The Legacy of Horror Writer, Lois Duncan

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Featured Horror Books Women in Horror

The Legacy of an author like the late Lois Duncan stretches farther than one might think—having been 82 years old when she died of a stroke, she left behind a long prolific career of writing fiction for young adults. Many people read Duncan’s books in their adolescence, so much so her books can be considered a rite of passage. One thing that can be said of Duncan’s writing is that she captures the essence of what it is to go through puberty—the feelings of alienation and the thirst to be accepted by one’s peers—and also the kind of chilling, oft supernatural situations that made her horror and thriller writing so famous.

I Know What You Did Last Summer by Lois Duncan

I Know What You Did Last Summer by Lois Duncan

What She’s Known For

I started writing for young adults because I was one.

Lois Duncan in The Sarasota Herald-Tribune 2005

Duncan wanted to create something relatable for readers who were too old for children’s books and too young for adult books–something in between that could bridge the gap between, something that would carry them over and enable them to be lifelong reading enthusiasts. Authors like Lois Duncan are incredibly important, they breed the interest and love for the written word long after our parents stop reading us bedtime stories and well before we lose interest in school-assigned reading. Duncan’s most well-known books to date were written well before young adult fiction had become a popular genre—among these, she had created Down a Dark Hall (1974), Killing Mr. Griffin (1978), and Stranger With My Face (1981). These books were all considerably violent in their own right, but when her 1973 novel I Know What You Did Last Summer was adapted to the big screen, Duncan was “utterly horrified.”

I Know What You Did Last Summer (1997) Movie Poster
I Know What You Did Last Summer (1997)

The movie adaptation, which was released in 1997, horribly skewed her suspenseful thriller—a book about a group of teenagers who were desperate to conceal an accidental killing–into a slasher horror film. She recounted going to see the movie for the first time, “the first time I knew it was a slasher movie was when I bought my popcorn and bought my ticket and excitedly walked into the theater … the heads were dropping and the blood was spurting and I was screaming and the audience was screaming.” Truly it was never her intention for it to be as bloody and shocking as it turned out to be on film and it didn’t ring true with the message she tried to embed in her stories, that what you do in life matters and accepting responsibility for your actions is paramount.

Not all of Duncan’s work lies within the realm of the terrifying and dark, some of it is decidedly light—especially the work that followed after her daughter Kaitlyn—and many of her works have been adapted into film. Like most authors who have had their work adapted into screenplays, Duncan didn’t exactly make her name from audiences knowing who came up with the original idea for them. Instead she made her name through the amazing wealth of novels that she contributed to multiple genres and the awards she received for them.

What the Critics Had to Say

Lois Duncan is regularly given credit by critics and journalists alike for pioneering the genre of young adult fiction—she made most of these strides within the teen suspense and horror genres and was even dubbed as the “queen of teen thrillers.” The Washington Post’s Emily Langer stated that Duncan, “plucked her characters from normalcy and placed them in extraordinary, often dark circumstances,” which for a time when Beverly Cleary, Judy Blume, and Robert Cormier were big names in fiction, was decidedly against the grain of the genre.

What the Fans Have to Say

Even four years after her death, Lois Duncan is still on the minds of the people she inspired to write during their youths—her impact was profound and lasting because she finally gave teens a voice for the dark and dismal forces that play a large part in the imaginations and fantasies of so many of us during a time of chaotic emotions and hormones. She isolated that turmoil and removed it from the internal struggle by creating these dark tales and then illustrated how much worse things could really be beyond our own thoughts, fears, and expectations.

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The Legend of The Boggy Creek Monster

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Featured Horror Mystery and Lore

Fouke is a picturesque little city in central Miller County, Arkansas, about 150 miles outside of Little Rock. Boasting its gorgeous Mountain Lake Park Hotel and a spacious festival plaza, Fouke seems ideal for a relaxing getaway amongst the more attractive facets of nature. However, not all of nature’s creations are necessarily friendly, as warned by a legend which has haunted Fouke since the 1840s; The Boggy Creek Monster.

Boggy Creek Variations

Also referred to as the Fouke Monster, or Swamp Stalker, The Boggy Creek Monster is a hulking ape-like creature standing upright between seven and eight feet tall. Long and dense fur covers its arms and legs and it walks or runs with a hunch, swinging its arms like a primate. It has a similar description as the legendary Bigfoot and a strikingly eerie resemblance to the Momo seen in Louisiana, Missouri. This prompts some to believe that these are part of the same genus of elusive ape-men which still live hidden lives in the denser woodland of the earth. The Boggy Creek Monster has been said to kill livestock, chickens and dogs in the area and while it hasn’t been reported to have killed any people, many have claimed of its vicious nature.

The Legends

Two families in the late 1860s were allegedly terrorised, and one hospitalised, by the beast. Then in May 1971, Bobby and Elizabeth Ford claimed that a great hairy beast with red eyes and rattling breath attacked their home. Bobby claimed that the beast grabbed his shoulder, him only having narrowly escaped its clutches and ploughing himself through his front door. Elizabeth also claimed to see the red eyes and fur-covered arms coming through the window as she slept in the living room one day.


The legend spread like wildfire and made it into a low-budget cult horror film in 1973 entitled The Legend of Boggy Creek. While the film was panned critically, many fans saw it as a chillingly atmospheric dive into their favourite Arkansas urban legend, and the film actually spawned two very odd unofficial sequels, one of which featuring the monster as a disney-esque character who helps a band of lost children. The original was also said to have paved the way for films like The Blair Witch Project, meaning the Boggy Creek Monster could have had more impact on the world of film than once realised.

The people of Fouke used to capitalise on the legend with their Monster Mart featuring a huge screaming Boggy Creek Monster holding up its sign, with the Haunted Texarkana Ghost Walk and with plenty of signs around the town. These are not so much the case any more and it appears the locals have tired of the legend and the outsiders it brings to their quaint place of residence. That being said, 1997 saw over forty sightings of the Swamp Stalker, primarily walking along the dry creek bed just outside of town. While tourism seems to be dying out, the legend of the Boggy Creek Monster is as prevalent as ever.

https://encyclopediaofarkansas.net/entries/fouke-monster-2212/
https://www.tripadvisor.com/Tourism-g31598-Fouke_Arkansas-Vacations.html
https://cryptidz.fandom.com/wiki/Boggy_Creek_Monster
https://encyclopediaofarkansas.net/entries/the-legend-of-boggy-creek-movie-2192/

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The Legend of the Hodag

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Featured Haunted Places Horror Mystery and Lore

If you ever visit the Rhinelander Area Chamber of Commerce, located in a small town of the same name in northern Wisconsin, you’ll come across a large fiberglass statue of a monstrous creature sitting out front. With its red eyes, cheshire grin, and raised paw it looks both fearsome and mischievous – like something from Maurice Sendak’s Where the Wild Things Are. This eye-catching monument exists to make one thing clear: you’re in Hodag Country now. As you explore the town of Rhinelander you’ll notice a common word cropping up when you’re eating at the Hodag Store, bowling at the Hodag Lanes, and shopping at the Hodag Farmers Market. Like many urban legends this creature has become the town’s mascot.

But what exactly is a Hodag? And why is it so woven into the fabric of Rhinelander?

Hodag statue in Rhinelander, Wisconsin

According to local legends, the Hodag is a mythical beast that has “the head of a frog, the grinning face of a giant elephant, thick short legs set off by huge claws, the back of a dinosaur, and a long tail with spears at the end”. It’s believed to be seven feet long and thirty inches tall, and it’s diet consists mainly of turtles, snakes, and white bulldogs. Modern reports of the Hodag have been few and far between, but there was a time when the creature was gaining national attention.

History of the Hodag Legend

Back in the 1800s, Rhinelander was a lumber town. Loggers working the surrounding forests would tell stories of a monster that stalked the woods, which they thought might be the agitated spirit of a dead lumber oxen. In 1893, a timber cruiser named Eugene Shepard released photographic evidence of the creature’s charred remains. He’s said to have gathered up a group of men to capture the beast, but they failed and ended up destroying it with dynamite. 

Sketch of Hodag local legend

Then, in 1896, Shepard was back claiming he had captured a live Hodag from its cave with the help of several bear wrestlers and a generous amount of chloroform. He debuted the mythical creature in the back of a dark tent during the first Oneida County Fair, where frightened onlookers caught glimpses of it moving about in the shadows. It became such a hit that Shepard began touring county fairs with his sons, promoting the legend and raking in profits. He kept the beast in a shed behind his house, and people would pay to come see it there as well.

Word was beginning to spread and people would come from far and wide to get a look at the Hodag. It wasn’t until a group of scientists from the Smithsonian Institution in Washington, D.C. came to visit that Shepard’s claim was unmasked for what it truly was – a hoax! He’d simply fashioned a puppet of sorts with wood, ox hides, and cattle horns that he could move with hidden wires. And yet Shepard had done such a successful job of advertising the legend that people still came to see it, even after it was declared a gimmick.

The Hodag in Modern Times

Welcome Sign for Rhinelander, Wisconsin

Not only is the Hodag the official symbol for Rhinelander, but it has become a part of the town’s very livelihood. Various statues and billboards featuring the legend dot the main streets. Pennants bearing its image fly from flagpoles downtown. It’s the mascot of the local high school and the Hodag Country Festival. Souvenir shops, museums, restaurants, and more all carry the Hodag brand. 

But does this local legend, beloved by residents and tourists alike, actually exist? Is it just a mascot, or is it something more? There have been occasional reports in recent decades. Golfers claim it is eating their golf balls, anglers state it is stealing the fish straight from their lines, and so on. But whether or not the legend is true, one thing is clear: the Hodag is alive and well in Rhinelander, Wisconsin.

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The Legendary Wes Craven

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Featured Scary Movies and Series

Wes Craven has been praised as one of the most imaginative and exciting horror creators in cinema. His legendary Nightmare on Elm Street series which birthed the insidious dream-weaving villain Freddy Krueger, and the hyper-self-aware Scream series which spawned the knife-wielding Ghostface killer, are just two of the many properties Craven has used to scare audiences the world over. Everyone who owns a television can probably tell you at least what these two aforementioned mass-murderers look like, but did you know prolific terror maestro Wes Craven actually started his film career in pornography? Or that Elm Street was actually based on the deathly nightmares of Cambodian refugees who had witnessed the American bombing of Cambodia?

Here we take a look at some of the most influential, and also the more obscure of Wes Craven’s directorial works, in order to pay tribute to and properly learn about a man who caused more sleepless nights than European Techno.

Last House On The Left (1972)


Craven clearly wanted to shock the world from the get-go. His first horror outing centred around two girls looking for drugs after attending a concert in the city. They run into a gang of escaped convicts who kidnap them for a night of rape, torture and their eventual muder. When the convicts later hide out at the home of one of the murdered girls, her parents soon work out what happened and plot their revenge. Last House managed to land itself on the Video Nasties list and was actually refused a certificate for cinema release by the British Board of Film Censors for its depictions of horiffic sadism and sexual violence.

The script, written by Craven in 1971, was originally intended to be a hardcore pornographic feature before filming began, whereupon it was decided that a much softer approach would be taken. One can only imagine what the original idea had in store for viewers. The story is inspired by Ingmar Bergman’s Swedish film The Virgin Spring (1960), which in turn is based on a Swedish ballad, Töres döttrar i Wänge. Who would’ve thought such classic and artistic inspiration could have gone into what is now an infamous rape/revenge horror?


The Hills Have Eyes (1977)


This is one of the rare occasions in horror where I actually prefer a remake to the original. Perhaps it has something to do with the similarities of Craven’s Hills with Tobe Hooper’s classic (and far more expertly crafted) The Texas Chainsaw Massacre (1974), or perhaps I simply didn’t feel that the gut-wrenching implications of some scenes could be fully realised with this particular cast of actors. That being said, this is still a fairly competent and satisfyingly violent film based on the legend of Sawney Bean, a scottish clan leader said to have lived in a sea cave and cannibalized over a thousand people in the 16th Century. Craven’s depiction features the Carter family on their way to Los Angeles who crash their camper in an area of the Nevada desert inhabited by murderous cannibals. When they start to die off the family must fight back against the savages, which they do in quite spectacular fashion. Craven’s vision was raw and unflinching with this piece, even if some of it did need to be trimmed due to an X-rating. While it doesn’t jump out as a masterpiece in the genre, it would be a crime to write it off as just another cheap shock-horror.


The Serpent and the Rainbow (1988)

The Serpent and the Rainbow Movie Poster
The Serpent and the Rainbow (1988)


Bill Pullman is excellent in this mystifying mashup of Live and Let Die (1973) and In The Mouth of Madness (1944). Anthropologist Dennis (Bill Pullman) heads to Haiti, in a time of severe social and political unrest, to study an alleged voodoo drug that has been bringing the dead back to life. With the help of a witch doctor (Brent Jennings) and a fellow researcher (Cathy Tyson) Dennis must dodge Haitian authorities and solve the deadly mystery before it consumes him completely. With some genuinely unsettling imagery, fantastically engaging performances from its lead cast and implications around life, death and madness that have the potential to chill viewers to the core, The Serpent and The Rainbow proves itself to this day one of the more original and enthralling of Craven’s back-catalogue.


The People Under the Stairs (1991)


I’ll start by saying that I had no idea what to expect from this film. Having borrowed the dvd from a friend and basing my expectations on its goofy cover art, I was expecting something akin to other campy 70s and 80s horrors like Fright Night (1985) or perhaps even Beetlejuice (1988). After multiple viewings I now class this as one of Craven’s darkest films, straight-up shocking in many places while crawling under your skin in others. Craven was adamant to portray a respectful account of class warfare and personal struggles in poverty-stricken ghettos, and has expressed in other films such as Scream 2 his views on the need for “black representation” in horror, so what better villain than a couple of rich, incestuous white landlords? The violent psychopathy displayed when things start to kick off is unrivalled, with much of the terror being derived not from monsters or ghosts, but the potential of pure evil from humans. With a stellar performance from Brandon Adams as ‘Fool’ and Everett McGill and Wendy Robie as the nameless, psychotic Landlord and Lady, this is close to the top of a list of personal favourites, not just of Craven’s work but of horror in general, and should not be missed.


Wes Craven’s New Nightmare (1994)


Everyone is familiar with the Nightmare on Elm Street legacy, from the original breakout hit all the way to Freddy vs Jason, but I’d rather talk about what I consider the most interesting and underrated in the series. Now I’ll admit that when I first watched New Nightmare I was far too young to really be able to appreciate horror, never mind understanding any of the meta-layers underlying this gory flick. It still managed to shock me, and stick in my mind to this day, and it was one of my later revisits that helped me realise just what Craven was going for. Heather Langenkamp plays herself, years after the shooting of the original Nightmare films, when visions of Freddy begin to plague her in real life. This was definitely the beginning of Craven’s more self-aware phase which led onto the Scream series, and his playfulness in flirting with the fourth-wall more than pays off in breathing new life into Freddy as a villain, and the Nightmare series in general. I won’t give away too much, as there are several payoffs in Craven’s 1994 rethink that scream for multiple viewings.


Scream (1996)

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Scream is such a fun ride. Somehow Craven managed to craft a film that is blatantly self-aware yet balanced enough so that the self-referential comedy doesn’t once get in the way of bloody scares. It is witty and clever in similar ways to New Nightmare but a lot more playful and sometimes goofy in execution. Some references and nods to horror tropes and even Craven’s earlier pictures are terrifically on the nose, and more than welcome in that, though repeated viewings are warranted with plenty of subtleties to find. Matthew Lillard is brilliant as Stu Macher, wacky and on the border of being a complete clown while somehow retaining an imposing and intimidating air through his sheer size and intensity. Scream gleefully and violently subverts expectations set by genre greats, while paying homage to all that inspired it, and somehow having a better ending to many of the films it parodies.


Scream 2 (1997)


Somehow this one passed me by until very recently, though I’m almost ashamed to admit it now. Scream 2 is one of the better horror sequels out there, majorly due to its self awareness (as if it only exists as a punchline to scream’s continuous mention of a sequel) though also due in part to Craven’s consistency in style and substance. I found myself overjoyed when characters from the first began popping up and reuniting, and enjoying the introduction of new characters that, like the film itself, feel more an extension of Scream rather than a tacked-on rethink. Featuring possibly a better ending than even its predecessor did, all while retaining the meta-layers in almost every scene that made the first great.

Full Filmography

1972The Last House on the LeftHallmark Releasing / American International Pictures
1977The Hills Have EyesVanguard
1981Deadly BlessingUnited Artists
1982Swamp ThingEmbassy Pictures
1984A Nightmare on Elm StreetNew Line Cinema
1985The Hills Have Eyes Part IICastle Hill Productions
1986Deadly FriendWarner Bros.
1988The Serpent and the RainbowUniversal Pictures
1989Shocker
1991The People Under the Stairs
1994Wes Craven’s New NightmareNew Line Cinema
1995Vampire in BrooklynParamount Pictures
1996ScreamDimension Films
1997Scream 2
1999Music of the HeartMiramax
2000Scream 3Dimension Films
2005CursedMiramax
2005Red Eye
2010My Soul to TakeUniversal Pictures
2011Scream 4Dimension Films
from wikipedia.com
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The Life and Death of Richard Matheson

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Featured Horror Books

Richard Matheson has been aptly described as, “the most famous horror writer that you’ve never heard of,” meaning that you know his body of work, you just never knew the face behind it. So here’s your chance to learn about one of the most prolific writers of the genre, with a career that spanned nearly seven decades.

The Early Years

Born in Allendale, New Jersey on February 20, 1926, Richard Matheson was the child of Norwegian parents and was raised in Brooklyn, New York. As a child he had his heart set on a musical career, but he stumbled upon his love of fantasy that sparked his creativity and imagination—by the time he was eight years old his stories had already appeared in a local newspaper called The Brooklyn Eagle. Transfixed by the earliest examples of Dracula on the big screen, he already had his idea for the vampire story I Am Legend (1954).

Introduction to Adulthood: His Time in World War II

Matheson graduated from Brooklyn Technical High School in 1943, during the late years of World War II, he was a hardworking student who planned to continue on his education in the field of engineering. Due to the timing of his graduation, he enlisted in Army Specialized Training at Cornell in order to go into the military as an engineer instead of being enlisted as an infantry soldier—as luck would have it, the program was canceled and he ended up in the infantry anyway. According to biographical sources, Matheson served in the Eight-Seventh Division of the U.S. Infantry—known as The Golden Acorn Division—in France and Germany until nearly the end of the war when he was medically discharged due to trench foot. In 1960 he published The Beardless Warriors which described his experiences through the eyes of a common soldier and was the first known instance where his style was captured—first-person narratives from male characters who were confused in ambiguous situations.

A Formal Education

Following his return from the war, Matheson lived with his mother while he sought advice on how to proceed with his career in life—a guidance counselor suggested the journalism program at the University of Missouri. By 1949, Matheson had earned a bachelor’s degree in journalism and also published his first story, “Born of Man and Woman,” in the third issue of the Magazine of Fantasy and Science Fiction from which he earned $25. Matheson often sent stories into this publication after reading the first issue and feeling as if it were one-of-a-kind, something that appealed to his eclectic writing style. After graduating from the University of Missouri in 1949, he moved to the west coast where he met his future wife, Ruth Ann Woodson on a beach in Santa Monica. They were married by 1952.

When his first story appeared in the summer of 1950, he was immediately contacted by an agent. In Richard Matheson’s Monsters: Gender in the Stories, Scripts, Novels, and Twilight Zone Episodes it was said that Matheson would regularly submit his stories to newer publications, to maximize his exposure, since he knew the importance of working with them. Later, when Matheson was ready to publish his first story collection, he dedicated it to William Peden at the University of Missouri, a man who had been his professor and someone who Matheson had considered his mentor.

A Literary Career

There are very few authors who, when truly recognized for their work in the horror and fantasy genre of the twentieth century, would be considered greater than Richard Matheson—while he’s known for many of his novels, such as I Am Legend as well as his work in television with sixteen of the original Twilight Zone episodes, and made-for-TV movie The Night Stalker, it’s only usually his work that is recognized and not his name. It’s truly a shame though, as he was a major influence on nearly every major writer of science fiction, horror, and fantasy—including the greats like Stephen King, Neil Gaiman, Peter Straub, Joe Hill as well as filmmakers such as Stephen Spielberg and J.J. Abrams.

With the type of legacy that Richard Matheson has left behind, it’s wonderful to know that he was around long enough for people to take notice of his talent–and this particular video was made for aspiring writers who would appreciate any advice from someone they might look up to.

His Final Years

Matheson passed away in June 2013 at the age of eighty-seven. As of this posting, it has been seven full years since Richard Burton Matheson passed away, but this prolific American writer of fantasy, horror, science fiction left behind a legacy of work that helped to shape the horror culture that we have today.

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