In recent months, a new subgenre within horror literature has been gaining traction, and it is being dubbed ‘femgore’. This term, a blend of “female” and “gore”, centres the complex lives and experiences of women—often neglected in traditional horror narratives—which have historically portrayed them primarily as victims. In contrast, femgore invites readers to connect with female characters who emerge not just as survivors, but as monsters, witches, killers, and cannibals.
The rise of femgore comes at a pivotal time when the rights of women around the globe are facing significant challenges. This subgenre allows both creators and readers to navigate feelings of fear, anger, and empowerment in a fictional realm. By pushing back against patriarchal norms that have relegated women to submissive roles, femgore champions themes of anger, independence, and defiance. It boldly embraces aspects of female experience often relegated to the shadows—resentment, sexuality, and disobedience.
Among the notable titles in this burgeoning genre is “The Bloody Chamber” by Angela Carter, published in 1979. This collection of dark fairy tales delves into female violence and subverts conventional perceptions of female sexuality. The titular story, a captivating retelling of Bluebeard, intricately weaves elements of lust and danger, making it a quintessential example of early femgore literary themes. Carter’s work, characterized by its macabre yet sensual narratives, paved the way for future explorations of feminine monstrosity.
Jade Song’s “Chlorine” offers a modern perspective on the feelings of entrapment some women experience. The protagonist, Ren Yu, yearns to transform into a mermaid, viewing this metamorphosis as a means of escaping the struggles of her adolescence, which include incidents of racism and sexual assault. The novel resonantly encapsulates the desire to break free from the constraints of womanhood, reflecting a metaphorical escape from the human experience through transformation into a mythical creature.
In “Natural Selection” by Clare Edge, the genre leans into the young adult thriller territory with a gruesome twist. Three teenage girls embark on a vengeful mission against a local hero, only for their plans to alter drastically when a man-eating bear enters the fray. This narrative serves as a potent commentary on the horrors that women endure throughout their lives, while also providing ample catharsis for readers grappling with their own experiences.
Mae Murray’s “I’m Sorry If I Scared You” navigates the painful aftermath of sexual violence with a unique twist. Following a harrowing rape incident, the protagonist, Odie Tucker, undergoes a pill-induced abortion and subsequently takes the fetal remains on a bizarre journey home. The story explores themes of agency and recovery, complemented by the gripping supernatural element of Odie being mentally influenced by the unborn child. Crafted through evocative prose, it tackles the realities of queer identity, poverty, and trauma’s generational cycles, keeping readers engrossed from the start to finish.
Cassandra Khaw’s “The Salt Grows Heavy” presents a haunting narrative blending elements of “The Little Mermaid” and “Frankenstein”. It tells the tale of a mermaid who escapes her tyrannical husband after a violent rebellion within his family. As the mermaid and her companion encounter a haunting cult fixing the issue of death and resurrection, the novella deftly weaves themes of autonomy and revenge while exploring grisly details of body horror and cannibalism.
In the realm of historical fiction, Kiran Millwood Hargrave’s “The Mercies” serves as a compelling illustration of femgore’s expansion. Based on true events, this psychologically intense narrative examines the fallout from the male populace’s disappearance in a Norwegian town, leaving women to face witch hunts. It effectively employs the perspectives of two sapphic women, capturing the tension and desperation of their circumstances and illuminating how societal pressures can lead to betrayal amongst those who need to survive.
Lastly, S. M. Hallow’s debut novel, “The Halls of the Dead”, sets a gothic horror romance against the backdrop of Victorian London. In the face of injustice, the protagonist resorts to necromancy—bringing back her beloved but altering her in horrifying ways. This tale of vengeance intertwines elements of horror with themes of feminine rage and queer love, painting a vivid picture of the struggle for autonomy amidst societal constraints.
In total, these novels illustrate how femgore not only provides its audience with chilling entertainment but also allows for introspective discourse on the complexities of womanhood. As more readers are drawn to these narratives, it is clear that femgore will continue to shape the landscape of horror literature, offering a powerful vehicle for women’s voices and stories that challenge traditional norms.