Artwork by Andrew Foley

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PREFACE

Elizabeth Erwin & Dawn Keetley

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GRAND, MIDDLE, OR PLAIN? RHETORICAL STYLE AND HORROR LITERATURE

Gavin F. Hurley

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WHAT TO DO WITH TOO MUCH HORROR FICTION: CANONIZING A LITERARY GENRE IN ITS PEAK PERFORMANCE YEARS

Steffen Hantke

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THE SCIENCE OF ORDINARY FEAR: THE NEST (1980)

Kat Albrecht

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THE MOORSTONE SICKNESS: BERNARD TAYLOR’S ‘LOW-BROW’ 1982 FOLK HORROR

Dawn Keetley

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THE TROUBLED JOURNEY FROM PAGE TO SCREEN OF CLIVE BARKER’S CABAL (1988)

David Edwards

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WHAT IS “ITALIAN” IN ITALIAN (FOLK) HORROR? ON LUIGI MUSOLINO’S A DIFFERENT DARKNESS (2022)

Marco Malvestio

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TRAUMA, ENTROPY AND MONSTER-MAKING IN HAZEL’S PHANTASMAGORIA AND THE TALES OF TERROR SERIES

Irene Pagano

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FINAL GIRLS UNITED: TRAUMA, SURVIVAL, AND COLLECTIVE STRENGTH

Alissa Burger

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HORRIFIC GRIEF IN HARROW THE NINTH

Emma Hallock

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THE HORROR OF CARMILLA: INTIMACY AND THE CENSORING OF DESIRE

Amira Shokr

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“WHAT HAVE YOU DONE TODAY TO DESERVE YOUR EYES?”: TABOO, POWER DYNAMICS, AND QUEER WORTHINESS IN THINGS HAVE GOTTEN WORSE SINCE WE LAST SPOKE

Carina Stopenski

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SELF-REFLEXIVITY, ANXIETY, AND CREATING HORROR IN SCOTT THOMAS’S KILL CREEK (2017) AND BRIAN MCAULEY’S CURSE OF THE REAPER (2022)

Jacob Babb

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ADAPTING ECOHORROR FABLES: REDEMPTIVE REVISIONS IN M. NIGHT SHYAMALAN’S OLD (2021) AND KNOCK AT THE CABIN (2023)

Isaiah Frost Rivera

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CONTRIBUTORS

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