsessions distinctive to himself: morbid eroticism, perversity, and the animalistic. And Owen's characters were usually present to create the effect of horror in the reader rather than existing as sympathetic beings. But Owen's style-evocative, precise, restrained, clear and cold-overwhelmed these flaws, and the doomed atmosphere, erotically macabre imagery, and general existential dread Owen generates in the stories make them memorably frightening. Owen's brand of terror has been called "intimate horror," as it focuses closely on ordinary lives rent by the moral and emotional ambiguities of life to the point that Owen's protagonists are vulnerable to supernatural assault. "Owen refined the tale of supernatural horror to an almost anachronistic degree of economy and purity...his unsettling work has been compared to that of Poe and Buzzati." Other reference books about horror fiction cover a scant handful of the authors and works described and analyzed in HORROR NEEDS NO PASSPORT and rarely venture outside Western Europe, Japan, and parts of Latin America. HORROR NEEDS NO PASSPORT covers multiple countries from every continent, going back to at least the turn of the twentieth century and in some cases well into the nineteenth century. Written for both casual readers and interested academics, HORROR NEEDS NO PASSPORT is unlike anything else on the market.
This new critique of contemporary African-American fiction explores its intersections with and critiques of the Gothic genre. Wester reveals the myriad ways writers manipulate the genre to critique the gothic's traditional racial ideologies and the mechanisms that were appropriated and re-articulated as a useful vehicle for the enunciation of the peculiar terrors and complexities of black existence in America. Re-reading major African American literary texts such as Narrative of the Life of Frederick Douglass, Of One Blood, Cane, Invisible Man, and Corregidora African American Gothic investigates texts from each major era in African American Culture to show how the gothic has consistently circulated throughout the African American literary canon.
Speculative Modernism by William Gillard,James Reitter,Robert Stauffer Pdf
Speculative modernists--that is, British and American writers of science fiction, fantasy and horror during the late 19th and early 20th centuries--successfully grappled with the same forces that would drive their better-known literary counterparts to existential despair. Building on the ideas of the 19th-century Gothic and utopian movements, these speculative writers anticipated literary Modernism and blazed alternative literary trails in science, religion, ecology and sociology. Such authors as H.G. Wells and H.P. Lovecraft gained widespread recognition--budding from them, other speculative authors published fascinating tales of individuals trapped in dystopias, of anti-society attitudes, post-apocalyptic worlds and the rapidly expanding knowledge of the limitless universe. This book documents the Gothic and utopian roots of speculative fiction and explores how these authors played a crucial role in shaping the culture of the new century with their darker, more evolved themes.
This is the book horror readers and students need. It will hold you in its grip, leaving you replete with invaluable information about the range, longevity and mutations of the horror genre as it consistently forces you to engage with serious cultural and personal issues.
Mr. Hood's Holiday House has stood for a thousand years, welcoming countless children into its embrace. It is a place of miracles, a blissful rounds of treats and seasons, where every childhood whim may be satisfied... There is a price to be paid, of course, but young Harvey Swick, bored with his life and beguiled by Mr. Hood's wonders, does not stop to consider the consequences. It is only when the House shows it's darker face — when Harvey discovers the pitiful creatures that dwell in its shadows — that he comes to doubt Mr. Hood's philanthropy. The House and its mysterious architect are not about to release their captive without a battle, however. Mr. Hood has ambitious for his new guest, for Harvey's soul burns brighter than any soul he has encountered in a thousand years...
The Best of Richard Matheson by Richard Matheson Pdf
The definitive collection of terrifying stories by "one of the greatest writers of the 20th century" (Ray Bradbury), edited by award-winning author Victor LaValle Among the greats of 20th-century horror and fantasy, few names stand above Richard Matheson. Though known by many for novels like I Am Legend and his sixteen Twilight Zone episodes, Matheson truly shines in his chilling, masterful short stories. Since his first story appeared in 1950, virtually every major writer of science fiction, horror, and fantasy has fallen under his influence, including Stephen King, Neil Gaiman, Peter Straub, and Joe Hill, as well as filmmakers like Stephen Spielberg and J.J. Abrams. Matheson revolutionized horror by taking it out of Gothic castles and strange cosmos and setting it in the darkened streets and suburbs we recognize as our own. He infused tales of the fantastic and supernormal with dark explorations of human nature, delving deep into the universal dread of feeling alone and threatened in a dangerous world. The Best of Richard Matheson brings together his greatest hits as chosen by Victor LaValle, an expert on horror fiction and one of its brightest talents, marking the first major overview of Matheson's legendary career. "[Matheson is] the author who influenced me most as a writer." -Stephen King "Richard Matheson's ironic and iconic imagination created seminal science-fiction stories . . . For me, he is in the same category as Bradbury and Asimov." -Steven Spielberg "He was a giant, and YOU KNOW HIS STORIES, even if you think you don't." -Neil Gaiman For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Taking its starting point and title from the Gothic novel, this book investigates the revival of a Gothic sensibility in contemporary art: in American and British fiction labelled the "New Gothic"; in film with its long tradition of horror; and in video, music, fashion, design, and underground culture. Gothic accompanies an exhibition at The Institute of Contemporary Art, Boston, of 23 artists. Some employ a detached and reductive formal language to transmute images of excessive and gruesome violence. The old Gothic themes of the fantastic and pathological are infused with potency as they address concerns about the body, disease, voyeurism, and power.
We Have Always Lived in the Castle by Shirley Jackson Pdf
THE STORY: The home of the Blackwoods near a Vermont village is a lonely, ominous abode, and Constance, the young mistress of the place, can't go out of the house without being insulted and stoned by the villagers. They have also composed a nasty s