The Horror of New Adult Fiction & the Over-Categorization of Writing


Sometimes trying to figure out where to find a book you want is as hard as trying to figure out where you would market your own.

These are troubling times. Not only have we lost our Horror section in most bookstores, but now if marketing departments raised by the internet get their way, we will have to look in yet one more subsection: New Adult Fiction.

That’s right…New Adult… the new next stop after Young Adult Fiction.

And we may have the internet to blame… because it is demanding we change the way we think.

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Chunk Change

I don’t know about you, but I am not liking this tendency toward condensing, homogenizing and labeling everything under the guise of search-ability without the consideration of individual characteristics that make both ourselves and what we do unique.

We are living in the age of generic categorization… an overarching, nonspecific set of search terms that are “chunking” fiction like they “chunk” blocks of information on the internet.

What I can’t figure is how this is helpful.

As everything we do – whether work or leisure – is bent toward the unique demands of social media and the internet, we are seeing an unpleasant and taxing requirement to change the way we think. And this is not as savvy as it sounds because we are taking the very unique way that humans already and naturally think, organize and catalog information and stipulating that there is only one way to think of things – the internet way.

Everything comes down to a “search” word, a “key” word. And then all the tags and categories unite in a set of blinking Christmas tree lights that sometimes work and often don’t.

No wonder our kids have self-image problems; we have invented a whole new system for pigeonholing everything from blogs to people.

The internet has given rise to a new Age of Minimization, and popularity is based on wanton flamboyance or how much one is willing to pay.

Forget for a moment what this means for poor people, poor countries, struggling businesses, small businesses, and those who want nothing to do with the internet. Let’s look at the sales pitch we were given when the internet became not-free (because if you have to pay for hardware, software, support, protection, and access…it isn’t.)

Let’s talk about the world of all information allegedly at your fingertips.

Turns out, the world’s information is not so easy to catalog. The easier solution? Base search-ability on everyone’s ability to pay…

I don’t know about you, but I still have trouble finding things on the internet – even information I know exists.

Turns out… when it’s not about censorship, it’s all about paying for SEO … Search Engine Optimization. And if you don’t pay for it, you don’t get it… SEO is all about getting an item, a website, an information byte “out there” and found within the first ten search item results on your search engine (like Mozilla or Google). It’s about indexing the internet and (unlike the sales pitch of the internet) not getting all of the information on a particular subject, but the top few who paid for the exposure.

Sure. If something “goes viral” it can foil the system. But if people cannot find the item, how likely is that?

Take this blog. I have exclusive and personal knowledge it exists. Yet if I type in “Zombie Salmon” on Google, it must be somewhere on the last page of options. I personally have never “nexted” my way far enough to find it.

In blogworld, WordPress has SEO…as long as you either pay for it on your own domain, or if you include WordPress in your search criteria. “Zombie Salmon WordPress” brings up this blog.

But how many people know this? Especially how many people know this who set out to form a business or write a book, or simply try to find information?

Turns out, not as many as you think.

And I’m not just talking about dinosaurs like me.

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The Case of Over-Thinking Versus Not Thinking Enough

Originally, the founders of the internet wanted it to be academic, free, a source of vetted information…like an Encyclopedia Britannica only one everyone could have in their homes.

But then came the enormity of the task, and the land-grab, wild west, survival of the craftiest mentality. The surrender has been ominously complete… just look at the fear of “fake news”… (which should not be so hard to expose…just research the facts or lack thereof given). No one wants to be the Bad Guy and call a spade a spade, or unvetted information what it is: lies. So we have unceremoniously left it all out hanging out there. And sometimes the bearers of misinformation have more money than the rest of us, putting all manner of things – categorized correctly or not – in the top search results.

All of this reading and researching and vetting is work… uncelebrated, unrewarded, unrecognized work.

So it is no wonder that no one wants to actually read a book to classify it in a system that has worked since…well… 48 BCE in Alexandria. It is far easier to call it a one-word something, and wait for the check in the mail.

Clearly, the internet has “better” ideas for classification… especially ideas that glorify youth to the point that no one else in the whole wide world has ever had a better thought or process.

Talk about divide and conquer. But many of us old folks are not irritated at youth – only the ones who blithely declare that because they are young, they are smarter. We know better: we were smarter once, too.

In this internet age of reinvention, the reinvention is happening without looking at anything that has been tried or gone before. We are unceremoniously throwing the baby out with the bathwater…

And New Adult fiction is the perfect example.

It has been created to “help” the category of book-buying audience that is more sophisticated than Young Adults and Teens, but not yet ready to fully embrace Real Adulthood.

New Adults are those between ages 18 and 30. You know – the ones we expect to cast votes and go fight in wars.

And apparently, knowing one is a New Adult or writing for New Adults is supposed to insure that audience finds product written especially for them, and everyone lives happily ever after.

(Interestingly, one of the things that identify children as children is the need for products designed especially for their age group so as to not confuse or overwhelm them with topics they are not mature enough to process.)

Kinda makes you want to rush out and declare yourself a New Adult, doesn’t it?

We are wolves in internet clothing, apparently trying to eliminate genres entirely, declaring everything to be some level of Literature (hint from a genre writer, it is not). We are classifying everything by age, as though this ensures that product is placed neatly into the proper audience hands (hint: reading level is about maturity not age). And, we are tossing one-word descriptions into the cataloging mix which look suspiciously like genre headings (hint: you are not fooling anyone and the old headings worked just fine for centuries of book hunting).

And besides requiring yet another level of cataloging (age and subject), what does this actually accomplish?

So I am thinking that some marketing group somewhere thinks that 18-30 year-olds would be traumatized by reading Real Adult fiction, and potentially need therapy just after reading a blurb that is meant to tell a potential reader what a book is about.

Are we really raising a generation that needs this kind of coddling?

 

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Pardon me, but…WTF?!

Having actually been in a university with kids some thirty years my junior, I can say that particular age group has taught me a few things about Life…I am convinced that they are not only quite capable of surviving the experience of reading Real Adult Fiction, but I am fine with being tended by them in my nursing home. They are smart, unnervingly savvy, politically involved and wide awake – something I most assuredly can not say about many of my own generation (see recent American Presidential election).

And yet, the marketing push continues…even though I am not seeing publishers bite the apple yet: I have not seen any spines proudly announcing they are New Adult titles, or seen any calls for submission of New Adult Fiction.

There is, however, at least one how-to book on writing New Adult Fiction…

Write it and they will come…

I’m remembering what it was like to be sixteen, and thinking not.

I remember sneak-reading my Mom’s Rudyard Kipling books, paging through her Pearl S. Buck novels long before I had any New Adult thoughts.

I remember eagerly awaiting the day when I, too, was a Real Adult. And I wanted to read what grown-ups were reading. I might not have been ready to participate in adult discussions, but I wanted to listen to them.

Note to marketing departments: teens upward are still in sponge mode; they are curious, adventurous, bold and timid at the same time, eager to model adult behaviors and desperately searching for themselves in all of the data.

Why in the world do we want to filter that? I mean if you aren’t willing to filter the internet, get out of my fiction.

Quite setting limits for young and new adults and thereby for older ones…

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Eldritch Adult Fiction

Surely, this would be the next step: fiction for geriatrics… You know, nothing too traumatizing for Grandma, like those cozy mysteries where talking cats solve crimes.

And of course it would provide a nice segue for aging writers who can no longer write authoritatively of their day (because it is now long past). Yes, in Eldritch Adult Fiction there would be rotary phones, carbon copies, and mimeograph machines. We would be free to live in eternal denial of progress, perpetually checked out of the New Adult world because it is too scary anyway. And, we wouldn’t have to try to keep up with changing technology or slang or fashions.

All of our protagonists would need liposuction, blood pressure meds, and Viagra. They could wear polyester and pants with elastic waistbands, conduct their seances before 8 p.m., and their murders before the early bird. And best of all, our audience would know exactly what our literary references meant…and truly understand what it is like to slide inevitably toward our deserved ends.

If this strikes you as absurd, imagine how writers must feel contemplating forcing our writing into one more age-restricted category.

I may be old, but often my characters range the spectrum of every age I have been.

And as a writer, I may write for an audience – a Horror audience – but I don’t care hold old a reader is. If a reader can follow my wordy sentence structure and understands or can look up any challenging vocabulary they find, then they are welcome read what I write. I’m pretty sure most writers feel the same way.

My point is, sooner or later we have to realize that the Arts (being subjective) have a limit in useful cataloging.

And I suggest this to marketing departments with grandiose ideas:

  1. If it ain’t broke, don’t fix it
  2. Treat writing like Fine Art (catalogued by medium/genre, by artist, by style /subgenre, by period)
  3. Let the audience decide what they are ready for

It’s high time we acknowledged that the internet by its limited capacity to catalog the world’s offerings in any complete and useful way is too overambitious to be of any ultimate and conclusive value in guiding the cataloging of information in general, let alone fiction; that in the end, we still need humans and the way humans think.

We also need to acknowledge that some of our best discoveries have come because of the questions we asked in our searches for information – whole questions, not key words, not with results that are money-driven.

And we need to flat-out state that our strength and versatility as an Art-producing species relies on our quirky and out-of-the-box thinkers, the misfits, the socially awkward, the true individuals of our kind.

Diversity in all things makes us better.

Why on earth do we expect to find anything of value in a one or two worded box?

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Creepy Clowns: New Trope, or Very, Very Old One?


What is it about clowns?

We either love them, or hate them. And it seems we decide which side of the fence we are on pretty early in childhood. It’s a position that never seems to change, even as we grow older. But why do we fear them at all? Aren’t they there to bring us happiness and laughter?

And why does dressing as a scary clown cause so much emotional distress?

Surely it can’t be Stephen King’s fault… Even though those of us who saw the first incarnation of It on television that November of 1990 probably still can’t get the images of Pennywise as played by the incomparable Tim Curry out of our heads…

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No, our fear and dread of clowns goes much, much deeper.

And the real explanation is yet another reason why Horror is such a complex, subtext-laced genre – one which has so many tentacles in cultural, social, philosophical, biological, and psychological sciences.

Because if we are going to understand how clowns are connected to our deepest, darkest fears, we are going to have to look at our all-too-human beginnings.

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Clown Kachina (Koshari)

The Clown As Trickster

For many primitive cultures, clowns serve a function that is only in part comedic. The comedy of such clowns is meant to be a distraction – a tool for nudging or shifting the attention from the worldly to the spiritual by exaggerating behaviors, mores, and the absurdity of humanity’s natural hubris. But the non-comedic and true purpose of clowns is instruction. And much like the recorded encounters of common people with fairies and beings of folk tale and myth, such meetings are pregnant with danger.

Clowns are spirit-beings, capricious, dangerous creatures who trick hapless humans into seeing the world obliquely, spiritually, respectfully in spite of our personally contrived perceptions of normalcy (with which we continually edit the world to our own satisfaction).

Depicted in ways that exaggerate, mock or distort human physical characteristics or behaviors, our early ancestors saw clowns for what they are: forces of nature that sometimes struggle to imitate an imperfect humanity, but always have an agenda. Their images were rendered as curious, sometimes comical, yet other worldly and never quite human. Often our reciprocal imitation of the clown imitating us is equally disturbing, the use of paint and masks and props meant to communicate that a clown is indeed something to be wary of.

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African clown (Ogbo)

Worse, the motives of clowns are always unknown. Sometimes they distract nastier spirits from their intentions against humans – like a rodeo clown distracts the bull. But more often they seek to teach humans by utilizing a rather unsettling series of actions based within a complicated theater of the absurd.

As such, encounters with clowns are better experienced as cautionary tales; because clowns are travelers along the borders of perceived reality and the supernatural one in which all manner of spiritual dangers reside. Therefore within many primitive cultures, such intercourse with the world of spirit requires the presence of and interpretation by shamans, medicine people, priests, and sorcerers. Insanity, possession, and illness can result from these encounters if proper protocols and interpretation are not followed.

What is certain about clowns recounted in this primitive dance is that such beings from the Other World operate according to rules that do not apply to humans, but within the web of which there are serious human consequences. As such, those rules are unknown by most humans; and when recounted, they seem comical and absurd even of themselves. To navigate such meetings then, is a precarious and dangerous affair – something our primitive brains still recognize when we stare at the toy clown sitting in the rocking chair in the moonlight.

In primitive traditions, clowns are simultaneously both sacred and base mischief-makers. But they are always dangerous, their intentions never fully revealed.

Their lessons are always taught by deceit and rough handling. They are seldom sympathetic or empathetic to their human subjects.

The clown is, according to Joseph Campbell, an enduring archetype of myth (Campbell [5]). And as such, we already know him intimately… perhaps, too intimately for comfort.

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The Clown as Allegory

In Literature and film and all of the Arts, the Clown is never just a clown.

It is the very irksome nature of clowns that keeps us off balance enough that we might just learn something in spite of ourselves, and for that reason, writers and artists and playwrights have used them generously in their works.

Some even say that the presence of the clown represents the writer or artist him- or herself. According to E.A. Williams in an essay which addresses the Literary roles of the clown in film, poetry and prose titled “Bakhtin and Borat: the Rogue, the Clown and the Fool in Carnival Film”:

“Defined by their unfamiliar and alien status, these characters are metaphorical reflections…of some other’s mode of being. Consequently, these masks ‘simply do not exist’ beyond their function as outsiders or others; they function only as ‘prosaic allegorizations’ or ‘prosaic metaphors’ that reveal and subvert the falsity of official culture at the same time at the same time as they serve to endorse certain folk truths.” (Williams 110)

In other words, like their handling by primitive cultures, clowns in film and Literature – by their seeming out-of-place and out-of-step – are there to draw the attention of their audience to something else.

Continues Williams:

“Clown and fool characters instantiate carnival inversions of mainstream culture, but they are less directly connected to their author’s intentions and the world outside their texts.” (111) But they do “’degrade official culture by eliciting the audience’s laughter at the ideologies they parody. But unlike the rogue, neither the clown nor the fool takes pleasure in letting the audience in on the joke…clowns and fools are also distinct from rogues in that they can seem otherworldly” and furthermore “do not understand the extratextual world [;] they clearly do not belong to it, remaining detached from the audience’s reality.”

Clowns remain uncontrollable, yet control the stage upon which they inform their audience. Whether we laugh because the clown makes us uncomfortable, or because it causes us distress over its point can be a mystery even to ourselves. Yet in clowns we tolerate what is otherwise unacceptable behavior or commentary. We readily accept satire and parody, mockery and offensive imitation with nothing more than laughter. This is something comedians understand, something poets like Shakespeare mastered, and something even contemporary writers use often in building supernatural characters. Clowns can give us our voice.

As Williams says, “it is because these characters are ‘not of this world’ [that] they possess their own special rights and privileges for degrading the ideologies of the world’s official culture.” Indeed, these figures continually “espouse offensive or objectionable feelings in their words, actions, and thoughts. Moreover their bizarre behavior distinguishes them from the audience, granting them an exclusive ‘right not to understand, the right to confuse, to tease, to hyperbolize life.’” (112)

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Medieval European Clown

This makes the use of clowns in film and Literature invaluable – even when the clown archetype is subverted, hidden beneath human characterization. It is with the use of the clown that Literary motifs can be achieved, hidden symbols revealed, themes punctuated.

Is this why we find clowns neatly tucked into Horror?

Very likely; clowns can be the vehicle through which Literary messages can be coded, where deeper issues can be critiqued and even mocked. But it remains the over-arching and very primal discomfort at the simple sight of a clown that for Horror writers and Horror audiences provides the artistic coup de grâce. This is because we still have Freud…and we still have our primitive minds to thank for the unsettling creepiness of clowns.

Explains Tara Brady in her article, “No Laughing Matter: Why Are We So Terrified of Clowns?”:

“The Freudian id is not the only psychoanalytical trope in play. In his (increasingly voguish) 1919 paper, The Uncanny, Sigmund Freud postulates that we are frightened by something that is simultaneously familiar and yet unfamiliar, a thesis that finds parallels in contemporary neurological research into fear and pattern recognition. Clowns, by this account, are both recognisably human, yet visibly distorted, what with those elongated feet and bulbous noses.”  ( Brady)

And indeed it is the very appearance of clowns that is indescribably, primally disturbing…

Yet it is one thing to tuck clowns neatly into boxes lined with fine Literature and theatrical plays – where we can take them out and analyze them in the safety of academia. It is quite another when –as in primitive times – they rise to trick us and unbalance our perceptions right in real life.

Sometimes this occurs with an unwelcome gift from a well-meaning relative, a unexpected find in an antique shop, or maybe by our proximity in being a little too close to a satirized reality… and the absurd truth of the moment.

Yet we seem fixated on the perceived “loss” of the cheerful clown; and in that way, we are made afraid of our “new” obsession with creepy clowns. We fear things have changed within us somehow, and not for the better.

Asks Becky Little in her article, “A Brief History of Creepy Clowns:

“Why exactly have creepy clowns become such a trope in pop culture? After all, didn’t they used to be happy and cheerful? Well, not exactly, according to Benjamin Radford, author of Bad Clowns.

‘It’s a mistake to ask when clowns went bad,” he says, “because they were never really good.’” (Little)

And this was true until about 1950.

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Bozo and Friends: the Re-Purposing of Clowns & the Illusion of Happiness

It doesn’t help that for many of us, our formal introduction to clowns came at the hands of children’s television shows and as pitchmen for hawking hamburgers. Such re-purposing of the clown from supernatural trickster to camera-ready advertisement could only conclude in disaster for both humanity and the clown in general. Indeed, if there was a plan, it backfired.

Within a brief few generations, we were encouraging our children to love clowns, to trust clowns, to embrace the happiness they were said to represent. Yet many children did not get the message, carrying within their very DNA an unspoken Horror of clowns. For those kids, the world of It makes raw, perfect sense.

In fact, according to one University of Sheffield Study as reported by the BBC in 2008, Researcher Dr. Penny Curtis said: “As adults we make assumptions about what works for children.

“We found that clowns are universally disliked by children. Some found them quite frightening and unknowable.”

And child psychologist Patricia Doorbar goes on to clarify:

“Very few children like clowns. They are unfamiliar and come from a different era. They don’t look funny, they just look odd.” (BBC)

Still the Public Relations machinery was in gear, and what children they could not bribe with cartoons, prancing poodles, and birthday parties, they sought to lure with a burger and fries.

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For some, it worked. But we barely had the opportunity to fall under the spell of the happy clown when it all ended. Almost overnight, the magic of clowns was gone –replaced by the magic of television, and then by the Power of Adults, who could so easily replace one clown with another, one actor with another, one product with another.

The Age of Disposability was upon us.

The last heyday of happy clowning was when children knew the names of their avatars: Bozo, Clarabell, Willie the Hobo, Chuchin, Freddie the Freeloader… Once clowns were officially made back into fools, most of us emotionally checked out.

So is it not surprising that the archetype would rise from the ashes, and to do so wearing the mask of Horror? Clowns have always had dual natures. And they are fickle, capricious teachers.

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John Wayne Gacy, 1976

The Return to Creepy

The most disturbing concept of the clown drifted into our imaginations with the rise of a serial killer. John Wayne Gacy murdered 33 known victims from 1972 to 1978 in Cook County, Illinois, and performed as Pogo the Clown for charitable events, parades, and children’s parties. And despite the heinousness of his crimes, nothing stuck in the American imagination like the fact that he performed as a clown for children.

This was in all likelihood the beginning of the Creepy Clown phase in American subculture. And while one can argue that it is much easier to mock what one truly fears, we should also be asking why we found it so much easier to find the clown at fault than the man behind the mask…

True to form, we took our fears to excess. Gone was the “happy clown” who had then existed for a relatively brief historical period. And back is the one that haunted our primitive dreams, presently disguised as a serial killer who surely was more than that, and whose image masked something older, more terrible and insidious – now, when we have so deftly banished shamans, medicine people, priests and sorcerers from our sophisticated lives.

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And at the precise moment when circuses – our official “home” for clowns and clowning – were coming under fire for animal abuse by watchdog groups like PETA, the world we had fashioned to contain clowns and what they represented to us for good or ill was also falling, changing, becoming unrecognizable.

Within the microcosm of the falling Big Top, we could see our own failures and losses. The innocence of the circus (and therefore all things American) was being tainted; the idea of carnival workers was becoming a source for assumed criminal behavior – the carnival the last hiding place for misfits, Others, and those who did not belong as seen through so many lenses of inequality (class, culture, race, physical deformity). We liked everything having its place, popping out merely to entertain us and then leaving town. We never imagined it was us under the tent. Indeed, so much more was coming down with the tent poles…

Formerly a place where magic existed, the circus and carnivals became symbolically an entirely different and potent place where magic was twisted to fit a new need: anger, violence, mockery, revenge. Circuses and carnivals with their clowns and costumes, their masks and mischief, suddenly became threatening. And clowns were their spokesmen, the entities of Horror when they did not conjure it.

Yet we left it there –precisely there. After Stephen King’s It, we seemed unable or unwilling to investigate the mystery of the clown further…we were…distracted.

Until suddenly in August, 2016, when the peculiar, occasional “sighting” came to an international head.

According to Becky Little, “Creepy (and fake) clown sightings spread across the U.S. and other countries, creating a kind of viral clown panic.”

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The Wasco Clown, 2014. http://www.huhmagazine.co.uk/7834/clowns-are-wandering-california-at-night-and-no-one-knows-why

Speculation for why clowns began “appearing,” of course, runs rampant. But although one could venture more scientifically or sociologically founded guesses, one also has to consider the far reach of the Internet, the average person’s need for fifteen minutes of fame, the underground popularity of such characters as Slender Man and other fanfic memes, and simple perverse human curiosity.

Although, one peculiar coincidence lingers to tease the American mind:

“Andrew McConnell Stott suggests that the clown epidemic may be related to an orange-haired, rival entertainer.

‘It all peaked during the election period,’ says McConnell Stott. ‘I think if you look at the heightened absurdity in contemporary American political discourse and public discourse, the clues are there. Something I thought fascinating is that scary clowns were sighted primarily in at-risk communities, like rust-belt communities or rural communities; places that have been hollowed out by economic stress. Scary clowns were seen on the peripheries of these communities; they didn’t go up to people and wave knives in their faces. They were glimpsed in windows or stood under streetlamps. Just enough to freak everybody out, but not to endanger them. Reminders of a previous age. The return of the repressed. And then. Donald Trump was elected and the clowns were never seen again.’” (Brady)

(And if that isn’t food for Literary thought, you haven’t been paying attention…)

Still, as we sit on the eve of another decade of clown-induced dread and Horror wrought at the hands of the remake of It… One should consider this:

Anything we cannot understand or interpret, anything wearing a mask and hiding its true intent, anything we cannot see completely or assess the level of threat of (yet has at least momentary power over us), we fear. Peculiar, unpredictable or inappropriate movements, unsettling eye contact, behaviors, and clothing… anything not “right” to our vision, that reeks of the unfamiliar, the “other,” and the “exotic unknown and unknowable”….all of those things summon the image of the ancient clown – the one which made its appearances before campfires to teach us how unimportant we are in the world – that clown scares us.

Because when it comes to supernatural influence, there is nothing at all we can do about that; there is no one we can call. And if it comes from that dark and mysterious place between the two worlds, there is probably no place to run…

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References

BBC News. “Hospital Clown Images ‘Too Scary’” January 15, 2008. Retrieved 10/31/2017 from: http://news.bbc.co.uk/2/hi/health/7189401.stm

Brady, Tara. “No Laughing Matter: Why Are We So Terrified of Clowns?” The Irish Times. Sept. 9, 2017. Retrieved 10/31/2017 from https://www.irishtimes.com/culture/film/no-laughing-matter-why-are-we-so-terrified-of-clowns-1.3209215

Campbell, Joseph. The Hero’s Journey. Pdf excerpt retrieved 10/31/2017 from http://podcasts.shelbyed.k12.al.us/shutchings/files/2015/05/TheHeroJourney.pdf

Little, Becky. “A Brief History of Creepy Clowns.” Sept 13, 2017. Retrieved 10/31, 2017 from http://www.history.com/news/a-brief-history-of-creepy-clowns

Williams, E.A. “Bakhtin and Borat: the Rogue, the Clown and the Fool in Carnival Film.” Philament 20(2015) : Humor. Retrieved 10/31/2017 from http://www.philamentjournal.com/wp-content/uploads/2016/01/20_WILLIAMS_150204.pdf

SEE ALSO

http://www.cnn.com/2016/10/03/health/creepy-clown-sighting-psychology/index.html

 

Monster Love: Embracing Kaiju as a Horror Subgenre — Because How Can We Not?


For those of us constantly rummaging around the subgenres looking for inspiration and just plain fun Horror, there is a “new” discovery to be made. It is called Kaiju and it comes at us – like all good monsters – from several directions at once: graphic novels, comic books, classic science fiction, classic Horror, and black and white cinema… most obviously from scarier minds in Japan.

The really great thing is: you probably already know it and love it… because especially for Horror fans in the West, the newest thing about Kaiju is its name.

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http://www.fanpop.com/clubs/giant-monsters/images/36716011/title/godzilla-1991-wogzilla-wallpaper

Love Me, Love My Monster

We’re talking big monsters... Really big. This is Kaiju…

And while if you are a Lovecraft fan, such monsters are already part of your Horror bestiary as part of Weird Fiction, many of us have left them snugly contained within the Lovecraft mythos, and the dusty black and white and colorized Cinema Scope corners of early science fiction cinema.

Therefore, even as we of the Horror genre love them, we’ve also been conditioned to consider giant monsters “done” – as in someone already thought of that… But like all great concepts, what we need to rebel against is the editorial mindset that says exactly that…

Because while the wielding of giant, towering monsters may have been done, it hasn’t all been done… There is plenty of room in our Horror landscape for many more great monsters, for other mythos catalogs… and for ever more apocalyptic destruction of the human ego.

It has been graphic novelists and comic book folk who have led the way in this giant monster revelation. And it is them we should thank heartily; because big monsters are back. And they are awesome.

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Says Robert Hood in his introduction to The Mammoth Book of Kaiju, there is just “something cathartic about watching giant monsters trash cities.” And he could not be more correct… especially now in our world with so much human arrogance on display. At a time when so many of us are being victimized by the very things that were supposed to liberate us from poverty, ignorance, and isolation, we find ourselves feeling as helpless as teeny tiny people fleeing nuclear-mutated monsters on the beach – with about as bleak-appearing future.

Under those circumstances, it is hard to not root for the monster… who is always both us and our fears.

Never mind the Literary insinuations here, the associations with certain world leaders and their bull-dozing opinions, the metaphor of technology versus the little guy, the absolute sense of loss of control that haunts and torments our daily lives whether we live in a war zone or suburbia.

With giant monsters, our familiar problems are minimized, and our humanity is a thing to be found in common. Here we can give ourselves permission to cheer on a Russian pilot or an American capitalist, to fear for a Japanese boy or a boatload of immigrants caught between the monster-filled deep oceans (with a nod to Freud) and New York harbor or downtown Tokyo.

Yet we can also subversively love the monster… a thing we ultimately discover we created… and which has come for justice.

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And it has been coming for us in cinema since at least 1925, with Sir Arthur Conan Doyle’s The Lost World, and in modern Literature since at least 1870 with Jules Verne’s 20,000 Leagues Under the Sea, and yet again in ancient storytelling since The Epic of Gilgamesh emerged from Mesopotamia in 2100 BCE…(Hood 6-9)

Clearly humanity has had justice – if not deep psychological issues – for a long, long time. And we have learned to savor the moments when it all comes messily together.

For example, most of us have wonderfully fond memories of the first time we saw Godzilla trample Tokyo. But other than adjectives like “fabulous,” “terrifying,” and the “unstoppable titan of terror”… for a long time we didn’t have any terminology for it.

Part of this has to do with our own isolationism in the West, and part of it has to do with our level of interest. We had already half-way consigned big monsters and their outdated atomic connections to yesteryear, when suddenly everything “retro” was in – and the more vintage, the better: all of the old B-movies laced with drama and an older idea of terror was suddenly back in style.

With technology and the Nerd Boom came the resuscitation of old kitschy pleasures made more “cool” by computer imaging and more impressive by the achievements of those working with a lot less available, while simultaneously harder to finesse and more creatively achieved special effects. Suddenly we gained a more generic interest in film history and trivia. We took note of the use of lighting and hard-won effects, of actors and locations, of directors and producers.

We have to admit we love them – the monsters, their makers, the actors and the effects – so we fell in love anew.

As Science Fiction and Fantasy received the bulk of the breath of new life and new interest, we started developing a passion in becoming nerdishly authoritative in certain histories. How genres have evolved and who contributed what to the evolution has become a niche hobby.

Bit by bit, even in Horror we have all started wanting to know the histories of genre writing, and we now actually read those boring forwards, introductions, and afterward essays that we used to rip past in our rush to scare ourselves. We are no longer satisfied to hear someone just say something about a canon work or a writer: we want more – we want to be experts ourselves.

And even more significantly, for perhaps the first time in its history, Pulp fiction is no longer disposable fiction…It has a place in our momentum and our hearts. We are digging through old boxes and collections, looking for the stuff most of us threw away and a few had the love and foresight to horde in dark, forgotten places. A whole cadre of private collectors has arisen to catalog the works no one thought held any significance.

And we are finding that all work – even genre work – has significance.

The current gap in Literary Criticism and modern works has opened another unexpected door: through our passion and our own connecting of Pulp works with the evolution of genre Literature, we are legitimizing ALL of the work that has gone before.

While Critics are collecting their theories and thoughts, writers and lovers of writing are gathering their stockpiles of early works, creating more…building a legacy.

So much of this starts with giant monsters – with Kaiju. Because it was film and comics that opened that so-important door.

This almost-academic interest is a sea change in fandom. And it means that it’s not just editors who know stuff, or share stuff, or defend stuff.

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http://www.awayfromthethingsofman.com/2016/10/the-big-road-trip-part-3-g-fest-xxiii.html

Led by the example of rabid film buffs and hardcore comic and kaiju fans, more and more of us who roam the fiction genre landscape are wanting details too often referred to and seldom explained. There is a demand for genre history, an actual interest in the history of fiction writing, in the biographies of writers and the publications they appeared in.

It’s been a great time for genre fiction and genre film.

Because it is precisely this passion that is also laying the fabulous groundwork for genre folk to become part of Literary-type discussions. It is subjects like Kaiju that are teaching us that there is a lot more to genre than the Ivory Towers have both believed and inferred. And maybe – just maybe – this lays even more groundwork for the legitimizing of genre as Literature…

While Science Fiction and Fantasy have enjoyed greater academic respect than Horror fiction, in our genre we are well aware of the constant cross-pollination of SF&F into our works, and the constant muddying of the genre waters. Books and films like Alien, Jurassic Park, Jaws, and even Harry Potter are the most easily seen as being both or either genres.

So it is easier to see where Kaiju shares Horror elements, and could have been originated as Horror…large crowds screaming in terror, monsters snacking on slower humans, the insinuation that we ourselves – like Frankenstein’s monster – created the problem, all contribute to the embrace of big monsters by Horror fans.

The flames are further fanned by the reality that with less Horror finding publication, our fanbase is looking around for something else to read, to embrace. The current boom in comics and graphic novels means we – and our money O New York Publishing Machine – are drifting to these artistic offshoots. And we are liking what we are seeing.

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http://www.kpbs.org/news/2013/jul/10/midday-movies-what-kaiju/

This means that we are becoming closet Science Fiction and Fantasy fans, looking for the Horror. And we may well bring some of what we find back into the Horror genre – for good or ill.

But it also means that both traditional publishing and academics are going to have to start nailing down not only specifically what makes Horror “Horror” as a genre, but why it is important that we look individually at works to allow them into our canon, and not classify authors.

And somebody out there is going to have to admit that Horror is NOT dead, many of its fans do NOT age-out of the genre, and writers are STILL writing it despite the lack of markets and a certain amount of commercial judging.

While for writers it often feels more like American Idol than simple submission of our work, it only proves that the genre is changing faster than its editors and publications can keep up.

And that is another reason we who write Horror need to take a page from our brethren and sistren in the comics and graphic novel independent publishing industry… Just sayin’…

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http://www.kanhangadvartha.com/group/pacific-rim-wallpaper/

 Monstersize Me

So let’s take a closer look at what has caught our genre fancy. And just as in the best of Horror, we are going to Mammoth Books to learn about it… specifically to the introduction once again by Robert Hood:

Kaiju is “a Japanese term that has been little known in the West except among aficionados of a particular tradition of monster cinema” until rather recently…” The word means ‘monster” or ‘giant monster’(although more accurately it translates as ‘strange creature’) and the cinematic tradition such monsters spawned is called kaiju eiga (monster film)…”

Now whether you liked or despised films like Monster, Pacific Rim, Cloverfield, or The Happening… You have been witnessing a Second Migration of Kaiju from graphic novels and comics to the Big Screen. And as a Horror fan used to the disappointment of Hollywood’s “scariest ever” promises, you probably saw them.

But you may also have fallen under their spell. As Horror fans, we have also become conditioned to love concept… accepting without question that Horror often loses its scary both in plot and in acting. Horror fans have learned to be somewhat satisfied with the very idea as opposed to craft in the telling.

It’s why we as a genre have split into two camps – the Literary, often too-dull ones, and the Pulp ones, who are all about concept and attempted delivery of same.

This means we excuse the epic fails, and still love the monsters. Like the ones IN Monsters… an otherwise odd, schizophrenic war film with really awesome, totally wasted monsters…

It’s because we see the potential. We take the monster and let him (or her) run loose in the dark of our imaginations. It’s kind of the adult version of kid’s picture books like My Monster Mama Loves Me So, The Monster Under the Bed and Creepy Monsters, Sleepy Monsters… something graphic novel and comic book fans learned long ago. Monsters are all about concept… which Godzilla already taught most of us.

It just doesn’t matter that there is little Kaiju fiction out there…

As Jeremy Robinson says in the foreward of Kaiju Rising: Age of Monsters, “Between 1999 and 2012, there wasn’t a single noteworthy Kaiju novel published…Kaiju as a genre, has been largely ignored by the publishing world. But thanks to technological advances in publishing, small presses and self-publishers now have the ability to tackle subgenres considered too risky by large publishers. Unfortunately the genre (as of writing this foreward), is still largely represented in popular fiction by [the Godzilla novels published in the 1990’s and] Project Nemesis and its sequel Project Maigo [by Robinson himself]…” (xii)

Yet the rise in independent presses and self-publishing and small presses has been exactly what has led to the “boom” in pop culture items such as graphic novels and comics. And while they may not be the Big Houses of New York, they are prospering. And bringing Kaiju right along with them.

The success of Kaiju is propelled by magnificent art, universal concepts, and the extreme flexibility in the universe of monsters. Quite simply, there are no creative limits.

Continues Hood, “Kaiju origins are as diverse as imagination allows, from traditional nuclear mutation, through outer space and interdimensional invasion” (7)… (sound familiar? ) “to the incarnation of emotional and metaphysical states via the imagination of unsuspecting humans, often children” (7)… (both major conventions utilized quite successfully by both Lovecraft and Stephen King, thank you)….

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http://www.kpbs.org/news/2013/jul/10/midday-movies-what-kaiju/

In Kaiju, imagination is valued for its extremes. And that just equates to fun, and creative challenge. Kaiju easily represents the finger-painting of Horror subgenres. It is a fabulous and seductive starting point for any number of horrors…night terrors…bumps in the night. And it opens the door to Science Fiction elements that can enhance Horror and broaden our audience.

Here we see exactly why Horror fans are often Science Fiction fans. And we see how the which-is-the-real-subgenre argument got started.

Yet Kaiju also does something else: it provides a certain intimacy with the monster that we in Horror haven’t seen much of since Mary Shelleys’ Frankenstein, or Anne Rice’s hopelessly flawed and erotic vampires. Points out Hood, “They all have names” and histories, and a collectively human nemesis which “whatever the imagination can come up with is likely to be utilized at some point, whether or not it makes scientific, physical or economic sense.” (7)

As Horror fans, we are used to the inconsistencies. And we commonly excuse them to get to the Horror…It’s a kind of sacrifice we have come to accept that Hollywood expects us to make, and it may be why novice Horror writers are pre-programmed into bad habits in writing craft… then baffled as to why craft errors matter.

As Horror fans, we don’t care…as long as the monster itself is awesome, which is how we get back to the Japanese, Godzilla, and the uniquely imaginative beasts coming out of that country’s creative think tank. When our efforts fall short, when our story lines vacate the monster’s power, we return to Kaiju.

So while “Strictly speaking then, the term Kaiju refers to monsters [in a particular] Japanese tradition,” and one that is “characterized by a high level of absurdity…[wherein] monsters are much bigger than is physically viable [and] taken literally, the creatures are indeed impossible fantasies, despite the frequent science fiction trappings given them” (6), we easily translate them to contemporary world crises, to Western cities, to our own fears…

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We have commandeered them for our own uses…Even as we continue to grow our appreciation and affection for the Japanese originals. So we keep going back to the oh-so-deep Japanese well; Kaiju is the DNA imprint for all monsters than came after Godzilla… it must be part of defining the future of all strange monsters.

“They come in all shapes and sizes” (6)… they traverse all manner of mental-emotional landscapes the way that Lovecraft’s monsters still do. The plot is only a vehicle for the monster… and we swoon as the Horror begins.

We cannot help ourselves. We come to adore our monsters the way we adore Tyrannosaurus Rex – completely checking out of the empathetic box for those who would be eaten. We see instead a reflection of ourselves… of justice come for those who have wronged us all…

That is the infrastructure that is the entire Horror genre: the contentious balance between good and evil, justice and revenge, morality and immorality. Perhaps as humans we long for that battle, for the resolution of judgment… for that parent to come home and administer the promised punishment to just get it over with. So we cheer on the monster. The monster is both us and our judge. Watching him stride across the wrecked landscape, stomping on skyscrapers is watching Dad pull into the driveway, Mom’s word’s echoing in our heads: “Just wait til your father comes home…”

It’s not like we in the Horror genre are unfamiliar…

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But there is just something about Kaiju that continues to bring us back, to reel us in, to invade our subconscious like an interdimensional being asleep under the ocean, subtly manipulating our thoughts like Cthulhu…

Maybe it is Cthulhu…

After all, Kaiju has remained on the fringes of pop culture… Not quite fully let into genre fiction… Lost in its own kind of subconsciousness.

But I think this is changing. It has to. Genre fiction has hit a wall… Editors seeking to improve Literary standing have turned a blind eye to pulp, where the best in genre is incubated. New ideas are not as welcome as publishers claim, if only because everyone is perched too precariously on the edge of print extinction…

But that has left a lot of us out in the cold… And that in turn has weeded out our ranks into those who will “do or write anything to get published” and those who have decided that prostitution of the soul is not worth a few moments of fame.

It is the second group that is bathing in Kaiju, marinating imagination, exploring the importance of good concept and toying with more Literary execution…NOT because some editor somewhere wants to see it, but because WE as writers want the challenge of DOING it…

Monsters are pure drugs that shoot through us intravenously… lodging in that primal place where the best Horror comes from.

Embrace Kaiju as a Horror subgenre? How could we not?

It’s already living there, stomping on the skyscrapers of all things standing between hope and humanity. What is not to love?

What is not to learn? Welcome to the Horror genre, Kaiju masters…

 

Ki8

ありがとうございましたArigatōgozaimashita…

For all that is yet to come!

 

References

Hood, Robert. Introduction. The Mammoth Books of Kaiju. Sean Wallace, ed. Germantown, MD: Prime Books, c2016.

Robinson, Jeremy. Foreward. Kaiju Rising: Age of Monsters. Tim Marquitz and N.X. Sharps, Eds. Crestview Hills, KY: Ragnarok Publications, c2014.

Cthulhu Worshippers: Is the Rise of Themed Anthologies Good For Horror?


When I recently looked across the sea of my past years’ Horror purchases, I was struck by just how many Lovecraft anthologies there were. Themed anthologies are on the steady increase – collections dedicated to one author’s established universe, one established monster, or one Horror concept. And of those themes, the work of H.P. Lovecraft absolutely dominates. Yet as open-minded as I try to be in my Horror story collecting, I found an alarming amount of tentacles on my shelves.

Herein lay a truth: I am a sucker for tentacles. I enjoy reading Lovecraftian fiction…but I do not tend to write it.

So if I did not purchase more generic modern collections, what did it mean? Were they not out there? Granted, I discriminate against vampire collections and I have not yet dipped my toes into steampunk-tinted Horror… But the prolific dominance of Lovecraft struck me as more than coincidence.

So that begs the question what does it mean for Horror writers – this rise in themed anthologies of which Lovecraft dominates?

Too Much of a Good Thing

World class Horror editor Paula Guran states in her introduction to The Year’s Best Dark Fantasy & Horror 2016, “…there were around 15 anthologies of Lovecraftian tales published in 2015 – not to mention other venues that published such stories…”(8)

Fifteen! I am imagining that this is – like – twelve anthologies of Lovecraftian fiction we did not need that year….twelve opportunities for other stories of Horror fiction to have been officially birthed in our world.

Perhaps that is the bulk of the type of Horror being published today. But maybe, just maybe, the singular and collective weight of ALL of the same kind of anthologies in my personal library means something besides my own addiction: maybe it means our genre has fallen into a rut.

No, I thought…surely it can’t be….

And yet the proof is on every bookstore shelf. And it is causing my floors to sag.

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Fan Fiction: Let’s Call It What It Is

Believe it or not, it starts with Technology. Technology has caused a lot of changes to publishing in general and to Horror in particular. Horror has grown toward Hollywood like weeds to the sun…

In her essay, “Blurring the Lines,” Amber Benson states, “There used to be a hard-and-fast rule. There was “them” and then there was “us.” “Them” was made up of artists – the people who created TV shows, books, films, music, and visual art. “Us” was the group of people who consumed what they made. “Them” was set apart from “us” because “them” was creating material that was disseminated, on a large scale, to “us” out there in the real world. “Us” could enjoy “them” and their work, but “us” could not contribute to the creations we loved in any appreciable fashion…But then something interesting happened: the internet took over the world, and this hard-and-fast rule slowly began to disintegrate. All of a sudden “us” was able to horn in on “them” and their creative process in a very public way – most notably in the form of fanfiction.” (Jamison, 334)

Enter the world of Big Money. Enter the world of Twilight and Fifty Shades of Gray… That’s right: Fifty Shades started as – believe it or not – a fanfiction of Twilight. And for that mystery of artistic and unholy alliances, one has merely to follow the money trail… Hollywood has discovered the great storytelling in fanfic Vampires and scary entities that populate urban legend. This has led to the migration of the movie public to the bookstore titles traditional publishing has cringed at, yet harvested with tremendous profits.

Such success has in turn inspired fanfic sites to create and self-publish their own anthologies, not always to as profitable acclaim. But Hollywood has noticed. The fanfic writing collective that is Creepypasta (http://www.creepypasta.org/) is the undisputed home of such well-known Hollywood pollinating characters as Slender Man, Eyeless Jack, Jeff the Killer, and The Rake…

To the Horror Establishment’s chagrin, this is where a lot of “real” modern Horror resides – neatly ensconced in the folds of pulpy Fan Fiction, tucked away in secretive places on the internet. And it is thriving there… perhaps because of technology… and with no thanks to more “reputable forms of publishing.” Creepypasta has established its own reputable form… and its ever-growing following is testament not perhaps to content so much as its aspirations to recreate the much adored Horror of Yore…

Much of its content is literarily a bumpy ride, reminiscent of the fireside tale, campy cautionary tales Horror is known for… but it is a ride worth taking – fun, engaging, scary, and pure pulp.

All of that flies in the face of technology and Literature itself – the very tech that threatened to permanently banish Horror to the history shelves – or worse, to sociology….

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The question traditional Horror folk have is that with such “obvious technical flaws” why is fanfic doing so well and in sharp contrast to traditional publishing?

Part of the problem is indeed that invasion of technology that slaughtered traditional Horror. Fanfic took the scythe away from the reaper and built its own platform of resistance. Isn’t it interesting that we acolytes of traditional Horror writing are “borrowing” from those sites and their writers?

To sort this out and give credit where credit is due, we have to admit that for traditional Horror fiction there is a price to pay for having so much in neat, shiny new toys to mesmerize and distract us like a roomful of little children. And fanfic places like Creepypasta have managed to tap into that elusive “something” that old Horror fiction’s corpse remains animated by, the very thing that lurks behind the everlasting light of electronic devices… And ironically, it is that same thing that so much published modern Horror has failed to find; too often it is dismissed as cliché or trite…because handled ineptly or too pulp-like it can be…

It is appropriate that technology has also led to a lot of pushback toward the older styles of storytelling – embracing the chapters of Horror’s own history where writers combined forces with artists and landed in pulpy swamps, creating comic books and graphic novels, seeking independent means of publication and now internet ones. It is, undoubtedly, a rebellion.

One of the largest surges backward has happened in Fan Fiction – that oft-chided subgenre of all genres where it is always and only about the storytelling and known characters. It is often – in Horror – purely reminiscent of urban legends (even new ones and contrived ones), about successful movies and video games. But it is also about the kind of writing traditional fiction writers deign to acknowledge and love to “abhor.”

With Horror fanfiction there is always a component of dark fantasy afoot, laced with what can only be called a rabid fan loyalty, and within its closed communities it provides a creative space made to sow all wild seeds of imagination. There is instant editorial and fan feedback – because its audience knows by heart every sustainable plot and can grasp every new realistic possibility. Fan Fiction forces a writer to mind the lines – to know the character and the fiction world it lives in – to write to spec with twists and caricatures and secrets and alternate endings. These are the speculative, secret-seeming chapters about characters from stories you love. Fan Fiction (officially “fanfic” in their world) is its own world.

This goes against the grain of the isolated, socially dysfunctional curmudgeon most writer’s manuals claim we should be, and whatever delusion we ourselves subscribe to…No wonder there is “rivalry” if not jealousy; our environment is less supportive of our endeavors. And far too many of us consider the running of that lonely gauntlet to be a professional requirement for doing a “respectable” job… We shrink from fellow writers bold enough to just “put it out there” all un-vetted and unadorned.

Back to the Themed Drawing Board

So how did such unsavory fanfic elements leak back into traditional Horror? The answer may be as simple as admitting to the struggle for contemporary Horror to re-discover its voice…to reconnect with our roots and regain Critical respect.

We have no choice but to admit that “traditionally published” modern Horror in America has lost its way… And while it could be a consequence of all of the technology that blossomed around us (willing participants or not), that unavoidable invasion of all things glossy and new that supplanted what the imagination needs to drive darker fantasy and fear: abandoned sites of historical ambiance, the ruins of our own civilization, the decay of our own lifetimes. Our minds dismiss the shadowed failings of our civilization. We are in denial.

Modern Horror writers have noticed. They have questioned the same way editors and Critics and readers have questioned what is wrong with our Horror today that we are not duly terrified by the words? And just like the editors and Critics and readers, we have flooded back to the early writers – the ones who did scare us – to ask how and why. Why did their words work and how do we tap into that zeitgeist?

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That means we are not only looking at Stephen King and Clive Barker, but we are also looking at Lovecraft and Poe and James and Blackwood and LeFanu… We are re-reading our unofficial canon. And we are being influenced.

So maybe the next logical step is themed anthologies… Indeed nothing helps a writer get into the head of his or her idol like writing “in the tradition” of that writer – borrowing that author’s personally tailored conventions – and learning how to “write to specifications” of an editor or market. Getting one’s head in there also exposes weaknesses in the boundaries the author may have touched… It inadvertently uncovers and explores some of the themes and higher concepts that interest (get ready for it) Literary Critics… So imitation can become a lesson in how to create Literary elements – fleshing out your own work with those dual-meanings best recognized by lovers of poetry.

Imagine. But there is also another interesting side-effect to themed anthologies: the pretense of elevating Fan Fiction to a more “legitimate” professional space.

And the fact that everyone just dances around that pretense is rather amazing to me – and insulting to the very real, already legitimate world of fanfic writers…

We should call what we are doing exactly what we are doing: pillaging fanfic for the desperately needed blood infusion into modern American Horror. But we are sharing the same nurturing roots, two branches of the same tree.

At the very least, we are in keeping with tradition here – even Fan Fiction traditions. According to Anne Jamison in her totally fascinating book,  Fic: Why Fan Fiction is Taking Over the World  (Dallas, TX: Smart Pop, c2013) we have been at it since Sherlock Holmes, even as times have changed the way Fan Fiction is derived. Says Jamison, “None of these earlier literary practices are exactly the equivalent as what we understand as fanfiction today…Our understanding of the key relationships – those that exist variously among writer, written, reader, publisher, object published, and source – changes over time. What doesn’t change, or rather, what never disappears, is the writerly habit of writing from other sources.” (35) In other words – imitation.

Imitation is one of the ways writers learn to write. Continues Jamison, “Writers have always entered into and intervened in familiar stories and styles and collaborated on authorship through discussion or other forms of influence…We have long given (or ceded) credit, ultimately, to a single authorial name – and fan fiction, with all its collaborative glee, continues that tradition.” (35)

It is why Fan Fiction is a wonderful environment for learning about story-telling and how important it is to stick to conventions established for certain monsters and to explore all of the possibilities of character – to retell stories until you get the right version told – the one that sings. It is a place in which a writer learns the importance of the reader (who might well more passionately know your character’s potential than even you) and the utter necessity of toeing the line of logic.

These are the reasons writers have “pirated” the concept of Fan Fiction and re-christened the process as writing more reputable product for themed anthologies. Writers – like the editors who solicit them – have accepted the challenge to “write in the tradition of Lovecraft”… to tell “new” stories in a way Lovecraft himself might have approved.

Yet it is subversively (and maybe perversely) almost a Frankenstein effort: are we trying on writerly hats, or are editors so hungry for Lovecraft-level work that they won’t stop until they find a substitute? Why are we so infatuated that we are publishing Lovecraft Fan Fiction in place of original modern Horror fiction?

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I mean, I’m not sure, but I think we should feel insulted…

Don’t get me wrong: even I have written some fanfic-styled things myself – just for the challenge of doing so. They were fun to write and the ghost of copyright hangs over them. But fun and education was neatly tucked into the experience of writing them. The End.  I am thinking that outside of coincidence or anniversary tributes, there should be limits to the traditional publishing of fanfic themed anthologies. I mean if you really want original work…truly new, original work….

What is good for Horror writers may not be good for the genre as a whole… Sure we need to master mimicry the way artists master Masters – to learn the many techniques available to us. Then we need to paint our own pictures, mix our own palettes. We need to explore, to shed fetters, to find new ways of scaring, to play with language and the darker, clawed things that clutter our minds.

While we are casting our creative nets wider, we need to grow up and also cast aside our personal demons with regard to levels of professional legitimacy. Our genre grows from varied roots, and we don’t all have to write Literature or be professional outcasts. Most certainly there are standard differences, vetting differences, editorial differences. But in the end readers want to read good, scary Horror. So do Horror writers, who coincidentally hope to write the stuff that way.

We need to acknowledge with due respect where we get our inspirations, where we place our stories, and the audience that loves them. We need to consider that maybe fanfic is doing so well because those writers are telling the stories people want to read in our genre, because our genre is too obsessed with ideals of perfection and we are not listening to part of our constituency.

That maybe – just maybe – we need to teach, train, coach and mentor writers who DO want to write more Literary Horror.  That maybe we should stop with the whole mystical search for the next writing messiah to bring Big Money back to publishing.

We also need to admit when we seize and repurpose a tradition for our own use and profit, and recognize that the whole real problem is that maybe just maybe there aren’t enough “legitimately recognized” venues for the number of writers in our genre, or enough Horror being traditionally published, or that traditional publishing needs to acknowledge the value – monetary and artistically contributory – that “illegitimate forms of writing” bring to the genre – that therefore, perhaps they ARE legitimate, just different.

I think we must do what only we can do… We need to have faith in our own fiction voices, our own stories, our own versions of characters and plots, even if that means we don’t see a market for them right now. Be true to yourself and your Muse.  Don’t let the mirage of fame and alleged Overnight Success color your choices. As long as we are imitating Lovecraft, let’s do it right: Lovecraft imitated nobody. He preferred to not be published than to sell out for money.

And as for the illusive possibility that you would be discovered and beloved in this lifetime? Well, the public is fickle. If you ever do connect suddenly with a following, you need to have work in the wings, ready to go. If you don’t, someone who does will step in front of you…maybe even out-fanfic you…

And that would be more than a shame. It would be pure, unmitigated Horror.

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References

Benson, Amber. “Blurring the Lines.” (p. 384-388) Fic: Why Fan Fiction is Taking Over the World. Dallas, TX: Smart Pop, c2013.

Guran, Paula, ed. The Year’s Best Dark Fantasy & Horror 2016. Germantown, MD: Prime Books, c2016.

Jamison, Anne. Fic: Why Fan Fiction is Taking Over the World. Dallas, TX: Smart Pop, c2013

 

 

Lovecraft, the APA & Horror: a Manifesto of the Greater Rocky Mountain Horror Writers APA


Writing is one of the most personally punishing of the professions we could choose. We learn in a vacuum, taught by other people who are also feeling their way along because those “in the know” haven’t a clue on how to tell us what they want without belittling our every effort.

So how do we “preserve” what we do if we cannot get published? When you are ready to look back on your Life’s Work, will it be with an eye to the next winter’s fire, hidden in an attic, or bequeathed to a reluctant relative?

Who will know what you wrote? And what if it’s not that it was “bad” – it was simply not in style when written?

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The Same Thing Happened – to LOVECRAFT

I am not saying that we are the best judges of our work, or that an unsuspecting public deserves to be inundated with substandard creations. I am saying that – contrary to many editors’ professional opinions – we don’t have the magazines and pulp base that writers held up to us today had in their day with which to preserve at least some of their work.  “Trash” magazines, pulp magazines, anything with writing that is less than Stephen King, less than Bram Stoker Awardish simply do not survive. So to find a publication accepting of amateur work – let alone genre-busting work – is virtually impossible, effectively eliminating one source of what has been preached to us as traditional “dues paying.”

I am saying that the constant rise and fall of lesser magazines and so many publishing houses also means that there is nowhere for the average writer to find employment in the industry that teaches writers about writing, about editing, about the industry of writing. And this goes for writers of all levels of education. What used to be an entry-level job is now a “plum position” no matter how you slice it. And in many cases, it is becoming an industry once again famed for “who you know.”

I am saying that virtually every magazine out there today boasts that it is the best, and only accepts the best of the genre, that there is no room for midlist-type writers, for also-rans, no matter how fun or fair the story.

I am saying that if you get published on the internet, because of the nature of technology (and the subsequent ease in which you and everything about you can be libeled and slandered, edited, pirated, censored and/or deleted) your work may be altered without your permission or simply may never be found when the gods of S.E.O. change their linens, or the power goes out, and there is no print magazine to be discovered in a dusty old attic.

Talk about your tentacles… this is the one problem Lovecraft had no trouble with.

I am saying that as writers, we develop a massive catalog of our work –good, bad and in between – which fades in our file cabinets or which we carelessly trust to “live” on virtual reality clouds. I am saying that even if it all deserves to go nowhere, it is who we are and what we did with our lives. And sometimes – just maybe – it matters.

It certainly did with Lovecraft. And that is why I took a much closer look at how we almost lost him…

The Need For APA’s in Our Genre

There’s a reason I really like Lovecraft – besides his monsters, I mean.

I like Lovecraft because he was not a bashful, easily intimidated writer of our genre hopefully waiting to be discovered. He wasn’t exactly stable, either, but then how many of us are after a few years in the trenches?

Lovecraft was a perfectionist, a notorious grammar hound haunted by his own insecurities – once even asking an editor for his stuff back as a second thought… He knew that what he wrote was not the flavor of the day, and admitted that he probably only had a handful of readers who liked what he wrote.

That is important, folks. Because he also believed that those readers deserved a well-crafted story in which the writer was deeply invested – so much so that Lovecraft constantly preached (liked Literary Critics) that a writer should never write for the money…

And while many of us can point out that Lovecraft descended from wealth, he also descended from a degree of madness and landed in poverty like the rest of us. He did not make a living as a writer.

Read that again: H.P. Lovecraft did not make a living as a writer.

He made his living as an editor, and a ghost writer for other writers. Just like some of us work in retail while writing, or write blogs, or work at newspapers, or become contract employees for firms that need copywriters, or tech writers, or web content writers.

H.P., in his flawed way, was one of us.

So I became interested in his “story.” How did a writer of such modern genre importance keep his writing safe in a world that almost completely rejected him?

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The answer: he joined amateur press associations – both the United Amateur Press Association (UAPA) , and the National Amateur Press Association (NAPA). These were associations created for journalists…and yet Lovecraft managed to use them for his own purposes… for fiction writers. Under his tutelage, his participation in APA’s morphed into what had to have been one of the first writer workshop groups.

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He and several other writers from around the Northeast pooled together to write and exchange their writings for internal critique and internal publication in a newsletter. The object was to improve each other’s writing and preserve it in limited run publications within the group. The result was Lovecraft’s work being collected by co-member and dedicated fan August Derleth and later to be preserved by Derleth’s publishing company Arkham House – created specifically to preserve and publish Lovecraft’s work.

Read that again: without being in an APA, there might not have been the fandom of Derleth, the creation of Arkham House, and the rest of Lovecraft’s essays, letters, and work not published by Weird Tales.

Without Derleth and the APA, we might have lost Lovecraft…

Few “experts” of his time valued his work. Fewer liked him personally. Yet who do today’s experts thrust eagerly in our faces?

How do we know how many Lovecrafts are actually out there now? Being rejected? Maligned? Self-publishing?

The answer is: we don’t.

Any Lovecraft who might be out there won’t likely find out he or she was a Lovecraft until long after they are dead and their work is “discovered” lying in a heap of e-papers or discolored print. This is a sad reality of a life in the Arts: new developments that actually advance the genres of any of the Arts take time because Critics need time and distance to see the common thread that is advancing said genre. It simply cannot be done with any guarantee during the writer/artist’s lifetime. Derleth was right, but he also got lucky. Lovecraft, however, died poor and unrecognized.

There but for the grace of Cthulhu go we…

With the effect the National Amateur Press Association (NAPA) and the United Amateur Press Association (UAPA) had on his work, I am wondering why APAs fell out of favor… because in reality, they were working writers groups – serious writers groups. They were among the first to utilize writer workshops and peer review through critiques.

And in all other academically-infused professions, peer review is the way things are done.

I am not saying APAs are gone: both the NAPA (http://www.thefossils.org/horvat/aj/napahistory.htm ) and UAPA (http://www.amateurpress.org/ ) still exist, and new ones have cropped up for other genres… But I am saying that from what I can see they are often dysfunctional. One problem I see is that the sheer number of members tend to overturn the lifeboat. This is complicated by the fact that aside from the NAPA and UAPA, other genre APAs tend to be untended gardens where wild growth distorts the tight control needed to help every member writer. It’s almost as those either the ambition was not carefully channeled, or there is so great a need that everyone is rushing for the rescue boat.

Worse, I have been unable to find a standalone Horror APA…instead, our genre succumbs to invitations to join other genres. And I see a problem with this: how can writers from another genre productively critique Horror writing without understanding all of the tropes and conventions therein?

I am thinking it is time to revive APAs for the sake of the history of our genre. I am thinking Horror deserves its very own, dedicated APA.

Why? Because who is being published is not necessarily providing the body of work spawning the future of the genre.

You heard me. I am among the many who believe that The Best are not always the best… only that they are the best of those that made it across a given editor’s desk, that fitted the personal preferences of the moment – i.e, Lovecraft would not have been there.

This thought disturbs me. It keeps me awake at night. And let me make it clear I do not think of myself as a Lovecraft. But it bothers me to think that a Lovecraft may be out there right now – without his or her August Derleth to save THE WORK from oblivion.

Because it really is ALL ABOUT THE WORK – not the author…

The future of the genre has always risen from the muck of amateur writers trying to tell better stories… it is in the sloppy craft that comes with enthused storytelling, and the determination to improve upon that craft, with the ignorance and exuberance of youth. It is in the gritty plasma seas of writers who tell the kind of stories that prove they don’t know better and didn’t know they couldn’t or shouldn’t… It is in the warm primal pools of creativity that come in lives without editors and Critics… incubated in the minds of writers who have whole mythologies and lineages in their heads… tortured in the nightmares of the isolated and oppressed.

It scares me…how many good writers I have met, read, and seen vanish back into the woodwork working in retail, in fast food, in cubicles, cleaning hotel rooms, repairing my car… people who have whole finished manuscripts, screenplays, portfolios of artwork, graphic novels… people who don’t know if it is yet good enough, or how to take the next step…

Published writing – as wonderfully validating as it is – is just a collection of work that a handful of star-making editors are able to present to the public eye. It is not the whole of what is being written.

Those of you who abhor what you see being published…Lovecraft may be out there. He may be you…

And although I – like many – like to see what modern “experts” think is good, solid, capable writing in the genre, I also miss the tales told with campfire enthusiasm. I miss the stories like we used to see in Weird Tales and Amazing Stories.

Now that such magazines are being lauded for finding canon-elect authors of our genre, they no longer accept the same type of unknowns… they also are The Best Looking for The Best, if and when they revive and fold and revive again. We have no new Weird Tales… no magazine that is rich with the pulpy roots of who we are as a genre looking for the raw voices of new tales, no magazine just satisfied to put stories out there for simple digestion. What pulp there may be we cannot find before it fades…It is not that we don’t want it: it cannot survive in the vacuum that happens before its audience can find IT.

Writers cannot hope to make a living with modern magazine markets – who now keep your work for almost a year while they think about it, remind you that they only seek the best of the best, and are proud to pay a whole ten-spot for the privilege. Even if you are published, that paycheck doesn’t even buy a print cartridge.

Wouldn’t it be nice if we didn’t see the need to be published traditionally? That we didn’t put a minimum dollar amount sold on our right to write in our own genre?

That – like Lovecraft – we simply saw the importance of writing what we honestly felt and in pursuing the execution of it capably, certain in the knowledge that a handful of our trusted contemporaries might accidentally or on purpose be the source of our work’s preservation?

It is clear to me as an older writer that we cannot continue to depend on the technologically-imposed isolation that the modern world is heaping upon us to create stellar new works. On the contrary; with everyone shoving the whole educate-yourself paradigm in front of us, maybe it’s time we did exactly that.

Nowhere in our genre are we getting guidance, yet criticism abounds as it always did – in personal attacks and elitist organizations too great to assist in the training of our neophytes. So why don’t we help ourselves? Let the Elite be the Elite in their Elite Bliss. The rest of us have to work for a living.

So let’s band together. Let’s help each other. Let’s quit courting those who don’t want to give us the time of day. We don’t need attitude, we need constructive criticism, we need professional support, we need markets that really want our fiction, and we need other pairs of eyes to help us be sure we are worthy of getting there.

We need the attitude of Lovecraft. And maybe we deserve to keep our money in our own pockets by using the skills of each other to get what we each want.

That is what an APA can offer. It’s the choice of the members what will be the goals and what will be accomplished. It is a working writer’s group…not an exclusive rewards club. It is a place for writers to write, to meet and support each other.

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 Never Fear, Lovecraft Was Here

It’s okay to still love traditional publishing and the myth that goes right along with it. But Happily Every After is pretty much a fairy story for most writers. The pyramid is still a pyramid and the point is just not big enough for all of us to perch upon.

Combine that simple truth with the convoluted messages today’s publishers are sending, and there is a whole lot of fiction being written in the large shadows of What Worked Before…

Part of the problem is that traditional publishing serves two masters: the fickle public, and the Call to Elevate Literature. The two could not be more dissimilar in their wants and needs. On one side, the very powerful lure of Hollywood and bestseller paychecks for all have the allure and power of drug money…with the equally damaging delusions and mixed messages. On the other is the confusion and disillusionment with the Literary establishment, with its lack of communication in not only what is desired, but how to accomplish it.

Writers are famously criticized for improperly overinflating the importance of magic in our writing processes, and yet the examples we are given as Literature are held up to the sun and moon as Divine Creations only True Geniuses could construe.

No wonder so many writers drink, have mental breakdowns, and get the other kind of Weird.

And what if that isn’t you? What if you have muttered in the dim glow of your computer monitor, “I don’t write what I am seeing published”? What if you agree that what you write doesn’t fit the creative climate of the three magazines taking submissions for the Best of the Best? What if you are shocked and/or appalled at what you do see being published – not because you think you are better, but because you expected a helluva lot more out of all that bragging?

What if you write in a subgenre that is suffering through professional and critical doldrums? What if you cannot find a place for what you write but you still want to master your subgenre and want to push the envelope a little?

All of these things contribute to your personal Hall of Rejections. They contribute to the isolation, and the fear you have that when you die, nothing will remain of all of your efforts. Maybe you are not looking for fame (although the fortune sure as heck wouldn’t hurt), but to be the best that you can be, and maybe birth something new and unusual…

Keep reading, if you are he or she.

We also hear how overwhelmed publishers, editors and publishing venues are… that positively everyone thinks they can write and by golly sends their masterpieces to them…that they are drowning in so much substandard matter it is a pure miracle anyone is ever fished out of the muck to be “discovered.”

We also hear that there are a wondrous amount of “good” authors that must be routinely passed over for the “great” simply because publishing is expensive and positively must earn a decent return for the publisher’s investment… that there is simply not enough in the publishing coffers to experiment on as many newer authors as in the “recent” past (i.e., the 1970’s and 1980’s).  Previously fair-performing, decent midlist authors were laid off, after all, as well as so so many good to great editors in all genres.

Where does this leave a writer like you?

Everyone – including those same publishing professionals “explaining” why they are so busy and you are so unpublished – points to the internet, to online magazines they will later condemn publication in, to subsidy and vanity publishing, to self-publishing and rival independent publishers as options. And then they will condemn those choices for all but the few who capture national attention and elusive bestsellerdom.

So do you abandon the traditional route in absolute frustration and total ignorance of where you are on the scale of potential success and pony up the funds to self-publish or co-publish? Do you fade into obscurity? Or bet the rent on one last story contest?

I’m telling you that the state of publishers, editors, and ever-materializing and vanishing venues is not your fault. For one thing, if some of us didn’t provide the stark contrast between good and stellar, between fair and truly incompetent, how would the real geniuses stand out? And more importantly, how would we learn the ropes, since everyone is so busy to otherwise teach us?

But I am also telling you, this is not a new situation. Writers have historically been here time and again. The only difference is that for most of us, our collective “recent memory” of the history of writers in publishing has been all about the rise of publishing… and here we are in the decline of it.

But there is something to understand here.

Tech people like to talk about adapting, when tech people tend to obliterate every choice that does not involve something they are selling. Here’s the fact: publishing is not going away – but it has had to slim down due to the masses “buying into” the mythology that reading is done, and print is dead.

Neither are true. But what is true is that the 1970’s and 1980’s are dead and will likely never return. Gone are the big author advances, the multi-book contracts, the writer who lives big on one great success. So today if you want to be a writer, you have to mean it. You will probably do a lot of it sandwiched between minimum wage jobs, personal challenges, and clinging to dreams of discovery. But many of us – whether we are “good” or classically pulp, or simply not good at finding our way in today’s confusing world – are going to have to make peace with a certain level of anonymity in our chosen profession.

Never fear. Lovecraft too, was here.

The Rejection Merry-Go-Round

We’ve all been there; and sometimes – perhaps more often than we’d prefer – we might even have belonged there – among the rejected. But the problem with rejection is that there is no standardization of the process – except in the cold anonymity of it, the simple “not for us” default. It makes it difficult for a writer to get honest feedback: should he or she find another career, or is it a matter of learning how to tweak an otherwise salable piece?

We’ll never know, because – we are told—editors are busy people. Apparently, writers live lives of leisure and incredible wealth by comparison. And only genius talents – who are of course born rich –  should be allowed to see print. Apparently, we should deduce the psychic sonar that goes along with a rejection – from the “you almost had it” to the snort and sneer – and behave accordingly, so we can stop gumming up the publishing machinery.

So then I have to wonder, how hard is it to create a standardize piece of paper with critical answers to writer’s rejection questions, all lined up next to boxes the rejecting editor could instantaneously check?

Wouldn’t that be of more service than haphazardly plying publications with different stories harboring the same technical problems?

Just sayin’…. I mean if time is really of the essence and you really know why you are rejecting a piece and aren’t afraid to or are longing to say so…

Simple issues like “wrong format” or “sent to wrong editor” or “proofread before resubmitting” or “craft issues” or “genre issues” or “no supportable story arc” or “overdone concept” or “no visible concept” or “editor personally dislikes” versus “not our type of story”…

Adding boxes like “worth revising” “please revise and resubmit” or “salable but not to us upon revision” would be additionally helpful. “Future submissions welcome” versus “More work on technical and craft issues needed before submitting further pieces” would also be helpful…even if not everyone read them or attended to those issues. Many of us would. Especially if we kept seeing the same boxes checked time and again…

Not to worry, Lovecraft may have had it worse… In a world where the publishing community, writers and editors and critics knew each other more intimately, many writers like H.P. lived with stinging criticisms and sometimes very personal attacks.

This was why he valued the APA. He knew that his fellow writers were on his side, knew something of and appreciated what he was professionally exploring. They also were writers. They knew when something wasn’t working and could deign to tell him. He would not feel under any obligation to “do as he was told” but to take all criticisms under professional advisement.

Wouldn’t that be great to find without having to fork over six figures for a master’s degree? Without having to sacrifice virgins in the hope that your next sale would be enough to qualify you for paid membership in the Professional Association of your genre?

Well, if you are a Horror writer you don’t have to.

Something Wicked This Way Comes

I’ve had it. Really. So I decided to do something about it.

As of October 2016, I am founding the Greater Rocky Mountain Horror Writers – an APA. The domain grmhw.org has been purchased, an email account established at grmhw.org@gmail.com , and a preliminary website set up at https://grmhwapa.wordpress.com.

It’s going to start small, most likely. It is not going to be regionally restricted, but it will be regionally located in the Rocky Mountain region. It will be based in my office in my writing room until it no longer fits, if that should ever happen. It will start with a small website on WordPress, and if it grows and is able to sustain a requirement for dues (not to be more than $25) then a larger, maintained website will be designed. Publication will ensue within the group, which will have chapters if locations or subgenres need to be served.

This is a wait and see proposition. I am taking names and email addresses. Please visit the site available October 1. You –no matter who you are, no matter where you write Horror – are invited to join.

Knock Knock. Who’s there? Cthulhu. Cthulhu who?

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“Getting” Weird: When a Subgenre is a Subgenre and its Shadow is Over More Than Innsmouth (Part Two)


The shortest, most succinct definition of Weird I ever read was: “Stories about things that cannot possibly happen.”

To this day, that is the most helpful of all definitions I have read – the least complicated with the most meat. That simple statement reminds the reader and the writer to think about the ultimate destination of plot, and the conditions by which we get there. For example, this particular definition of Weird includes all of the traditional monsters of Horror – although the ghost waivers on the fringe at times. But it also encompasses what is referred to as “Cosmic Horror” – which is to Science Fiction what Dark Fantasy is to Fantasy.

However, nothing in defining Weird Fiction is completely simple because as a reader or Critic accumulates examples of stories, there is just enough “spin” on the different plots, characters and atmosphere that Critics need more specifics.

So let the digging and defining begin…

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Defining Weird Fiction

When anyone attempts to succinctly define Weird Fiction, they inevitably resort to discussing H.P. Lovecraft. It isn’t that Lovecraft invented the Weird (he did not) but it was under his study and practice of it that the form coalesced. Part of the reason was Lovecraft’s inability to market much of his fiction, and part of it was his own obsession to clarify its differences from Supernatural and Gothic fiction forms of the day. Either way, Lovecraft spent a lot of time writing — including essays and  letters to other writers exploring the Weird. Because of his skill as a paid editor and his love of both literature and pulp forms, he better expressed the differences he was seeing – a talent that in turn makes him a favorite among fans as well as modern Critics when looking at the Weird.

But as the Weird caught on with other writers and the body of Weird literature (small “L”) began to grow, scholars of such things as definitions had new decisions to make. Was Weird writing in decline after Lovecraft, or undergoing expansion and change?

This has led to dabbling in terms such as the New Weird, the Modern Weird, and the British Weird to include all of the writings that came after Lovecraft. But does this help or hurt the definition? And isn’t all Weird just Weird?

First, one needs to acknowledge that there are as many definitions as there are readers, writers, and Critics of the Weird. Critics are obsessed with nailing down the defining conventions of Weird fiction as Lovecraft wrote it simply because to understand revision one must know the purist original form.

While everyone is entitled to their opinions, I admit to being persuaded by better argued opinions, not so much those offered by the merely passionate. To help get us pointed in the same direction, I have chosen to highlight those definitions which show an interrelated set of themes – specifically those presented by Lovecraft himself, by rising Horror Critic S.T. Joshi, British writer and Critic China Mieville, and editors Ann and Jeff VanderMeer (primarly because of their recent effort to compile an almost encyclopedic collection of Weird tales).

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H.P. Lovecraft

Here’s the problem: Weird fiction was in the process of defining itself when Lovecraft died in 1937. While a number of writers were quite vocal about the subject, until Lovecraft adopted the form exclusively, “Weird” was pretty much a misunderstood and often generally applied adjective. With Lovecraft, the idea of genre began to coalesce and conventions began to emerge. This is what makes Lovecraft — a prolific writer of letters and essays on the subject – a dominating force and constant reference for Critics in the attempt to define the whole of Weird Fiction.

Lovecraft was a dedicated student of such Weird tales as its early days presented. Specifically he gravitated toward Edgar Allan Poe, Lord Dunsany, Algernon Blackwood, Arthur Machen, Robert W. Chambers, and Greek mythology (Montague-Lovecraft 30) – all of which have recognizable influence on his encapsulation of the Weird. Yet he also read and had “affection for the dime novels of the day, ironically, given his like for the more highbrow end of literature. He voraciously devoured westerns, detective and espionage stories….” (16).

All of this congealed in his style until the one discovery that would set the Weird in motion – astronomy. In his essay, “Confession of Unfaith,” Lovecraft states: “The most poignant sensations of my existence are those of 1896, when I discovered the Hellenic world, and of 1902 when I discovered the myriad suns and worlds of infinite space…The futility of all existence began to impress and oppress me; and my references to human progress, formerly hopeful, began to decline in enthusiasm.” (Montague-Lovecraft 28).

This changed everything. For one thing, the bulk of Lovecraft’s earlier works were largely in imitation of other writers as he searched for his own voice. It was the unique marriage of his study of astronomy, mythology and the writings of those at the forefront of Weird writing that gave him focus and his own style, launching the Weird into its own cosmos. This is where the Weird was born, assembled from the many parts that had already begun to burst from the egg sac of the Supernatural and Gothic forms.

The first thing that Weird writers changed was how characterization was revealed in Weird tales. This is a significant difference from the rest of the fiction of the day – and a change that alienated Lovecraft from the Critics of the time. But the change had in a sense already happened in the pulps – it simply hadn’t been completely unified into a type of fiction with its own name and criteria. Gone were the deeply developed, likeable Literary characters. Instead the characterizations seemed cold and almost shallowly drawn – there but for the purpose of advancing the plot toward what would become a Literary-induced end, fraught with world view.

So while we assume that by reading Lovecraft, we might be influenced enough to be writing Weird… that by osmosis we become schooled in the Weird… something has indeed gone a bit awry. As it is, we get into trouble when we as writers (and that means any of us from novice to professional ranks) read someone like Lovecraft, and attempt to mimic him without understanding Lovecraft’s own interpretation of how weird fiction functions.

For example, Joshi explains, “….the increasing concern of weird writers to depict the minute details of the mundane lives of mundane people, both in an attempt to win the reader’s sympathy… and to lay the ground for the intrusion of the weird into a familiar realm…is not so different in the approach from Lovecraft’s brand of realism, although he emphasized topographical over psychological realism.” However the “dwelling on issues that are of concern to most normal people – relationships between husband, wife and children; difficulties on the job; problems of modern urban life – is a very large reason for the popular success of writers like King and Straub, it does not seem to me as if this should be the primary focus of weird fiction” (7).

China Mieville agrees, clearly stating: “Lovecraft’s protagonists are so unheroic: there is no muscular intervention that can save the day.” (Mieville xiii).

Yet before we in displaced loyalty to King or Straub attack Mieville or Joshi, we must first realize that the reason Joshi (and Mieville) arrived at this conclusion is because Lovecraft himself declared, “I could not write about ‘ordinary people” because I am not in the least interested in them. Without interest there can be no art. Man’s relations to man do not captivate my fancy. It is man’s relation to the cosmos—to the unknown – which alone arouses in me the spark of imagination….”(7)

Says Joshi, “Weird fiction should not be about ordinary people. Even if one does not adopt the ‘cosmic” attitude of Lovecraft, even if one wishes to depict the insidious incursion of the weird into the ordinary, the emphasis should be on the weird and not the ordinary” (Joshi-Modern Weird 7). He further clarifies that in his opinion the heavy emphasis on the latter makes a weird work “thin and poorly conceived” where not enough attention is paid to the reason for the work itself – the weird phenomenon. (7)

In addition to the change in character, there was something else…the Weird had embraced a new otherworldliness…one that was definitely not the familiar supernatural. It was called cosmic horror.

Lovecraft began to actively follow in the footsteps of Blackwood, Machen and Chambers, whose protagonists “were often doomed men for whom reality had become blurred. Often, they were scientists or explorers who were forced to undergo horrific physical transmutations or witness hideous rituals, the natural and scientific laws shattered in the process.” (30).

This marks a sea change in the writing of the day, unifying writers that were sharing new conventions and more “modern” world views that distinguished them from the Gothic tradition (which itself seemed to face backward); a new lineage was being spawned, and a strong focus on – if not preoccupation with – discovery and the sciences was the impetus. It also meant that there was a desire to define what is natural law and therefore what is supernatural. Because for writers of the Weird, it was the breaking of natural laws and the birth of the irrational  that offered more tangible Horror than the mere supernatural.

The preoccupation with the cosmic influence on the minimization of humanity became the impetus of Weird fiction that lifted the Weird tale from the earlier, more constraining conventions of the nineteenth century Gothic tale and ghost story and “imbued the reader with a sense of creeping unease” (30) – which we now recognize as one of the Weird’s main structural conventions.

It was Lovecraft who seemed most preoccupied with defining what he was writing – of giving the Weird structure.  Other writers seemed to drift in and out of the form – but it was Lovecraft who dedicated himself to it – who sculpted out the very idea of a genre space. And with his passing, coincidentally came a new blow to the Weird.

 

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S.T. Joshi

By 1940, explains Joshi, “the demise of the pulps led to the birth of paperback book publishing and some of the genres – particularly mystery and science fiction – flourished in this new medium. Weird fiction, for whatever reason, did not.” (Joshi-Modern Weird 4) This means that the window for gathering definitive works used to model conventions upon and cement formula is particularly narrow. Continues Joshi, “Until recent times, of course, weird fiction was never written in any great quantity; before the establishment of the pulp magazine Weird Tales, no periodical was ever devoted exclusively to the weird” and since then, most modern writers of the weird also have an affinity for other genres – such as Robert Bloch, Fritz Lieber, Ray Bradbury, Stephen King, Richard Matheson, and Charles Beaumont (4).

For this reason, Joshi is wont to study Lovecraft for useful definitions, drawn directly from the most complete skeleton of the early Weird ever excavated – Lovecraft.

And what seems to strike Joshi most about the early Weird and Lovecraft’s use of it is the one thing most likely to grab at a Critic’s heart – philosophyand in this case, world view.

Says Joshi: “The weird tale offers unique opportunities for philosophical speculation – it could be said that the weird tale is an inherently philosophical mode in that it frequently compels us to address directly such fundamental issues as the nature of the universe and our place in it… certain authors develop certain types of world views that compel them to write fiction that causes readers to question, revise, or refashion their views of the universe; the result is what we (in retrospect) call weird fiction.” (Joshi-The Weird Tale 11)

While this may seem like the kind of boring, beside-the-point stuff only a Literary Critic could love, it is important to the definition of what we call Weird fiction. Most of us already sense an “elevation” in Weird writing that sets it apart from the rest of pulp, and we are proud when we see Critics appreciate what it was we sensed. But what we need to acknowledge is that this “elevation” is due to the incursion of Literary elements – in this case that intrusion of philosophy. And that means that if we write Weird fiction, according to the developing definition, our writing must include some form of it. Fortunately, when writing true Weird fiction, such is almost unavoidable – another reason Critics have embraced this one ingredient as part of the official definition of Weird.

A second qualifier for the Weird is form. Notes Joshi, “Lovecraft makes clear in ‘Supernatural Horror in Literature’ the vital shift in weird writing affected by Poe – principally in making the short story rather than the novel the vehicle for the weird and in his insistence on psychological realism…” (Joshi-The Weird Tale 3)

Ironically, modern times have seen a spike in the short story format – perhaps an event fanned by the flames of self-immolating publishing houses – driving most writers to magazine and anthology markets. And this has helped in souring a revisitation of writers to our pulpish roots, as well as spawning innumerable Lovecraft-themed anthologies which can’t help but create a new wave of New Weird writing…

But it has also caused us to revisit the issue of why – with few exceptions – our writers have difficulty achieving success with novels in our genre. It has long been argued by Critics that the Horror story itself is not suited to novel-length development – that it cannot sustain the necessary tension throughout to deliver the required shock-ending. And the greater success of short story anthologies in our genre would seem to support the argument. However then one has to look at a writer/Critic like China Mieville and his success in the novel form of Weird writing to wonder if this is true, or if we have been making excuses…

Joshi clearly thinks that this smaller group of successes indicates that the Weird tale itself suggests a conventional preference for short story. Here he aligns himself with Lovecraft, who long promoted message over money – another  Critical preference. So while there may be exceptions, Joshi seems to believe like Lovecraft that the standard medium for the Weird tale is the short story…even if we must starve to write it.

The third qualifier – as mentioned by Lovecraft in the quote above – is the use of psychological realism… or as Joshi explains, “any tales founded upon science” and most often utilizing a “subset of nonsupernatural horror.”  An example would be the psychological ghost story where the realism is delivered as based chiefly on the findings of modern psychiatry and psychoanalysis – which is not science fiction “because of their manifest intent to incite horror” (Joshi-The Weird Tale 7-8). This use of the ghost story to delineate and illustrate how the Weird acts differently upon traditional genre is an important concept to grasp. If you don’t see it, you will miss the important boundary line between the Weird and the rest of Horror.

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China Mieville

For China Mieville, one of the greatest “tells” of Weird fiction – especially in lieu of Lovecraft – are the monsters. Because as Mieville points out, these are not “the modernizing of the familiar vampire or werewolf (or garuda or rusalka or any other such traditional bugbear). Lovecraft’s pantheon and bestiary are sui generis. There have never been any fireside stories of these creatures; we have neither heard of nor seen anything like them before. This astonishing novelty is one of the most intriguing and important things that can be noted about Lovecraft, and about the tradition of Weird fiction in general.” (Mieville xiv)

The shift to new and imaginary fauna in fiction was concept shattering…and it led directly to the development of modern Fantastic fiction. But it was the effect of World War I which carried the greatest influence on these embryonic forms of new fiction – the horrors of which “smashed apart the complacencies of rationality and uncovered the irrationality at the heart of the modern world… certainly (the) stock of werewolves and effete vampires were utterly inadequate to the task” (xv) of enlivening our collective nightmares.

Yet, according to Mieville, early fantasy writers tried anyway. Says Mieville, “At the low end of culture in the pulp magazines (such as Weird Tales) Weird fiction shared with Surrealism a conception of modern, orderly, scientific rationality that was in fact saturated with the uncanny.” (xv) Hence, the Scientific Uncanny infused and informed the Weird, and writers like Lovecraft began to insinuate what were then cutting-edge scientific theories into their fiction  and wind them back to description and color of myth and folklore (xv). The result is a horrendous and unholy marriage between what we fear our technologically driven discoveries will reveal about us, and what we already know about our primal origins.

These two features of Weird fiction then – the often indescribable, never before seen monster and its irrational/impossible intrusion into our rational world – provide a binary set of conventions that inform the definition of the Weird. And for Lovecraft, “the exposition of a monstrous cosmic history, of hateful cults, of the misbehavior of matter and geometry, is all the stronger for being gradually, seemingly randomly, uncovered.” (xii)

But there is a third characteristic of the Weird that Mieville and Joshi both note a characteristic presence of: setting.

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The VanderMeers

For most of us in the genre, we are most aware of atmosphere as a required convention. We are used to and long for the eerie, mist-covered moors, the dread-covered darkness that seeps into every cell and serves as the vehicle for the deliverance of Horror. Horror takes the familiar and builds unease. The Weird, however does something slightly different – and to the Critic’s liking – more Literary with setting: it temporarily abolishes the rational – suspending the story in time and place instead of merely coloring its temperament. In the Weird the setting –not the circumstances – isolate and transform.

According to the VanderMeers, “Usually the characters in weird fiction have either entered into a place unfamiliar to most of us, or have received such hints of the usual that they have become obsessed with the weird. Whether It exists or not, they have fallen into dialogue with It; they may pull back from the abyss they may decide to unsee what they saw, but they still saw it.” (VanderMeer xv).

This indulgence in atmosphere is more pervasive than in generic Horror… We as readers are not connected to the character as much as we are connected to the feeling the character is meant to experience and which he or she typically is unable to fully describe. Add the VanderMeers, “Because The Weird is as much a sensation as it is a mode of writing, the most keenly attuned amongst us will say “I know it when I see it’ by which they mean ‘I know it when I feel it….” (xvi)

This feeling is often drawn directly out of the setting of the story – the best example of which is likely Lovecraft’s At the Mountains of Madness. Lovecraft’s use of the stark, almost-lunar landscape of the Arctic serves to isolate and perform that refashioning of reality that allows for the revelation of monsters and the truths about us which they may represent. It is a characteristic then of Weird fiction that setting takes on an active role – almost as a separate character itself, wherein “The most unique examples of the Weird …largely chose paths less trodden and went to places less visited, bringing back reports that still seem fresh and innovative today.” (xvi)

It is a Critical “plus” that such landscape in Weird fiction Literarily represents both the writer’s psychic landscape while being a symbolic statement of our collective psyche and culture (Mieville  xvii) As such, it offers that road to world view and philosophy so highly valued by Critics, including evidence of a writer’s personal evolution over time and works. But it also causes that equally interesting and Literary change in the reader – that transformation or reanalysis of the reader’s world view… “A reverie or epiphany,” say the VanderMeers, “But a dark reverie or epiphany…” in which it is easy to be emotionally overcome and our explorations become personally transformative (VanderMeer xv).

This does not mean that to write Weird Fiction we should birth contrived creations designed to bury our beliefs for Critical excavation – those Critical elements are subliminal at best, and artistically placed when professionally handled. The best Weird fiction is still honest fiction. Nor should this be taken to mean that Weird fiction always has exotic locations, but that the sense of the exotic, the unknown and unknowable lurk heavily within any chosen Weird setting. But it also means that when we sit down to read or write Weird fiction, there should be some things that are universally fixed in that writing.

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The Conclusion

So where does all of this leave us – the writers and readers of the Weird?

The general consensus seems to be summed up by leading Horror editor Paula Guran in her introduction to The Year’s Best Dark Fantasy and Horror 2016, “The Dark Dangerous Forest” in which she addresses definitions in general:

“We’ve already established that neither dark fantasy nor horror is really definable. Any definition you might apply is apt to be debated anyway. Perhaps more importantly, both terms are – by the very nature of what they describe – always evolving, changing, mutating, transforming.” (Guran 7)

Not that I make a habit of disagreeing with leading editors, but I seriously do disagree…with respect to the totally awesome Ms. Guran…

I believe there are definitions – there have to be, or there is no such thing as genre…and rejections are worthless, psychic endeavors – not about controlling skilled writing and craft. The very complicated and difficult task of cementing any such definitions belongs to the Literary Critic in particular, and variance on the theme is in the hands of writers and editorial preferences. However, to attempt to escape the responsibility of defining genres and subgenre conventions because it is difficult (which is why Literary Critics are educated in Literature and Linguistics to the Ph.D. level) or ever changing (which is the state of all Literature – even genre), is a cop-out.

Language and Literature are living things. Of course they are always changing. That’s why there is Lovecraftian Weird, New Weird, Modern Weird, British Weird, feminist Weird…need I go on? But this doesn’t change the truth that something makes Weird, WEIRD. That “thing” must be definable or how are writers to be expected to write it? Critics to analyze it? Editors to select it? Readers to find it?

This is not to say that the task is easy. When even our best Critics are feeling the frustration, it makes our task all the harder.

Between his study of Lovecraft and his Critical exploration of Weird fiction, Joshi has fashioned a “working” (Critical) definition, although he admits at best it is still a study in progress:

“As I see it, the weird tale must include the following broad definitions: fantasy, supernatural horror, nonsupernatural horror, and quasi-science fiction. All of these categories should be regarded as loose and nonexclusive, and there are some other subtypes that are probably amalgams or offshoots of those just mentioned…” (Joshi-The Weird Tale 6-7).

But by Joshi’s own words, it is far too early to establish a more accessible definition – such things happen through the course of the application of Critical Theory to a broad selection of works – an enormous task awaiting the new Literary Critic of the future. But it does not mean that there are not rules orchestrating plot behind the scenes.

It does mean that as writers, we need to study what we have called subgenres, to place our own personal catalogs within the structure of genre. We need to be careful with the terms we use, to insist others are, and to demand clarification when someone declares a work unconventional.

Like the Literary Critic, we need to decide on the meaning of terms and their definitions in order to communicate what we want, what we need, and what we are doing. This is best achieved when we work with Literary Critics – not against them.

Joshi states, “I am not, as a result, prepared to define the weird tale, and venture to assert that any definition of it may be impossible. Recent work in this field has caused an irremediable confusion of terms such as horror, terror, the supernatural, fantasy, the fantastic, ghost story, Gothic fiction, and others. It does not appear that any single critic’s usage even approximates that of any other, and no definition of the weird tale embraces all types of works that can be plausibly assumed to enter into the scope of the term. This difficulty is direct result of the conception of the weird take as some well-defined genre to which some works ‘belong” and others do not.”

And yet, this is exactly the impression Critics and editors alike leave for the writer: that we should know and be able to replicate it at will... It’s what set me on the mission to root out a working writer’s definition.

And I did…Using everything I gave you supported above by our two best Critics, one canon writer, and a pair of editors.

So here it is, a makeshift list of already accepted Weird Conventions:

  • extraordinary characters
  • pervasive cosmic influence
  • identifiable philosophy/world view
  • typically presented in short story form
  • utilizing psychological realism over the supernatural
  • populated by unfamiliar/indescribable monsters
  • all roaming an intense and exotically tinged setting

Or, you can just put in your mind the definition I started with: “stories about things which cannot possibly happen….” Yet that which somehow, to our Horror…do.

Is Weird fiction a subgenre of Horror or is Horror a subgenre of Weird fiction?

I am probably not fully qualified to say, but I have my own opinion – that as powerful and inspiring as it is, Weird is a Literary subgenre in the same way Ghost Story and the Gothic are. I say it because like those two subgenres, there is a similar sense of creative constriction in the Horror invented – a kind of vanishing point the further away from Innsmouth we write (reflected in the frustration of Critics with the lack of Weird starch in the newer stories), and I like to think a genre generally frees the imagination, broadening at both ends.

While the best-written Weird spins marvelous offshoot tales draped over “indescribable and unnamed horrors,” it also acutely severs the trajectory from folk and fairy tales in favor of science and technology, leading me to believe it is as much a dead end in Horror because of the supremacy of Lovecraft in the same way that Joshi (and many others) claim M.R. James created a dead end to and for the Ghost Story: it isn’t that newer contributions cannot be entertaining or well-written, but it is increasingly hard to be “original” and stay within the invisible Weird confines.

And surprisingly, it is the Literary Critic who is making these same points. This is why I read S.T. Joshi. And Mieville. And any Literary Critical essay I can find on our genre. This is why I heavily recommend studying such essays and specifically Joshi’s – not because I agree with him (many times I do not) – but because he (almost exclusively and certainly most ravenously) is struggling to set the perimeters of genre and subgenre, to establish the conventions and definitions that will allow the serious work of Literary Criticism to begin.

I am (sadly) still awaiting a major work from China Mieville on the subject…(hint, hint, Mr. Mieville…)

To be part of that discussion you will have to do some homework, because clearly no one is going to just hand the information to you. But one thing is true: understanding more about what you are writing will make you a better writer. And maybe – just maybe, your opinion will come to matter.

Wouldn’t that be weird?

 

References

Guran, Paula. “Introduction: The Dark and Dangerous Forest.” The Year’s Best Dark Fantasy & Horror 2016. Germantown, MD: Prime Books, c2016.

Joshi, S.T. The Modern Weird Tale. Jefferson, NC: McFarland & Company, c2001.

Joshi, S.T. Unutterable Horror: a History of Supernatural Fiction (the Twentieth and Twenty-first Centuries. New York: Hippocampus Press, c2012, 2014.

Joshi, S.T. Unutterable Horror: a History of Supernatural Fiction (From Gilgamesh to the End of the Nineteenth Century. New York, Hippocampus Press, c2012.

Joshi, S.T. The Weird Tale. Holicong, PA: Wildside Press, c1990.

Mieville, China. “Introduction.” At The Mountains of Madness by H.P. Lovecraft. New York: the Modern Library, c2005.

Montague, Charlotte. H.P. Lovecraft:the Mysterious Man Behind the Darkness. New York: Chartwell Books, c2015.

Montague, Charlotte. Edgar Allan Poe: he Strange Man Standing Deep in the Shadows. New York: Chartwell Books, c2015.

VanderMeer, Ann and Jeff, eds. The Weird: a Compendium of Strange and Dark Stories. New York: Tom Doherty Associates, c2011.

 

“Getting” Weird: When a Subgenre is a Subgenre and its Shadow is Over More Than Innsmouth (Part One)


Here’s the question in debate: Is Horror a subgenre of Weird Fiction, or is Weird Fiction a subgenre of Horror?

When I returned to college and began to comprehend the organizational structure of Literature as established by Literary Criticism, I thought it would be fun to apply the substance of what I was learning to Horror. Why? Because I was convinced there was structure in Horror.

There had to be. Right?

But what I found not only surprised me; turned out it was interesting, too…Because Horror – having long been the splinter in the flesh to Literary purists – had only the structure and spurts of structure authors and Critics had sporadically given it. And once we left English soil, American Horror’s plan to re-invent itself instead resulted in a kind of Literary disorientation rife with distracting rumors and its own mythology.

To my surprise I discovered that there was no canon; there was historically no established Criticism by Critics other than essays and articles created to roundly condemn the genre as genre (and its writers by association); and that the very genre name was something even its authors historically argued over.

Horror – as the red-headed-stepchild of speculative fiction – continues to emerge from the darkness in this country, shedding forms as it grows, morphing from one interpretation to the next as it blindly seeks to discover and define itself.

No wonder the Critics are frustrated and our writers seem to wander and careen about the genre…

How then do we have a discussion, let alone a debate? Answer: we listen to the words of our best writers and the constructive comments of new Critics…. Then we all need to participate in the careful examination of points presented.

When Horror Was Horror, or Was It Ever?

Perhaps the first and most surprising thing for this child of the sixties to trip over was the discovery that Horror was not always Horror. In fact, the name “Horror” for the genre was a relatively “recent” attachment. Horror – as we know it – began with names we no longer call it.

Those earlier names made it clear that stories told under the genre umbrella were largely sensational short works designed for quick chills and thrills with their folk roots showing: Ghost Stories, Spectral Fiction, Supernatural Fiction, Thrillers, Tales of Terror, Gothic Fiction… Critics were quick to point out their campfire glow, their dependence on both superstition and the naiveté and/or rural links associated with the illiterate and uneducated masses.

In other words, the genre was considered childish and unsophisticated; it was most certainly not for a mature audience tuned to the marvels of modern scientific thought, and it was not a genre that represented our best profile. And as the genre blossomed at the precise time of the industrial revolution and the birth of technology, it was an unwelcome reminder of times ruled by emotions instead of analytical thought.

So emotion became both the hallmark of and the motivation behind the choice of genre name. The choice seemed likely: Horror was what you were promised in those early publications…. terror…fear…creepy… scary….eerie…frightening….amazing…astounding…unbelievable… indescribable… tales.

The parade of adjectives led directly to the name “Horror.” And it did so because it managed to encompass and corral all of the many subgenres that were developing their own rules and authors. This is not to say that all of those subgenres are subgenres of Horror… but that “Horror” was hung as a name over all of the writings in the genre – whatever its proper name should have been…

We cannot know what would have happened in the vacuum of a printing press-less world. Writers were already sharing and bending terms to their purposes, and perhaps it was Critical derision that resulted in the spotty criteria writers used to define and clarify subgenres. But despite the best efforts of some editors and some writers, terms and definitions began to swim and swirl in the creative currents until many became inseparable from each other.

Meanwhile even as the first publishing boom was happening and pulp dotted the writing landscape, a small detachment of writers began writing something “new”… and they were calling it “Weird.”

Lovecraft3

It was the emergence of the Weird tale – a proliferation of the strange, the supernatural, the cosmic dominated by unique group of writers who knew their fiction was “different” than the norm, and who did not consider themselves so much “horror” writers that sparked the venom anew of earlier Critics and now hold the academic interest of contemporary Critics.

But something weird happened to the Weird: while it began before Lovecraft, it seemed to culminate with his efforts, thereafter sliding into a combination of hackneyed Literary efforts and Critical disinterest. For Critics today, there is a noticeable pair of bookends surrounding this period, and to at least one modern Critic, the thread that made the Weird so fascinating a kind of story has been all but lost.

Joshi1

Says S.T. Joshi –the most prominent of Literary Critics now laying the Critical groundwork necessary for Literary Criticism in our genre – “It is my impression that what has frequently been termed the ‘ghettoization’ of weird fiction – especially in America – occurred as a direct result of the pulp magazines. All of the standard ‘genres’ we now recognize — mystery, horror, science fiction, western, romance – either grew out of the pulp magazines of the 1920’s (even though the pulps as originally conceived at the turn of the century were by no means specialized in terms of content) or received considerable impetus from them…” And here Joshi asserts “As a result, weird material in particular disappeared almost entirely from mainstream magazines, since there seemed to develop a notion that such material now had a market of its own.” (Joshi-Modern Weird 4)

One has only to look at the assortment of magazines to see the coalescence of our genre into semi-firm molds of subgenre. Early writers had already began to weigh in, discussing in essays exchanged in letters and Amateur Press Associations the nature of what was being written – all as part of the argument that the genre had a glimmer of Literary offerings. But just as things might have been becoming clearer, the paperback was born…and back to the primal mud our genre crawled… and it may have taken the Weird with it.

The official market “tagging” of the genre by publishers as “Horror” sometime in the 1970’s all but obliterated the earlier discussions. Weird fiction – which had its own audience and writers – became an alternative adjective instead of the noun it was intended to be. Publishers – not being Critics – saw a sales-driven mission of lumping everything together into a broad category – whereas Critics and writers are wont to separate and define. Editors were somewhere in the middle, and have been trying to argue their way out for some time.

But perhaps the most damaging and consequential result was what happened to the rest of us… because the publishing boom did something else – instead of enlightening us all to the history and progression of the genre, it simply ceased to clearly define subgenres and instead vomited up a plethora of terms for which none of us had immediate association. No wonder we lost the ability to build on the Weird tradition in this country; we lost our vision of tradition altogether.

Those of us “coming of age” in the genre of the 1970’s and 80’s were awed by the tossing about of terms, certain that those who were using them knew what they meant. We never dreamed that they did not. And it has been the genre nerds who woke us up – the Lovecraft fans, the passionate heirs and curators of the Weird.

While the rest of us were luxuriating in the massive deluge of scary and strange stuff, even pretending we understood the term “Gothic,” we were losing everything we had gained in genre awareness. In this country, it was the Weird fan who kept us grounded by adhering to a bold and determined declaration of ‘genre.’ Those of us not disciples of the Weird were ignorantly adrift in a flotsam of alleged subgenres that shared and cross-pollinated names and distorted conventions.

While Horror was exploding onto the popular fiction scene, it seemed that American writers became disoriented instead of inspired. It did not matter that writers referred to what we now consider classic works; we did not feel the connection to recreate it. If you read American 1980’s Horror, what started out as inspired eventually becomes circular and redundant. Today’s American Horror is still stuck in that rut, prompting many of us as writers and fans to return to Lovecraft and Poe to try to figure out where we lost that thread of continuity while others try to hide behind the concerted effort to force the genre into a more Literary straitjacket.

I don’t know how it feels for European writers, for British writers of the genre… But here in the U.S. it is confusion resulting from our lost or disordered history that seems to dominate and dog our fiction. It prompts both editors and Critics to say we don’t comprehend what has already been done or done to death in the genre.

That in turn has caused a resurgence of interest in the Weird – and in Lovecraft specifically. We may not understand what we feel, but we know we feel it in Lovecraft’s shadow. So we sit there in it… enveloped in tentacles, begging Cthulhu to tuck some Horror in our minds. Editors feel it, too: we are awash in Lovecraftian-themed anthologies, struggling to recapture the elements that make Weird fiction so effective a storytelling device. But then we ran into a complication. Whether it is subgenre or genre, where are the rules?

Suddenly those of us who thought we could write it find no guidance and empty references to unnamed conventions and undefined formulas.

What is Weird Fiction? And if so many people can reference it, why can’t anyone define it?

We thought it was us.

Yet the more we set out to understand what was “wanted by the genre” (itself a paradox because we have abdicated who the authority of the genre is and publishers are never the genre even as this is who we continue to look to even now), the more the structure of genre evaporated. Our conventions are convoluted and polluted. Our fiction is substandard and hybridized and we feel it but cannot name it. The epiphany will come from Innsmouth…of that we all seem certain.

What we have to realize is that the train came off the rails with the hand-over-fist American publishing boom of the 1980’s. We buried the essays and drowned the voices of the early genre writers with a flood of new writers seeking careers in storytelling. Certainly a peek at all of the financial reasons is self-explanatory, but only a handful of thoughtful editors who placed important Critical writings and author commentary in the front matter and endpapers of classic collections of the genre kept our history from completely going dark. When we began to follow the Pied Piper and call the genre Horror, we ceased to see what else it might have been.

Weird Heroes: the Literary Critic

Now we are scraping all of these commentaries together, and our first Literary Critics are having the task of sorting out exactly where the genre was heading before the boom of reading, writing, and publishing that inflated the 1980’s into a wanton writer’s market. As already stated, prior to that time Horror had been addressed by many other names, and had already established a long and tumultuous history of impoverished writers condemned for their artistic choices.

When the emergence of the mass market paperback created the explosion of affordable fiction which seeded the Horror boom, it also created a generation of readers who knew the genre by one name only: Horror. For most of us, “Weird” as a term has no traction in our memories, and there is no clear understanding in our composition of contemporary writing. We are Horror writers, we say… and isn’t “Weird” just a synonym for “strange?”

Mieville 2

This is where newer writers need the Literary Critic – or at least those with Critical analytic capabilities such as writer and Critic China Mieville – who can help put our socks on straight. Mieville not only helps us greatly by reminding us that the “invention” of the tentacle heavily influences the texture of what should be considered Weird, but that “Weird fiction [shares] with Surrealism a conception of modern, orderly, scientific rationality that [is] in fact saturated with the uncanny.”(Mieville  xiii)

Our hackneyed understanding of the Weird has now spilled into our own interpretations of what we are trying to write, or think we are writing. It is presenting a problem for some Critics, who themselves are trying to unravel a clear understanding of what the effective Weird was and now find themselves awash in what some writers are calling Weird fiction that appears to be not. And sometimes it is when something is diluted that the pure solution becomes more obvious.

The more Critics look at the original writings and writers of the Weird, the bigger, more viable its legitimate core seems to get…So much so, that some are starting to propose that Weird fiction encapsulates Horror, and not the other way around.

Asserts S.T. Joshi, “Strictly speaking I regard ‘horror’ as a subset of the weird, since fantasy of the Dunsany or Tolkien type is just as much a branch of weird fiction as any other, and ‘horror’ itself must be subdivided into supernatural and nonsupernatural horror” (Joshi-Modern Weird 3). For Joshi, the impervious structure needed to provide a broad foundation for subgenres is already fractured when attempting to apply the name “Horror” to the whole genre – a Critical sign that it cannot be the parent of Weird offspring and is therefore not the correct name to use.

Mieville proposes that “Traditionally, genre horror is concerned with the irruption of dreadful forces into a comforting status quo—one which the protagonists frantically scrabble to preserve. By contrast, Lovecraft’s horror [Lovecraft being the towering genius among those writers of fantastic fiction for whom plot is simply not the point] is not one of intrusion but realization.” (Mieville xii-xiii)

While Mieville’s description of the Weird simply seems to differentiate between what we perceive as Horror and what we experience as the Weird, he actually has something in common with Joshi. It is important to note that like Joshi’s interpretation, in Mieville’s look at the two in the context of a Horror versus Weird as genre argument, it is again the Weird that provides greater Literary foundation which seems more potent and Literarily promising than any singular assemblage of the moving parts of Horror.

This is not to say that sometimes the argument for Weird as a more likely independent and Literary genre doesn’t get – well – weird…

Another – and I find odd – part of this dissatisfaction with the term “Horror” is encapsulated by Joshi’s exasperated question, “What other mode of writing is designated by an emotion?” As Joshi interprets it, “horror” is a term rendered even more inadequate for him as a Critic because “The term ‘horror’ also suggests” – and he emphasizes – “(falsely, to my mind) that the arousal of fear is somehow the prime concern of weird writing” instead of the more Literary depiction of world view. (Joshi-The Modern Weird 3)

Never mind that Lovecraft himself went down this path…

I find that this part of the argument against the term “Horror” implies that the word “Horror” as applied to genre involves only the emotion of fear and not its cousins – dread, discomfort, disturbance, disgust. I find that both Horror AND Weird fiction has some of those elements on a regular basis (as apparently does Mieville (“Lovecraft’s stories …move tightly and precisely, evoking growing foreboding…aggregating a sense of dread and awe” (xii)) – and those adjectives are especially evident in the descriptions used to define cosmic horrors and human failures. So while I empathize with Joshi on this point, I do not agree with him. I do agree with Joshi, however, that the intrusion of “world view” in Weird fiction is of Literary blood, and is an important point in establishing the criteria that would define Weird fiction as a genre/subgenre.

For Literary Critics, this relevance to bigger things – to the real issues that shape and affect humanity – is what defines Literature. And as such, it is the bread crumb trail that helps identify when something in genre writing is bigger than genre. It is most certainly there in the Weird. But is Literature always the biological parent? Or might the parent be a gangly, disproportioned and lovingly awkward mutt?

With so much confusion and overlap of genre and subgenre, the muddle of terms, Joshi admits with considerable exasperation: “I do not know what one is to do about this whole issue.” However just because a matter is entangled by centuries of amateur theories does not mean it should not be UN-entangled….clarified….and committed to. And Joshi himself cannot seem to let it go, because the question and argument of which came first haunts all of his work on Criticism in our genre.

So while I do not agree that “Horror” being an emotion disqualifies it from being a genre name, I do agree with Mr. Joshi that study and discussion of this messy subject is necessary to sort it all out. And I agree that if Literary Critics can do so with legitimate theoretical reasons for creating a better terminology for the genre, then it should be done. We may all have our preferences, but the truth of the matter is that until we settle on terms and definitions, we cannot present arguments or press works through Critical Theories.

And Critical Theory is how we get canon.

Deciding what we call ourselves may seem a moot point, but for Critics, the name of the structural tree from which we hang our Literature does matter. And it should matter to us as writers, so we can be certain we are delivering the goods to our readers, and making conscious choices about the quality and creative direction of our fiction.

Like the new Literary Critic, we need to revisit the discussion that was in play during the time of Lovecraft… Because if we are to argue the Literary merits of the genre, we have to start thinking more like the Literary Critic and that means we must be looking at what we write and where it falls on the scale of genre definitions. And that means we must not be adverse to the reordering of terms and conventions.

It’s time to go there… and due to the length of the discussion, we will in the succeeding post.

 

References

Joshi, S.T. The Modern Weird Tale. Jefferson, NC: McFarland & Company, c2001.

Joshi, S.T. Unutterable Horror: a History of Supernatural Fiction (the Twentieth and Twenty-first Centuries. New York: Hippocampus Press, c2012, 2014.

Joshi, S.T. Unutterable Horror: a History of Supernatural Fiction (From Gilgamesh to the End of the Nineteenth Century. New York, Hippocampus Press, c2012.

Joshi, S.T. The Weird Tale. Holicong, PA: Wildside Press, c1990.

Mieville, China. “Introduction.” At The Mountains of Madness by H.P. Lovecraft. New York: the Modern Library, c2005.

Montague, Charlotte. H.P. Lovecraft:the Mysterious Man Behind the Darkness. New York: Chartwell Books, c2015.

Montague, Charlotte. Edgar Allan Poe: he Strange Man Standing Deep in the Shadows. New York: Chartwell Books, c2015.

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