8. Scary Stories to Tell in the Dark

Schwartz, Alvin and Stephen Gammell. Scary Stories to Tell in the Dark. Scholastic Inc: New york, 1981.

Annotation: Alvin Schwartz's retelling of classic urban legends and folklore will chill and thrill readers of all ages.

Justification For Nomination: I've voiced my personal attraction to horror in blogs before, so it was only natural to be drawn to this collection of classic Folklore. Alvin Schwartz's collection of "Scary Stories," is a book I remember that never made it into my private Lutheran middle school library, or high school for that matter. There were a lot of horror related books such as "Goosebumps," "Fear Street," or anything by Christopher Pike that I was curious to read but wasn't allowed access too. Perhaps that's why I find them and the horror genre fascinating today.

At a young age, I didn't dare challenge authorities or the rules but a fellow rebellious classmate named Melissa did. She seemed to have a certain curiosity for all the things teachers outlawed which compelled her to check "Scary Stories to Tell in the Dark" out at the public library. I remember her showing it to other classmates during recess when the teachers weren't around, but I refused to read it. She always had books that weren't "school appropriate" and would secretly smuggle them to other classmates.

It wasn't until this lecture and viewing the ALA's banned/challenged books list that I was reminded of Alvin Schwartz's terrifying tales collection. Of course, as an adult I don't find the stories at all shocking, but to a young reader I could see the nature of the stories too terrifying.

The book is broken down into five chapters. Before entering each chapter there is a two sentence description informing the reader, of the authors purpose. The first chapter includes a story with directions to give your listeners a good "jump scare." The second includes classic ghost stories. The third chapter focuses on various horrors such as witches, corpses and all things scary. Chapter four are moral scary stories that warn you of real life dangers. The last chapter focuses on the dark material that is supposed to make you laugh in the end. Overall the author doesn't hide the danger, horror and violence from these tales which could really tick off a concerned parent.

Even though each story has a violent or terrifying ending, I didn't read anything particularly offensive. I would definitely suggest this book for older readers, but the most terrifying thing about the stories are the black and white sketches included. Illustrator Stephen Gammell has extremely gruesome and disturbing interpretations of each story. Thinking back to those middle school days it wasn't the text I remember most, but the images I quickly viewed as a child that gave me nightmares. If it weren't for the illustrations I can't say the book would be any better or worse but it might cut back some of a YA readers fear.

Since there weren't any central characters or extended plots it's hard to review the book for its story telling device. The thing I most highly claim with this book is its brutal honesty. Alvin Schwartz must have known what demographic he was aiming but didn't keep details from the reader. I respect that he put this information out and managed to keep the stories violent and scary while molding it into his own image. The information wasn't too over the top and filled with blood and guts. It was simplistic and just scary enough to become a cult novel (like it had in my middle school.) "Scary Stories" is filled with hands on activities, jokes and songs to thrill the YA reader instead of scaring them to death, like some films do.

While I highly recommend this book, I also see why parents may ban this from their kids readings list. This story does deal with graphic material but by preventing a reader from reading it may only provoke them to getting it themselves in the end.

7. MirrorMask

Gaiman, Neil and Dave McKean. MirrorMask. HarperCollins Publishers: New York, 2005.

Annotation: Helena yearns for an ordinary life, one that is far from her circus performing family but when she is jolted into an unfamiliar and magical world she thinks twice about the life she once had.

Justification For Nomination: Cruising through the YA reading I stumbled upon this gem and debated whether it was considered a children's book and was misplaced from the children's section. I checked in with the librarian on duty so I wouldn't mistake the reading and found that was in deed considered teen reading, due to some disturbing images. This made the intrigue for the story and visuals even more appealing to me.

The style the books was written in, reads like a picture book but zig-zags and swirls across the page and around the visual art work presented. Presented through Helena's voice the text comes off slightly angsty yet proper and poetic. Author, Neil Gaiman, proves he is no stranger to bizarre and wonderfully descriptive worlds. "Coraline," one of his earlier works, uses a similar plot of a girl that doesn't quite fit in who is transported to a strange and dangerous world. Both stories intertwine internal and outer conflict resulting with a final decision and showdown with the protagonist and evil force that wants them.

The setting of Mirrormask and the characters were brilliantly and carefully created. Even without the illustrations and visuals my mind was set free to interpret each unique vision to my own hearts desire. Usually the trouble with fantasy is creating an entirely different universe, but both writer Neil Gaiman and illustrator Dave McKean did a phenomenal job getting their visions across.

Mixed with a few still shots and original sketches, the tone of the book really took this simple story to a dark place. Through Helena's journey she is faced with disturbing, vial, creatures and at one point is consumed with darkness. The idea of good/light and bad/dark is played to its advantage in this book and you really see the internal battle between the two.

Another reason this book works so well is the sense of empowerment that Helena takes on. In her old life she is constantly answering to others while in this new one she is her own boss. The new problems she faces in this other reality is the conflict of being replaced in the old one or a sense of abandonment. Similar to "Alice in Wonderland" or "The Wizard of Oz," our protagonist finds the old world more to her liking and reveals the unsuspected horror and race to find a way home.

In the end, MirrorMask is a great run-away, fantasy tale that carries itself with its strong multi-dimensional plot line and twisted imagery. The characters are well written, the style and formatting of the text fits with the madness of every situation and the descriptions are literally out of this world. I highly recommend it to all ages, even the most daring of children.

6. The Babysitter

Stine, R.L. The Babysitter. Scholastic Inc: New York, 1989.

Annotation: Jenny's always hesitated taking on her new babysitting job, but combined with her paranoia and one too many suspicious phone calls the terror has just begun.

Justification for Nomination: Being an avid fan of suspense and having a particular love for horror "The Babysitter" by R.L Stine took a classic fright of a defenseless babysitter and pitted it against a drafty house, a manic stalker, and loads of suspense.

One thing I've always respected about R.L Stine is that fact that the man sometimes lifts certain stories/plots that we've all heard before and adds his own supernatural or suspenseful plot line to make it shiny and new again. His story "The Babysitter" for example is his own creation with colorful characters and sensory surroundings but uses a plot line similar to "The Babysitter" an urban legend, about an innocent teenage babysitter harassed by menacing phone calls only to find out that they are originating from inside the house.

A film example using the same plot device is 1979's "When a Stranger Calls" released ten years before Stine's "Babysitter" and following a lonely babysitter harassed and stalked while inside an eerie house. So as you can see this plot isn't exactly fresh material but as the past has shown with its successors, it makes for a great story.

Stine's toned down violence and YA version of the story remains suspenseful without becoming explicit. As you read the details and thoughts inside Jenny (our protagonist's) over indulgent mind you start to become one with her and see or hear things that don't exist. The beauty of "The Babysitter" is that when the protagonist's paranoia sets in the reader isn't sure if what she's describing is real or is imaginary. Each chapter ends with a suspenseful mark forcing you to push on in the story and find out the truth or violent end to its means.

The only negativity I would slap with R.L Stine is that he becomes so invested in his heroin and doesn't give the reader much time to get to know anyone else. He does such a good job getting into the main characters voice and her teenage curiosities and angst that we are shown mere glimpses of the supporting cast. The beauty of all of this is that by doing so, it cast suspicion on friends and even the family that hired her for the babysitting job. Stine reveals the different arch-types such as the geeky yet cute new kid, the sexually active best friend, an overbearing father, and the dark, mysterious stranger but still manages not to make them extremely cliche.

I recommend this book because even when it's not suspenseful, we still get to follow the socially awkward and slightly paranoid protagonist struggling with a mysterious stalker on top of relationships, boys, money and the horror of gym class packed into 167 pages.

Another thing I've always loved about R.L Stine whether it be stand alone stories like "The Babysitter", "Goosebumps" or his series "Fear Street" is that he always has some of the best cover art. If you really go back and research the old cover art for his early book you will see the detailed pictures that show you just enough to jump start your imagination. The cover art for "The Babysitter," as seen above, is worth a thousand words. Not only does it give you a great visual image of Jenny's character but also shows the intensity within a scene. You can see her, but she can't seem to see you, which interplays wonderfully with the theme and plot of this story.

Though "The babysitter" focuses in on more suspense than violence another respectable fact of R.L Stine's YA novels is that he saves the best details for last. You never actually think that he'll incorporate any physical violence or deaths but it all surfaces during the climax of this story. If you've already convinced yourself not to read this story due to its familiar plot, due yourself a favor and check it out, it may surprise you.