Monster in the Closet is a history of the horrors film that explores the genre's relationship to the social and cultural history of homosexuality in America. Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.

I stopped believing in monsters long ago. But I knew I wasn't imagining things when I found one in my kitchen baking muffins. I'd seen him before: lurking in my closet, scaring the crap out of my five-year-old self. Turns out that was a misunderstanding, and now Maurice needs a place to stay. How could I say no? After all, I've always been a magnet for the emotionally needy, and not just in my work as a wedding planner. Being able to sense the feelings of others can be a major pain. Don't get me wrong, I like helping people-and non-people. But this ability has turned me into a gourmet feast.

The Encyclopaedia of Serial Killers, Second Edition provides accurate information on hundreds of serial murder cases - from early history to the present. Written in a non-sensational manner, this authoritative encyclopaedia debunks many of the myths surrounding this most notorious of criminal activities. New major serial killers have come to light since the first edition was published, and many older cases have been solved (such as the Green River Killer) or further investigated (like Jack the Ripper and the Zodiac Killer). Completely updated entries and appendixes pair with more than 30 new photographs and many new entries to make this new edition more fascinating than ever. New and updated entries include: Axe Man of New Orleans; BTK Strangler; Jack the Ripper; Cuidad Juarez, Mexico; John Allen Muhammad and Lee Boyd Malvo, the Sniper Killers; Gary Leon Ridgway, the Green River Killer; and Harold Frederick Shipman.

From the beginning, horror has been part of the cinema landscape. Despite some of the earliest genre films with gay directors such as F.W. Murnau (Nosferatu) and James Whale (Frankenstein, The Invisible Man, Bride of Frankenstein), LGBTQIA characters have rarely been portrayed in full view. For decades, filmmakers have included "coded" content in their films with the homosexual experience translated into censor-friendly subtext for consumption by general audiences. Gradually, LGBTQIA characters and themes have moved from the background to the foreground as the horror genre has grown along with its audience's tastes and attitudes. Likewise, more and more LGBTQIA writers and directors have begun to offer their queer-centric takes on scary movies and today, "queer horror" is a thriving film genre. With more than 900 entries, this critical filmography is a comprehensive, critical, yet playful examination of the history of LGBTQIA content in horror films. Eight journalistic contributors dig into every era of scary movies, including the early silents, pre- and post-Hays Code content, grindhouse sleaze, LGBTQIA indies, and megaplex studio releases. From Whale's The Old Dark House (1932) to Don Mancini's Chucky films and everything in between, this collection explores what can be found at the intersection of "LGBTQIA" and "horror" in the film industry.

Growing up, many of us have had fears that surfaced when the lights went out. For some of us they may still exist. The child in my rhyming book is very afraid of the monsters that lurk in the closet and under the bed. At first the child is terrified when the monsters come out. Soon the child realizes that the monsters do not want to harm him but rather play with the toys in the bedroom. But after the monsters mischievous playfulness begins to destroy the bedroom, the child overcomes his fears and takes charge of the situation forcing the monsters to clean up their mess and retreat to their hiding places. I hope you and your child enjoy my whimsical rhyming book "There's A Monster in My Closet."

An empowering cross-genre YA anthology that explores what it means to be a monster, exclusively highlighting trans and queer authors who offer new tales and perspectives on classic monster stories and tropes. Be not afraid! These monsters, creatures, and beasties are not what they appear. We Mostly Come Out at Night is a YA anthology that reclaims the monstrous for the LGBTQA+ community while exploring how there is freedom and power in embracing the things that make you stand out. Each story centers on both original and familiar monsters and creatures—including Mothman, Carabosse, a girl with thirteen shadows, a living house, werebeasts, gorgons, sirens, angels, and many others—and their stories of love, self-acceptance, resilience, and empowerment. This collection is a bold, transformative celebration of queerness and the creatures that (mostly) go bump in the night. Contributors include editor Rob Costello, Kalynn Bayron, David Bowles, Shae Carys, Rob Costello, H.E. Edgmon, Michael Thomas Ford, Val Howlett, Brittany Johnson, Naomi Kanakia, Claire Kann, Jonathan Lenore Kastin, Sarah Maxfield, Sam J. Miller, Alexandra Villasante, and Merc Fenn Wolfmoor.