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The Horror of Science Gone Awry

An article in The Guardian suggested that the absence of the supernatural monster from books generally considered horror fiction could be the end of the genre. I must respectfully disagree. While Becky Siegel Spratford, considered the expert on reader’s advisory in horror fiction, suggests that supernatural forces must be present for a book to be considered part of the horror genre, here at MonsterLibrarian we have always taken a broader view of what constitutes horror fiction (some would argue, I’m sure, that our definition is too broad). In fact, when we started out, with a much smaller number of genre divisions, one of the categories we had was “science gone awry”. It can be as terrifying as any supernatural creature, that’s for sure. We’ve since integrated the titles from that category into other subgenres, because it’s now such a common source of monstrosity. I confess that the books I remember as most terrifying from my own teenage years included not just Stephen King’s early works, but science fiction stories such as Asimov’s “Nightfall”, and medical thrillers, like Robin Cook’s Godplayer and Mutation. The natural world at its most frightening, and the dangerous obsessions of the mad scientist intent on altering, extending, or creating life–these are the stuff of terror, fear, and dread. And they have been for ages.

The advancement of science and the expansion of our world have changed us, and the source of our fears is now much more often the evil we do to each other and to the world around us, and how it rebounds to us. That’s not to say that we have abandoned our fears of attack from outside or supernatural forces, but mad science is hardly new to the horror genre. Critique of social, economic, and political issues isn’t new to the genre either, and the existence of that critique in a text doesn’t determine whether it’s horror–the emotional punch to the gut does that. Horror does not have to be, as the author of the Guardian’s article suggests, drawn from ancient fears and folktales, or from gothic novels. If it’s not somehow situated in the real, or at least the believable, then the fantastical elements are unlikely to succeed. In spite of the occasional moaning and groaning that horror is dead, it’s not. Like so many of the iconic monsters of the genre, as long as there are things to fear, it will rise. And, to answer the question the author poses of where we will find books that really scare us now… well, in a genre as broad as horror, there is a place for everyone to get their literary chills. And if you’d like some recommendations, we at MonsterLibrarian.com are happy to oblige.

AAAAAAAHHHH! Horror is Dead!

At least, that’s what The Guardian says. Apparently the cool literary types haven’t reached out to touch the horror genre in a way that matters, which, according to this author, apparently means it needs to be drenched in literary theory and contemporary economic and political issues:

I’m convinced horror can raise its game. Our postmodern, capitalism-in-crisis, media-saturated world is ripe to describe it anew. Our very language seems to demand it. A mortgage, literally, is a death grip. Negative equity means being haunted by your own house. Corporations have legal personhood: they can be held responsible for criminal actions and claim “human” rights, but ironically they have no body. PR and political spin are referred to as “dark arts”.

.

To this, I can only say “Huh?” Look, if you really want to get down to the basics, great horror fiction crawls into your mind and moves in, or produces a physical, visceral response. It can be literary, but if it doesn’t do either of those things, it’s not horror. And you can call it whatever you want, but if a book does those things, you are reading a horror novel. Fear may nest in the great issues of our time, but horror is something experienced as intensely personal.

Marketing has more to do with what people are calling that book than what it actually is. I wrote about this a while back— “literary” books are seldom marketed as horror. Osama by Lavie Tidhar won the World Fantasy Award, but it gave me nightmares, and rightfully so. Chris Bohjalian doesn’t call it a horror novel, but The Night Strangers(reviewed here)still makes me uneasy. And Kelly Link, mentioned in the Guardian’s article as a refreshing literary voice in fantasy fiction, slips between genres, identifying with horror as well as sf and fantasy(read our interview of her here). And books published as horror, such as The Reapers are the Angels, by Alden Bell, can certainly be literary.

So, nope, horror isn’t dead. Can it be pulpy and commercial? Sure thing. Can it be predictable and badly written? Absolutely. Can it be original, unsettling, and downright terrifying? It better be.

Horror doesn’t die, folks. Pitch in Rise of the Guardians(which you should really see) makes that point effectively. You can banish the nightmares, but the bogeyman always rises again.

(Thanks to Rose Fox at Genreville for the link, and her spirited response).

Dear Ms. Cadwalladr…

I loved your interview of Nora Roberts. I really did. But I think you misunderstand the place of horror in the world of genre fiction. You describe romance as “lower than crime, lower than horror, lower, even, than sci-fi.” Let’s take a look at that, shall we?

How many romance imprints are there, Ms. Cadwalladr? How many mainstream publishers devote entire lines to romance fiction? There are major publishers, like Harlequin, that produce ONLY romance. There is a well-oiled professional organization devoted to promoting romance fiction and romance author (including me). According to the Romance Writers of America, almost 75 million people read at least one romance novel last year.

Romance is not a stepchild of genre fiction. It’s a STAR.

Let’s compare this to horror. How many horror imprints are there in the mainstream press? Most mainstream publishers will do almost anything to avoid calling a book “horror”. Literary “supernatural fiction”; dark fantasy; urban fantasy; dark science fiction; paranormal thriller; YA paranormal; paranormal romance; ANYTHING but horror.

Let me ask you- Do you know the names of any horror authors besides Stephen King, Anne Rice, Clive Barker, and Laurell K. Hamilton? Did you know that when you browse for subjects on Amazon.com, you can find mysteries, thrillers, science fiction, fantasy, and (yes) romance, but not horror? What’s the demographic for horror readers? I doubt you can find that out(if you can, I’d love to know), because nobody has collected that information. Romance fiction is a tidal wave in genre fiction, compared to horror fiction’s tiny ripples.

That doesn’t mean we aren’t here. Horror readers and writers are everywhere, and they’re terribly under-recognized and underserved. That’s exactly why MonsterLibrarian.com exists. It’s just that most people have decided it’s a genre that doesn’t matter. RWA, the same organization that reported nearly 75 million readers in its genre, didn’t even bother to compare its market share to horror. Mystery, science fiction and fantasy, literary fiction, and even religious fiction, sure. But to miss out on an entire genre?

It doesn’t get any lower than this.

But, thanks, at least, for noticing that the horror genre exists.