»In Sophie Hannah’s The Other Woman’s House, Tana French’s Broken Harbor, Mo Hayder’s Gone, and Gillian Flynn’s Gone Girl, the danger appears to come from a husband. In Megan Abbott’s Dare Me, set in the hothouse adolescent world of competitive cheerleading, it comes from another girl. In other books, it’s an entire culture—California’s porn movie industry in Christa Faust’s Money Shot, the Arab world in Zoë Ferraris’s City of Veils, the diseased American heartland in Hoffman’s So Much Pretty.«
Fictional women use stealth, subterfuge, and hand-to-hand combat to fight back in a man’s world. Elizabeth Hand’s worth reading essay about Femininjas you will find at the Boston Review and at Salon.
»The “new” haunted house comes from contemporary literature; and it is the backdrop for two of the most celebrated pulp novels of the summer, Gillian Flynn’s Gone Girl and Tana French’s Broken Harbor.«
Chloe Schama on „new haunted houses“, as you will find them in two crime fiction novels mentioned. Her reviews at tnr.com.