a genre intended to create a feeling of fear in the reader or viewer, especially one employing supernatural elements or monstrous creatures
The Home Magazine for July (Binghamton and New York) contains ‘The Patriots' War Chant,’ a poem by Douglas Malloch; ‘The Story of the War,’ by Theodore Waters; ‘A Horseman in the Sky,’ by Ambrose Bierce, with a portrait of Mr. Bierce, whose tales of horror are horrible of themselves, not as war is horrible; ‘A Yankee Hero,’ by W. L. Calver; ‘The Warfare of the Future,’ by Louis Seemuller; ‘Florence Nightingale,’ by Susan E. Dickenson, with two rare portraits, etc.
Those who enjoy horror, stories overflowing with blood and black mystery, will be grateful to Richard Marsh for writing ‘The Beetle.’
‘The Fly,’ as a pure achievement in horror fiction, leaving aside for the moment the Pirandello philosophic slant, must be ranked as one of the world’s masterpieces within that disagreeable genre.
To readers we will offer the best of imaginative fiction, from obscure treasures of the past to the latest creations in the field, from the chill of the unknown to the comedy of the known-gone-wrong. In short, the best of fantasy and horror.
The great villain was The Thing from Another World, which appeared in 1951. The Thing was based on a short novel by John W. Campbell, Jr., the editor of Astounding Science Fiction, where it appeared in 1938 with the title ‘Who Goes There?’ The story is regarded as one of the most original and effective science fiction stories, subspecies‘horror’.
F. Marion Crawford’s style of horror is more robust and straightforward, featuring such events as decaying bodies which come to life, like the clammy corpse in ‘The Upper Berth’ (1894).
The editors of Horror:100 Best Books, Stephen Jones and Kim Newman, have taken a different tack; they have invited a hundred writers to each write an entry on his/her favorite work of horror.
Even mystery fiction explores the paranormal: psychics abound, and odd, unexplainable events appear in the most rational novel. And science fiction, fantasy and horror are becoming more realistic, with settings closer to home.
The Harvest is neither horror nor hard science fiction, but peculiarly enough, since we do not usually associate horrific ends with hard science fiction means, Assemblers of Infinity by Kevin J. Anderson and Doug Beason is both.
in the Philadelphia Inquirer
Last modified 2020-12-16 04:08:47
In the compilation of some entries, HDSF has drawn extensively on corresponding entries in OED.