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Monday, March 29, 2010

Background: The Key to Interpreting Foreground

Copyright 2010 by Gary L. Pullman

Bats’ wings, horns, talons, tails, reptilian shapes, scales, tentacles, multiple mouths equipped with jaws full of jagged teeth, compound eyes, flies, worms, skeletons, corpses, mummies, skeletons, skulls, distortions of face and figure, conical heads, skin masks, blood, viscera, anthropomorphic trees, birds, hybrid life forms, living statues, men and women walking on air, eyes embedded in tree trunks, Santa with an axe, ghost children, bloody tears, alien babies, strangers at the window, vast spaces, disembodied body parts--these are but some of the images one finds in art associated with the horror genre. The fear of the animal within, of the predator, of the grave and the secrets it holds, of deformity, of a confusion of cognitive categories and loss of sense, of madness, of love and trust betrayed, of the strange, of dislocation and dismemberment, of suffering and death--these are the terrors upon which such images are based.

If the foreground is the text, more or less clearly expressed, albeit, usually, in metaphor, the background is the subtext. The background is the whisper that provides the context by which the spoken (foreground) is to be interpreted, and, in artwork related to the horror genre, the background often hints at night and darkness, at the distance of stars, at clouds and fog, at alien worlds, at disorientation, at devastation, at decomposition and putrefaction, at fragmentation, at mystification, at torture, at suffering, at passion, at destruction, and at hostility.

According to Trevor Whittock, George Lakoff and Mark Johnson argue, in Metaphors We Live By, “against the view that experiences and objects have inherent properties and are understood solely in terms of those properties. . . [that] inherent properties only in part account for how we comprehend things. Just as important is [the fact that] our concepts, and consequently our experience, are structured in terms of metaphors” (Metaphor and Film, 114-115). By comparing the new and unfamiliar with the known, people seek to understand better that which is strange or novel. Often, the creation of metaphors and analogies are means of doing so.

I assert that something similar to this process can occur in the contemplation of a drawing or a painting. The foreground is the overt (known), the background the covert (unknown), half of a complete statement, or vision, that, to be understood must be considered in light of its complementary counterpart. Some of the clearest, or more obvious, examples of the background’s importance to interpreting a work of art’s foreground are seen in the work of fantasy artist Frank Frazetta, whose paintings often adorn science fiction and fantasy paperback novels, but which also frequently exhibit horrific imagery.



In one such painting, a warrior dressed vaguely in the manner of a Viking rushes toward a nubile, nude young maiden who is about to be sacrificed upon a stone altar by a cloaked figure holding a large knife. An alligator, but with wavering tentacles attached to its reptilian tail, lies at the base of the short flight of stone steps that leads to the altar. The background is peopled, as it were, with dark shapes comprised of huge bat-like wings, fanged human faces, lupine ears, and brawny arms, one or more (it is difficult to tell, for the background is dark, and the figures which occupy it are little more than shadows) seize the pale, white corpse of another nude woman who, it appears, was the victim of an earlier sacrifice. Above the heroic warrior, parallel bands of shadow descend, as if they are the dark outlines of a monstrous hand reaching for the would-be rescuer. The background suggests a hellish or demonic cult and, perhaps, the evil god whom the cultists worship and who are about to sacrifice the female victim, thereby offering a key to interpreting the overall image, or scene, that the painting, as a whole, depicts.


In another of Frazetta’s paintings, Queen Kong, a gigantic blonde stands astride the Empire State Building, New York City stretched out below her, circled by attacking biplanes. In her right hand, she holds a miniature version of King Kong. The sky is blue-gray, shot through with wisps of red-orange clouds that resemble used bandages. Obviously, the painting is a spoof upon King Kong, with the roles of the ape and the human object of his simian affections reversed; the background (the city streets below the skyscraper, in particular) helps to establish the context that makes this humorous work intelligible.


A final example should suffice to clarify my point that a painting’s background is--or can be (and probably should be)--an important contextual clue to the interpretation of its foreground. In this picture, Barbarian, a warrior stands atop a heap of rubble, a nude woman lying at his feet. The palm of his left hand rests upon the hilt of his sword, the blade of which thrusts into the pile of debris. A closer look at the rubble reveals it to be not only a heap of earth, but one which is strewn with skulls, spines, severed arms, a battleaxe, and what might be a spear. Symbolically, the warrior stands upon the bones and corpses of enemies whom he has bested in battle, an interpretation which seems to be borne out by the delicate images of a huge skull and a cowl-shrouded death’s-head which are close to the same colors--tan, light brown, yellow, and orange--out of which they appear to swirl, perhaps as representations of the warrior’s memories of the evil forces whom he has, in past battles, slain. The yellow and orange colors rise, seeming to flicker, as if they are flames, perhaps suggesting the final fate of the vanquished, whom the victorious hero has dispatched to hell.

Writers can accomplish the same effects as Frazetta and other visual artists by writing descriptions of settings in which details comprise a contextual background which illuminates, on a more or less subliminal level, the significance of a scene’s “foreground” action or characters, thereby enriching their own work. By describing settings in such a way that the descriptions themselves tell a story, the writer can tell stories within stories, the former providing emotional, thematic, or narrative subtext for the latter.

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Paranormal vs. Supernatural: What’s the Diff?

Copyright 2009 by Gary L. Pullman

Sometimes, in demonstrating how to brainstorm about an essay topic, selecting horror movies, I ask students to name the titles of as many such movies as spring to mind (seldom a difficult feat for them, as the genre remains quite popular among young adults). Then, I ask them to identify the monster, or threat--the antagonist, to use the proper terminology--that appears in each of the films they have named. Again, this is usually a quick and easy task. Finally, I ask them to group the films’ adversaries into one of three possible categories: natural, paranormal, or supernatural. This is where the fun begins.

It’s a simple enough matter, usually, to identify the threats which fall under the “natural” label, especially after I supply my students with the scientific definition of “nature”: everything that exists as either matter or energy (which are, of course, the same thing, in different forms--in other words, the universe itself. The supernatural is anything which falls outside, or is beyond, the universe: God, angels, demons, and the like, if they exist. Mad scientists, mutant cannibals (and just plain cannibals), serial killers, and such are examples of natural threats. So far, so simple.

What about borderline creatures, though? Are vampires, werewolves, and zombies, for example, natural or supernatural? And what about Freddy Krueger? In fact, what does the word “paranormal” mean, anyway? If the universe is nature and anything outside or beyond the universe is supernatural, where does the paranormal fit into the scheme of things?

According to the Online Etymology Dictionary, the word “paranormal,” formed of the prefix “para,” meaning alongside, and “normal,” meaning “conforming to common standards, usual,” was coined in 1920. The American Heritage Dictionary defines “paranormal” to mean “beyond the range of normal experience or scientific explanation.” In other words, the paranormal is not supernatural--it is not outside or beyond the universe; it is natural, but, at the present, at least, inexplicable, which is to say that science cannot yet explain its nature. The same dictionary offers, as examples of paranormal phenomena, telepathy and “a medium’s paranormal powers.”

Wikipedia offers a few other examples of such phenomena or of paranormal sciences, including the percentages of the American population which, according to a Gallup poll, believes in each phenomenon, shown here in parentheses: psychic or spiritual healing (54), extrasensory perception (ESP) (50), ghosts (42), demons (41), extraterrestrials (33), clairvoyance and prophecy (32), communication with the dead (28), astrology (28), witchcraft (26), reincarnation (25), and channeling (15); 36 percent believe in telepathy.

As can be seen from this list, which includes demons, ghosts, and witches along with psychics and extraterrestrials, there is a confusion as to which phenomena and which individuals belong to the paranormal and which belong to the supernatural categories. This confusion, I believe, results from the scientism of our age, which makes it fashionable for people who fancy themselves intelligent and educated to dismiss whatever cannot be explained scientifically or, if such phenomena cannot be entirely rejected, to classify them as as-yet inexplicable natural phenomena. That way, the existence of a supernatural realm need not be admitted or even entertained. Scientists tend to be materialists, believing that the real consists only of the twofold unity of matter and energy, not dualists who believe that there is both the material (matter and energy) and the spiritual, or supernatural. If so, everything that was once regarded as having been supernatural will be regarded (if it cannot be dismissed) as paranormal and, maybe, if and when it is explained by science, as natural. Indeed, Sigmund Freud sought to explain even God as but a natural--and in Freud’s opinion, an obsolete--phenomenon.

Meanwhile, among skeptics, there is an ongoing campaign to eliminate the paranormal by explaining them as products of ignorance, misunderstanding, or deceit. Ridicule is also a tactic that skeptics sometimes employ in this campaign. For example, The Skeptics’ Dictionary contends that the perception of some “events” as being of a paranormal nature may be attributed to “ignorance or magical thinking.” The dictionary is equally suspicious of each individual phenomenon or “paranormal science” as well. Concerning psychics’ alleged ability to discern future events, for example, The Skeptic’s Dictionary quotes Jay Leno (“How come you never see a headline like 'Psychic Wins Lottery'?”), following with a number of similar observations:

Psychics don't rely on psychics to warn them of impending disasters. Psychics don't predict their own deaths or diseases. They go to the dentist like the rest of us. They're as surprised and disturbed as the rest of us when they have to call a plumber or an electrician to fix some defect at home. Their planes are delayed without their being able to anticipate the delays. If they want to know something about Abraham Lincoln, they go to the library; they don't try to talk to Abe's spirit. In short, psychics live by the known laws of nature except when they are playing the psychic game with people.
In An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural, James Randi, a magician who exercises a skeptical attitude toward all things alleged to be paranormal or supernatural, takes issue with the notion of such phenomena as well, often employing the same arguments and rhetorical strategies as The Skeptic’s Dictionary.

In short, the difference between the paranormal and the supernatural lies in whether one is a materialist, believing in only the existence of matter and energy, or a dualist, believing in the existence of both matter and energy and spirit. If one maintains a belief in the reality of the spiritual, he or she will classify such entities as angels, demons, ghosts, gods, vampires, and other threats of a spiritual nature as supernatural, rather than paranormal, phenomena. He or she may also include witches (because, although they are human, they are empowered by the devil, who is himself a supernatural entity) and other natural threats that are energized, so to speak, by a power that transcends nature and is, as such, outside or beyond the universe. Otherwise, one is likely to reject the supernatural as a category altogether, identifying every inexplicable phenomenon as paranormal, whether it is dark matter or a teenage werewolf. Indeed, some scientists dedicate at least part of their time to debunking allegedly paranormal phenomena, explaining what natural conditions or processes may explain them, as the author of The Serpent and the Rainbow explains the creation of zombies by voodoo priests.

Based upon my recent reading of Tzvetan Todorov's The Fantastic: A Structural Approach to the Fantastic, I add the following addendum to this essay.

According to Todorov:

The fantastic. . . lasts only as long as a certain hesitation [in deciding] whether or not what they [the reader and the protagonist] perceive derives from "reality" as it exists in the common opinion. . . . If he [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we can say that the work belongs to the another genre [than the fantastic]: the uncanny. If, on the contrary, he decides that new laws of nature must be entertained to account for the phenomena, we enter the genre of the marvelous (The Fantastic: A Structural Approach to a Literary Genre, 41).
Todorov further differentiates these two categories by characterizing the uncanny as “the supernatural explained” and the marvelous as “the supernatural accepted” (41-42).

Interestingly, the prejudice against even the possibility of the supernatural’s existence which is implicit in the designation of natural versus paranormal phenomena, which excludes any consideration of the supernatural, suggests that there are no marvelous phenomena; instead, there can be only the uncanny. Consequently, for those who subscribe to this view, the fantastic itself no longer exists in this scheme, for the fantastic depends, as Todorov points out, upon the tension of indecision concerning to which category an incident belongs, the natural or the supernatural. The paranormal is understood, by those who posit it, in lieu of the supernatural, as the natural as yet unexplained.

And now, back to a fate worse than death: grading students’ papers.

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My Cup of Blood

Anyone who becomes an aficionado of anything tends, eventually, to develop criteria for elements or features of the person, place, or thing of whom or which he or she has become enamored. Horror fiction--admittedly not everyone’s cuppa blood--is no different (okay, maybe it’s a little different): it, too, appeals to different fans, each for reasons of his or her own. Of course, in general, book reviews, the flyleaves of novels, and movie trailers suggest what many, maybe even most, readers of a particular type of fiction enjoy, but, right here, right now, I’m talking more specifically--one might say, even more eccentrically. In other words, I’m talking what I happen to like, without assuming (assuming makes an “ass” of “u” and “me”) that you also like the same. It’s entirely possible that you will; on the other hand, it’s entirely likely that you won’t.

Anyway, this is what I happen to like in horror fiction:

Small-town settings in which I get to know the townspeople, both the good, the bad, and the ugly. For this reason alone, I’m a sucker for most of Stephen King’s novels. Most of them, from 'Salem's Lot to Under the Dome, are set in small towns that are peopled by the good, the bad, and the ugly. Part of the appeal here, granted, is the sense of community that such settings entail.

Isolated settings, such as caves, desert wastelands, islands, mountaintops, space, swamps, where characters are cut off from civilization and culture and must survive and thrive or die on their own, without assistance, by their wits and other personal resources. Many are the examples of such novels and screenplays, but Alien, The Shining, The Descent, Desperation, and The Island of Dr. Moreau, are some of the ones that come readily to mind.

Total institutions as settings. Camps, hospitals, military installations, nursing homes, prisons, resorts, spaceships, and other worlds unto themselves are examples of such settings, and Sleepaway Camp, Coma, The Green Mile, and Aliens are some of the novels or films that take place in such settings.

Anecdotal scenes--in other words, short scenes that showcase a character--usually, an unusual, even eccentric, character. Both Dean Koontz and the dynamic duo, Douglas Preston and Lincoln Child, excel at this, so I keep reading their series (although Koontz’s canine companions frequently--indeed, almost always--annoy, as does his relentless optimism).

Atmosphere, mood, and tone. Here, King is king, but so is Bentley Little. In the use of description to terrorize and horrify, both are masters of the craft.

A bit of erotica (okay, okay, sex--are you satisfied?), often of the unusual variety. Sex sells, and, yes, sex whets my reader’s appetite. Bentley Little is the go-to guy for this spicy ingredient, although Koontz has done a bit of seasoning with this spice, too, in such novels as Lightning and Demon Seed (and, some say, Hung).

Believable characters. Stephen King, Douglas Preston and Lincoln Child, and Dan Simmons are great at creating characters that stick to readers’ ribs.

Innovation. Bram Stoker demonstrates it, especially in his short story “Dracula’s Guest,” as does H. P. Lovecraft, Edgar Allan Poe, Shirley Jackson, and a host of other, mostly classical, horror novelists and short story writers. For an example, check out my post on Stoker’s story, which is a real stoker, to be sure. Stephen King shows innovation, too, in ‘Salem’s Lot, The Shining, It, and other novels. One might even argue that Dean Koontz’s something-for-everyone, cross-genre writing is innovative; he seems to have been one of the first, if not the first, to pen such tales.

Technique. Check out Frank Peretti’s use of maps and his allusions to the senses in Monster; my post on this very topic is worth a look, if I do say so myself, which, of course, I do. Opening chapters that accomplish a multitude of narrative purposes (not usually all at once, but successively) are attractive, too, and Douglas Preston and Lincoln Child are as good as anyone, and better than many, at this art.

A connective universe--a mythos, if you will, such as both H. P. Lovecraft and Stephen King, and, to a lesser extent, Dean Koontz, Bentley Little, and even Douglas Preston and Lincoln Child have created through the use of recurring settings, characters, themes, and other elements of fiction.

A lack of pretentiousness. Dean Koontz has it, as do Douglas Preston and Lincoln Child, Bentley Little, and (to some extent, although he has become condescending and self-indulgent of late, Stephen King); unfortunately, both Dan Simmons and Robert McCammon have become too self-important in their later works, Simmons almost to the point of becoming unreadable. Come on, people, you’re writing about monsters--you should be humble.

Longevity. Writers who have been around for a while usually get better, Stephen King, Dan Simmons, and Robert McCammon excepted.

Pacing. Neither too fast nor too slow. Dean Koontz is good, maybe the best, here, of contemporary horror writers.

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