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Horror: A Biography By E. Michael Jones
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- Amazon Sales Rank: #7146078 in Books
- Published on: 2002-06
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: .68" h x 6.74" w x 8.50" l,
- Binding: Paperback
- 312 pages
About the Author E. MICHAEL JONES is the author of several best-selling critiques of contemporary culture, including his highly-praised trilogy on modernity, Degenerate Moderns, Dionysos Rising, and Living Machines. He lives in South Bend, Indiana, and publishes Culture Wars magazine.
Excerpt. © Reprinted by permission. All rights reserved. Horror is a lot like the weather; it is both familiar and incomprehensible. Indeed, the prime image of horror—the monster that has no name—shrouds horror from conscious explication. The creators of horror fiction—Mary Shelley is a good example—are, more often than not, representing something which they cannot bring themselves to articulate. Monsters thus invariably involve repression, and repression invariably involves the return of the repressed in a disguised, more palatable form. The iconography of horror is therefore as fixed as that of any genre. There is Frankenstein, and there is Dracula, and then there are various combinations of the two. Both icons made their appearance as literary tropes because of one event in Shelley’s life. Frankenstein was modeled on Percy Shelley. The Vampire was modeled on fellow poet Lord Byron by Byron’s physician, John Polidori, though the world would have to wait another eighty years for the definitive vampire story, which Bram Stoker wrote at the end of the nineteenth century when the Enlightenment was in a less exuberant phase. Emily Sunstein calls Frankenstein “the first modern myth.” She goes on to quote Muriel Spark’s verdict that Mary Shelley anticipated “the ultimate conclusions to which the ideas of her epoch were headed.” “After a century and a half,” as George Levine and U. C. Knoepflmacher write, “Frankenstein begins to look both inexhaustible and inexplicable.”
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