1. A Partial Recommended Reading List of Fantasy Lit.

1. Fantasy: A Brief Definition

2. The Gothic Masters

3. The Post-Gothicists

4. The Golden Age

5. The Space Age: Fantasy on Film

6. The Language of Fear: Horror in Literature and Film

____________________________________________________________________

2. Essays and Reviews

1. Fantasy and Faith: Compatible?

2. The Dark Side of Internet Fandom

3. Exploitation vs. Art, pt. 2

4. Star Wars as Literature

5. The Jedi Code

6. Revenge of the Sith Review

7. On the Final Star Wars Film

8. X-Files Review

9. On Swamp Thing

10. On the Narnia Film

11. On Prince Caspian

Fantasy: a Brief definition

The Roots of Fantasy as Literature and Art  

Fantasy has been said by many to be truth cloaked in the guise of the strange, beautiful and extraordinary – all of the elements that make it so enjoyable to read.  "Fantasy" in its broadest definition encompasses the realms of Science-Fiction and Horror, as well as traditional Fantasy such as 'Heroic Fantasy,' along with many of the subdivisions, branches and step-children that accompany those genres.  By this broader definition, FANTASY is widely diverse and far-ranging for it tells the tales of the imagination, and regardless of how scientifically-based or logically-grounded a story may be, has not and very likely will not occur as described in the real world. 

    The opposite, therefore, of this genre could be termed Realistic fiction which presents stories that could – and oftentimes do – occur in the real world.  And there is no doubt this kind of fiction has its importance and beauty in the realm of Art.  Yet Fantasy literature , which has been too often disparaged or misunderstood in modern times, has a long pedigree, for its roots lie at the doorsteps of antiquity: from the mythologies of ancient world cultures, to the sobering – but no less exciting – pages of the Bible; from the Oriental Adventures of 1001 Arabian Nights, to the grand Northern epics of the Eddas, Beowulf and The Ring of the Niebelung; from the Middle-Ages to the Renaissance, fairy tales to the famous playwrights of the 16^th century (such as William Shakespeare), Fantasy has played an integral role in the shaping of modern literature, even when for a time it was treated as the ugly stepchild by the post-Victorian literati who snubbed their noses at everything that didn’t smack of ‘ultra-realism.’  Fantasy has been with mankind almost from the beginning, for it is the very stuff of Imagination and Dream…  (for more in-depth examination on the subject, please see my article 'Fantasy: A Brief Introduction')

The Gothic Masters

Ghastly murders, spectral visitors, hidden rooms, nocturnal sepulchers, decadent villains, virtuous young women in deadly peril and their noble rescuers … all and more were the subjects of intense scrutiny by the readers of the Gothic Novel (then called Romance).  Setting the stage for the masters of the next era, Edgar Allen Poe, H. P. Lovecraft, Emily Bronte, Arthur Conan Doyle and countless others to come were the Gothicists of the 18^th and 19^th Century.  In their day, the highly popular Gothic Romances were likely viewed by the reading public of the day as closer to how we see Suspense or True-Crime stories today; Time has shown just how outré these semi-lurid and macabre tales really were, and as such stand as sterling examples of the stretching boundaries of Literature: the adventure story darkened with the spice of mystery and a heavy dose of the fantastic. 

Recommended Reading:

Ann Radcliffe – Mysteries of Udolpho

Without a doubt the Queen-master of the Gothic novel was Ann Radcliffe (or “Mother” Radcliffe as she was called by Lovecraft).  While her early work is somewhat tepid, Radcliffe saw her masterpiece in her fourth volume, the enormously successful Mysteries of Udolpho.  Udolpho was so popular, it’s been acknowledged by some as the first real fiction best-seller.  So ubiquitous was Radcliffe’s romance it even spawned an early parody by famed author Jane Austen in her highly readable Northanger Abbey (in that volume the main protagonist is reading and discussing Mysteries of Udolpho with her friends).  Mysteries of Udolpho remains the pinnacle of the Gothic era, in its haunting landscapes, wistful characters, and bleak visionary outlook of a bygone era filled with all the trappings of the Gothic mode, but none of its superficiality.  At times powerful and moving, Udolpho is filled with profound sagaciousness that is the rare gift few authors are able to impart to their readers that elevates their book to the rightful title of ‘classic.’

Matthew Gregory Lewis – The Monk

A tremendous fan of the Gothic mode, particularly Radcliffe’s Mysteries of Udolpho, young Matthew Gregory Lewis set out to compose his own volume of terror that would match hers.  To that end he may have surpassed her.  For where Radcliffe kept subtle or held back, The Monk plunges headlong into carnal perturbations and supernatural forces, invoking the wrath of the moral majority of its day and earning the book— through the ensuing controversy— both tremendous popularity and notoriety.  The Monk is hardly as lurid as its detractors have claimed, nor is it as ultimately fascinating and wise as Radcliffe’s Udolpho, yet it remains a thrilling read, passionate and dark, and at times alternating between brutally chilling and hilariously comical.

Additional Reading:

Ann Radcliffe – The Italian

Following on the heels of Matthew G. Lewis’ The Monk, which Radcliffe was not a fan of, was her final work The Italian.  The Italian seeks to do what The Monk could not, that is, provide a Radcliffian Gothic perspective to the motif of the corrupt and wicked priest.  By no means the equal of its predecessor (Udolpho), The Italian still remains one of Radcliffe's best works and is a nice companion piece to Lewis’ foray into similar dark territory.

Jane Austen – Northanger Abbey

Brilliant parody, which also works as a fine novel unto itself about a young woman who allows her imagination – as fueled by such reading as Ann Radcliffe’s Mysteries of Udolpho – to interfere with the very real situations that are developing around her.  Obviously works much better if you’ve read the latter volume, but as always, Austen’s work is filled with immense wit and charm.  There’s a reason this woman is universally described as one of the greats of Classic Literature.

Horace Walpole – The Castle of Otranto

By all means a far lesser work in the Gothic canon, but the one that veritably started it all and for which Radcliffe borrowed her mold and built upon.  Still, it's a short book and a fun, if flawed read.  Others of note include Beckford's Oriental Fantasy Vathek, Charles Robert Maturin's Melmoth the Wanderer and Elizabeth Gaskell's Gothic Tales.

The Post-Gothicists:

  Perhaps not unsurprisingly, the Gothic novel was soon copied and imitated by countless others who lacked the verisimilitude and talent to create lasting impressions of their works and the genre took a rather nasty fall as a result of it.  It would be some time before the label was resurrected, but by then things had changed and the majority of what was to come would not to be the same.  Although the clichéd trappings and standards were gone, in its place was something far greater and more diverse, for the post-Gothic writers –  the Romanticists – embodied the true Gothic spirit.

Recommended Reading:

Nathaniel Hawthorne – House of the Seven Gables

 Hawthorne’s New England masterpiece is a model of realistic character study in the Gothic setting.  Ponderous and portentous, Seven Gables is gripping in a vague, nameless sense that comes from deep unease, a stark, silent sorrow that slowly unfolds from the chains of archaism and stilted longing.  Evocative and deeply moving, Hepzibah and her guests in the House of the Seven Gables are not easily forgotten.

Edgar Allen Poe – The Fall of the House of Usher

 One of Poe’s greatest works.  A crumbling, ancient house stands as a metaphor for a dying man and the fears that overtake him.  Awash in shadow and brooding gothic power, Usher remains a classic due to its vivid portrayal of the descent into madness that is ultimately grandly melancholic and tragically chilling.

Oscar Wilde – The Picture of Dorian Gray

 One of the most interesting books ever written; a dual-sided look at the price of vanity and hedonism from the perspective of a beautiful young man that doesn’t age and his haunted portrait that reflects his ever-increasing sins.  Powerful and shocking, Dorian Gray details the creeping, sinister effects a person can have on others, and the lure and temptation of our own wicked souls.  A Must Read!

Additional Reading:

Mary Shelley – Frankenstein

Bram Stoker – Dracula 

Nouveau-gothic masterpieces that birthed a thousand permutations in the decades since their inception, these classics of the genre inspired a gigantic film-franchise and made household names of vampires and ghouls.  Actually, the literary genesis of these itinerant monsters is far less lurid than it is intellectual and philosophical.  Musings on the dark nature of man, power, corruption and God.   Shelley and Stoker's creations led to the popularity and acceptance of Horror as legitimate works of art.   For more on the subject of Horror as Art, see The Language of Fear.

The Golden Age of Fantasy

If Fantasy began in the turn-of-the-Century, it wasn't until the 20's to the late sixties that it reached its peak.  So tremendous was the emergence of authors and high artistic endeavours in the fantasy field that no period before or since can even come close to rivaling it.  With names such as George MacDonald, Lord Dunsany, William Morris, L. Frank Baum, Kenneth Grahame, Edgar Rice Burroughs, Lloyd Alexander, E. R. Eddison, E. Nesbit, J. R. R. Tolkien, C. S. Lewis, Peter Beagle, Arthur Machen, Algernon Blackwood, Arthur C. Clarke, A. Merritt,  Fritz Leiber, William Hope Hodgson, James Branch Cabell, H.P. Lovecraft, Robert E. Howard, Clark Ashton Smith, C. L. Moore, Manly Wade Wellman, Ray Bradbury, Robert Bloch, Brian Lumley, Seabury Quinn, Michael Moorcock, Theodore Sturgeon, Tanith Lee, Lin Carter, Marion Zimmer Bradley, Susan Cooper and many, many more… 

And while there are still excellent and numerous volumes published in the genre nowadays, nothing has come close to hitting the high water mark of this fertile literary period.  And it’s doubtful anything will.  There was magic in the air for Fantasy (and its relatives – sometimes rivals – Sci-Fi and Horror), a storm of imagination and creativity so wild and diverse that it seems now that the majority of present endeavors struggle just to re-capture a tiny piece of it.  It is not unlike the thirty-year golden age of Rock music (from the sixties to the eighties) where artists invented the wheel, and then kept reinventing it, experimentalism thrived as talent and inspiration combined to produce a thousand great bands and a thousand great sounds. 

One of the main reasons for the growth spurt in Fantasy fiction must be attributed to the success of the pulps.  With countless names from Fantastic to Amazing Stories to Science Fiction Age and Weird Tales, an innumerable source of quality authors were discovered whose names still resound today.  An excellent resource into the groundbreaking work of the pulps can be found in the book Art of Imagination which covers the pulps in each of the major genres: Science-Fiction, Fantasy and Horror.

Recommended Reading

Lord Dunsany – In the Land of Time

Baron Lord Dunsany is rightly hailed as the master and grandfather of Fantasy fiction.  Tolkien and Lewis were influenced by him; H.P. Lovecraft adored him, and in many of his writings, attempted to emulate him; and in recent times, renowned genre author Alan Moore paid homage to him.  Dunsany’s early work is admitted by all to be his best, and it remained unsurpassed in his canon.  The Pegaña tales contained within Penguin’s recent volume In the Land of Time are replete with a redolent, dream-like quality.  There is the essence of the ethereal in Dunsany’s prose wherein words transcend from cold hard things into far-off landscapes of half-remembered dream.  Dunsany also gets credit for inventing the heroic fantasy sub-genre, sometimes called Sword and Sorcery, and In the Land of Time contains two of the earliest and best examples of its kind, the rousing “The Sword of Welleran” and its elegaic successor, “The Fortress Unvanquishable, Save for Sacnoth.”

J.R.R. Tolkien – The Lord of the Rings

Plenty has been and will continue to be said about the brilliance and magnificence of Tolkien’s The Lord of the Rings.  Much more than a sequel to the excellent and enduring The Hobbit, The Lord of the Rings goes places emotionally few of its thousands of imitators have ever been able to go.  Certainly the filmed adaptations of these books will stand as classics for some time, yet not even their success could begin to fathom the layers of depth contained in Tolkien’s massive epic.  Part of its heady power lays in its utter sorrow, its aching longing for things and places forever gone.  This pervasive feeling of grief that saturates and permeates the text is part and parcel of its beauty and nostalgic charm.  Another important aspect is its varied, memorable and highly endearing characters, of which Middle-Earth is a part.  Tolkien writes intensely poignant verse about the land, making Middle-Earth and its history, languages, cultures, geography, geology, etc., very real, as indeed for him it was (for its beginnings had been mapped out long before in the sprawling annals of his masterpiece The Silmarillion).  Finally, Tolkien’s work is infused with insightful themes that resonate even more today than it did in the fifties and sixties, themes of corruption and power, sacrifice and loss, courage and friendship which woven throughout The Lord of the Rings imbue it with a deep sense of truth and wisdom.

C. S. Lewis – The Chronicles of Narnia

Cambridge Professor, Christian apologist, and friend of J.R.R. Tolkien, C. S. Lewis released his masterpiece series The Narnia Chronicles unto the world in the mid-fifties, and it remains one of the world’s most celebrated fantasy efforts ever penned.  In their uncle’s sprawling mansion, four children discover an entranceway to a far-off land of talking animals ruled over by an evil witch-queen who is bent on their destruction…  Filled with tremendous joy and sorrow, The Chronicles of Narnia is the essence of childhood wonder and exploration, a journey through Arcadian valleys of long ago and far away.  Lewis, a devout reader, distilled a library and life-time’s worth of inspiration from the Classics, mythology and his love of Christian ideals into the seven-volume Chronicles of Narnia, a series that deserves all the merit it's earned in the decades since its release.

H.P. Lovecraft – The Dream-Quest of Unknown Kadath

A masterpiece of dark fantasy set in the eldritch lands of nightmare and dream! H.P. Lovecraft charted wholly new ground with this novella that combined the ethereal majesty of Lord Dunsany with the mind-blasting horror of his own terrifying imagination for which he is so renowned.  The Dream-Quest of Unknown Kadath is an utterly original and unforgettable jaunt into the Dreamlands.  Explore the primeval mountains of unreachable kings to the forbidden, nethermost chasms of hideous, creeping things.  Sail aboard the Ship of Dreams that journeys the furthest reaches of the mind's eye, past bizarre valleys where felines rule over men, to the haunted night-side of the Moon where hideous beings lie in wait; beyond the sepulchral home of the beautiful – but deadly – Queen of the Undead, to the sinister realm of Kadath; but beware, for along the way lie the ghasts and ghouls and hideous Nightgaunts, fearsome silent sentinels that carry men to the forgotten lair of unnamable terror...  H.P. Lovecraft remains one of the most celebrated and imitated authors of our day.  No other author has been known to have so many later writers utilize his motifs, settings, characters and concepts than Lovecraft.  He is also the first of the Weird Tales pulp generation to have his work published by Library of America (a distinctive honor) which generated, not-surprisingly, some controversy among an elite minority that continue to deny the vast contribution Lovecraft has made to the oeuvre of Fantasy.  Indeed it has been rightly said that Lovecraft is second to none but Poe. 

Robert E. Howard – Kull, the Fabulous Warrior King

Second of the holy triage of Weird Tales alumni, Robert E. Howard was a master of the short story format in whatever genre he chose to write (and he wrote in several), crafting stories that were fast-paced, intense and alive with a expert’s hands, and a poet’s heart.  Best known for his short stories about Conan the Cimmerian, it’s his Kull from Atlantis, cited at times as a prototype of sorts to Conan (an unjust comparison) that remains the most striking, beautiful and far-ranging of his works.  Kull’s tales are infused with an ethereal charm that perfectly offsets the hard-edged violence and morose character of the axe-wielding protagonist.  Neither mindless savage nor amoral brute, Kull is a deeply thoughtful, wary and keen-witted warrior-king who questions life and its cultural norms.  These aspects give Howard’s Kull tales a profoundly philosophical and moving quality, while at the same time never taking away from the action-packed adventures set in a world rife with supernatural menaces (such as Thulsa Doom) and bizarre landscapes.  Truly original (perhaps the first genuine sword and sorcery tale) and classic, Howard’s work is the benchmark for all adventure-fantasy, and his contributions to Weird Tales helped elevate that magazine from a standard pulp to a literary journal of art. 

C. L. Moore – The Best of C. L. Moore

It’s been written that C.L. Moore’s first novella, “Shambleu” changed the face of science-fiction.  For once, we had a genuinely alien entity (as opposed to the stock monster-of-the-week), a hero who’s more rogue than superhero, and for its time, explorations of strong adult themes, including lust and addiction.  On top of that, “Shambleu” was also an exciting and well-written story.  But Moore didn’t rest on her laurels and went on to build an even greater literary legacy with the characters of Northwest Smith (a likely inspiration for Han Solo), Jirel of Joiry (one of the earliest female warrior protagonists) and a host of mind-bending science-fiction/fantasy stories that dealt with issues the average writer wouldn’t touch: the transcendence of Love, the obsession of beauty, the cost of vengeance, the price of immortality; these and other powerful tales enamored Catherine Moore to readers of her works in various pulps of the day including and especially Weird Tales, where she ranks with Lovecraft, Howard and Smith as one of the great literary purveyors of Fantasy-fiction of that era and any.  If you can find the Donald Grant illustrated editions from the early eighties of either Scarlet Dream or Black God's Shadow, pick them up as they contain the full stories of Jirel of Joirey (Black God's Shadow) and Northwest Smith (Scarlet Dream) and contain color plates (rare for a book published in the modern era).  The Golden Era of Fantasy, Science-Fiction and Horror may be behind us, but they are not forgotten!  These are but some of the gems of that era!

Manly Wade Wellman – John the Balladeer

Following the demise of Weird Tales and the Lovecraft-circle of authors (Lovecraft, Howard, Smith), other magazines attempted to carry on the tradition of weird fantasy, although none ever reached the heights that Weird Tales took it.  Science-Fiction had taken hold of the young readers’ imagination, particularly on the big screen and in the newsstands.  Despite this, traditional fantasy was about to make a huge resurgence and the forerunners of the movement were gearing to unleash their literary masterpieces upon an unsuspecting world.  Among these were J.R.R. Tolkien’s Lord of the Rings trilogy, C. S. Lewis’ Narnia Chronicles, and one author whose name deserves every bit as much recognition: Manly Wade Wellman.  Wellman wrote for the pulps, particularly The Magazine of Fantasy and Science Fiction and stands out as every bit the artist his Weird Tales predecessors were.  Comparatively few authors have the ability to transport their readers to other times and places, but Wellman’s Silver John stories (which first started appearing in 1951) do just that.  The first collection, John the Balladeer, introduces the titular character, a guitar-playing traveler who wanders the weird backwoods of the American Appalachians battling supernatural evil and sinister menaces from the old folklore of the Southern mountains and black hills.  Whereas Tolkien integrated Northern mythology into his mythos, and Lewis the European Fairy Tales of yore, Wellman’s stories are drenched in the folktales and songs of old Americana; the haunting stories of the slaves and the tall tales of the Revolution, strange beasts, witch-women, and dark apparitions.  As famed author Karl Edward Wagner wrote: “These stories are chilling and enchanting, magical and down-to-earth, full of wonder and humanity.  They are fun.  They are like nothing else you’ve read before.”

Kenneth Grahame – The Wind in the Willows

Part beast fable, part fairy-tale, Grahame’s celebrated book of 1908, The Wind in the Willows is an elegiac celebration of all that it is to be alive and young amongst the changing seasons of life.  The story centers on the central characters of Rat and Mole, two very different personalities who form a bond of friendship that safeguards them through the passing days, and their companions, the troublesome Toad, the stern but wise Badger and the elusive Otter.  Grahame’s prose range from strangely comforting to melancholy, conjuring up nostalgic visions of lost Arcadian youth. Willows is essentially a tale of the beauty of life and all that it could be, and as such is almost painfully wistful and gorgeous without a single ounce of pretense or puerility.  There is a great deal of humor, to be sure, particularly at the expensive of the foppish and ridiculous Toad whose antics would drive any self-respecting animal mad, but the real undercurrent of the work lies in the eldritch and moving seventh chapter, “The Piper at the Gates of Dawn,” a paean to the joy and sorrow of time and age.  This is truly a book for the ages, and both young and old should have this volume included in their diet of healthy reading.  Absolutely don't miss the four sequels by William Horwood: The Willows at Christmas; The Willows in Winter; Toad Triumphant; and The Willows and Beyond.  Beloved by fans of the original and critics alike, Horwood perfectly captures Grahame's spirit as well as that of the Edwardian Age in which the books are set.   The final book acts as a denouement to the characters and settings and is highly moving (at times heartbreakingly so) and should be read last.  For earlier adventures taking place soon after Grahame's book, I highly recommend the Wind in the Willows TV series that aired on the BBC (and is now on DVD).  These are likewise brilliant and perfectly capture the spirit and feel of Grahame's work (I'm tempted to put up a timeline of the Willows tales to help fans keep track of them all).  Not one cheap imitation to be found, the Willows stories form some of the highest quality children's literature (and television) that has ever been created!

Richard Adams – Watership Down

Actually arriving after the end of the Golden Age is Richard Adam’s lyrical fantasy of loss and recovery, tyranny and renewal.  Yet so infused with the spirit of the age before, Watership Down deserves mention, for it elevates itself far above the average beast-fable, infused with rich, mythological underpinnings and the vast scope of fantastic 'realism.' 

Fiver is a young rabbit that can sense things to come.  His instincts are respected by his friend Hazel who convinces a number of fellow rabbits that they must leave their warren at once in search of a safer haven.  Joined by the noble Bigwig and others, they begin a desperate quest over vast terrain to find a new home far from the encroachment of man.  Yet along the way, they encounter danger and the specter of death in varying forms, including an imperious warren of rabbits led by the cruel and despotic General Woundwort.  Deeply moving, Adam’s novel, beautifully adapted into an animated classic (available on DVD), is a sharp and keenly intelligent portrayal of life and death and the quest for immortality.  While you're at it, check out Tales from Watership Down, which details further adventures and legends.

Additional Reading:

Robert E. Howard – The Coming of Conan the Cimmerian

                                     The Bloody Crown of Conan

                                     The Conquering Sword of Conan

Based on Wandering Star's high-class publications, and featuring all-new illustrations in the style of the old pulps by famed artist Gary Gianni, these are the quintessential Robert E. Howard Conan tales, freed from the heavy editorial emendations of L. Sprague DeCamp and Farnsworth Wright.  Forget Arnold, this is the real Conan from the hands of his creator.  These exciting and action-

packed stories (originally published in the famous pulp magazine Weird Tales) spawned a legacy of comics, pastiche novels, films and paintings.  Fantasy adventure at its very best as the indomitable hero faces off against a host of adversaries, from nightmarish, supernatural hordes to evil sorcerers and crooked kingdoms, all on his way to the throne and the crown of kings...  The final volume (The Conquering Sword of Conan) will be published in November.

H.P. Lovecraft – Dagon and Other Macabre Tales

                              The Dunwich Horror and Others

Combining horror, science-fiction and fantasy in a macabre blend of New England gothic terror is the master H. P. Lovecraft who successfully channels the beauty of Lord Dunsany in a surreal landscape of mind-blasting eldritch corruption.  All have tried to emulate him, but none equal Lovecraft in originality and his ability to evoke sheer dread...  These excellent hardcover collections by editor and Lovecraft scholar S. T. Joshi finally restore the author's original text (back from the heavy editing of Weird Tales editor Farnsworth Wright).  No educated fantasy reader can go without having absorbed Lovecraft's work into his psyche and reading milieu.

Additional Reading:

L. Frank Baum and the Oz Books

Edgar Rice Burroughs

Robert Bloch

Brian Lumley

The Space Age: Fantasy On film

With the onset of ever better technology in special effects, it became possible for screenwriters, directors and producers to realize Fantasy on the big screen in a way that was ever more believable.  Pioneering special effects and digital technology through his company Industrial Light and Magic was George Lucas, creator of the Star Wars saga and Indiana Jones trilogy.  With visionary insight, Lucas married old-world storytelling with new developments in visual effects for a legacy that continues to this day.  Thanks to his efforts, there are no longer any boundaries between an author's imagination and the what can be achieved on the big screen.  We now can witness realistic representations of beloved books and stories, and epics such as The Lord of the Rings and more are at last giving new audiences, as well as old-time fans, a taste of the wonders of Fantasy literature in a powerful visual and auditory way as they sweep through theaters and DVD screens across the world.

Recommended Reading

Click here for recommended titles in: the Star Wars Expanded Universe

The Language of Fear

Understanding the Artistic and Psychological Value of Horror in Literature and Film

Often misunderstood, misinterpreted, and misused, the genre of horror, terror, and suspense as utilized in film and literature is as valid a form of human expression as that of comedy and drama, or any art form, particularly as it expresses important psychological concerns about the nature of fear and man.

Defining the Horror Genre

Art Vs. Exploitation

The Appeal and Value of Horror

Horror and the Language of Fear

Modern Insight into Ancient Monsters:

The Vampire

The Werewolf

The Ghoul

Aliens and Monsters

Psychopaths and the Slasher Film

Children and Monsters

 Defining the Horror genre 

“Prejudice is a great time saver. You can form opinions without having to get the facts.”
-- E.B. White

“Prejudices are rarely overcome by argument; not being founded in reason they cannot be destroyed by logic”
-- Tryon Edwards

To understand what is good about Horror, it's first and foremost necessary to separate the wheat from the weeds and to define the genre in terms of its proper appellation as an art form, and to distinguish it from the imitations and bastardizations which have compromised and cheapened it. 

The modern term Horror is used here to define a subtype of Fantasy fiction which deals primarily in the elements of heightened dramatic tension, suspense, terror and fear, usually portrayed in various means by a physical (or psychological) threat or menace to the characters.  It can be a very broad definition by nature as it exists in various forms, even amongst other dramatic types not associated with the genre.  It exists in Shakespeare, for example, Hamlet and Macbeth (neither of which can by any stretch of the imagination be considered Horror) are ripe with the trappings of it (ghosts, murders, dark castles, witches, evil dreams, madness, etc.,).  It also exists in other areas of classical literature.  Emily Bronte’s Wuthering Heights, for instance, contains elements of terror with few of the genres conventions.  Thus, in order to better analyze and distinguish this specific field of literature and film, we must narrow the definition of the genre down to its basics and determine what distinguishes it from other dramatic forms. 

Horror is essentially a work which highlights certain elements of terror that exist beyond the realm of the ordinary.  For instance, a torrential storm is certainly terrifying, particularly if you are out to sea trapped in the midst of it.  However, a film or book which told a story of this kind would hardly be considered a Horror tale by most definitions.  Now factor in a persistent, seemingly malevolent sea creature (whether one known to man as a shark or a fantastical sea creature) and you have the makings of a good monster movie (the monster movie being a subset of the Horror genre).  Yet, it is not the shark or creature that suddenly changes the nature of the story from Adventure to Horror.  There is something more and this element usually exists within the framework of the narrative itself.  Remove the shark or sea creature and tell a story of one of the crew who has gone mad and begun to sabotage and commit murder aboard the ship, and though you no longer have a ‘monster’ movie, the tale within the Horror framework (with the man now acting in the role of monster).  Yet note that regardless of the object of terror – be it shark, sea monster, raving lunatic, evil pirates, specters, etc.), the story takes place far outside the boundaries of normalcy.  It exists in a veritable ‘Twilight Zone,’ an imaginative realm wherein fantastical things can and do happen.

Thus we can see that there is a striking difference between literary horror and real-life horror.  Where the latter is founded on tragedy and suffering, the former (while possibly also tragic) travels beyond common experience into the landscape of the surreal.  Where true-life horror depresses and brings to mind the evils of the real world, literary Horror stimulates the imagination, enabling healthy cathartic escape from the real world.  Horror as an art form may at times reflect real world events, however, when rooted in fantastical iconography (such as monsters) it mutes or distorts them into shapes that are more palatable, so that even if terrifying, they are not so close to reality that they cease to be entertaining. 

   Now entertainment – as a thing apart from Art – particularly for the Horror genre can work without sinking to the lowest common denominator and still be artful and enjoyable.  The best Horror tales are not focused on death and suffering, but rather on life and the struggle to live in the face of extraordinary circumstances.  Others play out as morality tales in the same way the old fairy tales once did, wherein those that act in selfish or greedy ways reap poetic justice as their reward.

Horror is best defined by its association and close relationship to Science-Fiction and Fantasy.  Both of these forms often utilize horror elements in their basic structures (albeit with different focal points) far more than any other literary or filmic genre.  More importantly, all three forms are highly inventive in nature.  As a rule (that is not uncommonly broken), Science-fiction speculates on the imaginative or philosophic possibilities of various futures and alternate worlds, whilst Fantasy speculates on the imaginative or philosophic possibilities of various pasts and alternate worlds.  In some cases, all that separates the two are their usage of certain standard motifs – spaceships and aliens in Sci-Fi, and Elves and swords in Fantasy – although the genres are not defined by these trappings and often transcend them.  Conversely, Horror does not require a setting and is free to utilize all settings, the present, past, future, or alternate world.  It speculates more on what the individual (or individuals) will do in the face of physical, metaphoric, imaginative or psychological fear. 

Art versus Exploitation

   What unfortunately has led to misunderstanding of the genre and a not-entirely-undeserved aversion to it is the gross misuse of the form by the Exploitation Industry which has a particularly strong presence in the celluloid world.  Because Horror films are relatively inexpensive to produce, it’s an easy means for irresponsible filmmakers to churn out degrading schlock (which generally consists of the coupling of graphic violence with sex) that caters to certain malicious niche groups, including inexperienced and vapid youth, in order to rake in quick cash.  In 1960, following the close of the Hayes Committee (a moral watchdog group in Hollywood which generally served more as a hindrance than help to Art), independent filmmakers were allowed the freedom to produce films with any content they wished, subject to a Ratings Board that would determine appropriate age groups for each film.  Newspapers would generally not advertise films that garnered an X rating (or who submitted an unrated film), thus hurting sales of such features.  Nevertheless, the freedom given genuine filmmakers was likewise an open door to purveyors of exploitation.

Seemingly the majority of what exists in the Horror film genre today is nothing short of exploitation.  Independent movie-makers as well as Hollywood moguls see the public as fickle, unintelligent and thrill-starved pawns (sadly they are not always far from the truth), and never more so than when they cater to youth, which is ever a growing target.  With more parents placing less value on ethical and moral concerns, young people are not taught to discern between healthy and unhealthy attitudes and behavioral patterns.  And no surprise, the entertainment world of Pop Culture has reflected this change in the menu it serves up in theaters (as well on television and popular music).  What is acceptable and embraced now would have been shunned and considered revolting only forty years back.  As a result of the popularity of degrading entertainment, it has become more and more difficult for many to understand and differentiate between genuine art and valueless exploitation. 

One difference is that Horror as a legitimate Art form utilizes unpleasant elements for the furtherance of the story itself, its characters, plot and underlying themes.  Exploitation often jettisons these elements (although clever filmmakers will sometimes hide behind them) in order to use unpleasant scenes as focal points in order to entice, titillate or even mock audiences with graphic depictions of sex, torture and violence.  As in pornography, exploitative horror sets out to desensitize its audience with the subtle message that what is sick and dissolute is in fact amusing, entertaining, “cool” and most of all acceptable.  Like the pornographers, the agenda is to inure the public to ever-more disturbing scenes of degradation and violence, taking it out of the basements and corner shops and into the mainstream where greater money can be made at the expense of standard societal mores and basic human dignity.

Catering to youth and perverse segments of society has thus led to countless amounts of worthless cinema which serve no purpose other than to demonstrate various gruesome ways to hurt and slaughter people.  Exploitation is the counterfeit of true art, and in reality Horror’s greatest foe.

 Let’s more closely examine the genre for what it is and get a better grasp at understanding its long-standing appeal and value.

The Appeal and Value of Horror

"The depiction of something is not an endorsement of that thing. This is the simplest thing, yet somehow something many people seem to have a hard time understanding it." David Faraci

   Horror, even in its most pure and artistic forms, will never appeal to everyone.  Many are simply not in a place where they are able to confront images of fear, symbolically or otherwise.  Others simply dislike or are unwilling or unable to emotionally process the iconography, mood, tension, suspense and thematic elements of Horror, and thus cannot gain value from this type of art form.  The imagery may cause nervousness, leave too indelible an impression or represent fears that come too close to home and which call forth bad associations.  For many who have faced real-life horrors in their past, it may not be a pleasant experience to sit by and watch others confront terrors of their own.  These are all valid issues.  Just as with illustrative art, not every picture that hangs in a gallery is going to appeal to every person or personality.  There are a number of factors that determine what is enjoyable, appropriate and meaningful for each individual.  This, of course, does not detract from the art form itself, no more so from any art form that imparts powerful impressions onto its audience.  Horror may simply be too strong for some tastes.

Yet it is that strength wherein lays the true value of the Horror genre and the very things that turn some off to the genre is what gives it is import and attraction.  Beneath the veneer of seemingly day to day stability are very real and frightening issues.  At any moment, tragedy can strike our lives.  Accidents, sickness, disease, death, violence, corruption, betrayal, disasters, chaos, all of these and more are waiting just outside the fringes of our everyday, routine existence.  And though we may not like to think about it, any one of us may be afflicted by these things at some unspecified time to come.  Hence the paradox of Horror is that with such very-real life horrors in existence (even if for some it is only on TV or in the newspaper), why would anyone invite the subject of fear into our leisure time as entertainment or pastime?

Ultimately, the answer lies in the nature of Art itself.  What does art give mankind that has made it so integral to our existence for the past six thousand years?  While the response would vary among different people, some might find the following description accurate:  Art gives birth to human expression, be it hope, joy, strength, comfort and meaning.  Art helps to make sense of the whirlwind of chaos that is Life.  Be it romantic yearning, concern for a better future, love of nature, bonds of family and friends, sorrow, grief or personal tragedy, art ennobles the spirit and mind, elevates the heart and lends beauty to even the grimmest of truths because it gives it a face.

Never more profoundly is this expressed than in the Horror genre which at its best serves to underscore the value of life.  Horror can offer transcendence through courage, escape though confrontation, survival through strength.  Horror gives us consolation solely by virtue of the fact that we have faced the terror that lies in shadow and given it a face.  In many cases, Horror gives us satiety in seeing justice win out and good triumphing over evil.  This is no small matter in a world where justice is not always served, hope is oft forsaken, and evil (seemingly) wins out over good. 

 On the other hand, Horror does not always offer a happy ending.  In some cases, the protagonist does not defeat the Monster.  Sometimes the Monster wins.  In certain cases, however, the value is not necessarily negated.  The audience has stood up to the face of fear and withstood it.  Such a display of psychological courage can have positive effects for the viewer or reader [1]

As an audience, we board and survive the rollercoaster ride, with moments of gripping fright and exhilaration, and at its end, a sigh and a breath of relief and cheer.  There is enormous cathartic benefit that comes from the experience itself that can contribute to feelings of empowerment.  This is one reason why Horror’s traditional forms can be a source of tremendous fun.  Because older films and literary Horror tales do not utilize realistic portrayals of horror but rather fantastical and imaginative constructs, Horror becomes far more appealing and entertaining.  While subconsciously, there may be layers of subtext at work, on the surface, you are essentially engaged in an enjoyable romp through the bizarre and surrealistic landscape of the Imagination.

Finally, Horror can affect us in other ways that can be seen as beneficial.  It can cause us to take a more cautious approach to life and our surroundings.  We may learn to check the back seats of our cars before entering; we more closely examine the avenue before we walk down it; we may be taught to lock our doors at night; we may impress upon our kids to avoid strangers (either on the street or in the computer).  And while we wish to avoid losing our balance and becoming overly fearful and descend into paranoia, at the very least, Horror can benefit its audience on a more practical level by reminding us to be more vigilant, that the world is not as safe as it may sometimes appear to be.   

Horror and the Language of Fear

   The traditional forms of horror in literature and film can be viewed as metaphoric devices which speak directly to our subconscious.  This may be one reason they have resonated down through the centuries imparting different levels of meaning to different people.  The mind uses similar types of symbols at night in our dreams.  Nightmares are in fact so vivid because the mind instinctually understands the symbols it creates to frighten us.  A child wakes up in terror because he or she has envisioned monsters under the bed or in the closet.  We rightly understand what such nightmares mean.  The child feels vulnerable, unsafe, and insecure in the world he has been born into, fearful of the new and sometimes unpleasant things he might have seen or overheard throughout the day.  We respond to his fears with hugs and reassurances that all is well and that no monsters exist under the bed or in the closet.  We effectually tell the truth, but if we dared to probe deeper into our own minds, we may in fact discover that such statements are not entirely accurate.  There are monsters in this world, waiting imperceptibly and ever patiently under the covers of our carefully contained mundane lives we’ve created for ourselves. 

Although existing as fiction and Fantasy, Horror can be brutally honest, and as with anything that shows you the truth, may be disturbing in that it serves to psychologically prepare you to come to terms with certain frightening and unpleasant realities. 

Man has intrinsically learned to use the language of symbols to more creatively depict his fears in ways he can thus understand and gain strength from.  H.P. Lovecraft wrote that “Mankind’s greatest emotion is fear… and his greatest fear is fear of the unknown.”  The latter half of that statement is correct[2].  And it is for this reason that Man has put a face on fear.  He must give it a name and thereby render it knowable.  As knowledge is a source of power, understanding what we fear enables us to defeat or overcome it. 

Thus was born the archetypes that Mankind has come to utilize down through the ages: The vampire, werewolf, ghoul and alien, as well as the more modern variety of walking psychopath[3].  Mankind has long drawn value and enjoyment from stories featuring this menagerie of terrors.  But what do they mean for us now, and what value, if any, do we derive from them?

Modern Insight into Ancient Monsters

1. The Vampire.  The Vampire has been one of the most predominant literary and filmic creatures to have crossed our paths, and equally one of most mutable in recent times.  Based in olden legends and quasi-historic events, the vampire is essentially a being that lives by feeding off others.  It is the ultimate parasite that drains the lifeblood of its victims while gaining its own vitality.  It is also a seducer, luring its victims into its embrace where it will either destroy or transform them into a vampire itself.  Examining closely mankind’s experience, we can see how this resounds.

2.  

The traditional iconic image of the vampire, the Dracula and Nosferatu is that of the wealthy nobleman (who turns out to be anything but noble).  The vampire came from privilege and aristocracy, never from the lower classes.  Not surprisingly then, we find that the era from which vampire legends were strongest were times when the aristocracy held power over the working classes.  The resentment harbored by the farmers and toilers may have found expression in the form of the wealthy aristocrat draining the blood of the lower classes (which figuratively speaking was not far from the truth) and robbing them of their most precious commodity, their daughters.  More modern expressions might emphasize the growing anti-rich sentiment among blue-and-underpaid-white collar workers.  Not unlike our grandparents’ grandparents, fears of inadequacy in the face of seemingly superior rivals who posses money, power and leisure may continue to fuel a modern response in the too-suave vampire (perfectly expressed in the 70's comedy Love at First Bite).  This may also be seen as a great metaphor for the modern workplace, in the form of employers, supervisors and corporations who abuse power and drain their employees for profit and greed, workers who are oftentimes mistreated and abused, compensated neither financially nor emotionally for their labors until they too, at last, after having given their soul to the organization, are given promotions and end up as tyrannical and abusive as those that came before them.  Yet another interpretation may be found in the simple fear of losing loved ones to psychologically unhealthy predators who “suck dry” their weaker paramours, either financially, emotionally, or both, contributing nothing but grief in return. 

As times have changed, so too has the role of the vampire.  In the classic films and books up to the mid-eighties, the vampire was always the villain.  Depraved, craven, sick and evil, he was often defeated by the noble Van Helsing archetype who restored sanity to the community (for a time).  In more recent years, however, there has been a turn-around.  As the era of the anti-hero has become embraced in society, so too has the vampire been transformed into the misunderstood misanthrope and cast into the role of protagonist.  Films like The Lost Boys, and novels and adaptations of Anne Rice’s work have made romantic heroes out of vicious predators and an entire sub-genre and movement has awoken in response to this.  Simply a fad, or a sign of the times?  And should we be concerned that so many young people relate more to the nocturnal, sexually-promiscuous, parasitic, blood-drinking fiend than to what they consider the “boring” and ‘ordinary’ heroes? 

2. The Werewolf.  The Werewolf is a more tragic figure, oftentimes a victim of circumstances, and unable to recall his wicked deeds in lupine guise.  With the werewolf we have a human who during certain circumstances (such as a full moon) transforms into a wolf or wolf-like creature (that is the old-fashioned view of the wolf as shadowy predator and not the real-life animal who has been sadly hunted down due to misunderstanding, lack of education and misguided fear).  The Werewolf comes in two forms: the one who regrets and hates his violent deeds, and the one who revels in it.  Both have parallels with real-life fears and desires. 

   There is a strong metaphoric parallel to be found in the metamorphosis young people, particularly males (which werewolf legends almost exclusively speak of) go through during puberty.  Hair begins to grow in places it’s never been, carnal appetites awaken, both for food and sexual desire, the body begins to alter and change, the larynx changes.  Essentially, the transformation into a werewolf can be seen simply as a metaphor for puberty. However, there’s more to it than that, for in the werewolf something has gone terribly wrong.  The appetites become too powerful, the hunting instinct too strong, the transformation overwhelming and deadly for any who the transformed creature happens upon.  The results are often tragic, with death as its final result. 

   There are similarities to the Vampire in that both can be seen as sexual predators, however, the Werewolf lacks the aristocratic, parasitic and seductive qualities of the Vampire.  Oftentimes, the Werewolf is one of the locals.  Once again, examining the roots of the legend takes us to its origins among the working classes and in particular, farming communities.  Just as the local farmers hated and feared the wolf that could steal away and eat their precious lambs, so too with the metaphoric wolf that could steal away and eat even more precious prey, one’s daughters.  By day, the werewolf appears to be a normal man, oftentimes likeable individuals who might be workmates or neighbors.  Yet by night, their true skins come out, a ravenous creature with one single-minded purpose, to “devour” their prey and move on, leaving a trail of carnage behind.  In the werewolf myth, whoever is bitten by a werewolf and survives often becomes a werewolf.  Thus, victims of sexual predation unwittingly become predators themselves, perpetuating the vicious cycle of the wolf.  Full moons in ancient societies were often connected with the menstrual cycles of women.  That the full moon would arouse the wolf inside the man is thus helpful in understanding the myth and how fears of sexual predation could haunt a parent.

   One other interesting interpretation may be found in the destructive behavior sown by those who are alcoholics and drug-addicts.  The Jekyll and Hyde myth, which has been cited simultaneously with and is a strong parallel to the Werewolf myth, works well here.  Normal, kind-hearted, loving husbands and fathers (of course wives and mothers can also fit this bill) are suddenly transformed into angry, violent monsters.  In fiction, it's due to a curse or scientific potion; in real life, however, this often the curse of alcohol addiction or the potion of drugs.  The behavioral pattern shown in the werewolf and Jekyll and Hyde stories in many ways mimics the pattern of alcohol abusers.  There is often memory loss regarding alcohol-induced rages, or deep regret, depression and melancholy due to feelings of helplessness to stop the sick behavioral pattern.  A final symbolism may be seen in the suffering caused by those with certain personality or psychological disorders. [4]

3. The Ghoul.  In films and literature of the 30’s and 40’s, ghouls or zombies took the form of mummies or were the results of voodoo-rituals.  The one exception being the famous Frankenstein monster, based on Mary Shelly’s excellent cautionary tale of the rampages of unchecked science and megalomania (themes which are also echoed in Dr. Jekyll and Mr. Hyde and Michael Crichton’s modern Jurassic Park).  Frankenstein is ripe with metaphors and parallels that deserve their own entry apart from the ghoul, particular the modern variety that dawn with the famous zombie film of the late sixties Night of the Living Dead.  While that undead horde actually bears a number of similarities to Shelly’s creation, in other ways it’s a different beast entirely.  Mindless, devoid of reason, conscience, and emotion, the zombie was formerly a human that for unknown reasons has come back to life and exists solely on primal instinct.  

   The modern day ghoul, or zombie, is no longer a solitary creature, but exists by the thousands, akin more to wild and dangerous animals than its counterpart of past generations (such as the Mummy whose sole raison d’etre was revenge for violating its ancient tomb), with one purpose: to eat and to survive.  Yet they retain a basic memory of places they visited and things they did. 

Drawing on the apocalyptic vision of films like Alfred Hitchcock’s The Birds, EC comics, as well as a keen insight into societal trends, George Romero’s single-handed vision of horror was in reality a biting social commentary on American behavior and cultural mores.  Purposefully gory (and one of the few cases where it is arguably justifiable), the undead in Night of the Living Dead, Dawn of the Dead, and Day of the Dead, are us.  They are the mindless American public whose lives contain little meaning or purpose beyond their own selfish needs. 

While Night took on racism and Day militaristic aggrandizement, Dawn showed us a culture of consumerist, materialistic monsters.  Set appropriately in a shopping mall, the surviving humans (the upper class) soon learned the lesson that material wealth was empty and devotion to it made them subject to becoming zombies themselves.  The only way to kill a zombie is to shoot it in the head, an appropriate symbol for the fact that the root of the problem really exists in the mind, with our attitudes and dominant thought patterns.  Romero was attacking the American mindset, the unhealthy attitudes that place greater value in material things than in life, people and principles.

   The current decade has given us new kinds of zombies, ones that exist in daily society: the beaten-down commuter and office-worker that is worn away into a miserable, self-parody of a human-being; its only solace the material things and physical pleasures their self-imposed slavery can buy; yet as these are fleeting and empty pleasures, they must be constantly resupplied which keeps the modern zombie in perpetual bondage to their appetites and the system which controls them.

4. Aliens and monsters.  Post-war fears and prejudices begat nearly two decades worth of “alien” creatures that came to enslave or devour the American people.  Often seen as humorous now, back in the fifties, US propaganda made fear of outsiders a very palpable threat which filmmakers used in a number of Sci-fi/Horror features. 

   That monster movies of the 1950’s was a reflection on Cold War paranoid fears of invasion from hostile countries is a sad commentary on an insular society that boastfully thought itself so advanced and superior to anyone else that most outsiders were considered a threat and looked upon with fear.  With blind patriotism in full swing after WWII, it’s no surprise then that monster movies invariably featured hostile creatures and beings trying to take over the world with square-jawed do-gooders always in time to save the women and children.  However, with The Creature from the Black Lagoon and King Kong, a subtle shift had taken place (even if most filmgoers at the time missed it).  With the Lagoon trilogy and Kong/Might Joe Young films, the monster became in truth the victim.  It was the monster that was invaded; his land polluted, his life taken captive for profit and science, and ultimately his life destroyed while the square-jawed “hero” flirted with the vapid heroin.  Thus the “monster” as victim became a new subset of Horror picture, one in which Mankind, due to its selfishness, pride and greed, became the subtle villain. 

   In more modern times, aliens have left behind their Cold War roots and emerged into something more acutely fearful for today’s more sophisticated audiences.  In the sixties, shows like The Outer Limits and the Twilight Zone delivered new concepts in the guise of aliens.  Joseph Stephano, producer of the first season of The Outer Limits, commented regarding the episode, "The Invisibles" that the aliens were in fact his metaphor for the CIA, "I got to say things about the CIA that I could never say in a straight drama... I'd have never gotten away with it"  Executive Producer Jonathan Glassner adds: "The better science fiction has always been a metaphor for some point you're trying to make, some statement you're trying to make, a lesson you're trying to teach, a moral." (The Outer Limits: Aliens Among Us Special Features documentary) As the 80's approached and conglomerate corporations began hostile takeovers of small businesses and companies, fears of assimilation and homogenization became palpable threats in the eyes of thinking people.  Not surprisingly, shows and films reflected that.  In the film, Aliens, for instance, Sigourney Weaver battles a seemingly endless horde of surrealistic roach-like creatures who seek humans as hosts.  Through a bizarre breeding cycle, the Aliens implant miniature versions of themselves into their captured humans, creatures that when mature will gorily burst out of their hosts’ chests and grow into adult Alien life-forms that will go on to repeat the process.  T