Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn't looked back since. Mary's evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
How would you feel if you suddenly started receiving letters from someone you didn’t know? Personal letters, from someone who seemed to know more about you than you ever wanted to admit to yourself? The End of the Sentence (2014) delivers–it’s not only difficult to put down, (or stop listening to, if you opt to experience it as an audiobook) but it is also easily digestible and instantly gives the reader that desirable feeling of unease and fear.
With every turn of the page, we find ourselves more and more deeply immersed in the life of Malcolm Mays, a man whose life is falling apart as he moves into a foreclosed home in Ione, Oregon–what he doesn’t realize is that the original owner never left and doesn’t intend to. The end of his 117-year sentence is almost over…
Interview with Kat Howard
We found out that you’re not just a horror writer, but you have also explored the science fiction and fantasy genres, so what initially drew you to horror fiction?
I’ve always loved horror. Some of the first “grown up” books I read were by Stephen King, but even before that I loved stories that scared me. I like to write horror because sometimes that’s the genre that works best for what I have to say. Plus, it’s fun writing stories that might give people the shivers.
Can you tell me about how you and Maria Dahvana Headley decided to come together to co-write The End of the Sentence?
Maria’s a dear friend. We were guests at an annual convention (ConFusion) and made a comment about wanting to write something together in front of Bill Schafer, the head of Subterranean Press. He said he’d buy it, and we wrote a contract on his arm. (There was a much more official contract later.) It was honestly a joy of a project to write with her.
How did you come up with the idea of The End of the Sentence?
Maria had recently moved, and had been getting mistaken letters delivered to her address. Things kind of went from there.
Kat, we understand that this was your debut novella, how did it feel being named one of NPR’s Best Books of 2014?
I literally fell out of my chair when I found out. I’m really proud of the work we did on this novella. It remains one of my favorite things that I’ve written, and so I’m always extremely happy to see it find readers. Seeing it recognized like that meant so much.
A Cathedral of Myth and Bone
Is there anything new that you’ve published or are working on that you’d like to talk to us about?
As this is a horror venue, I have to say I was extremely pleased when my recent collection, A Cathedral of Myth and Bone, was long-listed for the [Bram Stoker Award]. It didn’t make the final ballot, but just to see it recognized was a delight. I’m currently working on A Sleight of Shadows, the sequel to my novel An Unkindness of Magicians.
A lot of our fans are actually aspiring writers and artists, do you have any advice for them?
I always feel a little weird about giving advice, because I feel like I’m still figuring things out myself. But I think that one of the great (and yes, sometimes terrifying!) things about writing or art is that there are so many ways to come into the field. Don’t cut yourself off because you think you’re too old, or you should have gone to a different school, or that people have already done what you’re interested in. No one else can make what you will.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
One thing that is evident when you look for and inevitably read books, is that are a lot of authors that have been influenced by H.P. Lovecraft. Some take influence by crediting his creations, some crediting his name–others his style, short story form that truly resonate within the genre. Others still have found their own path within the genre, by taking the essence of cosmic horror and making it their own. Finding something genuinely original can oft be an exercise in futility, due to the very nature of this sort of horror, but when that originality is found it is truly like discovering gold. Here are Puzzle Box Horror’s best of cosmic horror book recommendations.
The best of Old-school Cosmic Horror books
What sets old-school cosmic horror apart from the newer literature within the genre, is pretty much what sets old classic literature apart from newer literature in any genre–language, surrounding culture, and societal advantage. It goes deeper than that of course, but what is important when getting acquainted with any form of literature is understanding the time within which it was created.
The Willows (1907)
While not exactly a book, The Willows by Algernon Blackwood, is technically the first cosmic horror novella that began to establish the cosmic horror genre. It was originally published among a series of other stories in 1907, as a part of his collection The Listener and Other Stories. It’s a great example of early modern horror and despite not receiving the credit it was due, was very much connected within the literary tradition of “weird fiction,” a genre later realized as cosmic horror.
The Willows is a story that invites fear of the unknown, there is a sense of agitation, fear, exhaustion, and eternal trepidation that does not leave the characters or the readers, because there is never a relief from the situation at hand. Available on Amazon here.
And, apart quite from the elements, the willows connected themselves subtly with my malaise, attacking the mind insidiously somehow by reason of their vast numbers, and contriving in some way or other to represent to the imagination a new and mighty power, a power, moreover, not altogether friendly to us.
Excerpt from The Willows by Algernon Blackwood
Listen to Algernon Blackwood’s The Willows below through HorrorBabble.
The Man Who Found Out (1912)
Another shorter existential horror story, Algernon Blackwood’s The Man Who Found Out really just begs the question about personal religious beliefs–what is the ultimate question and answer when it comes to a higher power, particularly that of “God?” Do we really know anything with any certainty? Or is belief and faith what matters most when seeking a higher truth? These unanswered questions are what make this one of the best cosmic horror books out there. Available on Amazon here.
LibriVox has given us Blackwood’s The Man Who Found Out through audiobook and it’s worth checking out.
The Call of Cthulhu and Other Weird Stories (1927)
It seems that the most successful additions to the cosmic horror genre are generally shorter stories; short stories are benefitted in this particular genre due to the fact that they limit the amount of information that can be conveyed within the confines of the short story’s maximum of ten thousand words.
All of the stories that appear within this particular anthology are by H.P. Lovecraft and are, of course, part of the public domain, so we have included a list of the stories with external links to the stories themselves. Those interested in reading some of the most well-known cosmic horror pieces can find them below. The entire anthology is available on Amazon here.
Yeah, we know that this book came out in 2014–but that doesn’t discount the fact that it is actually full of old-school cosmic horror, because it’s actually an anthology from some of the best horror writers that literary culture has ever had to offer. These stories span almost an entire century, which illustrates how many authors can be credited for their contributions to cosmic or existential horror.
Luckily for readers who haven’t been well-enough introduced to cosmic horror by now, all of these stories are also within the public domain; we hope that these stories from Shadows of Carcosa (2014) give readers a full picture of what cosmic horror is truly about. The collection is available on Amazon here.
Thomas Ligotti’s debut short horror story collection Songs of a Dead Dreamer and Grimscribe possibly made his career–he’s often spoken of in the same manner as authors such as Poe and Lovecraft, and has been referred to as “horror incarnate.” Ligotti never seems to have to try to make his stories work, they take on settings that immediately put the reader into a mood where horror is inescapable without being presumptuous or predictable.
Ligotti’s style is singular and everything he has put into this particular anthology is wholly worth the time to read. Available on Amazon here.
What Stories Appear Within This Anthology?
Songs of a Dead Dreamer
Dreams for Sleepwalkers
The Frolic
Les Fleurs
Alice’s Last Adventure
Dream of a Manikin
The Nyctalops Trilogy:
The Chymist
Drink to Me Only with Labyrinthine Eyes
Eye of the Lynx
Notes on the Writing of Horror: A Story
Dreams for Insomniacs
The Christmas Eves for Aunt Elise
The Lost Art of Twilight
The Troubles of Dr. Thoss
Masquerade of a Dead Sword: A Tragedie
Dr. Voke and Mr. Veech
Professor Nobody’s Little Lectures on Supernatural Horror
Dreams for the Dead
Dr. Locrian’s Asylum
The Sect of the Idiot
The Greater Festival of Masks
The Music of the Moon
The Journal of J.P. Drapeau
Vastarien
Grimscribe
The Voice of the Damned
The Last Feast of Harlequin
The Spectacles in the Drawer
Flowers of the Abyss
Nethescurial
The Voice of the Demon
The Night School
The Glamour
The Voice of the Child
The Library of Byzantium
Miss Plarr
The Voice of Our Name
The Shadow at the Bottom of the World
The Imago Sequence and Other Stories (2007)
Laird Barron’s first short story collection The Imago Sequence and Other Stories set a precedent for the rest of his career; what could be expected from him in his other works really was set up with this collection. The fact that it received the Shirley Jackson Award for best collection was not even the most wondrous part of this particular body of work–Barron has an ability to create an image within the reader’s mind that is unlike any other author. He has been compared to the likes of Stephen King, but with the advantage of making his details count for more than just words towards an ultimate goal. Available on Amazon here.
What Stories Appear Within This Anthology?
Old Virginia (2003)
Shiva, Open Your Eye (2001)
Procession of the Black Sloth (2007)
Bulldozer (2004)
Proboscis (2005)
Hallucigenia (2006)
Parallax (2005)
The Royal Zoo Is Closed (2006)
The Imago Sequence (2005)
White is For Witching (2009)
Helen Oyeyemi’s White is For Witching reads almost like a journal, which has always given the reader less of a feeling that they’re getting the full picture. Why look at the forest when you can see the trees more clearly? In truth, focusing on the details from a personal perspective often leaves much more to the imagination and that is a huge part of weird fiction and cosmic horror.
When you don’t know what is going on outside of the perspective of the narrator, it leaves you with a sense of emptiness–what is happening beyond their ideal truth? Available on Amazon here.
Cthulhu’s Reign (2010)
Another anthology designed to pay tribute to the father of cosmic horror, this collection of short stories gives a more complete image of what would happen once the old ones have taken over the world as we know it–when humans are no longer the dominant force on the Earth and when we can no longer rely on what we have become accustomed to.
What kind of horror would we endure when the old ones take over the world? What would we be able to expect from an uncaring force of nature and could we really hate the force that overwhelms society as we know it when it is not maliciously ending our world, or would it simply be something that we fear beyond anything else? Available on Amazon here.
What Stories Appear Within This Anthology?
The Walker in the Cemetery (2010) by Ian Watson
Sanctuary (2010) by Don Webb
Her Acres of Pastoral Playground (2010) by Mike Allen
Spherical Trigonometry (2010) by Ken Asamatsu
What Brings the Void (2010) by Will Murray
The New Pauline Corpus (2010) by Matt Cardin
Ghost Dancing (2010) by Darrell Schweitzer
This is How the World Ends (2010) by John R. Fultz
The Shallows (2010) by John Langan
Such Bright and Risen Madness in Our Names (2010) by Joseph E. Lake, Jr.
The Seals of New R’lyeh (2010) by Gregory Frost
The Holocaust of Ecstasy (2010) by Brian Stableford
Vastation (2010) by Laird Barron
Nothing Personal (2010) by Richard A. Lupoff
Remnants (2010) by Fred Chappell
The Croning (2012)
The Croning can be considered, without a doubt, the debut cosmic horror novel by Laird Barron–unlike his collection of short stories, The Imago Sequence and Other Stories, this is a full-length novel within the genre of cosmic horror.
We see cults, dark magic, and a plethora of other themes that are common fixtures of the genre and we can’t look away–we highly recommend this particular literary spectacle, it’s a novel that without which, this list would be incomplete. Available on Amazon here.
Dreams From the Witch House (2016)
This particular anthology, Dreams From the Witch House: Female Voices of Lovecraftian Horror, while honoring the origins of the genre is something different and singular. This anthology of short stories contains, as can be derived from the title, stories of cosmic horror that were written by female authors in the genre. Available on Amazon here.
What Stories Appear Within This Anthology?
Shadows of the Evening (1998) by Joyce Carol Oates
The Genesis Mausoleum (2015) by Colleen Douglas
The Woman in the Hill (2015) by Tamsyn Muir
The Face of Jarry (2015) by Cat Hellisen
Our Lady of Arsia Mons (2012) by Caitlín R. Kiernan
The Body Electric (2015) by Lucy Brady
The Child and the Night Gaunts (2015) by Marly Youmans
All Our Salt-Bottled Hearts (2015) by Sonya Taaffe
Every Hole in the Earth We Will Claim As Our Own (2015) by Gemma Files
But Only Because I Love You (2015) by Molly Tanzer
Cthulhu’s Mother (2015) by Kelda Crich
All Gods Great and Small (2015) by Karen Heuler
Dearest Daddy (2015) by Lois H. Gresh
Eye of the Beholder (2015) by Nancy Kilpatrick
Down at the Bottom of Everything (2015) by E.R. Knightsbridge
Spore (2015) by Amanda Downum
Pippa’s Crayons (2015) by Christine Morgan
The Wreck of the Charles Dexter Ward (2012) by Elizabeth Bear & Sarah Monette
From the Cold Dark Sea (2015) by Storm Constantine
Mnemeros (2015) by R.A. Kaelin
The Ballad of Black Tom (2016)
Victor LaValle grew up reading the horror stories that came from the life of H.P. Lovecraft, but it wasn’t until much later in his life that LaValle realized the excessive amounts of racism and agoraphobia that was present in Lovecraft’s body of work. As an African-American man, he used this eye-opening moment in his life to respond in kind, from one writer to another, by reinventing Lovecraft’s short story The Horror at Red Hook from the perspective of a black man.
LaValle’s re-imagining of this story was invigorating, riveting, and a triumph of creative responses to unacceptable biases–he succeeded in showing that Lovecraft’s work would have been even better had it not been rife with bigotry and bias for those who were not like Lovecraft. Available on Amazon here.
It’s important to understand that while we here at Puzzle Box Horror greatly appreciate the body of work that Lovecraft added to the horror genre, we recognize his biases and do not endorse them or agree with them. We were more than ecstatic when we found that there were actually literary responses to these particular issues and hope that such responses continue to appear within the literary community. Read the original story, by Lovecraft, that this novella was based off of, The Horror of Red Hook, then read Victor LaValle’s The Ballad of Black Tom.
Lovecraft Country (2016)
Following The Ballad of Black Tom, the novel Lovecraft Country also addresses the topic of racism within the context of Lovecraftian horror–this particular book has been adapted to screen recently and will soon be seen on HBO as a series–we certainly hope it will be as good as it looks, because the prospect of this one making it to infamy on screen makes us incredibly excited. The novel is available on Amazon here.
From executive producer Jordan Peele, we believe that this production will be worth every minute of time it takes to watch!
The Fisherman (2016)
Another from our list of best cosmic horror boos is The Fisherman. Described as a captivating read from beginning to end, John Langan’s The Fisherman gives us a dark, mysterious, fictional assertion of horror and cosmic fantasy. It follows the story of two widowers through their quiet and powerful story of loss and grief, by acknowledging the melancholy situation and the fact that things are never the same after the loss of a loved one. A definite addition to any cosmic horror novel list and one of the best out there. Available on Amazon here.
It would be a lie to say the time passes quickly. It never does, when you want it to.
What the Hell Did I Just Read (2017)
The third installment in the trilogy that started with John Dies at the End (2007), was followed with This Book is Full of Spiders (2012) and finally What the Hell Did I Just Read (2017). This book is largely hinged upon the narrative–we live in a world where we largely base our opinions on the story that the narrator presents, but what happens when the narrator isn’t exactly the most trustworthy of sources? Does it change how we view the story? Do we realize before it’s too late that our entire perception has been incorrect? Available on Amazon here.
The true weird tale has something more than a secret murder, bloody bones, or a sheeted form clanking chains. An atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; a hint of that most terrible conception of the human brain—a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.
H. P. Lovecraft
We’re curious to know what you thought about these best of cosmic horror books, novellas, and anthologies. Have you read anything that’s not listed here that fits the cosmic horror genre? We’re interested in reading it too, so leave us a comment and let us know!
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
Don’t explain, because the unexplainable is the most frightening thing there is.
H.P. Lovecraft
What Exactly is Cosmic Horror?
Cosmic Horror movies and books are on the rise in the horror community lately—a refreshing turn away from the slashers and gore of the late seventies, early eighties, most of the nineties, and the last two decades. The Cosmic Horror genre is about more than just the copious amounts of senseless violence—it’s beyond its own monsters and dangers—it’s about testing the limits of your own humanity. How connected are you to the world around you? How frightened are you about the dangers of the unknown? When your perception of reality is suddenly pulled out from under you, you begin to experience overwhelming trepidation, anxiety, and an unanticipated creeping loss of sanity.
In stories with a central theme of Cosmic Horror, more often than not, have protagonists that are forced to face things that go well beyond the normal realm of comprehension, which leads to the idea that authors of the genre try to stand behind, “don’t try and over-explain what’s happening, rather let them stew in existential dread.” While this genre of horror contains plenty of gore and violence, it angles more on the supernatural, paranormal, and psychological sides of fear—so there is no reaction of disgust, but rather pure, unadulterated terror.
So, in the simplest terms possible, cosmic horror is a sub-genre of science fiction where horror is derived from the insignificance of our own existence within an often dispassionate universe … easy peasy, right? While Lovecraft is credited as the creator of cosmic (or Lovecraftian) horror, that doesn’t mean that he was necessarily the first person to write within this genre—he was simply the first person to dedicate his fictional writing solely to the genre which now bears his name. To this day Lovecraft remains the most famous writer of the cosmic horror genre, although the genre continues to expand with the works of writers around the world.
Now that we know what the genre of cosmic horror is all about, where exactly did this genre come from? As far as literary history has shown, cosmic horror began with one man—Howard Phillips Lovecraft. He is officially credited with being the father of the cosmic horror genre—but was he the first author to write in the genre, or was he simply the first author to be credited for it? Truth be told, Algernon Blackwood, an author out of England was officially the first one to write within the cosmic horror genre, but this subgenre of horror had not technically been established yet. His stories The Willows and The Man Who Found Out have historically been classified as general horror, gothic fiction, and fantasy fiction.
To understand certain types of horror, one must first understand where horror and the subsequent emotion of fear comes from. As has been mentioned many-a-times before, as said by Lovecraft himself, “the oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is the fear of the unknown.” This means that this particular subgenre capitalizes on this reaction to uncertainty (in its simplest form), the bread and butter of cosmic horror, and the inability to tell what is coming and when. This quote represents the spectrum of Lovecraft’s range of fiction—it’s elegant, yet somehow a pathetic representation of what can truly represent the genre as a whole. In no uncertain terms, Lovecraft and other authors of the genre make it increasingly clear that there are multiple ways in which the futility and insignificance of human beings can be frightening. If there is nothing meaningful connection to the purpose of human beings, then are we truly anything more than a plaything for celestial beings?
It’s truly an unsettling thought to acknowledge this nihilistic idea of the modern age—that we base our relevance on the time in which we live, but discount the ancient wisdom and forces that came before us. During the earliest days of cosmic horror, Lovecraft took exceptional influences from the plethora of pagan religions all throughout the world. He took particular influence from the most ancient of these pagan religions and cultures—this is in no small part, due to the fact that Lovecraft was quite reverent to paganism and quite openly rejected mainstream Christianity. Keep in mind, Lovecraft lived in a time and place where having beliefs, or favorable leanings towards paganism was highly taboo—where today it is quite a bit more commonplace. Cosmic horror, however, despite being more widespread isn’t an easy genre to write—not to mention capture on film—well at all.
When Lovecraft first began to write stories that exhibited his creations, he displayed a truth that is often disregarded in the course of our daily lives—that we don’t consider the idea that there is something unknown and completely unrelatable to anything we have ever experienced before in our years of life on this earth. We don’t consider that we might be in a world where we don’t recognize the god(s) that deserve idolization, that there may be a natural way of being that we are unaware of, that there may be some type of fate of the world that we haven’t considered as a possibility. This was something that Lovecraft and his predecessors might not have considered, but it is definitely a possibility that should be considered, even if it is completely alien to what we’re used to.
Dig into more cosmic horror by reading and watching our best of cosmic horror books, comics, and movies lists.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
In a PBS special called Legendary Lighthouses, the Heceta Head Lighthouse is referred to as a haunted lighthouse—stating that nearly everyone who has stayed at the lighthouse since the 1950s has experienced paranormal activity. These experiences include things like disembodied screams, items moving or disappear and the reappearing on their own, as well as the shadow of an old woman’s ghost in an attic window. Along with the older woman, it is said that her daughter also haunts this scenic lighthouse.
The History of the Heceta Head Lighthouse
This Queen Anne styled cottage with a red roof overlooks the rocky cliffs and violent waves of the Pacific Ocean and has done so for more than a century. Originally built in 1894, when the lamp was first lit, to the early 1960s, the men who kept the lighthouse running, and their families called this cottage home. During World War II it served as military barracks and was used as a satellite campus for Lane Community College in Eugene from 1970 to 1995. Since 1995, it has been run as a bed and breakfast with room enough to fit fifteen guests comfortably.
Ghostly Experiences at the Lighthouse Keeper’s Cottage
Photography by Jrozwado
Some of the experiences that have occurred on the premises have been the apparition of a gray-haired woman who appears wearing a late Victorian-era dress; a wispy gray figure has also appeared floating down the hallway. The sounds of sweeping and furniture being moved occur at night and they come from the locked and otherwise unoccupied attic. These occurrences in the lighthouse keeper’s cottage have given this location the reputation of being one of the most haunted places on the West Coast.
For the last four decades, the main apparition—or presence—has been known as Rue, ever since a group of the Lane Community College students broke out their Ouija Board and began to ask questions. Apparently the board spelled out, “R-U-E,” and the name stuck. While “[Rue] doesn’t ever do anything scary or harmful or threatening,” current manager Anderson reports, “it’s more like she’s watching over the place. Watching the house and looking for her daughter.”
Anderson has heard many versions of many stories over the years that she has managed the property, to the point where she wonders if they even know the truth, and says that “it’s just [their] version [of the story].” The only story that they do endorse as the truth is the theory that Rue was the wife of one of the lighthouse keepers, but records can’t confirm that due to the fact that the wives and children of the keepers were never documented. Anderson believes that Rue had two daughters and that one of them had drowned—they are uncertain whether she drowned in the ocean or in a cistern, but that there is an unmarked grave up on the hillside that had been long left undisturbed and consequently was overgrown.
Although Rue left the Heceta Head Cottage after her daughter died, it is said that she came back after her own death to look for her daughter. When checking into the bed and breakfast, there are many guests that request the Victoria room, where the keepers of the lighthouse and their wives were said to have slept. Others are drawn to the Cape Cove Room, which contains a closet that houses the stairs leading up to the locked attic. Still other guests prefer not to know at all.
Possibly the most frightening encounter with Rue that was ever reported appeared in the Siuslaw News in 1975—a workman was cleaning one of the windows in the attic when he noticed an odd reflection in the glass. When she turned to see what was behind him, he saw the apparition of an elderly woman wearing a late-Victorian style gown—he fled the house and didn’t return to the cottage for several days and refused to ever go into the attic again. Even when he accidentally broke one of the attic windows, he opted instead to repair the window from the outside and the broken glass was left on the attic floor. That same night, the caretakers of the house were woken up to the sounds of scraping sounds in the attic and reported that it sounded as if someone was sweeping up broken glass, but they had not yet been told about the broken window. The next morning when they went to investigate, they found that the glass had been swept into a neat pile.
One of her employees, a housekeeper and food server named Beth Mozzachio, said she often feels a presence while she’s working and specifically reported making the bed and then noticing a depression has formed, as if someone recently sat there. Mazzachio knows that if she ever saw an apparition of Rue that she would be terrified, but believes that because she takes care of the inn and makes it look nice that Rue doesn’t bother her much.
The Anna Byrne Chronicles: Chapter 01 – The Haunting of Heceta Head
We’ve discussed the Heceta Head Lighthouse before in our Encyclopedia of Supernatural Horror, where we aimed to discuss the facts of the location–in this article we’ve tried to go a bit further with witness experiences. We have even created an original horror fiction where our character visits Heceta Head–so check out The Anna Byrne Chronicles: Chapter 01 – The Haunting of Heceta Head.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
Clinical and consulting psychotherapist, Dr. Paul Hokemeyer tells us that, “existential dread is the terror we experience in our awareness that we are transient beings acting out life on a precarious stage. It’s a phenomenon that’s universal among humans, but that varies in its intensity.” Essentially, existential dread is the result of hyperawareness of our own minuscule nature within our universe. Cosmic horror movies capitalize on this hard-to-navigate realm of insecurity and inner turmoil. When we look too closely or are too aware of something we don’t understand it can cause a break in reality and ultimately thwart our attempts to handle our own mental health. This leads us to a better understanding of why cosmic horror is such a tricky thing to tackle within the horror film industry and why it is inevitably an unqualified success or a laughable failure.
How to Translate Cosmic Horror to the Big Screen
One of the main reasons why cosmic horror writers such as Lovecraft can never hope to be fully realized on the big screen is the intangibility of existential dread. You can’t put a form to it, it is simultaneously within and without our own understanding and it’s something that Lovecraft himself aptly described within the philosophy of his own body of work.
The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.
H.P. Lovecraft
Since the cosmic horror subgenre doesn’t rely solely on jump scares, it’s difficult to really sink your teeth into what is truly so frightening about these kinds of stories. Few movies have been fortunate enough to capture the existential dread that we get from the literary cosmic horror; these precious few examples leave us wanting more. What we end up finding when we delve deeper into trying to understand such an intangible fear, is that the fear arises from within ourselves, our paranoia, insecurities, and the emotions that these things stir up that we are nowhere near prepared to deal with.
The realization of cosmic horror is that there are these unknown, inhuman, races of beings that have inexplicably existed since times before life on Earth could boast multicellular organisms. These beings, creatures, or ancient powers don’t care about us or our existence–we are insignificant and immaterial to the grand scheme of things. This insignificance fuels our fears and results with the ultimate imperceptible terror, the unknown. Fear of the unknown has many succumb to insanity and that’s exactly what happens with the best Lovecraftian literature.
2001: A Space Odyssey (1968)
We have Stanley Kubrick to thank for making the first movie to successfully capture the vision of cosmic horror. His vision met the Lovecraftian horror requirements pretty spectacularly; while critics either hailed this movie as a boring spectacle of lights or a visionary way to explain the cosmos, one thing is for certain–Kubrick gave us a possible view into the future that we could have never before have even tried to explain. This piece is a solid example of cosmic horror that meets both our aspirations of where we could possibly go as the human race and the place we also inch towards with trepidation. Lovecraft’s writing suggested that in his world that extraterrestrials were actually his inspiration for the ancient gods or beings that societies long since passed had worshipped.
Clarke’s writing supported Lovecraft’s creative expression of the ancient ones–an idea further supported by the sequel to 2001: A Space Oddysey which was titled 3001: The Final Odyssey. The only major difference between the attitudes of Clarke and Lovecraft lies within the approach of the aliens towards humanity. Where Lovecraft features an indifferent perspective–as if humans were aphids to their godly prowess, Clarke suggests a far more amicable relationship. What really matters in this narrative though is that Lovecraftian horror elicits an existential dread which is made clearly possible in Clarke’s literary works and Kubricks eventual screen adaptation.
The Thing (1982)
John Carpenter is considered a master of horror and that’s a fair assessment, in his long career of horror creation he has been the main name attached to some of the most famous and most underrated movies the horror genre can boast about. His first big studio movie came to us in 1982 via The Thing and it’s also a perfect example of cosmic a cosmic horror movie. Almost forty years after its creation and it’s still a classic within this subgenre. Despite initially coming across as a monster movie, when it’s analyzed with a heavier lens, it’s clear that it perfectly fits the bill of something that’s deeper, darker, and far more intangible than just an evil monster. While The Thing (1982) does deliver the monster, it’s the actual form of this invading force that is ultimately well beyond our ability to comprehend.
We never see the monster in its true form, because it’s always shown either in the guise of one of the crew members or in its transformation to its new disguise. The monster effects were considered state-of-the-art in 1982, it may seem like they would be outdated by now, but don’t be fooled, Rob Bottin continues to enthrall us with his ability to both elicit a sense of wonder and revulsion; they also keep us in the dark just like Lovecraft himself thrived on being non-descriptive, choosing to encourage readers to envision their own, “indescribable horror.”
The bread-and-butter of the cosmic horror genre is typically that which cannot be seen, right? Well, John Carpenter gave us all a middle finger when he essentially slapped us in the face with a monster that we can not only see but one that we still can’t give a proper description of. This monster doesn’t behave in a manner that would suggest it’s a creature that belongs to our world, which leads us to believe it’s an alien. Not to spoil anything but it is the main reason that we suggest watching this movie before the prequel, of the same name, that was released in 2011. The monster (alien?) is just the tip of the cosmic horror iceberg; what the creature ultimately represents is the debilitating nature of what it means to have your entire worldview changed forever.
In the Mouth of Madness (1994)
Another John Carpenter movie, albeit quite a bit more underappreciated, In the Mouth of Madness (1994) definitely did its job of inviting existential dread upon audiences. Curiously enough, while the audience experiences this indeterminable terror, so does our protagonist; we watch as his reality unfolds around him and he is exposed to the ultimate mindfuck at the end of it all. What is real? What can truly be expected in life when we don’t even know how to cope with the existence of the unknown?
Event Horizon (1997)
This classic sci-fi movie takes cosmic horror to a more literal level, by being set in the actual cosmos. This movie is amazing because it functions on so many levels, as a mystery, science fiction, horror, and action movie. The characters on board are sent to discover what happened to the crew of a ship that had been sent to discover parts of the universe and had otherwise been missing in action for nearly a decade. After it suddenly reappears, the question on everyone’s mind is–where was the Event Horizon the entire time?
Pulse (2006)
This movie is where Wes Craven finally took a crack at cosmic horror and even if he didn’t do it intentionally, he still technically did it. While this movie was basically a remake of the Japanese film Kairo (2001), it begs the question of what would happen when technology crossed paths with the other side. While the move came across as simply another American remake of a successful Japanese film, it does still make it to the cosmic horror party.
The Mist (2007)
This movie brings us a psychologically traumatizing kind of fear–the kind that makes you lose faith in humanity and its ability to maintain some semblance of civility and order throughout chaos. What is really terrifying about this movie isn’t the otherworldly monsters which we get decent exposure to, it’s the characters and their inability to withstand the stress of their situation. We see the characters go through an extreme transformation in their two days of being held captive by the mist; at first cooler heads prevail, but constant fear-mongering by the town’s bible-thumping mentally disturbed resident leads a majority of them to demand blood sacrifice to appease the monsters that they believe God has sent to punish them. Classically terrifying cosmic horror that has aged well over the past decade.
The Happening (2008)
This is probably the movie that least represents cosmic horror within the context of this list–since this movie deals with forces that originate on Earth, particularly Mother Nature herself, instead of an ancient being that has come to take over and extinguish our existence with little to no premeditated vision of extermination. It still fits the subgenre though, because of the inability to truly comprehend the forces at work and the feelings that we see the characters experience throughout the movie. Even though we’re left with an explanation of what our protagonists have encountered, we’re also left with this unrelenting feeling that we don’t actually possess as much control over our existence as we initially believed.
The Cabin in the Woods (2011)
Perhaps its the stereotypical creepy gas station attendant, or the lack of accumulated dust on the relics in the cellar of the cabin, or perhaps it’s the pain-worshipping redneck zombies that dig their way out of the ground–this movie doesn’t walk or quack like a cosmic horror duck, at least not at first. If we discount the major hints that are dropped throughout this movie, the entire movie may end up shocking you once it reaches its finality. It stands to reason though, that if you pay attention throughout the movie you’ll be on edge and most notably creeped out by the subtle external influences at work in this complex, comical, and downright terrifying film. In the end, the character’s realization of what is really going on is what sells this movie as a true gem in the realm of cosmic horror. Not only do they go through all of the stages of grief in a twenty-minute span, but they also cross over into the realm of acceptance within the insanity that they find themselves facing.
The Thing (2011)
Even though The Thing (2011) came out almost thirty years after the original 1982 version, it actually serves as a prequel to John Carpenter’s first masterwork. More is revealed to us about this universe throughout the movie, but it’s almost like this prequel was meant to be watched after we’re already exposed to the monster and already know the havoc it can wreak within a small, claustrophobic, and insanely isolated region. In our opinion, watching this one as if it were a sequel really helps to keep the original mysterious and terrifying. So if you’re planning on watching these two movies back to back, watch this one last.
Prometheus (2012)
This movie was birthed from a movie franchise with an already extensive history, stemming from the Alien franchise that began its epic journey in 1979. The cosmic horror focus made this move unlike any of its predecessors, which all made their home in the action, science fiction, monster/alien horror, and thriller genres. We get to see the missing piece of this familiar Alien puzzle, but the Engineers weren’t exactly what was expected out of the story. It makes sense that fans of a violent and terrifying franchise wouldn’t be able to relate as well to a story that hinged on a narrative where human beings were simply a test species genetically engineered by an ancient race of beings. As a result and none-too-surprisingly, it didn’t do too well with the main following of the original franchise. So even though Prometheus (2012) was a highly anticipated movie, the fans of the original franchise weren’t too thrilled with this new cosmic horror focus of the overall story.
The Void (2016)
As creepy as it is confusing, this movie is a great example of cosmic horror. The creatures smack of Lovecraft’s strange influence, where there is no real ability to describe what they are. This all takes place in a pretty deserted hospital, which is creepy enough if you’ve ever seen a movie with the stereotypical abandoned and haunted medical center. All we really know when we watch this movie is that it attempts to convey the existence of evil things we can’t hope to know or understand and if that’s not cosmic horror, then we’re not sure what is.
The Endless (2017)
If you’re the type that is intrigued by the psychology of cults and their idea of ascension within the context of mass suicide, then this movie is definitely for you. Outwardly it just seems like some kooky people who are looking for a form of validation through their belief system, but then we realize there are indescribable things at work behind the scenes. When we join two of the cult survivors who go back to find out what’s really going on we see that nothing is what it seems and that the mystery is hidden beneath the surface. The dread that we face from this movie is spurred by our need to know what is going on, so we sit on the edge of our seats waiting to see what our two protagonists came to find out.
Life (2017)
It’s difficult to know whether or not a movie like this exists within the realm of cosmic horror–or if it’s just another alien movie. Here’s the thing though, even though we see the alien, monster, lifeform (or whatever you want to call it) throughout the entire movie, there is no viable way to know whether this is another evil alien, or just an uncaring being that has a predisposition to survive no matter what the cost is to another form of life. A huge part of cosmic horror is that the menacing force within the story doesn’t need to be evil–it just needs to be overwhelming and intangible, or unidentifable. Their trail of destruction needs to make you feel small, insignificant, and easily discarded.
Annihilation (2018)
If you didn’t quite understand Annihilation (2018) then you’re not the only one, but that was sort of the entire point of the movie. Even though Natalie Portman dominated this movie in her typical fashion, the movie didn’t get a lot of credit for how intensely original it was; perhaps it was because there was no determinable wrap up to the story, but no good cosmic horror story does. While the jump scares and monsters should have lent to it being an instant horror classic, the terrifying nature of what was going on inside of “the shimmer,” and the inability for people to completely understand the grand theme of utter helplessness in the face of something so large and indefinable led to a lot of people saying it was a bad movie.
In the defense of Annihilation (2018), it’s not that it was a bad movie, there are just not a lot of people who understand or appreciate the classic Lovecraftian influences that make this movie such a success. There’s nothing better than a movie that leaves us questioning everything we know about our own existence, that is the very core of cosmic horror. We see the invading force of the movie literally taking everything it encounters in its path and changing it from something we know and can easily recognize to something entirely new and foreign. Neither we as the viewers nor the characters themselves can fathom the existence of something that can literally rewrite how we define reality on our Earth. If you’re planning on reading the book that the movie was based on, don’t worry about whether or not you read it first–the movie and book hold little in common other than the name.
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.
H.P. Lovecraft
Bird Box (2018)
A movie that was simultaneously successful and a joke in the increasingly nihilistic attitude of today’s world; it earned its status as the most successful original Netflix film in the history of the platform, but it also caused the less intelligent people of society to take the Bird Box Challenge in an effort to take advantage of their fifteen minutes of fame. This challenge like its predecessor, the Tide Pod Challenge ended up getting people hurt and challenged a lot more people to denounce Darwinism in the face of such blatant disregard of responsible action. The social media frenzy that surrounded this movie may have been what everyone was really talking about, but it didn’t detract from the overall cosmic message of the movie.
Like any true Lovecraftian horror story, we see from the very beginning that the horror element of this entire story is the indescribable, madness-inducing truth of the evil they are facing. The perfection of cosmic horror is that the source of fear doesn’t have to be seen by the audience in order to really bring the point home. In fact, the less we see of the source the scarier it becomes, that which cannot be defined or that which cannot hope to be known speaks to our fear of the unknown. Fear of the unknown is one of the oldest fears to plague humanity, it harkens back to the days where our fight or flight response to dangerous situations was what kept us alive. This indescribable creature that terrorizes the survivors of the Bird Box universe is exactly what Lovecraft’s cosmic horror is truly all about–we see that just the sight of these creatures creates such a huge wave of existential dread in a person that they literally respond by committing suicide. Those who are already suffering from mental illness just see the truth of what they already know and seek to show their truth to others.
Considering the failure of many of Lovecraft’s previous works being translated to the screen, this movie was both highly anticipated and doubted. Horror lovers eagerly awaited to see if it would be a true flop as all of the attempts that had come before it, or if it would actually capture Lovecraft’s vision. This undertaking, Nicolas Cage notwithstanding, was an incredibly solid effort to capture that lovely, wonderful, existential dread that Lovecraft made so popular. The jump scares in this movie are nearly non-existent, instead, we got the frightening tale that we were hoping for in true Lovecraft form.
Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.
Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.
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