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      "title": "Horror: A Genre of Modern Literary Importance",
      "body": "![horror genre importance.jpg](https://cdn.steemitimages.com/DQmPaJTFsYcvcQhTmj5RHBXtWibjcakMiGGFBxuhGCL2zW9/horror%20genre%20importance.jpg)\n\n\nIt’s that time of the year again. Halloween is around the corner, and horror films fill our recommended viewing on streaming platforms. Even book bloggers and vloggers join in with recommended horror novels.\n\nIn this article, I hope to convince you that horror is the perfect literary genre for our current moment. These novels aren’t just meant for Halloween. They have literary importance through manifesting internal psychological states as external images.\n\nOur current moment?\n\nWell, let’s not get too bogged down in what I meant by that. I roughly mean that we stare at our phones looking for quick dopamine fixes. Even people who consider themselves big readers tend to read to escape.\n\nWhen was the last time you asked yourself: what on Earth am I even doing?\nProbably not recently, and that’s not good.\n\nYou shouldn’t fill your free moments getting worked up over some Twitter feud or mobile game until you fall asleep at night. It leaves you no time for reflection.\n\nSitting with a big book for extended periods of time is good for you. It’s doubly good if it makes you ask uncomfortable questions.\n\n## General Impressions on Horror\nWhat is horror?\n\nIf you’re not an avid reader of the genre, you probably have some general impressions that are wildly skewed. Let’s get rid of those first.\n\nSure, some horror is about making you squirm. There’s a thrill to going into *Saw*, wondering if you’ll be able to “handle” it.\n\nI’ll admit to loving the *Scream* and *Halloween* movies as a kid.\n\nBut this type of horror that’s purely about the blood and guts and torture and killing is a minority these days. Jump scares and gore are techniques. They’re not essentials to the genre.\n\nThink of it like elves in fantasy. Sometimes they exist, but not all fantasy has elves.\nYou must get this general impression of horror out of your head before we continue.\n\nSo: What is this enlightenment I'm claiming horror provides?\nWe’ll get into the specifics with the case studies below, but here’s roughly how I see it.\n\nHorror turns psychological fears and trauma into a real, external presence. It lets us directly experience another human’s internal state in a way that other literature can’t.\n\nBut it does more than that because then it gives action for confronting and overcoming those fears. When done well, horror can make broader societal analogies with these metaphors to bring people to real-world action.\n\nSince it’s not below, here’s a great example: Clive Barker’s *Sacrament* is about a nature photographer who sees a horrible plague happening to animals in nature. It is set during the AIDS epidemic in San Francisco.\n\nIt realizes the horror of human apathy toward the destruction of nature and creates a parallel between the extinction of a species to the mass epidemic death of the gay community.\n\nThese two topics, especially in 1996, were hugely important.\n\nHow could one write about either without some element of horror? It’s a powerful and moving reading experience, and in my mind, it established Barker as a titan of literary fiction.\n\nYet the world at large still thinks of him as a genre writer responsible for *Hellraiser.*\nMore on him later.\n\n## Five Case Studies from the Past Four Decades\nLet’s now dig into five examples of what I’m talking about. I’ll identify the internal psychology that gets externalize and how this is used in the work.\n\nI’ll do three books, one classic movie, and one modern TV series. But I still honestly believe the best experience is reading so that you don’t just passively use the experience as a cheap thrill.\n\nThere will be mild spoilers so that the interpretation is clear. But, honestly, nothing I write here will ruin the experience of these excellent works of art.\n\n### Grief in Phantasm (1979)\nDon Coscarelli’s *Phantasm* is one of those movies that returns to us every year. It’s a cult classic staple of Halloween-time viewing without being one of the blockbusters.\n\nThis bizarre film has a lot going on. The Tall Man lurking around, hooded dwarves, floating killer balls, another dimension.\n\nIf you’ve only seen this once, I can understand if you walked away totally confused. But as soon as you see the film as a realization of the main character’s grief, a lot starts to make sense.\n\nThe movie starts with a murder and a funeral. Mike is just a boy, and his parents have both passed away. The death is of a friend, but it serves as a stand-in for that grief.\n\nThe undertaker is the Tall Man, and to children, undertakers are very scary people. They take away loved ones. We have no idea what they do with the bodies. We basically have to trust them.\n\nMost of the horror elements in the film trace back to elements of fear and grief of Mike over his parents. The nightmarish car crashes in the movie are Mike’s vivid re-imagining of how his parents died.\n\nThe dead bodies turning into dwarves are his fear that his parents haven’t been properly buried. Maybe they’re still out there in some other form, even if terrifying.\n\nThe absurd juxtaposition of intense horror with calm comedy reminds us that grief is often like that. One minute it’s all-consuming; another minute we’re lost back in our lives.\n\n### Power in The Great and Secret Show (1989)\nClive Barker’s epic, yet to be completed trilogy,* Books of the Art*, is not easy to describe. It’s like *Gravity’s Rainbow* had a dark fantasy child.\n\n*The Great and Secret Show* has grand conspiracy, metaphysical discussions about other planes of existence, and seizing control of other people’s bodies.\n\nSome of our greatest fears in modern society have to do with secret power and freedom:\n* What if there is a whole secret network of old money that uses this power to get their kids into college?\n* What if scientists are secretly using genetic engineering to “improve” the human species?\n* What if a big data firm undermined our elections by manipulating what we thought about things without us even realizing it was happening?\n\n*The Great and Secret Show* takes this hidden, powerful world and makes it visible. A secret society keeps people from finding the dream realm that influences everything.\n\nTwo men have access to an evolved way of being and can manipulate people so thoroughly that they drive three girls to carry their babies.\n\nAnd all of this is basically in the first few pages!\n\nThis is some deeply disturbing stuff. It lays bare all these fears in one philosophical concept.\nAnd news flash, if you weren’t aware, this secret underworld does exist in the real world and is constantly exerting its power on us without our consent.\n\nIs there an answer?\nNo.\n\nBooks that give easy answers are giving false answers. But the Art is a place to begin. And that’s the whole point of this article.\n\n## Greed in Needful Things (1991)\nThis is going to sound weird, but I remember Stephen King’s *Needful Things* as being the first adult novel I read.\n\nI found it at the library, and the librarian actually asked my mom if it was okay if I read it before allowing me to check it out.\n\nI was 11. It was a reasonable question.\n\nShe had no idea what it was or why someone would ask that. The only thing that must have been going through her mind was: My 11-year-old wants to read a 700-page novel for fun, don’t ruin this!\n\n*Needful Things* has a simple idea that has been explored through the ages: what are you willing to do for something you want? Think of it as a longer, more graphic version of Steinbeck’s *The Pearl.*\n\nAllowing this to play out in a horror novel ups the stakes. Instead of a tragic incident leaving the characters in sadness having learned their lesson, this novel just escalates without end.\n\nIn the real world, people often don’t realize how their greed has affected others. They don’t learn their lesson.\nThis is one of literature’s best features. It lets you experience situations before they happen. If you can’t find a bit of yourself in these characters, you probably aren’t very self-aware.\n\nPart of the brilliance of this version of the parable is that the “needful things” are so trivial and useless. We, as the reader, can see this.\n\nThe revelation of the book is realizing that all non-essentials are trivial and useless. You may want it, but it’s not worth selling your soul over.\n\n## Desperation in The Terror (2007)\nDan Simmons’ *The Terror* is a remarkable feat: historical fiction with a fantasy/horror twist.\n\nCaptain Sir John Franklin’s trip to the arctic in search of the Northwest Passage would have been terrifying enough if Simmons had stuck to a strict historical accounting: desperate starvation turning to cannibalism for survival.\n\nBut, no offense to the real-world people who have had to go through these things, my first reaction is to yawn.\n\nThis story has been written many, many times: *Alive, Flyboys, Miracle in the Andes, Desperate Passage*, etc.\n\nThe whole point of this article is that horror can do things other genres aren’t allowed to do, and historical fiction isn’t allowed to have the Tuunbaq, a product of the Inuit gods that has taken the form of a bear and feeds on human souls.\nNot only is this a beautiful way to embrace the setting of the novel, but it also externalizes the expedition’s desperation for survival.\n\nReaders aren’t just horrified and grossed out by what is going on as in the other listed books.\nWe, as readers, actually feel this dread creeping on us. It could get us at any moment. The people on the expedition could lose their souls and eat another human if the desperation got bad enough.\n\nThe way this fantastical being stalks the group realizes the psychological states of the characters as an external manifestation. It lets a reader feel something rather than watch from a distance.\n\n## Addiction in The Haunting of Hill House (2018)\nAnyone who has watched Netflix’s show, *The Haunting of Hill House*, can attest to what a tour de force it is. I know it was originally a book, but this version draws out certain themes in new ways.\n\nEach character sees demons related to their psychological problems, but let’s focus on Luke.\n\nLuke is an addict through and through. Over the course of the series, he goes in and out of facilities to get help.\nTraditionally, characters like Luke, no matter how empathetic the author, tend to come across as weak and unrelatable.\nYou want to shake them and scream: Why do you keep going back? What is your problem? Are you even trying? (In fact, characters in the series do this repeatedly).\n\nLook, *Infinite Jest* is one of my favorite novels, but nothing, and I mean nothing, even comes close to how well this show portrays addiction.\n\nYou’ll experience the same cold sweats of panic and fear when that horrific demon creeps up on him.\nThat’s his addiction.\n\nEven when he’s been sober for 90 days, it lurks back there, ready to engulf him and destroy his life.\n\nLuke tries and tries to get away. He faces away from it and counts and paces. But it lurks there. It’s outside of him and there’s nothing in his power to fix that.\n\nIt’s not that his will is weak or that he’s not taking his recovery seriously. It’s that the specter of addiction is infinitely powerful and persistent and will strike at the tiniest of openings.\n\nIf you don’t feel that sense of dread during these scenes, you’ve lost your empathy as a human.\n\n## Final Thoughts\nHorror as a literary genre is uniquely poised to penetrate our glazed-over eyes. It can shock us into thinking about difficult topics and drive us into action.\n\nBut mostly, it can give us empathy for the other. It gets us closer to experiencing unimaginable psychological states than any other art can.\n\nI know what some of you are thinking: you’re referring to themes and symbols and metaphors. These devices have been used for centuries in mainstream literature. You shouldn’t praise a genre for having minimal literary standards.\nThat’s not what this is about.\n\nIt’s about letting us get into the heads of people experiencing true psychological trauma, not with cliche voice-over, but by externalizing it.\n\nWould you sell your soul for consumeristic pleasures? Well, that’s not just a turn of phrase in *Needful Things*; it’s literal.\n\nInstead of watching *The Politician* with detached awe and fascination, we should feel a visceral dread and terror at that type of power trip as we do in *The Great and Secret Show.*\n\nOutside of some experimental non-horror literature, this type of technique in writing has not been done much or well.\nLet’s wake up, ask the big questions, and heaven-forbid, actually feel something for a change. Horror lets us do that.\n\nOriginally published at [A Mind for Madness](https://amindformadness.com/2019/10/horror-genre-literary-importance/).",
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      "title": "Maybe Infinite Jest is About Addiction",
      "body": "[Originally published with minor edits by me [here](https://hilbertthm90.wordpress.com/2018/07/12/maybe-infinite-jest-is-about-addiction)]\n\n![Infinite_jest_cover.jpg](https://cdn.steemitimages.com/DQmQ36zb5bvqLqCihEury8jgaQRKeqHR4KdMKecPUvGFRBw/Infinite_jest_cover.jpg)\n\nAnd so but I’ve been re-reading *Infinite Jest* in this strange, almost purely subconscious way, where I take on just a few pages (seriously, like 2-3 pages) every night right before sleeping. I’ve done the calculations, and so you don’t have to tell me it will literally take years to finish it this way.\n\nI’m in no rush. I’ve read it before.\n\nIf you’ve never read it, you really must. It’s terrifying how prescient it is. How could someone in the mid 90’s have seen the coming technology that would be so entertaining it would totally consume our lives? I’m thinking Twitter and Facebook and our phones and the games on them. But DFW actually has a Netflix-like system where people can watch any TV they want at any time. That was unthinkable back then.\n\nIt also predicts that we’d come to live in an opioid epidemic.\n\nAnd all of the below, etc.\n\nAnyway, I digress.\n\nThis weird thought occurred to me around page 300 (yes, I’ve been doing this for 100+ days already):\n\nMaybe *Infinite Jest* is about addiction.\n\nHear me out. This is one of those things that’s so obvious it requires justification.\n\nI know, Don Gately is in a halfway house for Demerol addiction, and the opening scene is of Hal’s (supposed) reaction to taking DMZ destroying his life, and the kids at the Tennis Academy do pot and alcohol and amphetamines and have tricks to pass urine tests.\n\nI know, the title refers to entertainment so infinitely addicting you pee and poop yourself and then die rather than pull yourself away, and that one character, whose name I can’t remember, holed up in the bathroom stall of a library and drank cough syrup every day to avoid withdrawal but had to go out at some point and ends up having a massive DT withdrawal on a train and probably dies.\n\nI know DFW, himself, had addiction problems and was in AA.\n\nEtc, etc.\n\nBut hear me out. It’s not as obvious as it seems. Addiction is everywhere in the novel, but what is the novel about?\n\nWhat if someone said to you: *Breaking Bad* is about addiction.\n\nYou’d say: Whoa! Hang on. Addiction is everywhere in that series, sure, but that’s not at all what the show is about. Not. Even. Close.\n\nDFW is famous for complaining about the reviews (even (especially) the positive ones!!) when it came out, because no one could possibly have read it in the two-week window (or whatever it was) and actually understood what it was about.\n\nI owed it to him to understand what the book was about if he would rather have crappy reviews than positive reviews by people too intimidated by it to admit they were clueless as to what the book was even about.\n\nI took his comments to heart.\n\n*Infinite Jest* wasn’t about addiction. That was too obvious. Everyone would immediately understand the book if that’s what it was about.\n\nDFW was also obsessed with literary theorists and philosophy and Wittgenstein and psychiatry and math and semiotics and postmodernism and irony, etc. I looked to these for answers, and I found a treasure trove of ideas.\n\nI won’t try to go into depth on what I came up with. You can see early thoughts in some other posts I’ve done.\n\nBasically, one can read *Infinite Jest* as a critique of the psychological theories of Jacques Lacan. The “Entertainment,” at least as much as we can see in the novel, is an on-the-nose manifestation of his ideas.\n\nLanguage is central to our subconscious, and Saussure’s signifier/signified distinction live on different layers. Wallace thought these poststructuralists were brilliant but flawed. Infinite Jest wants to use postmodernism to show why they were flawed.\n\nNow we’re on to what the novel might actually be about!\n\nMany scenes support this reading, mostly having to do with the various recovery methods. Wallace wants to say: how do we break free of our addictions? Well, it’s obviously not what these theorists were saying! Look what that would look like.\n\nDFW presents a parody as refutation.\n\nThis view is also supported by all the circumstances under which characters literally lose their ability to speak. Sure, drugs are the proximate cause, but think through the other circumstances of their lives at that time. Think about Hal’s encounter with the therapist after finding his father having committed suicide.\n\nWhy was Wallace upset at people calling the novel funny?\n\nMaybe it’s that things that were supposed to be deep references to Lacan were seen as surface-level jokes.\n\nCorporations subsidize years in the future. Most of *Infinite Jest* takes place in the Year of the Depend Adult Undergarment (YDAU). We laugh, thinking about what it would be like to have to sign checks with the year being the name of an incontinence product.\n\nNo!\n\nIt’s more than that. The year wasn’t chosen purely for humor. It’s saying that when our society progresses to this point, adults will have regressed back to babies. All we think of is: want, want, want. We rage at the TV like a baby when Netflix goes out for, heaven forbid, 30 seconds.\n\nIn Wallace’s version of the future, terrorists use this entertainment as a tool of both terror and placation. In our reality, we entertain ourselves to death with Facebook while our adversaries use it to elect our presidents for us.\n\nAnd so but then we don’t care. We want reality stars to be our leaders. It keeps us entertained.\n\nWhat in the world was this post even about anymore? 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