Now
and then it is helpful for masters of horror literature and their critics to
step back and reflect on the meaning and significance of the genre. H.P. Lovecraft did just this in his famous
essay, Supernatural Horror in Literature (1927),
probably one of the most important things he ever wrote. There has been much commentary since then, in
dozens of books about movies and authors.
Though
somewhat dated now, one of my favorites was Walter Kendrick’s The Thrill of Fear: 250 Years of Scary
Entertainment. This book was written
in the early 90s, just before the commercialization of the internet and its
subsequent impact on society. The Thrill of Fear is an interesting
history and criticism of horror fiction and drama, putting books and cinema
that were then current into perspective.
He was fairly even handed in his analysis of various works.
From the Graveyard to You
Kendrick began his book by going all the way
back to the mid eighteenth century “Graveyard Poets”. Thomas Grey, who wrote “Elegy on a Country
Churchyard” is a well known example. These gentlemen attempted to teach moral and
spiritual truths by using gothic, graveyard imagery to create both fear and a
motivation for repentance. But as the
importance and centrality of religious sentiment began to fade in the
nineteenth century, this moral message was gradually de-emphasized. However, the supernatural settings and
effects created by the Graveyard Poets and early gothic writers were retained
and re-used in endless combinations in later work. Think of all the recent novels and movies that
still contain graveyards, tombs and churches.
Why should this be, in such a secular age?
Kendrick
makes a well substantiated point that virtually all the elements of a typical “horror
entertainment”—books, movies, graphic depictions, computer games—were well established
as early as the beginning of the nineteenth century. Essentially the same settings, scenery,
plots, stock characters, and conceptions of the supernatural developed at that
time are still in use now.
He is refreshingly honest in his appraisal of
horror literature. Once the Graveyard
Poets had made their contribution, subsequent work was motivated by the desire
for entertainment, as opposed to enlightenment, and certainly was focused on monetary
gain. The result is that horror
entertainment has always emphasized effect or device over more literary
qualities such as verisimilitude, characterization, or theme. There are exceptions of course. In fact, the horror genre has been a very conservative area of literature, as
demonstrated by considerable repetition and little deviation from familiar and
comfortable forms.
Reduce, Reuse, Recycle
One
does not have to look far to see this conservative element. Think of all the movie sequels, prequels, and
re-makes, all the recombinant DNA-like anthologies of the old and the new in
horror short stories. For example,there
have been numerous collections of stories inspired by the Cthulhu Mythos, (for
example, Ross E. Lockhart’s Book of
Cthulhu anthologies), where creative talents attempt to develop and
modernize Lovecraft’s contributions but are still reliant on the vocabulary and
conceptualizations he formulated nearly 100 years ago. Periodicals like Horrorhound, Shadowland Magazine,
and the venerable Famous Monsters of
Filmland provide a useful scavenging function in their retrospectives of
older books and movies, with the accompanying paraphernalia.
With
the historical perspective that Kendrick provides, horror consumers can see
that what appears to be gratuitous and extreme gruesomeness in current horror
is really nothing new. What is new are
the ongoing and impressive technical refinements in special effects, and
perhaps the wider scope of subject matter now acceptable as content in horror
literature.
What Will Happen Next?
A
portion of The Thrill of Fear is
given to Kendrick’s speculations about the future of the genre. He makes a final observation that the current
technical ability to “archive” and retrieve virtually all of the previous work
in the horror genre will significantly affect the future of the field. Remember, he is writing before the tremendous impact of the internet, and did not
anticipate things like cloud computing, smartphones, websites and the
like. He predicts that it will be
possible for would-be horror writers to access—via video, DVD, microfilm,
CD-Rom, and now, internet—much more of the work of predecessors than earlier
writers themselves were able to do. He
is not sure what effect this will have, nor are we. But he is hopeful it will be a positive one.
In my
view at least, it is possible that this unprecedented access will have two
effects. Because horror is made lucrative
due to its adherence to familiar and popular forms, it will continue to be
derivative and conservative. Its market
demands this. The constant archiving of
successful horror entertainment from the past, and its continued
re-introduction in sequels, prequels and re-makes, will simply allow more
efficient recycling. Is this really so
different from how Homer’s The Odyssey
was created: countless oral, (and probably
visual) retellings over centuries?
Eventually works of horror will become more and more canonical, just as
the books of the Bible did, over the next
250 years. It will become a collective, cultural product, as many of
the classics were.
However,
the ongoing refinement of techniques, devices and effects in the horror genre,
going back two hundred years or more, will continue contribute to literature
and media as a whole. A second result
of all this storage and recycling of horror will be the contribution of
technique. Kendrick does not feel that
works in the horror genre constitute “great literature”, despite his affection
and respect for the field. However,
classical literature must still speak about death and the supernatural among
other topics, and the horror genre may
supply some of the best vocabulary for this conversation.
Poe, Bierce and Lovecraft Dissed
It was
surprising that Kendrick denigrates Poe in the book, basically concluding that
his work was over rated and derivative.
He also gave short shrift to Lovecraft and his circle, (Derleth,
Wandrei, Bloch and others), except to acknowledge their existence and to
criticize the verbosity of Lovecraft’s “purple prose”. Others have made this criticism as well,
although Kendrick’s attitude towards Poe and Lovecraft seems heretical at this
point in the book. Ambrose Bierce was
completely omitted—he was one of those transitional authors of the mid to late
nineteenth century that mark the shift to more modern styles of horror
writing.
Whether
Lovecraft is considered a great writer, or even a consistently good one, it
would be hard to miss the considerable influence he has had on fiction, movies
and television later on in the twentieth and twenty-first and centuries. Lovecraft’s
work exemplifies the point Kendrick makes regarding how horror entertainment
emphasizes use and reuse of certain trappings and devices for emotional effect,
as opposed to general edification.
Lovecraft’s stories have never been translated well into film by themselves,
but Lovecraftian elements are frequently seen in literature, movies and games,
now more than ever. The field owes him some
gratitude for such notions as elder gods, hereditary horror, genetic abominations,
forbidden texts, and horrible old ruins.
But he did not create this vocabulary so much as compile it in his work.
Foxhole Religion
A
tradition view of the motivation for creating and consuming horror literature
and movies is the fear of death, specifically the fear of being dead and of
what follows death. Kendrick sees the
development of horror literature as related to our increasingly sanitary
distance from death and dying, and our attempts deny our own mortality. Fears of death and dying are repressed, and
so later emerge in our “scary entertainments”.
He seems to imply that this is how we manage this fear in the absence of
a convincing and compelling religious sensibility.
While
Kendrick may not have reached the Nietzschean conclusion that “God is dead”, he
suggests that American culture at some level already has. In my view, the popularity of horror is not so
much a consequence of the ‘death of God’ as a first step toward recovering that
religious perspective that has been in eclipse for over a hundred years. After all, it is our personal and collective
death and deterioration that force us to ask the big questions, the religious
questions, that various helpful and clever technologies have been unable to answer. We know more and more how best to live, but
not why, in the face of our assured destruction.
So it
seems to that archiving and codifying horror literature and film will take society
circle back to the Graveyard Poets of the eighteenth century. We will want to complete the equation they
proposed, that the gruesome end of a life well lived equals deliverance, or
redemption, or enlightenment. It seems
that the fear created and enjoyed in horror is not the fear of death—for there
are worse things than death—so much as the fear of God. The true horror, the horror underlying all others, is not that of death and decay, (which
are transient states in any case). It is
the horror of meaninglessness.
Your Head is a Haunted House
The Thrill of Fear provides an interesting examination
of the evolution of “haunted house” imagery in horror fiction, beginning with
graveyards, crypts, mausoleums and charnel houses, and later incorporating elements
of gothic architecture in mansions, castles, and cathedrals. The archetypal haunted house contains in its
shadows interrelated features of age, decay, filth and neglect. For those familiar with the dream psychology
of Carl Jung, this is reminiscent of his notions about the nigredo, albedo and
rubedo phases in the transformation of dream imagery over time.
Jung
used an alchemical metaphor to categorize different stages of dream fantasy as
an individual’s unconscious wrestles with some problem or frustration. Like the transmuting of lead into gold, the
unconscious refines base material in three stages, which are broadly speaking,
dark, intermediate and bright in quality. The nigredo
is the initial point in the cycle of imagery, and is composed of themes of
decay, disintegration, dismemberment, and gloom. Things are falling apart or are being
destroyed.
A
house can be seen as emblematic of the dreamer’s mind or his or her
understanding. To dream of a house, of
exploring forgotten or hidden rooms, has often been interpreted to mean that
the dreamer is exploring or recalling forgotten capacities, memories or
interests. If the dream house is a
haunted house, a nigredo house, it
may be that a previous understanding, set of assumptions or perspective on an
issue is being torn down or is disintegrating to make way for a new one. In a dream, this will typically happen in a dark,
gloomy, wet, creepy place, and will involve images of death, decay, filth,
bones, violence, dismemberment, and so forth.
This is the stuff in nightmares, and with the fear and revulsion there
will also be the experience of heaviness, difficulty in moving, and desperate
attempts to escape.
According
to Jung, two other phases follow. There
is an albedo phase in which dream imagery and objects change form and shape,
shifting back and forth, and become lighter and more illumined—options are
being considered. Finally, in the rubedo
phase, a synthesis or solution is achieved, characterized by brightness, color
and energy. In other words, the cold
dark base metal of nightmares is transformed through an intermediate quicksilver
stage to bright, warm gold.
You Can Try This At Home
This unconscious
process can take some time, perhaps across several nights or weeks. If you make it a practice to record and
summarize your dreams each day, you will likely see that the material you
collect will resolve itself into these three categories offered by Jung. Whatever you may think of psychoanalytic
approaches to dream interpretation, Jung’s notion of the nigredo, albedo and
rubedo stages of dream imagery provides a useful framework.
(I recorded
me dreams religiously back in the 70s and 80s and have not been the same
since.)
Why
do this? Would-be writers of horror
entertainment have often been encouraged to collect and analyze their dreams
for source material. An example of this
advice can be found in an older article by J.N. Williamson, “A World of Dark
and Disturbing Ideas” in Mort Castle’s Writing
Horror, (1997).
Perhaps
you need to visit a haunted house, a nigredo
house. Something keeps drawing you
there. As you lay in bed, try to clear
your mind and concentrate. Think of your
basement, think of the mysterious crack in the floor near the wall—is that the
plumbing you hear, or something else? Now,
go ahead and fall asleep—you are on your way.
And Though This World With Devils
Filled…
In
our collective unconscious, what
might it mean that an entire society is preoccupied with haunted houses, or for
that matter—ghosts, vampires, zombies, mutants, contagion, graveyards? What great idea of the self, what edifice of
understanding, needs to be dissolved in order to make room for some newer, brighter
insight? Insofar as horror entertainment
is the dream journal for the entire society, works in this genre can document our cultural
nightmares and collective fears. Looking
at them again in the morning may give us a glimmer of what is surely coming our
way.
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