Author Angie Engles

The book cover has a raven with a reddish-orange eye in the lower right corner, with its open beak extended up and looking directly at the viewer.

The End of the World as We Know It

Angie Engles Leave a comment
The book cover has a raven with a reddish-orange eye in the lower right corner, with its open beak extended up and looking directly at the viewer.

by Angie E.

In a year that feels like it’s testing every emotional fault line, some readers crave escape through lighthearted rom-coms or cozy mysteries. But for others, especially those feeling raw, anxious, or on edge, those stories can feel like a slap in the face. When the world feels broken, sometimes the only thing that makes sense is reading about the end of it. Two recent releases offer radically different but equally powerful takes on apocalypse: one fictional, one factual, both deeply human. 

For the first time ever, Stephen King has authorized other writers to expand the world of The Stand, his iconic 1978 novel about a pandemic that wipes out most of humanity and pits survivors in a battle between good and evil. Edited by Christopher Golden and Brian Keene, The End of the World as We Know It features 36 all-new stories from a dazzling lineup of authors: Wayne Brady, Caroline Kepnes, Tananarive Due, Paul Tremblay, Alma Katsu, and many more. 

The stories span the initial outbreak, the migrations to Boulder and Las Vegas, and even decades beyond the original novel’s timeline. They’re terrifying, philosophical, and sometimes heartbreakingly tender. For readers who feel like they’re living through their own version of The Stand, this anthology offers catharsis, community, and a reminder that even in collapse, there’s room for hope. 

The book cover shows a shooting star seemingly exploding above a cityscape in shades of blue and yellow, against the backdrop of a night sky and many stars.

If The End of the World As We Know It is a fictional dive into the apocalypse, Everything Must Go by Dorian Lynskey is its nonfiction counterpart, a sweeping, witty, and surprisingly comforting cultural history of how we’ve imagined the end across centuries. Lynskey explores everything from religious prophecies to pandemic fiction, climate collapse, rogue AI, and nuclear dread. He name-checks everything from The Road to Children of Men, The Twilight Zone to The Purple Cloud, weaving together pop culture, science, and philosophy into a rich tapestry of our collective anxieties. 

What makes this book so compelling is its insight: apocalyptic stories aren’t just about destruction, they’re about transformation. They reflect our fears, but also our longing for clarity, justice, and rebirth. For readers struggling in 2025, these books offer more than just entertainment. They offer validation and say: You’re not alone in feeling like the world is ending. And they do it without sugarcoating or false cheer. Instead of asking you to pretend everything’s fine, they invite you to sit with the chaos—and maybe even find meaning in it. 

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

Our next chapter starts soon when the blog moves to the newly redesigned hclibrary.org. All the same great reviews and news, plus more library information!

An ornate capital letter A in deep red against a black background sits beneath the title in white.

The Scarlet Letter by Nathaniel Hawthorne

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An ornate capital letter A in deep red against a black background sits beneath the title in white.

by Angie E.

The poet W.H. Auden once said, “a classic is a book that survives generations because it continues to speak to us in new ways.” Classics persist because they challenge, provoke, and resonate, especially when the world feels uncertain or unjust. Nathaniel Hawthorne’s The Scarlet Letter is one of my favorite books of all time. I can feel some of you wincing but before you scoff, I highly recommend you ignore the opening “Custom-House” chapter and go straight to the good stuff and then, maybe, you’ll see what I mean. 

Not only do I love it a bit more than most people probably would, but my love for it is directly related to my favorite Halloween memory from 1989 when I won third prize in a costume contest my sophomore year at college. Dressed as Hester Prynne with a long dark cloak with a bold red A smack dab in the middle, I kept getting mistaken for Alvin the Chipmunk so when I got to the microphone to clarify what my costume was I said “I’m Hester Prynne.” 

“Who?” Several people yelled out in the crowd. 

“Hester Prynne from The Scarlet Letter. Nathaniel Hawthorne? Puritan times?” 

No one in the audience appeared to have ever heard of any of it so I finally yelled, “I am with child and a woman of sin!” as I waved my baby bunny stuffed animal in the air. It seemed like everyone roared with laughter, most likely because I was painfully shy at the time and I went against type or maybe I just really could not shatter their Alvin the Chipmunk illusions and hopes. My other favorite book is Washington Square by Henry James. I agree with everything James once said of The Scarlet Letter: “It is beautiful, admirable, extraordinary; it has in the highest degree that merit which I have spoken of as the mark of Hawthorne’s best things—an indefinable purity and lightness of conception…One can often return to it.” 

I know The Scarlet Letter is not an easy sell, I really do. For many, the book is tangled up with high school English class, dense prose, and the frustrating ambiguity of Arthur Dimmesdale. It’s often shelved as a classic American novel, a historical piece, or even—bafflingly!—a romance.  I have never been able to see it that way, especially with its eerily Puritan version of #MeToo vibes. To call this story a romance is to fundamentally misunderstand its brutal, brilliant heart. This isn’t a tale of love triumphing over adversity. It’s a forensic examination of power: who has it, who wields it, and who is crushed by it.

Reading it today, in our world of public shaming and relentless scrutiny of women’s bodies and choices, Hester Prynne’s story feels less like a history lesson and more like a reflection. Margaret Atwood has acknowledged The Scarlet Letter as one of the texts she considered while writing The Handmaid’s Tale. In fact, she has acknowledged that her dystopia was built from historical precedents, not fantasy. Hester Prynne’s punishment for adultery and forced isolation echoes the way Atwood’s handmaids are reduced to reproductive vessels under a theocratic regime. 

The central injustice of Hawthorne’s novel has always taken my breath away. One person bears the visible, lifelong mark of their shared “sin,” while the other is celebrated, pitied, and ultimately forgiven for his private struggle. The community’s wrath is laser-focused on the woman, the visible proof of the transgression, while the system effortlessly protects the man. This is not a romance. This is a blueprint for how societal structures (legal, religious and social) are designed to punish women disproportionately. This is where Hester’s story becomes so starkly modern. We may not brand women with a literal scarlet letter anymore, but we have our own versions. 

Hester’s quiet, stubborn resilience is what makes her my hero. She doesn’t crumble under the weight of the ‘A’. She does something far more radical: she reclaims it. She takes the symbol meant to annihilate her and, through sheer force of character, transforms it. She becomes “Able.” She survives, she raises her daughter, she thinks for herself. She endures, not with passive acceptance, but with a powerful, silent defiance. She is not waiting for a man to save her. She is saving herself. 

That’s why I keep returning to this difficult, profound book. It’s not a comfortable read, but it is an essential one. It’s a reminder that the battles women fight over their own bodies and narratives are not new. They are ancient. It’s a testament to the incredible strength it takes to wear a label you didn’t choose and rewrite its meaning through your own grace and power. So, if you haven’t read The Scarlet Letter since you were assigned it in school, I urge you to pick it up again. Don’t read it looking for a love story. Read it looking for Hester. Read it for every woman who has ever been judged more harshly, held to a different standard, or forced to wear a scarlet letter of someone else’s making. 

You might just find, as I did, that it’s one of the most relatable books you’ll ever read. 

The Scarlet Letter by Nathaniel Hawthorne is available in print and large print, e-book and e-audiobook. There’s also audiobook on CD, Playaway and a manga adaptation.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

The background of the cover show a cloudy sky all in soft blues and green. In front, three offset black arches, outlined in pink, frame a small golden bird.

One’s Company by Ashley Hutson

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The background of the cover show a cloudy sky all in soft blues and green. In front, four offset black arches, outlined in pink, frame a small golden bird.

by Angie E.

After surviving a series of devastating traumas, including the loss of both parents and a harrowing act of violence, Bonnie Lincoln wins the lottery in Ashley Hutson’s novel One’s Company. Instead of buying a new house in the traditional sense, she moves to an isolated mountain compound and hires staff to construct an exact replica of the 1980s sit-com Three’s Company set, complete with everyone’s apartment units.

In what she now calls home, Bonnie attempts to live as each of the show’s characters, cycling through their wardrobes, their quirks, their scripted joy. It’s a surreal and (I have to say bizarre!) premise, but Hutson manages it with such clarity that it never feels absurd, even if does seem alarming yet somehow inevitable. There’s something hauntingly familiar about the way Bonnie seeks refuge in nostalgia. In a world that often feels too sharp, too loud, too cruel, Bonnie’s retreat into the sitcom world of Three’s Company feels less like madness and more like a desperate kind of hope.

As a child of the 70s and early 80s who watched and adored Three’s Company during its original prime time run and in reruns, I get it. I have lived there once, in front of the screen. But Bonnie’s journey is a reminder that even though nostalgia can be a balm, it can also be a blade. What makes One’s Company so affecting is its refusal to pathologize Bonnie. Her choices are extreme, even worrisome, but they are also deeply human. Who among us hasn’t longed to disappear into a simpler world, one where problems resolve in 22 minutes and laughter is guaranteed? Bonnie’s obsession is not just escapism, it’s a taking back of control, a rewriting of her own narrative in a world that has repeatedly written over her.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

An animated family in poses with arms raised in excitement or fright is centered over the silhouette of a burger, all against a bright yellow background

Bob’s Burgers Movie

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An animated family in poses with arms raised in excitement or fright is centered over the silhouette of a burger, all against a bright yellow background

by Angie E.

The Bob’s Burgers Movie throws the lovable and zany Belcher family onto the big screen with all the charm, chaos, and condiment-fueled comedy fans adore. Between Tina’s erotic friend-fiction fantasies, Gene’s musical ambitions (this time with a burger-themed rock opera, obviously), and Louise’s pink-ear-capped schemes, the Belchers are beefier than ever. Toss in a murder mystery, some off-key original songs, and the eternal struggle to pay rent, and you’ve got yourself a recipe for delicious dysfunction.

Whether you’re a long-time fan or a first-time fryer, this film is a celebration of awkward family love, small business spirit, and burger puns that never quit. It’s heartfelt, hilarious, and just weird enough to make you wonder if your food might burst into song. In a season five episode of Bob’s Burgers, Tina (the eldest of the Belcher children and one of the most lovelorn characters to ever appear in animation) is righteously upset when a friend of hers mentions the girl he likes is way “out of his league.” The scene takes place in a bowling alley (again, the smart writing!) and Tina yells, “Damn it, there are no leagues!” The intercom interrupts to call forth bowling leagues that are entered in a contest. Well, okay, Tina continues, there are bowling leagues, “but there should be no people leagues.”

Bob’s Burgers pulls me in like no other comedy. I absolutely want to live in BB’s world, I want to know all of the characters and walk down the streets of their town and visit their shops and their boardwalk. I want to go to karaoke with Linda, talk about life with Tina and get into hijinks with Louise and Gene. Never have I known a show to be both wholesome and provocative, to be sweet and subversive. Best of all, Bob’s Burgers holds on to  kindness, even in the middle of chaos. One of my favorite quotes from the show, from any show really, is this:

Maybe we all have a little bully inside of us. Maybe when we think people are being mean to us it can make us mean. But even if people are difficult we have to resist, we have to try to be nice. Maybe it will bring out the nice in other people.

HCLS owns the first season of Bob’s Burgers as well as the movie. For more seasons, consider using Interlibrary Loan Services.

And if you want to try your hand at some Bob’s Burgers-inspired cooking, you might want to check this out: The Bob’s Burgers Book: Real Recipes for Joke Burgers.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

The book cover depicts a knife stuck in a slice of cheesecake with a red glaze. The four "Golden Girls" from the famous television show are depicted at the top, with flamingos and palm trees in the surrounding border and two tropical drink glasses at the bottom. Palm fronds surround the title.

Murder by Cheesecake

Angie Engles Leave a comment
The book cover depicts a knife stuck in a slice of cheesecake with a red glaze. The four "Golden Girls" from the famous television show are depicted at the top, with flamingos and palm trees in the surrounding border and two tropical drink glasses at the bottom. Palm fronds surround the title.

By Angie E.

Murder by Cheesecake: a Golden Girls Cozy Mystery by Rachel Ekstrom reads like a “recently unearthed” never-before-seen episode of the beloved sitcom and delivers everything you’d want from a sun-soaked Miami murder romp: sass, suspense, and cheesecake-fueled sleuthing. And It nails the tone, rhythm, and warmth of the original show. 

The book opens with the ladies doing what they do best—confiding in each other over sweets. But when a suspicious death rocks their retirement rhythm, the girls ditch bingo night for crime-solving. Picture Dorothy’s deadpan deduction skills, Rose’s delightfully backward logic, Blanche’s irresistible charm, and Sophia’s spicy zingers, which you can practically hear in Estelle Getty’s voice. 

Dorothy’s date-turned-dead-body is found face-first in dessert, threatening to derail Rose’s cousin’s nuptials and ruin a perfectly good buffet. With every guest a suspect (including Dorothy), the Golden Girls must juggle wedding chaos, Blanche’s romantic escapades, and Sophia’s sass to crack the case. It’s a cozy whodunit frosted with friendship, frolic, and just a hint of fish-themed hors d’oeuvres (St. Olaf, anyone?). 

Every clue, every misstep, and every sugary morsel of cheesecake drips with vintage Golden Girls flair and familiar humor. It’s not just a mystery, it’s a nostalgia-packed escape and a reminder of sitcom television at its best.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

A Victorian style house appears in panels, so the view is distorted. It is framed by a white winter sky and bare trees.

We Used To Live Here

Angie Engles Leave a comment
A Victorian style house appears in panels, so the view is distorted. It is framed by a white winter sky and bare trees.

by Angie E.

At first glance, the premise of We Used to Live Here by Marcus Kliewer feels familiar: a woman named Eve, living in a quiet, isolated home, receives a knock at the door. A family of five stands outside, the father claiming they used to live there and asking if they can take a look inside. It’s an unnerving request, made even more disturbing by the sheer passivity of Eve, as she ends up letting them in. Her submissiveness makes Eve the perfect vessel for the horror that unfolds.

“Of course, a well-adjusted individual would’ve simply told him no, she thinks to herself. But self-destructive people-pleasing was another of her plentiful idiosyncrasies. She had a crippling fear of disappointing anyone, even complete strangers—even people she disliked.“

Unlike a protagonist who fights back, she simply lets the story consume her, and in doing so, the reader is dragged down alongside her. It’s this very helplessness that enhances the eeriness of We Used to Live Here. From that moment on, the story moves into a confusing, almost dreamlike descent where nothing feels solid, and the very idea of escape seems out of reach. The family who has arrived at her door isn’t just intruding, they are manifesting something deeper, something perhaps inevitable. Whether they are ghosts, memories, or simply an extension of Eve’s own unraveling mind, their presence marks a shift where logic disintegrates, and the rules of the world no longer apply. 

Eve never feels fully present, never takes decisive action, and ultimately, that’s what makes her experience so scary. She doesn’t fight to escape because escape might not even be real. We Used to Live Here isn’t just about horror, it’s about uncertainty, about the way reality itself can be manipulated, distorted, or perhaps even erased. It refuses to give us clarity, instead leaving us in a disorienting space where what is real and what isn’t can never be firmly decided. And maybe that’s the true horror, not ghosts, not violence, but the realization that sometimes, reality isn’t as solid as we think it is. 

We Used to Live Here by Marcus Kliewer is on the 2025 summer reading booklist for adults (mystery & thriller). It is available (after a short wait) in print, e-book, and e-audiobook.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

A crowd shot of the cast of characters dressed in period clothing.

Dickensian

Angie Engles Leave a comment
A crowd shot of the cast of characters dressed in period clothing.

by Angie E.

I watched Dickensian for the first time a few years ago and loved it far more than I could have dreamed, especially since I am not a big Dickens fan and had already kind of half-formed in my mind what the series would be like. I could not have been more wrong and, despite hoping to watch it piecemeal so it would last as long as possible, I still ended up binge-watching it. I recommended it to some customers and they came back later and told me they loved it, too, and we got to talk about it, which I always find one of the best parts about reading a book or watching a show. 

To describe it would hardly do it justice, the more I like something the harder it is for me to write about it. But if I had to say, Dickensian is where beloved characters of Charles Dickens’ novels cross paths in a gripping mix of mystery, romance, and intrigue. The show twists together the fates of figures like the ruthless Jacob Marley, the ambitious young Miss Havisham, and the ever-resilient orphaned street boy, intertwining their lives in unexpected and dramatic ways. 

Secrets hide in every shadow, fortunes rise and fall, and revenge boils beneath the surface, all leading to shocking revelations that keep you on the edge of your seat. With a world so richly imagined and characters so vividly brought to life, this series is a captivating re-imagining of Dickens’ literary universe, offering surprises even for the most devoted fans. Despite not being a Dickens fan, I have always been drawn to Miss Havisham’s tragic back story and, sure enough, in Dickensian her life is as mesmerizing as it is heartbreaking. Tuppence Middleton is outstanding as Miss Havisham and, dare I say, may be the best one ever! 

Whether you’re a lifelong devotee or stepping into Dickens’ world for the first time, it invites you to linger in its darkened corners, where every twist and turn reveals a story waiting to unfold. If you’d rather stream Dickensian than watch it on DVD, it is available for FREE on Kanopy, Tubi and on The Roku Channel.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

An illustrative cover shows people dressed in formal evening clothing looking over a harbor full of boats.

The Beautiful and Damned by F. Scott Fitzgerald

Angie Engles Leave a comment
An illustrative cover shows people dressed in formal evening clothing looking over a harbor full of boats.

by Angie E.

As The Great Gatsby celebrates its 100th anniversary, I cannot help but think of how I much prefer Fitzgerald’s The Beautiful and Damned. Anthony Patch, a Harvard-educated layabout with vague literary aspirations, lives off his expected inheritance from his wealthy grandfather. He falls in love with Gloria Gilbert, a dazzling, self-absorbed socialite whose beauty is everything. They marry, expecting a life of ease, but as the years stretch on and Anthony’s grandfather withholds his fortune, their glittering existence falls apart. 

The relationship between Anthony and Gloria Patch is troubled, a slow, mutual unraveling. Their love, filled with glamour, indulgence, and lofty dreams, gradually turns toxic, dragging both of them into emotional and moral decay. The novel explores how two people, when consumed by vanity and selfishness, can end up feeding each other’s worst impulses rather than lifting each other up. They drift through parties, affairs, and petty resentments, their youth and charm wearing away alongside their bank account. Anthony descends into alcoholism and bitterness; Gloria clings to her fading looks. When Anthony finally wins his inheritance through a legal battle, he is a broken man, physically and spiritually ruined. 

Maybe I’m wrong, but I see The Beautiful and Damned as something messier and more personal than The Great Gatsby. At 27, I saw Anthony and Gloria as victims of love gone wrong. At 55, I see them as victims of something much less romantic and whimsical: the delusion that youth and beauty are infinite, that happiness is something you receive or deserve rather than create. When I first read The Beautiful and Damned in the late 90s, on a rainy cozy Sunday (I remember this vividly, somehow), I fixated on the tragedy of what I saw as dramatic love and loss. Despite my not liking either character, I somehow still felt sad. Now, though I still love the writing and the gripping tale itself, Anthony and Gloria, both bright, attractive, and full of possibility, strike me as people who wait for life to happen to them, assuming wealth and happiness are entitlements rather than pursuits. 

Revisiting this novel decades later, I realize Fitzgerald wasn’t just writing about the Jazz Age or the idle rich. He was writing about the human condition, about how easily we mistake privilege for purpose, charm for character, and time for something we can outrun.   

The Beautiful and Damned by F. Scott Fitzgerald is available in print and as an e-book and e-audiobook from Libby.

For more about The Great Gatsby, check out a previous blog post about the original and a variety of adaptations.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

The photograph depicts a black and white, short-haired cat with a white streak on its nose and yellow eyes, looking at the camera from the lap of someone wearing blue jeans.

The Cat Encyclopedia by DK

Angie Engles Leave a comment
The book cover shows an orange and white, short-haired tabby in profile, looking up.

by Angie E.

I am so very grateful for and to my cat. He is my best friend, my roommate, and a wonderful companion. I know (despite my not wanting to be) that I am an overprotective cat mom, and I struggle with how to avoid that and yet still be a force of good for him. That is why I was excited when I saw The DK New Edition Cat Encyclopedia: The Definitive Visual Guide — an essential read for any cat parent who worries about their kitty’s well-being and strives to be the best caregiver possible.

The photograph depicts a black and white, short-haired cat with a white streak on its nose and yellow eyes, looking at the camera from the lap of someone wearing blue jeans.
Henry, Angie’s purr-fect kitty

This comprehensive guide is like having a feline expert on your coffee table. Whether you’re a seasoned cat owner or a newbie, The Cat Encyclopedia covers everything from breed-specific care tips to understanding your cat’s behavior. It’s packed with impressive visuals and detailed information that helps you become even closer to your furry friend. 

Curious about your cat’s lineage? The breed section is a treasure trove of information. Discover the unique traits and histories of various breeds — each one is beautifully photographed. It’s eye-opening to see how diverse and magnificent our feline friends are. Plus, if you’re considering expanding your kitty family, this guide can help you find the breed that matches your lifestyle and personality. 

One of the standout features is the detailed health section. It walks you through common and not-so-common ailments, so you’re better equipped to spot any potential issues early on. Knowledge is power, and this guide empowers you to keep your kitty in tip-top shape and the less stressful life is for both you and your cat. 

The image depicts a black and white, short-haired cat, resting on the top of a chair or sofa in front of a tie-dyed banner, with sunlight streaming in through the window behind the cat. The top of the cat owner's head and part of their eyeglasses appear in the lower left corner.
Henry relaxes and enjoys a favorite sunny spot.

Ever wondered why your cat insists on kneading your favorite blanket or suddenly darts around the house at 3 am? The behavior section dives into the mysterious world of cat antics, decoding their actions, and helping you understand their unique language. It’s like having a translator for every purr, meow, and head-butt. 

The Cat Encyclopedia is more than just a book — it’s a love letter to our feline companions. It’s a reminder that our cats are more than just pets; they’re family members who deserve our utmost care and attention. So, whether you’re snuggled up with your kitty on a lazy afternoon or in the midst of a full-on kitty play session, this guide will become your go-to resource.

The DK New Edition Cat Encyclopedia: The Definitive Visual Guide is available in print from HCLS.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.

A left hand appears floating in a lava lamp, with bright blue bubbles. All set against a black background, with lettering in golden yellow.

Grady Hendrix Books: Horror and Humor

Angie Engles Leave a comment
A left hand appears floating in a lava lamp, with bright blue bubbles. All set against a black background, with lettering in golden yellow.

by Angie E.

The newest Grady Hendrix book, Witchcraft for Wayward Girls, is out but a lot of people have already reserved it. While waiting on the holds list, you may want to re-familiarize yourself with his previous works or start fresh, you can always start with We Sold Our Souls or My Best Friend’s Exorcism.

Grady Hendrix is renowned for his ability to mix spine-chilling scares with biting wit and heartfelt humanity. Born in South Carolina and based in New York City, Hendrix has carved a place in the literary world by revitalizing classic horror tropes with a fresh, often darkly comedic twist. His novels, such as Horrorstör (a haunted IKEA-esque nightmare) and The Southern Book Club’s Guide to Slaying Vampires (suburban-mom vs. ancient-evil), have earned him a cult following for their nostalgic charm, social commentary, and genre-bending creativity.   

If Black Sabbath and Stephen King ever had a love child, it would be We Sold Our Souls, flowing with distortion, saturated in dread, and rocking a leather jacket. Hendrix’s novel is a wild, riff-loaded joyride through the dark side of fame, where the price of stardom isn’t just your soul… it’s way messier. Kris Pulask, once a guitarist for the 1990s metal band Dürt Würk, is a down-and-out hotel night manager. When her ex-bandmate emerges as a superstar solo act, Kris uncovers a menacing plot involving Faustian deals, creepy contracts, and a conspiracy that makes Spinal Tap’s exploding drummers look tame.

Hendrix cranks the amp to 11, mixing gnarly horror with a love letter to metal’s rebellious spirit. Kris is a hero you’ll root for (think Alien’s Ripley with a Gibson SG) in a quest that is equal parts hair-raising and headbanging. Don’t let the gore and guitar solos fool you, though; beneath the blood-splattered surface lies a sharp critique of sellout culture. Hendrix nails how the music industry (and capitalism in general) chews up artists and spits out hollowed-out souls. It’s smart, savage, and uncannily uplifting, like a mosh pit that leaves you bruised but grinning. 

And if you’re left wanting more and Witchcraft for Wayward Girls is still on hold, there is also My Best Friend’s Exorcist. The Exorcist meets Clueless in Hendrix’s loving ode to the 80s, with a John Hughes-level devotion to teen angst. Hendrix nails the era’s aesthetic like a crimped hair goddess: think demonic possession via Jell-O Pudding Pops, exorcisms with soundtracks by Whitesnake, and a villainous priest who probably shops at Spencer’s Gifts. The horror is gruesome, but the heart is pure ’80s cheese. 

Hendrix’s work frequently explores themes of community, resilience, and the everyday fears of modern life, all while delivering page turning plots and memorably offbeat characters. A long-time horror enthusiast, he also wrote the nonfiction bestseller Paperbacks from Hell, a fond deep dive into the wild world of 1970s and ’80s horror paperbacks. In 2023, he snagged the Bram Stoker Award for Superior Achievement in a Novel for How to Sell a Haunted House, proving his gift for turning even the most absurd ideas into emotionally resonant tales. You can’t go wrong, really, with any of his books.

Angie is an Instructor & Research Specialist at Central Branch and is a co-facilitator for Reads of Acceptance, HCLS’ first LGBTQ-focused book club. Her ideal day is reading in her cozy armchair, with her cat Henry next to her.