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A Gothic, Cosmic, and Psychological Lifetime of Horror: The 16 Greatest Short Stories from Robert Bloch

Robert Bloch wrote literature that ranged from the psychologically terrifying to the downright “weird” horror; his inspiration stemmed both from watching his first scary film on his own as a child—and his subsequent nightmares—and his admiration for the stylistic horror of H.P. Lovecraft. His stories, however, are and always will be uniquely Robert Bloch, a genius in psychological horror with a splash of the supernatural. His deep interest in serial killers brought back anti-heroes like Norman Bates and Jack the Ripper.

“The Shambler From The Stars” (1935)

This particular short story first appeared in the September issue of Weird Tales, in 1935—later on, it was included as a part of his first published book, The Opener of the Way (1945). It was one of the many works that bore the influence of H.P. Lovecraft and can be considered part of the genre of cosmic horror. More than just another author following the footsteps of Lovecraft, Bloch still included elements of Lovecraftian influence, such as the inclusion of The Necronomicon, and The Book of Eibon. Deliciously self-indulgent, Bloch’s story is about a writer of weird fiction obsessed with learning all things occult when he looks to find the aforementioned esoteric tomes of forbidden knowledge. As we all know when it comes to Eldritch cosmic horror, this writer inevitably summons something disastrous.

“The Secret in the Tomb” (1935)

Another instance of cosmic horror in the early days of Bloch’s writing career, it has been compared directly to the stylistic literature of the father of cosmic horror himself—to the point that, if the author of this had been unknown, it would have been assumed to have been a product of Lovecraft. This dark, dank tale of eldritch horror and dread is lurking, just beyond sight, and awaiting the arrival of the last descendant of a long line of sorcerers.

“The Mannikin” (1937)

Another Weird Tales original, published in the April edition in 1937, we get a tale of a strange reclusive and a disfigured, hunchbacked man named Simon, whom the locals all despise. As a short story, of course, it doesn’t take long to find that this cosmic horror is based all around the diabolical hump on Simon’s back—just wait until you find out what the hump really is.

“The Sorcerer’s Jewel” (1939)

This is a story that Bloch originally published under the pen name Tarleton Fiske in Strange Stories Magazine, in 1939; in this story we see a similarity to “A Shambler in the Stars” when we follow a photographer who takes incredibly bizarre photos as his life’s passion. While he doesn’t believe in the occult, his assistant happens to be a devotee of a peculiar occult practice and everything changes when the photographer is brought an ancient jewel.

“Yours Truly, Jack The Ripper” (1943)

Over the years, Robert Bloch’s short story “Yours Truly, Jack The Ripper” has been adapted to various mediums following its publication—the story is about a man from Chicago who is approached by a gentleman from England who tells him that he’s looking for Jack the Ripper. This, of course, is strange on its own as the infamous serial killer should have died years before. The Englishman believes that Jack the Ripper has become immortal through occult means and that his serial murders are actually ritual sacrifices that restore his youth. The man from Chicago is enlisted to help to bring the Ripper to light.

“Satan’s Phonograph” (1946)

A slow burn for a short story, this haunting tale follows the narrator down memory lane as he tells the reader about the ingenious, but wildly mad piano teacher that helped him to reach Carnegie Hall—but when the pupil returns from his tours across Europe with his new wife in tow, he finds that his old teacher had been institutionalized—when his insane old teacher shows up in his house with a seemingly innocent phonograph and his wild theories, the narrator believes his teacher is simply delusional.

“Sweets To The Sweet” (1947)

Bloch spins the thread of a sinister six-year-old girl, following the narrative of the housekeeper as she speaks to her former boss’s brother, who happens to be a lawyer. The housekeeper encourages the lawyer to look into what she believes to be a brutally abusive situation between father and daughter. She tells the brother about all of the signs of alcoholism and beatings, while the child is accused of witchcraft. When the lawyer finally goes to investigate what is happening in his brother’s home, he finds out that the truth may be more disturbing than he expects.

“Floral Tribute” (1949)

An eerie tale of a young boy being raised by his grandmother brings her fresh flowers home every day—it’s not until the inhabitants of the local cemetery come to speak with the grandmother that she finds out that he has been taking them from the graves of the nearby graveyard, where he plays among the tombstones.

“The Shadow From The Steeple” (1950)

Yet another story based in the Lovecraft universe, Bloch starts the story off with the friend of a character Lovecraft had killed in his short story “The Haunter in the Dark” whom Lovecraft had modeled after Bloch himself. A convoluted and dark fictional tale based on Lovecraft and his circle of writers, we get to see the authors appearing as characters of their own making. As another story within the Cthulhu Mythos, we see how involved Bloch was still within the Lovefcraft style even at this point in his career.

“Head Man” (1950)

An interesting spin on Nazi Germany’s obsession with the occult and paranormal, a SS executioner puts everything on the line to keep possession of the heads of a man and woman who had been charged with witchcraft and executed as a result.

“The Hungry House” (1951)

A tale that will once again make you fear your own reflection in a mirror; “The Hungry House” takes place after a couple moves into their new home. As they try to get comfortable in their new house they begin to see spooky inexplicable reflections around the house and dismiss it as being an overactive imagination. It’s not until the husband finds the locked closet in the attic that they realize something is incredibly wrong with their house—in it are all of the mirrors that the previous owners had removed from the walls of the house.

“Notebook Found in an Abandoned House” (1951)

This story is told from a notebook found in an abandoned house, which was written by a twelve-year-old boy by the name of Willy Osborne who is trapped within the house by the sinister beasts, or “them ones,” that stalk him from within the woods and swamps that surround the house. “Them ones,” that Willy is scared might come and get him are monstrous, Lovecraftian elder creatures who used to be take sacrifices to be appeased.

“The Light-House” (1953)

This particular short story took special influence from a story that Edgar Allan Poe began before his death in 1849, but was never able to finish; in 1953 Bloch took this unfinished short story, finished it, polished it up, and then had it published. As such, it is considered a posthumous collaboration. It follows the pursuits of a nobleman who takes a job as a lighthouse keeper, so he may write in solitude. His loneliness gets the better of him in this weird and satisfyingly dark tale, when he tries to psychically summon a companion.

“House of the Hatchet” (1955)

A couple with a relationship on the rocks decides to take their a second honeymoon on the road—on their trip they end up stopping at a haunted tourist attraction, where the story goes that a husband had killed his wife with a hatchet in one of the rooms. When they decided to take a tour of this haunted house, the husband begins to feel a heavy dark presence in the room where the murder was said to have occurred…

“Terror In Cut Throat Cove” (1958)

Considered a horror adventure tale, “Terror In Cut Throat Cove” follows the tale of an American writer who is approached by a treasure-hunting duo; they end up recruiting him to help them locate this long-lost legendary ship that sunk with a massive fortune aboard because the writer has an undeniable fondness for the girlfriend of the treasure hunter. A crazy adventure ensues until they find the ship and one of the divers returns from the ship’s wreckage without his head.

“The Animal Fair” (1971)

This story of a drifter who ends up in the small town of Medley, Oklahoma while the carnival is in town—where he enters the a tent that houses a gorilla who happens to be the main attraction—not to mention seriously abused by his trainer. This horrifying weird tale ends in a shocking twist and is well worth the read.

Works Cited:

Cowan, Matt. “FIFTEEN HORROR TALES BY ROBERT BLOCH.” Horror Delve, 4 Apr. 2016, horrordelve.com/2016/04/04/robert-bloch/.

HorrorBabble. “The Shambler from the Stars” by Robert Bloch. Youtube/”The Shambler from the Stars” by Robert Bloch, HorrorBabble, 12 Mar. 2018, youtu.be/0Q6xA0f9SNk.

HorrorBabble. “The Secret in the Tomb” by Robert Bloch. Youtube/”The Secret in the Tomb” by Robert Bloch, HorrorBabble, 20 Aug. 2018, youtu.be/vodqchPxgCoyoutu.be/vodqchPxgCo.

Thomas, G. W. “The Early Robert Bloch.” Dark Worlds Quarterly, 6 Aug. 2020, darkworldsquarterly.gwthomas.org/the-early-robert-bloch/.

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Featured Horror Books Horror Mystery and Lore Women in Horror

Beyond Frankenstein—Mary Shelley’s Literary Successes

The tragedy of Mary Wollstonecraft Shelley is that, despite having one of the most famous horror stories of all time, her other work is virtually unknown. Her other two novels, aside from Frankenstein, were actually strange and unique in their own way—keep reading to learn more about the roads Mary Shelley paved for the literary community.

Frankenstein, or The Modern Prometheus (1818)

Shelley’s first and most notorious novel was started when she was still a teenager, in 1816, at age 18. Female writers around the world, myself included, are grateful for her contribution to literature, even though she published initial additions anonymously when she was twenty in London in 1818. Her name didn’t actually appear on the publication until the second edition was published in Paris in 1821.

Frankenstein, or the Modern Prometheus

What is incredible about this book is not just that it was written by a teenager, or that it was written by a woman, but that it was written by a woman from the perspective of a young male scientist. This story arose from her travels through Europe in 1815 while she traveled along the Rhine in Germany. Eleven miles away from what is considered Frankenstein Castle, where two centuries before her visit a mad alchemist conducted various experiments. She continued her travels across Geneva, Switzerland—which was also used as a setting for much of the novel. Shelley and her traveling companions had incredibly controversial conversations that ranged from the occult to galvanism—this of course was around the time that Luigi Galvani was conducting his experiments with his frog galvanoscope.

The legend of how Shelley came up with her idea of this particular novel tells us that Shelley and her traveling companions, most all of them writers, decided to have a contest amongst themselves. They wanted to challenge each other and see, who among them could create the most engaging, terrifying, and outrageous horror story. Initially stumped by the prompt, Shelly thought upon the topic for days until she finally had a dream that would inspire her to write the story of a scientist who created life, only to be horrified by his own creation.

The story of Victor Frankenstein was rather controversial due to the idea of Galvani’s technology and what his experiments meant for the scientific community at the time. So, Shelley portrays Victor Frankenstein, a young scientist as a man pursuing knowledge that lies in the unorthodox, blasphemous fields of secrets yet-to-be-told. Life and death are uncertainties in this story, when Victor creates a sapient creature, one constructed from the pilfered parts of those who have died.

Galvani’s experiments gave the scientific community a lot of ideas about reanimation after death and also launched experimental medical treatments using electricity to cure diseases that were incurable at the time. If you’re interested in learning a bit more about the process that Luigi Galvani used to achieve this ground-breaking discovery about electrical impulses and the nerve system, there are a few YouTubers who decided to replicate the experiment. Enjoy!

The Last Man (1826)

Shelley’s novel The Last Man is an unusual topic for the time during which it arose; originally published in 1826, this book envisions a future Earth—set in the late twenty-first century—that is ravaged by plague and unknown pandemic. It harbors the eery scene of a planet in the throes of apocalypse, where society has degraded to a dystopian nightmare, amidst the ravages of an unchecked and unknowable plague that blankets the globe.

The Last Man

In order to write this particular novel, Shelley spent time sitting in meetings of the House of Commons in order to have a deeper understanding of the inner workings of a Romantic Era political system. As such, she created another first in literature—dystopian apocalyptic visions of the future within the writing community. Due to the insanely new concept of a dystopic world, her novel was suppressed by the literary community at large, as it was a wholly nightmarish idea at the time. It was almost considered prophecy and it wasn’t until the 1960s that the novel resurfaced to the public where it was clearly understood to be a work of fiction.

Mathilda (1959)

Mathilda is one of those books that, if it had been published during Shelley’s lifetime, it might have created another scandal for Mary Shelley—as such her second long work, despite having been written between August 1819 and February 1820, wasn’t published until 1959, well after Shelley’s death. While this isn’t a horror novel, it does provide some insight into the dark and depressed mind of Shelley following the death of two of her children. Their deaths in 1818 and 1819 respectively caused Mary Shelley to distance herself emotionally and sexually from her husband which was an incredible hardship on their marriage.

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The plot of this particular novel dealt with a common theme found in Romance Era novels—incest and suicide, this novel in particular was the narrative of a father’s incestuous love for his daughter. Now you may be thinking—that’s disgusting! And by today’s standards of familial relationships and romantic relationships, you would be correct.

Mathilda tells her story from her deathbed, having barely lived to her twenties, in order to tell the story of her darkest secrets that have led her to such a young demise. She confesses the truth of her isolated upbringing which leads to the ultimate begrudging truth of her emotional withdrawal and inevitable, secluded death. She never names her father, who confesses his incestuous love for her—his confession fuels his decision to commit suicide by drowning.

Index of Sources

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Book Recommendation “Girl on Fire”

Puzzle Box Horror’s book recommendation of the week is Gemma Amor’s “Girl on Fire.” Gemma Amor is a Bram Stoker Award nominated horror fiction author, podcaster and voice actor based in the UK. Her books include Cruel Works of NatureDear Laura, White PinesGirl on Fire, and These Wounds We Make. She’s also co-creator, writer and voice actor for horror-comedy podcast Calling Darkness, starring Kate Siegel. Her stories are feature on the NoSleep PodcastShadows at the Door, Creepy and the Grey Rooms podcast.

Author Gemma Amor headshot

SYNOPSIS: Ruby Miller is free at last. Free from her past, her tormentor, her shitty family and the even shittier odds she was given at birth. But freedom has a price, and when the young girl hell-bent on starting a new life crashes her cherry red 1989 Pontiac Bonneville on America’s loneliest road, she finds out just how dear that price is. From the Bram Stoker Award nominated author of Dear Laura and White Pines comes a new novella, a searing tale of fire, revenge and redemption, a coming-of-age tale with a bite, because, let’s face it… happy endings are for children, and some girls just want to watch the world burn.

Review by Ben Vicariously 4/5 stars.

This story starts with a bang (literally) and is paced like wildfire, zipping through a tale of a young girl’s burning fury being unleashed upon the world. Ruby’s traumatic past haunts her still, and all she wants to do is see the world burn. She is the girl on fire, and her killing rage is both righteous and overwhelmingly destructive. Unfortunately for those around her it is only going to escalate.

To read the full review, click here!

Girl on Fire by Gemma Amor is available now.

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Book Review: The Burning Girls Explores the Horror and Hope of Religious Faith

The Burning Girls horror book Cover
The Burning Girls by C.J. Tudor

Is there anything more complex than religious faith? Faith can be ineffably inspirational and intractably inflexible, a source of hope to motivate some of humanity’s greatest heroes and an excuse to defend some of our most despicable monsters. And when most people talk about the subject, they tend to focus on one quality to the exclusion of the other. 

So it’s to the credit of British author C.J. Tudor that her novel The Burning Girls incorporates faith into horror story in a humane and principled manner. The book’s title refers to two young girls martyred in the 16th century for their Protestant beliefs. Today, villagers in their hometown remember “the Sussex Martyrs” as champions, holding memorial ceremonies and constructing twig dolls in homage. And sometimes, the girls’ flaming ghosts appear as omens to those who are in trouble. 

The most important troubled person is Reverend Jack Brooks, a vicar who has been moved, along with her fourteen-year-old daughter Flo, to the tiny Sussex village Chapel Cross from her urban parish in Nottingham. Jack brings along her troubled past, including the murder of a young parishioner, her husband’s shadowy death, and a family history that she does not want to discuss with anyone, including us readers. 

Despite her increasingly weighty baggage, Jack makes for a kind and engaging lead. Serving as the narrator for the majority of the book’s chapters (Tudor employs third-person voice for chapters focusing on other characters), Jack is quick with a quip and a forgiving aside, without ever feeling like a saint. The mercy she extends to others stems from an awareness of her shortcomings. When she begins judging a colleague for engaging in a sin of omission, she checks herself and thinks, “Who am I to judge?” 

This isn’t to say that Jack doesn’t make mistakes. She gives into anger and (like all parents) constantly flubs in her decisions with Flo. But given how easily this smoking, swearing, horror-movie-watching woman of the cloth could become a “cool priest” cliché, there’s something refreshingly real to Jack’s grounded approach to the transcendent, especially to a lifelong practicing Christian like me. The Burning Girls insists that everyone has their demons and fights them their own way. 

Despite the certainly admirable quality of this theme, the novel does become laden with tragedy. Everyone from a small-time reporter to a fellow vicar’s wife has a tragic backstory, which can become overwhelming. Given the mundane atrocities that mark The Burning Girls, pyro specters and crooked exorcism blades seem excessive.  

The problem is exacerbated by Tudor’s sometimes too-lean prose, which prioritizes snappy dialogue over clearly defined spaces and characters. The book often reads like a script, as conversations between characters can go on for over a page, with little more than a signal phrase to break it up. As a result, the characters feel thin, as we’re forced to construct our mental image of them from the things they say, rather than the physical attributes the narrator allows us to see. This tendency crosses over from frustrating to irritating when the characters indulge in pop-culture references, talking about Evil Dead, Bill Hicks, and (with surprising frequency) The Usual Suspects. Unless you’re Nick Hornby, readers shouldn’t know more about your protagonists’ movie collections than we do about their physical features. 

Fortunately, Tudor balances these issues by moving the plot along swiftly. The author shows a deft hand at revealing clues and mysteries, allowing connections between the Sussex martyrs, the disappearance of two teen girls and a local priest, and Jack’s biography, to float into view with satisfying elegance. The reader feels like an active participant in the adventure, never ahead of the characters and rarely trailing behind.  

The Burning Girls treads some truly horrific ground, recounting some of the worst things humans can do to one another. And it does not shy away from the fact that religious faith often drives these acts of brutality. But it also shows us how faith can be a healing element, compelling us to care for each other, all the more in the face of such cruelty. 

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Featured Horror Books Indie Horror Creation Indie horror writers

Interview with “Wendigogo” Author Kris Silva

Wendigogo book cover by author KA Silva

PBH -Tell me a bit about yourself and what got you into horror writing?

Author Kris Silva wearing antlers

KS – The earliest memories I have of loving spooky things were from trick-or-treating as a tiny child, and then an old Time-Life Library book about ghosts and the paranormal which I read at about 6 or 7, which really sparked my fascination. My dad bought me Stephen King books in the 80s when I was way too young, but I devoured them anyway and sought out more. I read Poe, Ambrose Bierce, and Lovecraft (the unholy trinity) as a teen, and then branched out into pop stuff like Anne Rice. Horror has always been my go-to for fun reading, and I enjoy most subgenres of horror films as well. I have been a fiction editor since 2013, working on romance, science fiction, and urban fantasy for Graythorn Publishing, and freelancing as well. Wendigogo is my first published novel, and the first in a planned series of at least four books with these characters. 

PBH – You’ve covered a wide range of characters in the book, what inspired you to bring them all together? 

KS – I knew I wanted to feature Ojibwe and other local Wisconsin folklore heavily. When I read about the lake monsters, the mishibizhu or mishipeshu, having one of them as a character seemed like a perfect devil’s advocate to pit against my bookseller protagonist Morty. Honestly Marie the mishibizhu wrote herself into the book! Also, with as much creature lore as there is in the Northwoods, having a cryptid hunter nosing around just made sense, and so Garwood Quell came to life. Morty’s best friend Kim and girlfriend Darcy are what anchor him to his humanity as things become progressively worse for him. Some of their interactions are comic; Morty and Marie in particular fell into such a wonderful bickering over the pros and cons of eating people. Kim and Morty have an easy, boisterous bromance going on. But then we have Quell desperately trying to hunt down the monster, because he feels it’s his duty to do so; and an ancient shaman who’s become bored and sees a wendigo as the perfect opportunity to inject a little chaos into the world for his own amusement. Morty has far more to deal with than he can handle sanely, just in interacting with the rest of the cast.

PBH – Wendigo! We love wendigos here at Puzzle Box Horror, what is it about the wendigo that made you bring that creature into the story? 

 KS -I ran across the concept of the wendigo while researching Wisconsin weird stuff in 2014, prior to moving here that same year, but my ideas fizzled out. It wasn’t until 2019 that the wendigo resurfaced in my head, right about the time I became utterly fed up with the current political climate. It hit me that what I needed was a wendigo to prey upon all the greedy people happily selling out their fellow humans for a fat paycheck. The wendigo has always been a symbol of greed and gluttony, eating their neighbors even when there was abundant game. I wanted to twist that a bit, to make my wendigo ravenously hungry like the monsters of lore, but to have him turn that hunger upon selfish people. The fact that descriptions of the wendigo vary widely and wildly even in original Native American sources gave me some leeway in fashioning him, as well. They’ve been described as anything from skeletal, lipless corpses to giants with hearts of ice. One legend says they can look like anything in the forest! They’re native to Wisconsin, Minnesota, and Canada, and there’s even a Windigo Fest at Manitowoc, WI every October; I attended last year and was further inspired by the range of wendigook wandering the streets!

PBH It’s hard to write a novel, what kept you going and what advice would you give authors trying to finish a project?  

KS – This book was a perfect stew in my brain: fascinating research into Ojibwe lore, my love of winter storms, my own rage at unfettered capitalism, and finding the right physical model for Morty. Once I knew how he looked and sounded, and knew I wanted him to eat the guilty, everything flowed easily from there. I wrote a complete draft over the course of nine months. I thought, dreamt, ate and breathed these characters, particularly Morty, so that every time I sat down to write another chapter, the dialogue practically wrote itself. I’ve always been more focused on characters than mapping out intricate plots and I feel like that helped. If you’re trying to write a novel, know your characters. Know exactly how they’d react in any given situation, what they would say to each other, why they would support or oppose each other. Love your characters! They should feel like old friends you know intimately. Even the antagonists. Explore their voices and points of view, make extensive notes about them each. Then drop them in the middle of whatever craziness you’ve planned and write down what they do. Keep writing it. Write out of order if you’re inspired by a scene farther ahead but don’t know how you get there yet; it’ll flesh itself out if you understand your characters well. Also, be prepared to rewrite. A lot. Especially after your editor is through shredding it! I’m in the midst of writing book 2 now (tentatively titled Love Song of the Murder Deer) and diving deeper into the relationships between the main characters as Morty struggles to control the ancient manitou inside him.

Author Kris Silva in a Wendingo costume

PBH – You must be a horror fan, can you give us some movie and book recommendations? 

KS – Though Wendigogo’s plot is nothing like these films, Cabin in the Woods and Tucker and Dale vs Evil very much inspired the comic horror tone. Really anything that mixes comedy and horror is a must-see for me, even deliberately awful films like Velocipastor! I rewatch Cabin at least once a year; it’s my favorite movie, just brilliantly written, acted, and directed. And the last-act splatterfest manages to be both gory and hilarious! I love ghost stories and creature features, but well-done comic horror is my favorite subgenre. For books, I enjoy Rick Gualtieri’s “Tome of Bill” series, about a nerdy vampire struggling with truly evil vamps, Bigfeet, witches and more. The whole series is irreverent and geeky. For more serious fare, I devour Stephen Blackmore’s Eric Carter series about a modern-day necromancer in L.A., dealing with ancient Aztec gods and ghosts. His books are blood-soaked, moody candy. For scary films, The Ritual has a bit of a wendigo vibe to it despite being set in Europe. And I’m looking forward to seeing Antlers. Also, not strictly film, but the Netflix series “The Haunting of Hill House” is utterly masterful and genuinely frightening, well-paced, and with so much packed into each episode. Not to mention it has lots of in-jokes for Shirley Jackson fans.

PBH – Where can we find and follow you for updates on the book? 

KS – The Reluctant Wendigo series has its own Facebook page; updates, contests and such are all announced there. I am frequently on Twitter as @gravewriter71 (warning: lots of politics and random silliness as well as wendigo stuff and book news). The book is available through amazon (ebook and print) and ebook through Barnes & Noble (for both sites: https://books2read.com/u/mv5BzX ). My publisher Graythorn is also offering signed copies: https://graythorn-publishing.square.site/product/wendigogo-by-k-a-silva/14?cp=true&sa=true&sbp=false&q=false

PBH – Anything else you want to tell us?

KS – Thank you very much! I really like your site and will frequent it. Lots to explore, and the tone is both smart and friendly. Glad I happened across it. —- PBH – awe thanks we have fun here.