I sat on Michael’s couch for a while tonight, next to his wise, oversized unicorn, Justin, biting my worn-down acrylic French tips and oscillating between potential writing projects. I settled on a blog post, since it’s been quite some time since I wrote on my blog, and I decided to put a classic 1979 Cronenberg horror movie (The Brood) in conversation with the recently released horror film Men because they were both on my mind, and I couldn’t decide which one to write about. I’m finishing up my section on The Brood for chapter two of my dissertation, and I went to see Men with Michael, Jaelyn, and Ryan a few weeks ago, a riveting film that we followed up with a long conversation outside the theater in the cool Erie late-May weather about what it all means and how it—Men—re-enacts contemporary phenomenon.Continue reading “Brooding Men and Unholy Births: Parthenogenesis and the inter-generational transmission of abuse in The Brood and Men.”
Note: Though this post was generated from a re-viewing of episodes one and two of The Haunting of Hill House, the analysis entails a broader knowledge of the show’s trajectory. So, if you still haven’t seen this excellent show and don’t want spoilers, it might be beneficial to avoid reading this piece until you’ve watched the show! Continue reading “Re-Watching The Haunting of Hill House: Episodes One and Two”
As the song goes, I don’t know much about history, but I know – especially after reading W. Scott Poole’s Monsters in America – that the 1960’s were a turbulent era: America was 15-20 years past WWII, but still dealing with the anxieties that accompany the use and proliferation of nuclear arms as the Cold War mounted. Vietnam had started, and according to Poole, American soldiers were often times literally getting rewards for how many Vietnamese citizens they could kill. Of course, this was the era of Civil Rights, and second wave feminism was also in full swing. Birth control was invented in 1960, making sex less formidable, and the Black Arts Movement started around 1965. Despite a struggle for rights by many groups, racism, sexism, and homophobia were pretty rampant. In the horror world, Psycho launched the interest in “maniac” killers in 1960, and The Exorcist was released in 1973. Serial killer lore and urban legends were on the rise. In 1968, censorship ended in Hollywood, making the modern horror fare we watch today possible.Continue reading “Analyzing American Horror Story Asylum: Episode One”
On Christmas morning my parents and I packed the car and headed to Ohio to visit family. While many travelers are likely to bring a book with them on such a trip, I tend to be reading many books at once, and I always have trouble discerning what texts future Kalie will be in the mood to peruse, so I brought a bag of books, just to read in my hotel room post-Christmas day festivities. We got back to the hotel a little before midnight, and while my plan had been to sit down and read, it occurred to me that maybe I’d like to ramble on just a little bit about what I’m reading right now, instead of picking up a book ASAP. As such, I emptied the contents of my bag of indecision on the spare bed in the hotel room, and I snapped a picture of the books I’m going to discuss. Since my focal areas are horror, monstrosity, and madness, the books predominantly fall under those subject areas, with considerable variation under that broader umbrella.Continue reading “Miles to Go Before I Sleep: My Christmas Night Reading List”
Of Shakespeare’s sister that Virginia Woolf imagines in A Room of One’s Own, Woolf speculates: “Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them.” For some scholars of women’s literature, it’s fairly common to assume that there was a vendetta against the combination of women and work in Anglo-American history, and that stifling the ability to work– often forbidding, particularly, artistic expression – resulted in concomitant madness for oppressed women. It’s a common trope, although there were some significant historical exceptions to the rule. I’m not an expert on the subject, but I’ve heard that Jane Austen had to hide her manuscript whenever a guest entered her room. And one must wonder, as VW did, what happened to the likely expansive throng of brilliant, would-be productive women who weren’t given a voice prior to, say, the Romantic or Victorian eras – or later. As an unrelated heads up, there will be spoilers throughout this piece!Continue reading “Thoughts on Scribbling from the Apple Loft: Madness and Work in Various Texts”
I read Stephen King’s Misery earlier this summer for my comprehensive exams. Then, I let the book rest for a while and didn’t do much with it. It juxtaposes fascinatingly with the film, which depicts an Annie Wilkes who’s incredibly true to King’s story, courtesy of the monumentally talented Kathy Bates. And, like the film, it explores concepts like female madness, and madness depicted as monstrosity, but in more depth than the film does. Wilkes is at least a somewhat complex character who King—and his protagonist, Paul Sheldon—come close to virtually humanizing at times, despite her atrocious actions. But the fact remains: Annie Wilkes is a madwoman, and she’s depicted as a monstrous madwoman. I thought I’d use this post to look at more of Annie’s personality, and what the madwoman—and the monster woman—is, if we take Annie as an example of both. So, let’s do this. Continue reading “Objects of Abjection: The Mad Monster in Stephen King’s Misery”
After watching Hereditary – which I never blogged about, in part because of a perceived inability to say anything unique about it – I thought I’d seen it all. Hereditary is one of the most disturbing horror films I’ve seen in some time, a sickening romp through the cackling, bloody underworld of death, grief, and witchcraft combined. Nonetheless, Michael and I watched The Eyes of My Mother yesterday, a movie I decided to put on my list for comprehensive exams when I heard about it at a pop culture conference. Let me tell you: it was disturbing. Nonetheless, it was a fascinating film that said a lot about certain types of madness and (perhaps) about how such madness evolves. I’ll be including, in my piece, Michael’s take on the main character, along with my reaction to his opinion and some observations about the film in general. As a warning, this film is not for the faint of heart, and it may sit with you for awhile after you watch it. That said, let’s talk about, perhaps, the general experience of watching The Eyes of My Mother along with some of the questions it raises. Continue reading “Monstrous Undertakings in The Eyes of My Mother”
Well, like I said in my last post, yesterday, Michael and I started watching Netflix’s “Evil Genius” series about the bizarre pizza bomber case in Erie, PA. And, riveted as we were to the story, Michael and I finished the series already. In my last post, I predicted that Marjorie-Diehl Armstrong would be humanized by the documentary during the second half. And while the documentary interviews people who saw a human side of Marjorie in the courtroom of her trial, I would argue that the documentary, itself, didn’t do much to humanize her. In fact, I think the interview clips that were pieced together did a lot to suggest that Diehl-Armstrong was innately bad, and that maybe she’d always had at least a strong proclivity to be that way. This really interests me, because it flies in the face of what I think I know about human beings, and the existence of evil in the world. It’s also just a dangerous road to travel down: what can we do to someone when we label them “evil from birth?” These are some questions this post will consider. Continue reading ““Baby I was Born That Way”: Depicting Marjorie Diehl-Armstrong in “Evil Genius” as Bad-Since-Birth.”
So, I wrote about the sometimes-blasé nature of contemporary horror in a recent piece on The Bye Bye Man, a much hyped movie that turned out to be a dull, formulaic disappointment. Shortly after, I embarked on a Shyamal-a-thon to mix things up; contrary to the flack he gets, I think M. Night makes a great, original movie with a unique vision. But if you really want unique – and, that is, unique with a side of extra fucked-up (there’s no eloquent way to encapsulate the reality of this film) – look no further than Gore Verbinski’s A Cure For Wellness, which crawls under your skin like a festering amoeba and provokes distinct discomfort throughout what is, for horror, an epic-scale movie length: two and a half hours. A Cure for Wellness is also a cure for boredom, for the common moviegoer and the volatile sadist alike. But even as I write this, I find myself torn: do I spend a post emphasizing how uncomfortable and unconventional the film was, or do I explore some reasonably intelligent questions the film raises? This, then, is my disclaimer: I have no idea how to begin to discuss this movie, so I can’t predict where this post will go. I’ll try not to divulge the film’s big secret, but beyond that effort, I make no promises about anything.
Guest Writer: Michael J. Miller
In 1988, Alan Moore and Brian Bolland gave the world Batman: The Killing Joke, a graphic novel unique in both its depiction of depravity and the emotional toll it takes on the reader. At first glance, a Batman comic may seem an odd choice for an article on a horror blog. Yet, I’d argue no other piece of literature (comic book or otherwise) delves into the sadistic depths of darkness and evil quite like The Killing Joke. In all I’ve explored of the horror genre proper, there are few works that make me cringe like this and even fewer that leave me as disturbed. In The Killing Joke, the reader encounters an unflinching portrayal of evil. And you can’t remain unchanged after reading it.