Women Horror

Eel Marsh house stands alone, surveying the windswept salt marshes beyond Nine Lives Causeway. Mrs Alice Drablow lived here as a recluse. Now Arthur Kipps, a junior solicitor with a London firm, is summoned to attend her funeral, unaware of the tragic and terrible secrets which lie behind the house's shuttered windows.

Late one moonlit night, Walter Hartright encounters a solitary and terrified woman dressed all in white. He saves her from capture by her pursuers and determines to solve the mystery of her distress and terror. Inspired by an actual criminal case, this gripping tale of murder, intrigue, madness and mistaken identity has never been out of print since its publication and brought Collins great fame and success.

Newly divorced Alison Kerby wants a second chance for herself and her nine-year-old daughter. She's returned to her hometown on the Jersey Shore to transform a Victorian fixer-upper into a charming-and profitable guest house. One small problem: the house is haunted, and the two ghosts insist Alison must find out who killed them.

Alison Kerby’s guesthouse is haunted all year round. Surviving the dead of winter, though? That’s a spooky proposition. Even with a blizzard bearing down on New Jersey, Alison can count on at least two guests—Paul and Maxie, the stubborn ghosts who share her shore town inn.

Only a woman with an iron backbone could succeed as an undertaker in Victorian England, but Violet Morgan takes great pride in her trade. While her husband, Graham, is preoccupied with elevating their station in society, Violet is cultivating a sterling reputation for Morgan Undertaking.

The ghosts haunting Alison Kerby's Jersey Shore guesthouse are sad. Maxie wants to know who murdered her ex-husband, and Paul pines for his still-living almost-fiancee. The only one who isn't missing her ex is Alison-because The Swine just arrived on her doorstep...

Alison Kerby's guesthouse is already crowded with spirits. The last thing she needs is a whole new batch of haunts settling in. As Alison's reputation as "the ghost lady" grows, so does her business - and not always in a way she'd like. Tourists may be flocking to her guesthouse for a chance to glimpse her resident spirits, but her special abilities are also bringing unwanted private investigation cases to her door.

Rita Todacheene is a forensic photographer working for the Albuquerque police force. Her excellent photography skills have cracked many cases—she is almost supernaturally good at capturing details. In fact, Rita has been hiding a secret: she sees the ghosts of crime victims who point her toward the clues that other investigators overlook. As a lone portal back to the living for traumatized spirits, Rita is terrorized by nagging ghosts who won’t let her sleep and who sabotage her personal life.

Just when she thought she'd seen everything... Detective Lieutenant Anita McElone is one of Harbor Haven's finest. She's also a hard-boiled ghost skeptic. So when she shows up on the doorstep of Alison Kerby's Haunted Guesthouse to ask for supernatural help in solving the murder of her former partner, it's hard to tell which woman is more flabbergasted. But McElone is dead serious, so Alison promises to help in any way she can - even asking her resident ghosts, Paul and Maxie, for help with the case.

Guesthouse owner, single mother, and reluctant ghost whisperer Alison Kerby is about to sit down to movie night with her family and friends when she's struck speechless. Floating before her is the ghost of her musical idol, 1960s English rock star Vance McTiernan. He's in desperate need of help from Alison and her resident ghostly gumshoe, Paul Harrison.

Alison and her resident gumshoe ghost are on their next case when the deceased Scott MacFarlane floats in worried that he accidentally killed a prominent local woman. Turns out she's still alive...that is, of course, until she's murdered - in Alison's house. Now, between the demands of her guests and the arrival of a reality television crew, Alison must find the killer before she sees reality from the other side.

From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented.

In an all-new novella in E.J. Copperman’s “funny, charming, and thoroughly enjoyable” ( Spinetingler Magazine) series, the storm of the century bears down on the haunted guesthouse, and stirs up a gale of memories for a troubled ghost. Haunted guesthouse owner Alison Kerby may have only recently discovered her ability to communicate with ghosts, but for her mother Loretta, it’s been a lifelong gift.

When bodies start washing up along the banks of the River Thames, DI Henley fears it is the work of Peter Olivier, the notorious Jigsaw Killer. But it can’t be him: Olivier is already behind bars, and Henley was the one who put him there. She’d hoped she’d never have to see his face again, but Henley knows Olivier might be the best chance they have at stopping the copycat killer. But when Olivier learns of the new murders, helping Henley is the last thing on his mind.... Now all bets are off, and the race is on to catch the killer before the body count rises.

Lydia is hungry. She's always wanted to try sashimi, ramen, onigiri with sour plum stuffed inside—the food her Japanese father liked to eat. And then there is bubble tea and the vegetables grown by the other young artists at the London studio space she is secretly squatting in. But Lydia can't eat any of this. The only thing she can digest is blood, and it turns out that sourcing fresh pigs' blood in London—where she is living away from her vampire mother for the first time—is much more difficult than she'd anticipated.

Whether they are undeniably heroes and heroines or bloodthirsty monsters (or something in between), the undead are a lively lot. This anthology offers some of the best short fiction ever written by the "blood sisters" who know them best: stories you can really sink your teeth into.

Yorkshire. 1649. Caragh has hidden her true name and her Irish identity, and since her family fled Ireland in secret they have been proud to own land of their own in England. But one morning, Caragh’s father tells her that they must leave their beloved home as it is no longer safe for them to stay. That morning, Caragh hears shots fired. When she returns to the cottage, she finds her family murdered by Lemuel Lane, a wealthy Protestant who has taken it upon himself to rid the area of anyone with Catholic sympathies.

Three muffled thuds ring from the partially filled grave of the newly wed girl. Only the verger hears them, and he dismisses the noise as his imagination. But over the next few days, others also hear faint sounds. An exhumation order is granted. Reporter Kate Hemingway sneaks into the small suburban churchyard when the coffin is opened, and the scene she witnesses is so horrific she can never forget it. As she starts work on the story, Kate finds herself caught up in a sinister and macabre cover-up.

Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart—the eccentric'—the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play.

Eccentric, infamous and exceedingly wealthy, the romantic novelist Cassandra Tipp has, it seems, vanished. In her large, rambling house sits a pile of paper addressed to her niece and nephew. It is a letter. Cassie has been a murder suspect twice in her life. Her family have long been convinced of her guilt. Could the letter be her confession? Or might it be her last will and testament? It turns out to be not quite what anyone expected....