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Defining Horror Fiction: You Can Do Anything You Can Sing

I just wrote about Booklist taking the opportunity to spotlight horror fiction this month. As part of their spotlight they also had a piece by Joyce Saricks, author of the Readers Advisory Guide to Genre Fiction, called “Reconsidering the Horror Genre“. I have heard so many negative and dismissive comments about the horror genre from librarians of my acquaintance that it was a fun surprise to find a librarian writing about horror who actually likes it and thinks about it. The only other prominent librarian I can think of who does so is Becky Siegel Spratford (note: we also have fantastic librarian reviewers).

I tend to agree with Saricks that straight horror fiction has really suffered with all the genre blending that goes on today- it’s why we find ourselves here at MonsterLibrarian.com reviewing paranormal romance, urban fantasy, thrillers, dark fantasy, science fiction… As I’ve written in the past, mainstream publishers (and the Wall Street Journal) will go to some lengths to avoid slapping the genre label of “horror” on a book (Mulholland Press, a new imprint from Little, Brown, seems to be an exception).

But I’m not sure that I agree with Saricks’ definition of horror fiction. She writes that what makes a book true horror is that “the nature of the menace cannot be explained rationally”. As soon as an explanation of what’s going on comes into play, she says, the book doesn’t qualify as horror anymore. A lot of zombie books posit a virus or scientific reason for the zombie plague- does that mean they’re not horror? I think there are a lot of authors out there who identify themselves as horror writers who would disagree.

Saricks writes that “the key to horror is the pleasure we take in experiencing fear generated by the unknown”. If a novel is predictable, does that mean it’s not horror? Because there is a lot of predictability in genre fiction of any kind, and if you’ve read enough of it, it’s not hard to tell what comes next. It’s actually been pointed out to me recently that sometimes it’s the “train wreck” nature of the plot that is the most horrifying- you see what’s coming, but there’s no way to stop it.

She continues by saying that horror fiction is defined in part by a foreboding atmosphere, that it deliberately keeps readers guessing, lost in the dark. I agree that atmosphere and setting can be important in horror fiction, and sometimes what you can’t see, what’s in the fog, makes for a truly terrifying tale (in fact, it’s a tradition of the Monster Librarian to watch the movie The Fog every Halloween), but the setting doesn’t have to be misty and dark. It can be a shopping mall, someplace bright and cheery with lots of unsuspecting innocents, or a girly slumber party. In fact, places and events that seem normal and even happy can make for some serious scares once evil is on the loose.

She wraps it up by saying that horror fiction should leave endings unresolved. I have to disagree with this as well. Some horror (and some fiction, generally) needs an unresolved ending, but sometimes it’s better to wrap it up, and sometimes the real horror of the story, the part that sticks with you, has nothing at all to do with the ending (that’s the case for me with Alexandra Sokoloff’s The Price I’ve been permanently spooked by that book).

This will seem like a digression, but I promise it’s related. When I took a class on Opera and Musical Comedy in college, the absurd and disturbing characters, events, and relationships that take place in opera made me shake my head in disbelief. My professor put it in perspective for me. He said, “In opera, you can do anything you can sing”. It’s the music, the raw emotion, the drama, the humanity and inhumanity that make opera a transcendent art form that has to be experienced live. Whether you understand the words is unimportant- the story carries you on the sheer power of life lived larger-than-life (trust me, The Tragedy of Carmen is just as powerful when the supertitles fail, ahem, Indianapolis Opera).

And this is also the truth of horror fiction. In horror fiction, a writer can do anything he or she can imagine, but it has to bring to the forefront that raw emotion, and bring the human experience of fear and dread and love and conflict alive.

Do you agree with Saricks? Do you agree with me, or think I’m nuts? Could be both, I guess. Have I convinced you to support your local opera company?

What do you think are the defining characteristics of horror fiction?

Posted on August 25, 2011 by , Reply

Booklist Spotlight on Horror

In awesome news, this month’s Booklist has a spotlight on horror fiction. For those not in the know, Booklist is a professional review journal produced by the American Library Association. Librarians looking for must-have titles consult journals like Booklist to build their collections. In this case, Booklist provided top 10 lists of horror fiction for both adults and teens, and a list of favorite zombie titles. I encourage you to check out their choices and see if you agree. I’d love to see what else you think they ought to have included! Unfortunately, the editor is going on a leave of absence for several months, but it might be fun to send our thoughts on to Booklist.

Congratulations to everybody who made these lists. I’d like particularly to congratulate Madeleine Roux, a first-time author who also attended my alma mater, for making the list of top zombie titles with her novel Allison Hewitt is Trapped.

Enjoy!

Posted on August 22, 2011 by , Reply

Kelly Link, Small Beer Press, and Weightless Books

Kelly Link is one of the most original writers I have come across in many many years of reading all kinds of things. She started out writing for small press, and in the past few years had a collection of short stories for teens, called Pretty Monsters, published by Penguin, and reviewed here. I first discovered her work when I was looking for books published by Shaun Tan (I had just experienced his graphic tale, The Arrival) and once I started reading, I couldn’t stop with just one story. I told everyone who would listen to me about the book, and was very excited to have the opportunity to interview her last summer when the paperback edition of Pretty Monsters came out.

Pretty Monsters was not her first book. Stranger Things Happen, her first full length collection, was published in the small press, by Small Beer Press, in 2001. This is the book Karen Russell described and read from on NPR recently (here’s a  link to Karen Russell’s introduction. If you’d like to listen to her read from the book, you can do that from this page too). Karen claimed that Kelly’s work transcends a librarian’s ability to catalog it. Which is nonsense. To quote one of my favorite essays “Librarians can catalog anything… They can even catalog you.” Even though we can (and do) catalog Kelly’s work, though, she is an amazing, boundary-defying writer. In addition to writing, she also is a college professor, and runs both a zine (Lady Churchill’s Rosebud Wristlet) and Small Beer Press, with her husband, Gavin J. Grant.

When I learned about the story on NPR, I was inspired to revisit Kelly’s website, where I learned that Kelly and Gavin had published an ebook called Sea, Ship, Mountain, Sky. A new book I could try… I had to find it. A link sent me to Weightless Books, which I had never heard of. But it’s a pretty neat place! It’s a small, independent online bookstore, and it provides an opportunity for writers to publish things that don’t fall into established categories, for small presses to make their works available, and for readers to acquire DRM-free ebooks that can be downloaded in a variety of formats to a variety of devices. Weightless Books does appear to be selective about the authors and publishers they will accept, but also appears to be slowly expanding its offerings, and many of their titles fall into genres such as science fiction, fantasy, speculative fiction and, yes, horror. It’s an interesting place to explore, and I encourage you to check it out. I think Sea, Ship, Mountain, Sky is a fantastic story,  and I like the philosophy behind the site. Amazon.com is well-known, and library wholesalers capture a significant chunk of the library market. Places like Weightless Books will make it possible to fill in gaps for audiences who want to read interesting authors and books from interesting presses, that aren’t available easily in any other way.

Once again, Kelly, and Gavin J. Grant (who runs the site) rock.

 

Posted on July 24, 2011 by , Reply
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