What similar novels capture the eerie atmosphere of 'The Bat'?

If you’re craving that bone-deep unease from 'The Bat', dive into 'The Haunting of Hill House' by Shirley Jackson. It’s a masterclass in psychological dread—creaking floors, whispers in the dark, and a house that feels alive. For gothic decay with secrets, Sarah Waters’ 'The Little Stranger' traps you in a crumbling mansion where class tensions and paranormal events blur.

Modern readers might adore Silvia Moreno-Garcia’s 'Mexican Gothic', blending fungal horror with colonial critique in a 1950s mansion. Don’t skip Marisha Pessl’s 'Night Film', a multimedia mystery about a reclusive director’s daughter’s death; its cults and hidden codes mirror 'The Bat’s' layered puzzles.

Lastly, Tana French’s 'The Witch Elm' offers a slow-burn terror where a Dublin family’s lies unravel alongside a skull found in their garden. Each book weaponizes setting as a character, just like Jo Nesbø’s Oslo underworld.

'Rebecca' by Daphne du Maurier is essential—Manderley’s shadowy halls and the specter of the first wife create a suffocating tension. For Nordic noir vibes akin to 'The Bat', try Karin Fossum’s 'The Water’s Edge', where a lakeside murder exposes a village’s rot. Paul Tremblay’s 'The Cabin at the End of the World' traps characters in a vacation home during an ambiguous apocalypse, perfect for existential dread.

If you want historical eeriness, Diane Setterfield’s 'The Thirteenth Tale' weaves ghostly twins and a biographer’s obsession in a decaying English estate. Bonus: Dan Simmons’ 'The Terror' turns an Arctic expedition into a survival nightmare with supernatural hunger.

Try 'The Silent Companions' by Laura Purcell. Creepy wooden figures, a cursed estate, and Victorian gaslighting. It’s 'The Bat’s' gothic cousin. Also, 'The Turn of the Screw' by Henry James—ambiguous ghosts and a governess’s unraveling sanity. Both are slim but pack chills.

For modern takes, Junji Ito’s 'Uzumaki' manga spirals into body horror within a cursed town—its obsession motif mirrors 'The Bat’s' serial killer psychology. Gillian Flynn’s 'Sharp Objects' delivers Southern Gothic poison; a journalist’s hometown investigation unearths family rot.

Emily St. John Mandel’s 'The Glass Hotel' isn’t horror but haunts with its ghostly neoliberalism and maritime disappearances. Classic pick: Wilkie Collins’ 'The Woman in White'—asylum escapes and identity theft in 1850s England. Each layers unease through unreliable narrators and environments that breathe malice.

'The Luminous Dead' by Caitlin Starling—cavers trapped underground with AI suits and paranoia. No ghosts, just claustrophobia and betrayals. Or 'Picnic at Hanging Rock' by Joan Lindsay: vanishing schoolgirls in 1900s Australia. The desert’s silence becomes the real monster. Both twist natural landscapes into something predatory, much like 'The Bat’s' urban shadows.