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Musings: Valentw’een Dinner Dates

Maybe you are cynical about Valentine’s Day, or just not into cutesy pink hearts and Valentine’s tchotckes that basically have no purpose except to commemorate an arbirtrarily chosen date but that you can’t get rid of. Like my son got me this giant plush white bear holding an embroidered plush heart…

There are options. Maybe you celebrate Galentine’s Day, and go out with your girlfriends. Or, alternatively, if you love a good scare, you could take some inspiration from artist Brandy Stark, and celebrate Valentwe’en. Brandy celebrates by holding an art show and a ghost tour. On the Valentwe’en Facebook page, she writes:

While the normal person celebrates Valentine’s Day with roses, romance, and chocolates, we who embrace Valentwe’en enjoy a time of dark romance, the Grim Cupid, and cuddling with fellow creatures of the night. For those who have longed for a second Halloween, your entreaties have been answered! Valentwe’en offers the fun of bonding for couples merged with the thrill of supernatural intrusions. It is a true collision of these two candy-filled holidays, a spiraling combination of love and death, sweetness and suspense. Valentwe’en falls on the first full moon of February or it may be held February 13th. It consists of offering black flowers to one’s love (especially black calla lilies), Halloween-themed candy, and becoming entranced by movies from genres of horror, dark romance, or dark romantic comedy. This holiday is still evolving, so the rest of the celebration is up to you!

Not being a person who does a great job tracking the phases of the moon or even dates on a calendar, my plan is to celebrate today. I’m a laid-back sort of person (meaning that I forgot to make plans) but it’s just me and two tweens on a school night, so Oreo fudge and a mildly scary family movie are about all I’ll be up to. If you want to put a little more energy into it, here are some literary ideas you can explore with the one you love (or at least love to eat candy with).

One thing that’s pretty awesome is that there are many Gothic and horror-themed books that have been made into movies and that also involve a memorable meal.  One of the most interesting of these is Silence of the Lambs by Thomas Harris, which was made into a movie that was originally released on Valentine’s Day, and has a well-known line from Hannibal Lecter:

Well, okay, maybe that is not the dinner you want to recreate. You could come up with a nice Italian red, though. You all might need that more than dinner while watching this movie, anyway.

If you want to prepare something more elegant, you will find a carefully researched, surprisingly elaborate meal fit for a vampire when Diana Bishop first invites Matthew Clairmont to dinner, in chapter 12 of A Discovery of Witches, the first book in the All Souls Trilogy by Deborah Harkness: smoked salmon with dill, capers, and gherkins; Riesling; thinly sliced raw vension; beets with shaved Parmesan; red wine; seared rabbit spiced with rosemary, celery, pepper; a biscuit made from ground chestnuts; berries, cheese, and roasted chestnuts. Diana may not know true love, but the meal truly is a labor of love. Matthew manages to consume everything except the beets. Although I do know people who would be delighted to eat their meat raw, if your company doesn’t belong to that group, they might still go for the smoked salmon, berries, cheese, and nuts, with plenty of wine. “Wine tastes wonderful,” Matthew says, and so long as you have plenty of that, you can stream A Discovery of Witches, now on Shudder and Sundance Now, with the one you love.

 

Maybe you’d rather have a night out? It would take some planning, because you’d have to get there, and reservations are suggested, but you could have a night out at The Beetle House, a Halloween/Tim Burton-themed restaurant with locations in New York and Los Angeles. I’m not sure how unique the dishes actually are, but their names are catchy, and it sounds like the waitstaff dresses in character. Chef Zach Neil said,

“The idea was simple. Create a space where people who love Halloween, horror films, and Gothic dark music can gather for a meal and drinks. A safe space where it really feels like Halloween all year round and people can come and enjoy good food, good drinks, listen to good music, and feel completely comfortable to be as freaky as they want to be. This would be my home for the freaks, weirdos, and grown up Goth kids of the city.”

Zach also has a cookbook now,  The Nightmare Before Dinner,  so if you can’t get out to the coasts, you can at least recreate the food (and with planning, the atmosphere). Treat yourselves with a macabre meal and follow it up with the Tim Burton movie of your choice. Or any scary movie.

Whatever you choose, we hope you go into it with your whole heart, like Horatio, here. Happy Valentwe’en from all of us at Monster Librarian.
Happy Valentwe'en!

Posted on February 14, 2019 by , Reply

Book Review: Sleeping with the Lights On: The Unsettling Story of Horror by Darryl Jones

Sleeping with the Lights On: The Unsettling Story of Horror by Darryl Jones

Oxford University Press, 2018

ISBN-13: 978-0198826484

Available: Hardcover, Kindle edition

 

In Sleeping with the Lights On, Darryl Jones addresses the origins and evolution of horror, and provides a brief but wide-ranging, descriptive overview of the relationship of violence, taboo, and fear to culture, society, and storytelling that will provide newcomers with a readable and easy-to-understand guide to the horror genre’s major terms, critiques, subgenres, and tropes addressed in both lay and academic literature. Those more familiar with the horror genre, may be acquainted with many of the ideas and criticisms, but Jones organizes the information effectively. In his introduction, he starts by tracking the origins of horror through early literature, religion, and myth, following through to the present day and making predictions about the future of horror. He provides clear explanations of terror, horror, the Gothic, the uncanny, and the weird, citing major, primary sources for their origins and definitions, and argues that changing cultural anxieties inform the development of the horror genre. Further chapters discuss major branches of the horror genre: monsters, the occult and supernatural, horror and the body (this includes transformation and cannibalism as well as body horror), horror and the mind (focused on madness, doppelgangers, serial killers, and slashers), and mad science.

In each of these chapters, Jones explores the breadth of the topic by first addressing the general concept (monstrosity, in the chapter on monsters) and then getting more specific and discussing critiques and analyses of how their representations and meanings  have changed with the times, through a more specific examination (in this case, of the representation of cannibals, vampires, and zombies in society, culture, history, and literature). Although he is able to address these only briefly, it is clear that his knowledge is deep as well as wide.

An afterword discusses post-millenial horror and Jones’ predictions for the future of horror. Noting that one of horror’s defining characteristics is its existence on the margins and manipulation of boundaries, he observes that its recently gained respectability in academic circles and the way it is now marketed to mainstream popular culture may be compromising its transgressiveness. Jones coins the term “unhorror” to describe movies that use horror tropes, sometimes exaggeratedly, and using computer-generated effects, without actually being horrific (he seems to be focused on recent kaiju movies, which do definitely differ in tone depending on who is making them. I don’t think anyone can say that Shin Godzilla is “unhorror” despite its CGI, though) and introduces “Happy Gothic”,  which uses a Gothic mode but in a romantic, whimsical way.

Jones also notes that recent storytelling in the genre is rooted in cultural anxieties about economic, ecological, racial, technological, and political horrors, all of which are very real parts of people’s lives right now, as well as a return to “old-school horror”, but that Asian and Hispanic horror are also having a major impact on the genre, as well as television, podcasts, and Internet memes such as Slender Man. Jones concludes that horror is expanding past the page and movie screen directly in front of our faces, to include new voices and new fears in ways that, at this time, we can’t even imagine.

As this is a short book, it really isn’t possible to cover everything, and I feel like Jones maybe stretched himself a little too far in trying to include as much as he did, especially in his afterword. He devotes just a few sentences to YA horror and paranormal romance(entire books have been written about this), and a few to the “Happy Gothic”, without really elaborating or providing examples (I have never heard of this and now I am curious). His attempt to describe “unhorror” was fragmented as well. He just didn’t have the space for everything I think he would have liked to have said, so the end felt a little unfinished.  I was also a little frustrated with the index. While it lists authors and titles of books and movies cited, movies were not always identified by the date (there are a number of movies titled Godzilla, for example) and terms defined in the text were not always included (abjection, taboo, and sublime, for instance). This is less of a big deal if you have a paper copy that you can just flip through, but doing that on the Kindle is more difficult. The “further reading” section was also difficult for me to read, and I would have liked a little space between citations. These are minor quibbles, though.

This is a great book for anyone looking for background on the genre or arguments for its validity, or who is just interested in the topic, and especially for newcomers seeking a good overview of the horror genre in literature and cinema. Highly recommended.

 

Posted on February 9, 2019 by , Reply

Book Review: Obsidio (The Illuminae Files_03) by Amie Kaufman and Jay Kristoff, illustrations by Marie Lu

Obsidio (The Illuminae Files_03) by Amie Kaufman and Jay Kristoff, illustrations by Marie Lu

Knopf Books for Young Readers, 2018

ISBN-13: 978-0553499193

Available: Hardcover, paperback, Kindle edition, audiobook, audio CD

 

Obsidio is the final volume of The Illuminae Files, preceded by Illuminae and Gemina. Illuminae started with the testimony of the Illuminae Group about the invasion of an illegal mining colony on an out of the way planet, Kerenza IV, owned by the mega-corporation Wallace Ulyanov Consortium (WUC), by a second mega-corporation, BeiTech Industries. An SOS call from Kerenza IV brought the only nearby warship of the United Terran Authority, the Alexander, to the defense of the colony. After crippling BeiTech’s jump platform and damaging its ships, and filled with refugees, along with two other ships belonging to the WUC, the Copernicus and the Hypatia, thousands of refugees escaped, chased by the crippled BeiTech ship Lincoln. The Alexander’s complex AI, AIDAN, which would have been able to speed things along, was damaged.

A bioweapon that BeiTech dropped on Kerenza IV during the attack infected hundreds of refugees, AIDAN, in an attempt to save the fleet, destroyed the Copernicus and took over the Alexander. Teenage hacker Kady Grant and her ex-boyfriend Ezra, now a pilot, take on AIDAN, and with its help destroy the Lincoln. The Alexander, now flooded with the infected, is destroyed in the successful attack on the Lincoln. Despite AIDAN’s participation in large-scale mass murder, Kady saves a copy of his programming onto her tablet before she escapes back to the Hypatia. Without any kind of jump platform, the remaining survivors of Kerenza IV must travel in real-time towards the nearest wormhole that opens to a jump station.

In Gemina, we learn that the BeiTech invasion forces at Kerenza IV has been unable to communicate with headquarters, and that a BeiTech spy embedded in communications at jump station Heimdall has been intercepting all messages from the Kerenza IV refugees. As a result, no one knows there has even been an invasion. An executive from BeiTech, learning from the spy that after many months of travel, the Hypatia is nearing the wormhole, sends a “cleanup team” to prevent the ship from getting through or any news of the attack from getting out. Heimdall’s commander’s daughter, Hanna Donnelly, and her drug dealer, Nik Malikov, are saved from being trapped by just missing the violent arrival of the assassins. Thus begins a deadly game of cat-and-mouse, with Hanna and Nik attempting to eliminate the various members of the kill team, psychotropic monsters, alternate realities, and, finally, contact with the Hypatia. Unable to save the station, Hanna and Nik collect as many station residents as they can onto the ship Mao, and flee through the wormhole, which collapses behind them.

In Obsidio, the refugees realize that there is no way for them to get back to a more central system, and the captain of the Hypatia decides their only option is to return to Kerenza IV. With the Hypatia falling to pieces, the decision is made to transfer everyone to the Mao and scuttle the ship. Kady argues in favor of leaving a beacon, with information about the attack, but the captain shuts her down. Determined that the destruction of Kerenza IV and Heimdall Station be documented, Kady resurrects AIDAN on the Mao, with the hope that, with help from Ezra, Hanna, Nik, and Nik’s hacker cousin Ella, it will compile the information. In the meantime, the adults from Heimdall have noticed that teenagers seem to be running things, and object strenuously, on the grounds that they are more qualified and have better judgement than teenagers do. AIDAN notes that there are more people on the Mao than life support is capable of supporting for the time that it will take to travel back to Kerenza IV.

Then readers get the surprise of discovering that there actually were survivors of the invasion of Kerenza IV. Not only did a significant number of the BeiTech forces end up trapped when their mobile jump platform (which could transport them to another system) was damaged, but there are still a number of miserable colonists, one of whom is Kady’s cousin Asha. When the resistance causes the deaths of the majority of techs on the planet, Asha gets a surprise– one of the replacement techs, who has been working on the jump platform, is her ex-boyfriend, Rhys, who just might be able to get a message out through BeiTech’s communications software. BeiTech is getting close to fixing its mobile jump platform, and won’t leave evidence behind, so the remaining colonists are quickly running out of time.

Horrific things happen in Obsidio. There were times I stopped breathing, or was nearly in tears. Kaufman and Kristoff do not pull their punches in describing the brutality and senselessness of war– and in this case, a war that doesn’t even attempt to disguise itself as anything else than an unapologetic attack on an economic competitor out of greed. Yet there are very few completely unsympathetic characters. What makes someone sign on to participate in a situation like this? How can someone willing to sacrifice his life for a cat command the death of innocent civilians? What makes someone whose job has been protecting others from harm lead a mutiny that ends in blood and death? Knowing that AIDAN has acted ruthlessly in the past, why does Kady keep bringing him back?

One thing that does really bother me is the way that the authors tried to humanize AIDAN. It is clear that by the end of the third book AIDAN is in love with Kady. But AIDAN, as Ella points out, is not a person, but an “it”. AIDAN’s meta-awareness is also frustrating. It somehow has realized that it is in a story and decided that “every story needs its monster”, so it will be the monster. AIDAN is the “Frankenstein” of the series, I get that, but that doesn’t need to be said over and over.

The book hangs on a million coincidences, but it does all hang together in the end.  Obsidio is creative in every way, from its design and the illustrations by Marie Lu (the book is a work of art), to the storytelling through the format of a collection of emails, instant messages, maps, and other documents. It does need to be read following the first two books in order to make sense, but, as long as all three of them are, it is absolutely worth it. I recommend reading this as a hardcover, so you can appreciate the illustrations and full-page designs, but I have also heard that it is outstanding as an audiobook. Highly recommended.

 

Posted on February 8, 2019 by , Reply
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