Horror’s Most Memorable Movie Moments–My Top 10 List

Meagan Navarro’s fun piece last week–“Horror’s 75 Most Memorable Movie Moments!”–over at Bloody Disgusting got me to thinking about what I might add to the list (which, according to Meagan’s criteria, wasn’t just limited to the scariest scenes). Yes, any such effort is inherently subjective, but I submit for your perusal my top 10 choices (presenting the films in chronological order):

 

1.Ill-Received (Freaks, 1932).

The Gooble-Gobble song is as unforgettable as Cleopatra and Hercules’s drunken disparagement of the “freaks” is reprehensible. This is the most disturbing wedding reception ever (or at least until Game of Thrones came along).

 

2.Monster Laughs (Young Frankenstein, 1974)

No scene better captures the hilarity of Mel Brooks’s classic Universal Monster-movie spoof than this one. Decades later, Gene Wilder and Peter Boyle’s duet still puts a broad smile on my face.

 

3.Hull of a Scare (Jaws, 1975)

Man-eating shark terrorizing a beach community? OK, I could deal with that. But the sudden underwater framing of Ben Gardner’s corpse in the hull hole (an image permanently imprinted on my psyche) formed my jump-scare baptism.

 

4.Roach Explosion (Creepshow, 1982)

I nearly checked out when first watching this segment of the Stephen King anthology film as a ten-year-old. Creepshow‘s most horrifying scene instilled a lifelong dread of insects in me.

 

5.Police Brutality (The Terminator1984)

Cop-killing is a horror-movie standard (forcing the audience to think that not even our sworn protectors can save us from harm). But Arnold’s hyperviolent assault on the precinct in this film constituted an unprecedented rampage–and haunted my dreams for weeks after viewing it.

 

6.Fears of a Clown (Poltergeist1984)

A creepy doll wasn’t bad enough; no, Steven Spielberg had to go and give us a creepy clown doll. Before Pennywise ever popped up in the Derry sewer system, Poltergeist was IT for causing coulrophobia.

 

7.Cenobite Arrival (Hellraiser1987)

Kirsty’s solving of the puzzle box was a cinematic game-changer. The sublime grotesquerie and menacing eloquence of Clive Barker’s Order of the Gash truly revolutionized monster-movie villainy.

 

8.Kirsten Dunst Dusted (Interview with the Vampire1994)

Who ever thought there could be a worse form of vampire attack than a jugular juicing? The fiendish execution of the scene-stealing Claudia was at once terrifying and tear-jerking, and Louis’s subsequent discovery of her ash sculpture was beautifully macabre.

 

9.Chilling Vigil (Paranormal Activity, 2007)

The scene when Katie looms over a sleeping Micah (underscoring our vulnerability while unconscious) was the stuff of nightmare. A fast-forwarding time stamp on a piece of video has never been more horripilating.

 

10.Jack-o’-Lantern Extravaganza (Trick ‘r Treat2007)

There’s so much about this Halloween-themed film that’s visually spellbinding, but nothing more so than the sight of Rhonda’a yard-ful of carved pumpkins. If I ever lived in the town of Warren Valley (and how I would love to!), this is the place I’d want to call home.

 

Digging Deeper: Stephen King’s Sources/Allusions in Pet Sematary

As can be seen from my recent series of posts, I have been in a Pet Sematary frame of mind lately. Prior to the release of the new film adaptation, I reread Stephen King’s 1983 novel (one of my personal favorites). At the time of my reread, there was a lot of media buzz about how the new film was reworking the source novel, which got me thinking about King’s own literary sources for (and pop cultural allusions in) Pet Sematary. Here are a (grave)dirty dozen examples that I was able to excavate:

1.Most obviously, King’s novel is inspired by W.W. Jacobs’s classic 1902 weird tale, “The Monkey’s Paw.” King invokes Jacobs’s story of ill-fated wishing in an epigraph, and within the narrative itself, King’s protagonist Louis Creed calls the piece to mind: “And suddenly Louis found himself thinking of the story of the monkey’s paw, and a cold terror slipped into him.” King picks up on Jacobs’s theme of compounding bad decisions: Louis (who’s slow to learn that “sometimes dead is better”) plants not just Church, but also Gage and Rachel in the sour soil of the Micmac burial ground. While the frightfully resurrected son Herbert in “The Monkey’s Paw” is wished away from the doorstep in the nick of time, Gage returns all the way home, to devastating effect: “What comes when you’re too slow wishing away the thing that knocks on your door in the middle of the night is simple enough: total darkness.”

2.In epigraphs to all three parts of the novel, King quotes (or more accurately, paraphrases) the Gospel story of the resurrection of Lazarus. This Bible tale of revival underlines Jesus’s divinity–his power, as the son of God, to perform miracles. By contrast, the ironically-surnamed Louis Creed is “a lapsed Methodist” who “did not attend church” and who had “no deep religious training.” His calling forth of Gage from the grave is a decidedly more unholy (and unwise) act.

3.At one key point in the novel, Jud tellingly says to Louis: “But bringing the dead back to life…that’s about as close to playing God as you can get, ain’t it?” Pet Sematary clearly aligns with the theme of Promethean transgression in Mary Shelley’s Frankenstein. A sardonic Louis will even go on to refer to the returned Church as “Frankencat.”

4.Church also hearkens back to the titular feline in Edgar Allan Poe’s “The Black Cat.” While not shaded the same color, Church reflects the black cat in his uncanny return from the dead. His macabre tormenting of Louis also parallels the ruinous effect of the antagonistic black cat on Poe’s narrator.

5.In journeying into the deep, dark New England woods, King follows the literary trail of Nathaniel Hawthorne. King scholar Anthony Magistrale (in  Landscape of Fear) explicitly links the works of the two writers:

Hawthorne’s woods are a place of spiritual mystery; in them, young Goodman Brown, Reuben Bourne, and minister Arthur Dimmesdale must confront their own darkest urges. In Pet Sematary, Hawthorne’s historical sense of puritanical gloom associated with the forest is mirrored in King’s ancient Micmac Indian burial ground. Dr. Louis Creed, like so many of Hawthorne’s youthful idealists, discovers in the Maine woods that evil is no mere abstraction capable of being manipulated or ignored. Instead he finds his own confrontation with evil to be overwhelming, and like Hawthorne’s Ethan Brand and Goodman Brown, he surrenders to its vision of chaos and corruption.

I would just expand upon Magistrale by positing that all the “soil of a man’s heart is stonier” rhetoric in Pet Sematary is a deliberate nod toward Hawthorne’s story “Ethan Brand.” Just as Brand, in his obsession with unpardonable sin, has his own heart transmute into marble/limestone at story’s end, a woebegone Louis Creed at novel’s end refers to “the stone that had replaced his heart.”

6.Exactly one paragraph after mentioning the Creature from the Black Lagoon, King returns to the world of Universal monster movies, as Louis uncharitably characterizes his in-laws as “Im-Ho-Tep and his wife the Sphinx.” The allusion to The Mummy is fitting, in that the film (like Pet Sematary) centers on a troublesome resurrection.

7.Louis is equally allusive in the scene when Church is first discovered lying dead on the side of road. Conscious of the “eerie and gothic” nature of “the whole setting,” Louis invokes Emily Bronte’s Wuthering Heights: “Here’s Heathcliff out on the desolate moors, Louis thought, grimacing against the cold. Getting ready to pop the family cat into a Hefty Bag. Yowza.

8.During Halloween season, Ellie Creed hears “The Legend of Sleepy Hollow” at school, and her excited recounting of it when she comes home leads Gage to babble about “Itchybod Brain.” Washington Irving’s genteel ghost story furnishes a moment of amusement for the Creed family, who don’t realize they are about to experience much grimmer horror. The Headless Horseman prefigures the hinted-at decapitation of Gage during the tragic accident in the road (when later robbing his son’s grave, Louis notes “the grinning circlet of stitches which held Gage’s head onto his shoulders”).

9.King’s woods-haunting, human-possessing antagonist in Pet Sematary traces back to Algernon Blackwood’s “The Wendigo.” The creature (drawn from Native American mythology) in Blackwood’s classic narrative is sensed moving around the hunters’ campsite, just as Louis Creed hears “crackling underbrush and breaking branches. Something was moving out there–something big.” Blackwood’s Wendigo leaves a noxious aroma lingering; King’s Wendigo is similarly marked by its “eldritch, sickening smell.” King’s novel (particularly as it builds towards its climax) also picks up on Blackwood’s association of the Wendigo with menacing wind.

10.Pet Sematary alludes to classic films about the undead, from White Zombie to Night of the Living Dead. Jud points to the former when he says to Louis: “You know, they have these stories and these movies–I don’t know if they’re true–about zombies down in Haiti. In the movies they just sort of shamble along, with their dead eyes starin straight ahead, real slow and sort of clumsy. Timmy Baterman was like that, Louis, like a a zombie in a movie, but he wasn’t. There was something more. There was somethin goin on behind his eyes.” Indeed, unlike “George Romero’s stupid, lurching movie zombies,” figures such as Timmy Baterman and Gage possess (thanks to the Wendigo’s reanimation/infiltration of their corpses) a fiendish intellect.

11.Timmy Baterman and Gage convey dirty secrets of the grave, tormentingly taunting the living by voicing the vile deeds of their deceased loved ones. King appears to borrow such explicitness from The Exorcist (cf. the Pazuzu-possessed Regan’s profane exchanges with Father Damien). Gage is positively demonic in his shocking revelation to Jud that his wife Norma cuckolded him and had a secret kink for anal sex: “What a cheap slut she was. She fucked every one of your friends, Jud. She let them put it up her ass. That’s how she liked it best. She’s burning down in hell, arthritis and all. I saw her there, Jud. I saw her there.”

12.In Pet Sematary, King makes several connections to his own oeuvre. Early on, Cujo is alluded to, when Jud notes: “Lots of rabies in Maine now. There was a big old St. Bernard went rabid downstate a couple of years ago and killed four people.” The town of Jerusalem’s Lot is mentioned in passing, as well as Derry and Haven–fictional locales that King would make famous in subsequent novels such as It and The Tommyknockers. Pet Sematary also anticipates The Dark Half when Louis discusses the concept “that the fetus of one twin can sometimes swallow the fetus of the other in utero, like some kind of unborn cannibal, and then show up with teeth in his testes or in his lungs twenty of thirty years later to prove that he did it.” The most extensive connection, though, is with The Shining. The Creeds, like the Torrances in the earlier novel, have their family ripped apart by the evil machinations of a Bad Place (The Micmac Burial Ground and the Overlook Hotel, respectively). Plot devices used in both novels form clear parallels: Rachel Creed’d desperate quest to return home to Ludlow from Chicago recalls Dick Halloran’s Florida-to-Colorado odyssey, his attempt make it back to the Overlook in time to save Danny. If there’s any doubt that King had The Shining in mind when writing Pet Sematary, consider this line that the character Steve hits Louis Creed with: “All work and no play makes Jack a dull boy, you know.”

February X-cellence

As February draws to a close, so does the tenth annual Women in Horror Month. A lot of interesting and insightful material was posted online once again. For those who are still catching up, here are some great WiHM-celebrating sites to check out:

LitReactor: The 13 Best Women Writing Horror Today

Nightmare Magazine: Roundtable Interview with Women in Horror

Manuscripts Burn: (Month-Long Interview Series)

iHorror: Six Real Life Lessons from Horror’s Finest Final Girls

Screen Queens: Whatever Happened to Baby Jane and Its Lasting Impact on Women and Horror

Daily Dead: 45 Female-Directed Horror Movies and Where You Can Stream Them

View from the Morg: Women in Horror Month: Why It Matters

 

2018 Supreme

At December’s end, here’s a list of some of the best summations of the year in horror. See what you might have missed–or be reminded why you checked out these books/shows/films in the first place. Onward, aficionados:

Barnes and Noble: The Best Horror Books of 2018

The Lineup: 10 Best Horror Books of 2018

PopSugar: The 13 Most Chilling Horror Books of 2018

Cinemablend: The 10 Best Horror TV Shows of 2018

Bloody Disgusting: The Best Horror TV Episodes of 2018

Bloody Disgusting: The 10 Best Horror Movie Posters of 2018

Thrillist: The Best Horror Movies of 2018

Harper’s Bazaar: 26 Best Horror Movies of 2018

WatchMojo: The 10 Best Horror Movies of 2018

 

OK, enough retrospective respect. Let’s round out the list with a compilation that looks ahead to the coming year:

LitReactor: The 15 Most Anticipated Horror Books of 2019

 

Forgotten by History

One last post on Eli Roth’s History of Horror

Over the course of seven episodes, the documentary series covered an impressive array of films and television shows. Inevitably, though, there were omissions, either due to time constraints or oversights. Here is my list of the seven most glaring examples:

The Simpsons: Treehouse of HorrorAn annual Halloween institution for nearly three decades (one that has invoked/reworked countless horror classics) surely could have been given at least a passing nod.

Tim Burton’s oeuvreThe auteur of the Gothic and the macabre was basically MIA. Burton’s grimmer and gorier efforts (Sleepy HollowSweeney Todd) would have been perfect fare to savor.

Dark ShadowsA whole episode devoted to vampires, and not one mention of Barnabas Collins, who brought bloodsucking to the afternoon soap opera and captivated a slew of viewers on a daily basis?

It FollowsThe show’s talking heads would have had plenty to expound upon with this haunting and subtext-heavy sexual horror film.

The WitchPowerful, if polarizing, Robert Eggers’s frightening foray into the bedeviled New England wilderness would have been right at home in the “Demons Inside” episode (and could have culminated an episode devoted to the witch figure).

The Twilight ZoneThis eerie (and enduringly popular) series hosted by Rod Serling featured some of the scariest scenes ever to play on the small screen (“Nightmare at 20,000 Feet”: enough said), but you wouldn’t know it from watching Eli Roth’s History of Horror.

Alien. The titular predator is an iconic monster, and certain (chest-bursting) images from the film series have been seared into the viewing audience’s psyches. If sci-fi horror such as John Carpenter’s The Thing could be covered, then Alien should not have been foreign to the AMC program.

 

The preceding list is presented less as a critique than as a simple expression of surprise. A positive spin could be given in this sense: however inclusive Eli Roth’s History of Horror might have been, it wasn’t exhaustive (i.e. there’s room for future episodes!). Overall, I found the series finely edited and highly enjoyable to watch. The analysts added terrific insights and displayed an obvious love for the horror genre (which, time and again, was shown to have deeper significance and not merely form the pop cultural equivalent of junk food, filling the bovine masses with empty calories). Most importantly, the series got me excited to go and re-watch the classic films and TV shows covered. This illuminating history has pointed me toward a future of dark delights.

 

The Shapes of Wrath: Michael Myers’s Nine Most Frightening Movie Moments

The High Holiday’s knife-wielding icon will be slashing his way across the big screen once again on Friday, October 19th. This will mark Michael Myers’s tenth appearance in the Halloween film series (every installment except Halloween III: Season of the Witch). To celebrate his murderous return, I have put together a list–presented here in reverse chronological order–of my choices for Michael’s most frightening moment in each of the preceding nine films:

 

9. Halloween II (2009)

“Trick or Tree.” The embodiment of hulking brutality, Michael has never been more savage in his attacks on the hapless populace of Haddonfield than in Rob Zombie’s sequel to his own series reboot. But for all his raging rampage, Michael arguably is at his most frightful in one of his stealthier moments: the scene where he materializes seemingly out of nowhere, stepping out from behind a shadowed tree to surprise and strangle the policeman posted in front of the Brackett home. Unnerving in and of itself, the kill is also chilling because it forebodes that the sun is about to go down for good on Annie.

 

8. Halloween (2007)

“Ahead of His Time.” Young Michael’s first-time donning of his mask gets the nod here. The sight of this creepy, oversized head perched on a child’s clown-costumed body is strangely disorienting, making the subsequent slashing of sister Judith that much more unsettling. This giant, adult mask might be mismatched here, but Michael is destined to grow into it and make it a perfect fit.

 

7. Halloween: Resurrection (2002)

“No More Laurie.” The acting of Jamie Lee Curtis (“I’ll see you in hell!”) is at its worst, as is the plot logic (the idea that Laurie would have the time or the means to set up a booby-trap for Michael on the rooftop of a psychiatric facility is ridiculous). But there’s no denying the shock value when a backstabbing Michael finally succeeds–after a quarter century and four previous cinematic attempts–in getting the best of his sibling nemesis. If Halloween‘s original final girl can meet her demise in this film’s opening, then all bets are off.

 

6. Halloween H20: Twenty Years Later (1998)

“Dumbwaiter Outsmarting.” From our first glimpse of it in the campus mess hall kitchen, we all know that the dumbwaiter will come into later play, but nevertheless it is put to unsuspected use. For one thing, Michael never comes jump-scaring out of it (although one of his victims, Charlie, is discovered stuffed inside by the boy’s horrified girlfriend Sarah). When Sarah attempts to escape Michael by ascending in the mechanized contraption, Michael saws through the trailing rope but does not simply bring Sarah crashing back down. Instead he catches her as she is about to exit on the next floor; she does not suffer some graphic decapitation, but only has her leg injured by the plummeting dumbwaiter. From here, Michael climbs leisurely upstairs, and when he proceeds to press his boot down on the neck of the bleeding/pleading girl and hack away with his blade, we see just how methodical and merciless he can be.

 

5. Halloween: The Curse of Michael Myers (1995)

“Fear Window.” Admittedly, there’s not a helluva lot to choose from in this wretched entry (which makes a mishmash of the Michael Myers mythos). So I’ll go with the scene when heroine Kara Strode is on the phone with Beth and watches (through telephoto lens, in an upstairs bedroom directly across the street) Michael sneak up on the unsuspecting teen and deliver his sharp brand of post-coital punishment. To make matters even more terrifying, when Kara pans down, she sees her young son Danny crossing the street and heading straight towards the kill zone.

 

4. Halloween 5: The Revenge of Michael Myers (1989)

“Out of the Closet.” As if it wasn’t painfully obvious already, Michael reveals his orientation as a violence-minded voyeur in this early scene. A police sweep of Rachel’s house has deemed it empty, but Michael is in fact hiding in the closet. We first see (via an effective I-camera shot) Michael’s hand reaching out from behind Rachel’s wardrobe; the scene then cuts to an interior view of Michael as he watches the naked, vulnerable, and oblivious Rachel throw a sweater over her head. The emphasis here is on simmering suspense, but Michael’s eventual exodus from his hiding spot makes for a nice pairing with his closet break-in scene in the original Halloween.

 

3. Halloween 4: The Return of Michael Myers (1988)

“Michael-plicity.” Characters Sam Loomis and Jamie Lloyd have been experiencing respective visions of Michael throughout, but here in this scene they both (along with Rachel and Sheriff Meeker) see not one, not two, but three different Michaels surround a squad car. Their collective reaction to the trio suggests that this is no mere hallucination. The would-be slashers are soon revealed as costumed imposters (punk teens playing a Halloween prank), but for a brief moment it seems as if the franchise has taken a bizarro turn.

 

2. Halloween II (1981)

“Hallway Stalking.” Thinness of plot is made up for by unity of setting in this hospital-focused follow-up to the John Carpenter classic. Michael cuts down almost the entire staff of Haddonfield Memorial, but his scalpel-stabbing of nurse Jill constitutes the most frightening kill of all. Jill calls out to a wounded, drugged Laurie stumbling down the hallway, who turns back only to watch Michael step out behind Jill and impale her. Jill is no wicked fornicator (unlike her nurse counterpart Karen, who sneaks off while on duty for a tryst in a hydrotherapy tub) doomed by the conservative sexual politics of the slasher film, and so her murder proves especially disturbing. Jill’s death sentence is poignantly punctuated when her shoes slip off her feet and clatter to the floor as she is held aloft by Michael.

 

1. Halloween (1978)

“Exercise in Terror.” The extended climax (Michael’s pursuit of Laurie) is a textbook frightfest, but its signature moment occurs when the Shape gets back in shape via a single sit-up. Like Count Orlock emerging from his coffin in Nosferatu, the presumed-dead Michael rises up stiffly into sitting position. The maneuver brings dramatic irony to its height, as Laurie is completely unaware of Michael’s resurrection behind her. Also, for the first time, the audience must wonder if Michael is no run-of- the-mill serial killer but somehow supernaturally enhanced. Even before Laurie famously inquires at film’s end, the question crosses the viewer’s mind: is this the Boogeyman?

 

Further Drawings: The Literary Legacy of Shirley Jackson’s “The Lottery”

In my latest Mob Scene post earlier this week I covered Shirley Jackson’s classic short story “The Lottery,” which first cast a dark cloud over a summer gathering seventy years ago. In the seven decades since its publication, “The Lottery” has been anthologized countless times, and has formed the perennial source of high school lit class discussion. The story’s legacy, though, extends to a continuing influence on other works of fiction (Jackson herself would return to a scene of rock-tossing angry villagers at the close of her final novel, We Have Always Lived in the Castle). Here’s another Pick-5 of “Lottery”-influenced texts:

 

1.Storm of the Century. This Stephen-King-scripted miniseries is much indebted to Mark Twain (it might just as easily have been titled The Demon That Corrupted Little Tall), but ultimately King gives a nod to Shirley Jackson. There’s a climactic scene in which representative families from the community submit to a drawing of “weirding stones,” a dire game of chance that earns the unlucky winner a fate worse than death.

 

2.“Guts.” In terms of content, Chuck Palahniuk’s notorious story certainly falls far afield of Jackson’s. But the author himself has testified that he was inspired by “The Lottery” to try his hand at a transgressive narrative that would unsettle his audience. Anyone who’s ever read “Guts” (or heard it performed by Palahniuk) would be hard-pressed to deny the author’s success at that task.

 

3.Dark Harvest. Norman Partridge’s hallowed Halloween novel presents a small town given to performing a sinister annual ritual (which helps assure bountiful crops). Also analogous to Jackson’s narrative, the winning of the contest waged on the night of October 31st proves quite the losing proposition.

 

4.The Hunger Games. Suzanne Collins’s hit trilogy of young-adult novels features another annual lottery drawing that has some dark consequences for the family member selected. At least here, though, the person is given a chance to survive, in a grim edition of reality-TV spectacle.

 

5.Shirley Jackson’s “The Lottery”: The Authorized Graphic Adaptation. In this final case, the drawing proves literal, as Jackson’s own grandson inks a graphic-novel version of the story. More than just a colorful pictorial translation, though, Hyman’s book also forms a bit of a prequel–it starts out by providing a glimpse of the events on June 26th, the night before the fateful ritual.

Horror Hot List

The 2018 Summer Reader Poll conducted by NPR asked fans to vote for their five favorite horror novels or stories. Regrettably, I missed the voting deadline, but would like to offer my scary quintet here at Dispatches from the Macabre Republic. The nights might be getting shorter, but these works will guarantee a summer that is long on frights.

 

1.Stephen King’s IT

The fact that I was practically the same age as the adolescent protagonists when I first read King’s monstrous opus back in 1986 made the book seem especially nightmarish. It didn’t hurt, either, that King sent a virtual all-star team of terrifying creatures out onto (and under) Derry’s field of play.

 

2.Jack Ketchum’s Off Season

Night of the Living Dead meets Straw Dogs in this controversial and unabashedly violent tale of modern-day cannibals in coastal Maine. The dining habits of this feral clan make Hannibal Lecter’s diet seem positively benign. It’s not for nothing that Stephen King dubbed Jack Ketchum “the scariest guy in America.” 

 

3.Clive Barker’s Books of Blood

These six volumes comprise the greatest story collection the horror genre has ever produced. In tale after tale, Barker manages to both terrify and excite, via prose that is at once profound, provocative, and wickedly witty. These books marked me in so many ways; for example, to this day I can’t venture down into the New York subway without thinking of “The Midnight Meat Train.”

 

4.Cormac McCarthy’s The Road

McCarthy’s novels have always exhibited a Gothic bent, but none more than this post-apocalyptic gut-wrencher. The Road is incredibly affecting, as trauma and tragedy play out on both a personal and global level. What ultimately makes this book so haunting, though, is its utter plausibility.

 

5.Dan Simmons’s The Terror

This Arctic epic delivers big-time on its titular promise. The novel is relentlessly terrifying, replete with unforgettable set-pieces (the extended scene in which the Tuunbaq doggedly stalks ice master Thomas Blanky forms a master class in the creation of heart-pounding horror). Readers won’t have to worry about turning on the air conditioning this summer, because this book is perfectly chilling.

Fright Lines

Recently my phone, attuned to my horror-browsing interests, alerted me to the online article “11 Creepy Lines From Horror Books That Are Honestly Terrifying.” It’s hard to argue against Emma Flynn’s choices for “the spookiest sentences in literature,” but her exercise did get me thinking about what fictional lines I would cite. After perusing my bookshelves, I fixed upon a dozen disturbing utterances:

 

There is no delight the equal of dread.
–Clive Barker, “Dread”

 

He went forward, chivvied by unseen devils who whispered obscenities in his ear and caressed him with pincers and stinging tendrils, who dripped acid on the back of his neck and laughed as he screamed and thrashed int he amniotic soup, the quaking entrails.
–Laird Barron, “The Broadsword”

 

Deep down in the subterranean fissures of his body, the minute, unbelievable noises; little smackings and twistings and little dry chippings and grindings and nuzzling sounds–like a tiny hungry mouse down in the red-blooded dimness, gnawing ever so earnestly and expertly at what might have been, but was not, a submerged timber…
–Ray Bradbury, “The Skeleton”

 

One of us lifted something from [the pillow], and leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-gray hair.
–William Faulkner, “A Rose for Emily”

 

we will ride at nightfall we will ride to the hole i am dead you will die anyone who gets too close will be infected with the death on you us we are infected together we will be in the death hole together and the grave dirt will fall in on top of us lalala the dead pull the living down if anyone tries to help you i us we will pull them down and step on them and no one climbs out because the hole is too deep and the dirt falls too fast and everyone who hears your voice will know it is true jude is dead and i am dead and you will die you will hear my voice and we will ride together on the night road to the place the final place where the wind cries for you for us we will walk to the edge of the hole we will fall in holding each other we will fall sing for us sing at our at your grave sing lalala
–Joe Hill, Heart-Shaped Box

 

“God God,” Eleanor said, flinging herself out of bed and across the room to stand shuddering in a corner, “God God–whose hand was I holding?”
–Shirley Jackson, The Haunting of Hill House

 

She lay peaceful in the silence waiting for him knowing that he would not lie to her, wondering if he’d read her now in the days and weeks to come, feeling that probably would for how could he not be curious to give the work a try after this, thinking this as suddenly glass shattered glass was everywhere, she felt it spray across her breasts and stomach, her face and hair and felt hands close hard over her wrists and pull her roughly across the broken windowpane raking her backbone, the broken shards of glass cutting deep and then she was out in the cool night air exactly as it should be, exactly as she’d written, and the end of her night began.
–Jack Ketchum, “The Work”

 

It’s probably wrong to believe that there can be any limit to the horror which the human mind can experience. On the contrary, it seems that some exponential effect begins to obtain as deeper and deeper darkness falls–as little as one may like to admit it, human experience tends, in a good many ways, to support the idea that when the nightmare grows black enough, horror spawns horror, one coincidental evil begets other, often more deliberate evils, until finally blackness seems to cover everything.
Stephen King, Pet Sematary

 

She looked at them watching her and knife in hand screamed at them, What have you done to his eyes?”
–Ira Levin, Rosemary’s Baby

 

Nor did it belong to any other world that could be named, unless it was to that realm which is suggested to us by an autumn night when fields lay ragged in moonlight and some wild spirit has entered into things, a great aberration sprouting forth from a chasm of moist and fertile shadows, a hollow-eyed howling malignity rising to present itself to the cold emptiness of space and the pale gaze of the moon.
–Thomas Ligotti, “The Shadow at the Bottom of the World”

 

Everyone listened, and everyone was listening still when It lumbered slobberingly into sight and gropingly squeezed Its gelatinous green immensity through the black doorway into the tainted outside air of that poison city of madness.
–H.P. Lovecraft, “The Call of Cthulhu”

 

For a moment she remained trembling and reeling to and fro upon the threshold–then, with a low moaning cry, fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated.
–Edgar Allan Poe, “The Fall of the House of Usher”

Precursors to Terror: Seven Influences on Dan Simmons’s Arctic Gothic Novel

Dan Simmons is one of the most literate and culturally-astute writers of genre fiction, and in his 2007 novel The Terror (a supernatural recasting of the fate of the Franklin Expedition), he proves as allusive as ever. Here are seven examples that can be dug out of the ice:

1.“The Rime of the Ancient Mariner” by Samuel Taylor Coleridge (1798)
The icebound plight of The Terror parallels the dead calm plaguing the ship in Coleridge’s poem (which the crew believes to be a supernatural entrapment by an angry Spirit from the Antarctic “land of mist and snow”). Also, just as the ancient mariner’s troubles traces back to his sacrilegious slaying of an albatross, the Franklin Expedition perhaps curses itself by slaughtering polar bears as it makes its transgressive foray into the Arctic. Late in the novel, Simmons reveals that shamans have promised the God Who Walks Like a Man (i.e. the Tuunbaq, who has adopted/adapted the shape of the white northern bear) that “they would honour it by never fishing or hunting within its kingdom without the monster-creature’s permission.”

2.Frankenstein by Mary Shelley (1818)
Shelley’s frame story (often abridged in film versions) intriguingly features an icebound ship stalled in its quest to discover the Northwest Passage. Captain Walton’s predicament reinforces the theme of Promethean overreaching, and the advice he receives from a dying Victor Frankenstein (“Seek happiness in tranquility and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries”) applies just as readily to Sir John Franklin in Simmons’s novel.  Frankenstein‘s tale of the reckless creation of a hulking monstrosity that rebounds troublingly on the creator also aligns with the mythological backstory of the Tuunbaq that Simmons sketches towards the end of The Terror.

3.”The Masque of the Red Death” by Edgar Allan Poe (1842)
Poe’s story is worked overtly into the plot of Simmons’s novel: crewmember Richard Aylmore, having read it in Graham’s Magazine five years earlier, uses it as the basis for the color-coded apartments he sets up during the Second Grand Venetian Carnivale. Alas, just as the ghastly embodiment of the Red Death crashes Prince Prospero’s festivities, the mauling Tuunbaq adds some dire fireworks to the New Year’s Eve celebration. Both Poe and Simmons furnish haunting reminders that ultimately there is no refuge from terror.

4.Moby-Dick by Herman Melville (1851)
Simmons immediately invokes Melville by employing a passage from Moby-Dick as the epigraph to The Terror: “This elusive quality it is, which causes the thought of whiteness, when divorced from more kindly associations, and coupled with any object terrible in itself, to heighten that terror to the furthest bounds. Witness the white bear of the poles, and the white shark of the tropics; what but their smooth, flaky whiteness makes them the transcendent horrors that they are? That ghastly whiteness it is which imparts such an abhorrent mildness even more loathsome than terrific, to the dumb gloating of their aspect. So not the fierce-fanged tiger in his heraldic coat can so stagger courage as the white-shrouded bear or shark.” Moby-Dick also swims into the narrative itself, such as the scene when Sir John Franklin (a vainglorious captain bent on career redemption rather than revenge) entices the crew with the Ahab-like promise of golden reward for the killing of their adversary. Much like the captain of the Pequod, Franklin dooms his ship’s crew (save for a sole survivor) with a series of bad decisions. Surely it’s no coincidence, either, that in his death scene, Franklin suffers an injury that doubles Ahab’s unmasting by the whale: he has his legs torn off by the Tuunbaq. Side note: Simmons (perhaps unwittingly expressing an anxiety of influence) has written an essay in which at once admits to rereading Moby-Dick while writing The Terror and vociferously distances himself from Melville’s novel.

5.Heart of Darkness by Joseph Conrad (1902)
Simmons’s treacherous, renegade caulker’s mate, Cornelius Hickey, compares with the Conradian antagonist Kurtz. Just as Kurtz notoriously supported the Suppression of Savage Customs–“Exterminate all the brutes!”–Hickey orchestrates a fiendish massacre of friendly Esquimaux. Hickey also sounds echoes of Heart of Darkness in his descent into madness and presumed rise to godhood, and his “terrified” final pronouncement recalls Kurtz’s dying cry of “The horror! The horror!”

6.Nosferatu (1922)
Simmons closes his novel with a curious scene: Captain Crozier returns to The Terror, only to find it inhabited by an ostensibly dead figure with rat-like teeth and “long brown gingers and too-long yellow nails.” Both in appearance and situation, this seeming vampire suggests Count Orlok (who, after decimating the crew, forms the solitary occupant of the “death-ship”) in the influential German horror film. Simmons’s notion of a supernatural evil drawn to haunt a bad place also calls to mind Stephen King’sSalem’s Lot (whose film version offers a vampire that is a clear Nosferatu-homage).

7.The Thing from Another World (1951)
The Terror “is dedicated, with love and many thanks for the indelible Arctic memories, to Kenneth Tobey, Margaret Sheridan, Robert Cornthwaite, Douglas Spencer, Dewey Martin, William self, George Fennerman, Dmitri Tiomkin, Charles Lederer, Christain Nyby, Howard Hawkes, and James Arness”–respectively, the cast, screenwriter, director, producer, and title character of the classic science fiction/horror film The Thing from Another World (based on John W. Campbell, Jr.’s 1938 novella “Who Goes There?”). “The thing on the ice” (as it is repeatedly referred to within Simmons’s novel) hails from the Spirit-World rather than another planet, yet lays a similarly nightmarish siege on the protagonists’ base of operations. (In a recent interview, Simmons offered further comment on the personal appeal of The Thing.)