Joshua Chaplinsky charts the two hundred and fifty year history of the haunted house novel, from Pliny the Younger’s cursed Athens letter through Shirley Jackson’s The Haunting of Hill House, Stephen King’s The Shining and Mark Z. Danielewski’s House of Leaves. It lands as his own contribution to the subgenre, The Man in the Watch Still Visits Me at Night, arrives from CLASH Books.
Hope Madden reviews Raymond Creamer’s Goody Goody, a pregnancy horror feature debut built around two performances that do the heavy lifting. Samantha Robinson and Colleen Foy anchor a slow burn shift from cabin set dread into full blown creature feature, with results that mostly earn their transformation.
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Michael C. Williams has a theory about The Blair Witch Project: every found footage film since 1999 gets judged against it, the way every shark movie gets judged against Jaws. With a reunion tour underway and Lionsgate’s 2027 reboot from Dylan Clark on the way, we look at who escaped that shadow, who got crushed by it, and what the new film needs to survive.
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Hailey Piper sits down with Ginger Nuts of Horror to discuss This Movie Doesn’t End the Way We Want, her second novel steeped in Robert W. Chambers’ King in Yellow. She talks through the Toad Man, the cursed film at its centre, and why she calls horror the most honest genre. Titan Books publishes the cosmic horror on 15 September 2026.
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Jessica Hamilton’s folk horror debut sends a grieving mother into a haunted wood that offers her family a second life, at a price only she has to pay. A true crime podcast framing device and a bold menopause-as-horror metaphor make this one of the more inventive femgore entries this year, even when it over-explains its own best idea.
