Monsters are fragmentary, uncertain, frightening creatures. What happens when they enter the realm of the theatre? The Monster in Theatre History explores the cultural genealogies of monsters as they appear in the recorded history of Western theatre. From the Ancient Greeks to the most cutting-edge new media, Michael Chemers focuses on a series of ‘key’ monsters, including Frankenstein’s creature, werewolves, ghosts, and vampires, to reconsider what monsters in performance might mean to those who witness them. This volume builds a clear methodology for engaging with theatrical monsters of all kinds, providing a much-needed guidebook to this fascinating hinterland.

"Wild Talents" captures Charles Fort at his finest, most thought provoking, and wittiest. Containing accounts of-among numerous other bizarre topics-strange coincidences, vampires, werewolves, talking dogs, poltergeist activity, teleportation, witchcraft, vanishing people, spontaneous human combustion, and the escapades of the 'mad bats of Trinidad, ' the book is essential reading for anyone wanting to learn about the early years of research into the myriad mysteries of this world and beyond.

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy.

Into the fascinating, pungent setting of Blood and Bone Alley, home of leech, barber-surgeon, and apothecary, comes Matilda, raised by a priest to disdain worldly affairs and focus on spiritual matters. To Matilda's dismay, her work will not involve Latin or writing, but practical tasks: lighting the fire, going to market, mixing plasters and poultices, and helping Peg treat patients. She is appalled by the worldliness of her new surroundings, and the sharp-tongued saints she turns to for advice are no help at all. Filled with the witty dialogue and richly authentic detail that Karen Cushman’s work is known for, Matilda Bone is a compelling comic novel about a girl who learns to see herself and others clearly, to laugh, and to live contentedly in this world. Author’s note.