John Edgar Browning – författare

Horror historians Gary D. Rhodes and John Edgar Browning present a long lost slice of American literature: The Vampire is a detective dime novel that predates both Dracula and the first appearance of Sherlock Holmes, and it''s sure to thrill audiences today just as it did back in 1885!

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.

"This is the thing that troubles me, for I cannot forget Carcosa, where black stars hang in the heavens, where the shadows of men’s thoughts lengthen in the afternoon when the twin suns sink into the Lake of Hali; and my mind will bear forever the memory of the Pallid Mask."

Reader, have you ever wondered who struck fear into the heart of H. P. Lovecraft? It was Robert Chambers. Now, the terror visits you.

A wicked link in a terrifying lineage, the tales contained in The King in Yellow have inspired generations of American horror writing. Look toward unspeakable Hastur and tell yourself these are only tales. Behold the Yellow Sign and convince yourself that, after all—it’s only a book.

Welcome, dear reader, to Carcosa.

Edited with notes and introduction by John Edgar Browning.

As Carol A. Senf has noted of some of Bram Stoker’s less prominent fictions in Science and Social Science in Bram Stoker’s Fiction (2002), they often occupy an elusive place, “a realm that is not precisely Gothic but that is somehow beyond the scientific and rational world of the late nineteenth and early twentieth centuries.” The present anthology demonstrates how even Stoker’s nonfictive works, including his jokes, often find themselves at home in the elusive realm of which Senf is here speaking. After more than six years of archival inquiry, the editors present here nineteen previously unknown or relatively unglimpsed published letters, works of short fiction, and journalistic writing by Stoker (1847-1912), including “Gibbet Hill” (1890), a Gothic short story the editors discovered in 2016. Additionally, they present fifty-five other unknown period writings by or about Stoker, including interviews, public addresses, speeches, and testimonies. The works in this anthology, together with the extensive research offered in the introduction, prefatory note, and annotations, not only highlight the intertextuality between [Dracula] and other of Stoker’s works, but support the conclusion that Stoker’s periodical writings indeed denote a much greater force in his literary repertoire than previously accepted. Not surprisingly, many of the works in this anthology exhibit the same curious sprinkling of characteristically delicate Gothicisms and “other knowledges” for which Stoker has become known outside of his ubiquitous vampire novel.