When Edgar Allan Poe set down the tale of the accursed House of Usher in 1839, he also laid the foundation for a literary tradition that has assumed a lasting role in American culture. “The House of Usher” and its literary progeny have not lacked for tenants in the century and a half since: writers from Nathaniel Hawthorne to Stephen King have taken rooms in the haunted houses of American fiction. Dale Bailey traces the haunted house tale from its origins in English gothic fiction to the paperback potboilers of the present, highlighting the unique significance of the house in the domestic, economic, and social ideologies of our nation. The author concludes that the haunted house has become a powerful and profoundly subversive symbol of everything that has gone nightmarishly awry in the American Dream.

Edgar Allan Poe is perhaps America’s most famous writer. Adapted many times to the stage and screen and an inspiration to countless illustrators, graphic novelists, and musicians, his tales and poems remain a singular presence in popular culture. (His most famous poem inspired the name of the NFL’s Baltimore Ravens.) And then there is the matter of Poe’s literary influence. “How many things come out of Poe?” Jorge Luis Borges once asked. And yet Poe remains misunderstood, his works easily confused with the legend of a troubled genius. Now, in this annotated edition of selected tales and poems, Kevin J. Hayes debunks the Poe myth, enables a larger appreciation of Poe’s career and varied achievements, and investigates his weird afterlives.

With color illustrations and photographs throughout, The Annotated Poe contains in-depth notes placed conveniently alongside the tales and poems to elucidate Poe’s sources, obscure words and passages, and literary, biographical, and historical allusions. Like Poe’s own marginalia, Hayes’s marginal notes accommodate “multitudinous opinion”: he explains his own views and interpretations as well as those of other writers and critics, including Poe himself. In his Foreword, William Giraldi provides a spirited introduction to the writer who produced such indelible masterpieces as “The Fall of the House of Usher,” “The Murders in the Rue Morgue,” and “The Black Cat.”

The Annotated Poe offers much for both the professional and the general reader—but it will be especially prized by those who think of themselves as Poe aficionados.

This book does nothing less than redefine the very genre of horror fiction, calling into question the usual conventions, motifs, and elements. Unlike many critics of this genre, Linda Holland-Toll sees dis/affirmative horror fiction acting neither to soothe fears nor reduce them to the vicarious “thrills ‘n’ chills” mode, but as intensifying the fears inherent in everyday life.

    In a thoughtful, well-informed study exploring fiction from throughout Stephen King's immense oeuvre, Heidi Strengell shows how this popular writer enriches his unique brand of horror by building on the traditions of his literary heritage. Tapping into the wellsprings of the gothic to reveal contemporary phobias, King invokes the abnormal and repressed sexuality of the vampire, the hubris of Frankenstein, the split identity of the werewolf, the domestic melodrama of the ghost tale. Drawing on myths and fairy tales, he creates characters who, like the heroic Roland the Gunslinger and the villainous Randall Flagg, may either reinforce or subvert the reader's childlike faith in society. And in the manner of the naturalist tradition, he reinforces a tension between the free will of the individual and the daunting hand of fate.
    Ultimately, Strengell shows how King shatters our illusions of safety and control: "King places his decent and basically good characters at the mercy of indifferent forces, survival depending on their moral strength and the responsibility they may take for their fellow men."

This anthology argues for the serious study of the literary oeuvre of Anne Rice, a major figure in today’s popular literature. The essays assert that Rice expands the conventions of the horror genre’s formula to examine important social issues. Like a handful of authors working in this genre, Rice manipulates its otherwise predictable narrative structures so that a larger, more interesting cultural mythology can be developed. Rice searches for philosophical truth, examining themes of good and evil, the influence on people and society of both nature and nurture, and the conflict and dependence of humanism and science.

Stephen King’s popularity lies in his ability to reinterpret the standard Gothic tale in new and exciting ways. Through his eyes, the conventional becomes unconventional and wonderful. King thus creates his own Gothic world and then interprets it for us. This book analyzes King’s interpretations and his mastery of popular literature. The essays discuss adolescent revolt, the artist as survivor, the vampire in popular literature, and much more.

    One of the very first books to take Stephen King seriously, Landscape of Fear (originally published in 1988) reveals the source of King's horror in the sociopolitical anxieties of the post-Vietnam, post-Watergate era. In this groundbreaking study, Tony Magistrale shows how King's fiction transcends the escapism typical of its genre to tap into our deepest cultural fears: "that the government we have installed through the democratic process is not only corrupt but actively pursuing our destruction, that our technologies have progressed to the point at which the individual has now become expendable, and that our fundamental social institutions-school, marriage, workplace, and the church-have, beneath their veneers of respectability, evolved into perverse manifestations of narcissism, greed, and violence."
    Tracing King's moralist vision to the likes of Twain, Hawthorne, and Melville, Landscape of Fear establishes the place of this popular writer within the grand tradition of American literature. Like his literary forbears, King gives us characters that have the capacity to make ethical choices in an imperfect, often evil world. Yet he inscribes that conflict within unmistakably modern settings. From the industrial nightmare of "Graveyard Shift" to the breakdown of the domestic sphere in The Shining, from the techno-horrors of The Stand to the religious fanaticism and adolescent cruelty depicted in Carrie, Magistrale charts the contours of King's fictional landscape in its first decade.

Once we've terrified ourselves reading Anne Rice or Stephen King, watching Halloween or following the O. J. Simpson trial, we can rely on the comfort of our inner child or Robert Bly's bongos, an angel, or even a crystal. In a brilliant assessment of American culture on the eve of the millennium, Mark Edmundson asks why we're determined to be haunted, courting the Gothic at every turn--and, at the same time, committed to escape through any new scheme for ready-made transcendence.

Nightmare on Main Street depicts a culture suffused with the Gothic, not just in novels and films but even in the nonfictive realms of politics and academic theories, TV news and talk shows, various therapies, and discourses on AIDS and the environment. Gothic's first wave, in the 1790s, reflected the truly terrifying events unfolding in revolutionary France. What, Edmundson asks, does the ascendancy of the Gothic in the 1990s tell us about our own day?

And what of another trend, seemingly unrelated--the widespread belief that re-creating oneself is as easy as making a wish? Looking at the world according to Forrest Gump, Edmundson shows how this parallel culture actually works reciprocally with the Gothic.

An unchecked fixation on the Gothic, Edmundson argues, would result in a culture of sadomasochism. Against such a rancorous and dispiriting possibility, he draws on the work of Nietzsche and Shelley, and on the recent creations of Toni Morrison and Tony Kushner, to show how the Gothic and the visionary can come together in persuasive and renovating ways.

Like the zombies, ghouls, and vampires which inhabit many of its books, the popularity of horror fiction is unstoppable. Even if you don’t happen to be a fan yourself, you won’t be “scared” to advise readers on finding their next great fright thanks to the astute guidance provided by horror expert Spratford in her updated guide. This definitive resource for library workers at any level of experience or familiarity with horror fiction

• details the state of the genre right now, including its appeal factors and key authors, assisting readers in getting up to speed quickly;
• presents ten annotated lists of suggested titles, all published since 2000, each with a short introduction providing historical context;
• delves into horror movies, TV shows, podcasts, and other formats; and
• offers abundant marketing advice, programming options, and pointers on additional resources.