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Women in Horror Month: A Look Back

An enormous amount of content was produced by and about women in horror during Women in Horror Month, 2014. I linked to a lot of this content via our Facebook page  However, since a lot of people don’t visit our Facebook page, I’m going to provide a list of links to places I visited and shared during the month that are related to WiHM(I really recommend that you visit there often, because not only will you get all kinds of awesome content that comes my way, but there are also links to all our blog posts– not just this blog, but the one for Reading Bites, and the one that notifies you of new reviews. So it’s a great way to see everything current).

Enjoy!

Mary Shelley Letters Discovered in Essex Archive-– The Guardian, January 15

Flowers in the Attic: The Value of Young Reading Perspectives-– Kelly Jensen, BookRiot

The Ghost of V.C. Andrews: The Life, Death, and Afterlife of the Mysterious “Flowers in the Attic” Author—  Kate Aurthur at Buzzfeed. For the first time, the family and colleagues of the author speak out to provide a fuller picture of her life.

The Literary Gothic— A web guide to biographical information on early supernaturalist authors, set to close down in June

Please Don’t Bring Me Flowers— Allison Peters, BookRiot

20 Black Women in Horror Writing— Sumiko Saulson. Essential reading for the month of February, for multiple reasons. Saulson also published a short ebook on black women horror writers in February of this year, available for free at Smashwords.

Women in Horror Recognition Month Facebook page

Gothic Pioneer Ann Radcliffe May Have Been Inspired by Mother-In-Law— The Guardian, January 30

Women Who Write Lovecraft by Silvia Moreno Garcia of Innsmouth Press

RA for All: Horror— Becky Siegel Spratford asks who your favorite woman writer in horror is.

Ania Ahlborn’s interview with J. Lincoln Fenn

The Rise of the Women in Horror Movement: Admirers, Haters, and Everything In-Betweeners at Brutal as Hell

Statistics on genre writer submissions by gender at Tor UK, by editor Julie Crisp. Crisp’s statistics demonstrated that women submit fewer manuscripts than men, at least at Tor UK, so sexism by the publisher isn’t the only factor at play.

Women in Horror Month: Girls Can Kill, Too!— Bloody Disgusting

Writing female protagonists, by Lisa Morton– HWA blog

Genre-blending from Mary Shelley to the present by J. Lincoln Fenn– HWA blog

Horror Roundtable on Sexism— HWA discussion. Read the comments section– it’s very interesting!

Women Destroy Science Fiction Kickstarter— Lightspeed Magazine. In spite of everyone’s insistence that all-women issues are not desirable, this Kickstarter campaign to fund an all-women writers’ issue of Lightspeed Magazine was so successful that the people at Lightspeed expanded to include issues called Women Destroy Horror (published as an issue of Nightmare Magazine) and Women Destroy Fantasy (published as an issue of Fantasy Magazine). The campaign is over, but this shows there is clearly a demand for work by women writers. Look for the special issues later this year!

Mary SanGiovanni on her personal experiences as a woman writer of horror.

Creating female protagonists, by Lisa Morton (again, although not the same piece)– RA for All: Horror

Women in Horror Month: Pseudonyms and Author Anxiety— KC Redding-Gonzalez

Rabble Rouser Wednesdays: On the Issue of Misogynist Writers and Readers by Paula Ashe

Hugh Howey on Self-Publishing

Mark Coker responds to Hugh Howey

Tonia Brown on her personal experience with self-publishing

What’s Wrong With Female Werewolves in Popular Culture? at Darkmedia

Women in Horror Month Archives 2014— Darkmedia

Spreading the Writer’s Word— A daily spotlight on a book by a woman writer of horror

Siren’s Call Publications— download their free ezine devoted to Women in Horror Month

60 Black Women in Horror by Sumiko Saulson— free download to this guide at Smashwords.

 

There is some great stuff at those links and I hope you will take the time to explore them. I hope you had a great time learning about women in horror, and especially women in horror fiction, during the month of February. Don’t think that just because the month is up that it’s time to stop, though! Keep your eyes open for news on how Monster Librarian plans to keep women writers visible over the next several months– it will be a challenge to keep it up with the Stokers coming up and all kinds of reviews to edit, write, and share, but it’s totally worth it. So welcome to March– another month set aside to recognize women’s contributions to the world. Let’s see where it takes us!

 

 

 

 

 

 

 

 

The Compulsive Power of Reading: Flowers in the Attic by V.C. Andrews


V.C. Andrews’  1979 novel Flowers in the Attic has been adapted into a Lifetime movie with Ellen Burstyn and Heather Graham, which will premiere later this month (see the trailer here). This movie promises to stay much closer to the book than the 1987 adaptation, which left out some important parts of the book. She also has a  new book coming out soon, The Unwelcomed Child (Andrews died in 1986, after writing just seven novels, and now has over 80 published books– making her possibly the most prolific dead writer ever).

If you were a girl growing up in the 1970s or 1980s you’ve probably at least heard of Flowers in the Attic. It’s been a long time since I read it, but I have a strong memory of reading it. You wouldn’t think that a story about four kids locked in an attic for years would be a compelling read– how much action can there really be? Maybe as a 12 year old the plot didn’t feel as telegraphed to me as it does now. The language feels like it comes straight from “old-skool” romance,  but the setting is gothic and the tone is disturbing. I wasn’t a critical reader at that age, I was just caught up in the story, as told by a grown Cathy Dollanganger about her 12 year old self.  Flowers in the Attic was a compulsive read and I read it cover to cover, and the other books in the Dollanganger saga, although my favorite Andrews book is the stand alone My Sweet Audrina.

At the same time that I am tempted to go back to it, though, I haven’t quite been able to bring myself to do it. It’s like being a moth attracted to bright light– I’m not sure I want to get close enough to go back to the awfulness of the grandmother, the monstrosity of the mother, the incest, rape, physical abuse, and abandonment. It probably doesn’t bother an uncritical teenage reader dealing with unfamiliar (or maybe familiar, but under the surface) emotions and physical changes, but do I want to go there again? Andrews’ books have been compared to the Twilight books because they’re such compulsive reads, across generations–once you start, resistance is futile. Do I really want to lose my weekend to the Dollangangers?

What makes Flowers in the Attic so compelling? Lots of people have tried to come up with an answer to why girls and women would read a story this full of crazysauce (a term I picked up from Sarah Wendell that fits this book so very well) and I’m not sure any of them got it quite right. And unlike Twilight, it doesn’t seem like there will be an entire shelf of knockoff crossover YA creepy family horror stories  in the bookstore anytime soon. Her books, with their distinctive covers, still seem to me like the kind you read under the covers.

In researching V.C. Andrews I discovered that people who asked about books similar to Flowers in the Attic were mostly given lists of Andrews’ books, and more than once someone said that her books are their own genre. In an article on Andrews, Sara Gran and Megan Abbott note:

Though there’s an obvious debt to the Brontë sisters, nineteenth-century sensation novels like Lady Audley’s Secret, and Daphne du Maurier’s Gothic fiction, at heart Andrews’s novels have little in common with the genres where they ought to fit. They’re too offbeat for romance, too slow to qualify as thrillers, too explicit for Gothic, and far too dark and complex for young adult.

Young adult books have gotten pretty dark and complex, if you ask me, but with an audience including 12 year olds and 60 year olds, it does make it difficult to know where to shelve the book.

Curiously, for someone who makes a living duplicating Andrews’ style, Andrew Neiderman, who ghostwrites her books, said in an interview:

The wonder of V.C. Andrews, which makes it hard for people to duplicate, is that it’s not just one genre. It’s not just horror stories or love stories—it’s a recipe, a mixture of these genres in the books that makes it work, that people have not been able to emulate, because a lot of people have tried.

I’d love to know what authors or books he’s referring to, because even if they’re not totally successful, it would be interesting to see what other people have come up with in their attempts to emulate her work. Do people graduate from her books? What do they read next?

Will I go back and read Flowers in the Attic in honor of the new movie? I haven’t decided. But just learning more about Andrews and her books (an interesting challenge) was compelling enough on its own to make me really, really tempted.

 

For some perspectives on the books (and occasionally, some drinking games) here are some links you might check out.

 

“”I May Look Like Her, But Inside I Am Honorable”! Flowers in the Attic, Daughters, and Moms”  by Tammy Oler at Slate.com

 

The Complete V.C. Andrews. This unofficial website links to a variety of articles on V.C. Andrews, her books, and related topics.

 

“Interview with Ann Patty, Editor of Flowers in the Attic by Robin Wasserman at The Toast.net

 

“V.C. Andrews and Disability Horror” by Madeleine Lloyd-Davies at The Toast.net. I loved this. I have been thinking about disability horror a lot lately.

 

Dark Family: V.C. Andrews and the Secret Life of Girls” by Sara Gran and Megan Abbott, in the September 2009 issue of Believer Magazine. This is as close to serious analysis as I found, and I think the authors did a pretty good job of nailing why the books appeal to girls. Although I’m middle-aged, so you would probably be wise to check it against the experience of teen girls of your acquaintance.

 

Twilight vs. Flowers in the Attic: Sick Sex Smackdown, Eighties Style” by Alyx Dellamonica at Tor.com. Another informal look, this one with some more critical thought put into it. I like Dellamonica’s idea that the book falls into a stretch of development between  “unreal” childhood fears like the monster under the bed and the ability to deal with realistic threats in the wider world. I wasn’t a fan of her conclusion, though.

 

Lurid: Flowers in the Attic” by Karina Wilson at LitReactor.com. A rather gleeful look back and critical once-over of the author’s personal favorite “Bad Book”.

 

Flowers in the Attic: Ain’t Sexy, He’s My Brother”. Lizzie Skurnick’s  original column at Jezebel on Flowers in the Attic, which appears in a more polished form in her book Shelf Discovery.

 

“Flower Scowler” by Erin Callahan at Forever  Young Adult. The first post in a series where Callahan reads and dissects each chapter in Flowers in the Attic, which includes the Flowers in the Attic drinking game. This is a very informal, funny examination of the book.

 

Revisiting My Sixth Grade Bookshelf: Flowers in the Attic” by Ashley Perks at xoJane.com. An informal look back at the book.

 

“In The Attic: Whips, Witches, and a Peculiar Princess” by Gillian Flynn at NPR.org.  The author of Gone Girl writes about her infatuation with the book as a teen and how it inspired her interest in “wicked women”.

 

Flowers (And Family Dysfunction) in the Attic” by Heidi W. Durrow at NPR.org. Durrow writes about her personal love of the book, no analysis involved.

 

 

 

Stephen King Goes To The Theater: The Ghost Brothers of Darkland County

 

When we first saw the advertisement for The Ghost Brothers of Darkland County, we were pretty excited. A collaboration between John Mellencamp and Stephen King has all kinds of potential for coolness. Stephen King is a great storyteller, and for a rock musical in a southern gothic atmosphere, I can’t think of anyone who I’d rather have making the musical contribution than John Mellencamp (to clarify, he wrote the music, but didn’t sing it). The description of the show included the information that this collaboration had been thirteen years in the making. We were very intrigued, and made the tickets to the show our anniversary present to each other.

I am a huge believer in the power of live performance. I love storytelling and I love opera, and once you’ve seen those live, film provides only a pale imitation. I don’t think that is necessarily true of horror, though. Maybe it has something to do with the realism that a horror movie has to have to give you that emotional punch. So I wondered how that would present itself in a musical on stage.

The honest answer is that I’m really not sure whether this lives up to its billing as a collaborative horror musical. The music was tremendous, as I expected it would be, and the acting and singing were fantastic. Both the choreographer and whoever was in charge of lighting deserve awards. But… the plot? Character development? I think Stephen King was taking a nap.

The story is along these lines. In a small town in the South, a rift has developed between two brothers. One brother is an auto mechanic who plays in a local band, whose girlfriend, Anna, has just dumped him for the other brother, a writer who has just sold his first book. Their father, Joe,  meets them at the family’s lakeside cabin to tell them the story of his own brothers as a warning. Decades earlier, his older brothers also turned against each other and both died tragically because of their differences over a girl named Jenna.  Joe’s brothers and Jenna now haunt the cabin, providing commentary and acting out the backstory. There is a creature called The Shape hovering around the edges of events (and often stealing the stage– the actor took his part and ran with it), encouraging all the characters to act on their worst impulses.

The plot is pretty thin, in other words. On stage, sets are often pretty minimal, and that’s the case here. So realism isn’t really an option. You’ve either got to have action or character development to catch your audience. Spectacle, music, and talent (and this show has all three), can carry you pretty far, but to get really invested there has to be movement and change of some kind. And especially with horror, you have to be invested. But we never get to know the characters enough to find them sympathetic, or even care much about their troubles. None of them are particularly likable and their parts just don’t gel together. As a result, the final events, which actually were objectively really horrifying, didn’t pack the emotional punch of, say, the final events of Rigoletto, or Carmen. I feel like the actors made the most of what they were given to work with, particularly the Shape. Mellencamp’s music, played by members of his band, was great, and especially the women had great voices and stage presence (Anna in “That’s Who I Am”, Jenna in “Home Again”, and the boys’ mother, Monique, in “You Don’t Know Me”). Unfortunately, not even lighting that made it look like the actors were dripping in blood was enough to disguise the thinness of plot and character development.

I am likely to buy the musical’s soundtrack (especially as it has Sheryl Crow, Rosanne Cash, Kris Kristofferson, and Elvis Costello singing on it), and I’m not sorry I went, because I will be able to easily picture the acting  that went along with the music, but I can’t say that I think either of us think this is a must-see live performance (although apparently many Stephen King fans disagree). It’s quite possible that as a film, set in the South with realistic detail, that many of the shortcomings of the live performance could be overcome… although, most likely at the expense of the Shape’s impact on the characters and scene. You can’t beat Mellencamp’s music live, though, and that, I think, was worth the price of the ticket.