The Horror On The Links

Today the names of H. P. Lovecraft, Robert E. Howard, August Derleth, and Clark Ashton Smith, all regular contributors to the pulp magazine Weird Tales during the first half of the twentieth century, are recognizable even to casual readers of the bizarre and fantastic. And yet despite being more popular than them all during the golden era of genre pulp fiction, there is another author whose name and work have fallen into obscurity: Seabury Quinn. Quinn’s short stories were featured in well more than half of Weird Tales’s original publication run. His most famous character, the supernatural French detective Dr. Jules de Grandin, investigated cases involving monsters, devil worshippers, serial killers, and spirits from beyond the grave, often set in the small town of Harrisonville, New Jersey. In de Grandin there are familiar shades of both Arthur Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot, and alongside his assistant, Dr. Samuel Trowbridge, de Grandin’s knack for solving mysteries—and his outbursts of peculiar French-isms (grand Dieu!)—captivated readers for nearly three decades. Collected for the first time in trade editions, The Complete Tales of Jules de Grandin, edited by George Vanderburgh, presents all ninety-three published works featuring the supernatural detective. Presented in chronological order over five volumes, this is the definitive collection of an iconic pulp hero. The first volume, The Horror on the Links, includes all of the Jules de Grandin stories from “The Horror on the Links” (1925) to “The Chapel of Mystic Horror” (1928), as well as an introduction by George Vanderburgh and Robert Weinberg.

This volume explores the complex horizon of landscapes in horror film culture to better understand the use that the genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. In The Philosophy of Horror, Noël Carroll discusses the “geography” of horror as often situating the filmic genre in liminal spaces as a means to displace the narrative away from commonly accepted social structures: this use of space is meant to trigger the audience’s innate fear of the unknown. This notion recalls Freud’s theorization of the uncanny, as it is centered on recognizable locations outside of the Lacanian symbolic order. In some instances, a location may act as one of the describing characteristics of evil itself: In A Nightmare on Elm Street teenagers fall asleep only to be dragged from their bedrooms into Freddy Krueger’s labyrinthine lair, an inescapable boiler room that enhances Freddie’s powers and makes him invincible. In other scenarios, the action may take place in a distant, little-known country to isolate characters (Roth’s Hostel films), or as a way to mythicize the very origin of evil (Bava’s Black Sunday). Finally, anxieties related to the encroaching presence of technology in our lives may give rise to postmodern narratives of loneliness and disconnect at the crossing between virtual and real places: in Kurosawa’s Pulse, the internet acts as a gateway between the living and spirit worlds, creating an oneiric realm where the living vanish and ghosts move to replace them. This suggestive topic begs to be further investigated; this volume represents a crucial addition to the scholarship on horror film culture by adopting a transnational, comparative approach to the analysis of formal and narrative concerns specific to the genre by considering some of the most popular titles in horror film culture alongside lesser-known works for which this anthology represents the first piece of relevant scholarship.

The Murder on the Links by Agatha Christie - is a work of detective fiction by Agatha Christie, first published in the US by Dodd, Mead amp; Co in March 1923, and in the UK by The Bodley Head in May of the same year. It is the second novel featuring Hercule Poirot and Arthur Hastings. The UK edition retailed at seven shillings and sixpence (7/6), and the US edition at $1.75. The story takes place in northern France, giving Poirot a hostile competitor from the Paris Sûreté. Poirot's long memory for past or similar crimes proves useful in resolving the crimes. The book is notable for a subplot in which Hastings falls in love, a development "greatly desired on Agatha's part... parcelling off Hastings to wedded bliss in the Argentine." Plot summary: Hercule Poirot and Captain Hastings travel to Merlinville-sur-Mer, France, to meet Paul Renauld, who has requested their help. When they arrive, local police greet them with the news that Renauld was found dead that morning, stabbed in the back with a knife and left in a newly dug grave adjacent to a local golf course. His wife, Eloise Renauld, claims masked men broke into the villa at 2 am, tied her up, and took her husband away with them. Upon inspecting his body, Eloise collapses with grief at seeing her dead husband. Monsieur Giraud of the Sûreté leads the police investigation, and resents Poirot's involvement. Poirot notes four key facts about the case: a piece of lead piping is found near the body; only three female servants were in the villa as both Renauld's son Jack and his chauffeur had been sent away; an unknown person visited the day before; and Renauld's immediate neighbour, Madame Daubreuil, had placed 200,000 francs into her bank account over recent weeks. When Renauld's secretary, Gabriel Stonor, returns from England, he suggests blackmail, as his employer's past is a complete mystery prior to his career in South America. Meanwhile, Hastings unexpectedly encounters a young woman he had met on the train, known only as "Cinderella." She asks to see the crime scene and then disappears with the murder weapon. Poirot discovers that the case is nearly identical to one from 22 years ago, in which a man called Georges Conneau and his lover, Madame Beroldy, conspired to kill Madame Beroldy's husband. Poirot travels to Paris to discover more about the Conneau murder. On returning, Poirot learns that the body of a tramp has been found, stabbed through the heart with the murder weapon. An examination shows that he died before Renauld's murder from an epileptic seizure and was stabbed later.

Chilling Adventures of Sabrina meets Stranger Things in award-winning author S. A. Hunt’s Burn the Dark, first in the Malus Domestica horror action-adventure series about a punk YouTuber on a mission to bring down witches, one vid at a time. Robin is a YouTube celebrity gone-viral with her intensely-realistic witch hunter series. But even her millions of followers don't know the truth: her series isn’t fiction. Her ultimate goal is to seek revenge against the coven of witches who wronged her mother long ago. Returning home to the rural town of Blackfield, Robin meets friends new and old on her quest for justice. But then, a mysterious threat known as the Red Lord interferes with her plans.... “Brilliant!” —Jonathan Maberry, New York Times bestselling author The Malus Domestica series #1: Burn the Dark #2: I Come with Knives #3: The Hellion At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

“Glasby anatomizes horror’s scare tactics with keen, lucid clarity across 34 carefully selected main films—classic and pleasingly obscure. 4 Stars.” —Total Film? Horror movies have never been more critically or commercially successful, but there’s only one metric that matters: are they scary? The Book of Horror focuses on the most frightening films of the post-war era—from Psycho (1960) to It Chapter Two (2019)—examining exactly how they scare us across a series of key categories. Each chapter explores a seminal horror film in depth, charting its scariest moments with infographics and identifying the related works you need to see. Including references to more than one hundred classic and contemporary horror films from around the globe, and striking illustrations from Barney Bodoano, this is a rich and compelling guide to the scariest films ever made. “This is the definitive guide to what properly messes us up.” —SFX Magazine The films: Psycho (1960), The Innocents (1961), The Haunting (1963), Don’t Look Now (1973), The Exorcist (1973), The Texas Chain Saw Massacre (1974), Who Can Kill a Child? (1976), Suspiria (1977), Halloween (1978), The Shining (1980), The Entity (1982), Angst (1983), Henry: Portrait of a Serial Killer (1990), Ring (1998), The Blair Witch Project (1999), The Others (2001), The Eye (2002), Ju-On: The Grudge (2002), Shutter (2004), The Descent (2005), Wolf Creek (2005), The Orphanage (2007), [Rec] (2007), The Strangers (2008), Lake Mungo (2008), Martyrs (2008), The Innkeepers (2011), Banshee Chapter (2013), Oculus (2013), The Babadook (2014), It Follows (2015), Terrified (2017), Hereditary (2018), It Chapter Two (2019)

Are there "missing links", links that are "easy to miss" between art and religion and between the ways in which they respond to or partake of reality? The hypothesis of this anthology is that these in fact do exist and its authors explore these links on the basis of a specific text or oeuvre, a specific artwork or exhibition. Following an introductory essay exploring the discussion on relating art and religion, there are artides on Jannis Kounellis and Andrew Forster, on plays by William Shakespeare, Gerard Jan Rijnders and Anny van Hoof, on an exhibition curated by Julia Kristeva. There is an analysis of a novel by Frederic Buechner and one of the autobiographical writings of Dorothy Day. Poems of M. Vasalis and Judith Herzberg are considered, along with the music of Olivier Messiaen and Plato's dialogue 'Sophist'.

Your ship is on a collision course with a black hole-and to make matters worse, alien monsters, mutants, and mutineers are stowed away on board! Can you save the ship-and yourself-from both the saboteurs and powerful cosmic forces? Every Twisted J