Gemma Files's picture

Gemma Files

Canada (b.1968)

Gemma Files is a Canadian horror writer, journalist, and film critic. Her short story, "The Emperor's Old Bones", won the International Horror Guild Award for Best Short Story of 1999. Five of her short stories were adapted for the television series The Hunger.

Genres: Horror
   Kissing Carrion (2003)
   The Worm In Every Heart (2006)
   Mighty Unclean (2012) (with Gary A Braunbeck, Mort Castle and Cody Goodfellow)
   Spectral Evidence (2018)
   Haunted are These Houses (2018) (with Bruce Boston, David Busboom, Catherine Cavendish, S L Edwards, John McIlveen, Annie Neugebauer, Christi Nogle, Christina Sng, Sara Tantlinger and Stephanie M Wytovich)
   Drawn Up from Deep Places (2018)
   In that Endlessness, Our End (2021)
   Hymns of Abomination (2021) (with Justin A Burnett, Brian Evenson, Cody Goodfellow, Scott R Jones, John Langan, S P Miskowski, Christine Morgan, Jon Padgett, Jonathan Raab, Betty Rocksteady, Sean M Thompson and B R Yeager)
Anthologies containing stories by Gemma Files
Short stories
Rose-Sick (1996)
Bottle of Smoke (1998)
The Emperor's Old Bones (1999)

Gemma Files recommends
We Are Monsters (2015)
Brian Kirk
"A genuinely weird and powerful vision, Will Haunt You delivers on its titular boast, in spades."
The Suicide Motor Club (2016)
Christopher Buehlman
"A pure adrenaline rush. Not to be missed."
Only the Devil Is Here (2018)
Stephen Michell
"With Only The Devil Is Here, Stephen Michell announces himself as a new and powerful presence on the literary horror scene. This is curt, violent, poetic storytelling, a Cormac McCarthyesque journey from darkness into even deeper darkness, suffused from moment one on with gothic nighttime awe and terror yet also shot through with the slimmest threads of hope?intimations of numinosity, if not of salvation. For all you probably won’t like where it takes you, it’s just so damn hard to turn away."
Velocities (2020)
Kathe Koja
"Velocities is prime Kathe Koja, with all that that entails: supercharged, dense as hell, oblique, glorious. Every story is a lesson in how to write faster, more intensely, from angles other people never seem to think of: industrial poetry, word mosaics like insect eyes, multifoliate as the insides of flowers, every image a scattered, burrowing seed, spreading narrative like a disease. I’ve loved her work since long before I ever aspired to produce anything like it—in fact, I’m still not sure anyone else is capable of doing what she does, of coming close, let alone hitting the mark. But damn, it’s equally so much fun to admire the result as it is to even vaguely try."

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