ISBN:
1683691385
Title: Monster, She Wrote Pdf The Women Who Pioneered Horror and Speculative Fiction
Author: Lisa Kröger
Published Date: 2019-09-17
Page: 352
“Inspired not only in the way it explores what the off-kilter, the monstrous and the half-known has meant to women for centuries but also in how it illuminates the often unusual lives of the women who crafted these dark worlds.”—BookPage“Straddling the divide between highly useful reference and compulsively readable stories about the writing lives of the women of horror, this book will keep you up all night (one way or another).”—Booklist, starred review“Presented in a breezy, conversational style that makes it easy to gobble up whole sections at a time...Anyone from casual fans to horror historians will benefit from reading this important book.”—Cemetery Dance“This biographical index will reawaken readers' admiration for established virtuosos of literary terror and inspire curiosity in lesser-known specialists in fictitious fear.”—Publishers Weekly“An engrossing, eye-opening encyclopedia on the pioneering women who went against convention and broke down barriers to mold the horror fiction genre, thereby inspiring generations of writers and even filmmakers with their works.”—Geeks of Doom“A fantastic dive into the literary world's spookiest stories and gives an impressive insight into the women behind such ghastly tales, all while laying out the history of horror.”—But Why Tho?, 5 star review“Unique, fascinating, informative...an extraordinary and unreservedly recommended addition to personal, community, college, and university library.”—Midwest Book Review Lisa Kröger holds a PhD in English. Her short fiction has appeared in Cemetery Dance magazine and Lost Highways: Dark Fictions from the Road (Crystal Lake Publishing, 2018). She co-hosts the Know Fear Podcast (knowfearcast.com).Melanie R. Anderson is an assistant professor of English at Delta State University in Cleveland, MS. Her book Spectrality in the Novels of Toni Morrison (Tennessee Press, 2013) was a winner of the 2014 South Central MLA Book Prize. She co-hosts the Know Fear Podcast (knowfearcast.com).
Satisfy your craving for extraordinary authors and exceptional fiction: Meet the women writers who defied convention to craft some of literature's strangest tales, from Frankenstein to The Haunting of Hill House and beyond.
Frankenstein was just the beginning: horror stories and other weird fiction wouldn't exist without the women who created it. From Gothic ghost stories to psychological horror to science fiction, women have been primary architects of speculative literature of all sorts. And their own life stories are as intriguing as their fiction. Everyone knows about Mary Shelley, creator of Frankenstein, who was rumored to keep her late husband's heart in her desk drawer. But have you heard of Margaret "Mad Madge" Cavendish, who wrote a science-fiction epic 150 years earlier (and liked to wear topless gowns to the theater)? If you know the astounding work of Shirley Jackson, whose novel The Haunting of Hill House was reinvented as a Netflix series, then try the psychological hauntings of Violet Paget, who was openly involved in long-term romantic relationships with women in the Victorian era. You'll meet celebrated icons (Ann Radcliffe, V. C. Andrews), forgotten wordsmiths (Eli Colter, Ruby Jean Jensen), and today's vanguard (Helen Oyeyemi). Curated reading lists point you to their most spine-chilling tales.
Part biography, part reader's guide, the engaging write-ups and detailed reading lists will introduce you to more than a hundred authors and over two hundred of their mysterious and spooky novels, novellas, and stories.
Read if you want to grow your TBR! "There seems to be an unspoken assumption that women aren’t interested in horror and speculative fiction, despite ample evidence of the opposite (p. 269)."Monster, She Wrote provides this ample evidence. It is fantastic overview of women writers throughout history that have made their marks in the weird fictions. I am not a big horror reader so this book was a great exploration into genre. The horror writers I am familiar with are majority men so it was wonderful to read about new to me authors that I may not have read about in the past. I absolutely recommend this book. My TBR has definitely expanded by 27 stories!Also RIP to Toni Morrison who was represented in this book, before her passing, with her story Beloved.Thank you Netgalley and Quirk Books for an e-arc in exchange for an honest review.Excellent Reference Source! Almost immediately, I had to come to grips with what Monster, She Wrote is versus what I had hoped and wanted it to be. Without knowing much about the book beyond the awesome illustrated cover art and the premise as revealed in the title (The Women Who Pioneered Horror and Speculative Fiction), I had expected a more thorough study exploring the various authors and a deep-dive into their eras, their work and legacies, and how they shaped an entire genre.Instead, Monster, She Wrote is more of a reference guide to the hundreds of women authors working in the horror and speculative fiction genres. We’re introduced to these writers, given a very brief biographical sketch and an overview of their most relevant works, followed by a short reading list naming a singular must-read title from their bibliography, a second book to try, and some related works by other authors exploring similar themes and topics. Because of the large number of authors Kröger and Anderson are compiling here, each of the women featured here are only given a few pages worth of space to touch upon their biography, influences and interests, and their most relevant titles to the genre at hand (some of these women wrote romance, young girls fiction, and nonfiction titles, as well, which obviously fall outside of the scope of Kröger and Anderson ‘s examinations).The book itself is arranged into eight parts, starting with The Founding Mothers and the modern horror genre’s roots in Gothic literature of the late 1700s — 1800s, sparked by Ann Radcliff, who helped popularize the genre. She and the writers that followed wrote in the Gothic style that had begun with Horace Walpole’s The Castle of Otranto, claiming the genre for their own and making it a literary force to be reckoned with and one that explored their own gruesome nightmares. Without these women, Kröger and Anderson argue, we wouldn’t have films like Suspiria or the domestic horrors explored by Shirley Jackson. It was these women that made Gothic horror so popular that enabled and influenced enormous swathes of horror and spec fic authors to come, including Stephen King. From there, Kröger and Anderson move into the various subgenres that grew naturally from their Gothic origins, moving into stories dealing more directly with the supernatural, like ghosts and hauntings, and the occult as society, science, and philosophers of the late 19th Century began to explore the question of what happens after death, as well as attempted to scientifically explore psychic phenomena. Although male authors like Charles Dickens used ghosts in their fiction, it was, again, the women authors that really led the forefront and used their writings to explore societal and political issues of the time, cementing the horror genre into a form that would become more recognizable for 21st Century readers, paving the way for the paperback horrors of the 1980s from VC Andrews, Kathe Koja, Ruby Jean Jensen, and The New Goths, like Anne Rice and Susan Hill.While I certainly appreciate Kröger and Anderson’s work here, and believe that it will help readers (myself included — and rest assured, I’ve made note of a number of titles mentioned throughout this book) discover a number of strong, and perhaps overlooked, voices in the genre, it was the prefaces that began each section that I found most interesting. When Monster, She Wrote dug into discussions of the Spiritualist movement and occult societies that help inspire the women writers of that era, I was supremely fascinated and wanted to know about that history and how those works fed off each other. I wanted a deeper exploration of how these women used their writings to further civil rights and support abolition movements. Although some readers decry politics in their fiction (primarily, I’ve come to note, politics they disagree with), the simple fact is that art and politics are inextricably intertwined and always have been and always will be. I would have loved to have read a deeper examination of this topic in regards to women in horror and how their (counter-culture) attitudes fueled the genre in its earliest stages. Monster, She Wrote gets close to these topics, but never steps into the muck to get its hands dirty. It’s not the central focus of this work at all, but it is at its most interesting during these instances and if Kröger and Anderson ever opt to take a deep dive into these issues I’ll be sure to read the hell out of it. That said, you can at least explore these topics and issues through the women and their stories that Kröger and Anderson have selected to highlight as most relevant. Also of interest, and again something I wish were explored more deeply and thoroughly, were the later discussions of the lost women writers of the pulp era, who influenced other creatives like HP Lovecraft and the creator of Dungeons & Dragons, and the paperback horror boom of the 80s, which saw many works disappear entirely following the horror market’s collapse as publishers went out of business and various titles went out of print.Where Monster, She Wrote is most successful, though, is in showcasing the women of horror themselves, and in this regard it’s very much an indispensable reference guide. Every February, the horror genre celebrates Women In Horror Month, and readers devote the shortest month of the year to discovering strong new voices or overlooked classics. There’s more than enough horror stories by women to fill an entire calendar year and then some, and Monster, She Wrote is a solid starting point to discovering these authors and enriching your library with their voices. Beyond the central handful of figures that Kröger and Anderson have selected to best represent each era of horror fiction, you’ll find plenty of leads toward other women authors of the time, as well as more recent 21st Century examples that were inspired by those earlier writers and best recapture the spirit of those themes or genre hallmarks. Monster, She Wrote is also a handy book to have on hand just in case you run into some especially dimwitted man who foolishly thinks women don’t, can’t, or shouldn’t write horror, so you can throw the book at them or crack them over the head with it. Maybe you’ll luck out and knock some sense into them!Fun & informative book about women in horror... I stumbled across this at my nearby indie bookstore the day it was released, and at first I thought it was an anthology, but when I discovered that it was a non-fiction book about women horror writers, I knew I had to have it, and I've not been disappointed. It's a sheer delight, and part of that is due to the book's design, which is magnificent. Quirk knows how to present a package, and I urge prospective readers to check out the sample pages of illustrations, pull quotes, and chapter headings. It really is a work of art.And the contents live up to the presentation. Even though I've read in the genre for well over half a century, I came across writers with whom I wasn't familiar, and learned much more about those whose names I did recognize and whose work I'd already read. I don't agree with *all* the critical accolades, and I can't help but wish that some writers like Elizabeth Massie and Poppy Z. Brite (now writing and living as Billy Martin) would have been recognized rather than some of the writers here, though I understand that you can't please everyone. A few things struck me as odd -- for example, why not discuss Jirel of Joiry, Catherine Moore's *female* fantasy/horror character, rather than (or in addition to) the male Northwest Smith? Some credits for individual stories are oddly enough credited to the publisher's name rather than the title of the individual magazine in which the story first appeared. And there are a few factual errors regarding pulp magazines that could have been avoided. But such complaints are churlish in the face of what *is* here.All in all, a delightful book to browse or read straight through, and one you'll come back to frequently. Highly recommended for all lovers of the weird and outre!
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