It’s the early 1980s, and Satan is everywhere. He’s lurking in the lyrics of heavy metal music. He’s hiding among the marshmallows in your Lucky Charms. He’s capering through our neighborhoods, our basements, or churches, our schools.
You might be a horror book consumer like me and have already bought into the Grady Hendrix brand. You come for the unique titles and clever packaging (My Best Friend’s Exorcism) but you stay for the alluring storytelling, memorable characters, and iconic cultural references.Continue Reading
It’s the middle of October, just a couple of weeks away from Halloween as I write this, and I find myself (like, doubtless, many of you) in the midst of a horror movie marathon leading into my favorite holiday. Most of what I watch this time of year are classics that I’ve seen a time or two (or ten) before, and — again, I suspect, like many of you — I find myself constantly second-guessing the actions of the characters on the screen.Continue Reading
Quick, name two classic female horror writers. I’ll wait while you blurt out “Mary Shelley and Shirley Jackson.” While there’s no doubt that both of those two have more than earned their place in horror history, there are multitudes that belong alongside them, but whose names have been lost to history. That’s a wrong that Lisa Kröger and Melanie R. Anderson are here to right. Their new book, Monster, She Wrote, sheds light on over a hundred women who, as the cover says, “pioneered horror and speculative fiction.”Continue Reading
The idea that rock ‘n roll is the Devil’s music is as old as a Robert Johnson blues riff. It’s an idea that’s been mined by countless musicians and writers over the years, to varying degrees of success. Leave it to Grady Hendrix, acclaimed author/historian of ’70s and ’80s horror fiction, to breathe new life into one of horror’s most well-worn tropes.Continue Reading
Paperbacks from Hell: The Twisted History of ’70s and ’80s Horror Fiction is a history lesson crossed with the world’s coolest (and unlikeliest) museum exhibit. As the title indicates, author/curator Grady Hendrix is our guide, taking us from the post-Rosemary’s Baby boom of paperback horror all the way through the 1990s bust. In between, there’s a whole lotta crazy to cover, and Hendrix is more than game to take us through every twist, turn and trend.
I’ll be honest, when I first got wind of this book, I expected little more than a portfolio of lurid paperback covers accompanied by a plot synopsis for each book, maybe a spotlight or two on some of the more prolific authors, and perhaps a closer look at some of the publishers who were churning the stuff out. And you know, I would have been fine with that. But Hendrix has given us so much more. An accomplished author in his own right (My Best Friend’s Exorcism, Horrorstör), Hendrix digs deep and writes with passion. You need look no further than his introduction, in which he writes about the book that served as his “gateway drug” into the world of paperback horror. It’s better heard from him, but let me just toss out the term “Gestapochauns” as an appetizer. Yeah, you’re thinking there’s no way that could mean what you think it means, but it does.
Rather than go year-by-year, Hendrix has organized the book by the themes and subgenres that defined the period. So, we move from “Hail, Satan” to “When Animals Attack” to “Real Estate Nightmares” to “Inhumanoids” to….well, you get the idea. Each of these chapters are written with a historian’s observational skill coupled with a fan’s passion and a professional’s touch. Hendrix hits the requisite high points like David Seltzer’s The Omen, James Herbert’s The Rats, and Jack Ketchum’s The Girl Next Door (and it’s infamous skeleton cheerleader cover!), but he revels equally in obscure gems like Eat Them Alive by Pierce Nace and Slay Bells by Joe Gibson and Blood Snarl by Ivor Watkins.
Hendrix recognizes that the covers were often the best thing about these books, so he’s written several “Coroner’s Report” asides spotlighting particularly prolific artists and their contributions.
I often look at my own, growing library and keep a mental list of my “essentials,” the books I absolutely could not do without. Paperbacks from Hell is now on that list. As a reference book, as a celebration, and as an appreciation, it’s one of the best books about the horror genre that I’ve ever had the pleasure to read. I’ll honestly be stunned if I ever meet a horror fan that disagrees. This gets my highest possible recommendation.