Heightened Horrors--and Heroes: Ourselves, Writ Large

Copyright 2011 by Gary L. Pullman

Watching children watching cartoons that contain moments which, to their audience, are frightening reveal that youngsters are often frightened by much the same things as oldsters: sudden attacks, distorted faces and figures, eerie sounds, and the like. One cannot plan to defend oneself against sudden attacks. A distorted face or figure suggests that something terrible may have happened to another person and that something just as terrible could therefore happen to oneself. Eerie sounds suggest the unfamiliar, and that which is unknown may be fraught with menace. In “Killed By Death,” vampire slayer Buffy Summers assures the children in a hospital in which youngsters are dying (and are possibly being killed) at an alarming rate that she knows, as they do, that monsters, but, she declares, there are those who fight monsters, too, and that she is one.

Children are not reassured by promises that the monsters they fear--the monsters in the closet or under the bed--are not real, but imaginary, because kids don’t yet have enough of a handle on the world to tightly compartmentalize “real” and “unreal,” or “imaginary”; the wall between these realms in thin, and, sometimes, the fantastic bleeds through, into the real world. Therefore, Buffy gains credibility by admitting to the kids to whom she speaks that the monsters they fear are real. Because she is believable about this concern, her declaration that she, a hero who fights monsters, is also real is also believable to the children.

In the real world, adults know that monsters are real, too: there are serial killers, rapists, and thieves. There are backbiters and toadies--and even politicians. But there are heroes, too, who fight these monsters: cops and firefighters and emergency medical technicians and soldiers and everyday men and women who are willing to risk their own lives to save others who are in trouble and need help. The everyday hero, however, is too mundane to celebrate for more than a day or two. Horror fiction (like other literary genres) create villains who are larger than life--Pennywise the Clown, Dracula, Norman Bates, Buffalo Bill, Der Kinderstod--so that there can be larger-than -life heroes, both extraordinary and ordinary--the Losers, Count Van Helsing, Sam Loomis, Clarice Starling, Buffy Summers.

The phrase “head and shoulders above the crowd” derives from the custom of ancient Greek and Roman sculptors of indicating heroism by creating statues of heroic individuals that were a head length taller than the statues of ordinary mortals. The ordinary figure, ancient artists determined, is equal to seven and a half head lengths; therefore, the statue of a heroic individual would be eight and a half head lengths in stature. In a similar way, writers make both villains and heroes larger than life, so that they embody, in a heightened manner, the villainous and the heroic in ordinary men; the villains and heroes of horror (and other genres) are ourselves, writ large.

A Couple of Pictures from Las Vegas Locations

Horror Settings

Copyright 2011 by Gary L. Pullman

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 The 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.)

Ironic Settings

Copyright 2011 by Gary L. Pullman

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.