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57 books match the query 'Horror' and 4 start with b

cover of Believable Impossibilities: Race, Testimony, and the Horror Film

Believable Impossibilities

Race, Testimony, and the Horror Film

Christopher Bracken

University of Chicago Press, 2026

A gripping exploration of belief in the impossible through horror film, informed by philosophy, history, and anthropology.

What if aliens crash-landed at an old mine? What if you discovered your spouse is protecting you from witchcraft? What if you received messages from the dead? You wouldn’t believe it, of course—but you might investigate. As Christopher Bracken shows through this gripping exploration of the horror film, this is the first step toward believing the impossible.

In Believable Impossibilities, Bracken examines the genre in which we are most frequently called on to believe something seemingly impossible has unsettled our ordinary lives—the horror story. Whether on the page or on screen, horror draws us into narratives in which a community of nonbelievers are suddenly confronted with the challenge of believing in events and experiences that radically break with expectation. As Bracken argues, questions of belief often intersect with issues of race and Indigeneity because, historically, belief in the impossible has been racially coded as a trait of “primitive” thought. Drawing on philosophy, anthropology, and psychoanalysis, Bracken explores the fictional spaces in which the paranormal and supernatural challenge and defy our social bonds.

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cover of Blood of Mugwump: A Tiresian Tale of Incest

Blood of Mugwump

A Tiresian Tale of Incest

Doug Rice

University of Alabama Press, 1996

Rice's parasitical language is akin to the acts of those naked 18th century pirates of desire. In Blood of Mugwump, Rice cannibalizes the likes of Joyce, Faulkner, Burroughs, Eliot, and a whole host of angelic others. Now trapped inside a kinetic body that is always changing from male to female, Doug Rice (the youngest Mugwump) sets out to discover himself in his sister's body. All the while the familial matriarch, Grandma Mugwump, feeds on the flesh of young Doug. Once through the looking glass, Doug realizes that Caddie (his polysexual Faulknerian nightmare of a sister) is more terrifying and holy than the average saint. A frenzied sexual virus, genetically conveyed, mutates and possesses the meat of Doug's and Caddie's bodies forcing them to love each other in unspeakable, yet classical, ways. 
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cover of Bride of Frankenstein

Bride of Frankenstein

Shane Denson

Lever Press, 2025

The inaugural volume in the film|minutes book series, this book offers a close, minute-by-minute analysis of director James Whale’s iconic 1935 masterpiece Bride of Frankenstein. Alternating between a variety of analytical lenses, including descriptive, historical, and philosophical, this study breaks from conventional forms of film-analytical writing and offers an experiment in defamiliarization and looking anew. In the 1930s, the film opened a space for reflection on the rapid normalization of filmic sound, which it both relies on and estranges. In the 2020s, Bride of Frankenstein brings forth questions of new technological mediums such as artificial intelligence  and the transformation of human agency. Shane Denson argues that such associations should not be written off as mere anachronism, but seen, rather, as a strategy of serialization; that is, it is by means of such anachronism that a film like Bride of Frankenstein remains open to new developments and novel situations, and thus comes alive for future viewers. 

Volumes in the film|minutes series cut up films into segments of exactly one minute and transform each minute into an innovative tool for thinking with the film. Each volume works rigorously with the concept of “the minute” as a non-cinematic scale/quantity, a means to zoom in on (dis)orderly fragments that do not necessarily respect the confinements of cinematic form or meaning. As a critical practice, the focus on minutes causes disruptions and displacement that create novel connections and perspectives, and uncovers hidden traces, making it possible to watch each film anew.
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cover of But Crime Does Punish

But Crime Does Punish

Ján Johanides

Karolinum Press, 2022

A haunting novel of post-Soviet Slovakia, centering on an enigmatic one-sided conversation.
 
“So, as you see, I am familiar with the case. However, we can’t discuss it unless you learn more about some other court cases, so that you can compare your father’s trial with other, more baffling cases, and see it in the context of the madness that reigned at the time.”

Ján Johanides’ riveting Slovak novel immediately thrusts you into the midst of a bewildering second-person dialogue, bestowing the reader with the role of a silent partner in a one-sided conversation with a mysterious archivist. As the story unfurls piece by piece, it becomes clear that the archivist, who can’t seem to stay on topic, has both a tragic history and the key to unlocking your family’s darkest secret, a secret that may or may not involve the Czechoslovak secret police, American and Soviet intelligence, Israeli politics, and a tire full of dollars.
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Set after the fall of the Soviet Union and the dissolution of Czechoslovakia, But Crimes Do Punish is awash with paranoia, revealing how the madness of the Communist era continues to bleed into the instability of the present. Written in 1995, this haunting novel—the first work of Slovak fiction published by Karolinum Press—evokes the spirit of John le Carré and the style of Carlos Fuentes while illuminating issues that still plague post-Communist Europe.
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