By Edward Lee

Condo of Passion

Hildreth residence. On a moonlight evening in early spring, twenty-seven humans entered the mansion’s labyrinthine halls, to partake in an orgy of diabolical debauchery, the likes of which beggared description. And one after the other, twenty-six of them have been butchered in position. The twenty-seventh physique was once by no means recovered.

House of Sin

The screams have light, and the blood has dried however the spectral residence remains...waiting.

House of Hell

Welcome to the mansion made in Hell.


Where the temple of evil is your individual body...

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Extra resources for Flesh Gothic

Sample text

For It is a monster that can change into any other monster, those other monsters already being categorically transgressive. And, of course, some monsters, like the scorpion big enough to eat Mexico City, are magnifications of creatures and crawling things already ajudged impure and interstitial in the culture. Categorical incompleteness is also a standard feature of the monsters of horror; ghosts and zombies frequently come without eyes, arms, legs, or skin, or they are in some advanced state of disintegration.

By its formal object. Art-horror is primarily identified in virtue of danger and impurity. The evaluative category selects or focuses upon particular objects. The emotion is directed toward such objects; art-horror is directed at particular objects like Dracula, the Wolfman, and Mr. Hyde. The root of the term “emotion,” as we noted above, comes from the Latin for moving out. Perhaps, we can read that playfully and suggest that an emotion is an inner moving (a physical agitation) directed outward (toward) a particular object under the prompting and guidance of an appropriate evaluative category.

They start backwards in a reflex of avoidance. Their hands may be drawn toward their bodies in an act of protection but also of revulsion and disgust. Along with fear of severe physical harm, there is an evident aversion to making physical contact with the monster. Both fear and disgust are etched on the characters’ features. Within the context of the horror narrative, the monsters are identified as impure and unclean. They are putrid or moldering things, or they hail from oozing places, or they are made of dead or rotting flesh, or chemical waste, or are associated with vermin, disease, or crawling things.

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Flesh Gothic by Edward Lee
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