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Book Review: Sleeping with the Lights On: The Unsettling Story of Horror by Darryl Jones

Sleeping with the Lights On: The Unsettling Story of Horror by Darryl Jones

Oxford University Press, 2018

ISBN-13: 978-0198826484

Available: Hardcover, Kindle edition

 

In Sleeping with the Lights On, Darryl Jones addresses the origins and evolution of horror, and provides a brief but wide-ranging, descriptive overview of the relationship of violence, taboo, and fear to culture, society, and storytelling that will provide newcomers with a readable and easy-to-understand guide to the horror genre’s major terms, critiques, subgenres, and tropes addressed in both lay and academic literature. Those more familiar with the horror genre, may be acquainted with many of the ideas and criticisms, but Jones organizes the information effectively. In his introduction, he starts by tracking the origins of horror through early literature, religion, and myth, following through to the present day and making predictions about the future of horror. He provides clear explanations of terror, horror, the Gothic, the uncanny, and the weird, citing major, primary sources for their origins and definitions, and argues that changing cultural anxieties inform the development of the horror genre. Further chapters discuss major branches of the horror genre: monsters, the occult and supernatural, horror and the body (this includes transformation and cannibalism as well as body horror), horror and the mind (focused on madness, doppelgangers, serial killers, and slashers), and mad science.

In each of these chapters, Jones explores the breadth of the topic by first addressing the general concept (monstrosity, in the chapter on monsters) and then getting more specific and discussing critiques and analyses of how their representations and meanings  have changed with the times, through a more specific examination (in this case, of the representation of cannibals, vampires, and zombies in society, culture, history, and literature). Although he is able to address these only briefly, it is clear that his knowledge is deep as well as wide.

An afterword discusses post-millenial horror and Jones’ predictions for the future of horror. Noting that one of horror’s defining characteristics is its existence on the margins and manipulation of boundaries, he observes that its recently gained respectability in academic circles and the way it is now marketed to mainstream popular culture may be compromising its transgressiveness. Jones coins the term “unhorror” to describe movies that use horror tropes, sometimes exaggeratedly, and using computer-generated effects, without actually being horrific (he seems to be focused on recent kaiju movies, which do definitely differ in tone depending on who is making them. I don’t think anyone can say that Shin Godzilla is “unhorror” despite its CGI, though) and introduces “Happy Gothic”,  which uses a Gothic mode but in a romantic, whimsical way.

Jones also notes that recent storytelling in the genre is rooted in cultural anxieties about economic, ecological, racial, technological, and political horrors, all of which are very real parts of people’s lives right now, as well as a return to “old-school horror”, but that Asian and Hispanic horror are also having a major impact on the genre, as well as television, podcasts, and Internet memes such as Slender Man. Jones concludes that horror is expanding past the page and movie screen directly in front of our faces, to include new voices and new fears in ways that, at this time, we can’t even imagine.

As this is a short book, it really isn’t possible to cover everything, and I feel like Jones maybe stretched himself a little too far in trying to include as much as he did, especially in his afterword. He devotes just a few sentences to YA horror and paranormal romance(entire books have been written about this), and a few to the “Happy Gothic”, without really elaborating or providing examples (I have never heard of this and now I am curious). His attempt to describe “unhorror” was fragmented as well. He just didn’t have the space for everything I think he would have liked to have said, so the end felt a little unfinished.  I was also a little frustrated with the index. While it lists authors and titles of books and movies cited, movies were not always identified by the date (there are a number of movies titled Godzilla, for example) and terms defined in the text were not always included (abjection, taboo, and sublime, for instance). This is less of a big deal if you have a paper copy that you can just flip through, but doing that on the Kindle is more difficult. The “further reading” section was also difficult for me to read, and I would have liked a little space between citations. These are minor quibbles, though.

This is a great book for anyone looking for background on the genre or arguments for its validity, or who is just interested in the topic, and especially for newcomers seeking a good overview of the horror genre in literature and cinema. Highly recommended.

 

Musings: Earthseed: The Complete Series (Parable of the Sower and Parable of the Talents) by Octavia E. Butler

Earthseed: The Complete Series (Parable of the Sower and Parable of the Talents) by Octavia E. Butler

Open Road Media Sci-Fi and Fantasy, 2017

ASIN: B072NZBPFG

Available: Kindle edition

 

Editor’s note: Parable of the Sower and Parable of the Talents are also available individually in paperback and Kindle edition

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Horror is a very personal thing. What is terrifying and disturbing to one person may not be to another. Our reactions can also depend on the time in our lives in which we read it. For instance, Disappearance at Devil’s Rock left me thoroughly terrified because at the time I read it, my son, who was near the same age as the boy who disappears, was also obsessed with Minecraft. It hit far too close to home.

Having recently finished Octavia Butler’s Earthseed duology, Parable of the Sower and Parable of the Talents, I can tell you it also hits far too close to home. Parable of the Talents begins in a California town in 2024, with climate change and a lack of water causing weather to run out of control, particularly with earthquakes and fires, a federal government dedicated to eliminating regulations that would protect workers and the environment in order to benefit corporations, and an indifferent, corrupt local government that requires ordinary citizens to take survival into their own hands to protect themselves by arming themselves and building walls to keep out lawless murderers, drug addicts, thieves, and arsonists.

It’s behind one of these walls that fifteen-year-old Lauren Olamina, who possesses hyperempathy (a delusion in which she feels other people’s pain when she sees it) begins to develop a religious philosophy that differs dramatically from that of her father’s (he’s a Baptist minister) and a belief that the end of their little community will come sooner than the other members believe. She’s right. The dangers of the world outside the walls escalates, her father has disappeared, and finally her neighborhood is burned and almost everyone in it is murdered. Lauren and two other survivors decide they will stay together and walk north, to find a safer place. The three of them must constantly be on the lookout, because no one can be trusted– almost anyone might rob or kill them for supplies or money, and there is always the possibility that they could be captured and sold to slavers or raped. Despite their caution, though, they end up inviting other travelers to join them on their walk north. Lauren uses the time of their perilous travel to work out and share her new religion, Earthseed. She believes that change is the only thing that is eternal, and that people can either shape change or be shaped by it.

By the end of the first book, many of the characters have developed solid relationships with each other, and under Lauren’s leadership, they choose to stay together to found a community based on her beliefs. It’s an optimistic ending to a book that contains some pretty terrible events– Butler does not pull her punches, and she is matter-of-fact about appalling things like cold-blooded killing, rape, and corpse-robbing– and the future she describes has aspects that seem all too possible. I read this book for a book group, and the violence and destructiveness were so overwhelming and close to home that no one else was able to finish it and actually reach that ending.

Still, if Butler had ended her story there, it would have ended with the possibility of hope. Parable of the Talents manages to pretty definitively stomp out the likelihood of any happy ending. In this book, a new president decides it’s time to “make America great again” (yes, in those exact words) by restoring a white, Christian nation with any means necessary, including sending those who don’t fit that definition to “re-education camps”. I can’t tell you much more about it without giving away the plot, but suffice it to say that it is not for the faint of heart, or stomach. Lauren’s community and chosen family are broken apart, and a great deal of time is spent on the search for their children. There is a frame story where Lauren’s daughter offers her perspective on Lauren’s writings, which make up most of the book, and it is terribly sad on all sides. This book was so difficult for Butler to write that, despite originally planning to make it a longer series, she ended it here.

I’ve never read any of Butler’s other work. She is a powerful writer with a prescient sense of the future here, but I wish it weren’t so bleak. While these aren’t her final books, she wrote them nearer the end of her career than many of the others that she is known for (Parable of the Sower was published in 1993, Parable of the Talents was published in 1998, and she died in 2006). One feeling I came away from this with is that as an African-American who had already lived through decades of oppression and violence, maybe she saw this as a logical progression of where things were headed, even then, as many white people (including myself) couldn’t have imagined the world she created as close to reality until the past few years.

Compelling, occasionally baffling, brutal, and hopeful for a better world, the Earthseed duology is well worth reading, but it’s not light reading. Expect it to stay with you long after you have finished it, if you can finish it at all.

Book Review: Fauna by David Benton

Fauna  by David Benton

CreateSpace, 2018

ISBN-13: 978-1983765049

Available: Paperback, Kindle edition

 

“Nature fights back” is a familiar theme. Making it special takes some tinkering and imagination, not to mention strong storytelling. David Benton succeeds on all fronts, keeping the teeth gnashing and adrenaline pumping until the final page. He combines the visceral brutality of Edward Lee or Richard Laymon with the globe-trotting skills of James Rollins, resulting in an exciting romp that evokes James Patterson’s The Zoo, albeit with a message.

In the Amazon, a shaman warns photojournalist Michael Keller that a big change is coming in nature. What Michael doesn’t know is that it will be a concerted, global effect, an attack on mankind everywhere. Dr. Andrea “Andy” Keller working in a lab back in Milwaukee, is struggling to find an answer for the sudden aggression in both wild and domestic animals. Officer Devon Coleman just wants to keep his family safe in the city, a tough task as the family dog fights off the change.

Benton strings together scenes that display both the savagery and grace of the animal kingdom, suggesting that maybe the world would be a better place without people. As the story unfolds and blood splatters, he brings the stories’ threads together at a rapid fire pace. The story doesn’t slow down to explain the catastrophe occurring across the globe– but it doesn’t need to. This rollercoaster of a novel hits its message home with a powerful punch.

Recommended for fans of old-fashioned fast-paced horror, especially killer animal books.

 

Reviewed by Dave Simms