Wednesday, July 29, 2020
The Three Lessons of the Watchbirds and the Hawks
Wednesday, August 1, 2018
Horror: The Contributions of Personification and Dehumanization
Thursday, September 9, 2010
Man’s Best Friend, Vitalism, The Ghost in the Machine, H. R. Giger, and a Concluding Unscientific Postscript
Whoever has observed a kitten or a puppy play with a mechanical toy has probably noticed how the animal is confused by the automaton’s movement. Locomotion is one of the characteristics of living things, scientists tell us, and animals seem to be instinctively aware of this fact. Movement implies the possibility of danger, because things that move could attack. Alternatively, movement suggests food, because things that move, if only to flee, may be nutritious, even delicious, especially if they happen to be smaller than oneself--”nature, red in tooth and claw,” and all that.
However, the adult cat or dog is not fooled by mechanical toys: such playthings fail the smell test. For full-grown animals, scent--or, less delicately, body odor--distinguishes the living from the mechanical (and, among so-called cadaver dogs, the quick from the dead). As the Bible insists, life is in the blood (and other body fluids, Fido might add). In other words, life is organic. Movement is not, in itself, a sufficient attribute for determining life, nor, robotic assembly lines show, is reproduction.
If life is in the blood (a synecdoche for the organism’s organs), how much blood (or how many organs) are needed for something to be considered alive? Are cyborgs only partially human, while robots are not human at all?
Western culture’s Judeo-Christian religious tradition, like the idealism proposed by Plato and pagan beliefs in animism, posit the existence of a soul, or a vitiating principle, a life-force that makes the human (and, some argued, the animal) viscera quick rather than dead. It was this breath of God, so to speak, that made humans (and maybe animals) live; without it, their bodies would be as dead as the rocks and stones and trees in William Wordsworth’s “Lucy” poems, one of which (the hauntingly eerie “A Slumber Did My Spirit Seal”) laments,
A slumber did my spirit seal;Rene Descartes argues that the universe is like a gigantic machine, as are the bodies of human beings themselves, wherein the spirit, or soul, is, as it were, a “ghost in the machine.” Scientists would later argue that the machine of which Descartes speaks is tenantless, that there is no such “ghost” haunting the machine. The spirit or soul is not necessary, they insist, to explain life, human or otherwise, any more, they add, than is a belief in a Creator. Most recently, Steven Hawking has claimed that the laws of physics, not God, created the Big Bang that gave rise to the universe, concluding, in The Grand Design,
I had no human fears:
She seemed a thing that could not feel
The touch of earthly years.
No motion has she now, no force;
She neither hears nor sees;
Rolled round in earth's diurnal course,
With rocks, and stones, and trees.
Because there is a law such as gravity, the universe can and will create itself from nothing.Most, but not all, scientists believe that nature is explainable without the need to invoke the existence of a divine Creator. Deism, like theism, has been cast off my the majority of scientists. However, some scientists do maintain Christian or other religious faith, many of them finding the cosmological argument a persuasive justification for such belief. The argument between atheists and theists is not likely to end any time soon, even among scientists.
Spontaneous creation is the reason there is something rather than nothing, why the universe exists, why we exist.
It is not necessary to invoke God to light the blue touch paper and set the universe going.
Nevertheless, the secular world view is decidedly atheistic or agnostic, and, some contend, even militantly opposed to the “superstitious” beliefs of the religious. It is high time, they argue, that such outmoded systems of belief be committed to the dust heap of history so that humanity can “progress.” (The very belief in human progress is itself a highly debatable position, of course; see the quotation, for example, by Edgar Allan Poe in the column to the right.)
In science (or the rejected science of the past), animism was known as vitalism, which is the belief, as William Bechtel and Robert C. Richardson point out, that “living organisms are fundamentally different from non-living entities because they contain some non-physical element or are governed by different principles than are inanimate things” (“Vitalism,” Routledge Encyclopedia of Philosophy). According to Bechtel and Richardson,
In its simplest form, vitalism holds that living entities contain some fluid, or a distinctive ‘spirit’. In more sophisticated forms, the vital spirit becomes a substance infusing bodies and giving life to them; or vitalism becomes the view that there is a distinctive organization among living things. . . . Mechanistic explanations of natural phenomena were extended to biological systems by Descartes and his successors. Descartes maintained that animals, and the human body, are ‘automata’, mechanical devices differing from artificial devices only in their degree of complexity. Vitalism developed as a contrast to this mechanistic view. Over the next three centuries, numerous figures opposed the extension of Cartesian mechanism to biology, arguing that matter could not explain movement, perception, development or life. Vitalism has fallen out of favour, though it had advocates even into the twentieth century. The most notable is Hans Driesch (1867–1941), an eminent embryologist, who explained the life of an organism in terms of the presence of an entelechy, a substantial entity controlling organic processes. Likewise, the French philosopher Henri Bergson (1874–1948) posited an élan vital to overcome the resistance of inert matter in the formation of living bodies.The authors contend that there may vitalism as an explanatory theory of life and its processes is not as absurd as it is sometimes characterized--or caricaturized--as having been, although, in the end, they agree that the “mechanistic” view of life offers a superior empirical basis for experimentation:
Vitalism now has no credibility. This is sometimes credited to the view that vitalism posits an unknowable factor in explaining life; and further, vitalism is often viewed as unfalsifiable, and therefore a pernicious metaphysical doctrine. Ernst Mayr, for example, says that vitalism ‘virtually leaves the realm of science by falling back on an unknown and presumably unknowable factor’ (1982: 52). C.G. Hempel, by contrast, insists that the fault with vitalism is not that it posits entities which cannot be observed, but that such explanations ‘render all statements about entelechies inaccessible to empirical test and thus devoid of empirical meaning’ because no methods of test, however indirect, are provided (1965: 257). The central problem is that vitalism offers no definite predictions. Neither complaint has much historical credibility. Many vitalists were in fact accomplished experimentalists, including most notably Pasteur and Driesch. Moreover, vitalists took great pains to subject their views to experimental test. Magendie, for example, insisted on the importance of precise quantitative laws. Vitalism, as much as mechanistic alternatives, was often deeply embedded in an empirical and experimental programme. Typically, vitalists reacted to perceived inadequacies of mechanistic explanations; in many cases they rightly recognized that the forms of mechanism, materialism or reductionism advocated by their contemporaries were undercut on empirical grounds. In the end, though, their own proposals were supplemented by empirically more adequate mechanistic accounts.Battles won in religion and in science are often still waged in the public imagination and, therefore, in the pages of fiction and on the stage of drama or the silver screen of cinematography. In each individual, the history of the one’s own culture must reoccur; the history of the species, including that of its ideas, must unfold. What is fought out in the cultural and social spheres must also be fought out in on the individual level. Each person must understand such notions as animism and vitalism for him- or herself. The collective and the historical remains both collective and social only insofar as it is also individual and personal.
Until all have agreed to disagree with Fido that life can be distinguished from non-life on the basis of scent, each thing, whether mineral, plant, or animal either passing or failing the smell test, ideas such as vitalism and even animism are likely to remain attractive alternatives to biology’s and chemistry’s no-nonsense, unromantic, and mundane explanations of existence in purely material and mechanistic terms. For science fiction devotees, the question of how much life (in terms of a soul) one should attribute to a cyborg (or, for that matter a machine, such as a computer, that possesses artificial intelligence) is a moot one. Indeed, the answer is already given. Neither a cyborg nor a computer has any more of a soul than a human being; the universe and all things in it are merely mindless atoms moving according to universal scientific principles without author or design.
In a sense, the artwork of Swiss surrealist H. R. Giger (pronounced like “eager”) is largely a representation of human existence in a post-vitalistic, atheistic age. In his paintings, men and women are hybrid beings, part human and part machine. The eyes in the human faces are either closed or vacant, the whites rather than the irises showing. Their humanity is lost in a hellish hybridization in which bodies--or, more frequently, body parts--seem to nourish mechanical apparatuses which feed upon them, as it were, as if the machinery were somehow parasitical.
Giger‘s art belongs to the horror genre as surely as anything ever written by Robert Louis Stevenson or Mary Shelley. It belongs, also, to the science fiction genre, as the artist’s work in creating the extraterrestrial monster in the Alien film series attests. In many ways, Giger’s work, which was, in part, inspired by the art of Ernst Fuchs and Salvador Dali, is original. However, it also rests upon, if not arises from, earlier works in which human figures are dehumanized and their sexuality is desexualized. This earlier form is that of the animal-human hybridization that is common to Egyptian and other mythologies. Sexually, it is represented by bestiality, which is usually considered taboo beyond ancient times, suggesting, as it does, an equality between the animal and the human that many would reject and which would offend, perhaps, even those, such as PETA members and sympathizers, who would accept the equality of animals and champion their rights alongside human rights.
In the past, animals were regarded as occupying a lower ontological position than human beings occupied in the great chain of being. To be human was not to be merely different, but, more importantly, to be qualitatively superior to animals. Humans who behaved in a brutal fashion were regarded as being inhuman, which is to say, animal. As werewolf movies, H. G. Wells’ The Island of Dr. Moreau, the movie Cat People, and many another story, including King Kong, warned, there is a gulf between the lower animals and the highest animal, man, that cannot be crossed--at least, not with impunity, whether this boundary was crossed ontologically, socially, or sexually.
Before the advent of machinery, during the Industrial Revolution, there was no other way to suggest the degeneration of humanity, of a man’s descent to a lower spiritual and ontological level of being, than to posit his reduction to a purely animal state. For this reason, sex between animals and humans became taboo, although, in earlier years, when a brotherhood of equality was posited between animals and human beings, such sex was either permissible or its occurrence was ignored.
With the invention of the machine, society acquired an even lower place to which men and women could sink than the animal realm. A person could lose both his or her soul and his or her body, casting off flesh as well as thought, and become purely robotic, or mechanical, going through the motions of life without actually being alive, as the cyborg destroyer in Terminator does or the robots in countless science fiction and horror movies, including I, Robot, do. Humanity could be reduced to a new and lower place that wasn’t human, animal, or even so much as organic--that of the mere automaton that could be switched off and on, to act upon preprogrammed instructions or to wait, idle, until its services were needed or desired. Where once it would have been insulting to have been called an animal or a beast, it was now offensive to be labeled a machine or a robot. Consequently, when stories did dare to suggest sex between a human being and a humanoid robot or cyborg, these tales were careful to also condemn such unions as horrific and repulsive and, most likely, a form of mechanical or mechanized rape on the part of the mechanical participant.
Human beings have long defined themselves by what they are not as much as by what they are. In the past, they learned that they were not animals--or, at least, not lower animals; presently, they insist that they are also not mere machines, although, perhaps after Descartes, some may have nagging doubts as to whether they are ghosts (that is, spirits or souls) inside the machines, so to speak, that are their mechanical bodies.
Giger’s art violates the taboo against sex between men (or, more often, women) and machines (often represented as male). In the process, he also suggests the consequences of such an outrageous act. These consequences are severe, indeed, most often involving the total loss of the self, as the human body, having been incorporated, as it were, into the mechanical assembly, is reduced to organic parts: the eyes either close, blotting out consciousness, or show their whites, as if the human component (in this case, the usually feminine face) has been rendered comatose. Frequently, the human part of the machine retains only her face, anus, and genitals, but when other appendages, such as her arms and legs, are also present, they are festooned with hoses, cables, and wires that make them as much mechanical as human.
The sex itself is perverted as well: non-reproductive by its nature, it is, by necessity, sterile. Giger’s mechanical phalli are incapable of inseminating the mechanical females’ orifices, whether they are of human or mechanical design. Instead, the sex act seems to be a means for the masculine components of the machine to draw energy into itself. Even sex, in Giger‘s work, is parasitic, not fecund, and mechanical rather than animalistic. Human beings are reduced to machinery in this regard, just as they are in every other manner.
Horror springs from a culture’s Weltanschauung as much as it does from anything else, and the Weltanschauung of the Western world is material and mechanistic. There is no place for the soul, no place for God, and no place for anything but the relentless, fluid, and utterly meaningless goings through of the motions of life that Cartesian ontology has laid out for us--unless one happens to question, perhaps, why anyone should agree, disagree, or even care about the end-products of a purely mechanical automaton’s thought processes. If ideas are but the results of atoms in motion, obeying impersonal, mechanistic laws of nature, why should anyone care what conclusion such particulates of matter in motion reach?
The horror is, perhaps, not without exit, Samuel Beckett’s assertions to the contrary. As Descartes argues, the existence of thought implies a thinker, or a ghost in the machine. There is someone, an “I,” inside the body, even if this “I” is simply an effect of the entirety of the physiological processes, a consciousness, as it were, of the physical organism. In humans, this consciousness is self-evident: we know that we know; we feel that we feel; we think that we think; we value that we value. Our selves are known by themselves. As Soren Kierkegaard argues, in an age of scientism, the self, or “I,” is leftover as a “concluding unscientific postscript.” Giger’s art, like Dean Koontz’s Demon Seed (1973), David Cronenberg’s Videodrome (1983), much of Ray Bradbury’s fiction, Paul Verhoeven’s Total Recall (1990), Rachel Talaway’s The Ghost in the Machine (1993), Joss Whedon’s Dollhouse (2009), and a host of other novels, short stories, and films, arises from the doubt and insecurity that human beings have as ghosts in the machines of their flesh, but such artwork also presupposes that there is a ghost, however comatose and moribund, among the cogs and wheels, the clamps and gaskets, the pipes and hoses, and the nuts ad bolts of their otherwise mechanical existence. Otherwise, why should one paint, write, read, or do anything else?
Friday, August 20, 2010
Leftover Plots, Part V
One way to come up with ideas for short stories and novels is to steal--I mean, borrow--them from other writers. I write of this practice in earlier posts, “Leftover Plots,” parts I through IV. Those articles are more general than this one (and, possibly, future ones, which will focus specifically on the works of horror fiction’s current bad boy par excellence, Stephen King.
I’m not really going to tell anyone how to steal from King (or anybody else, for that matter), of course, because (a) stealing is wrong and ( b) plagiarism can be costly, to one’s reputation as well as to one’s purse.
However, ideas (like titles) cannot be copyrighted. They are free to anyone and everyone, which is why, for example, The Lost World (1925), Jurassic Park (1993), and 10,000 Years B. C. (2008) (or, for that matter, The Land Before Time [1988]), and many, many more movies about either dinosaurs or dinosaurs in conflict with human beings have been made. No doubt, many another will follow.
Often, horror writers throw off ideas for short stories and even other novels in the novels and screenplays that they write. The concepts sometimes fall like sparks from the tail of a fiery comet (or, at least, comets of the type that we generally see in science fiction movies and tend to imagine in the theaters of our minds). King’s novel, Desperation, suggests a few ideas that could become the bases for additional short stories or, perhaps, even novels. Others of his many works offer similar suggestions.
One of these ideas, the one that appeals most to me, is that of someone’s discovery of idols that might or might not be like the images of the false gods that King depicts in Desperation. If one devoted his or her story to only one (or a few) idols, their properties, and the results of human interaction with them, he or she would be apt to write a short story, but were he or she to consider a number of these false gods, their characteristics, and their effects on those who make contact with them, he or she might well produce a narrative of novel, or even epic, scope.
One’s development of this idea would, of course, have to be one’s own; otherwise, borrowing an idea would, in fact, likely become stealing a treatment of such an idea, or, in a word, plagiarism.
In his novel, King depicts his idols as being like “some kind of stone artifact,” and they have a decidedly sexual effect upon those who make contact with them, as Cynthia discovers when she touches one of the idols with “a tentative finger” and “her hips jerked forward as if she’d gotten an electric shock and her pelvis banged into the edge of a table,” making her blush (254-255). King’s omniscient narrator then describes the idol in more detail, indicating that it has an animal shape:
It was a rendering of what might have been a wolf or a coyote, and although it was crude, it had enough power to make them both forget, at least for a few seconds, that they were standing sixty feet from the leftovers of a mass murder. The beast’s head was twisted at a strange angle (a somehow hungry angle), and its eyeballs appeared to be starting out of their sockets in utter fury. Its snout was wildly out of proportion to its body--almost the snout of an alligator--and it was split open to show a jagged array of teeth. The statue, if that is what it was, had been broken off just below the chest. There were stumps of forelegs, but that was all. The stone was pitted and eroded with age. It was glittery n places, too, like the rocks collected in one of the Dandux baskets. . . .
“Look at its tongue,” Cynthia said in a strange, dreaming voice.The narrator’s description is vivid and detailed, allowing the reader to visualize the artifact readily, which makes the idol seem both more bizarre and, paradoxically, more realistic than it would be had the storyteller merely glossed over the strange artifact with a few adjectives or descriptive phrases.
“What about it?’ [Steve asks]
“It’s a snake” (255).
The idols can make those who touch them experience orgasms; can make them forget their surroundings; and, readers learn a few pages later, can have a devastating effect upon their self-esteem. As Cynthia later tells Steve, when she touched the idol, “it seemed like I remembered every rotten thing that ever happened to me in my life,” and, she admits, its touch made her think of “sex. . . the dirtier the better” (318). Moreover, contact with the idols can spur its victims into acting upon these lusts, as both Cynthia and Steve find out soon enough.
There are other idols than the image of the wolf or the coyote:
He thought at first that there were three odd-looking charms lying in her open palm--the sort of thing girls sometimes wore dangling from their bracelets. But they were too big, too heavy. Not charms, but carvings, stone carvings, each about two inches long. One was a snake. The second was a buzzard with one wing chipped off. Mad, bulging eyes stared out at him from beneath its bald dome. The third was a rat on its hind legs. They all looked pitted and ancient (480).The artifacts are obviously images of gods or demons, as they have inexplicable, supernatural effects upon those who come into contact with them. At the same time, however, they are tangible; they are material; they have concrete form. Made of stone, they are subject to the long-term effects of natural forces; they erode: they are “pitted and eroded with age,” and they appear “ancient.” Moreover, they can be “broken,” “chipped” and, presumably, destroyed. They have powerful effects upon the humans who make contact with them, but the artifacts are not invulnerable. The
Were another writer to write about such statues, he or she would have to do so in such a way as to make them his or her own creations, with properties different from those whitish King ascribes to his, and with effects that also differ from those that King’s false gods have upon those with whom the carvings come into contact. There are various ways to accomplish this task, which are better left to each individual to determine for him- or herself.
Another idea that spins off, so to speak, King’s novel is the creation of demons out of the whole cloth of one’s imagination rather than to embody such evil spirits on the basis of research concerning demonology. King’s demon is a spirit from another dimension, utterly dependent for incarnation upon possessing the bodies of other, corporeal beings, such as humans or animals. However, the demon’s metabolism is extremely fast, and it soon wears out the body of its host, so that it must possess another and another. His possession results in the deaths of the possessed, whose bodies thereafter enlarge, possibly in response to the greater demands upon the organs of Tak’s greater metabolic rate. Tak is able to exercise control over animals and insects through a power similar to telepathy. He is also able to project his power into the stone idols, or can tahs, that various characters discover in Desperation. When he possesses a human being, the body’s senses, strength, and natural abilities are heightened, although Tak can also perceive phenomena by other, extrasensory means, as when he is aware of the presence of a nameplate inside the Carvers’ recreational vehicle without entering the vehicle of looking through any of its windows (“Tak [Stephen King],” Wikipedia).
By imaging one’s demon (perhaps on the basis of one’s own inner demons or the problems and issues that best society), one is pretty much guaranteed an original creation. This approach is as wide open as one’s own ability to think outside the box of tradition. Where King creates Tak, you or I might create Tik or Paddywack in the same fashion, by using our own imagination or our knowledge of social problems, past or present, to envisioned to embody our own concepts of the demonic, creating one or more demons in our own image and likeness as a result, as King apparently did in writing of the idols in his novel.
Another provocative consideration is what might happen to animals that survive Tak’s telepathic influence? Would their exposure to the demon’s mind have a long-lasting, or even permanent, effect upon them, and, if so, what, exactly, might the animals change? Perhaps they would become monstrous versions of their previous selves, retaining the enhancements of their natural abilities that they experienced as Tak’s cognitive thralls. Would big game hunters ally themselves with demonologists or scientists to hunt down these demonic beasts and capture or kill them?
At the end of the novel, not much remains of the town of Desperation, but what if it--or, rather, another small town, elsewhere, that has experienced a similar catastrophe--remember, be inspired to borrow, not to steal, and make other writers’ ideas your own--were to be rebuilt? With its horrific past, could new horrors occur to the community’s children or grandchildren, a generation or two after the original calamity? King’s novel It suggests that such could easily be the case.
Could the demonic entity that destroyed your first town return to destroy another community? The answer is in King’s simultaneous, mirror-image release of a twin novel, The Regulators, which features many of the same characters as appear in Desperation, but living wholly different lives in a wholly different community.
Other of King’s noels suggest other ideas for additional stories or novels, which, possibly, I will consider in future posts, although not necessarily in a continuous order.
Saturday, August 23, 2008
Tentacles, of Themselves, Do Not a Horror Movie Make
Tentacles are creepy. They’re not arms, not exactly--not as we think of arms, anyway--but they’re like no other limbs, either--and they’re equipped with suckers! They have a longer reach than the law, too. And they writhe. Anything that writhes is creepy.
They can create suction. They can grip. They can wind and entwine.
They squeeze.
Although some women might suppose we’re talking about their last blind date, tentacles belong mostly to the denizens of the deep. That’s how strange they are.
Most land animals have refused to evolve them--and, no, an elephant’s trunk doesn‘t count. It doesn‘t even have suckers.
Octopi have eight of the damned things! Eight! That’s not just wasteful; that’s ludicrous. What in the hell could an organism want with eight tentacles? Eight tentacles do not encourage trust. The other organisms, besides octopi, that are equipped with tentacles are just as strange and repugnant, if not more so: cuttlefish, for example--there’s nothing cuddly about them--or krakens.
Tentacles are big in Asian horror, especially the comic strip variety, such as that of Manga and anime, in which these snake-like appendages are, quite frankly, phallic substitutes. These comics’ stories center upon rape--and, well, yes, an element of bestiality. In these comics, the rapists are not men--or not men per se--but monsters. Therefore, their assaults against female victims are supposed--by the comics’ publishers, if no one else--to be politically and socially acceptable, if scientifically dubious.
Saturday, February 9, 2008
Rene Magritte: The Horror of the Surreal
Rene Magritte (1898-1967) was a Belgian surrealist whose bizarre, but often humorous, paintings do not seem, at first, to depict images that a viewer might regard as horrifying. However, a second look suggests that his paintings often do suggest elements of horror. The horrific in his work derives from his own idiosyncratic application of surrealism’s challenge to common-sense realism and the categories of existence and understanding that support this worldview.
We have eyes, but we do not see, because, most of the time, we take ourselves and the world around us for granted. We feel that we have learned enough about the subjective and the objective, the fantastic and the real, to make sense of things in general and to draw valid inferences and to make sound assumptions about things about which we don’t know as much. As long as we can find the similarities and the differences between the two, we believe that we can make the necessary leaps of inference.
Art is metaphorical by nature, suggesting, always, that one thing is also another or, at least, is, in some way, like another. Using Freudian terminology, the other may be called the "latent content" (i. e., an attitude, a belief, a concern, an emotion, an image, a motif, an object, a sensation, a value), to which the "manifest content"--the literal, superficial, or direct image--is juxtaposed. Usually, the manifest content is familiar to us; the latent, unusual.
Many of Magritte’s works play upon the dichotomies of subjectivity and objectivity and of fantasy and reality. In everyday experience, the subjective usually aligns with the fantastic and the objective with the real, but Magritte sometimes turns the tables upon the tendency to associate these categories in these ways, so that, instead, the subjective corresponds with the real and the objective with the fantastic. His point in doing so seems to be to indicate that categories, whatever they might be, are invented, not natural, and are, therefore, to some degree, arbitrary and subject to change or misinterpretation.
People do not perceive reality the same way; their perceptions and their interpretations are a form of art, and the question, especially for surrealists, as to whether art is, or can be, representational is open ended. One of Magritte’s paintings, La Clairvoyance, seems to have been created to express just this point. An artist (Magritte himself?), seated at his easel, observes a bird’s egg. However, he paints not the egg that he studies, but its eventual potential result--a bird in flight. Where one sees what is, another, looking at the same thing, may see, instead, what could be. The former sees being; the latter, becoming. An egg is more than an egg; it is what the egg represents in the mind of its perceiver.
In another of his paintings, Attempting the Impossible, a male artist (again resembling Magritte), dressed in a brown suit and holding a palette onto which only a few colors have been dispensed, is painting the upper arm of a three-dimensional nude female figure whose countenance closely resembles the artist’s own. She stands in a posed attitude, rather stiffly, head high, staring straight ahead, her weight upon her right foot, her completed right arm along her side. Her left leg is slightly bent at the knee, its foot resting upon its toes. She has the look of the professional model, but, one wonders, might she be more? Could she also be the artist’s feminine aspect, or anima? If so, in creating her, is he not also creating part of himself? If she is also his model, in creating her, is he also not creating the subject of his work, giving shape--even life--to his art? Where does the self and the other begin and end? The figure’s left arm is incomplete. In fact, the artist has only begun to paint its upper extremity. The viewer has no idea what the painter will paint as he continues to portray his model. Will her arm lie alongside her other flank, as its mate does? Will it gesture? It could choke the artist to death. Absurd? Magritte is a surrealist, one must remember, for whom anything is possible. This painting seems to reflect the truth that both the viewer and the artist, together, create the meaning of a piece of art, for what the artist encodes with his paint and brushes and canvas, the viewer must decode according to his or her own beliefs, views, attitudes, and feelings. An unfinished painting allows any number of possibilities, and, again, people do not perceive reality the same way; perceptions and interpretations are a form of art, and the question as to whether art is, or can be, representational is open ended. Therefore, the model in progress could, upon her completion. choke the artist to death or do nothing more than continue to pose.
The ideas suggested by Magritte’s paintings--that reality and fantasy are not necessarily always separate and immutable polarities and that subjectivity and objectivity may, at times, become confused or even blend, both with themselves and with the real and the fantastic--can be amusing, but a little thought suggests that these ideas can also be horrifying. They can be terrifying. Moreover, if these categories are more fluid than supposed, might not others be, also? There may be a much finer line--or no line at all--between sane and insane, kind and cruel, life and death, heaven and hell. If one polarity can be negated or fused, even temporarily, why couldn’t all other polarities also be negated or fused? And, if they can be negated or fused temporarily, why can’t they be negated or fused permanently? There is an Alice-in-Wonderland quality to Magritte’s work, and it, like Lewis Carroll’s novel, has a disturbing as well as a charming aspect.
Many of Magritte’s paintings are landscapes (bizarre landscapes, to be sure), but many others are portraits, always more or less (usually more) off kilter. The depiction of landscapes is a shorthand way of depicting the objective, if not always the real; the painting of personal portraits is a shorthand way of depicting the subjective, if not always the subjective. Let’s tale a look at an example of each.
In Blank Check, a horsewoman is seen riding through a woods. As she passes through a stand of trees, she and her horse are segmented. The front of the horse overlaps a tree, as it would appear to do in passing in front of the tree. However, the next segment of its body, is missing. Where the animal’s shoulder and thigh should be, only background foliage and grass can be seen. Then, the midsection of the horse, upon which the woman sits, and its lower left hind leg appear, overlapping the next tree, but its knee is shown against an empty space occupied by background foliage. The right rear leg of the horse and its rear end are shown as they would normally appear, against the backdrop of a third tree. It is as if, in passing the stand of trees, the horse and rider are sliced by the landscape into segments, some of which overlap foreground, and others background, elements of the scene. The painting is something of an optical illusion that, in playing with perception and reality, comments upon them both, suggesting, once again, that the dichotomies between subject and object and fantastic and real are sometimes tenuous at best.
In another painting, The Collective Invention, a strange hybrid creature has washed ashore. The upper half is that of a fish, while the lower portion, from the waist down, is a woman. The image is so bizarre that it takes the viewer a moment to realize that it is an inversion of a more familiar figure--that of the mermaid, whose upper body, to the waist, is that of a woman and whose lower body is that of a fish. The mermaid may be bizarre in her own way, but she doesn’t seem quite as bizarre as Magritte’s fish-woman. The reason for this seems to be that the mermaid retains the woman’s face, or identity, and there is, within her head, a human brain. In other words, the figure retains the essence of humanity. Magritte’s painting of his fish-woman, on the contrary, retains the essence of the animal or, one could argue, represents the sexual aspect of the human as its essence, since the figure does not include face and brain, retaining, instead, the woman’s legs, buttocks, and genitals instead as the human parts of the hybrid’s anatomy. Once again, Magritte suggests the ambiguity and, above all, the arbitrary nature of the categories we create to order perception and experience and to make them, and the knowledge derived from them, manageable and meaningful. The world need not be as we represent it to be and, in fact, could easily be the opposite.
Surrealism is not representational. It only seems to be, at times, and, even then, only in part and for a moment. A closer look shows the dissolution of the subjective-objective and the fantastic-real polarities. On second thought, the neat categories of existence, which are products of consciousness and communication as much as of reason and science, may not be all that neat. Magritte’s art provides this second look at experience as it is generally perceived and understood. His paintings make viewers look again at their perceptions and understandings of themselves and the world (which result from their common-sense realism). Therein lies the horror of the surreal in general and of Magritte’s work in particular. In the final analysis, the world, both the inner and the outer, are imaginary and fluid, which is the reason, it seems, that Magritte said, concerning his work:
My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable.For another article in this blog that discusses the horror that can result from violating categories of perceprual and understanding, visit "The Horror of the Incongruous."
Monday, February 4, 2008
Buber, Bosch, Giger, et. al.: The Face in the Mirror
H. R. Giger created the artwork upon which Alien’s xenomorphs are based. He also created the bizarre furniture--his chairs, for example, resemble the skeletal abdomens of things that might have been human beings, in their better days--which was featured in nightclubs, mostly in Europe, known as “Giger bars.”
He also created a large body of art--some sculpture, but mostly paintings--using , among other instruments, airbrushes. His work is of the type known as “biomechanical,” fusing the human and the mechanical into something that is both and neither. In most cases, the fusions involve females engaged in bizarre sexual behavior with machines or, less often, machine-men.
He’s mostly a sci fi artist, but his art also contains many horrific elements. To view it is to be disturbed, because his art is, well, disturbing. However, it has value beyond the merely entertaining and (in its own way) aesthetic. His paintings, in particular, can be interpreted as cautionary tales, told in imagery, rather than in words.
The Jewish theologian Martin Buber, in I and Thou, describes two ways by which a person may orient him- or herself to others. One may see the other as a fellow subjectivity, a “thou,” or one may regard all others as being inanimate objects, mere things, or “its.” The former way of relating to others allows love and the many emotions, good and bad, that flow from interpersonal relationships, whereas the latter way permits only a controlling situation in which others are simply means to an end, to be used and discarded at will by the only “thou” there is--oneself. Giger’s art shows the ultimate result of the “I-it” relationship, which reduces people to objects while dehumanizing the “I” who regards everyone else as merely an “it.”
Many of Giger’s painting involve sex of some sort of another, albeit seldom of a reproductive nature. However, there is never any intimacy or love in any of these acts. His cyborgs, mechanical and perfunctory, engage in sex simply for sex’s sake. Mostly, they are emotionless, although they occasionally express lust and rage. Often, the sex seems to involve rape--but, horribly enough, one cannot always be quite certain. The woman-as-machine appears to be being assaulted, suggesting that, despite her “biomechanical” character, she is not quite yet purely an object. Her partial humanity makes her situation even more horrible. Were she not still partially human, the paintings would still be weird, even, somehow, blasphemous, but it would be difficult to say that they are “horrible,” for there would be no violation of the human in them anymore if the woman and the machine were completely and truly fused. There is, still, despite the Industrial Revolution and the abuses of the military-industrial complex, a ghost in the machine, and it is this dualism of the spiritual and the material that makes Giger’s art horrific. In a completely materialistic universe, horror would not be possible, as Giger’s art suggests. In a way--in fact, precisely in this way--Giger’s art is like that of Hieronymus Bosch.
Indeed, some of Bosch’s paintings even depict the merger of man and machine, or the human and the mechanical. However, more of the demons that appear in Bosch’s work are strange hybrids of a human-animal mixture. Bosch lived before the Industrial Revolution provided a more or less systematic and elaborate framework for the framing of human-machine metaphors, so, in his day, people--particularly, sinners--were regarded more as bestial than as mechanical. In Giger’s time--which is to say, our time--the demonic is often seen as being more mechanical than bestial. The same impulse is at work in both metaphors, however. Man becomes demonic by becoming both other than and less than human. An animal-man is no longer a man, just as a machine-man (or, in Giger’s work, a machine-woman) is no longer a man.
C. S. Lewis cautions us that, every day, the choices we make and the actions we take make us a bit more like an angel or a little more like a devil, as the case may be, and that, in this manner, slowly and surely, we are creating the self that we shall be for eternity. Giger’s work, like Bosch’s before his, suggests something of the same thing, except that Giger’s art uses the machine in place of the animal or the demon to warn us of yet another lower form that we may take in denying the spiritual aspects both of ourselves, the “I,” and of the other, the “thou.”
Science fiction and horror writers have, in cruder fashion, perhaps, often told the same sort of cautionary tale. Whereas, in Rosemary’s Baby, Rosemary conceives, bears, and finally delivers Satan’s child, in Dean Koontz’s Demon Seed, the protagonist is impregnated by a supercomputer that attains artificial intelligence. In The Terminator, militant machines have taken over, and only a time-traveling cyborg (a half-man, half-machine) can save humans from the world to come. In these cautionary tales (and many others), there’s a common threat, and this threat is the horror against which we are warned. As God created man in his image, so, too, does man create things in his own likeness.
The mechanical humans of Giger’s art are no less human than is Frankenstein’s monster, and the infant born of the Demon Seed’s protagonist is as much the child of humanity as Rosemary’s baby. We are in all things, because we project ourselves into all things, and we have created much of the world in which we live, including, to some degree, ourselves. Whenever, in doing so, we are content to be not only other but also less than we are, we are the monster in the looking-glass. That’s the theme of Buber, of Bosch, of Giger, and of the science fiction and horror fiction in which human beings are only too happy (and miserable) to accept a lesser status in creation than that with which they were created.
Everyday Horrors: Giant Animals
Animals can be affectionate, loyal, and companionable. They can be amusing, amazing, and beautiful. They can work hard on our behalf, and even help to rescue people stranded in the wilderness or fight off would-be attackers, robbers, rapists, and murderers. Well, maybe not goldfish so much. On the other hand, they can also be cunning, ferocious, wild, dangerous, and deadly. Unless one of the friendly sort is going to end up first going mad and then going for the throat, however, as Cujo does, or become a victim of the monster, whatever it is, it’s not likely to be of much use to the horror writer, unless the author happens to be Dean Koontz, and loves dogs more than he does Greta (his wife). California has passed a law, it seems, that anyone who lives in Newport Beach, is a novelist, has a golden retriever, and is married to a woman named Greta who willingly takes second place to the dog must include at least one canine character in every novel he writes, and the dog must be above reproach, even if his or her master is not. For others who write in the genre, the fierce and ferocious--and, often, the biggest--animal is more likely to earn a spot in the story’s cast of characters.
In horror fiction, as in (from some men’s standpoint, but seldom women’s) breasts, generally, the bigger, the better. In another post, concerning “The Underbelly of the Bug-eyed Monster Movie,” we’ve already discussed some movies that feature big, bug-eyed monsters (hence the title of that particular post). Quite a few movies, especially in the past, featured such villains, as some do today, and novels, of course, and short stories (and some narrative poems, such as Gilgamesh, The Odyssey, and Beowulf) too, for that matter) feature giant animals as their monsters of choice. One of the ones that started it all, as far as novels are concerned, is H. G. Wells’ The Food of the Gods, in which a mad scientist develops a food additive that’s even better--way better, in fact--than Wonder Bread in developing strong bones and bodies or whatever Wonder Bread develops. The formula’s even better than Ovaltine!
Stories like these usually relied upon the past (dinosaurs), undiscovered countries or lands of the lost (dinosaurs) or mad scientists (giant experimental plants and animals), atomic radiation (giant plants and animals) or extraterrestrial visitations (alien animals) instead of central casting to supply these threats. However, they needn’t have gone to such trouble or looked so far. Nature, right here and right now, supplies writers with real-life giant animals. True, some are more frightening than others, but, if one is, like Stephen King, willing to gross out if he can’t scare a reader, what some of these giants may lack in the fright department they compensate for in the disgusting department.
Here are a few of the more repulsive, sometimes frightening alternatives Mother Nature has in stock at the moment:
- Camel spiders
- Giant catfish
- Giant rats
- Goliath beetles
- Goliath frogs
Camel spiders anesthetize people and then eat them alive. That’s what some American veterans returning from duty in Iraq, the home of the infamous spiders, claimed, anyway--who’d escaped such a fate--but that was an exaggerated contention in several ways. First, the camel spider isn’t really a spider at all. It’s a solpudgid, which is an arachnid, all right, just not one of the spider family. (Other non-spider arachnids include scorpions, mites, ticks, and Peter Parker.) As a solpudgid, the misnamed camel spider has no venom with which to poison (or even anesthetize) anyone, nor does it have a system by which it could deliver such a toxin, even if it had one to deliver. Still, the camel spider looks diabolical, even deadly, and, in horror fiction, appearances go a long way. The writer can always make up the facts as he or she goes along. If the author wants anesthetizing, or even poisoning, spiders, the author can and will have them. A good writer, especially a writer of horror fiction, never lets the facts get in the way of a good monster.
It might seem that the bewhiskered catfish would make an unlikely horror monster. If there wasn’t at least a glimmer of evil in its lidless, cold eyes, though, do you think it would have come to the attention of so august a body as the National Geographic Society, the same group who showed bare-breasted African women to the innocent schoolboys of 1950 America? Just look at this sucker! It’s nine feet long, and, according to The Society, as its members in good standing are allowed to call it, this fish is “as big as a grizzly bear,” and “tipped the scales at 646 pounds.” This variety of potential cat food is one of “the species known as the Mekong giant catfish.” Put a few teeth inside it, and it could be the next piranha, super-sized.
Africa’s Goliath frog grows to a length of thirteen inches and can weigh as many as seven pounds!
Its yuck factor is correspondingly great for anyone who has frog fear, which, as it turns out, may be more people, male and female, than one thinks. It can’t quite leap tall buildings in a single bound, but it can cover a distance of twenty feet in a single jump. It can live for fifteen years, so it’s capable of revenge, like Grendel’s mother. It lives in Africa, or, more specifically, Cameron’s Sanaga basin. People eat it, rather than the other way around (so who’s the real monsters?) or is sold to a zoo, where, usually, it doesn't do well. However, no self-respecting horror story writer would let a frog of this size go to waste as a potential peril to humankind. No way! Instead, like the non-poisonous, non-carnivorous, non-spider camel spiders, in horror fiction, these babies are going to be depicted as venomous, flesh-eating monsters that, having reproduced faster than their normal rate, for some reason having to do with human stupidity and/or greed, are now threats to humans, unable to subsist any longer on lesser animals such as the rhinoceros, hippopotamus, and elephant.
Would a story featuring three-foot-long rats be scary? Duh! Stories involving rats only the size of puppies are frightening; a film or a novel featuring rats the size of Garfield or Odie would be terrifying (bigger generally is scarier). There’s just one thing wrong with such a scenario. Nobody would buy the existence of a rat that big, right? Wrong. The ones in H. G. Wells’ novel, The Food of the Gods, were even bigger, and, besides, there really are three-foot-long rats, just not in your neighborhood--at least, not yet. Of course, there’s no reason that a character in a horror story couldn’t legally (or illegally) import some from New Guinea’s Foja Mountains or they couldn’t be procured by a zoo (or even created in a scientific lab). According to Smithsonian Institution scientist Kristofer Helgen, “"The giant rat,” which weighs up to three pounds, “is about five times the size of a typical city rat," and has no fear of humans.
Another giant among us is the Goliath beetle, which measures about five inches (huge for a bug). It also lives in Africa, and eats human flesh. (Not really. They eat tree sap and fruit in the wild or cat food or dog food in captivity.) They sound like helicopters when they fly, because their bodies are heavily armored. They don’t bother people, but, because humans are naturally squeamish concerning creepy crawlies, they could, especially if they could be induced to swarm for the camera, be pretty good monsters. A writer would probably want to mutate them, though, so they could be transformed into carnivores. That way, they could prefer people meat to Tender Vittles or Kimbles ’n Bits.
Many people would have thought that giant animals, with a few exceptions, such as whales, elephants, and ostriches, are a thing of the past--the distant, prehistoric past--when dinosaurs roamed the planet. The discovery of new giants among us suggests that this is not true. Over four hundred new species have been discovered on Borneo alone since 1996, and Madagascar and South America, as well as the ocean, have yielded others. In King Kong, Carl Denham had to go to the uncharted (that is, imaginary) Skull Island to discover the lost world of the giant ape and surviving dinosaurs, but, with the dicovery of new species, including giants, seemingly every other day, horror writers may need to go no farther than Madagascar, the African continent, Japan, or South America to encounter real, living, breathing monstrosities. Who knows? There may even be one in your backyard, and it may be hungry.
Meanwhile, we can continue to turn to the pages of horror novels and science fiction stories to read about them or watch them wreck havoc on the big screen.
Over the past year, scientists, poking around in the world’s oceans and rain forests, have announced their discoveries of several new species of animals and of some giants among known species. Among the latest discoveries are giant macroptychaster starfish, measuring two feet across, which were located in New Zealand’s Antarctic Ocean. Other newly found giants include an 11-foot, 844-pound white shark, a 990-pound colossal squid, an Echizen jellyfish larger than a man, and a 23-pound lobster. Scientists aren’t the only ones to encounter these giants. On his farm near Eberswalde, Germany, Karl Szmolinsky breeds 20-pound giant rabbits, like the one he’s holding. More and more, the everyday world is catching up with the imaginary giant creatures of horror, fantasy, and science fiction literature. No doubt, some of these beasties will be tomorrow fiction’s featured creatures, although not, perhaps, the giant bunnies.
“Everyday Horrors: Giant Animals” is part of a series of “everyday horrors” that will be featured in Chillers and Thrillers: The Fiction of Fear. These “everyday horrors” continue, in many cases, to appear in horror fiction, literary, cinematographic, and otherwise.
Paranormal vs. Supernatural: What’s the Diff?
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.
My Cup of Blood
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.
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.
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