The Art of Horror

A N I L LU S T R AT E D H I S TO RY

THE ART of

horror EDITED BY STEPHEN JONES F O R E W O R D BY N E I L G A I M A N

Edited by STEPHEN JONES, who also provides an extended Introduction, and detailed captions to the images throughout the book. Jones lives in London, England.

A Hugo Award nominee, he is the winner of three World Fantasy Awards, three International Horror Guild Awards, four Bram Stoker Awards, twenty-one British Fantasy Awards and a Lifetime Achievement Award from the World Horror Association. One of Britain’s most acclaimed horror and dark fantasy writers and editors, he has more than 130 books to his credit, including the film books of Neil Gaiman’s Coraline and Stardust, The Illustrated Monster Movie Guide and The Hellraiser Chronicles, the non-fiction studies Horror: 100 Best Books and Horror: Another 100 Best Books (both with Kim Newman), the author collections Necronomicon and Eldritch Tales by H.P. Lovecraft, The Complete Chronicles of Conan and Conan’s Brethren by Robert E. Howard, and Curious Warnings: The Great Ghost Stories of M.R. James, plus such anthologies as Fearie Tales: Stories of the Grimm and Gruesome, A Book of Horrors, The Mammoth Book of Vampires, the Zombie Apocalypse! series and twenty-five volumes of The Mammoth Book of Best New Horror. You can visit his web site at: www. stephenjoneseditor.com.

Foreword by NEIL GAIMAN, the celebrated author of The Sandman comic book series, and the novels Neverwhere, American Gods, Stardust, Coraline, Anansi Boys, The Graveyard Book and The Ocean At the End of the Lane. Winner of Hugo, Nebula, Locus and Bram Stoker Awards, his fiction has also won both the Newbery and Carnegie medals. Gaiman has written episodes of Doctor Who, and is currently involved in developing both American Gods and Anansi Boys for television and The Sandman for the cinema.

Authors: David J. Skal co-edited the Norton Critical Edition of Bram Stoker’s Dracula, and is the author of Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen and The Monster Show: A Cultural History of Horror. He also provided DVD documentaries and/or commentaries to several of the classic Universal horror films.

Jamie Russell is the author of the definitive history of zombie cinema, Book of the Dead. His writing has also appeared in The Guardian, The Sunday Times and Wired.

Gregory William Mank’s sizeable body of work includes the books It’s Alive! The Classic Cinema Saga of Frankenstein and Karloff and Lugosi: The Story of a Haunting Collaboration, as well as many DVD commentaries.

Writer, critic and broadcaster Kim Newman’s many books include the BFI Classic volume on Cat People, the BFI Companion to Horror (editor), Nightmare Movies: Horror On Screen Since the 60s, the Anno Dracula novels and Ghastly Beyond Belief (written with Neil Gaiman).

Literary researcher and co-founder of Ghost Story Press Richard Dalby is an authority on supernatural fiction. He has edited many anthologies that returned rare tales to print, including The Mammoth Book of Ghost Stories and The Virago Book of Ghost Stories.

Barry Forshaw (who began his career as an illustrator) is the editor of Crime Time, and has been Vice Chair of the Crime Writers Association. His books include British Gothic Cinema and Nordic Noir.

Six-time Bram Stoker Award winner Lisa Morton is described

by Famous Monsters magazine as “one of the best writers in dark fiction today”. Her non-fiction work includes The Halloween Encyclopedia, which Reference & Research Book News noted as “the most complete reference to the holiday available.”

S. T. Joshi is a leading authority on H. P. Lovecraft, and is author of the definitive biography I Am Providence: The Life and Times of H. P. Lovecraft. Joshi also wrote the critical studies The Weird Tale and The Modern Weird Tale, and edited Supernatural Literature of the World: An Encyclopedia.

Bob Eggleton is a Hugo Award-winning sci-fi, fantasy and horror artist, who works on both publishing projects and film concept art. His books include Dragon’s Domain and If Dinosaurs Lived In My Town, and he is a regular cover artist for IDW ’s Godzilla comic book series.

Bob Weinberg has written 38 books and edited over 200 anthologies, winning two World Fantasy Awards and three Bram Stoker Awards (including one for Lifetime Achievement) in the process. He also owns one of the most impressive collections of rare sci-fi, fantasy and horror books in the world.

CONTENTS Foreword: The Thing We Don’t Talk About . . . 8

by Neil Gaiman

Introduction: The Art of Darkness . . . 10

by Stephen Jones

1

THE BLOOD IS THE LIFE

Vampires, Bloodsuckers, and other Undead . . . 18

By David J. Skal

2

THE DEAD THAT WALK

Zombies and other Walking Dead . . . 42

By Jamie Russell

3

MAN-MADE MONSTERS

Frankenstein’s Monster and other Creations . . . 66

By Gregory William Mank

4

EVEN A MAN WHO IS PURE IN HEART

6

WE ALL GO A LITTLE MAD SOMETIMES

Psychos, Slashers, and other Serial Killers . . . 132

By Barry Forshaw

7

HALLOWE’EN HORRORS

Witches, Devils, and Demons . . . 154

By Lisa Morton

8

THE OLD GODS WAKEN

H.P. Lovecraft and other Cosmic Horrors . . . 178

By S.T. Joshi

9

GIANT BEHEMOTHS

Werewolves and other Shape-Changers . . . 86

By Kim Newman

Prehistoric Monsters and other Creatures . . . 204

By Bob Eggleton

5

10

MORE THINGS IN HEAVEN & EARTH Ghosts, Phantoms, and other Hauntings . . . 110

By Richard Dalby

KEEP WATCHING THE SKIES! Alien Horrors and other Invaders . . . 226

By Robert Weinberg

Contributor Bios . . . 248 Index . . . 252 Art Credits / Acknowledgements . . . 256

1 the blood is the life D AV I D J. S K A L

“Listen to them, the children of the night.

What music they make!”

DRACULA (1897) BY BRAM STOKER

“To make you a vampire they have to suck your blood. And then you have to suck their blood. It’s like a whole big sucking thing.”

Buffy (Sarah Michelle Gellar), Buffy the Vampire Slayer (“Welcome to the Hellmouth,” 1998)

F

OR CREATURES THAT lurk in shadows and aren’t supposed to reflect in mirrors, vampires have managed to leave a rich and distinctive imagistic legacy.

The original folkloric renderings of vampire lore didn’t have illustrations, of course. Their effectiveness depended completely upon the skills of a storyteller.

What wasn’t shown, or wasn’t told, had to be imagined.

This is the reason campfire ghost stories, horror radio dramas, and the films of Hollywood producer Val Lewton are all so compulsively involving: the listener or viewer melds with the storytelling itself, completing what is unspoken or unseen with intensely personal mental pictures.

The first written account of a bloodsucking revenant in the form we recognize today dates from the late 1600s. According to the Oxford English Dictionary, the English word “vampire” was first used in 1734, and it was in the eighteenth century that vampires spilled out of folklore into a phenomenon regarded as real by local authorities and even the church.

A true vampire hysteria ensued throughout the Balkans and Eastern Europe, and untold numbers of people were accused of being vampires, while bodies of the recently dead were exhumed, staked, decapitated, and/or burned.

It is from this period of real-world hysteria that writers of the early Romantic period created the first fictional vampires. The flourishing belief drew upon one antecedent visual motif: the medieval danse macabre or totentanz in which the skeletal figure of death rose from its tomb to claim the living.

The classic woodcut illustrations by Hans Holbein the Younger (1497–1543) were, in their way, every bit as compelling in their graphic simplicity as modern comic books.

The vampires of folklore were very much like the shambling, shrouded semi-skeletal corpses we today associate with zombie apocalypses, although in some accounts they are plump and ruddy. Even after literary vampires made their debut in the early Romantic period, they went about their nocturnal business largely without physical description. In John Polidori’s “The Vampyre: A Tale” (1819), the revenant Lord Ruthven has nothing more than a “dead grey eye” to distinguish him. Polidori’s story inspired a number of stage plays, and even an opera.

The biggest shift of the Romantic revolution was the presentation of vampires as decadent aristocrats feeding on commoners. The visual accoutrements of class predation have been with us ever since.

Ragged shrouds gave way to dark velvet capes,

which had long signified secrecy, villainy, and the concealing power of the night.

The first fully illustrated vampire adventure was James Malcolm Rymer’s Varney the Vampyre: or, the Feast of Blood (1845-46). The anonymous illustrator’s graphic depictions of undeath included the awful thing at the window, the caped aristocrat falling upon the sleeping damsel’s throat, and the vampire staked in its coffin. In a very real way, the penny dreadful installments of Varney (collected as a single volume in 1847) stabilized and standardized the visual language of vampires the way that Shakespeare’s First Folio standardized printed English.

Bat-winged demons were common in medieval

The biggest shift of the Romantic revolution was the presentation of vampires as decadent aristocrats feeding on commoners. painting, and ordinary bats flitted about the edges of the Varney illustrations. But not until the Irish playwright Dion Boucicault (1820–90) brought his play The Vampire to the stage in the 1850s, was a vampire presented as half-bat, his cape opening in the shape of wings. Bram Stoker (1847–1912) indicates a cloak only for the scene in which the Count wall-crawls his castle; otherwise he is described only as a tall, thin figure dressed completely in puritanical black.

The cape sported a large upturned collar—now universally recognized as a sure sign of vampiric orientation or intent—for the first time in Hamilton Deane’s 1924 stage adaptation of Dracula, where it partially served the function of hiding the actor’s head as he slipped out of the costume to make an escape through a panel or trap door, leaving his enemies holding an empty cape. According to original company member Ivan Butler, the oversized collar was also intended to frame the vampire’s face in a manner suggesting the wings of a bat.

Capes aside, the most essential visual attribute of the vampire is its paradoxical mouth. Piercingly hard while voluptuously soft, it creates a subliminally androgynous conundrum that stays in the mind with the hypnotic fascination of a rapidly shifting optical illusion. Except for one illustration in Varney the Vampyre, fangs are basically not seen or described in the nineteenth century. In the days of silent cinema, vampire teeth are shown exactly twice, in F.W. Murnau’s Nosferatu (1922), where they are centered.

THE ART OF HORROR

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PREVIOUS SPREAD: La Muerte Enamorada (Death in Love, 2009)

by Mexican digital photographer Chema Gil (Jose Manuel Gil Ramirez).

“I did that,” he reveals, “because a close friend told me he could see the dead.

He said that to me a week before he died.” It is also the Spanish title of the 1836 vampire story Clarimonde” (“La Morte Amoureuse”) by French author Théophile Gautier (1811–72).

ABOVE LEFT:

Vlad III, Prince of Wallachia (circa 1560), oil on canvas portrait—reputedly a copy of an original made during his lifetime—that hangs in Ambras Castle in Innsbruck, Austria. A member of the House of Drăculești, he is thought to have been an inspiration to Bram Stoker when the Irish author was writing Dracula (1897).

TOP MIDDLE, LEFT: The historical figure of Vlad III (1431–circa 1476), three-time Voivode of Wallachia, was also known as (Vlad) Dracula. He was posthumously accused of great cruelty for impaling his enemies on wooden stakes, as illustrated in this 1499 German woodcut of him dining among the corpses of his victims. As a result, he became known as “Vlad the Impaler.”

TOP MIDDLE, RIGHT:

Mistakenly attributed to Lord Byron when it was first published in The New Monthly Magazine and Universal Register (April 1, 1819), “The Vampyre” was actually written by physician John William Polidori (1795–1821), who was at the Villa Diodati that fateful night when Mary Shelley created Frankenstein. The novella introduced readers to literature’s first Gothic vampire, Lord Ruthven.

THE BLOOD IS THE LIFE

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TOP RIGHT: Attributed to James Malcolm Rymer, or possibly Thomas Preskett Prest, Varney the Vampyre or the Feast of Blood was first serialized in the Victorian penny dreadful pamphlets from 1845–47.

Running to 220 chapters and 667,000 words, this rambling Gothic novel featured remorseful bloodsucker Sir Francis Varney, who eventually committed suicide by throwing himself into Mount Vesuvius.

BOTTOM RIGHT: Illustration by David Henry Friston (1820–1906) for Joseph Sheridan Le Fanu’s serial novella “Carmilla” in The Dark Blue magazine (1871). The story heavily influenced Bram Stoker when he was writing Dracula, and has been the basis for numerous movies and other media adaptations as a result of its subtle sexuality. Friston later became the first artist to illustrate Arthur Conan Doyle’s Sherlock Holmes.

2 the dead that walk JA M I E R U S S E L L

“Zombies are the ideal late twentieth-century monsters.

A zombie is the one thing you can’t deal with. It survives anything. Frankenstein’s monster and Dracula could be sent down in many ways. Zombies, though, fall outside all this.

You can’t argue with them. They just keep coming at you.”

CLIVE BARKER

TOP LEFT:

Following their success with White Zombie (1932), director Victor Halperin and his producer brother Edward returned to the theme with Revolt of the Zombies (1936).

Unfortunately, the best thing about this creaky, low-budget melodrama about a madman’s attempts to create an army of the living dead was this stylish one-sheet poster art.

THE ART OF HORROR

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ABOVE MIDDLE: A scene-stealing Mantan Moreland (1902–73) helped make King of the Zombies (Dir: Jean Yarbrough, 1941) surprisingly entertaining as the survivors of a plane crash discovered that a Nazi agent was creating an army of zombies on a remote West Indian island. Even the one-sheet poster was better than it had any right to be.

BOTTOM LEFT: Another mad doctor, played with gusto by British-born George Zucco (1886–1960), used an ancient Inca gas to turn his romantic rival (David Bruce) into a wrinkly zombie (makeup effects by Jack Pierce) in Universal’s The Mad Ghoul (Dir: James Hogan, 1943). Only human hearts from freshly buried corpses could temporarily reverse the transformation.

TOP LEFT:

Mantan Moreland was a less appealing comic foil in Revenge of the Zombies (Dir: Steve Sekely, 1943), in which he encountered yet another Nazi scientist (played by John Carradine) who had turned his wife into a zombie. The American poster art, including the insert shown here, relied on a photo-montage to sell the film to a War-weary public.

TOP MIDDLE, LEFT: A thinly-veiled reworking of Jane Eyre, I Walked with a Zombie (Dir: Jacques Tourneur, 1943) was the second film from producer Val Lewton’s “B” unit at RKO Radio Pictures. It is best remembered for an eerie walk through the sugar cane fields by the two female protagonists and their encounter with Darby Jones’s zombie guardian, Carrefour.

BOTTOM LEFT: This title lobby card features comedy duo Wally Brown and Alan Carney, who encountered Bela Lugosi’s mad scientist and Darby Jones’s pop-eyed zombie in Zombies on Broadway (Dir: Gordon Douglas, 1945), which included several elements that made it a sequel-of-sorts to the much better I Walked with a Zombie (1943).

T H E D E A D T H AT WA L K

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TOP MIDDLE, RIGHT:

The one-sheet for Valley of the Zombies (Dir: Philip Ford, 1946) depicts actor Ian Keith (1899–1960), who was originally considered for the title role in Dracula (1931), as a homicidal undertaker who needed a regular supply of blood to stay alive while he strangled and then embalmed those he held responsible for his death.

ABOVE RIGHT: Allison Hayes’s sexy native girl was inexplicably turned into one of the living dead in Zombies of Mora Tau (Dir: Edward Cahn, 1957). This insert poster highlights the movie’s most memorable concept of spooky-looking zombie pirates, who can move around underwater while searching for a hoard of sunken diamonds.

ACOLYTES OF CTHULHU “The nightmare corpse-city of R’lyeh . . . was built in measureless eons behind history by the vast, loathsome shapes that seeped down from the dark stars.

There lay great Cthulhu and his hordes, hidden in green slimy vaults.”

“The Call of Cthulhu” (1926) by H.P. Lovecraft

T

HE CTHULHU MYTHOS is a mythology invented by H.P. Lovecraft and elaborated upon by numerous writers both during his own lifetime and in the decades following his death. Its focus is the arrival of immensely powerful “gods” (in reality, alien entities from outer space) and their deadly encounters with human beings. Information about these entities is found in a series of imaginary books of “forbidden lore” invented by Lovecraft and his successors.

The first contribution to the Cthulhu Mythos by a writer other than Lovecraft was Frank Belknap Long’s “The Space-Eaters” (Weird Tales, July 1928); his later tale “The Hounds of Tindalos” (Weird Tales, March 1929) has itself inspired many imitations.

Other contemporaries of Lovecraft such as Clark Ashton Smith, Robert E. Howard, Donald Wandrei, Robert Bloch, and Henry Kuttner also utilized the framework of the Cthulhu Mythos for their tales, filling the universe with “gods” of various sorts and fabricating a whole library of occult books.

So many of these stories appeared in Weird Tales that, at least during Lovecraft’s life, the Cthulhu Mythos should more properly be termed “the Weird Tales Mythos.” Artists’ illustrations for these tales ranged from the striking to the mundane—limited as always by the magazine’s ability to print only line drawings.

It was, however, August (William) Derleth (1909–71) who, both during and especially after Lovecraft’s lifetime, took the Mythos into new directions— directions that Lovecraft himself probably would not have sanctioned. Derleth twisted the Mythos from what Lovecraft had envisioned (an expression of his “cosmic indifferentism” and belief in the insignificance of the human race) and turned it into a naïve moral struggle where the “evil” Old Ones (Cthulhu, YogSothoth, etc.) are “imprisoned” in the earth (or elsewhere) by a set of “good” entities called the Elder Gods (who have no existence in Lovecraft’s work); this schema allowed Derleth to harmonize the Mythos with his own Christian sympathies. The end result was that, because Derleth was Lovecraft’s publisher and leading champion for decades, many imitators of Lovecraft inadvertently imitated what has come to be called the

“Derleth Mythos.” Derleth summed up his approach to the Mythos in the influential anthology Tales of the Cthulhu Mythos (1969).

Derleth’s misinterpretations of the Cthulhu Mythos were exposed by scholars in the 1970s, and sounder work by fiction writers began to appear. Robert Bloch’s novel Strange Eons (1978) is a striking return to Lovecraft’s bleak vision, and John Stewart’s illustrations for the limited edition are vivid and evocative. From this time onward, many leading writers returned to the Lovecraftian origins of the Mythos;

Derleth twisted the Mythos from what Lovecraft had envisioned . . . and turned it into a naïve moral struggle. these included Stephen King (“Jerusalem’s Lot,” 1978), Peter Straub (Mr. X, 1999), and Ramsey Campbell, whose crude early pastiches, written when he was a teenager, gave way to such sophisticated works as Cold Print (1985), with superb illustrations by J.K. Potter, utilizing his patented technique of photomontage.

Although some writers took up the difficult challenge of writing Cthulhu Mythos novels—the best of them, perhaps, are William Browning Spencer’s Résumé with Monsters (1995) and Jonathan Thomas’s The Color Over Occam (2012)—most adhered to Lovecraft’s chosen medium of the short story or the novelette; as such, anthologies of Cthulhu Mythos tales have proliferated. Stephen Jones’s Shadows Over Innsmouth series (1994–2013), extending to three volumes to date, has featured powerful cover art and interior illustrations by Les Edwards and others. S.T. Joshi’s Black Wings series (2010–) has a recurring cover by Jason Van Hollander that vividly conveys Lovecraft’s cosmic perspective. Many small-press imprints—PS Publishing, Hippocampus Press, Innsmouth Free Press, and others—regularly issue anthologies or collections of Mythos writing.

Perhaps the most talented writer of such fictions— and one of the leading contemporary figures in the entire field of weird fiction—is Caitlín R. Kiernan (b. 1964), whose novels and tales reveal a deep understanding of the fusion of external and psychological horror that is the essence of Lovecraft’s work. STJ THE ART OF HORROR

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ABOVE LEFT:

In Lovecraft’s Shadow (1998), pencil and ink on coquille board by American artist Stephen E. Fabian. “I have always been disappointed in fantasy and science fiction fans for not supporting the few small press publishers,” says the artist, “like August Derleth, whose bust I featured on the end-paper design that you see here from the collection In Lovecraft’s Shadow: The Cthulhu Mythos Stories of August Derleth.”

TOP LEFT:

Virgil Finlay’s montage illustration on the dust jacket of The Outsider and Others (1939) fittingly depicted the cosmic worlds that defined H.P. Lovecraft’s literary work. It was the first book published by Arkham House, in an edition of just 1,268 copies, yet it still took five years to sell out.

TOP MIDDLE: Hannes Bok produced the dust jacket illustration for the collection The Hounds of Tindalos (Arkham House, 1946) by Lovecraft’s close friend and fellow Weird Tales author Frank Belknap Long (1901-94). The creature of the title was later incorporated into August Derleth’s version of the “Cthulhu Mythos.”

TOP RIGHT: Published as an oversized hardcover, 3 Tales of Horror (Arkham House, 1967) contained H.P. Lovecraft’s stories “The Colour Out of Space,” “The Dunwich Horror,” and “The Thing on the Doorstep,” all illustrated by Lee Brown Coye in his distinctive ink on scratchboard style.

THE OLD GODS WAKEN

— 1 95 —

BOTTOM LEFT & MIDDLE: Canadian author, artist, and Playboy cartoonist Richard “Dick” Dennison Taylor (1902–70) produced the pen and ink dust jacket art for a number of Arkham House books, including the August Derleth collections The Mask of Cthulhu (1958) and The Trail of Cthulhu (1962).

BOTTOM RIGHT: The uncredited cover artist (possibly Ronald W. Smethurst) for the British paperback edition of August Derleth’s The Mask of Cthulhu (Consul/World Distributors, 1961) obviously used Richard Taylor’s Arkham House cover as their inspiration.

RIGHT: Cthulhu Rising (2006) by American digital artist Michael Komarck.

This was used as the wraparound cover for The Art of H.P. Lovecraft’s Cthulhu Mythos (Fantasy Flight Games, 2006). When the self-taught Komarck became a full-time illustrator, he was introduced to Photoshop, “and ultimately replaced my oils with digital paint.”

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November 2015 Film/Television/Pop Culture 9781495009136 BISAC: ART000000, ART023000 256 pages • 9.75” x 11” • Hardcover • $38.00

MARKETING

Amazingly, there has never been a book quite like The Art of Horror: a celebration of fearful images, compiled and presented by some of the genre’s most respected names. While acknowledging the beginnings of horror-related art in legends and folk tales, the focus of the book is on how the genre has presented itself to the world since the creations of Bram Stoker and Mary Shelley first became part of the public consciousness in the 19th century. From early engravings, via dust jackets, book illustrations, pulp magazines, movie posters, comic books and paintings, to today’s artists working entirely in the digital realm, it’s all here, from the shockingly lurid to the hauntingly beautiful.

• National, local, and satellite radio interviews with the author in the US and the UK

Editor Stephen Jones and his stellar team of contributors have sourced visuals from archives and private collections (including their own!) worldwide, ensuring an unprecedented selection that is accessible to those discovering the genre, while also including many images that will be rare and unfamiliar to even the most committed fan.

• The first book of its kind, The Art of Horror showcases an unprecedented collection of some 400 of the finest examples of horror-related art, compiled and presented by some of the genre’s most respected writers

• Will appeal to all those interested in the history of horror, especially the development of art and graphic design • Primed to become a major source book for collectors and traders of horror memorabilia

• Promotion to art, horror, mystery, alternative/ underground music and pop culture magazines and websites

RELATED TITLES 101 Horror Films You Must See Before You Die (9780764141249) The Art of Space (9780760346563) The Art of Punk (9780760344101) Horror Films FAQ (9781557839503) Horror, The Definitive Companion (9781780973913) CONTACT Sales: Please contact Mike Hansen at 800-524-4425 or mhansen@halleonard.com.

• Traces the visual history of horror from the earliest illustrations via book jackets, magazine covers, comic books, movie posters and paintings to the cutting-edge digital artists of today

Publicity: Please contact Jennifer Richards, Over the River Public Relations, at 201-242-9637 or jennifer_richards@me.com.

• Features scores of rare and unfamiliar images, sourced from archives and private collections around the world

ALSO AVAILABLE

• Vampires, werewolves, zombies, ghosts, demons, serial killers, alien invaders and more: every aspect of the genre is represented, in 10 themed chapters • Each chapter begins with an overview of the featured area of the genre, and also contains two special features on specific topics (e.g. Bram Stoker’s Dracula, or the paintings of Clive Barker) • Quotes from artists/illustrators, and a selection from writers and filmmakers, are featured throughout • Will appeal to all those interested in the history of horror, not to mention the development of art and graphic design. It will also become a major source book for collectors and traders of horror memorabilia

© ELEPHANT BOOK COMPANY LTD

The gothic look – head-to-toe black attire and extreme makeup – has been a popular one since the 1980s, with each generation reinterpreting this dark aesthetic as its own. The Art of Gothic is the first heavily illustrated tome to explore the aesthetics of this fascinating style in great detail. Previous books on goth have given a bold overview of the music and culture associated with the genre, but this book goes deeper and hones in on the album art, intricate fashions, fantasy illustrations, and more.

Backbeat Books • 9781617136023 224 pages • 10” x 11.25” • Hardcover • $35.00