A NEW YORK TIMES BESTSELLER From USA TODAY bestselling author Stephen Graham Jones comes a “masterpiece” (Locus Magazine) of a novel about revenge, cultural identity, and the cost of breaking from tradition. Labeled “one of 2020’s buzziest horror novels” (Entertainment Weekly), this is a remarkable horror story that “will give you nightmares—the good kind of course” (BuzzFeed). Seamlessly blending classic horror and a dramatic narrative with sharp social commentary, The Only Good Indians is “a masterpiece. Intimate, devastating, brutal, terrifying, warm, and heartbreaking in the best way” (Paul Tremblay, author of A Head Full of Ghosts). This novel follows four American Indian men after a disturbing event from their youth puts them in a desperate struggle for their lives. Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in violent, vengeful ways.

Bollywood Horrors is a multi-faceted and wide-ranging collection that examines cinematic representations of real-life horror, the religious aspects of horror imagery and themes, and the ways in which Hindi films have projected "cinematic fears" onto the screen. Part I, "Atrocity", deals with Bollywood's representation of the real horrors of communal violence, rape culture, and human trafficking. In Part II ("Religion") the role of myth, ritual, and colonial constructions in producing the generic conventions of Hindi horror are discussed. Contributors focus on the stereotype of the tantric magician found in Indian literature beginning in the medieval period; the myth of the fearsome goddess Durga's slaying of the Buffalo Demon; and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. The final part - "Cinematic Fears" - explores three particular facets or exemplars of Bollywood horror: the 2002 film Raaz, the role of non-domestic haunted or uncanny spaces in Hindi cinema, and the aesthetics of film posters and song booklets advertising horror films.

This book studies the hitherto overlooked genre of horror cinema in India. It uncovers some unique and diverse themes that these films deal with, including the fear of the unknown, the supernatural, occult practices, communication with spirits of the deceased, ghosts, reincarnation, figures of vampires, zombies, witches and transmutations of human beings into non-human forms such as werewolves. It focusses on the construction of feminine and masculine subjectivities in select horror films across seven major languages – Hindi, Tamil, Telugu, Kannada, Bangla, Marathi and Malayalam. The author shows that the alienation of the body and bodily functions through the medium of the horror film serves to deconstruct stereotypes of caste, class, gender and anthropocentrism. Some riveting insights emerge thus, such as the masculinist undertow of the possession narrative and how complex structures of resistance accompany the anxieties of culture via the dread of laughter. This original account of Indian cinematic history is accessible yet strongly analytical and includes an exhaustive filmography. The book will interest scholars and researchers in film studies, media and cultural studies, art, popular culture and performance, literature, gender, sociology, South Asian studies, practitioners, filmmakers as well as cinephiles.