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The Final Girl Support Group

The Final Girl Support Group

by Grady Hendrix

Narrated by Adrienne King

Unabridged — 13 hours, 49 minutes

Grady Hendrix

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Overview

THE INSTANT NEW YORK TIMES BESTSELLER

VOTED GOODREADS CHOICE AWARD BEST HORROR NOVEL OF 2021

A Good Morning America Buzz Pick

“The horror master¿puts his unique spin on slasher movie tropes.”-USA Today

A can't-miss summer read, selected by The New York Times, Oprah Daily, Time, USA Today, The Philadelphia Inquirer, CNN, LitHub, BookRiot, Bustle, Popsugar and the New York Public Library

In horror movies, the final girls are the ones left standing when the credits roll. They made it through the worst night of their lives¿but what happens after?


Like his bestselling novel The Southern Book Club's Guide to Slaying Vampires, Grady Hendrix's latest is a fast-paced, frightening, and wickedly humorous thriller. From chain saws to summer camp slayers, The Final Girl Support Group pays tribute to and slyly subverts our most popular horror films-movies like The Texas Chainsaw Massacre, A Nightmare on Elm Street, and Scream.

Lynnette Tarkington is a real-life final girl who survived a massacre. For more than a decade, she's been meeting with five other final girls and their therapist in a support group for those who survived the unthinkable, working to put their lives back together. Then one woman misses a meeting, and their worst fears are realized-someone knows about the group and is determined to rip their lives apart again, piece by piece.
 
But the thing about final girls is that no matter how bad the odds, how dark the night, how sharp the knife, they will never, ever give up.


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Editorial Reviews

Publishers Weekly

★ 04/26/2021

Hendrix (The Southern Book Club’s Guide to Slaying Vampires) delivers a wildly entertaining romp through the conventions of horror’s slasher film subgenre. The novel’s title refers to a Los Angeles–based therapeutic support group for six “final girls”—survivors of mass-murderer rampages whose experiences inspired the splatter-film franchises that saturated horror cinema in the 1980s and ’90s, earning them minor celebrity. When one of the six is murdered decades after she escaped her assailant, and others come under violent assault, Lynnette Tarkington—herself a survivor of the Silent Night Slayings of 1988—realizes that someone is trying to orchestrate an extravagant final girl finale. But is the killer a garden-variety homicidal maniac, an unhinged slasher-film superfan, or someone more intimately familiar with their group? Hendrix masterfully evokes the paranoid existences of his diverse cast in the aftermath of their traumatic ordeals, and he so explicitly details the massacres and fictional film sagas that grew out of them that readers may believe them to be real. The result is a wonderfully suspenseful and darkly comic novel that cleverly subverts popular culture. Horror fans will be wowed. Agent: Joshua Bilmes, JABberwocky Literary. (July)

From the Publisher

The Final Girl Support Group sizzles with action, originality, and a gleaming concept sharp as a scalpel.”—Charlaine Harris, #1 New York Times bestselling author

"Pray for morning, wish for speed, and be as quiet as you can, it doesn't matter—Grady Hendrix's The Final Girl Support Group already knows where you live and breathe."—Stephen Graham Jones, New York Times bestselling author of The Only Good Indians

“A great read…[Hendrix] excels at writing horror humor… His characters are funny and real, though at least one will definitely lose a limb at some point…Though the final girls’ plight has all the scares of great horror fiction, there is an element of truth in their situation that will be recognizable to anyone who has experienced real trauma.” –The New York Times

"Equal parts thrilling and darkly funny." - Time

“A savvy summer slasher … continues his winning run of meta horror novels…a wickedly entertaining page-turner.” USA Today

“It’s not necessary to be a fan of slasher movies to enjoy this very clever, gleefully violent, self-aware deconstruction of the genre.” - The Guardian

“Grady Hendrix has demonstrated a remarkable facility for suspense…With his latest work, The Final Girl Support Group, he’s turned that talent into a nearly book-length workout, an exercise in go-go acceleration that steps on the gas soon after it begins and doesn’t stop until the final pages.” The A.V. Club

"A darkly clever take on the horror genre's most infamous trope."– Elle

The Final Girl Support Group is funny, scary, and a roaring good time. Grady Hendrix puts his own spin on final girls and I loved it.”—Samantha Downing, USA Today bestselling author of My Lovely Wife

"Take slasher movie adoration, critique, and satire, mix with compelling, flawed characters and neck-breaking plot twists, and drop it all into an industrial blender with large blades. Voilà, you now have Grady's maniacally clever and compulsively readable The Final Girl Support Group."—Paul Tremblay, national bestselling author of Survivor Song

“Dissects slasher obsession with cutting humor and heart.”Bloody Disgusting

“A wildly entertaining romp through the conventions of horror’s slasher film subgenre…Hendrix masterfully evokes the paranoid existences of his diverse cast in the aftermath of their traumatic ordeals, and he so explicitly details the massacres and fictional film sagas that grew out of them that readers may believe them to be real. The result is a wonderfully suspenseful and darkly comic novel that cleverly subverts popular culture. Horror fans will be wowed.”—Publishers Weekly (starred review)

"If you grew up on a diet of '80s slasher movies, The Final Girl Support Group is the book you've been waiting for...Clever, fast-paced horror comedy." —Oprah Daily

"The Final Girl Support Group is a deft examination of how our culture's obsession with misogynistic violence destroys the lives of women and how those women are able to keep fighting and living after unthinkable trauma. The beating heart of this book is empathy and it's set into a lightning-paced, vicious thriller. Reading it was a catharsis. Absolutely unmissable. Horror fans... you've never read a slasher like this."—Mallory O'Meara, national bestselling author of The Lady from the Black Lagoon

“With The Final Girl Support Group Grady Hendrix transforms a horror trope into something bloody original. An incisive examination of society's obsession with violence against women that simultaneously honors and roasts the slasher genre with equal prowess. Wildly entertaining and clever as hell.”—Rachel Harrison, author of The Return

“Grady Hendrix’s canny new novel, The Final Girl Support Group, gathers all the tropes and iconography of a decade’s worth of slasher movies, throws them into a blender with much more wit and intelligence than any of those movies displayed, in a truly original, compelling, suspenseful tour de force… with a knowing wink. Hendrix has a rare, unique voice in a genre sorely in need of more!"—Mick Garris, writer and director (The Stand, Bag of Bones, The Shining miniseries)

"A crazy emotional roller coaster ride that took me right back to 1980, but it needs a warning label: may cause severe anxiety, suggest reading with CBD and a glass of wine."—Adrienne King, actress, artist, and Friday the 13th’s first Final Girl

"The Final Girl Support Group is perfect for anyone who loves old slasher movies and, oddly enough, anyone who hates them. Grady Hendrix has somehow crafted both an homage to B-horror schlock and a clever dissection of the genre, all delivered in the form of one long breathless chase punctuated by both unpredictable twists and thoughtful insight."—David Wong, New York Times bestselling author of John Dies at the End

"A (bloody) valentine to the slasher franchises of the VHS era, but also a smart novel about survivor guilt and the concept of the enduring heroine."—Kim Newman, author of Anno Dracula

Library Journal

★ 06/01/2021

Lynnette Tarkington is part of a small club of six young women who have survived terrible trauma. They are the real-life "final girls" whose friends and loved ones were killed by a maniac and who found the strength to fight back. Their lives have been immortalized in many of your favorite horror movies, but after the credits roll, the final girls live in constant fear. Told from Lynnette's paranoid point of view, Hendrix's (My Best Friend's Exorcism) latest features a group that begins to drift apart just as someone is trying to pick them off one by one. The story is fast-paced, well plotted, and full of twists, and Lynnette is the perfect imperfect final girl, a heroine readers want to root for despite her flaws. Hendrix's writing truly shines in the details, such as chapter titles phrased as sequels to the novel; none of these sequels is real, but their presence in the book allows its final girls to leap off the page and into the world. VERDICT Hendrix presents yet another thought-provoking, fun, and chilling winner with perfect timing, as the slasher novel seems to be trending. A great choice for fans of Night of the Mannequins, by Stephen Graham Jones, or Clown in a Cornfield, by Adam Cesare, but also for readers who loved the darkly humorous but intense psychological suspense of My Sister, the Serial Killer, by Oyinkan Braithwaite.

Kirkus Reviews

2021-05-05
Serial killer survivors are forced to cooperate when they’re dragged screaming back into jeopardy.

You have to give it to Hendrix, author of The Southern Book Club’s Guide to Slaying Vampires (2020), for tapping into his deep knowledge of horror films and fiction to find a new angle on the tropes of terror with every outing. In the same way Edgar Cantero lampooned Scooby Doo in Meddling Kids (2017), this scary unraveling aims straight for the sheer terrors the best slasher films create. Here, Hendrix has zeroed in on the so-called “final girl,” the sole survivor of a horrific massacre—you’re already thinking of Jamie Lee Curtis in the Halloween movies or Sigourney Weaver in Alien. This book is even more skin-crawling, as deeply paranoid Lynnette Tarkington (impaled on an antler trophy during her first unfortunate encounter years ago) reluctantly participates in group therapy sessions with Dr. Carol Elliot along with fellow survivors Marilyn Torres, who has buried her emotions in wealth; Dani Shipman, who might have killed the wrong person; Julia Campbell, whose encounter left her in a wheelchair; and Heather DeLuca, who is succumbing to addiction. Hendrix can be tongue-in-cheek (see Horrorstör, 2014) but is deadly serious here while still warping the conventions of the genre, including the fact that some of the survivors have participated in graphic horror flicks depicting their very real traumas. The book is creepy enough on its face, but Hendrix’s use of expedient narrative tools, including a laconic cowboy lawman, an overly eager journalist, and a host of archetypal serial killers, heightens the unease. After one member of this vigilant sisterhood is murdered and a series of oddly prescient attacks threaten the rest, Lynnette becomes increasingly suspicious that the attacks are originating way too close to their inner circle. “Does this ever end?” Lynnette asks. “Will there always be someone out there turning little boys into monsters? Will we always be final girls? Will there always be monsters killing us? How do we stop the snake from eating its own tail?”

A bloody and grotesque but ultimately entertaining and inspiring take on horror movies, trauma, and self-determination.

Product Details

BN ID: 2940172719950
Publisher: Penguin Random House
Publication date: 03/12/2022
Edition description: Unabridged

Read an Excerpt

The Final Girl Support Group

I wake up, get out of bed, say good morning to my plant, unwrap a protein bar, and drink a liter of bottled water. I'm awake for five full minutes before remembering I might die today. When you get old, you get soft.

In the living room I stretch and do forty knee strikes, forty palm heel strikes, and side mountain climbers until sweat drips onto the concrete floor. I do elbow strikes until my shoulders burn, then I get on the treadmill, put the speed up to seven, and run until my thighs are on fire and my chest rasps, and then I run for five more minutes. I have to punish myself for forgetting exactly what the stakes are, especially today.

The bathroom door gets padlocked from the inside while I shower. I make up my bed to eliminate the temptation to crawl back in. I make tea, and it's not until the electric kettle clicks that I have my first panic attack of the day.

It's not a bad one, just a cramp in my chest that feels like a giant hand squeezing my lungs shut. I close my eyes and concentrate on relaxing the muscles lining my throat, on taking deep breaths, on pulling oxygen into the bottom of my lungs. After two and a half minutes I can breathe normally again and I open my eyes.

This apartment is the only place in the world where that's possible. A bedroom, a living room, a kitchen, and a bathroom where, as long as I take reasonable precautions, I can close my eyes for two minutes. Out there in the world it's a nonstop murder party, and if I make the slightest mistake I'll wind up dead.

I go into the living room and turn on CNN to see what the body count is today, and from the very first image I know that the next twenty-four hours will be bad.

A live drone shot of a summer camp is buried beneath all the other junk CNN puts onscreen. It shows sedans and emergency vehicles clustered outside the cabins, men in white hazmat suits walking between the trees, yellow police tape blocking the road. They cut to recorded footage of the night before, blue lights flashing in the dark, and the slugline hits me in the gut: Real Life Red Lake Tragedy Repeats.

I turn on the sound and the story is exactly what I feared. Someone murdered six Camp Red Lake counselors who were shutting the place down for the season. They used a variety of weapons-hand scythe, power drill, bow and arrows, machete-and would have had a seventh victim except the last one, a sixteen-year-old girl the CNN chyron tells me is named Stephanie Fugate, shoved them out the hayloft.

The killer hasn't been identified yet, but there's Stephanie onscreen in a class photo with her round face and clear skin, smiling through her braces with a grin that breaks my heart. After last night, she'll never be that happy again. She's a final girl now.

You're watching a horror movie and the silent killer knocks off the stoner, the slut, the geek, the jock, and the deputy, and now he's chasing the virgin babysitter through the woods. She's the one who said they shouldn't party at this deserted summer camp, break into this abandoned lunatic asylum, skinny-dip in this isolated lake-especially since it's Halloween, or Thanksgiving, or Arbor Day, or whatever the anniversary is of those unsolved murders from way back. The killer's got a chainsaw/boat hook/butcher's knife and this girl's got zip: no upper body strength, no mass, no shotgun. All she's got is good cardio and an all-American face. Yet somehow she kills the killer, then stares numbly off into the middle distance, or collapses into the arms of the arriving police, or runs crying to her boyfriend, makes one last quip, lights one last cigarette, asks a final haunting question, gets taken off in an ambulance screaming and screaming like she's never going to stop.

Ever wonder what happens to those final girls? After the cops eliminate them as suspects, after the press releases their brace-faced, pizza-cheeked, bad-hair-day class photos that inevitably get included on the cover of the true crime book? After the candlelight vigils and the moments of silence, after someone plants the memorial shrub?

I know what happens to those girls. After the movie deals get signed, after the film franchise fails, after you realize that while everyone else was filling out college applications you were locked in a residential treatment program pretending you weren't scared of the dark. After the talk show circuit, after your third therapist just accepts that he's your Zoloft-dispensing machine and you won't be making any breakthroughs on his watch, after you realize that the only interesting thing that'll ever happen to you happened when you were sixteen, after you stop going outside, after you start browsing locksmiths the way other women browse the windows of Tiffany's, after you've left town because you couldn't deal with the "Why not you?" looks from the parents of all your dead friends, after you've lost everything, been through the fire, started knowing your stalkers by their first names, after all that happens you wind up where I'm going today: in a church basement in Burbank, seated with your back to the wall, trying to hold the pieces of your life together.

We're an endangered species, for which I'm grateful. There are only six of us still around. It used to make me sad there weren't more of us out there, but we were creatures of the eighties and the world has moved on. They used to dust off the clip packages for our anniversaries or the occasional franchise reboot, but these days it's all oil spills and Wikileaks, the Tea Party and the Taliban. The six of us belong to another era. We're media invisible. We might as well not even exist.

As I turn off CNN I realize I miscounted. There are actually seven of us; I just don't like to think about Chrissy. No one does. Even mentioning her name can mess with your head because she's a traitor. So I take a minute, even though I only have three hours to get to group, and I take a deep breath and try to get my focus back.

Adrienne's going to be a mess. Camp Red Lake was where it happened to her, but she bought the place later and turned it into a retreat for victims of violence, mostly survivors of school shootings and kids who got away from their kidnappers. This hits her where she lives. At least it'll give us something new to talk about besides whatever old business we're still arguing over today.

When I can't put it off any longer, I get ready to head out. Group is the only time I leave this apartment except to go to the mailbox place across the street once a week, to check my escape routes once a month, and my biweekly trips to the corner store for supplies. I don't like risk. My hair is short because long hair can get grabbed. I wear running shoes in case I have to move. I don't wear loose clothing.

I inventory my pockets: keys, money, phone, weapons. I stopped carrying a firearm on public transport after an incident a couple of years back, but I have pepper spray, a box cutter in my right front pocket, and a razor blade taped to my left ankle. I don't wear headphones, I don't wear sunglasses, I make sure my jacket is tight so there's nothing to snag, and then I say good-bye to my plant, take a deep breath, step out of my apartment, and face a world that wants me dead.

The Final Girl Support Group II

A cotton ball sheep says, Jesus Loves Ewe!

A trio of very skinny ghosts rising from the grave proclaim, Ghosts are scary . . . but not the Holy Ghost!

He is Risen! shouts a multicolored tangle of Magic Marker scribbles.

That one gives me pause. All of us in group have a complicated relationship with the idea of resurrection.

We should be sitting in a circle, but the five of us sit in a ragged C because none of us will ever put her back to a door again. Dani has her arms crossed, legs spread, sitting cowboy stoic in front of a wall of orange-and-black construction paper jack-o'-lanterns and hissing cats. She's the last person on earth who needs a reminder that Halloween is coming.

Marilyn has her legs crossed, Starbucks in one hand, new purse in her lap because she won't let it touch the floor. She told Julia it cost $1,135, but I don't believe her. You can't charge that much for a faux purse, and Marilyn would never let leather touch her skin.

"It's hard for me to focus if I haven't eaten," Heather is saying in her never-ending, I-haven't-slept-since-1988 monologue, leaning forward, hands flapping around. "Because of my low blood sugar."

Apparently, today's argument will be about snacks.

Julia sits in her wheelchair, clearly bored, drumming her fingers on her wheels, wearing an ironic World's Greatest Dad T-shirt, staring at a large, wrinkled drawing of a flying man with his arms held straight out at his sides that reads, "Jeshus is sad dead alive."

I used to think it was weird that we met surrounded by Sunday school art, but now it's become the first thing I look at every month after checking my sightlines and my exits. Not because the artistic self-expression of a bunch of potential murder victims interests me in the slightest. I'm looking for warning signs: pictures of exploding guns and bloody knives, boys drawing themselves as neckless monsters with triangle fangs tearing their parents in half. I'm looking for signs that one of these kids will grow up to be my enemy, to be another one of the monsters that tried to kill us all.

"If you ate before group," Dr. Carol suggests. "Maybe that would help?"

Dr. Carol, the only one in the room who can bring herself to put her back to the door, sits in the mouth of the C, like she has for the past sixteen years, posture perfect, pen poised, notepad resting on one knee, treating Heather's snack obsession with the same care and concern she applies to everything we say.

"That's off my schedule," Heather says. "As a recovering addict, maintaining a schedule is important to my sobriety and I have to leave the home early because, you know, the cops took my license and I haven't gotten it back yet, so it takes me longer to get here because I think it's important not to be late. Adrienne doesn't have that same level of consideration, apparently."

"I'm sure Adrienne has a good reason for why she's running behind," Dr. Carol says.

"I'll be surprised if Adrienne shows up at all," Julia says. Clearly she saw CNN, too. "Has anyone talked to her? I tried to call but it went to voicemail."

"I imagine she's turned her phone off," Marilyn says, then makes a face like she smells shit. "The press."

Marilyn refused to do any press conferences or give anyone an exclusive after her crisis, arousing the wrath of every reporter in America, and then she married into a mega-rich politically active Republican family, so she's gotten it the worst over the years, but we all know the feeling. The phone that never stops ringing until you finally pull it out of the wall; the reporter you've never seen who calls you by your first name and pretends to have gone to high school with you so convincingly you start to believe them; a distant cousin showing up at the hospital, all full of concern, with a tape recorder spinning inside her bag next to a check from the National Enquirer.

"I don't think it's appropriate to discuss Adrienne's situation with anyone but Adrienne," Dr. Carol says. "I'm sure we'll talk about it when she gets here. In the meantime: how do people feel about Heather's concerns?"

There's an awkward moment as we all wait to see if anyone's going to take the bait, but no one does. We're final girls. We're good at escaping traps.

"I'm just saying," Heather says, filling the awkward silence. "I have certain needs, and since I don't have the advantages all of you do, then I would really like us to have some coffee, some cookies, something, because this big bare room is depressing."

She's really not going to let this go, but that doesn't surprise me. We're the women who kept fighting back no matter how much it hurt, who jumped out that third-story window, who dragged ourselves up onto that roof when our bodies were screaming for us to roll over and die. Once we start something, it's hard for us to stop.

"I don't mind what Heather brings," Marilyn says, her bracelets dancing as she waves her Starbucks cup with its dark red lipstick print on the lid. "Bring a pizza. But can we please change the topic?"

"That's interesting," Dr. Carol says, although she's the only one who thinks so. "Does anyone else feel the way Marilyn does?"

When you've been in a room with the same six people for sixteen years, you know what they're going to do before it happens. Like a chemical reaction, if certain conditions are met, certain outcomes will take place. Right on cue, here comes Julia.

"I think people eating and drinking in group is a form of deflection," Julia says, because she can't pass up a chance to argue with Marilyn. "Marilyn's Chai Soy Big Gulp is a prop that shows us she's distancing herself from group."

"I declare," Marilyn fake-marvels in her flat Texas accent. "How do you come up with these things?"

"Two sessions ago you complained we were trapped in the past," Julia says.

Marilyn looks at each of us.

"Well, does anyone think this is as necessary as it used to be?" she asks. "The way we snipe and peck, I feel like we could all use a vacation. Isn't the point of therapy that one day you don't need it anymore?"

I feel my lungs cramp and I count breaths-seven in, seven out, keep it slow, keep it steady. She doesn't mean that. Group is the center for all of us, even Dr. Carol. Her self-help empire is built on the work she did with us back in the nineties, but the reason we're in this church basement and not one of her swank, camera-ready clinics is that this is our shared secret, our one safe place free from the stalkers and the superfans, the reporters and the profile writers. How can Marilyn talk so casually about giving it up?

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