That said, splatterpunk is not about to take over horror fiction any time soon.

This is strong stuff and threatens to numb by repetition into a handbook of splatterpunk.

In splatterpunk, ghosts have given way to serial killers; "boo!"

"Splatterpunk," is not likely to produce a classic while it is still in its infancy.

Splatterpunk's extremes are defined not only in its depiction of violence and death, but also by an intense alienation from the body.

You began your career as a writer of adult horror, winning awards and building up a cult following in the splatterpunk genre.

Much of splatterpunk fiction operates like pornography, seeking to provoke a strong, immediate response, unconcerned with literary effect.

Mr. Garton also objects to the splatterpunk label.

Most of Schow's work falls into the sub-genre splatterpunk, a term he is sometimes credited with coining.

As this suggests, a great deal of splatterpunk is not much more than a rougher, cruder version of pulp fiction.

Remember Splatterpunk?

Boyett had short work in the seminal splatterpunk anthologies "Book of the Dead" (ed.

Modern horror, such as cosmic horror and splatterpunk, tends to be less melodramatic and more explicit.

What splatterpunk dramatizes most effectively is a kind of all-purpose amorality and affectlessness - fiction as sociopathology.

The paperback "splatterpunk" novel of today is a direct historical parallel of the paperback penny dreadful.

Her early horror fiction often explored family relationships and abuse, and its frequently graphic nature led to Lannes's early involvement in the Splatterpunk movement.

Transgressive fiction shares similarities with splatterpunk, noir, and erotic fiction in its willingness to portray forbidden behaviors and shock readers.

Though it gained some prominence in the 1980s and 1990s, and attracted a cult following, the term "splatterpunk" is currently used less often than other synonymous terms for the genre.

While the term splatterpunk is gaining acceptance by the publishing world as a catchy marketing device, some of the writers included in Mr. Sammon's book reject the label.

All of his movies are extremely low-budget violent productions considered gore horror comedies or splatterpunk, being Ed Wood, Jr and Lloyd Kaufman his main influences.

Splatterpunk may be a humanist's nightmare - defending its prose is difficult if you want clearly stated morals or uplifting lessons in your fiction - but it has many humane sentiments.

To the Editor: There are two striking features in Ken Tucker's essay "The Splatterpunk Trend, and Welcome to It" (March 24).

Basically, splatterpunk bears the same relationship to horror fiction that punk rock did to rock-and-roll - it is a radical gesture that shakes up the genre, that shifts the balance slightly but significantly.

Burnett and Parker took control of the project and involved noted Splatterpunk author and screenwriter David J. Schow to do a page one rewrite of the original Fever Dreams script.

Splatterpunk does not have mass appeal, but it does inevitably influence other, more mainstream writers, who respond to its sheer gall, its refusal to be conventionally commercial even as it inspires to great commercial success.