Among the many other challenges presented this year, my reading has dropped significantly. As of writing this, I’ve finished reading a total of 40 books this year — certainly not bad in the grand scheme of things, but far below my personal average of 90-100 books from a few years ago.
Though, I can’t blame the drop entirely on 2020 (for all it’s anxiety and stress), since my reading has been dropping each year. In general, I’ve had a more difficult time focusing on reading, particularly longer books. So, I’ve shifted somewhat to shorter, quicker reads.
Nevertheless, I’ve read many fantastic books this year — more than I can fit on this list. Lately, I’ve been wanting to get back into reading more of the horror genre (which I’ve been writing lately as well). Horror seems to hit a certain intellectual itch in me, providing a safe means to explore and process my anxieties. So, it’s no surprise that horror fiction makes up a large portion of the works mentioned here.
(ETA: If you want to know the movies, shows, and other media I loved this year, check out my post on Medium.)
Hi, lovelies. Here’s my month in books, movies, television, and games.
The Good House by Tananarive Due is an utterly fantastic horror novel. Angela Toussant inherited the Good House from her grandmother, a woman well known in the small Sacajawea, Washington, community for her “healing magic.” When Angela returns with her son for summer vacation, she hopes to draw on some of that magic to heal her broken marriage. Instead, a surprising and violent tragedy strikes, driving her into a deep depression. Years later, she returns with the aim of healing her own emotional wounds, only to instead begin to notice a pattern of tragedies that may all be connected to something restless living within her old family property.
The Good House is multi-layered in nearly every aspect of its depictions — from the characters to the world building to the writing style to the cultural context. Although primarily focused on Angela, the story jumps between timelines and perspectives, providing an added nuance to events. And importantly, the horrors are truly terrifying. Due is a masterful writer, and I’ll definitely be reading more of her work in the future.
Horror Noire (2018) directed by Xavier Burgin is a phenomenal documentary on the history of Black horror — from the silent film era to the present day, examining the racist underpinnings of early horror and how genre films have evolved over the decades to begin positioning Black characters as heroes.
“We’ve always loved horror. It’s just that horror, unfortunately, hasn’t always loved us,” explains novelist Tananarive Due near the beginning of the doc. This love for horror is present throughout the thoughtful critiques of the genre by filmmakers, writers, actors, and scholars. There’s a feeling of excitement and hope for the future of the genre, as new filmmakers come on the scene with Black protagonists at the forefront.
I loved every moment of this documentary. They analyze some of my favorite genre films, such as Night of the Living Dead (1969), The Craft (1996), and Get Out (2017) and discussions a vast number of movies I haven’t seen but are now on my to-be-watched list. In fact, I now have a long list of movies I need to seek out and watch.
Horror Noire is available for streaming on the Shudder network, which also features a number of the classic films discussed, such as Ganja & Hess (1973), The People Under the Stairs (1999), Tales from the Hood (1995), and others.
You can also check out the Horror Noire syllabus over on Graveyard Shift Sisters, for a quick reference list of movies, nonfiction, fiction, comics, and other works to check out.
Friends, it is February and that means that it is Women in Horror Month. I’ll be participating by consuming books, movies, and short films written and/or directed by women — and highlighting as many as I can here on my website.
What It’s About: A 13-year-old girl and her grandpa struggle to survive in a zombie infested world.
Why I Like It: The zombies are situated into the background, as such the violence and scares are subtle with the relationship between the grandfather and granddaughter being at the forefront. The writing in this regard is excellent with believable dialog and some genuinely moving moments, and Frankie Faison and Saoirse Scott both do a great job of bringing these characters to life. Every scene is well utilized, so that when the truth about the zombies is revealed, the story delivers some chilling realizations.