February is African American History Month here in the United States. It is also Women in Horror Month (WiHM). This list of black women who write horror was compiled at the intersection of the two. It consists of an alphabetical listing of the women with biographies, photos, and web addresses, as well as interviews with nine of these women. The material in this book was originally published on www.SumikoSaulson.com.

Containing the biographies of over one hundred black women who write horror, 100+ Black Women in Horror is a reference guide, a veritable who's who of female horror writers from the African Diaspora. It is an expansion of the original 2014 book 60 Black Women in Horror. February is African American History Month here in the United States. It is also Women in Horror Month (WiHM). This list of black women who write horror was compiled at the intersection of the two. It consists of an alphabetical listing of the women with biographies, photos, and web addresses, as well as interviews with 17 of these women and an essay by David Watson on LA Banks and Octavia Butler.

Containing the biographies of over one hundred black women who write horror, 100+ Black Women in Horror is a reference guide, a veritable who's who of female horror writers from the African Diaspora. It is an expansion of the original 2014 book 60 Black Women in Horror. February is African American History Month here in the United States. It is also Women in Horror Month (WiHM). This list of black women who write horror was compiled at the intersection of the two. It consists of an alphabetical listing of the women with biographies, photos, and web addresses, as well as interviews with 17 of these women and an essay by David Watson on LA Banks and Octavia Butler.

Searching for Sycorax highlights the unique position of Black women in horror as both characters and creators. Kinitra D. Brooks creates a racially gendered critical analysis of African diasporic women, challenging the horror genre’s historic themes and interrogating forms of literature that have often been ignored by Black feminist theory. Brooks examines the works of women across the African diaspora, from Haiti, Trinidad, and Jamaica, to England and the United States, looking at new and canonized horror texts by Nalo Hopkinson, NK Jemisin, Gloria Naylor, and Chesya Burke. These Black women fiction writers take advantage of horror’s ability to highlight U.S. white dominant cultural anxieties by using Africana folklore to revise horror’s semiotics within their own imaginary. Ultimately, Brooks compares the legacy of Shakespeare’s Sycorax (of The Tempest) to Black women writers themselves, who, deprived of mainstream access to self-articulation, nevertheless influence the trajectory of horror criticism by forcing the genre to de-centralize whiteness and maleness.

Proud and solitary, Eel Marsh House surveys the windswept reaches of the salt marshes beyond Nine Lives Causeway. Arthur Kipps, a junior solicitor, is summoned to attend the funeral of Mrs Alice Drablow, the house's sole inhabitant, unaware of the tragic secrets which lie hidden behind the shuttered windows. It is not until he glimpses a pale young woman, dressed all in black, at the funeral, that a creeping sense of unease begins to take hold, a feeling deepened by the reluctance of the locals to talk of the woman in black - and her terrible purpose.

2020 Eisner Award for Best Academic/Scholarly Work Entertaining Comics Group (EC Comics) is perhaps best-known today for lurid horror comics like Tales from the Crypt and for a publication that long outlived the company’s other titles, Mad magazine. But during its heyday in the early 1950s, EC was also an early innovator in another genre of comics: the so-called “preachies,” socially conscious stories that boldly challenged the conservatism and conformity of Eisenhower-era America. EC Comics examines a selection of these works—sensationally-titled comics such as “Hate!,” “The Guilty!,” and “Judgment Day!”—and explores how they grappled with the civil rights struggle, antisemitism, and other forms of prejudice in America. Putting these socially aware stories into conversation with EC’s better-known horror stories, Qiana Whitted discovers surprising similarities between their narrative, aesthetic, and marketing strategies. She also recounts the controversy that these stories inspired and the central role they played in congressional hearings about offensive content in comics. The first serious critical study of EC’s social issues comics, this book will give readers a greater appreciation of their legacy. They not only served to inspire future comics creators, but also introduced a generation of young readers to provocative ideas and progressive ideals that pointed the way to a better America.

In the shadows of ancient Benin, a demonic presence stalks an innocent girl on the cusp of womanhood. Seduced by this sinister stranger's fatal charm, the girl's soul descends into eternal damnation as she becomes one of the undead - a vampire slave to the merciless Promise Keeper. For centuries across continents, the Promise Keeper haunts his victim's every move, invading her mind with violent commands in an unholy pact sealed in blood. Just as she dares hope his reach cannot extend to the glamour of New York City, an ill-fated romance once again shackles the reluctant asiman to her merciless master's bidding. Now the Promise Keeper's web of deceit and murder ensnares fresh prey as he compels his undead servant to act against her very nature. In the end, not even true love may be enough to keep this vampire from honoring her agreement with the dark force that owns her soul. Will his unspoken promise be fulfilled at last?