by Matt Cardin
“Legends of the Province House,” 424
Lovecraft on, 424
The Marble Faun, 426–427
“The Minister’s Black Veil,” 424–425
“Mr. Higginbotham’s Catastrophe,” 425
“My Kinsman, Major Molineux,” 424
“Rappaccini’s Daughter: From the Writings of Aubépine,” 423
on revolutionary violence, 424
“Roger Malvin’s Burial,” 425
romance narratives, 425–427
The Scarlet Letter, 425–426
short fiction of, 423
significance of, 422–423
surname change, 423
Twice-Told Tales film, 425
“Wakefield,” 425
“The White Old Maid,” 425
wife of, 427
“Young Goodman Brown,” 424, 684, 865–867
Hearn, Lafcadio (1850–1904), 427–429
birthplace of, 428
early life of, 428
Fantastics, 428
his romantic view of the Orient, 427–428
Japanese tales of, 429
Kwaidan: Stories and Studies of Strange Things, 427, 527–528
marriage of, 428–429
“Nightmare-Touch,” 428
parents of, 428
Some Chinese Ghosts, 429
translations, 429
“The Value of the Supernatural in Fiction,” 429
Hecuba (Euripides), 5
Heldman, I. P., 661
Hell House, 429–431
conclusion concerning, 431
criticism, 430
film adaptation, 430
The Haunting of Hill House and, 430
King, Stephen, on, 430
Koontz, Dean, on, 430
The Legend of Hell House, 430
Matheson, Richard, 429
plot summary, 429–430
weaknesses of, 430
Hemingway, Ernest, 33, 270
Herbert, James (1943–2013), 147, 270, 431–433
awards to, 433
Creed, 432
The Dark, 431
date and place of birth, 431
Deadly Eyes, 432
death of, 433
film adaptations, 432
Fluke, 432
The Fog, 431
full name of, 431
graphic depictions of violence, 431
Haunted, 433
key themes of, 432
King, Stephen, on, 431
legacy of, 433
The Magic Cottage, 433
The Rats, 431, 432
reputation of, 432
sales figures for, 431
The Secret of Crickley Hall, 433
Sepulchre, 432
Shrine, 432
The Survivor, 432
Hercules Oetaeus (Seneca), 7
heresy of the didactic, 109
“H for Horrific” certificate, 75
Hichens, Robert (1864–1950), 433–435
Bye-Ways, 433
“The Charmer of Snakes,” 434
“The Cry of the Child,” 433
The Dweller on the Threshold, 434
fashionable occultism, 434
Flames, 434
full name of, 433
“How Love Came to Professor Guildea,” 433, 434
An Imaginative Man, 433
The Man in the Mirror, 434
“A Reincarnation,” 433
“The Sin of Envy,” 434
Tongues of Conscience, 433
Hill, Joe (1972–), 435–436
adaptations of, 435
family of, 435
The Fireman, 107, 435, 436
Heart-Shaped Box, 435
Horns, 435
horror comic projects, 435
horror novels of, 435
as Joseph Hillstrom King, 435
King, Stephen, 435, 513
Locke and Key, 435
Locke and Key, adaption of, 436
Locke and Key series, 43
NOS4A2, 435
parents of, 435
significance of, 43
20th Century Ghosts, 435
writing style of, 435
Hill, Susan (1942–), 436–437
awards to, 436
Briggs’s feminist exploration of women’s ghost stories, 436
The Man in the Picture, 436, 437
The Mist in the Mirror, 436, 437
perennial return of the Gothic, 42
revival of the British ghost story, 436
“The Small Hand,” 437, 854–855
Hinde, Thomas, 270
The Historian (Kostova), 437–439
author of, 437
award to, 438
inspiration for, 438
Kostova, Elizabeth Johnson, 437, 438
plot summary, 437–438
popularity of, 438
style of, 438
Vlad Tepes (Vlad the Impaler), 437
Hitchcock, Alfred, 117, 139
Hodgson, William Hope (1877–1918), 30, 439–440
The Boats of the Glen Carrig, 439
Carnacki the Ghost-Finder, 439
date and place of birth, 439
death of, 439, 440
“The Derelict,” 439
early life of, 439
The Ghost Pirates, 439
The House on the Borderland, 439, 451–453
Lovecraft comparison, 439
The Night Land, 344, 439, 452, 635–637
occult detectives, 651
recurrent writing themes of, 439
rediscovery of, 440
“A Tropical Horror,” 439
“The Voice in the Night,” 439
Hoffmann, E. T. A. (1776–1822), 440–443
birthplace of, 440
The Devil’s Elixirs, 337
Die Elixiere des Teufels (The Devil’s Elixir), 441
Die Serapionsbrüder (The Serapion Brethren), 441
Fantasiestücke in Callots Manier (Fantasy Stories in the Style of Callot), 441
full name of, 440
“The Golden Pot: A Fairytale of Modern Times,” 441
influence of, 440, 442
interest in art, 440–441
“Mademoiselle de Scuderi,” 441
Mozart and, 440
new dimension in Gothic fiction, 442
“Nutcracker and Mouse-King,” 441
originality of, 442
romanticism and, 440
“The Sand-man,” 67, 337, 344, 441, 727–729
significance of, 26–27
Tales of Hoffmann opera (Offenbach), 442
“Undine” (opera), 440–441
writing style of, 441–442
Hogg, James
The Private Memoirs and Confessions of a Justified Sinner (Hogg), 683–684
Holy Roman Empire, 9
Homer’s Iliad, 5
Homer’s Odyssey, 3–4
Hopkins, Ernest Jerome, 217
“The Horla,” 443–444 adaptation of, 444
final version of, 443
first publication of, 443
framing device, 443
influence on subsequent horror literature, 444
Maupassant suicide, 443
organization of, 443
plot summary, 443
significance of, 443–444
Horror: A Literary History (Reyes), 76
horror anthologies, 84–91
Arkham House publishing, 88
The Avon Fantasy Reader, 89
background of, 84–85
Bromhall, Thomas, 85
Christian sermons and homiletics, 84
codex, development of, 84–85
The Creeps Omnibus, 87
Creeps series, 87
Dangerous Visions, 89
Dark of the Moon: Poems of Fantasy and the Macabre, 88
Derleth, August, 88
desktop publishing, 90
the digital revolution and, 90
The Dunwich Horror and Other Weird Tales (Lov
ecraft), 89
Elwood, Roger, 89
The Garden of Fear, 87
Gespensterbuch, 85
Great Short Stories of Detection, Mystery, and Horror (Sayers), 87
Great Tales of Terror and the Supernatural, 88
Greenberg, Martin Harry, 90
The History of Apparitions, Ghosts, Spirits or Spectres; Consisting of Variety of Remarkable Stories of Apparitions, Attested by People of Undoubted Veracity (Clergyman), 85
international copyright, 86
Le Fanu, J. Sheridan, 86
magazines, 86, 87
The Moon Terror, 87
MS. Cotton Vitellius A XV, 85
Not at Night, 87
The Not at Night Omnibus, 87
O’Brien, Fitz-James, 86
paperback, 89
“Peter Rugg, the Missing Man” (Austin), 86
Political Science Fiction: An Introductory Reader, 90
Popular Tales and Romances of the Northern Nations (1823; 3 volumes), 86
reprints of, 86
Sleep No More, 88
A Stable for Nightmares, 86
Strange Doings in Strange Places, 86
Strange Happenings, 86
Tales of Other Days (Akerman), 86
Tales of Terror (St. Clair), 86
Tales of the Dead (ed. Utterson), 85
timeline of, 88t
A Treatise of Specters, or, An History of Apparitions (Bromhall), 85
A True Relation of the Apparition of One Mrs. Veal, the Next Day After Her Death, to One
Mrs. Bargrave at Canterbury, the 8th of September, 1705 (Defoe), 85
Utterson, Sarah, 85–86
Weird Tales, 87
younger readership of, 89
horror comics, 91–97
anthology movie, 96
background of, 91–92
Bradbury, Ray, 93
Comics Code Authority (CCA) seal, 93, 95, 96
Creepshow, 96
Dark Horse, 95
The Dark Knight Returns (Miller), 96
EC artists and writers, 92
EC comics, 34, 91–92, 96
Eerie #1 (1947), 92
Fantagraphics, 95
Gaines, Max, 91
Gaines, William M., 91–92, 93
Gilberton Publications’ Classic Comics #13 (1943), 92
impact of, 96
of independent houses, 95
Laurel Entertainment, 96
Marvel and DC publications, 95
Moore, Alan, 96
The Saga of the Swamp Thing, 96
Seduction of the Innocent (Wertham), 93
self-censorship, 93
self-censorship, end of, 95, 96
significant events in the history of, 94t
Tales from the Crypt, 96
Underground Comix movement, 95
U.S. Senate Subcommittee on Juvenile Delinquency, 93
Vertigo, 95
Warren Publishing, 93, 95
Wertham, Fredric, 93
horror criticism, 97–101
“The American Nightmare,” 98
Benshoff, Harry M., 100
“Children of the Night: Vampirism as Homosexuality, Homosexuality as Vampirism” (Dyer), 100
Cohen, Jeffrey Jerome, 100–101
contributions to film and literary studies, and queer studies, 100
critical relegation of, 97
Dyer, Richard, 100
Gordon, Peter E., 97
Gothic studies, 98–99
“Her Body, Himself: Gender in the Slasher Film” (Clover), 98
“high” and “low” culture, 97, 101
“Horror and the Monstrous-Feminine” (Creed), 98
horror studies, 97–98
Horror Studies journal, 97
intellectual history, 97
“An Introduction to the American Horror Film” (Wood), 97
Lowenstein, Adam, 98
Monsters in the Closet: Homosexuality and the Horror Film (Benshoff), 100
monstrous pedagogies: seven texts about teaching horror, 99
The Philosophy of Horror: Or, Paradoxes of the Heart (Carroll), 98
publishing in horror studies journals, 100
queer studies, 99–100
scholarship on Gothic fiction, 99
scholars involved in, 98
sociopolitical system of horror films, 97
“On the Supernatural in Poetry” (Radcliffe), 99
Horror Fiction: An Introduction (Wisker), 76
horror in the ancient world, 3–8
Aeneid (Virgil), 7
ancient Greece, 3
background of, 3
Bellum Civile or Pharsalia (Lucan), 7
Brutus (Plutarch), 7
Cimon (Plutarch), 7
“classical antiquity” defined, 3
Epic of Gilgamesh, 3
ghosts in Greek literature, 5–6
Greek tragedy, 5
Hellenistic period, 5–6
Hercules Oetaeus (Seneca), 7
Homer’s Odyssey, 3–4
Latin literature, 6
major genres of literature, 3
Medea (Seneca), 7
Metamorphoses (Ovid), 7
Mostellaria (The Haunted House), 6
Peri thaumasion (On Wonderful Events), 7
Roman Empire, 3
Satyricon (Petronius), 6
a timeline of horror in the ancient world, 4t
horror in the Middle Ages, 8–14
background of, 8–10
Beowulf, 10–11, 12
chansons de geste (“songs of deeds”), 12
Charlemagne, 9
concept of “horror,” 10
Dark Ages, 9
early Middle Ages, 9
High Middle Ages, 9
literary storytelling in the Middle Ages, 10
major motifs of, 8
Middle Ages defined, 8–9
Middle English romances, first, 13
romance narratives (early), 12–13
significance of, 13
Sir Gawain and the Green Knight, 13
subperiods of the Middle Ages, 9
timeline of, 11t
horror in the early modern era, 14–18
Antonio’s Revenge (Marston), 16–17
creature horror, 17
Daemonologie, In Forme of a Dialogue, Divided into three Books (Ling James I), 15
definition of the early modern era, 14
Discoverie of Witchcraft (Scot), 15
Doctor Faustus (Marlowe), 15
The Duchess of Malfi (Webster), 17
early modern era defined, 14
folk horror, 18
Of ghostes and spirites walking by nyght, and of strange noyses, crackes, and sundry forewarnynges, which commonly happen before the death of menne, great slaughters & alterations of kyngdomes (Lavatar), 15
hauntings and suspected witchcraft, 15
horror and laughter, 17
influence, 18
The Late Lancashire Witches (Heywood and Brome), 15
Macbeth (Shakespeare), 15
nonfiction texts, 15
prose works, 15
prose writing and ballads, 14
religious domain as source of, 14–15
The Revenger’s Tragedy (Middleton), 17
revenge tragedies, 15–17
Shakespeare, William, 15–16
The Spanish Tragedy (Kyd), 16
supernatural belief and, 15
supernatural horror, 15
Terrors of the Night (Nashe), 15
timeline, 16t
Titus Andronicus (Shakespeare), 16, 17
A treatise of spectres or straunge sights, visions and apparitions appearing sensibly unto men
(Le Loyer), 15
Webster, John, 17
The Witch (Middleton), 15
The Witch of Edmonton (Dekker, Ford and Rowley), 15
horror in the eighteenth century, 19–24
Addison, Joseph, 20
/> Burke, Edmund, 21–22
Calmet, Antoine Augustin, 21
The Complaint: Or Night-Thoughts on Life, Death and Immortality (Young), 21
Das Petermännchen (Spiess), 23
Defoe, Daniel, 20
Dennis, John, 20
Der Geisterseher (The Ghost-Seer), 23
“Elegy Written in a Country Churchyard” (Gray), 21
Gothic fictions, 24
Gothic novel, 19
“The Grave” (Blair), 21
“Graveyard” school of poetry, 21
“Grounds of Criticism in Poetry” (Dennis), 20
horror in the eighteenth century, 23
Longinus, 20
The Monk (Lewis), 23–24, 820
“Night-Thoughts on Death” (Parnell), 21
Parnell, Thomas, 21
Peri Hypsous (Longinus), 20
A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and the Beautiful (Burke), 21
poetry and, 21
Sadducismus Triumphatus (Glanvill), 19
the sublime, 20
sublime terror, 20
timeline, 22t
vampire narratives, 21
Walpole, Horace, 23
Wonders of the Invisible World (Mather), 19
horror in the nineteenth century, 24–29
background of, 24–26
death. theme of, 27–28
Frankenstein (Shelley), 26
ghosts and monsters, 28
Gothic novel, 26
Gothic villain as hero, 29
Hoffmann, E. T. A., 26–27
Lewis, Matthew Gregory, 23–24, 820
Melmoth the Wanderer (Maturin), 26
“penny dreadfuls,” 26
Private Memoirs and Confessions of a Justified Sinner (Hogg), 26
Rosicrucian romances, 29
social upheavals, 24–25
Spiritualist movement, 28
timeline, 27t
war, 25
horror from 1900 to 1950, 29–35
background of, 29–30
Benson, E. F., 30
Blackwood, Algernon, 30
“Born of Man and Woman” (Matheson), 34
Campbell, John W., Jr, 33–34
Conjure Wife (Leiber), 34
Darker Than You Think (Williamson), 34
Doyle, Arthur Conan, 30
Dunsany, Lord, 30
The Edge of Running Water (Sloane), 34
first weird fiction magazine, 31
Hodgson, William Hope, 30
horror comics, 34
Howard, Robert E., 33
Jackson, Shirley, 34
James, M. R., 30
literary impact of the First World War, 30–31
“The Lottery” (Jackson), 34
Lovecraft, H. P., 31–33
Mare, Walter de la, 30
Matheson, Richard, 34
pulp fiction, 31
Saki (the pen name of H. H. Munro), 30
Smith, Clark Ashton, 33
timeline, 32t
Unknown magazine, 33
To Walk the Night (Sloane), 34
Weird Tales, 31, 33
horror from 1950 to 2000, 35–41
background of, 35–36
Beaumont, Charles, 36, 37
The Body Snatchers (Finney), 37–38
