This collection features twenty-one new takes on the slasher genre (or, should I say, slasher genre) and creepy cover art by Gemma Amor.
I’ve seen a lot of slasher films, but I haven’t read many books in the slasher category. It’s difficult to translate a subgenre of horror that relies so much on visceral, disturbing images to text, but the authors in Slash-Her succeed. Their stories feature gore and vivid, sometimes disgusting (in the best way!), imagery. This collection is fast-paced and imaginative, and the authors pull no punches. Body horror, torture, and gruesome murder abound.
Slash-Her has specific trigger warnings for each story at the back of the book. I’ve seen a few publications do this recently, and I think it’s an excellent idea because it gives readers the option of checking for content warnings. If you’re more of a fan of quiet horror, all the stories in this gory collection may not be for you, but I’d still encourage you to check the trigger warnings and proceed with caution.
The stories in this anthology are modeled after slasher films, and they play with and against the tropes and conventions of slashers. Some are more straight-forward slashers, whereas others refigure the slasher genre in unexpected ways. For example, in the vast majority of slasher movies, the killer is male. But in this anthology featuring women writers, many of the killers are women. It’s always refreshing to push that boundary, though there were a few stories where I would’ve liked to see a little more of a twist on the gender-flipped killer.
There’s graphic violence consistent with the slasher genre in some of these stories, but I personally didn’t find it as gratuitous or potentially upsetting as the violence in a lot of the slasher films I’ve seen (especially the American ones made in the 70s-80s). This is partially because the implicit (and sometimes explicit) feminist slant of many of these stories directly challenges the way women’s bodies in particular are sexualized and brutalized in slasher films. The majority of slasher films are still written and directed by men, and it’s always refreshing to see these types of stories recentered in the lives and perspectives of women.
I also loved getting insight into the minds and feelings of the killers and victims in many of the stories in this collection. Film is a visual medium, and it’s excellent at showing what happens and how it happens, but in my opinion text is a better medium for showing why something happens and really digging into interiority. In slasher movies, there’s usually some backstory that accounts for the killer’s over-the-top rampage, but it can sometimes feel insufficient. The killer functions more like a force of nature than a person, inexorable and implacable. This can be thrilling to watch, but it doesn’t always translate well to text.
In Slash-Her, many of the killers feel like real people to me. Their motivations and feelings (usually) didn’t excuse their violence, but I appreciated the added depth it brought to the stories. Similarly, the victims and final girls were more complex characters and less one-dimensional in many of these stories than they would’ve been on film.
I enjoy slashers, so I liked all of the stories in this collection, but there were a few gems. Some of my favorites leaned into the weird, humorous, and absurd nature of the slasher, such as “You’re Dying Up There” by Somer Canon, “Tupperware Party” by Villimey Mist, and “Spellbound” by Antonia Rachel Ward. Canon’s story is filled with 90’s nostalgia and features a series of open-mic nights gone horribly wrong. I loved the suburban setting for Mist’s over-the-top slasher which shows that nowhere is safe, and your neighbors can’t be trusted. And Ward’s story, set at an amusement park inside a mall? With a leprechaun mascot? That’s a slasher waiting to happen.
“Legend of the Nameless Island” by Red Lagoe will probably stay with me longest. This story plays with how eager we are to assign roles and label people, especially girls, with a single overarching personality trait. This is a common trope in horror movies, especially in slashers (the jock, the nerd, the virgin, etc.), but it’s also unfortunately true in life, which made the story really resonate with me.
A favorite from an author whom I hadn’t read before was “The Crimson Bride” by Mocha Pennington. Pennington has a really beautiful grasp of language, especially when it comes to depicting anguish and rage. The ending will stay with you!
Some stories in this collection started down a familiar narrative path, but twisted in unexpected and exciting ways, such as “The Collector” by R. J. Joseph. The final story in the anthology, “Spellbound” by Antonia Rachel Ward, also had a slightly unexpected and open ending which worked well as a conclusion for the collection as a whole. Ward’s final girl realizes that she wants to live. This is true of the final girl in any slasher: despite what she suffers, she wants to fight and survive.
Overall, an excellent collection, especially for the slasher fan!