Skip to main content

Black Women Horror Writers: Sycorax's Daughters

Sycorax's Daughters, a new volume of "dark fiction and poetry" all written by Black women explores the intimate details of cultural nuance, race, and gender. Additionally, Sycorax's Daughters works in writer and activist Walidah Imarisha's words, "as a visionary space where Black women explore horror on their own terms." And it is through this specific intimacy with the horrific, that art such as the written word can act as a space of agency for those passionate about wielding a pen. Contributing writer Eden Royce envisions Sycorax's Daughters as "a burgeoning field of black women's creative horror fiction" and I couldn't agree more.

Co-editor Dr. Kinitra Brooks breaks down the title. Sycorax, a fictional character in William Shakespeare's The Tempest is an African sorceress, deceased but operating as "the absent presence" throughout the play; influential, haunting the white male characters, and 'refusing to be excluded' from the text. In fitting the very lived experiences of Black women who face the demons, ghosts, vampires, and the wolves of racism, sexism, and a myriad of other hindrances, Sycorax is a symbol of the presence and invisibility of Black women in horror as storytellers. And we are her daughters. Dr. Brooks continues, "Sycorax's Daughters spotlights the gaps being outright ignored in the horror genre by offering racially gendered horror fiction that exemplifies the work of Black women horror creators and their growing influence in the genre."

Additional Contributors: Tiffany Austin – Tracey Baptiste – Regina N. Bradley – Patricia E. Canterbury – Crystal Connor – Joy M. Copeland – Amber Doe – Tish Jackson – Valjeanne Jeffers – Tenea D. Johnson – R. J. Joseph – A. D. Koboah Nicole Givens Kurtz – Kai Leakes – A. J. Locke – Carole McDonnell – Dana T. McKnight – LH Moore – L. Penelope – Zin E. Rocklyn – Eden Royce – Kiini Ibura Salaam – Andrea Vocab Sanderson – Nicole D. Sconiers – Cherene Sherrard – RaShell R. Smith-Spears – Sheree Renée Thomas – Lori Titus – Tanesha Nicole Tyler – Deborah Elizabeth Whaley – L. Marie Wood – K. Ceres Wright – Deana Zhollis

Sycorax's Daughters is available now!

Edited by Kinitra Brooks, PhD.
Linda D. Addison
Susana Morris, PhD.

Like on Facebook

Cedar Grove Publishing provides books that celebrate diversity and being true to yourself while overcoming adversity to achieve success. We provide an outlet for disparate and diverse voices to express themselves through words, pictures and technology. This is done in various genres and niches through targeted platforms and fun publishing programs. And follow us:

Popular posts from this blog

28 Black Women Horror Filmmakers

1. Zandashé Brown, Blood Runs Down (2018) 2. Raeshelle Cooke, Last Words (2015) 3. Tamara S. Hall, A Night At The Table (2019) 4. R. Shanea Williams, Paralysis (2015) 5. Monica Moore-Suriyage, Black In Red Out (2016)

How MIDSOMMAR Utilizes and Subverts Horror Movie Tropes of People of Color

By Mary Kay McBrayer ( @mkmcbrayer ) For a film that could have been easily white-washed, Ari Aster’s Midsommar does have an inclusive cast. Before our characters are even taken to Sweden where most of the film's dread fueled action takes place, we meet them in their college town. Dani (Florence Pugh) stresses about her sister’s scary email while her boyfriend, Christian (Jack Reynor) drinks at a bar with his buddies, only one of whom is black named Josh ( The Good Place 's William Jackson Harper). I have watched enough horror movies to know—and I’ve been brown enough long enough to know—that this setting does not bode well for a person of color. The token minority, say it with me, tends to die first. Because of this ratio, I expected a few other established tropes of the horror genre in Josh’s character, too, and I have to admit, I was delighted and surprised that nothing played out the way I expected.

Looking Back & Hoping Forward: Candyman

Candyman has been a delicate enigma, a tale, a very tepid preoccupation of mine since I was ten. It began with the gold glare of the sun through my mother’s bedroom window. Her often condensed space, accentuated by the imposing almost Beetlejuice-inspired black furniture, stationary yet bustling clutter; both new acquisitions and relics from a time before me. And her “bulbous” television as she would call the appliance, positioned central in her reliance on its distractions from her ever 40+ hour work weeks and (even with the father of her two youngest in the apartment), raising three children on her own. It faced her queen-size, perched on a dresser-storage hybrid. Likely, the time was Fall, possibly a video store rental. Sure, no one’s around, I’ll watch Candyman, why not. I had been watching films like Hellraiser since I was about six.