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horror fiction

Posted on July 22, 2026

Review: Marcus Kliewer’s The Caretaker

Dawn Keetley

Marcus Kliewer’s 2026 novel, The Caretaker, in true horror fashion, begins with a prologue. A man (David) is trying desperately to follow “the Rites” in order to ward off a “Visitor” who looks just like his dead son but isn’t. He fails. Then we cut to Macy Mullins, our twenty-something protagonist – and the story becomes hers. Indeed, one of the very many good things about The Caretaker is Macy Mullins, a character expertly drawn whom we can’t help but care about, despite her own conviction that nobody will.

Macy is looking after not only herself but her teenage sister, Gemma, in the wake of their father’s death in a car accident. Three years later, his daughters are struggling to come to terms with their grief – and, indeed, to get by at all. Without a job, with no money, and accumulating eviction notices, Macy answers a strange ad for a caretaker for an elderly man – only three days of work. She takes the job even after a still stranger interview where she discovers the elderly man in question is apparently dead and what she is really being asked to do is stay by herself in the house and follow a bizarre sequence of “routines.” Desperate, she agrees. (And who wouldn’t take $9000 for three days’ work?) The novel follows Macy over those three days.

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Posted on July 4, 2026

The Horrors of Wellness Culture in Ling Ling Huang’s Natural Beauty

Guest Post

Henriikka Koivisto

Ling Ling Huang’s satirical horror novel Natural Beauty (2023) tells the story of a young, unnamed narrator who gives up a promising career as a classical pianist after her parents are injured in a car accident. One day, an extraordinarily beautiful woman shows up at the restaurant where the narrator works and offers her a job at a high-end wellness and beauty company called Holistik. What at first seems like a dream job for many young women—with better pay, an endless supply of free skincare products and treatments, and a boost of social status—soon turns dangerous. Huang leads her readers into the deeply disturbing world of invasive and risky beauty procedures, unapologetic cultural appropriation, abuses of power culminating in sexual violence, all behind a façade of wellness and self-care.

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A green background with a book cover showing the abstract rendering of a man.
Posted on March 13, 2023

Auto-fiction as Nightmare: A Review of Bret Easton Ellis’s The Shards

Guest Post

Since bursting into the literary scene in 1985, author Bret Easton Ellis has remained a divisive and controversial figure in popular culture. His debut novel Less Than Zero (1985) was described by revered critic Michiko Kakutani in The New York Times as “one of the most disturbing novels I have read in long time” and, most famously, his magnum opus American Psycho caused such intense public outcry that it was temporarily withdrawn from publication and later banned in some countries. The reason for all the dispute and infamy surrounding Easton Ellis – which has only solidified his subsequent reputation as a literary enfant terrible – is primarily due to the graphic depictions of sexual violence which feature throughout his work. Women are brutally tortured and murdered in the most extreme and nauseating fashion in American Psycho – and Less Than Zero infamously ends with a twelve-year-old being drugged and viciously gang-raped by a group of coked-up rich kids.  While the content of these scenes alone is enough to shock and offend the average reader, it is the cool and dissociative tone of Ellis’s narration that imbues these scenes with a lasting and disturbing significance, elevating the violence beyond the realm of snuff into something much more darkly existential. Indeed, at the core of Ellis’s success as a writer is his unique ability to evoke a haunting and all-pervading sense of dread and ennui, which he then uses as means to provoke, unsettle and, perhaps most importantly, horrify his readership. The Shards, Ellis’ latest novel after a thirteen-year absence, is a timely remainder of this.  Read more

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Posted on November 17, 2022

Call for Papers – Special Issue #8: Horror Literature

Call for Papers

Our featured image, which includes Grady Hendrix and Will Errickson’s popular Paperbacks from Hell series, evidences  horror literature’s resurgence in recent years. There has been not only a reclaiming and reissuing of critically dismissed titles of the past but also a proliferation of new and diverse horror fictions. Whether disdained as pulpy trash or ignored for appealing to youth demographics, a large swathe of pre-2000s horror literature has frequently been deemed unworthy of critical analysis. But with developments that include Paperbacks from Hell, Valancourt Books’ new translations of horror novels, increasing numbers of film adaptations of horror youth literature, and decreasing rigidity between what constitutes high and low culture, titles that have long skirted the horror literature canon are increasingly being taken seriously as cultural documents speaking to societal norms and taboos as well as significant artistic works in their own right.

For this special issue on horror fiction, we invite submissions that critically reassess historically disregarded horror literature titles or that take up the works of new horror writers. We want to distinguish horror fiction from its more highbrow cousin, the gothic – and we are interested in horror. We do welcome, though, essays that self-consciously take up the critical difference between horror and the gothic.

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Posted on March 19, 2022

Looking into the Mirror: A Review of Alma Katsu’s The Fervor

Guest Post

Alma Katsu, author of historical horror novels like The Hunger (2018) and The Deep (2020), returns to the genre in her latest The Fervor (releasing on April 26, 2022). Like her other novels, The Fervor centers on a main historical event, playing with the timeline and details ever so much. This time, readers are placed in 1940s America during Japanese internment, a time when American exceptionalism, isolationism, and, of course, xenophobia ran rampant. The links to our current cultural moment are pretty plain on the page. Like us, the characters are wrestling with a strange communicable illness thought to originate from Asia, and they witness a marked increase in the attacks on Asian Americans and Pacific Islanders in response. Unlike Covid-19 and the increased violence against AAPI people in the States and around the world, the sickness, “The Fervor,” is one part Japanese mythos and another part experimental bioweapon.

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