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A love letter to horror films where poems are the paragraphs.
A collection of Horror Movie Inspired poems, from the creepy to the bizarre.A homage to horror movies, where imagery is turned into the written word.Horror films are a beast of their own!A macabre delight!Sit back dear reader, And be prepared for a fright!
From Claire C. Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.
A collection of poems inspired by and in response to horror and its tropes as found in film, literature, mythology, and folklore. This anthology features 66 poets' work, and their poetry ranges from the humorous to the insightfully reflective. This collection is for anyone who loves poetry, horror, or both!
A hybrid text that deals most urgently in the articulation of growth and grief. After the loss of his mother, Omar Holmon re-learns how to live by immersing himself in popular culture, becoming well-versed in using the many modes of pop culture to spell out his emotions. This book is made up of both poems and essays, drenched in both sadness and unmistakable humor. Teeming with references that are touchable, no matter what you do or don’t know, this book feels warm and inviting.
Blue Light of the Screen is a memoir about the author's obsession with horror and the supernatural. Blue Light of the Screen is about what it means to be afraid -- about immersion, superstition, delusion, and the things that keep us up at night. A creative-critical memoir of the author's obsession with the horror genre, Blue Light of the Screen embeds its criticism of horror within a larger personal story of growing up in a devoutly Catholic family, overcoming suicidal depression, uncovering intergenerational trauma, and encountering real and imagined ghosts. As Cronin writes, she positions herself as a protagonist who is haunted by what she watches and reads, like an antiquarian in an M.R. James ghost story whose sense of reality unravels through her study of arcane texts and cursed archives. In this way, Blue Light of the Screen tells the story of the author's conversion from skepticism to faith in the supernatural. Part memoir, part ghost story, and part critical theory, Blue Light of the Screen is not just a book about horror, but a work of horror itself.
"[A] future cult classic." —The New York Times Book Review "There’s Borges and Bolaño, Kafka and Cortázar, Modiano and Murakami, and now Laura van den Berg." —The Washington Post Finalist for the NYPL Young Lions Award. Named a Best Book of 2018 by The Boston Globe, Huffington Post, Electric Literature and Lit Hub. An August 2018 IndieNext Selection. Named a Summer 2018 Read by The Washington Post, Vulture, Nylon, Elle, BBC, InStyle, Refinery29, Bustle, O, the Oprah Magazine, Entertainment Weekly, Harper's Bazaar, Conde Nast Traveler, Southern Living, Lit Hub, and Vol. 1 Brooklyn. In Havana, Cuba, a widow tries to come to terms with her husband’s death—and the truth about their marriage—in Laura van den Berg’s surreal, mystifying story of psychological reflection and metaphysical mystery. Shortly after Clare arrives in Havana, Cuba, to attend the annual Festival of New Latin American Cinema, she finds her husband, Richard, standing outside a museum. He’s wearing a white linen suit she’s never seen before, and he’s supposed to be dead. Grief-stricken and baffled, Clare tails Richard, a horror film scholar, through the newly tourist-filled streets of Havana, clocking his every move. As the distinction between reality and fantasy blurs, Clare finds grounding in memories of her childhood in Florida and of her marriage to Richard, revealing her role in his death and reappearance along the way. The Third Hotel is a propulsive, brilliantly shape-shifting novel from an inventive author at the height of her narrative powers.
Hermosa is the path to becoming one’s own home. A thread pulled when Salgado thinks about who she is and who she has been. Beyond the survival, grief, and fight, Hermosa lives in the small moments hidden beneath it all. A journey of firsts, of mistakes, of celebrations, of the love, the crush, the disaster, the rebuilding, and the never-ending cycle of growth.
In highly charged, dazzling language, 4:30 Movie explores a sister’s death and the ways movies shape our imaginations. In poems that are by turns intimate and wild, provocative and tender, award-winning poet Donna Masini explores personal loss, global violence, and the consolations of art. She brings her wit, grief, fury, and propulsive energy to bear on the preoccupations of our daily lives and our attempts to bargain with endings of every kind. Equal parts lament and praise, 4:30 Movie is fueled by despair and humor, governed by the ways in which movies enter our imaginations and frame our experiences. The movie theater becomes a presiding metaphor: part waiting room, part childhood, part underground depths where the self is a bit player, riding the subway with “its engine of extras.” Masini's exquisite wordplay shows the mind wrestling ferociously to forestall grief, as if finding the right words might somehow allow us to extend our beautiful, foreshortened run.
Girls Like Us is packed with fierce, eloquent, and deeply intelligent poetry focused on female identity and the contradictory personas women are expected to embody. The women in these poems sometimes fear and sometimes knowingly provoke the male gaze. At times, they try to reconcile themselves to the violence that such attentions may bring; at others, they actively defy it. Hazen's insights into the conflict between desire and wholeness, between self and self-destruction, are harrowing and wise. The predicaments confronted in Girls Like Us are age-old and universal--but in our current era, Hazen's work has a particular weight, power, and value.