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Teeming Links – Halloween 2017 Edition

During the past couple of years, I haven’t had any time to pull together the expansive lists of links to recommended reading that I used to post here regularly. This situation may continue for some time. But in honor of the current Halloween holiday, here are some recently published items about horror pop culture, monsters, and the supernatural that are worth looking at.

Betwixt Nature and God Dwelt the Medieval “Preternatural (Aeon)

These accidents of nature were known as “prodigies.” A non-exhaustive list might include floods; rains of blood or body parts; miscarriages, human and animal; volcanic eruptions and earthquakes; comets, eclipses, and conjunctions of the planets; apparitions of armies in the sky; and beached whales. What united this Borgesian collection was its strangeness. Each of these phenomena departed from the ‘norm’, but not enough to be considered a true miracle. They occupied a middle ground between natural and supernatural: the preternatural.

In theory, prodigies could be explained by natural causes. But in creating them, nature wasn’t tending to business as usual. This strange, quirky, slippery realm, the realm of the monstrous, fulfilled a human need to see the moral order reflected in the non-human domain. Prodigies allowed humans to see their own desires, fears and political judgments woven into the fabric of nature itself. In a secularised form, this impulse is still with us today.

The True, Twisted Story of The Amityville Horror (Topic)

One would like to believe that journalists have enough common sense not to believe in ghosts. But in the 1970s, American culture was awash in superstition. It was a time rather like our own, filled with economic and political instability. The Lutz family’s press conference took place 18 months after Watergate had forced Richard Nixon to resign the presidency and the onslaught of upsetting news had led everyone to question conventional facts and truth. It was unclear whether the stable laws of the universe still held.

Anger and fear were everywhere, and often enough, they bloomed into outright delusions. Couple that with the remnants of the New Age philosophies of the 1960s, shake in a little bit of good old American folklore, and you got something like what the Lutz family’s story would eventually be: The Amityville Horror, a story that would inspire several books and more than half a dozen films, spanning from the 1979 original blockbuster starring James Brolin and Margot Kidder, to the rather poorly-reviewed, middling effort released just this past October 12, called Amityville: The Awakening, starring Jennifer Jason Leigh and Bella Thorne.

Though a lucrative and ubiquitous emblem of American mythology, it’s telling how dull the story actually is, when summarized . . .

2017: The Year That Horror Saved Hollywood (The Week)

Hollywood is facing crisis on multiple fronts: the allegations against Harvey Weinstein are shedding light on a trade plagued by sexual harassment and gender inequality, cord-cutting and streaming platforms are upsetting the regular order, and the movies are struggling through yet another dismal year at the box office. If there’s a silver lining in any of that for America’s film industry, it’s that the horror genre is still plugging merrily along, seemingly immune to the financial troubles that have befallen most studios. As the rest of Hollywood flounders in 2017, horror is in the midst of its highest-grossing year ever. On the backs of huge hits like It and Get Out, the horror genre has combined for a record $733.5 million in the US this year, according to box office data compiled by the New York Times. The year has proven that horror films are more than just cheaply made movies for niche audiences and can still cross into the mainstream to become bona fide successes.

How Horror TV Embraced Our Demons (The Week)

Where The Walking Dead does connect to Channel Zero and American Horror Story though is in its overriding sense of despair. Every time the heroes seem to be making progress, their egos lead them to blunder into some catastrophic error that destroys nearly everything they’ve built. This is a case of a long-form serialized TV show deriving a thematic angle from an economic necessity. To keep this successful show going, the story has to keep dead-ending and resetting. Fans waiting to see anything like hope in The Walking Dead are going to have to wait for viewership to completely crater. But while that nihilism can be unsatisfying to the audience, it’s also fascinating as a statement of where we are right now as a society. The phenomenal success of The Walking Dead and American Horror Story mean that week after week we’re gazing into an abyss, willingly. Perhaps we’re searching for clues to how to survive it.

Retro Retail: Classic Monsters of Marvel Comics (Inside the Magic) (This article is rather sumptuously illustrated with classic Marvel horror images)

While classic monsters may find their fame from films in the Universal Studios Classic Monster movies of the 1930’s, 40’s and 50’s, they’ve also haunted the pages of the Marvel Comics universe. With revised backstories and sometimes intertwined story lines, these Marvel monsters made multiple appearances in the 1970’s, both under their own titles and as team-ups (or villains for) various Marvel super heroes.

Why We’ll Always Be Obsessed with — and Afraid of — Monsters (PBS News Hour)

Fear continues to saturate our lives: fear of nuclear destruction, fear of climate change, fear of the subversive, and fear of foreigners. But a Rolling Stone article about our “age of fear” notes that most Americans are living “in the safest place at the safest time in human history” . . . .

So why are we still so afraid? Emerging technology and media could play a role. But in a sense, these have always played a role. In the past, rumor and a rudimentary press coverage could fan the fires. Now, with the rise of social media, fears and fads and fancies race instantly through entire populations. Sometimes the specifics vanish almost as quickly as they arose, but the addiction to sensation, to fear and fantasy, persists, like a low-grade fever.

People often create symbols for that emotions are fleeting, abstract, and hard to describe. (Look no further than the recent rise of the emoji.) For over the last three centuries, Europeans and Americans, in particular, have shaped anxiety and paranoia into the mythic figure of the monster – the embodiment of fear, disorder and abnormality – a history that I detail in my new book, “Haunted” [from Yale University Pres, subtitled “On Ghosts, Witches, Vampires, Zombies, and Other Monsters of the Natural and Supernatural Earth”]. There are four main types of monsters. But a fifth — a nameless one — may best represent the anxieties of the 21st century.

The Halloween Tree Remains an Adventure in Friendship and Understanding (AV Club)

“It was a small town by a small river and a small lake in a small northern part of a Midwest state.” The opening line of Ray Bradbury’s 1972 fantasy novel The Halloween Tree reads like the beginning of a good horror movie, and the film adaptation’s intro does little to quell this terrifying tone. With ominous music, a jack-o’-lantern title card, and Bradbury’s narration, the 1993 feature-length animated television movie produced by Hanna-Barbera seemingly set the stage for something sinister. And that’s how I remember my childhood viewing of this film, as one filled with my favorite holiday tropes. Upon revisiting it, I recognize the adaptation is much more faithful to Bradbury’s work than my younger self realized. That is to say, this is an extremely educational look at Halloween and how its tropes came to be, from witches to mummies and lots in between.

It’s hard not to relate The Halloween Tree to current juggernaut Stranger Things. Both quickly ask that viewers be emotionally attached to a young boy that has been whisked away on a journey that could determine whether he lives or dies. The characters left behind are so enamored with the boy that it makes it hard not to care, too . . .

Stephen King on the thing under the bed

There have been moments of insight in Stephen King’s work that legitimately qualify as sublime. This widely quoted passage from his foreword to Night Shift is one of them:

At night, when I go to bed I am at pains to be sure that my legs are under the blankets after the lights go out. I’m not a child anymore but . . . I don’t like to sleep with one leg sticking out. Because if a cool hand ever reached out from under the bed and grasped my ankle, I might scream. Yes, I might scream to wake the dead. That sort of thing doesn’t happen, of course, and we all know that. In the stories that follow you will encounter all manner of night creatures: vampires, demon lovers, a thing that lives in the closet, all sorts of other terrors. None of them are real. The thing under my bed waiting to grab my ankle isn’t real. I know that, and I also know that if I’m careful to keep my foot under the covers, it will never be able to grab my ankle.

King surely intended this as a witty illustration of the irrational or non-rational fears embedded in human psychology that account for our fascination with and responsiveness to supernatural horror stories. But I think it can also be taken as referring to much more. For those who are inclined toward meditation, inner work, and exploring the boundaries of the real — including, pointedly, those episodes and encounters of a Fortean or daimonic nature during which the nominally unreal becomes real, and also vice versa — I’m inclined to think those last two sentences could serve as a superb Zen koan.

Teeming Links – July 4, 2014

FireHead

If current world events have you wondering — or especially if they don’t have you wondering — about the possibility of a bona fide new world war, please bear this in mind: a hundred years ago World War One was impossible — until it was inevitable.

So, is anybody really surprised that Facebook was (is?) running a scientific experiment to manipulate users’ emotions? “We’re really, really sorry,” says their second in command.  Time magazine points out one reason to be worried beyond just the obvious ones: private sector and tech companies are increasingly funding what was once independent social science research.

Nick Hanauer, himself a certified member of America’s ruling  “one percent,” warns his fellow plutocrats that the pitchforks are coming for all of them: “No society can sustain this kind of rising inequality. In fact, there is no example in human history where wealth accumulated like this and the pitchforks didn’t eventually come out. You show me a highly unequal society, and I will show you a police state. Or an uprising. There are no counterexamples. None. It’s not if, it’s when.”

In The Washington Post, political commentator  Dana Milbanks reflects on the current disastrous reign of boomers in American politics.

If this were a joke, it would be a bad one — but it’s not a joke at all: Massachusetts SWAT teams claim they’re private corporations, immune from open records laws.

We’re told that “predictive policing” isn’t — really isn’t! — dystopian SF come to life. But then we read something like this: Predicting crime, LAPD-style.

Canary in the coal mine for the American southwest: Las Vegas is seriously running out water.

Then there’s my own home state of Texas, which is also running out of water due to greed, drought, and rampant overdevelopment.

Guardian journalist Rory Carroll investigates the psychic toll of unrelenting failure in Silicon Valley’s frantic culture of tech startups.

Mark Edmundson (author of, among many other things, the classic 1997 essay “On the uses of a liberal education: As lite entertainment for bored college students”) warns that while attentive absorption in some worthy work or subject is the essence of happiness and fulfillment, we live in a culture afflicted with ADHD and devoted to absorption’s evil twin, electronic mesmerization.

BBC journalist Nicholas Barber delves into the mysterious fascination of exorcisms.

Psychologist Charles Fernyhough emphasizes the normalcy of hearing voices (with a reference to the Society for Psychical Research): “The sooner we come to appreciate that voice-hearing is something that happens to people, rather than merely a symptom of a diseased brain, the sooner we will close in on a genuinely humane and enlightened understanding of the experience.”

Religion scholar Timothy Beal (author of the wonderful Religion and Its Monsters) examines the relationship between our spiritual impulse and our enduring fascination with the monsters of supernatural horror: “The import of the spiritual mainstream is holistic and ‘cosmic,’ speaking to our desire for grounding and orientation within a meaningfully integrated and interconnected whole. The monsters of contemporary horror, on the other hand, often remind us of the more chaotic, disorienting, and ungrounding dimensions of religion, envisioning an everyday life that is not without fear and trembling. ”

David Duchovny muses on future possibilities for The X-Files: “It’s not done until one of us dies.”

 

“Fire Head” image courtesy of Salvatore Vuono / FreeDigitalPhotos.net