Everyday horrors, the unexpected twists encountered during an otherwise normal day. The skewed perspectives, those moments of transformative paranoia when everything appears as it might through a funhouse lens. The dreamlike narratives and rhythms which fracture consensual reality into genre-bending rides. When life becomes unmoored and the prosaic becomes surreal. These are the worlds portrayed in this new collection of 20 stories by Steve Rasnic Tem, winner of the World Fantasy, British Fantasy, Bram Stoker, and the Horror Writer Association’s Lifetime Achievement awards. “Tem’s fiction gives you insight into the lives of people who want something they can’t have, and it allows you to suffer their failures as though they were your own.” – Simon Strantzas “His work…will haunt your imagination and your heart in equal measure, and it both expands and defines the genre.” - Weird Fiction Review “Steve Rasnic Tem is a school of writing unto himself.” – Joe R. Lansdale Included are such stories as “A Thin Silver Line” (originally scheduled for The Last Dangerous Visions), the folk horror “Gavin’s Field,” an aging man’s final road trip in “The Old Man’s Tale,” the Halloween musings of “When They Fall,” the personal apocalypse of “Privacy,” the Jack the Ripper revelations of “Monkeys,” the pandemic Wendigo tale “An Gorta Mór,” the cosmic horror “The Things We Do Not See,” a bizarre journey “Within the Concrete” from ParSec, and the heartbreaking “Memoria” from The Deadlands.

A scholar examines 14 everyday objects featured in horror films and how they manifest their power and speak to society’s fears. Take a tour of the house where a microwave killed a gremlin, a typewriter made Jack a dull boy, a sewing machine fashioned Carrie’s prom dress, and houseplants might kill you while you sleep. In Household Horror, Marc Olivier highlights the wonder, fear, and terrifying dimension of objects in horror cinema. Inspired by object-oriented ontology and the nonhuman turn in philosophy, Olivier places objects in film on par with humans, arguing, for example, that a sleeper sofa is as much the star of Sisters as Margot Kidder, that The Exorcist is about a possessed bed, and that Rosemary’s Baby is a conflict between herbal shakes and prenatal vitamins. Household Horror reinvigorates horror film criticism by investigating the unfathomable being of objects as seemingly benign as remotes, radiators, refrigerators, and dining tables. Olivier questions what Hitchcock’s Psycho tells us about shower curtains. What can we learn from Freddie Krueger’s greatest accomplice, the mattress? Room by room, Olivier considers the dark side of fourteen household objects to demonstrate how the objects in these films manifest their own power and connect with specific cultural fears and concerns. “Provides a lively and highly original contribution to horror studies. As a work on cinema, it introduces the reader to films that may be less well-known to casual fans and scholars; more conspicuously, it returns to horror staples, gleefully reanimating works that one might otherwise assume had been critically “done to death” (Psycho, The Exorcist, The Shining).” —Allan Cameron, University of Auckland

ONE GEEK AGAINST THE RISING DARKNESS. Bill Ryder is having a hell of a week. Magic is back, one of his friends has been entombed in solid rock, and he once again has no pulse to speak of. Too bad it's about to get worse. Something is hunting vampires in New York City. A smarmy wizard has been called in to investigate, one with skeletons in his closet and eyes for Bill's girlfriend. All the while, Neolithic horrors not seen since the dawn of time are reappearing, wreaking havoc wherever they step. Bill will need to rally his friends, both new and old, if he's to have any chance of turning the creeping tide of chaos threatening to drown his city. But it won't be easy. The balance of power in the supernatural hierarchy has been upended, and all the attitude in the world might not be enough to fix it.

For over six years, Brian Collins watched and reviewed a different horror movie every single day. Most of them stunk. With over 2500 reviews on the Horror Movie A Day website, finding the worthwhile ones can be a chore, so Collins has curated a selection of choice films - 365 of them in fact, one for every day of the year. Each month has a different theme and offers a variety of films within that theme for your viewing enjoyment. And they're not the ones you've seen already - most of the book's selections are obscure, indie, or foreign titles that a casual horror fan hasn't seen yet. Every movie is someone's favorite movie - perhaps this book will introduce you to yours.

From Mallory Ortberg comes a collection of darkly mischievous stories based on classic fairy tales. Adapted from the beloved "Children's Stories Made Horrific" series, "The Merry Spinster" takes up the trademark wit that endeared Ortberg to readers of both The Toast and the best-selling debut Texts From Jane Eyre. The feature has become among the most popular on the site, with each entry bringing in tens of thousands of views, as the stories proved a perfect vehicle for Ortberg's eye for deconstruction and destabilization. Sinister and inviting, familiar and alien all at the same time, The Merry Spinster updates traditional children's stories and fairy tales with elements of psychological horror, emotional clarity, and a keen sense of feminist mischief. Readers of The Toast will instantly recognize Ortberg's boisterous good humor and uber-nerd swagger: those new to Ortberg's oeuvre will delight in this collection's unique spin on fiction, where something a bit mischievous and unsettling is always at work just beneath the surface. Unfalteringly faithful to its beloved source material, The Merry Spinster also illuminates the unsuspected, and frequently, alarming emotional complexities at play in the stories we tell ourselves, and each other, as we tuck ourselves in for the night. Bed time will never be the same.

Horror fiction--in literature, film and television--display a wealth of potential, and appeal to diverse audiences. The trope of "the black man always dies first" still, however, haunts the genre. This book focuses on the latest cycle of diversity in horror fiction, starting with the release of Get Out in 2017, which inspired a new speculative turn for the genre. Using various critical frameworks like feminism and colonialism, the book also assesses diversity gaps in horror fictions, with an emphasis on marketing and storytelling methodology. Reviewing the canon and definitions of horror may point to influences for future implications of diversity, which has cyclically manifested in horror fictions throughout history. This book studies works from literature, film and television while acknowledging that each of the formats are distinct artforms that complement each other. The author compares diverse representation in novels like The Castle of Otranto, Frankenstein, Fledgling, Broken Monsters and Mexican Gothic. Horror films like Bride of Frankenstein, It Comes at Night, Us and Get Out are also examined. Lastly, the author emphasizes the diverse horror fictions in television, like The Exorcist, Fear the Walking Dead, The Twilight Zone and Castle Rock.

How does God respond to trauma in a world full of horrors? Beyond their physical and emotional toll, the horrors of this world raise difficult theological and existential questions. Where is God in the darkest moments of the human experience? Is there any hope for recovery from the trauma generated by these horrors? There are no easy answers to these questions. In God of All Comfort, Scott Harrower addresses these questions head on. Using the Gospel of Matthew as a backdrop, he argues for a Trinitarian approach to horrors, showing how God--in his triune nature--reveals himself to those who have experienced trauma. He explores the many ways God relates restoratively with humanity, showing how God's light shines through the darkness of trauma.