TERROR IS THE NEW BLACK Keith Vaughan is a washed-out New York ad man totally disenchanted with the industry he once loved. Then Keith discovers Sheena Red. Sheena is the art world’s newest star. She’s young, brilliant, and obsessed with terrorism as the ultimate spectacle. Her new movement is called “Horrorism,” and its pieces do not merely comment on atrocity—they recreate it by restaging actual terror attacks, but this time reduced to pure form. Poison gas blooms through a studio audience as spectators reach for masks that may or may not save them. Sarin leaks into the subway. Buildings fall. As the bodies pile up, the critics swoon, and the media asks whether mass death can be the next great American art form. As Horrorism escalates from obscene provocation to corpse-strewn spectacle, Sheena and her collaborators are circling a final work grand enough to make Horrorism immortal—and obscene enough to allegedly expose the civilization which made it possible. The only thing that might be standing in the way is a gifted young copywriter who is the one person close enough to understand the seduction and the sickness of what they are creating. Savage, stylish, and morally radioactive, The Horrorist is Fight Club inside an ad agency, American Psycho in the age of viral spectacle, and J. G. Ballard’s Crash in a world where catastrophe has become content. Debut novelist and sometime ad man Leo Vladimirsky asks what happens when a society trained to consume spectacle finally gets the grand exhibition of terror and carnage it has so desperately longed for.