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.
Upon its release, Ari Aster’s Midsommar (2019) was hailed as a new Folk Horror masterpiece. Like so many other films in the genre – for instance, The Wicker Man (Robin Hardy, 1973) and the made-for-TV movie The Dark Secret of Harvest Home (Leo Penn, 1978) – Aster’s film ends in death and with the triumph of the values of a secluded community over the members of a more modern society.
Many viewers read this violent ending as cathartic. Dani (Florence Pugh) has finally shed all the people and circumstances in her life that made her miserable. Her acceptance by the Hårga and the enigmatic smile that plays on her face as she watches her boyfriend, Christian (Jack Reynor), burn to death are seen as the hallmarks of a happy ending.
‘If they hear you, they hunt you.’ A Quiet Place (2018) tells the story of a white American family fighting to survive in a post-apocalyptic North American landscape, where they are forced to live in silence to avoid monstrous creatures that hunt by sound and have wiped out the majority of the population. The fictional couple Evelyn and Lee Abbott (played by real-life Hollywood couple Emily Blunt and John Krasinki) are determined to find a way to protect their children (deaf daughter Regan, and sons Marcus and Beau) while desperately searching for a way to fight back.