Stephen King’s IT – and, later, the Andy Muschietti adaptations – have been vital to my journey as a horror fan and an aspiring fantasy/horror writer, and as an important way to think about change. I read IT during the summer of 2018, after moving from the home I had lived in for 12 years. While I approached the novel thinking I had hit the jackpot of horror, I found myself more moved by the strong bond that the Losers’ Club formed as adolescents, which made the disintegration of these friendships in adulthood all the more tragic. In many ways, IT shares more DNA with Stand By Me (a non-horror adaptation, based on King’s short story “The Body”) than some of his other horror novels. Both works are coming-of-age stories that see seemingly unshakeable friendships tested by fears and anxieties – some are explicitly horror-related, such as Pennywise, but others are more existential: how long will we remain friends? Adulthood, in these stories, seems to be more of a source of horror – or, at least, anxiety – than any monster or bully, and yet when it comes, it happens gradually. Adulthood’s arrival is not heralded by ominous music or a jumpscare, it just… happens, and childhood friendships that seemed strong don’t always last. Read more
A Chilling Summer Treat: Image Comics’ Ice Cream Man serves up horror outside the Season of the Witch
Guest PostSummertime is the time for water games in the backyard, day-long visits to the amusement park, and chilly rocket pops from your neighborhood ice cream man. But summertime is also the time to ready oneself for the chilling spooky season that is just around the corner, and one of Image Comics’ horror series — Ice Cream Man, written by W. Maxwell Prince & illustrated by Martin Morazzo — is ready to serve up any deadly delicacy — & more! — that you can imagine.
Simply know that the just desserts come with a price. Read more
In our hands: embers embers embers
just waiting for
the opportunity
to ignite
-Amanda Lovelace, The Witch Doesn’t Burn in This One (53)
The Witch in Popular Culture
In the twenty-first century, literature and film have demonstrated a compulsion to return to the figure of the witch. Witches are embedded in popular culture old and new. From the folkloric enchantresses Baba Yaga, Circe, and Morgan Le Fay to the fairytale hags who eat, kidnap, and murder children in stories such as Hansel and Gretel, Rapunzel, and Snow White, the witch is designed to reinforce men’s fear and abhorrence towards women. Modern media, however, continues to challenge the witch as a figure of absolute terror and evil. What happens, for example, when the witch is a child herself? Portrayals of the “goodhearted” child-as-witch emerged and took centre-stage in stories such as Harry Potter (2001-11) and Chilling Adventures of Sabrina (2018). But before Hermione and Sabrina, there was Stephen King’s Carrie White.
This week’s hair-raising read is 2013’s SUMMERVILLE by D.T. Neal. The story follows three friends who are planning to dive for some expensive brandy bottles they believe are sitting at the bottom of a South Carolina River. When the group encounters a hitchhiker to whom they decide to offer a ride, a series of events are put into motion that leaves no one unscathed. Part southern gothic and part ecohorror, this novella takes some big swings but do they pay off? Listen to the latest episode of The Bloodcurdling Book Club to find out!
Selected Reading on the Ecogothic: Read more
When Siskel and Ebert famously launched their offensive against what they labeled as “Women in Danger films,” they effectively positioned slasher films as anti-feminist, exploitative, and lacking all artistic merit. But in the intervening years, this once much maligned sub-genre has enjoyed increasing acclaim for its subversive potential and reflection of cultural norms. This special issue seeks to examine the elements of the “new slasher” that potentially explain this shift.
We invite submissions on any 21st century slasher film(s). Emerging and advanced scholars, popular writers, and fans are invited to submit abstracts on any aspect of the sub-genre. We are especially interested in abstracts that engage with slasher film conventions. Possible topics include, but are not limited to:
- Slasher tropes reimagined
- Performance and identity
- The impact of critical acclaim upon horror’s association with ‘low-brow’ culture
- Monstrous nature and its evolution
- How camp and pastiche code audience reception
- Reboots and audience expectation
- Location and narrative dread
- Horror sub-genre crossovers
- Engagement with postmodernist theory
- Reflection of societal taboo
We would especially like to include articles on: Freaky, Halloween, Tucker and Dale vs. Evil, Black Christmas, and All the Boys Love Mandy Lane.
Please submit abstracts of 500 words and a brief bio to Dawn Keetley and Elizabeth Erwin at horrorhomeroom@gmail.com and dek7@lehigh.edu by July 15, 2020. Articles will be limited to 2,500 words and should be written for a general audience. Completed essays will be due September 15, 2020. We welcome all questions and inquiries!