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Book Review: Why I Love Horror: Essays on Horror Literature edited by Becky Siegel Spratford

Cover art for Why I Love Horror edited by Becky Siegel Spratford

Why I Love Horror: Essays on Horror Literature edited by Becky Siegel Spratford

Saga Press, 2025

ISBN-13: 9781668205099

Available: Paperback, Kindle edition, audiobook, audio CD

Buy: Bookshop.org |  Amazon.com

 

 

Librarian Becky Siegel Spratford presents eighteen essays by current horror authors on why they love horror. The collection begins with a welcome to the reader by Sadie Hartman, followed by Spratford’s own essay, “Why Ask Why,” where she tells her story about how she found herself working with horror and curating this book full of talented horror writers. Before each essay, Spratford includes an introduction to the authors, a book recommendation to start with from their works, and a recommendation of an author in a similar vein.

 

My experience reading this was like opening a door to different times in my life where horror made significant appearances, despite having never really left me. Childhood memories and horror are foundational for some in this community. In “Brian Keene’s Giant-Size Man-Thing,” the author discusses his introduction to horror through comics and how horror helped him cope with dread and fear. John Langan writes of his childhood fascination with cryptids in “In the Bermuda Triangle with Sasquatch, Flesh Smoldering.” Jennifer McMahon’s “Monster Girl: How Horror Gave Me a Place to Belong” hit particularly close to home in terms of feeling out of place, being the weird girl who liked horror, and experiencing struggles at home. “My Mother Was Margaret White” by Cynthia Pelayo discusses abuse she experienced at home and at school, never feeling safe anywhere. Horror saved us both. “Permission to Scream” by Rachel Harrison and and “Tales From My Crypt” by Mary SanGiovanni specifically focus on girlhood and horror, both also speaking to similar experiences for me.

 

Horror providing comfort or a safe space is another thread that ties these essays together. Hailey Piper describes, in “The Giant Footprint of Horror”, how Godzilla introduced her to horror, and that there is joy in this dreadful genre. “My Long Road to Horror”, by Tananarive Due, describes horror as feeling. She writes a short but powerful history of her family and their personal horrors of racism and struggle.

 

Authors remind the reader that horror is more than a genre, it is an entire community. Alma Katsu’s “What You Can Learn from Horror: Don’t Run from Darkness; It’s Trying to Teach You a Lesson”, presents an essay questioning why people shy away from horror. A true crime writer I had a conversation with during my undergrad found it fascinating that there is a line in the sand between what his audience will and will not read: that line is fictional horror. Katsu states “I’m here to argue against running away from darkness,” (52) and provides personal information regarding past employment with government agencies as an intelligence analyst. Gabino Iglesias, in “Horror is Life: A Blood-soaked Love Letter,” discusses his life in Puerto Rico and discovering horror, which turns into a moving statement on how horror changed his life. In “A Day in My Psychedelic World,” Nuzo Onoh, dubbed the Queen of African Horror, reminds us there is horror for everybody.

 

There are so many great essays in this book. Other authors who contribute are Josh Malerman, Paul Tremblay, whose piece is accompanied by his daughter Emma, Grady Hendrix, Clay McLeod Chapman, Victor LaValle, David Demchuk, and Stephen Graham Jones. This would make a great addition to a general library collection, as well as essential reading for a course on horror. Highly recommended.

 

 

Reviewed by Lizzy Walker

Posted on June 3, 2026 by , Reply

Book Review: Witchcraft for Wayward Girls by Grady Hendrix

Witchcraft for Wayward Girls by Grady Hendrix

Berkley, 2025

ISBN-13: 978-0593548981

Available: Hardcover, paperback, Kindle edition, audiobook

Buy:   Bookshop.org | Amazon.com

 

It’s 1970. Neva is 15, pregnant, and lost. Her father leaves her at the Wellwood Home in St. Augusta, Florida, a maternity facility for pregnant teens. Miss Wellwood, the proprietor, runs her home with strict rules and reprimands the girls about their loose morals and poor decisions. the adults in charge include Diane, a social worker who guides the girls through their time in the Home;  Dr. Vincent, a cold elderly man with traditional views on women’s healthcare, who prescribes restrictions and other cures for the girls, with a focus on the babies; Nurse Kent, who minds the girls at night and when needed; Hagar, a Black woman who runs the kitchen; and Hagar’s sister Miriam, who instructs the girls on their domestic roles, such as proper cleaning of the Home.

 

The adults are not the focus of the story, of course. It is the girls, renamed by Miss Wellwood as flowers, as though she is tending a special garden. Neva is renamed Fern. Rose, a radical hippie who wants to keep her baby Blossom, is a force to be reckoned with in the Home. Always on strike, she fears nothing and no one… until she does. Holly has been through terrible trauma in her short life, at the hands of a powerful member of the community. She’s wild, refusing to allow people to get close to her, and remaining mute until she finds her voice. Zinnia is a musician who loves the father of her baby, swears they will marry upon her return home, and tries to ignore what she was put through at the hands of her mother when her parents found out she was pregnant. There are other girls, and as one leaves, she is replaced by another flower.

 

One hot summer day, the local library’s bookmobile arrives with librarian Miss Parcae at the wheel. She presents Fern with a book called How to Be a Groovy Witch, a powerful tome that opens a new world for Fern, Holly, Rose, and Zinnia. There is something special about this book, and it reveals more to them the deeper they go as they form their own small coven and cast their first spell. The unassuming librarian is more than she seems. As Fern and the girls become more involved with witchcraft and the librarian, they find their newfound power comes at a painful price.

 

Witchcraft for Wayward Girls is powerful. I read the ARC, hardcover, and audiobook versions. Author Grady Hendrix opens the ARC with a letter to the reader, while the published version includes a statement in the acknowledgments, where he provides a brief history of these homes, and shares the experiences of his own family members. There are visceral depictions of body horror in terms of giving birth, which I had a difficult time getting through. Medical horror, especially regarding women’s health and trauma, is difficult for me to read.

 

Hendrix’s ability to write about and from the perspective of girls and women is incredibly effective and well-executed. Readers who enjoy this book may also enjoy his other books, especially The Southern Book Club’s Guide to Slaying Vampires, My Best Friend’s Exorcism, and We Sold Our Souls.  Highly recommended.

 

 

Reviewed by Lizzy Walker

Posted on November 24, 2025 by , Reply

Musings: The Disconnect Between What Kids Want and What Teachers Recommend

Table with sign that says "Need a Book? Check out thes authors and titles that Mr. ____ recommends" with a number of books face up on the table.

The reason I went back to school after working as a children’s librarian in a public library was that I noticed that sometime around grade four kids stopped coming to the library, They were too busy, they had too much homework, they had stuff going on. Even programs carefully designed around their interests weren’t attracting those kids.

 

I wanted to reach those kids. And I was willing to quit my job and go back to school to reach them where they were– school– a captive audience I could finally reach. And I did. But even in 2005, the librarians were the first ones to go when the budget got sliced.

 

In grad school and through 2005 I was part of a children’s choice committee for grades 4-6. We had a list of books proposed that we had to read, evaluate, discuss, and eventually choose 20 books for our nomination list. Kids who read at least 5 could vote for their choice for  best book. And the book with the most votes won the award.

Where am I going with this?

I currently volunteer in my kids’ former middle school library.

In early February I was asked to pull teacher favorites for a display. These included many of what would be considered classics- To Kill a Mockingbord, Night, The Call of the Wild, 1984, The Adventures of Huckleberry Finn. Only two of them had been written since 2005.

 

In mid-February, a teacher put a table of best books out on a table These were great choices I would have no problem recommending.  But I recognized almost all of them as books I had read while on the children’s choice committee. Only a few had been written in the last five years. One (Scythe) is taught as required reading at the high school.

 

We are not reaching teachers. They may be tolerating or even accepting horror in their classrooms but many aren’t promoting or providing horror genre titles to their students. And teachers have a huge influence on what gets checked out. It has to be a cooperative effort. The media specialist had a virtual visit with students with Lorien Lawrence in February, but on the day I came in, his books were still on the shelf.

 

I have helped the media specialist pull and promote scary and horror-themed books in the past. At the elementary, there’s time for storytelling to shape readers. But that isn’t enough at the secondary level. How do we reach teachers, especially at a time when giving kids books is so dangerous?  It’s time to think outside the box.

 

Editor’s note: I have had this characterized as a “diatribe against teachers”. It’s not. Teachers have a difficult job that is being made harder by conservative school boards and state legislatures. There is currently an effort to pass a law that would criminalize teachers and librarians for giving students “inappropriate” books in my state. Many school and classroom libraries have been cleared away elsewhere. 

Teachers face the difficulty of finding reading material their students will find relevant and engaging within challenging restraints. 20 years ago I was working to convince other school librarians horror was relevant and had the potential to be engaging to their students. Today there’s a Librarian’s Day at StokerCon: librarians are engaged in collection development  and promoting the horror genre. I am asking, where do we, as members of the horror community, go from here? What can we do to help? 

Posted on March 3, 2023 by , Reply
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