Parasitical Horror: Where do we go in post-Roe America?

There’s something inside you that you didn’t want there. It might kill you. You know you can’t live with the fall out of it, and the very existence of it inside you is traumatizing.

You’re watching Alien, of course. Or The Thing. Or Slither, or The Bay, or Viral, or Malignant, or–

….where does parasitical horror stand now, really in a post-Roe America? Because while of course, a human fetus isn’t a parasite in the scientific or traditional sense, it’s still an intrusion into the body that not everyone wants there or is happy about, let alone safe with.

My state has now banned abortion even in the cases of situations such as ectopic or molar pregnancy. For anyone unfamiliar with these terms: a molar pregnancy is when the fetus becomes a tumor. Not a potential child, to be entirely and crystalline clear: a tumor. And an ectopic pregnancy is in which the fetus develops outside the womb. Neither are viable. Both will kill the pregnant parent. 

When Roe was overturned, I flashed back to the scene in Prometheus where Noomi Rapace’s character had to have the alien parasite removed. She sat in the medical machine, demanding an abortion for the inhuman creature which had taken residence in her uterus.

But just like the system which she found herself in, our system was also not designed for women and others with uteruses. It took reifying the situation to one a cis man might face for her to receive treatment. It’s not the most delicate metaphor in Prometheus, nor the most impactful at the time, but…now in the shadow of the SCOTUS decision and various trigger laws going into effect throughout the states? It’s horrifyingly real, in ways we thought were behind us.

Allow me to get a bit personal.

I grew up a fan of horror. I always get looks outside the South or even in the South by the younger crowd when I tell them the first movie I remember wanting to watch over and over with childish glee wasn’t a Disney film, but was Ernest Scared Stupid. And as I grew up and consumed more horror media, I noticed it, like all media, reflected a lot of what society had to say about itself. It’s very telling really.

Alien. The Fly. The Exorcist. Rosemary’s Baby.

There’s something inside you that you didn’t (necessarily) want there. It might kill you. You know you can’t live with the fall out of it, and the very existence of it inside you is traumatizing.

Even in horror, the scariest thing we can all imagine, even cis men, is the loss of autonomy of our own bodies.

This isn’t to discount the countless valid stories of parents of wanted pregnancies, who lose what would have become a beloved child to tragedy beyond their circumstances–who are then victimized more by a system that holds no grounds for nuance. I cannot imagine the pain, the suffering that causes, the sheer mental fortitude and bravery required to go on. I remember the far off pained look and the quiet embarrassment of my mother telling me about her miscarriages quietly during my adolescence, as if speaking of them as more than a whisper would be enough to invite more shame. 

But that isn’t my story and I feel it might ring hollow or disingenuous, even though I want to stand and scream for them as well.

So here’s my story:

I was born in the late 80s in Nashville to a biological mother who already had teenage children, and a biological father who already had a different wife and possibly children of their own. From what little I know, they knew each other from work. He had a position of power over her, which he abused. We won’t go into more detail–no more is known by me, and no more is needed. My biological mother made the choice, or was perhaps cajoled, I truly do not know, into giving me up for adoption through a Christian adoption agency.

I was adopted by a couple in rural TN, who–for all our fussing and fighting at times–do love me very much. I can’t fault them there. And due to this I grew up, like one might imagine, thinking the only choice–adoption–was as clear and easy as day.

And then I started getting sick. As I got older I got sicker. Needed surgery in my late teens to fix problems usually relegated to 50+ year old alcoholics even though I never drank more than a glass of white wine my whole life up till that point. Took till my twenties to figure out I had a genetic disorder that affects every system of my body–reproductive included.

I’d wanted to be a parent, up to that point, even though pregnancy sounded kinda scary. I’d realized by that age that not evrything was black and white, and I was nominally pro-choice, but still somehow in my mind, I guess I thought abortions were for other people. And I’d done everything “right”–never acted on being bi, and never questioned why the label “girl or woman” had chafed my whole life.

But then the doctor was saying words like “rupture” and “hemorrhage.” “Growth restriction” and “collapse.”

“Fifty percent chance of heritability.”

I remembered dislocated ribs on the playground. Fainting just standing up after a long lecture because my veins are too fragile to regulate blood pressure some days. Throwing up pure stomach acid before tests, not because of anxiety, but because my esophagus won’t function properly on the bad days.

There’s something inside you that isn’t you. You didn’t invite it in. It might kill you.

And I knew that even despite what I’d thought I wanted most of my life, I couldn’t let it kill anyone else either. I knew in that moment, if birth control failed, I’d get an abortion without hesitating. And in that moment, I knew whatever little judgment I may have held onto for others didn’t have a leg to stand on.

No one’s judgment really does.

Because they know it’s a horrifying situation to be in. Frankly I’m tired of pretending they don’t. Art reflects life, and since the dawn of the genre of horror, its many male authors have known the same thing:

The horror isn’t the whispers in the woods at night. Not always.

Much much more often, it’s the loss of autonomy. The loss of feeling full personhood. The gaslighting by society telling you you’re crazy for not being happy about it. The complete and total lack of help by anyone around you capable of giving any significant aid.

It’s interesting to think of where horror might go from this point in regards to parasitical elements. Even prior to the overturn of Roe, directors of such films did seem to have an inkling of what such horror reflected in our culture and how it might be received differently by roughly half the populace. With the advent of a new more socially aware generation of horror directors and films thereof, it seems impossible to avoid as a subject going forward.

There’s something inside you that you didn’t want there. It might kill you. You know you can’t live with the fall out of it, and the very existence of it inside you is traumatizing.

Don’t let them make excuses. Don’t believe the lies. They’ve told us this whole time they know.

We don’t have to make them know.

We have to make them afraid too, somehow.

Afraid to be voted out, afraid to be the bad guys of history, afraid to lose every ounce of the credibility that they’ve tried to make for themselves.

They are the monsters of these stories. It’s time we fight back. 

There’s something outside you that isn’t you. You didn’t invite it in, but it’s trying to take your choices. 

Don’t you dare let it.

Book Review: Tomie by Junji Ito

Between the line of the literary terror of horror books and the visual horror of scary movies lies an important but oft overlooked genre: the horror graphic novel, comic, manga, etc. The foundational works of many great artist and writer teams of the horror comic community–Wrightson, Wein, Mignola, McKean, Niles, Templesmith–have crafted incredible works of literary-visual terror.

But none are quite the master craftsman of the art combined with storytelling like Junji Ito.

While we will surely eventually discuss some of his one shots works, which pack terror into less than 200 pages, his series work is what he’s most famous for: Uzumaki in particular but also the subject of today’s review: Tomie.

The manga centers on the titular character: a mysterious, beautiful woman named Tomie Kawakami, identified by her sleek black hair and a beauty mark below her left eye.

Tomie acts like a succubus, possessing an undisclosed power to make any man fall in love with her. Through her mere presence, or through psychological and emotional manipulation, she drives these people into jealous rages that often lead to brutal acts of violence. Men kill each other over her, and women are driven to insanity as well — though there are some who are strong enough to resist her. Tomie is inevitably killed time and time again, only to regenerate and spread her curse to other victims, making her effectively immortal, not unlike Sadako, Kayako, or even American horror icons. And how can one defeat something permanently when one can never truly die?

The art of Tomie is in Ito’s distinctive early style, combining a sense of eerie not-quite-right-looking humans with the outright body horror of many of his more monstrous beings. Nowhere are these combined quite as well as Tomie who takes many spine-chilling (and cracking!) forms throughout the manga–as well as the decently spooky Japanese film adaptations of the volumes. 

To put it simply, Tomie is one of Ito’s most iconic works for a reason. The splash pages alone are astounding and stomach-churning, but the level of detail he puts into all of his work is more than most. It is also helped instead of hindered by it unlike many types of art. Images of Tomie are second most popular on Ito merchandise after images from Uzumaki, though quite frankly I find much of Tomie more striking.

TRIGGER WARNING:

 Tomie does deal with sexist violence and femicide, as well as gross out and body horror. Please be aware of this before picking up the book.

That said, it’s a set of books I adore. If you think you can handle it based on warnings and summaries, give it a shot! Just don’t catch Tomie’s gaze.

Book Review: Pontypool Changes Everything by Tony Burgess

We often associate the cosmic aspect of cosmic horror with outer space or even the ocean depths, but that’s not quite always the case. Sometimes, the most terrifying aspect of horror in the Lovecraftian spirit is the unexplainable nature of chaos. In Tony Burgess’s novel “Pontypool Changes Everything”, the terror lies in gradually discovering what little the protagonists can without any resolution as to the cause behind it. 

A new kind of virus that spreads through an unknown vector appears in the small Ontario town of Pontypool. Victims lose the ability to make sense of language, driving them into bouts of madness and animalistic rage. A radio DJ and his crew hole up in their station as the hoards fight to get in to destroy them, and they have no clue as to the vector or what possibly caused it. While they eventually do discover the trigger for the virus and the rage behind it, the cause of it occurring is never explained, leaving the terror lingering in an effective chill after reading.

The adaptation of the novel into the 2008 Canadian film simply called Pontypool was incredible, shockingly being one of the few films to improve upon the original written work. But the characters, ideas, and execution remain the same, even if they are simplified for a wider screen audience. 

Both film and novel ask an interesting question: what do we know about the nature of humanity? What if something we value as intrinsic to our very day to day existence begins destroying us? How would we adapt or how quickly would we succumb? These questions haunt both reader and watcher long after the last bit of the story ends.

Overall, this is a deeply effective story that can be said to call within the genre of Lovecraftian fiction without any of the iconic Mythos creatures–a feat of skill that many authors in the genre don’t even attempt. I highly recommend both the book (which, while part of a series, can be read alone) or the standalone film, which is currently streaming on Prime, Roku, and SlingTV.

Book Review: Imajica by Clive Barker

Representation matters even in horror. There’s something to be said for seeing yourself in a role other than an emotionally-flat monster or a bit-part side character. There’s a reason for the trope “the Black guy dies first” in such films. Growing up, the only time I saw queer character in horror was as flat-villains or villain-fodder. We rarely got complexity. We never got to survive.

And then, I started reading horror.

Then, I picked up Clive Barker.

While today, the efforts of a white cis-gay British man might not seem revolutionary on the surface, they truly were and are even in a contemporary sense. Clive dealt in what was seen as deviant, not only via queer sexualities and genders, but also in their expressions. The Hellbound Heart and Candyman are his most famous works–both dealt with the horrors of hyperrealities, with the first dealing with the concept of fear of “deviant” sexuality and the other of revenge over past racial wrongs in the United States.

But the one I want to speak on today is Barker’s weird horror-fantasy and lesser known work–Imajica. At its heart lies the sensualist and master art forger, Gentle, whose life unravels when he encounters Judith Odell, whose power to influence the destinies of men is vaster than she knows, and Pie ‘oh’ pah, an alien assassin who comes from a hidden dimension.

That dimension is one of five in the great system called Imajica. They are worlds that are utterly unlike our own, but are ruled, peopled, and haunted by species whose lives are intricately connected with ours. As Gentle, Judith, and Pie ‘oh’ pah travel the Imajica, they uncover a trail of crimes and intimate betrayals, leading them to a revelation so startling that it changes reality forever.

Complicated? Yes. And the revelation is magnificent and I won’t spoil…well, I won’t spoil all of it. But I will say when they revealed who Pie’oh’pah was, really was….

It was the first time as a young adult in the early 2000s that I saw a non-binary character. It was the first time I knew what being nonbinary <i>was</i>. I know these blogs are meant to be mildly more in character than this, but only until you’ve been in the position of finding yourself in the pages of a book, can you understand how important this is.

Pie is also not morally pure. While they aren’t evil, they are flawed and make evil decisions, and it is so so important to see realistic, contradictory, utterly <i>real</p> people in diverse characters and not just cardboard cutouts of perfect morality as an author’s voice piece or attempt at brownie points.

Representation matters, even in horror, and Clive Barker’s work has been formative for so many queer and Black young readers. Just remember, if you feel you have a story in you, but fear that who you are and who your characters are will turn people away…

Try anyway. Write your Imajica. We’ll be there to read it.

What book was the most formative experience for you as a young teen or adult? What book changed your life for the better, if you’ve found it? And if you haven’t, what are you looking for, so we can help you along?

Book Review: The Ballad of Black Tom

Lovecraft is a man known for the legacy of horror and hatred he left in his wake. While his views softened before his early and untimely death, he was still unequivocally xenophobic in a way that can be seen pervading his works. However, this doesn’t mean that many authors who followed his legacy, including authors of color and queer authors, couldn’t find something worthwhile within his bibliography.

One of these notable authors is Victor Lavalle, one of horror’s greatest working Black authors along with the likes of Dr. Tananarive Due and Helen Oyeyemi. Lavalle more than just dabbled passively in writing a Mythos story with “The Ballad of Black Tom”; he confronted and dismantled one of Lovecraft’s most notably prejudiced stories, and did so in a short but punchy novella.

“The Horror at Red Hook” became infamous in Lovecraft’s stories for being particularly xenophobic. Red Hook was a notably diverse town, and while HPL’s story reflects that, the majority of the antagonists (if not all) are not white, while the Irish-American protagonist is the bastion of moral goodness–or heroic behavior at least.

In 2016, Lavalle’s novella tackled the infamous story with one notable difference–the protagonist of Ballad is a Black man. Tommy is a street musician in 1924, and his busking brings him in contact with the same mysterious Middle Eastern millionaire of the original tale. While his misadventures still bring him into contact with a cult of the Great Old Ones, his particular set of skills and knowledge from his unique experience make him a much more capable protagonist than the typical Lovecraftian hero. This doesn’t take away from the fear of the book, but it does make it a lot more interesting.

A quick, compelling read, this is a novella I would recommend to anyone who wants to get free of some of the traditional Mythos’ more confining choices! Lavalle’s other work is also intense and unique, and I will be covering some more of it later.

For now, send in your thoughts in the comments! What do YOU think about modern Mythos authors deconstructing the views of Lovecraft in their work? What’s YOUR favorite extended universe story? Let me know!

The Apostates: A Queer Gothic Horror Podcast

A zip drive arrives at the FBI. On the drive is video of dozen of graphic murders and an implication: the scions of a wealthy family are more monstrous than anyone might guess. THE FBI agents and Georgia AG’s office intends to bury them, but evidence is scarce and facts aren’t lining up. What’s more, one of the agents keeps having a feeling that something is going on beyond murder for revenge or profit–something occult. With everything already seeming too circimstantial for their liking, it’s not as if they can pursue what amounts to an X-File, but Agent Baylor is… He’s having strange dreams. Nightmares. As the trial and a verdict looms ever closer, it’ll be up to the FBI agents to make sure to close the case on the seven young adults who seem to have the whole world fooled.

Hey y’all! Those of you who know me, know that I have been working awhile on a narrative fiction podcast project. Thanks to my supportive friend-based team, we now have social media for the podcast! Give us some follows at the following links to see progress, videos, art, and updates!

TikTok (we just posted a full set of videos!)

Twitter

Tumblr

Instagram

We will also eventually be launching a Kofi and Patreon for anyone interested, but for now, just give us some interaction on the art and videos we’re working on! I’d genuinely appreciate it so much.

And if you’d like to help, contact me and we can work something out! We’re still looking for a lot of our male VA cast.

Moral Manias #002: Gender and Orientation in the Satanic Panic

As discussed before, the anxieties and delusions driven into the societal mainstream during the era of Satanic Panic were largely reactionary to the contemporary gains made by feminism and queer rights. Michelle Remembers placed the blame of abuse on her mother for leaving her in the care of others–a parallel for the soon to occur daycare abuse allegations made during the era. In fact, one may look beyond Michelle Remembers to other mass media paperbacks of the time to see this reactionary blowback.

As documented thoroughly by Alison Nastasi in her essay “The Unholy Passion: Sex and Gender Anxiety in Russ Martin’s Satanic Erotic Horror Paperbacks,” publishers began aping on the success of stories like William Peter Blatty’s The Exorcist and Ira Levin’s Rosemary’s Baby (as well as so-called “non-fiction” accounts like Michelle Remembers) by releasing their own original stories steeped in the societal fear and fascination of Satanism. The books often focused on female possession victims, painted luridly on the covers in compromising positions. At the forefront of this movement was Russ Martin, an erotica writer who spent 1978-1988 penning novels of “unholy passions” with the Devil. 

Credit to the authors and editors for much of the source material I have cited

Martin’s and similar books were reflective of the growing complexity of gender relations. According to Nastasi, these books “equated fears of feminism with the moral panic that spread through the decade.” Like many erotica novels, they followed a certain script: women are stripped of their agencies and become sex slaves to dark forces. Martin’s books focus on physical and psychological domination of women, women in perpetual victimhood, and eventual outright physical enslavement. Some of the women were queer, yet were stripped of their orientation and identities via these demonic incursions. 

Playboy heralded his work as feminist, since the stories took place from the women’s perspective. 

No comment.

During the Reagan era, many of the former disciples of free-love turned their backs on their previous beliefs and became even more strongly convicted by conservative dogma and Christian morality. However, this new cultural Crusade did not align so well with more secular cultural morality. More women than ever were working outside the home, and–while feminists themselves were divided on the concept–sex positivity was coming forward as a leading movement, including sex positivity for queer cis women. 

The Moral Majority Report and many other religious conservative think-tanks would come out of private Christian universities.

Martin’s books, and books similar to them, were bringing forth a new type of horror to the conservative American household. The devil was truly real, and he was luring American women and children to the dark side. In Nastasi’s words: “Martin’s books brought these fears to light, exposing fantasies about control (or lack thereof) and fear of the changing social tide, encouraging a queasy relationship between the reader and female subjects–one where they are both turned on and punished at the same time.” These stories are a vehicle by which women are told their sexualities are of the devil; in such a worldview, enjoyment and punishment must be one and the same. Martin also makes sure to punish trans women in his narratives, as well; in The Destruction of Susan Browning (one of his more famous works), the trans woman in the story is a seductress, forcing the main character’s husband to leave her and sell his soul to the devil. While Playboy was championing women’s right to contraception and abortion, they were (unsurprisingly) simultaneously publishing these stories.

No type of woman–trans or cis, straight or queer–may win in Martin’s world: they exist only as victims or villainesses. And that was the brush with which women became painted in during the Satanic Panic, both then and now.

In 2009, the world watched in a mix of emotions as Amanda Knox was placed on trial for the murder of her roommate Meredith Kercher. Both women studied in Italy, and the Italian courts were dead set on using Amanda’s strange trauma and the date of the murder being All Saint’s Day as evidence that the murder was Satanic ritual abuse. Despite DNA evidence pointing to another person (who was eventually convicted), the trial dragged on, painting Knox and her boyfriend as satanic deviants. There were also plenty of accusations of Amanda being the person who sexually assaulted Meredith, painting the former in the trope of “psychotic bisexual.” She was acquitted, reconvicted, re-acquitted, and fully exonerated by 2015; understandably, she refuses to return to Europe as those who still believe her to be some Satanic deviously queer murderer have a strong presence

From the Netflix documentary regarding the case.

This ties again to the fact that the modern Satanic Panic is largely affecting queer (or perceived to be queer) Americans as opposed to more liberated cishet women alone. In “Why Satanic Panic never really ended” by Aja Romano of Vox Media, they discuss the history of the Satanic Panic and how we are now seeing it tie heavily to queer identity. Even beyond the supposed ending of the phenomenon in the early 90s, the panic persisted on for queer people.

“In 1997, four lesbian women who became known as the San Antonio Four were targeted and wrongfully convicted for child molestation claims. Their trial played out against a resurgence of Satanic Panic tied to homophobia in a conservative state, and their fight for justice lasted nearly two decades. All four women spent 15 years in prison before having their convictions overturned in 2015 and ultimately expunged in 2018.” [Romano, 2021] 

With the recent decisions by the SCOTUS to dismantle privacy laws, it’s no wonder we of the queer community are sitting by in quiet desperation and worry.

Lil Nas X in the video for Montero (Call Me By Your Name), 2021

Recently, the infamous music video for Montero by Lil Nas X, in which the rapper gives a lurid lap dance to Satan, may be seen as edgy fun to one group; however, to those who follow evangelical and QAnon movements, it was proof of queer ties to Satanic cabals that secretly wish to control and chage the bodies of children to “aberrant sexualities and genders.” Even in the arts, where queer people have typically found more freedom throughout history, we are unsafe from these accusations of satanic ritual abuse merely through acts of self-expression.

In an odd tie back to literature, nowhere is the public seeing this more clearly now than the protests against and shuttering of many libraries, particularly smaller libraries in rural areas. The American Library Association has faced more book challenges than in decades, mainly for books that contain elements of social progress, queer existence, or discuss racism. The most-challenged book of 2021 was Maia Kobabe’s Gender Queer, which was challenged, banned or restricted because of LGBTQ content.

Photo credit: NBC15 Madison, WI

The connection of any sexuality outside of Christian patriarchal norms has been a driving force throughout the Satanic Panic, showing up again now in full force. It chants about groomers and throws rocks at drag queen story hours and burns books that contain any deviation from white cishetero hegemony. 

For queer people and even some cishet women who deviate from patriarchal expectation, the danger is inside the house, trying to corner us into a closet where it can finally strike like Michael Myers to Laurie Strode.

Let’s Final Girl this shit once and for all.

In the next installments we will talk about how the Satanic Panic hit the nerd community, specifically cultures surrounding goths, metalheads, horror fans, and D&D players.

Janisse, K.-L., Corupe, P., & Nastasi, A. (2019). The Unholy Passion: Sex and Gender Anxiety in Russ Martin’s Satanic Erotic Horror Paperbacks. In Satanic panic: Pop-cultural paranoia in the 1980s. essay, FAB Press Ltd. 

Romano, A. (2021, March 31). Why satanic panic never really ended. Vox. Retrieved August 3, 2022, from https://www.vox.com/culture/22358153/satanic-panic-ritual-abuse-history-conspiracy-theories-explained&nbsp;

Halloween (2018) and Generational Trauma

DISCLAIMER: This article also appeared on my now long dead WordPress blog. All of the writing, sans quotes, is original to me.

Trauma is a universal language. Like written and oral language, it is often passed down generation to generation. We all hear the stories, though we may not understand them. However, there is not–I would argue–any greater intergenerational trauma than the pain placed upon a person by an abuser or an attacker. Whether we are discussing institutionally crafted traumas such as genocide or slavery, more intimate yet pervasive issues such as long-term domestic abuse, or even single instance traumas which last a lifetime, the damage brought on by such pain is incredibly long lasting and indelible upon the psyche of a family or a people.

On May 23, 2016, John Carpenter announced to the world that he would be returning to the Halloween franchise as executive producer for a new foray into a reimagined nightmare. With the new film ignoring all of the previous Halloween canon save for the first installment, fans were excited but skeptical as to how Carpenter would pull off a Michael Myers story with both Michael and his protagonist counterpart Laurie being in their sixties. What fans wanted was a fantastic sequel to a beloved horror franchise; Carpenter certainly delivered on that. He also delivered something unexpected: a bold look into how trauma affects not just survivors, but their families as well. I would hope, by writing this, to not only justify the actions of Laurie Strode as a logical conclusion of severe trauma, but examine how that trauma passed itself down to both her daughter Karen and granddaughter Allyson within the confines of the Halloween (2018) universe. 

While further study is warranted, initial findings point to the heritability of trauma, particularly with regards as to how it affects the nurture bond between parent and child (Kaitz, et. al., 2009). Horror as a genre is not unfamiliar with depictions of intergenerational trauma, either. As Lowenstein (2005) questions: where would horror be without reliance upon reactionary terrors to historical and contemporary traumas? 

The historical trauma that the original Halloween movie franchise builds upon is women’s intergenerational trauma with regards to the male monster figure (Connelly, 2007). Michael Myers, or The Shape, is the prototypical figure of male violence within the slasher genre. Proceeded only by famous non-franchise slashers such as Psycho (1960), Black Christmas (1974) and The Town that Dreaded Sundown (1976), Michael Myers became – mostly by default – the first and most defining figure for the slasher subgenre. With few exceptions, many slasher killers would begin to follow the model set by Michael: a mask, a slow looming walk, and a seeming immortality. Beyond even these characteristics, the genre also became defined by its victims–or rather its survivors. As the slasher movie shifts from the view of the hunter to the view of the hunted, it also shifts from the perspective of male to female.

Carol Clover (1993) originated the term Final Girl for this trope; the Final Girl survives the killer and is the last one left to tell the story. The Final Girl does this by setting herself apart from the average horror movie girl; not only is the Final Girl generally perceived as virginal, she is often perceived as tomboyish, though not tomboyish enough to be a credible threat to actual male power (Clover, 1996). While Clover derides Laurie in the original film somewhat as a more passive Final Girl who ultimately needs rescuing by the male Dr. Loomis, she does not deny that Laurie meets the model of the Final Girl for the time period. Laurie fights back against Michael, wounding him and confusing him at various points in the chase. It is only Michael’s functional immortality that keeps him alive past the climax of the movie. When Dr. Loomis arrives seemingly miraculously and manages to put a stop to Michael by somehow firing seven shots from a revolver, Laurie is saved and the movie seems to be over. Of course, a startling reveal of the empty ground where Michael should lie subverts this idea and makes room for multiple sequels. 

Of course, the sequels all became moot with the announcement of the new 2018 film. Denying such key original plot points as Michael being Laurie’s older brother, the film instead focuses on Laurie’s lasting reaction to trauma. Laurie, in her adulthood, became a recluse. Her marriage failed as she reacted to trauma by becoming a survivalist, a lifestyle she then attempts to force on her daughter until Karen is removed from her custody at age twelve. Her house is isolated; her backyard is a gun range. Laurie’s kitchen even has a secret secured entrance down to a hidden cellar, which becomes of great plot importance at the climax of the film.

In interviews prior to the 2018 film’s release, Jamie Lee Curtis spoke a great deal of Laurie’s initial denial of trauma, her feelings of freakishness, and her survivor’s guilt. Curtis went on to defend Laurie’s behavior as a reaction to untreated trauma. While she never justifies the trauma Laurie put her daughter Karen (and Karen’s daughter Allyson) in by proxy, the effect of untreated trauma in Laurie is not difficult to see manifested in her daily life. 

Like many people who suffer from an untreated trauma, Laurie ends up unintentionally passing down said trauma through the women in her family. This is most readily apparent in Karen, whose unhappy marriage and blasé denial of potential danger bely a past overshadowed by a survivalist education and emotional trauma. While Allyson is more distant from the trauma, it is obvious that Laurie’s pain impacts her a great deal.

This form of intergenerational trauma is one of the first of its kind within the horror genre. While movies like Hereditary certainly explore intergenerational trauma within a family (and Hereditary is likely my favorite film of all time), the way Halloween does so while brilliantly giving homage to its source material is unsurpassed in my opinion. 

I hope you’ve enjoyed things so far. Thank you for your patience while I got this out of my system.

Top 13 Best Sci-fi Horror Books

Since Mary Shelley illuminated the literary world with a spark of life returned to dead flesh, horror and science fiction have been frequent bedfellows. Strange ones, by their nature, but also not–the foundations of science fiction are in horror and rarely fully escape any trace of it. However, there are certain books that have more than just traces–these books have large swathes of horror or are outright equally horror as sci-fi. The scariest books after all are the ones that burrow into the brain and stay there long after reading; what could be scarier than those that base themselves in the semi-known, yet oft mysterious world of the scientific? 

While some of these are genre fiction, and others are more literary horror, I have compiled a list of books which fit that bill. They either have multiple scenes that cross into horror throughout, or they share horror as just as much a genre as they do science or speculative fiction! 

The Seep by Chana Porter

The Seep is a strange novel, more philosophical and deeply reflective than filled with alien jumpscares or the silent maw of space. It is also very intersectional with the lead being a queer transgender Indigenous woman. 

Set in a future where aliens have taken over earth to create a benevolent (if authoritarian) utopia, wives Trina and Deeba live happily until Deeba decides to use alien technology to relive her life and leave Trina behind in the process. Trina is devastated and through the technology begins exploring the nature of both consciousness and the aliens which they have allowed to control their lives. She decides to destroy the symbiotic Seep which controls them, even as it may mean destroying utopia in her grief.

This novel is a terrifying look into the what ifs not only of an alien future, but at how horror can be found in very human emotions: grief, anger, capitulation, obedience. All of these, as well as social issues such as race, class, and gender, are somewhat explored in the short but incredibly poignant and haunting standalone.

The Between by Ryan Leslie

Nerdy Paul and class clown Jay have been friends since childhood, never fully diverging as adults despite their many differences. When Paul discovers a trapdoor has appeared in his backyard, he is cajoled to enter by Jay. Suddenly, the pair find themselves thrust into the horrifying sci-fi world of their favorite dungeon explorer computer game from the early ’80s. Now stuck in the land of The Between game, the pair find themselves facing off not only against the big bad boss NPCs, but also each other and the demons that haunt their old friendship.

While not the best book on this list by far, it’s a very fun and entertaining read, crafted with far more care than the more successful (though gods know why) Ready Player One franchise of nostalgia bait. The Between injects real horror, genuine interpersonal drama, and creative use of tropes in with its manipulation of audience nostalgia. It does it well, even, and I very much recommend it more than RP1 and RP2, especially for those who like more edge to their sci-fi.

The Southern Reach Trilogy by Jeff VanderMeer

Area X is a beautiful place reclaimed by nature…or something like nature at least. All but the first expedition has died somehow either during their time in the containment area or soon after. The first book follows the twelfth, all-female expedition crew. As both the nature of Area X and of each crew member is revealed to the team, the journey into the unknown unravels and deals devastating consequences, which are addressed in book two. By book three, a final winter expedition makes its way into the now larger Area X, discovering terrifying truths at the heart of the tainted paradise.

In Lovecraft the terror comes from either the deep or the beyond, but VanderMeer masterfully crafted horror into the natural in a way that’s downright cosmic. It’s a shame the two other books won’t be adapted for film the way the first was.

The Collected Cthulhu Mythos by H. P. Lovecraft

Speak of the devil. While Lovecraft didn’t define the sci-fi/horror combination, he used it to create the genre of cosmic horror. While not all of Lovecraft’s stories are interconnected, the many stories of the Mythos are. They tie together Lovecraft’s stories of unfathomable cosmic deities, their demonic children, and their devilish occult followers and the havoc they wreak through indifferent madness or targeted chaos. While Cthulhu is the most famous of the Mythos gods and beings, there are many to torment and haunt the reader. And if those don’t, surely Lovecraft’s dated and horribly uncomfortable racist views will!

There is also a large expanded universe by many skilled and diverse authors that are very much worthy of investigating. I recommend Victor Lavalle, Cassandra Khaw, Matt Huff, John Hornor Jacobs, and of course, the inimitable Neil Gaiman (links to a free sample of his work).

Read these stories legally and online for free.

The Expanse Series by James S. A. Corey

Want a long sci-fi series with lots of amazing horror elements and page lengths that make each novel usable as a weapon? Then Corey’s Expanse series is perfectly suited to your needs. There are far too many books in the series to explain everything, but here’s the rundown: when some ice miners from Saturn and a detective hunting for a missing girl run into each other on an abandoned ship hiding a secret, they must find a narrow path to safety by avoiding the eyes of the Earth government, the Outer Planet revolutionaries, and secretive corporations that hold sway over all aspects of life. 

While the series certainly is sci-fi to the extreme, the elements and tropes of horror are threaded throughout, particularly with body horror–after all the reactions of a human body exposed to the dangers of space can result in torturous consequences. Beyond this, certain characters have personalities that lend themselves to inducing terror without more than a few words. Highly recommend the series for the characters if nothing else.

There is also an excellent, though canceled before concluding, television adaptation.

Remembrance of Earth’s Past Series by Liu Cixin

MILD SPOILERS

We base an awful lot of our existence on certain concepts–scientifically, religiously, philosophically. But what if all of them were wrong? What if they were not only wrong, but purposefully coordinated by outside forces to completely stunt our development?

This is the terrifying premise of the Three Body Problem and its two sequels. This book is hard sci-fi at its finest, incorporating many elements of cosmic terror throughout the books both from the very real Trisolaran species, and the incredible philosophical terror behind the main thesis of the books: what do you do when everything you know is built on orchestrated lies?

The books have some issues regarding sexism. There’s absolutely no way to sugarcoat that, just as there is no way to sugarcoat Lovecraft’s racism. There is one plot point that genuinely made me angry. But I do think these books are great and have a lot of value for fans of these genres who want deep speculation in their sci-fi and horror.

This series is currently in production at Netflix.

Solaris by Stanislaw Lem

Another sci-fi horror which relies heavily on the speculative and philosophical, Solaris uses exploration of an alien planet to explore the intersections of memory and identity. How much of you is memory? The crew of the ship sent to explore Solaris must begin to wrestle with this question as their memories of days past are resurfacing in literal forms. Does anything sinister lurk behind the planet or its intent?

Adapted for film twice, once well by Steven Soderbergh who was reimagining the Russian masterpiece by Andrei Tarkovsky, the story lends itself to slow burn yet intensely heated drama and interpersonal and internal conflict. This is an alien story, yes, but not the explosive alien of Ridley Scott’s franchise–rather this one gets inside both character and reader in profoundly different ways. 

Who Goes There? Or The Thing by John W. Campbell

Originally a short story, The Thing got two film adaptations before the full novel version of the story (called Frozen Hell) was released by the Campbell estate. The novel follows an American crew whose research trip to McMurdo Antarctic Station becomes a shocking, bloodsoaked nightmare when they realize there is a shape-shifting alien hiding in the dog they rescued. As the novel goes on we’re left with questions about autonomy and identity, as well as who we can really trust.

The John Carpenter film is the most well known iteration of the story, which is very valid as it is an utterly incredible classic of both genres it represents. However, it’s very interesting to go back to the original source material to explore parallels and differences from the source material!

Read a free and legal copy from NYU here.

The War of the Worlds by H. G. Wells

This one is less on the list due to its own strength and more its overwhelming influence on the genres. As the most famous and one of the first of alien invasion fiction, the story of an English countryside being overtaken by apocalyptic aliens in giant walking machines had been adapted many times over the more than a century old novel.

The most infamous of this is the highly apocryphal tale of Orson Welles’ radio show hoax wherein allegedly thousands of people were convinced the broadcast was due to a real alien invasion. Little proof supports this as more than a gimmick put forth by Welles after the fact, but the story did scare listeners–just in a typical way for a horror show. It was also adapted into a Tom Cruise vehicle picture which wasn’t terrible, and it inspired thousands of books, films, shows, comics, and games about invasion by aliens.

Read it online legally and for free here.

World War Z by Max Brooks

This epistolary novel told in an almost documentary style is, in my opinion, probably the best example of the writing style ever chosen for use in genre fiction. World War Z uses dry, report-like language, interspersed with gripping personal, interview-like chapters in such an effective way that it literally gave me nightmares, dwelling in my brain long long after I first read it. I normally do not like zombie media in the slightest, yet this is so much more than zombie media; it truly is a commentary on the nature of humanity. When I found out this writer of the most terrifying book I’d ever read was the son of comedy legend Mel Brooks I was both stunned and not: both men deeply understand human nature, they just display it in differing ways.

There was a middling action movie that wasn’t outright bad in any way, it just didn’t portray the book. At all. It was highly frustrating as a fan to see the departure even if the movie was a solid effort. Hopefully one day we will get a series that gives us a worthy showing of what this novel has to offer.

Carrion Comfort by Dan Simmons

Carrion Comfort is a hell of a book, but its influence on horror cannot be denied. When Saul Laski, a Jewish prisoner of war in the labor camps, escapes the Nazi monsters holding him captive, he begins a decades long journey towards discovering what sets these global atrocities in motion. He discovers a secret cabal of psionic vampires feeding on the suffering of humanity–the book follows him as he tries to upend the order. While it sounds goofy, it is very much an influential horror book. 

Much of The Strain by the phenomenal Guillermo del Toro and Paul Hogan can be traced to Carrion Comfort, as can the concept of fully psionic energy vampires. Since 1989, this book has been terrorizing new readers, giving us all ideas on how the intersections of genre and traditional tropes for storytelling can be stretched.

Midwich Cuckoos by John Wyndham

The basis for the films The Village of the Damned (1960, 1994, 2022), Midwich Cuckoos takes place in a small town in which everyone passes out one day simultaneously. When they awake, all of the women of child-bearing age are pregnant and notably further along than they should be. After the scandal and accusations die down, it becomes understood that something supernatural has happened; this is reinforced when the children are born…odd. White hair, piercing eyes, and soon enough, psionic powers define the identities of the Midwich Cuckoo children.

The story is incredibly influential to horror, as the children became iconic progenitors of the “dangerous/scary children” subgenre of horror. It’s also a terrifying commentary on bodily autonomy for women, though few adaptations have fully explored this the way it should be.

Frankenstein by Mary Shelley

You all knew the progenitor of the genre and one of my favorite books of all time wouldn’t be missing from this list! Frankenstein by Mary Wollstonecraft Shelley INVENTED the genre of science fiction and so seamlessly blended it with horror that it is inextricably linked to both genres. The language of the book is strong, with quotes that make my skin feel like an electric shock is running through it or like cold water is rushing down my spine. 

“I do know that for the sympathy of one living being, I would make peace with all. I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other.”

― Mary Shelley, Frankenstein

The resonance of this and so many other moments from the creation are something I will expound upon in later articles, but for now, suffice to say my thoughts and feelings on this book and the various adaptations after it are plentiful. It is the mother of the genre, the intersection of two genres, and so many literary trope concepts that it would beggar belief to list them all. 

Read the full text legally online here.

And with that, my dears, we close another article! I hope you’re enjoying these, and that they give you some ideas. What would some of y’all like to see? Comment below with something you’d like for me to write!

Author Dive: John Hornor Jacobs

I was lucky enough to pick up a copy of Southern Gods a year back at McKay, Nashville’s largest used media store. The cover design was neat, but it was the blurb that caught my eye.

Lovecraft in the style of Southern gothic? I had to give it a shot.

I don’t regret it one bit either. While it’s not Jacobs’ strongest work in my opinion, the atmosphere, character work, and general vibes of the novel are excellent; the tale of a P.I. tracking down a deadly DJ in the Jim Crow-era South is definitely one that I recommend to those looking to expand out further into the mythos. 

It got me very curious about the other works of the author, who dabbles both in adult and YA fiction–mostly within the genres of horror, fantasy, and speculative fiction. I personally have no issues with adults who enjoy YA, even ones who are older than me, but as a reader, my preference is for adult fiction. Therefore, I’ll be discussing what I’ve read as far as his works for my age group.

Southern Gods is a great starting point for that. What started as a rough draft for the National Novel Writing Month challenge blossomed into a Bram Stoker Award for Best First Novel nominee in 2011. That fact gives me tons of hope for my own writing, but it also just goes to show that sometimes the writing is just the first step–you have to put in the legwork to get edited and published too! 

The book follows irascible veteran turned private investigator Bull Ingraham as he’s charged with investigating a strange radio personality whose voice and music seem to induce madness. Ramblin’ John Hastur is rumored to have sold his soul to the devil for such power, but of course, it’s far worse than just that….

Y’all this book was FUN! The vibes switch depending on the POV character with Alice bringing forth Jacobs’ gothic horror sensibilities, while Bull’s POV is all hard-boiled detective fiction. While the inspiration is so clearly paying loving homage and dedication to the Mythos, Jacobs’ is also bringing more of his own unique twist to the Mythos. As a fan of both Lovecraftian god figures, Ramblin’ John feels not just like Hastur but also Nyarlathotep, a choice which I think was excellent for this novel. The ending is a bit too tropey at points, but it’s also not as nihilistic an ending as most Mythos fiction–which I oddly enjoy a lot about it.

The short story collection Murder Ballads and Other Horrific Tales contains the sequel to Southern Gods, and while it’s very much enjoyable, I’ll admit it’s a touch overshadowed by some of the other stories in the collection. To be clear, I say this as a compliment to how delightfully dark and fun some of the other tales are. As with all collections, some fall a bit shorter than others (sorry, John, very few authors can make me like a ‘dangers of artificial intelligence’ tale), but it’s very much worth checking out–just maybe skip the titular story if you want to read Southern Gods first. “The Children of Yig”, though, is an excellent Mythos short story that combines Jacobs’ love for the mythos with his love of history wonderfully.

The last of Jacobs’ horror works that I’ve experienced is A Lush and Seething Hell, and I do mean I experienced it. A collected duology of two tales just-too-short to be novellas, this work is probably Jacob’s most praised and for damn good reason. It blends the horror of the cosmic with folk horror seamlessly, all the while interweaving Jacobs’ unabashed love and knowledge of history into the pages. Reviews have even compared the writing in it to Nabakov and Faulkner–I definitely see the influence of the latter, as well as O’Connor and Jackson (though with a Southern twist in her case). 

Overall, I cannot recommend enough giving his works of horror fiction a try. They are well-written, atmospheric, and genre-blending in a way that few are. While there is an occasional reliance on more cliche tropes, I can’t say that they take away from the experience of reading his works in any significant way. 

A short article by my standards, but a bit more graphics work went into it. If you’d like to see more dives into authors or even individual books, just let me know in the comments below, or contact me via my Carrd!