by Matt Cardin
first novel of, 235–236
notable writings of, 236
pseudonyms of, 236
supernatural novels of, 236
“twilight tales,” 236
Bradbury, Ray (1920–2012), 237–241
anthology movie, 96
“The Banshee,” 240
birthplace of, 237
Capote, Truman, 239
The Collected Stories of Ray Bradbury, 240
collections of his earlier works, 240
crime fiction, 240
“The Crowd,” 239
Dark Carnival, 238, 239, 655
early life of, 238
EC Comics magazines and, 240
the Elliot tales, 239
“The Emissary,” 239
Fahrenheit 451, 238
first professional sale of, 238
full name of, 237
The Golden Apples of the Sun, 238
the haunted house story and, 419
“The Homecoming,” 239, 656
horror comics, 93
The Illustrated Man, 239
“The Jar,” 239
“The Lake,” 239
The Martian Chronicles, 239
McClure, Marguerite “Maggie,” 238
The October Country, 238, 239, 655–656
Poe, Edgar Allan, and, 237
quoted on good stories, 238
radio dramas and television anthology series, 240
The Ray Bradbury Theater, 240
recognition for his achievements, 240–241
regimental approach to his chosen profession, 238
“The Scythe,” 239, 656
significance of, 33, 237
“Skeleton,” 239, 656
“The Small Assassin,” 239, 655
Something Wicked This Way Comes (Bradbury), 36, 239–240, 758–759
“The Veldt,” 240
Weird Tales, 36, 238
wife of, 238
as “the world’s greatest living science fiction writer,” 238
Bradley, Doug, 197
Bram Stoker Award, 241–242
award process, 242
categories of, 242
Horror Writers Association and, 241
Koontz, Dean, 241
naming of, 241–242
notable past winners, 242
significance of, 241
Bram Stoker’s Dracula (1992), 18
Bratlinger, Patrick, 64
Brennan, Joseph Payne (1918–1990), 242–243
award for life achievement, 243
“The Calamander Chest,” 243
“Canavan’s Backyard,” 243
“Episode on Cain Street,” 243
fantastic fiction of, 242
“The House on Hazel Street,” 243
“Levitation,” 243
Macabre magazine, 242
as a poet, 242
psychic investigator, Lucius Leffing, 243
“Slime,” 243
themes of, 243
Breton, Andre, 786
Breton, André, 605
Briggs, Julia, 436
Brite, Poppy Z. (1967–), 244–245
alternative name of, 244
as a cultural phenomenon, 120
Dangerous Visions and, 118
Dell Abyss line of horror paperbacks, 120
Drawing Blood, 244
Exquisite Corpse, 244
The Lazarus Heart, 244
Liquor series, 245
Lost Souls, 244
“Missing,” 244
queer sexuality and, 244
reputation of, 244
sexually transgressive work, 167
short story collections, 244
Swamp Foetus, 244
Wormwood, 244
Brod, Max, 498
Bromhall, Thomas, 85
Brontë sisters, 245–250
Agnes Grey, 245, 248
Anne, 245, 247, 249
as the “Bell Brothers,” 245, 246
Byron, Lord, 248
Charlotte, 245, 247
as children, 245
Emily, 245, 247
Gothic villain, 248
important contribution to English literature, 249
influence of, 248, 249
Jane Eyre, 245, 246–247, 249
on marriage, 249
on moral absolutes, 249
popular culture and, 249
on Radcliffe, Ann, 697
romanticism and, 248, 248–249
Shirley, 247
The Tenant of Wildfell Hall, 246, 248
their father, Patrick, 245
timeline of, 246t
Villette (autobiography), 247
Wuthering Heights, 245, 246, 247, 808
Brown, Charles Brockden (1771–1810), 26, 59, 250–252
Arthur Mervyn, 251
best-known novels of, 251
date and place of birth, 251
death of, 251
early life of, 251
Edgar Huntly, 251
as a “flawed genius,” 251
Friendly Club and, 251
general consensus of, 251
Godwin Circle, 251
influence of, 250, 251
“My Last Duchess,” 80–81
reputation of, 251, 252
Wieland, 251
Wieland (quoted), 250
work with landscapes, 251
Brown, Dan, 131, 134
Brown, George Brockden
Wieland, 144–145
Browning, Robert
“Childe Roland to the Dark Tower Came,” 318
Dramatic Lyrics (Browning), 79
master of insidious intent, 81
“My Last Duchess,” 80–81
Porphyria’s Lover, 79–80
psychological monologues, 79
Browning, Todd, 136
Brummell, George “Beau,” 259
Brutus (Plutarch), 7
Buchan, John
“No-Man’s Land,” 642
Bulgakov, Mikhail
The Master and Margarita, 334
Bulwer-Lytton, Edward, 29, 131, 252–254
The Coming Race, 253
early occult short stories of, 252
“The Haunted and the Haunters,” 252, 253
influence of, 252, 253, 254
influences on, 252
The Last Days of Pompeii, 252
as Lord Lytton, 252
popularity of, 252
A Strange Story, 252, 253
Zanoni, 252, 253
Bunuel, Luis, 786
Bürger, Gottfried August, 78, 157
Burke, Edmund (1729–1797)
literary aesthetics, 21–22
“Of the Passion Caused by the Sublime,” 782
A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and the Beautiful
(Burke), 21, 73, 783
“On the Sublime,” 782
on terror, 22
Burke, James Lee, 321
Burke, William, 231
Burnt Offerings, 254–255
American haunted house tradition and, 255
comparisons with, 254, 255
film adaptation of, 255
the haunted house story and, 419
importance of, 255
Marasco, Robert, 254
plot summary, 254–255
Burroughs, Edgar Rice
A Princess of Mars, 407
Butler, Octavia Estelle (1947–2006), 255–257
“Bloodchild,” 256
“The Evening and the Morning and the Night,” 256
Fledgling, 257
influence on current generation of writers, 257
Kindred, 256
Nebula Award to, 256
Parable series, 256
Patternist Series, 256
significance of, 255–256
Xenogenesis trilogy, 256
Buzzati, Dino (1906–1972), 257–258
“The Bewitched Bourgeois,” 257
collected short stories, 257
influence of, 258
Larger Than Life, 258
Ligotti, Thomas, on, 258
The Tartar Steppe, 257
theme of, 257
“The Time Machine,” 258
“The Walls of Anagoor,” 257–258
Byron, Lord
Villa Diodati ghost story competition, 129
Byron, Lord (1788–1824), 258–260
alternative name for, 258
the Brontë sisters, 248
Brummell, George “Beau,” 259
Byron’s Manfred, 258, 259, 260
characteristics of, 259
“Darkness,” 259
death of, 260
English Romantic movement and, 258
“The Giaor,” 77, 158, 259
Glenarvon, 259
vampire fiction, 157–158
Villa Diodati ghost story competition, 128, 258–259
Byronic hero, 260–261
Brontë sisters and, 261
Byron, Lord, and, 260
Byron’s Manfred, 260
Childe Harold’s Pilgrimage, 260
Crimson Peak, 261
current status of, 260, 261
definition, 260
Glenarvon (Lamb), 261
influence of, 261
literary origins of, 260
Manfred, 260
success of, 261
uses of the character type, 260, 261
Vampire Chronicles, 261
“The Vampyre” (Polidori), 261
Walpole, Horace, 260
Caldwell, Erskine, 366
“The Call of Cthulhu,” 263–264
Cthulhu Mythos, 264
inspirations for, 263–264
Lovecraft, H. P., 263
opening paragraph of, 263
plot summary, 263, 264
significance of, 264
uniqueness of, 264
Calmet, Antoine Augustin, 21
Campbell, John W., Jr
Unknown, 33–34
“Who Goes There?,” 192, 229
Campbell, Ramsey (1946–), 264–272
Ancient Images, 267
awards to, 265
birthplace of, 264
black humor, 266
California school of contemporary horror, 269
characteristics of, 266
“Chucky Comes to Liverpool,” 265–266
“The Church in High Street,” 265
commercial success, 268
The Count of Eleven, 266
Creatures of the Pool, 265
The Darkest Part of the Woods, 267
Demons by Daylight, 265
The Doll Who Ate His Mother, 266
domesticity theme, 267
early life of, 266
as an editor, 268
The Face That Must Die, 266
film and, 267
The Grin of the Dark, 267
The Height of the Scream, 266
The Hole of the Pit, 268
on horror fiction, 110, 269–270, 271–272
The House on Nazareth Hill, 267
Incarnate, 266
The Influence, 266
influences on, 265
The Inhabitant of the Lake and Less Welcome Tenants, 265
interview with, 260–272
James, M. R., 30, 265, 269
Joshi, S. T., on, 267
L’Innomable (Beckett), 270
literary output of, 265
Lovecraft, H. P., and, 265, 271
Lovecraft Mythos, 271
“Mackintosh Willy,” 582–584
Midnight Sun, 267
Needing Ghosts, 268
reputation of, 264
The Seven Days of Cain, 267–268
short stories of, 265
on significant developments in horror fiction, 269–270
significant developments in horror fiction, 269
technique, concern for, 265
Think Yourself Lucky, 267
Thirteen Days at Sunset Beach, 268
Uncanny Banquet, 268
website of, 268
World Fantasy Award for Lifetime Achievement, 269
See also Alone with the Horrors (Campbell); “The Chimney” (Campbell)
“Candle Cove,” 114
Capgras syndrome, 704
Capote, Truman, 239
Carey, Mike, 652
Carmilla (Le Fanu), 272–274
cinematic adaptations, 274
Coleridge’s “Christabel” and, 273
Doctor Hesselius character, 272–273
example of, 272
Friston, D. H., 272
genre of, 273
Irish Gothic tradition, 273
Le Fanu, J. Sheridan, 272
lesbianism, 273
plot summary, 273
Stoker’s Dracula and, 273
as a Web series, 274
Carrington, Leonora, 786
The Debutante, 786
The Rabbits, 786
Carrion Comfort (Simmons), 274–275
awards to, 275
first publication of, 274, 275
King, Stephen, on, 274
“mind vampires,” 274
plot summary, 274–275
title of, 274
vampirism and, 275
Carroll, Jonathan, 275–276
American “magic realism,” 275–276
approach to writing, 275
body of work of, 276
Bones of the Moon, 276
“Friend’s Best Man,” 276
The Ghost in Love, 276
The Land of Laughs, 275–276
parents of, 275
Sleeping in Flame, 276
Carroll, Noël, xxx
The Philosophy of Horror: Or, Paradoxes of the Heart, 98
Carter, Angela (1940–1992), 276–278
adaptations of his works, 278
“The Bloody Chamber,” 277
“The Company of Wolves,” 277, 278
influences on, 277
“The Lady of the House of Love,” 277
“The Loves of Lady Purple,” 64, 277
The Magic Toyshop, 277, 278
Nights at the Circus, 277
Sage, Lorna, on, 278–280
Carter, John, 627
The Case of Charles Dexter Ward (Lovecraft), 278–280
cinematic adaptations, 279
Cthulhu Mythos and, 280
first publication of, 279–280
as genuine tragedy, 279
The Haunted Palace, 279
plot summary, 278–279
The Resurrected, 279
uniqueness of, 278
Casting the Runes (James), 280–282
adaptations of, 281
current status of, 281
the demon of, 280–281
James, Montague Rhodes (M. R.), 280
memorable scene in, 280–281
Night of the Demon (cinematic adaptation), 281
plot summary, 280
Castle, William, 716, 731
The Castle of Otranto (Walpole), 282–284
impact on the horror genre, 282, 283–284
invention of common characteristics of Gothic novel, 282
its concern with legitimacy, 283
plot summary, 282–283
significance of, 284
subtitle of, 282
success of, 282
Cat People (Tourneur), 302
Cave, Hugh B., 191
Cavelos, Jeanne, 120
celluloid horror stories, 692
Cemetery Dance Publications, 153
Cena Trimalchionis (Trimalchio’s Dinner), 6
The Ceremonies (Klein), 284–287
eco-horror, 60
“The Events at Poroth Farm,” 284
literary horror history and, 285, 286
as a modern horror “classic,” 286
notion of “setting as character,” 286
notions about the natural world, 28
6
plot summary, 285
as a tribute to Arthur Machen, 285–286
as truly terrifying, 287
Chambers, Robert W. (1865–1933), 287–288
date and place of birth, 287
early collections, 287
fame of, 287
“The Harbour Master,” 288
influence of, 288
The King in Yellow, 287, 508–509
The Maker of Moons, 287
The Mystery of Choice, 287
In the Quarter, 287
reputation of, 288
In Search of the Unknown, 288
The Slayer of Souls, 288
The Talkers, 288
visual imagery, 287
The Champion of Virtue (1777), 73
Chaney, Lon, 670
chansons de geste (“songs of deeds”), 12
Chapman, Stepan, 817
The Troika, 817
Charlemagne, 9, 10
Charnas, Suzy McKee (1939–), 288–290
on American education, 289
“The Ancient Mind at Work,” 289
“Beauty and the Opéra or The Phantom Beast,” 288
birthplace of, 289
“Boobs,” 288, 289
eco-feminist political consciousness, 289
Holdfast Chronicles, 288–289
“The Land of Lost Content,” 289
“The Last of Dr. Weyland,” 290
“Lowland Sea,” 288
The Music of the Night, 288
“The Unicorn Tapestry,” 289–290
The Vampire Tapestry, 288, 289–290
The Children of Old Leech: A Tribute to the Carnivorous Cosmos of Laird Barron, 45, 203
“The Chimney” (Campbell), 290–291
“At the Back of My Mind: A Guided Tour,” 291
plot summary, 290–291
publication history, 290
upbringing of, 291
chivalry, 10
ChiZine Publications, 156
Christ, conceptualization of the figure of, 12–13
Cimon (Plutarch), 7
cinematic horror genres, 57
cinematic possession neurosis, 358–359
Circlet Press, 119
Cisco, Michael (1970–), 291–293
Animal Money, 292
awards/nominations, 292
body of work, 291
“de-genred” fiction, 292
The Divinity Student, 291, 292
The Genius of Assassins, 292
The Great Lover, 291–292
influences on, 292
Member, 292
The Narrator, 292
pastiche as central to his literary approach, 292
Secret Hours, 292
short fiction of, 292
The Tyrant, 292
VanderMeer, Jeff, on, 292
Clark, Lawrence Gordon, 70
Clover, Carol J.
“Her Body, Himself: Gender in the Slasher Film,” 98
Cloverfield (2008), 113
Clute, John, 373
Cohen, Jeffrey Jerome
Monster Theory: Reading Culture, 100–101
Coleridge, Samuel Taylor
on the sublime, 783
Coleridge, Samuel Taylor (1772–1834), 293–295
on Bertram (Maturin), 595
Biographia Literaria (Coleridge), 78–79
Christabel, 158, 293
Coleridge’s poetic solution to the loss of God, 78–79