Empfehlungen basierend auf "The Dismembered"

THE MIND-BENDING CULT CLASSIC ABOUT A HOUSE THAT’S LARGER ON THE INSIDE THAN ON THE OUTSIDE • A masterpiece of horror and an astonishingly immersive, maze-like reading experience that redefines the boundaries of a novel.''Simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious." —Michiko Kakutani, The New York Times"Thrillingly alive, sublimely creepy, distressingly scary, breathtakingly intelligent—it renders most other fiction meaningless." —Bret Easton Ellis, bestselling author of American Psycho“This demonically brilliant book is impossible to ignore.” —Jonathan Lethem, award-winning author of Motherless BrooklynOne of The Atlantic’s Great American Novels of the Past 100 YearsYears ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children.Now made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices, the story remains unchanged. Similarly, the cultural fascination with House of Leaves remains as fervent and as imaginative as ever. The novel has gone on to inspire doctorate-level courses and masters theses, cultural phenomena like the online urban legend of “the backrooms,” and incredible works of art in entirely unrealted mediums from music to video games.Neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of the impossibility of their new home, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

“Barker’s the best thing to happen to horror fiction for many moons. . . [he] never fails to deliver the compelling prose and relentless horror his readers expect.” —Chicago TribuneThe classic tale of supernatural obsession from the critically acclaimed master of darkness—and the inspiration for the cult classic film HellraiserFrom his scores of short stories, bestselling novels, and major motion pictures, no one comes close to the vivid imagination and unique terrors provided by Clive Barker. The Hellbound Heart is one of Barker’s best—a nerve-shattering novella about the human heart and all the great terrors and ecstasies within its endless domain. It is about greed and love, desire and death, life and captivity, bells and blood. It is one of the most frightening stories you are likely to ever read.Frank Cotton's insatiable appetite for the dark pleasures of pain led him to the puzzle of Lemarchand's box, and from there, to a death only a sick-minded soul could invent. But his brother's love-crazed wife, Julia, has discovered a way to bring Frank back—though the price will be bloody and terrible . . . and there will certainly be hell to pay.

What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society’s fear of the “others” that threaten the “normal.” The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film’s depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes.Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across “normal” self and “monstrous” other. This “transformative otherness” confronts viewers with the other’s experience―and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined.Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror’s significance for culture, politics, and art.

Charlie Asher is a pretty normal guy. A little hapless, somewhat neurotic, sort of a hypochondriac. He's what's known as a Beta Male: the kind of fellow who makes his way through life by being careful and constant -- you know, the one who's always there to pick up the pieces when the girl gets dumped by the bigger/taller/stronger Alpha Male.But Charlie's been lucky. He owns a building in the heart of San Francisco, and runs a secondhand store with the help of a couple of loyal, if marginally insane, employees. He's married to a bright and pretty woman who actually loves him for his normalcy. And she, Rachel, is about to have their first child.Yes, Charlie's doing okay for a Beta. That is, until the day his daughter, Sophie, is born. Just as Charlie -- exhausted from the birth -- turns to go home, he sees a strange man in mint-green golf wear at Rachel's hospital bedside, a man who claims that no one should be able to see him. But see him Charlie does, and from here on out, things get really weird. . . .People start dropping dead around him, giant ravens perch on his building, and it seems that everywhere he goes, a dark presence whispers to him from under the streets. Strange names start appearing on his nightstand notepad, and before he knows it, those people end up dead, too. Yup, it seems that Charlie Asher has been recruited for a new job, an unpleasant but utterly necessary one: Death. It's a dirty job. But hey, somebody's gotta do it.Christopher Moore, the man whose Lamb served up Jesus' "missing years" (with the funny parts left in), and whose Fluke found the deep humor in whale researchers' lives, now shines his comic light on the undiscovered country we all eventually explore -- death and dying -- and the results are hilarious, heartwarming, and a hell of a lot of fun.

Preparations for the Ghastly-Gorm Garden Party and bake-off are under way. Celebrity cooks—such as Nigellina Sugarspoon, Gordon Ramsgate and Heston Harboil—are arriving at the hall for the big event and, true to form, Maltravers, the indoor gamekeeper, is acting suspiciously. Elsewhere at Ghastly-Gorm Ada's wardrobe-dwelling lady's maid Marylebone has received a marriage proposal. Ada vows to aid the course of true love and find out what Maltravers is up to, but amidst all this activity, everyone, including her father, appears to have forgotten her birthday!

Three signs that something is very different with your mew man: 1. He sleeps all day . . . which would be annoying except he's so attentive at night. 2. He's attacked by sword-wielding assailants, yet insists he can handle it on his own. 3. He never seems to age. Heather Westfield has always lived a quiet life, but that all changes when she helps a very handsome, very mysterious stranger. There's something not quite right about Jean-Luc, but still, she's never been with a man so charming, so attractive . . . so wonderful. Now if only a murderous villain wasn't after them, they might get their happily-ever-after.

Now available in hardcover for the first time, "The Laughing Corpse" takes readers back to a time when Anita's life was a bit less complicated. As the best Animator in the business-she's as good at raising the dead as she is at slaying the undead-she crosses paths with a creature from beyond the grave, a super-powerful zombie who is tearing a swath of murder through the city. And she discovers that there are some secrets better left buried-and some people better left dead.

After being betrayed and captured by the most heinous survivors of the human race, B Smith lands back in the clutches of a fiend she had hoped to never see again, someone who is intent on making her suffer in the most tortuous ways. Discovering the fate of loved ones from B's past adds to the agony and calls into question just how much B is willing to sacrifice in the name of justice.

Lights. Camera. Slawter! Grubbs Grady and his half-brother Bill-E are thrilled to join their uncle Dervish as onset consultants for the newest movie by cult horror producer David A Hayms. Shot in a deserted town renamed Slawter, the demon-themed movie is to be Hayms's masterpiece. But as strange incidents disrupt the set, Grubbs begins to wonder whether more than filming is afoot.

CARL IS PLANNING SOMETHING DANGEROUS, BUT AT WHAT COST? It's off to the races in the explosive eighth book in the Dungeon Crawler Carl series . . . - '[A] comically cosmic adventure series...often laugh-out-loud funny...Grind your way to dungeon mastery alongside Carl and Princess Donut' The Wall Street Journal 'If there's a better LitRPG than Dungeon Crawler Carl, I haven't read it' Shirtaloon, author of He Who Fights Monsters - As chaos and mass panic spread outside the dungeon in the wake of Faction Wars, Carl and Donut find themselves on the tenth floor, where they're forced to compete in a surprisingly normal set of tasks. Well, normal for the dungeon. Races. Get from point A to point B, and don't come in last. After each race, they pick an upgrade for their vehicle and the track gets more challenging. It all seems a a little too simple. Ignore those strange glitches that are occurring with increasing frequency. Don't listen to those whispers about what's happening on the mysterious eleventh floor, something the system AI calls A Parade of Horribles. Nobody, not even the showrunners, knows what that means. Just that the AI has ominously dubbed it "a coming-out party for the ages." Everything is fine, Crawler. I repeat, everything is fine. Carl hates that it's business as usual. The rules of this floor have taken away his agency. That just will not do. So Carl is planning a party of his own. It's a plan so dangerous, so insane, he can't even consult his friends lest the AI put a stop to it. Because if it goes wrong, it's not just the end of Carl and Donut. No. The stakes are higher than they've ever been. Includes part eight of the exclusive bonus story "Backstage at the Pineapple Cabaret." - Praise for Dungeon Crawler Carl 'Fresh. Creative. Hilarious. I'm obsessed...Princess Donut is my queen' Actor, producer and New York Times bestselling author Felicia Day 'This series has no goddamn business burying so much depth and emotion and complexity under its bawdy, gory surface, but it does so anyway. What a wild-ass and unexpected delight' New York Times bestselling author Scott Lynch 'This is the book for anyone who ever wondered what it would be like to be a role player in a game with the best game master ever... or maybe anyone who has been outside at night--in their underwear--looking for their cat and wondering, 'What's the worst thing that could happen?'... Once you start, you won't put it down' Patricia Briggs, #1 New York Times bestselling author of the Mercy Thompson series 'One of the most bananapants, funny, inventive books I have read in a while' Book Riot 'Dungeon Crawler Carl is just one big smile all the way through. Put on your best pair of boxer shorts and sit back for a truly fun and enjoyable read' New York Times bestselling author Kevin J. Anderson 'Dungeon Crawler Carl is the best start to a series I've read this year. I wish I'd tried it sooner' Will Wight, author of the Cradle series 'To describe the Dungeon Crawler Carl series, and the first book in particular, one must blend the darkest, grittiest science fiction with the humour of Hitchhiker's Guide to the Galaxy. It mixes fun, whimsical absurdity, and serious, dark themes with dire consequences...it is so spectacularly good that I cannot recommend it high enough' Grimdark Magazine 'Dinniman's Douglas-Adams-but-playing-D&D romp was so much fun that I immediately went out and got the next two books...genuinely joyful' LitHub.com