![]() ![]() Some you may have read, some you may not yet be aware of, but they are here… and they are hell-bent on taking over.Ĭassandra Khaw may have the most realistic take on why horror is booming again: capitalism. ![]() This week, when Esquire is putting fiction front and center, it seems like the perfect time to introduce readers to the writers who will define horror for years to come. They have left me thrilled at the future prospects for my favorite literature. As a podcaster who interviews horror authors every week, I’m lucky enough to have spoken with many of them. This Generation H is made of writers with their own intentions and their own inimitable voices. From independent releases to small presses to big traditional publishing deals, they are shaping horror’s next golden age. Now, though, a new generation of writers is taking a shake at the status quo. It is a dazzling, dizzying time to be a horror fan. They began the process of chiseling away at the horror monolith, and they continue to bring in new approaches, different styles, and freedom to experiment. Since the first half of the 2010s, Paul Tremblay, John Langan, Catriona Ward, Victor LaValle, Stephen Graham Jones, and Grady Hendrix have taken what they had learned at King’s knee and applied a literary varnish. Then, for a decade or so, horror languished, popping up only occasionally in the refracted postmodern dread of Bret Easton Ellis, Chuck Palahniuk, and Lauren Beukes. Sure, King is still a phenomenon, but he exists somewhere north of genre, a planet with his own gravity. That era of Stephen King, Dean Koontz, and Clive Barker ended in the mid-to-late ‘90s.
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