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Posted on February 6, 2022

The Villa and the Vortex: Supernatural Stories by Elinor Mordaunt

Guest Post

The Villa and the Vortex: Supernatural Stories (1916-1924), Elinor Mordaunt, edited by Melissa Edmundson (Handheld Press, 2021).

Melissa Edmundson’s Women’s Weird anthologies were, for me, an invaluable window into the work of a number of long-neglected women writers and a trove of weird, unsettling short fiction of astonishing breadth. Stories like the cosmic horror of Francis Stevens’ ‘Unseen – Unfeared’, or the deeply oneiric tragedy of ‘The House’ by Katherine Mansfield, demonstrated that women writers are not just the equal of their male counterparts but, often, far exceed them. We should be thankful, then, that Edmundson has continued her partnership with Handheld Press to begin a series of single-author collections, starting with The Villa and the Vortex, a retrospective of Elinor Mordaunt’s strange, melancholy tales. Read more

Posted on February 1, 2019

Ten Women Authored Ghost Stories from the Gilded Age

Guest Post

If you’re like me, you love a good ghost story in the dead of winter. The season commands all that is spooky, desolate, and lonely. Fortunately, American literature is rife with ghostly stories written by women, the Gilded Age being an era when the genre was particularly enjoyed, highly published and serialized in magazines like Harper’s, Scribner’s, and New England Magazine. Topics range from marriage, motherhood, to unruly women, but all retain an unerring sense of the otherworldly. I highly recommend curling up with these stories on a cold winter’s night.

Below is a ranking of some of the best ghost stories of the Gilded Age (and some from just slightly after it, too). If you’re a fan of the era, you’ll recognize some of the more famous names, but there are some hidden gems, too. By no means is this list exhaustive, and I encourage you to find your own favorite stories from the era, as well! Read more

Posted on April 20, 2018

Ghost Stories: Best Horror Film of 2018

Dawn Keetley

Ghost Stories, distributed by IFC Midnight, is directed and written by Jeremy Dyson and Andy Nyman and adapted from their stage play which opened in Liverpool in 2010. The play was notable for its warning that no one under 15 should attend and also for its asking the audience to keep its “secrets.” Like the play, the film definitely deserves to have its secrets kept, and this review is without spoilers. I do know, though, that I’ll undoubtedly write about Ghost Stories in the future because it’s a film with an ending that needs to be talked about. And it’s brilliant. It’s the best horror film I’ve watched in 2018. (While Ghost Stories premiered at the London Film Festival in late 2017, so technically it’s a 2017 film, it didn’t arrive in the US until 2018.)

Ghost Stories centers on Professor Phillip Goodman (Andy Nyman), a profound skeptic who devotes his life to debunking what he sees as the superstitious and destructive delusions of believers. A short home video that plays near the opening of the film explains Goodman’s zeal. As he says, “My father’s religious beliefs destroyed our family.” To Goodman, religious faith, or any faith in the supernatural, is a product of humans’ having to confront mortality and death; it’s a way of dealing with “existential terror.” And he believes it’s a self-deceptive way of dealing with that terror. Goodman lives his life believing one must confront the terror of existence and death, not evade it through lies. His entire life is built on the bedrock of “material evidence” –of apprehending the reality in front of your eyes. The film, not surprisingly, challenges that view.