Horror fiction
Horror is a genre of speculative fiction that is intended to disturb, frighten, or scare an audience. Horror is often divided into the sub-genres of psychological horror and supernatural horror. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing". Horror intends to create an eerie and frightening atmosphere for the reader. The threats present in horror fiction often reflect broader cultural anxieties.
History
Before 1000
The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic, and the principle of the thing embodied in the person. These manifested in stories of beings such as demons, witches, vampires, werewolves, and ghosts. Some early European horror-fiction were the Ancient Greeks and Ancient Romans. Mary Shelley's well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death. Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus. In Plutarch's Parallel Lives in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.Pliny the Younger tells the tale of Athenodorus Cananites, who bought a haunted house in Athens. Athenodorus was cautious since the house seemed inexpensive. While writing a book on philosophy, he was visited by a ghostly figure bound in chains. The figure disappeared in the courtyard; the following day, the magistrates dug in the courtyard and found an unmarked grave.
Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.
After 1000
The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story. Werewolf stories were popular in medieval French literature. One of Marie de France's twelve lais is a werewolf story titled "Bisclavret".File:Vlad Tepes coloured drawing.png|thumb|left|upright|alt=A Print of Vlad III|Vlad the Impaler, the inspiration for Count Dracula.
The Countess Yolande commissioned a werewolf story titled "Guillaume de Palerme". Anonymous writers penned two werewolf stories, "Biclarel" and "Melion".
Much horror fiction derives from the cruellest personages of the 15th century. Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets. A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery. The alleged serial-killer sprees of Gilles de Rais have been seen as the presumed inspiration for "Bluebeard". The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through László Turóczi's 1729 book Tragica Historia.
18th century
The 18th century saw the gradual development of Romanticism and the Gothic horror genre. It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole's seminal and controversial 1764 novel, The Castle of Otranto. In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator. Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste, but it proved immediately popular.Otranto inspired Vathek by William Beckford, A Sicilian Romance, The Mysteries of Udolpho, The Italian by Ann Radcliffe, and The Monk by Matthew Lewis. A significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.
19th century
The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century. Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm's "Hänsel und Gretel", Mary Shelley's Frankenstein; or, The Modern Prometheus, John Polidori's "The Vampyre", Charles Maturin's Melmoth the Wanderer, Washington Irving's "The Legend of Sleepy Hollow", Jane C. Loudon's The Mummy!: Or a Tale of the Twenty-Second Century, Victor Hugo's The Hunchback of Notre-Dame, Thomas Peckett Prest's Varney the Vampire, the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, Oscar Wilde's The Picture of Dorian Gray, Sir Arthur Conan Doyle's "Lot No. 249", H. G. Wells' The Invisible Man, and Bram Stoker's Dracula. Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage, and screen.20th century
A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing. For example, Gaston Leroux serialized his Le Fantôme de l'Opéra before it became a novel in 1910. One writer who specialized in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty. In Russia, the writer Alexander Belyaev popularized these themes in his story Professor Dowell's Head, in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue and which was first published as a magazine serial before being turned into a novel. Later, specialist publications emerged to give horror writers an outlet, prominent among them was Weird Tales and Unknown Worlds.Influential horror writers of the early 20th century made inroads in these mediums. Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularized the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.
The serial murderer became a recurring theme. Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon. The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein. In 1959, Robert Bloch, inspired by the murders, wrote Psycho. The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970s. In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter. In 1988, the sequel to that novel, The Silence of the Lambs, was published.
Early cinema was inspired by many aspects of horror literature, and started a strong tradition of horror films and subgenres that continues to this day. Up until the graphic depictions of violence and gore on the screen commonly associated with 1960s and 1970s slasher films and splatter films, comic books such as those published by EC Comics in the 1950s satisfied readers' quests for horror imagery that the silver screen could not provide. This imagery made these comics controversial, and as a consequence, they were frequently censored.
The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft's stories "Cool Air", "In The Vault", and "The Outsider", and Dennis Wheatley's "Strange Conflict". Richard Matheson's novel I Am Legend influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero.
In the late 1960s and early 1970s, the enormous commercial success of three books – Rosemary's Baby by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon – encouraged publishers to begin releasing numerous other horror novels, thus creating a "horror boom".
One of the best-known late-20th century horror writers is Stephen King, known for Carrie, The Shining, It, Misery, and several dozen other novels and about 200 short stories. Beginning in the 1970s, King's stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003. Other popular horror authors of the period included Anne Rice, Shaun Hutson, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker, Ramsey Campbell, and Peter Straub.