Steffen Hantke While horror cinema has been a lively field of academic inquiry for decades, attracting young scholars who are in equal measure driven by their love for the genre and equipped with a keen sense of its historical scope and theoretical intricacies, horror literature has largely failed to match this attraction. This may have […]
Amira Shokr Horror texts incite in us a sense of fear. As readers and audiences, what we do with those emotions revolutionize how the horror genre works. When we choose to locate and analyze the horrors within a text, we hold the power to identify and dismantle the boundaries that the text is using horror […]
Irene Pagano Lonely, unwanted or neglected children often star as main characters in fantastical narratives. In the case of children’s horror, as Justine Gieni highlights in Punishing the Abject Child, this tendency originally derives from the entanglement of a proposed pedagogical intent and a willingness to challenge the strictures imposed by the former via the […]
Emma Hallock Traumatic loss and the grief that follows are central in Tamsyn Muir’s 2020 novel Harrow the Ninth. The second installment in The Locked Tomb series, Harrow the Ninth picks up where the first book left off, with the death of Gideon Nav, a cavalier, or swordswoman, who has sworn herself to Harrowhark (Harrow) […]
David Edwards “The movie that was (sic.) released is not the movie that was shot at Pinewood, and it’s not the movie that Clive wrote. If anybody has read “Cabal,” then there’s the movie, because the movie that was shot…is a very faithful, almost page-by-page faithful, adaptation of “Cabal.” And Fox, in my opinion, screwed […]