Friday, September 20, 2019
Ray Bradbury's "The Island"
Saturday, February 5, 2011
Horror Settings
Horror story settings often play upon the limits of human perception and the effects of such limitations upon human self-esteem, safety, and security.
Fog blinds, and blindness makes one helpless. A forest’s density of trees makes one feel trapped. An island or a space station is isolated, which cuts one off from others and the aid that they could provide. A cavern is dark; darkness blinds; blindness makes one helpless. A cavern’s passages are tight, which could make one feel trapped, and the passages are labyrinthine, suggesting that one may become lost and, therefore, cut off from others and the aid that they could provide. An unfamiliar place is unknown, and the unknown blinds one mentally, or cognitively, thereby making him or her vulnerable to potential injury or harm.
The antidotes, as it were, to the effects of such settings are, respectively, self-reliance; escape or rescue; being located; and knowledge (especially practical knowledge).
Therefore, some horror stories start at one of these extremes and end with the other extreme. For example, Edgar Allan Poe’s short story “The Pit and the Pendulum” starts with the sentencing to death of the protagonist and his imprisonment in his intended death chamber, the “pit” of the story’s title, and ends with the main character’s rescue by his enemy’s foes.
Thursday, February 3, 2011
Ironic Settings
In my series concerning “How To Haunt a House” and my critical review of the movie The Descent, “A Descent into the Horrors of Extreme Feminism,” I discuss the symbolic significance of setting as a means of conveying themes. A house can represent its resident’s soul or personality, with various rooms corresponding to aspects of the person: the attic, his or her mind; the kitchen, his or her instincts and appetites; the living room, his or her persona; the basement, his or her unconscious; and so forth. In the movie The Descent, the underground cavern in which the female spelunkers are attacked by subterranean monsters, the cave, I argue, represents the womb, and the monsters represent the fetuses that liberated women have aborted in favor of childless independence from their traditional and, indeed, biological, roles as mothers and wives.
As Nicholas Ruddick points out in Ultimate Island: On the Nature of British Science Fiction, a symbol can involve a long history of philosophical development. The idea of the island as a symbol of insular individual identity followed, he says, the loss first of the geocentric worldview and then of anthropomorphic notions which left each man and woman an isolated subjectivity, or island, as it were, cut off from the mainland, which is representative of the rest of humanity:
The idea of an individual island has become associated with that of the individual psyche, though the metaphor of the insular Self. The decline first of geocentrism and then [of] anthropomorphism as a result of scientific discovery has led to the rise of individualism, the philosophical privileging of existence over essence. . . and [the idea of] a universe in which the human domain seems an insignificant speck--at best an island--in the oceanic immensity of the spatiotemporal macrocosm (56-57).Symbolism can be far richer than one imagines!
According to the teleological argument, which is also known as the argument from design, the existence of the universe, as a created artifact, implies the existence of a Creator. Natural theology suggests that we can learn of the nature of God, the Creator, from His creation, nature. This theology, unlike that which is based upon divine revelation that includes the doctrine of humanity’s (and the cosmos’) fall from grace, doesn’t explain (or, some might argue, explain away) the existence of evil, but accepts it as part and parcel of God’s creation and as, therefore, in some way, indicative of God’s own nature as well. As Herman Melville’s Queequeg declares, in Moby Dick, “de god wat made shark must be one dam Ingin.”
Whether one accepts the portrait (or, possibly, the caricature) of God that natural theology paints, one may apply its insight to the artifacts of human technology: whether microscopes or atomic bombs, the things that we create suggest something about us, their creators. Writers, especially of horror, do well to remember this lesson--and to apply it in their work by consciously and deliberately suggesting the symbolic nature of their central properties, or props, and settings by using them as thematic motifs.
As usual, contemporary writers can take a lesson in doing so from Edgar Allan Poe. The house of Usher (in “The Fall of the House of Usher”) is identifiable with its resident, protagonist Roderick Usher; the fall of the former is also the fall of the latter. Indeed, even physically, the house resembles its resident. According to Walter Evans, the windows of the house are Usher’s eyes, the sedges his mustache, and the white tree trunks his teeth (“‘The Fall of the House of Usher’ and Poe’s Theory of the Tale” in Studies in Short Fiction, 14.2).
Poe also uses the wine cellar in “The Cask of Amontillado” to great symbolic effect. Wine is the drink of camaraderie and friendship; indeed, in Christianity, wine is an element of communion, representing the sacrificial blood of Jesus Christ. In Poe’s story, the significance of wine, as represented by the titular cask of Amontillado, is subverted through irony. The libation of friendship becomes the means by which a mad and vengeful Montresor lures his victim Fortunato to his doom.
Appealing to Fortunate’s friendship as much as to his expertise in wine, Montresor succeeds in getting him to follow him through catacombs, where, after expressing concern for Fortunato’s health while plying him with wine (the catacombs are damp, Montresor says, and Fortunato is coughing), the villain walls up his victim alive, leaving him to die. Half a century later, Montresor, in recounting his tale, brags that he has never been caught.
Wine, which normally cements relationships, here helps to destroy a man who was once at least ostensibly a friend. In the story, the Amontillado, it may be argued, thus represents friendship itself, albeit, in this story, friendship more feigned, on the part of the protagonist, anyway, than real.
Poe’s masterful use of irony to undercut symbolic images and motifs enriches his narratives and, indeed, adds a subtle subtext to the story's overt horror. In learning from the masters, contemporary writers of horror can accomplish similar wonders in their own works of fiction.
Saturday, January 8, 2011
Setting and Plot
Horror story settings often play upon the limits of human perception and the effects of such limitations upon human self-esteem, safety, and security.
Fog blinds, and blindness makes one helpless. A forest’s density of trees makes one feel trapped. An island or a space station is isolated, which cuts one off from others and the aid that they could provide. A cavern is dark; darkness blinds; blindness makes one helpless. A cavern’s passages are tight, which could make one feel trapped, and the passages are labyrinthine, suggesting that one may become lost and, therefore, cut off from others and the aid that they could provide. An unfamiliar place is unknown, and the unknown blinds one mentally, or cognitively, thereby making him or her vulnerable to potential injury or harm.
The antidotes, as it were, to the effects of such settings are, respectively, self-reliance; escape or rescue; being located; and knowledge (especially practical knowledge).
Therefore, some horror stories start at one of these extremes and end with the other extreme. For example, Edgar Allan Poe’s short story “The Pit and the Pendulum” starts with the sentencing to death of the protagonist and his imprisonment in his intended death chamber, the “pit” of the story’s title, and ends with the main character’s rescue by his enemy’s foes.
However, a horror story (or a thriller) might also start with the positive character trait--self-reliance, for example--and end with its destruction, as James Dickey’s novel Deliverance does. In this narrative, macho, self-reliant outdoorsmen are sodomized by a group of sadistic mountain men whom they encounter during a canoeing trip. Likewise, the adversary of William Peter Blatty’s novel The Exorcist seeks to destroy Father Damien Karras’ faith when he attempts to exorcize an alleged demoniac. Another of my posts, “A Descent into the Horrors of Extreme Feminism,” discusses at length the importance of the cavern setting of the movie Descent on both the film’s plot and characters.
Few contemporary horror stories succeed in exploiting a forest setting’s dark and foreboding character as well as The Blair Witch Project. As anyone who has ever gone camping overnight in a forest knows, campers are almost certain to hear furtive sounds, breaking twigs, and perhaps even snarls or growls. Unable to see what one hears, one can quite easily let his or her imagination run wild, and his or her imagination is able to picture horrors and terrors beyond anything reality is likely to offer. The forest, in this film, is a symbol of man’s helplessness before nature--especially a forest that, cutting the band of students off from the rest of humanity, leaves them not only to their own devices but also to their own wild imaginings.
Regardless of the setting an author may select, he or she should examine it carefully for its symbolic, metaphorical, or other rhetorical significance, for by playing upon these implications, the writer can enhance the depth and richness of his or her story. In analyzing the proposed setting, the author may, in fact, find that another setting than that which he or she originally envisioned works better for his or her story in part, perhaps, because the alternative setting is more symbolically, metaphorically, or otherwise rhetorically profound than the first location that he or she considered for the narrative’s milieu. (The same is true for the story’s props: Poe, for example, originally envisioned a parrot as the foil to The Raven’s narrator, rather than the raven he subsequently selected as the poem’s avian adversary.)
Friday, April 30, 2010
The Others: A Masterpiece of Situational Irony
That the house may be haunted is suggested by Anne’s seeing and speaking to ghosts. She draws a picture of four of the spirits she’s seen: that of a boy about her own age, named Victor; Victor’s parents; and an “old woman.” Next to each figure, she writes the number of times she has seen each of the ghosts: she has seen each parent twice, Victor five times, and the “old lady” fourteen times. The “old lady” has harsh features and wild hair, and she scares Anne, the girl confesses. Anne also talks to Victor, once in the presence of her younger brother, with whom she shares a bedroom. When Nicholas accuses her of “teasing” him, she asks Victor to touch her brother’s face to let Nicholas know that he, Victor, is present. Later, Grace, who, at first, denies the existence of ghosts, refusing to believe that her house is haunted, hears a piano playing downstairs. When she goes to investigate, she learns that the music room is not only locked but that it is also unoccupied. However, when she leaves, an unseen force knocks her to the floor. Grace also experiences other ghostly phenomena. She hears disembodied voices talking about her when she visit’s a “junk room”--a spare bedroom used for storage--and she hears heavy thumping sounds upstairs, which she attributes to Lydia--until she sees the servant conversing with Mrs. Mills outside the house as the thumping continues upstairs. A headstone on the premises indicates that a body has been buried on the estate. Is the ghost the spirit of this person? Later, Grace finds a “book of the dead,” an album of family members’ corpses, photographed as mementoes for the surviving loved ones. Perhaps one or more of their spirits haunt Grace’s house. Not only do Anne and Grace see (and hear) ghosts, but Mrs. Mills tells Anne that she, like Anne, also sees them. Although both Anne and Nicholas have potentially fatal allergic reactions to sunlight, requiring that the curtains on the windows be closed whenever the children pass from one room to another, they have all been removed overnight, as the children’s panic-stricken screams alert Grace. None of the servants admits to having taken down any of the curtains. Perhaps the ghosts did so. When Anne and Nicholas discover the graves of the servants and Grace herself sees their likenesses in a photograph of the dead, the viewer is apt to suppose that Mrs. Mills, Mr. Tuttle, and Lydia are themselves the ghosts who haunt Grace’s house.
A case is also made for the supposition that Grace is losing her mind. She is fragile and high strung, as Nicole Kidman, who portrays her in the film, says in an interview featured on the DVD release of the movie says, and her husband has gone off to fight in World War II, leaving Grace alone to care for their children. She has poor coping skills, and caring for the two children by herself is more, perhaps, than she can handle. She takes great comfort in the Bible, as the Word of God, and in the rosary, which she says, banishes her fears. She has a simple, unquestioning faith. When her children question the credibility of the such Biblical claims as God’s creation of the universe in only six days and that two of every animal could fit on Noah’s ark, Grace is angered. She tells her children that their doubts may land them in limbo, which she distinguishes from both purgatory and hell. These concepts, like the rosary, suggest that she and her family are Roman Catholics, rather than Protestants. Her dependency upon the Bible, like her generally anxious manner, her quickness to anger, and her impatience toward her children and the servants suggest that she is tottering on the edge emotionally. It is not difficult to imagine that her seeing the “old woman” wearing the veil and dress that she made for her daughter’s confirmation, instead of Anne wearing it, as if, having possessed the girl, the “old woman” is now impersonating Grace's daughter may be the result of Grace’s hallucinating, rather than an instance of a perverse supernatural masquerade. Likewise, Grace may have only imagined that she’d heard the disembodied voices in the “junk room.” She may have had other hallucinations as well, hearing thumping when there was none, for example, and imagining that she’d heard a piano playing in the locked, unoccupied music room. She herself may have done some of the things that seem simply to “happen,” such as the taking down of the curtains in the house. Even the visit of her husband, who, until his sudden appearance, was presumed dead, a casualty of the war, could be attributed to her tendency to hallucinate, especially since, while he is home, he is eerily distant, lies motionless in bed for hours and days on end, refuses to eat anything, and is soon gone again, off, he says, to the battlefront. Indeed, after Grace attacks Anne, thinking that her daughter is the “old woman” in disguise, Anne tells Nicholas that their mother has “gone mad.” All these incidents, individually, and collectively, suggest, rather strongly, that Grace may be going mad or may already have gone insane.
On the other hand, maybe Grace’s house is not haunted, any more than she herself is insane; instead, the servants may be involved in a conspiracy against Grace and her family. They claim to have appeared at the house as the result of their "passing by," a mere coincidence, despite the fact that Grace’s house is located on an island and, for that reason, would not be a place where anyone--especially experienced servants--would be apt to seek employment. At Mrs. Mills’ direction, Mr. Tuttle dumps leaves on a headstone to prevent Grace from discovering the marker, despite Grace having given him a directive to find the headstones of all those who are allegedly buried on the estate. Mrs. Mills confides in Anne that, like the girl, the housekeeper has herself also seen the ghosts. Does Mrs. Miller do so to convince Anne that the ghosts are real in the hope that Anne will, in turn, influence Grace’s belief that her house is haunted and that it is safest to leave the mansion? Did the servants pose for the picture of the dead in which their corpses were supposedly photographed as a memento for their surviving loved ones? Mrs. Mills more than once hints at secrets that she and the other servants are keeping from Grace, and the housekeeper tells Grace that the living and the dead sometimes get “mixed up” with one another. Grace herself supplies a possible motive on the part of her servants for their conspiracy: they want to “take over” her house, she charges. Grace’s thoughts and behavior, at times, seem rational and appropriate, but, at other times, her ideas and actions are obviously groundless and even bizarre, suggesting that she is either insane or nearly so.
The Others is ambiguous on purpose, suggesting three possible explanations for the strange goings-on at the mansion in which she and her children and the servants live: the house is haunted, Grace is insane, and/or the servants want to drive Grace away so that they can lay claim to the mansion . However, the end of the movie, during which, at a séance, Grace finally learns that she has murdered Anne and Nicholas before committing suicide, upsets all three of these expectations concerning the movie’s plot, for the medium reveals that the children are dead and it is their ghosts and the ghost of their murderous mother and the loyal household servants who are the actual ghosts. Those whom Grace suspected of being ghosts are actually the members of the family who have bought the house. Grace and her family are, it appears, in purgatory, reliving Grace’s murder of her children and her murder of herself over and over again. It is only because of the careful planning of the film’s feasible, but ambiguous and bizarre incidents, that the movie succeeds in leading the audience down one path of expectations so that, at the end, it can deliver a wholly different conclusion to the story that ties up these previous storylines: the house is haunted, but by Grace and her family and servants; Grace has gone insane, killing her own children and herself, because she proved incapable of coping with and handling the stresses of everyday life without her husband’s assistance; and the servants, in fact, were conspiring, but not to steal Grace’s home but to confront her with the truth about herself and her actual situation as a soul in purgatory. Like any story that hinges upon situational irony as the means by which to effect a surprise, or twist, ending, The Others performs a bait-and-switch routine, setting up and maintaining viewers’ expectations along one line of development so that the grand finale can deliver an altogether different conclusion than the one that the previous action has painstakingly and deliberately suggested as the culmination of the whole. In doing so, The Others reveals itself to be masterful, indeed, and, therefore, a suspenseful and frightening thriller well worth watching again--and again.
Thursday, February 26, 2009
Location, Location, Location!
The plot device of which I speak, which we may call an “antagonist generator,” is based upon a simple, but irrefutable, truth. Either the main character occupies a relatively stationary position and antagonists come to him or her, or the protagonist travels, encountering antagonists in the process. Therefore, depending upon whether the generator moves or remains stationary, it is either a mobile or a fixed one.
Mobile Antagonist Generator
Vehicle: A vehicle is any moving object, mechanical or natural, that transports the protagonist (and usually other characters) to a place in (or upon) which he or she encounters an antagonist with whom to engage in a conflict. The vehicle could be an airplane, an automobile, a bicycle, a boat, a bus, a comet, a planet, a ship, a spaceship, a train, or even a wagon train. Various vehicles are used in horror fiction to transport protagonists to rendezvous with hostile antagonists, including an automobile (Stephen King’s Christine), a ship (Ghost Ship, directed by Steve Beck), a train (Terror Train, directed by Roger Spottiswoode), and a spaceship (Alien, directed by Ridley Scott).
Fixed Antagonist Generators
Station: The station stays in place; it doesn’t travel. It performs a specific task or mission of commercial use or military significance. Within these broad guidelines, the station can be almost anything: a dentist’s office, a factory, a fort, a hospital, a library, a museum, a nursing home, a store, or a space station. It can be terrestrial or extraterrestrial. It might be natural, but it could be paranormal or supernatural. Examples of stations in horror fiction include Jurassic Park in the film of the same name (directed by Steven Spielberg), the island in H. G. Wells’ The Island of Dr. Moreau, the Overlook Hotel in Stephen King’s The Shining, and the Hellmouth in Buffy the Vampire Slayer (created by Joss Whedon). In these stories, the generator is stationary, and the protagonists, whether John Hammond and his guests, Edward Prendick, Jack Torrance and his family, or Buffy Summers, respectively, come to it, where they encounter their respective adversaries--dinosaurs, a mad scientist, ghosts, and whatever happens to crawl out of the Hellmouth on any given day.
Site: Like the station, the site is a fixed location; it does not move. Instead, it brings the antagonist to it--and, thus, to the protagonist. However, unlike the station, the site is not the location of any task or mission or, if it is, the task or mission is not commercial or military in nature and is, in and of itself, unrelated to the story’s conflict. An example of a site, as opposed to a station, is the body of young Regan McNeil, which is possessed by the devil in William Peter Blatty’s The Exorcist. Although Regan’s physiological processes may be considered tasks, her acts of ingestion, mastication, digestion, elimination, breathing, and so forth have nothing to do, in and of themselves, with the conflict that takes place between the devil and the story’s protagonist, Father Damien Karras, who comes to Regan’s house to exorcise the demon that possesses her. The jungle in Predator (directed by John McTiernan) is another example of a site, as is the Marsten House in Stephen King’s ‘Salem’s Lot. The teleportation device on Star Trek (created by Gene Roddenberry) does not qualify as a vehicle, as it might seem to do, because it moves people, including Captain Kirk and his crew, but, remaining motionless, it does not move itself. Personnel can enter the teleportation device and leave it, and it serves a military mission, so it‘s not a platform (see below), but a station.
Platform: A platform is a stationary object (rather than a location). It may or may not perform a commercial task or serve a military mission, but, in any case, it is a thing which, as such, cannot be physically (that is, bodily) entered or exited by the protagonist, the antagonist, or any other character. An example of a station is the cellular telephone in Stephen King’s Cell, which performs a commercial task but doesn’t go anywhere--or, rather, it goes only where its owner is already going, under his or her own steam--but it brings antagonists to its user. It is a thing, which cannot be entered of exited. A trail or highway may also be a platform, since the path or the road itself does not move, although it is a means of facilitating the movement of the protagonist or the antagonist and may provide a commercial task or serve a military purpose. The trail is used to great effect in Stephen King’s The Stand and Robert McCammon’s Swan’s Song. Both a trail, of sorts, and another object--a ring--are platforms in J. R. R. Tolkien’s The Lord of the Rings.
Additional Examples
To identify other antagonist generators, think of specific, individual stories you have read or watched. They need not be exclusively horror stories. For example, in C. S. Lewis’ The Chronicles of Narnia’s first volume, The Lion, the Witch, and the Wardrobe, contains a magic wardrobe. The wardrobe's location is fixed, and it doesn’t perform a particular commercial task or serve a specific military mission. In other words, it’s a platform.
In Bentley Little’s novel The Resort, the family of victims comes to the resort mentioned in the book's title, which does perform a commercial task, making it a station.
Needful Things, the curio shop in Stephen King’s novel of the same name, attracts the protagonist and others, causing them to come to it, and it performs a commercial function, so it is also a station.
The Black Hills near Burkittsville, Maryland, which attract film students to film a documentary concerning the local legend of the Blair Witch is another example of a site (Blair Witch, directed by Daniel Myrick and Eduardo Sanchez).
The museum in Douglas Preston and Lincoln Child’s Relic is a station.
The retreat to which Karen Beatty repairs to recuperate after being sexually assaulted and suffering a miscarriage in Gary Brandner’s novel The Howling is a fixed location that serves a commercial task and, incidentally, as it were, introduces her to her antagonists, a colony of werewolves, so the resort qualifies as a station.
Other categories
Other categories besides the (mobile) vehicle and the (fixed) station, site, and platform antagonist generators may well exist, and this post isn’t intended to be exhaustive. It’s intended simply to get the basic idea across and maybe crank the engine of one’s own generators.
Monday, December 8, 2008
What’s So Scary About. . . .
Attic
It is seldom visited, and its contents, to some extent, are apt to be forgotten; therefore, the attic is more or less unfamiliar and may house dangers, such as bats, rats, spiders, rabid squirrels, or human intruders.
It is unlit or dimly lit and full of shadows in which dangers may lurk or be concealed.
Its contents may be old or unused and may, therefore, represent mementos of death.
It is not spacious, and it lacks headroom, making one feel trapped.
Depending upon the weather, it could be hot, humid, musty, or damp.
It could smell of mold decay (if the body of an animal that has died in the attic’s walls or elsewhere has begun to rot).
Because of the boxes, crates, and other containers it often contains, the attic features many potential hiding places from which one may be ambushed.
It may lack continuous flooring, which impedes movement and escape.
Its being little visited and kept locked suggests that the attic is a “forbidden” place.
It seems unnaturally quiet.
Noises, lights, and smells, in a closed or locked attic suggests that something is amiss (i. e., that the attic is occupied by an animal, a human intruder, or a ghost, perhaps).
The ladder or the narrow, steep flight of steps leading to the attic suggests the unusual character of the attic.
It is isolated from the rest of the house and, therefore, from the rest of the family.
Its floorboards and hinges may creak.
It is likely to be unfurnished, undecorated, and unadorned; it may be unfinished as well, suggesting a place that has been abandoned and lacks the typical comforts of home.
Note: Flowers in the Attic is set, in large part, in an attic.
Basement
Many of the eerie elements associated with an attic are also associated with a basement, making a basement scary for the same reasons that an attic may be frightening. In addition, these other eerie elements are often specifically associated with a basement:
The knowledge that, in descending a ladder or a flight of steps, one is going underground (where things are often buried) enhances the uneasiness one may feel
in entering a basement.Its windows, if any, are apt to be small, perhaps mere vertical slits, which obscures one’s vision to the outside world and makes escape impossible.
It may contain a furnace, the fiery grate or interior of which, in the otherwise relative darkness, may appear eerie or even hellish.
Its cupboards, if any, may contain unusual odds and ends or “secrets” that are better left unknown.
Its walls may be stained or discolored or in disrepair.
Note: The movie The People Under the Stairs is set mostly in a family’s basement.
Crawlspace
Many of the eerie elements associated with an attic are also associated with a basement, making a basement scary for the same reasons that an attic may be frightening. In addition, these other eerie elements are often specifically associated with a basement:
It is even more cramped and inspires claustrophobia even more than an attic or a
basement, reducing movement to a slow, even potentially painful, crawl.It is dirty and may be stuffy or musty.
Its pipes, joists, beams, and other obstructions impede movement and/or escape.
Animal carcasses could be present or their bones may be scattered inside the crawlspace. (John Wayne Gacy buried the bodies of many of his victims in his house’s crawlspace, and a lesbian stalker lived in her victim’s crawlspace.)
Tunnels from the crawlspace could lead elsewhere.
Note: As its title implies, the movie Crawlspace featured this setting.
Hotel
It is large, both in space and in the number of rooms, allowing multiple possibilities of ambush, for being trapped, or for having one’s escape cut off.
It is full of strangers, some or all of whom may be hostile or untrustworthy.
As a guest, one is in a dependent role.
Others have keys to one’s room or suite.
It could be haunted.
It operates on a 24-hour, seven-days-a-week basis, even while one is asleep and, therefore, vulnerable).
One could get stuck in an elevator, between floors.
Who knows what extra ingredients could be added to a drink in the hotel’s cocktail lounge or to a meal served in the hotel’s restaurant or delivered by room service?
One or more of its employees could be replaced by imposters.
Any weakness in its security could be exploited.
Its surveillance cameras are watching guests all the time, everywhere.
It could be isolated; even when it is not, it is a self-contained and relatively self-sufficient world unto itself (a total institution) of great resources.
It can feature fountains or statues in its lobby and courtyards or grounds.
It can harbor strange sights and sounds (and smells).
Its floor plans could be like a mazes, and, behind each door, a possible threat could wait to ambush a guest.
Power may fail.
Fog or other atmospheric or meteorological effects may occur.
Insects, animals, or humans may intrude.
Note: Stephen King’s short story “1408” takes place in a hotel, as does the movie, 1408, based upon it; King’s novel (and the movie based upon it), The Shining also takes place in a hotel.
Mansion
Many of the eerie elements associated with a hotel are also associated with a mansion, making a mansion scary for the same reasons that a hotel may be frightening. In addition, these other eerie elements are often specifically associated with a mansion:
Things look different in the dark than they do in the light.
It is isolated behind walls and iron gates, obscured by trees and other vegetation.
Its ornamentation and decoration may be odd (demon doorknockers, gargoyles,
bizarre statues or portraits).It is associated with an ancestry and heirs (in other words, the house has a past, as it were, which may be filled with guilty secrets).
Its library may contain forbidden books.
“What are they doing in the Hyacinth House?” What, indeed!
It may have an evil-looking façade or aura (as does the House of Usher, the
Amityville house, and Ed Gein’s house).Its grounds may contain the family’s private cemetery.
It can be personified (“if these walls could only talk!”).
Almost by definition, abandoned houses are scary (they suggest the fragility of life, or relationships, of stability, and a person, too, as a former resident, may be fragile, unstable, or abandoned.)
It could be really haunted or it could become “haunted” (e. g., as a Halloween fund-raiser), attracting real ghosts or demons.
Its various rooms symbolize various aspects of the personality, as dream dictionaries indicate.
An ascent can become a descent.
What was left behind in an abandoned mansion (a mirror, a birdcage, a cabinet, an organ) could be demonic.
Abandoned and in a state of disrepair, it is apt to be unsafe because of weak floors or stairs or crumbling ceilings or walls.
Note: Many horror stories, both in print and on film, including The Amityville Horror, Rose Red, ‘Salem’s Lot, Psycho, and The Haunting of Hill House being but a few of the better known among them, are set, in full or in large part, in mansions.
Island
It is remote and inaccessible.
It may be inhabited by “savages” and/or strange and dangerous plants and animals.
It is at the “mercy” of the sea.
It may contain caverns, mountains, or forests that are habitats for unusual, or even bizarre, and threatening menaces of a vegetative, animal, or human nature.
It may have an odd shape (Skull Island) that is frightening in itself.
It may have been used for nefarious purposes.
It may be volcanic.
It may suggest an alternative evolutionary origin.
Note: The Island of Dr. Moreau, King Kong, Jurassic Park, and many other novels and movies take place upon islands.
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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