#i think gothic fiction is often about family and trauma and the past and that's why the lancastrians fit so well with it.

[astramachina]

Writerly Questionnaire

i was gonna snatch someone's open tag but @the-golden-comet (ty!!!) hit me with one so here we go. this is probs gonna get long and I apologize in advance.

About Me

When did you first start writing?

I was probably writing two page "sensationalized diary entries" when I was 8, but my first foray into proper "I am writing a piece of fiction" was at around 15.

Are the genres/themes you enjoy reading different from the ones you write?

Kind of but not really? I do enjoy reading a good romcom every now and then despite never having written one (and not intending to YET), but I mostly read horror and sci-fi which are my two genres of writing choice.

Is there an author (or just a fellow writer!) you want to emulate, or one to whom you’re often compared?

When I was younger I really wanted to be able to emulate Terry Pratchett's prose, but the more I wrote the more I realized there's no real emulation when it comes to one's own authorial voice, just bits and pieces of all of whom we've enjoyed along the way. Nowadays I don't really care for the idea of comparison, but if it's a must, Grady Hendrix's approach to blending horror with humor is golden.

Can you tell me a little about your writing space(s)? (Room, coffee shop, desk, etc.)

98% of active writing magic occurs in my bedroom, at my desk, mostly on my laptop because it's the only piece of tech with a word processor. When I'm feeling feisty, I'll light a scented candle (apple & cinnamon) and instantly give myself an allergy.

What’s your most effective way to muster up some muse?

MUSIC. Or taking a shower. Or chillin the backseat of a car with my headphones on. Growing up I had painted the words "movement inspires creation" on my closet door because car rides really were the prime way to summon The Muse.

Did the place(s) you grew up in influence the people and places you write about?

Oh, absolutely. Sometimes it's more obvious than others! For example, Define Home to Me is a folk horror set in a fictionalized version of the town I grew up in. In The Unbinding, it's all about the familial tension that permeated my developmental years. I love writing modern day gothics for that very reason.

Are there any recurring themes in your writing, and if so, do they surprise you at all?

My characters? Queer. Usually POC. Sometimes disabled in ways that makes them moving through the plot impossible. A lot of the times there's some scathing commentary against colonialism and imperialism, trauma, generational nonsense, and so on. Do they surprise me? Yeah, actually. Like hey what are YOU doing here, this is supposed to be a story about space monsters and weird gas stations out in the American West, ain't nobody got time to study the decay manifested by settlers on my culture, the fuck.

My Characters

Would you please tell me about your current favorite character? (Current WIP, past WIP, never used, etc.)

UHH probably Ricky Kronbach? He's a fandom OC which means I'm able to play with him while being unbound by cohesive narratives. I can put him in a blender and he'll still manage to flip me off. He's a brat. He's a weirdo. He's everything to me. Non-fandom wise, probably Verne from The Singularity Project. He may be a side-character and a... anti-hero? Kind of? But he has my entire heart because my god he's a hot freaking mess of a human being.

Which of your characters do you think you’d be friends with in real life?

Probably Mike. He's a cool dude and by far the most normal. We'd talk about plants and watch The X-Files in his living room.

Which of your characters would you dislike the most if you met them?

Nick Miller from The Unbinding. He may be the MC but boy is a massive dick that needs to get his ass kicked into gear.

Tell me about the process of coming up with of one, all, or any of your characters.

I'm a very story-centric person, so a lot of the times story comes before the character. I'll have a solid plot and setting and when the time comes for a vehicle to move through said story, I get to work on the character. It's one of the reasons why I only wrote fanfic for so long! I'm bad at creating interesting and unique OCs so a lot of the times they're just some guy (gn), though they do tend to grow and sometimes throw fits when certain events want to take place that do not match their personality.

Do you notice any recurring themes/traits among your characters?

Not to me cringe on main but for a good two years I realized that the main love interests in multiple of my projects were 1) dark haired 2) blue-eyed 3) British. I'm still bewildered by this. Other than that, family trauma. LMAO

How do you picture them? (As real people you imagined, as models/actors who exist in real life, as imaginary artwork, as artwork you made or commissioned, anime style, etc.)

Depends on the project! TSP is a very special case in which I see half of the characters as actual real people. Other times I go with "actor faceclaims" so that it makes writing feel like a movie.

My Writing

What’s your reason for writing?

Fuck if I know. I just like doing it. It's this pit in the center of my chest that needs to be put the into word or else I feel like I'm going to explode.

Is there a specific comment or type of comment you find particularly motivating coming from your readers?

Give me those deep-dives into lore speculation. Or if it's something on the more risque side of things, I was feel a deep sense of satisfaction when commenters slip into the TMI scale of things.

How do you want to be thought of by those who read your work? (For example: as a literary genius, or as a writer who “gets” the human condition; as a talented worldbuilder, as a role model, etc.)

As the guy who makes people feel things while reading. Regardless of what feelings those might be.

What do you feel is your greatest strength as a writer?

Foreshadowing (usually accidental) and setting descriptions.

What have you been frequently told your greatest writing strength is by others?

"It's like I'm reading a movie," is something people have been telling me for well over a decade. Which is mainly the reason why part of TSP's story is visual! I want to try just how well the medium translates through my specific lens.

How do you feel about your own writing? (Answer in whatever way you interpret this question.)

The entire range of human emotion. I recognize that not everything can be (or should even be, for that matter) a banger. Some stuff is shitty, and I will hate, and I will feel unsatisfied, and will make me never want to write again. Other stuff makes me feel like I deserve at least some kind of award, even if the award is "a nice cup of coffee with a lemon loaf". Sometimes I'm proud of it, sometimes I'm not. Sometimes it's fun, and sometimes it's not. Not only is it alright but it is necessary to slip and slide along that spectrum. Which is to say-- I am satisfied whenever I engage in the craft.

If you were the last person on earth and knew your writing would never be read by another human, would you still write?

Hell yeah I would. I'm my own audience first and foremost.

When you write, are you influenced by what others might enjoy reading, or do you write purely what you enjoy? If it’s a mix of the two, which holds the most influence?

I write for me, myself, and I, and actively choose to share that with others. I did my time of trying to write for a wider audience to appeal to the mainstream industry and that just ended up with me hating every damn moment of it, so here I am. Horror and sci-fi aren't as popular as other genres which usually translates to limited reach, but man, those who match my freak will match it, and that is all that matters.

I SAID THIS WOULD BE LONG. not gonna tag anyone's notifs so i'm leaving this baby as an open tag!

[heartofstanding]

Exactly. I've just been coming back to scribble notes because it's just... there.

Sometimes, when you're in a house full of ghosts, the most frightening thing is the absence of a ghost. Henry both wants and doesn't want to be haunted by Richard's ghost but what hurts is that Richard isn't interested in haunting him, except for the ways that sometimes Hal seems to look at him like Richard looked at him, how his mannerisms are sometimes so much like Richard's... it's why he ends up screaming at the portrait of Richard, he wants Richard to be there so he can hate him and kill all over again and he can't kill his son, who is so like Richard (or he can he?). But the portrait looks less and less like Richard now, sometimes it looks like Hal or Edward III or Aumerle/York or someone else entirely.

Mary haunts Henry at first as the nun she would've been had she not married him, then as herself before slowly fading and it feels like she's leaving because he's done something that she can't forgive him for but he can't work out what it is he's done to upset her. Hal looks so much like her, he's an unholy mix of the best and worst people Henry has ever loved.

And Hal feels haunted by both Richard and Mary; he's haunted by Henry. Sometimes he feels like his father would like to crack him open, become him, and it terrifies him. Sometimes he feels like he and his father are enacting the danse macabre but he's not sure who's Death and who is the dying. He's not sure who is object and who is abject, if he is even a person if his father is dead. He wants to know if his father murdered Richard but doesn't want to know. Sometimes he thinks he saved the portrait of Richard, that he saved it to drive his father mad with and that he succeeded. Then he thinks Henry did it to himself.

The girls. Blanche being given the crown of Anne of Bohemia, the beloved wife of the man her father deposed and murdered, being haunted by what she thinks is Anne's ghost but is just another manifestation of her father's guilt, her own guilt at her own complicity in it. Blanche being haunted by the image of her namesake, the white lady of Chaucer's Book of the Duchess, her fate mirroring her grandmother's but coming much sooner. Philippa feeling like she's been trailing blood she was born, haunted by the fates of her grandmother, mother and sister, trying to escape but falls victim in the end. There's no escape. Not for them.

(I wonder what it's like to be queer in this house. To have the fates of Edward II and Richard II hanging over Hal's head, the homophobic ghost (or supposed saint) Thomas, Earl of Lancaster ready to suppress and repress any hint of queerness. Is Hal spared so long as he is cleanly celibate?)

They need someone plucky to save them from themselves, from the house. But the house is like a fly-trap, it traps everyone who might save them. Joanna loved Henry, she wanted to save him from himself, but she got stuck in the house with him and found there's no escape. The things she lets Henry get away with... She wanted to help Eleanor, too, but only helped Eleanor damn herself. And Joan lives. She survives her husbands, she survives all but one of her stepchildren. She lives on, indomitable, deathless and alone...

Courtenay loved Hal. He wanted to save him from himself and from and the house, and maybe he could have succeeded. But the house killed him first. And before then, he was tall, beautiful and blondish - another Richard?

Catherine married in but she got to escape in the end. She had happy, if brief, life away from the house. But when she died, the house dragged her back and her second family took over when the first one died out.

The outsiders, the people looking in through the windows and gaps in the fences, have the sense they're looking at a mausoleum, the people inside cursed and hollow and dead. They shiver and want to get far away from the house. The wise ones do. Someone very old, old enough to remember Edward III and his sons when they were alive, once heard Hal talking and heard the same words and phrases that the Black Prince used coming out of Hal's mouth.

(And after. When you're in a house full of ghosts, the most frightening thing is the absence of a ghost. Hal's ghost is never there but John and Humphrey pretend it is.)

You make one joke and suddenly you can't stop thinking of a gothic retelling of the Lancasters

[cuntylittlesalmon]

[this post has alt text]

>> welcome!

i am rhys, i am 23 years old, i am a lesbian, and i use they/them pronouns. i write both genre and literary fiction, with horror as my go-to, but i also deeply love writing romance. my projects tend to quite dark and sad, dealing with some fairly intense subject matter, however i don’t care for grimdark or trauma porn. i usually write about angry lesbians and messy families, and i love a good body horror moment.

tag game friendly ;; inbox open, anon on!

i reblog untagged artistic nudity and sex jokes fairly often. decide for yourself what that means for you

i don’t have tag lists anymore

i follow from @cvctuslesbian

>> current projects

i am mostly concerned with short fiction currently, as that is much easier and quicker to write for me, however should i begin to work on long form again in a bigger capacity these are the projects i am most likely to return to

VESSEL

Eirwen Yale discovered that she could see ghosts at her aunt's funeral. Burdened with the new knowledge that her aunt's passing wasn't as natural as she was led to believe, Eirwen quickly finds herself drowning in the secrets of her family's past, uncovering things her relatives thought to be long buried.

young adult gothic horror / estimated 70k / first person / single pov / past tense

graphic depictions of death, arson, child abuse and neglect, suicide, mentions of underage drinking, mentions of parental death

pieces in the vessel universe >>

excerpt 1

THE MATCHBOX BOYS

Sawyer Thomas Phillips is seventeen years old. He likes living by the beach, arcade games, the piano, paper roses, and his new friend Nam Yejun. What was supposed to be a fleeting summer romance between two boys turns into something deeper when they both discover they're roommates at a prestigious boarding school, far from Sawyer's home town.

young adult literary romance / estimated 60k / first person referential and third person / dual pov, dual timeline / referential tense and past tense

graphic depictions of depression, homophobia, religious trauma, parental trauma, underage smoking and drinking, drug use, suicide/suicidal thoughts

pieces in the tmbb universe >>

chapter 1 preview

chapter 9 excerpt

chapter 21 excerpt

chapter 11 excerpt

SING, LIAR, SING

Two men on opposite sides discover that the other has more to him than what meets the eye in their dangerous game of cat and mouse.

adult mystery thriller romance / estimated 80k / third person / dual pov / past, maybe present tense

internalized homo/biphobia, gun violence, explicit sexual content, more tba

pieces in the sls universe >>

[n/a]

>> other projects

a brief, non-comprehensive list of any project you may see me talk about. there is no guarantee that i will post anything from them, though.

Stillwater — young adult southern gothic about a psychotic teen, the ghost lady haunting the town lake, and a string of teen suicides

Those Girls Were Made of Stone — adult horror mystery about the remaining survivors of a mass kidnapping and the deadly reunion five years later

Belly of the Beast — young adult horror about two teens and a punk band uncovering just what the fuck happened with that one research lab a decade ago

Maraschino Rising — adult literary about an emotionally repressed lesbian and the butch who thinks he can fix her

>> miscellaneous

tagging system

answered asks -> “ asks “

ask games -> “ ask game “

tag games -> “ tag game “

my projects -> “ wip: [project title] “

i try to tag fandoms and movies, but sometimes i miss them

find me outside of tumblr

twitter

storygraph

letterboxd

spotify

want to support me?

here is my k*fi

c: $rhysvkm

v: @rhysvkm

[zephyrionschattenflug]

About me

name: Zephyrion Schattenflug (they/them)

After my last post Zephyrion and I have been talking and they've agreed to introduce themself. Us both, as it were. Here's what they had to say:

"I am Zephyrion Schattenflug, shapeshifting night elf and master of shadows, crow-faced collector of dreams, archivist of stories and traveler of magical realms. You may also know me as Z.S. Soulwing or simply as Zeph. Here on earth, however, I am confined to possess a feeble human form. As my true form is everchanging, I loathe to be reduced to outward appearance. In public my host will be sporting a corvid mask, to inform others of my presence.

On this earthly realm I inhabit the body of a human writer and aspiring author. My 30+ year old host hails from a small European country but is enamored with the English language, foreign languages and cultures in general. They are genderfluid, preferring they/them pronouns, and homoromantic. Considering themself straight edge (no drugs, no smoking, no alcohol) and alternative/goth due to their tastes in music and fashion. My host lives a rather reclusive life, content with their small but close-knit circle of family and friends. A natural-born dreamer with vivid imagination, their goal in life is to be able to make a living as a novel author."

About the stories we write

genres: fantasy, magical realism, LGBTQ+, coming of age, speculative fiction (AU fiction), dystopia, contemporary fiction

audience: YA, adult

"Most of the events I document and archive take place in other realms, thus to you they will seem fantastical or at the very least like stories about made-up alternate worlds. We write our novels for any audience who might be interested, however, as we often deal with darker themes you would likely categorize our works as adult or perhaps as YA novels.

We concern ourselves with the present and possible futures of this world as well as alternate worlds, less with the past or history of your planet. Our stories are tales about individuals' experiences and fates, about how they grow and learn, succeed or fail, thus you'd consider them character-centric. However, certain individuals' decisions can have quite an impact on the fate of a world, depending on that realm's inner workings and the character's powers.

We like to play with and subvert tropes and dive deep into the psychology of our characters. Difficult topics such as death, mental illness, trauma, human morals, philosophy and criticism of the socio-political status quo and more are interwoven with our stories. However, we don't dwell in dark of night the grimdark genre revels in. Like the twilight, our stories are shades of gray, human flaws and personal growth, emotional damage and hopeful messages, dark and light hues intertwined. We aim to provoke thought and further empathy, prompt critical thinking, awareness and acceptance. We don't strive to preach or dictate a certain point of view, nor do we condemn those with opinions different to ours. Humans by nature are morally gray and so are the characters in our stories.

Our writing style teeters on the brink of genre fiction and literary fiction - we don't like to be put in boxes. My host considers themself a discovery writer, dreaming up stories as they go, whereas I see myself as a collector and cultivator of stories, transcribing and transforming what is already there. Occasionally we pen short stories and dabble in poetry. However, these aren't usually a joint endeavor, more of a way for my host to deal with difficult emotions and states of mind and reoccurring nightmares."

I'd like to remark that we'll introduce our WIP novel "Taking Flight" to you in our next post. Please look forward to it!

About the stories we consume

genre preferences: fantasy (esp. fantasy adventure, magical worlds, portal fantasy, urban fantasy, vampires, elves, elemental magic), magical realism & speculative fiction, gothic fiction, legends, myths & fairy tales, certain horror/dystopian stories (cyberpunk, death games, suspense, psychological horror), certain detective/crime stories

formative literary works: The Neverending Story, Bram Stoker's Dracula, Lewis Carroll's Alice In Wonderland, E.A. Poe's The Pit And The Pendulum (among other short stories)

"My host has always been inspired by myths, legends and fairy tales. As for me, any tales about alien cultures, convictions, beliefs and superstitions are simply fascinating. My host studied languages and literature at university, thus they're well-read in English and German classics, be it Shakespeare, Poe, Orwell or the likes or Goethe, Schiller, Kafka et al. Naturally we both greatly appreciate diversity regarding culture and race, gender and sexuality, being queer ourselves, but only if done right. And to our dismay many storytellers get it wrong.

Both of us immensely enjoy fantastical stories and are magnetically drawn to magical worlds and fantastical creatures, especially to immortal beings like angels, ghosts, elves and vampires. Early influences in my host's life were Ende's The Neverending Story, Carroll's Alice's Adventures in Wonderland and Through The Looking Glass, Grimm's fairy tales, Bram Stoker's Dracula, Studio Ghibli movies, Roald Dahl's books, Allende's Memories of the Eagle and the Jaguar trilogy, Recheis' The White Wolf, the Odyssey and other Greek myths, the Harry Potter series, the TV series Charmed, The Hobbit, the LOTR movies and books, the Teen Titans animated series, Avatar The Last Airbender and many late 90s and early 2000s anime series like Yu-Gi-Oh!, Digimon, Naruto, Inuyasha, Detective Conan, to name a few.

After delving into detective stories and crime novels in their teens, like Agatha Christie's stories and Thomas Brezina novels, my host developed a particular fascination with the death game genre via the manga/anime series Death Note, Danganronpa, Doubt and Judge. They don't read crime novels at present but still appreciate a good mystery or tricky puzzle. Moreover, dystopian and cyberpunk stories like Bradbury's Fahrenheit 451 and the Hunger Games trilogy left quite the impression as well.

As you might have concluded from our preferences, we treat all stories as equal, whether they take the form of novels, short stories or novellas, manga, comics or graphic novels, movies, animations or games. However, we are very critical and demand a high standard in writing, both of our own work as well as of the stories we consume. My host's time on earth is limited, as is my time in this realm, so we cherry-pick only the cream of the crop for consumption."

About our other interests

hobbies: games & RPGs, Japanese culture & language, learning languages, singing & (alt) music, reading, jigsaw puzzles

"Growing up playing many different board and card games my host thought about becoming a game designer in the past, even DIYed a board game around one of their stories. In their early twenties they discovered Pen&Paper RPGs and fell into that rabbit hole - they'be been playing any DMing The Dark Eye for 10+ years.

They aren't much of a gamer themself but regularly watch gaming content on YouTube and Twitch. They adore RPG horror games (Ib being their favorite), are a fan of RPG-style games (f.e. Elder Scrolls series, Legend of Zelda, Final Fantasy, Pokémon), detective-style games (f.e. Ace Attorney, Danganronpa) and get a kick out of story-heavy survival horror games (think Amnesia The Dark Descent and the Beneviento House in RE8). Unfortunately most modern horror relies too much on jumpscares and shock value.

My host always enjoyed studied languages and continued studying them at university, acquiring native-like proficiency of English and learning the basics of French, Spanish, Latin and Japanese. They've always regretted not being able to travel much due to monetary constraints. As a teen, anime and manga, sushi and karaoke got them interested in the Japanese language and culture. They've dabbled in cosplay and fanfiction and greatly admire the work of illustrators, animators and voice actors. To this day they prefer Japanese food over their homeland's cuisine and drink green tea (matcha) instead of coffee. We both agree that languages are a gateway to other cultures and environments, not simply a means of communication. Understanding the inner workings of a language allows for a better understanding of others, of how their minds work and the ways their thoughts translate into language.

My host's alternative lifestyle outwardly manifests in their fashion choices, their choice of music and a disregard of many social norms of your world. Yet, according to my host, being goth is about more than similar tastes in music and clothes. To them it means sharing a common aesthetic of loving all things dark and spooky (f.e. skulls and bones, crows and ravens, the color black, cats and wolves, the night and the moon) and, most importantly, a philosophy of embracing the darkness in yourself and viewing death as a part of life."

About our social media

socials: Tumblr, Instagram, website (in progress)

"Tumblr is our first foray into the world of social media. Our host always avoided it, being a nihilistic and jaded millenial with a troubled past. But they've come to realize that to share their dreamt-up stories they need to find their audience, their birds of a feather, those who share their love of stories and will fall in love with their characters. In their words, "I understand now, that, to find the people who I write my books for, I gotta put myself out here. So here I am, despite all my bad experiences, all my worries and self-doubts, reaching out to the world - and to you."

We're also in the process of setting up an Instagram account. On Instagram we plan to share our writer and creator journey with you as well as news about and snippets of WIPs. Further, we'll offer our opinions and advice about writing -be it genre conventions, tropes, plotting, editing or characterization-, queerness and mental health among other things and pick your brains with community polls and questions. Come visit us over @zeph.writes!

Of course that doesn't mean our tumblr account will end up abandoned. We'll keep posting writer memes, raise awareness for LGBTQ+ and mental health related things and just share our thoughts and feelings on anything related to writing and our interests. Feel free to ask us a question, repost our stuff or invite us to ask games.

We're also working on our own website, for which we're still in dire need of pictures. We'll post about it, once it's ready to launch. Currently we're looking for an illustrator for our headshot and character art, so if you're a freelance artist please DM us!"

If you've read this far, thank you so much for listening to what Zephyrion had to say, what we had to say. Why not let us know you've made it to the end of our post with a comment? If you can't think of anything, simply comment "shade of rainbow" if you're part of the LGBTQ+ community or "bird of a feather" to let us know you consider yourself part of our little community. I hope you're looking forward to our WIP intro and, again, thanks for reading!

[itsthenovelteafactor]

Superhero Gothic

Thanks to everyone who responded to my previous post (special shoutout to @jeyfeather1234 💛 ) about superheroes and gothic media! I know it’s been, like, a month, but here we go.

Here’s a bit of a look into some common gothic themes, and how they apply to Doom Patrol, The Boys, Watchmen (2019), and The Umbrella Academy. This one’s a bit long, not gonna lie, but I hope you enjoy! 

Part I: Let’s Talk About Gothic Media

There is not actually an all-encompassing definition for gothic media, or even a universally agreed-upon one. You’re probably familiar with some well-known gothic works (think Dracula, Frankenstein, Edgar Allen Poe, Stephen King) but there is a lot of debate on what exactly makes them gothic. 

There are some common themes in gothic works, though: families/characters under the control of a tyrannical paterfamilias, the crumbling of the established order/estate, long-buried secrets that have consequences in the present, and supernatural events that are stand-ins for/reflective of the emotional state/past actions of the characters. 

(Note: these aren’t all the themes of gothic works or even most of them, but for purposes here, I’d like to limit this analysis to them. I’d love to talk about other themes/ideas, though, if anyone has them. 😊)

So… superheroes (quick overview in case you haven’t watched any of them… spoiler warnings for the rest of this discussion)

Doom Patrol:

Five misfit superhumans attempt to rescue their mentor figure when he is kidnapped by an old enemy.

They are very, very bad at it.

Also features a singing horse head, a sentient nonbinary teleporting street (who is by far the best character) and the narrator is the fourth-wall breaking series villain. 

Beautifully weird but will also emotionally devastate you. Criminally underrated, tbh.

Watchmen (2019):

Story takes place after the canon of the graphic novel which is too much to summarize.

Alternate history (that should really feel more fictitious than it does) where white supremacist organization the Seventh Cavalry, masked police officers, and former superheroes in hiding all collide in Tulsa Oklahoma

Swept the Emmys this year and ABSOLUTELY DESERVED TO

The Umbrella Academy:

Washed up former child superheroes are forced to reunite when their father dies under mysterious circumstances 

Time travel, dysfunctional siblings, and a killer soundtrack

Basically a family drama with the superhero story as secondary (complimentary)

Probably the most obviously gothic of all of these it is aesthetic AF 

The Boys: 

Superheroes exist but they are corporate sellouts under the control of evil company Not-Amazon (AKA Vought)

Regular human protagonists try to hold them accountable for their actions with varying (read: usually minimal) success

Yes, it’s the one from those weird ads earlier this year

Billy Joel!! 

Part II: Niles Caulder, Ozymandias, and Other Terrible Father Figures

The Tyrannical Paterfamilias: 

Does not always mean a father figure explicitly, often relating to the notion of a patriarchal tradition, or family inheritance that plays a role in controlling the main characters. 

Sometimes, it is a father figure. 

Sometimes, it is a representative of patriarchal tradition/male head of pseudo-family unit.

So, uh, role call: 

Reginald Hargreeves (even in death) holds power over his children, and has shaped all of them into the adults they have become, and that drives the majority of the conflict. Each of the major character individually grapples with the after-effects of his abuse. Luther feels the need to be the leader and protect everyone and alienates his allies as a consequence. Diego constantly asserts himself as a hero (often to dangerous extremes) because it is the only way he was ever valued. Allison has to teach herself boundaries and responsible use of her powers after he encouraged her to abuse them for years. Klaus turns to drugs to cope with his childhood trauma. Five disobeyed his father with disastrous consequences and is constantly fighting to not become him. Vanya spent her entire childhood in the background, and never learned to assert herself in a healthy way. Thanks, Reggie.

Homelander says that The Seven are like a family. While whether or not this is accurate (it isn’t) is up for debate, he does occupy the tyrannical paterfamilias roles incredibly well. Homelander controls every member of the Seven, threatening them and their loved ones whenever they step out of line (read: do not do exactly what he wants in the exact way he wants them to do it.) He is also very closely tied with conservative/patriarchal rhetoric in-universe and at one point dates a literal Nazi. 

William Butcher less evil than most of the other characters on this list but the bar is also like, on the ground. Butcher tries to control the Boys in a similar way (Butcher and Homelander are character foils, okay? it’s actually pretty neat). He’s perfectly willing to sacrifice them in pursuit of his own goals, disregards their points of view and the well-being of their loved ones, and tries to cut loose anyone who disagrees with his methods (recall when Hughie tried to rescue his friends at the end of s1 and Butcher… punched him in the face? Yeah, that.) The difference is that the Boys can push back against his without being, you know, brutally murdered. (And also the Butcher isn’t a literal monster; I’m not anti-Butcher, okay? He’s an interesting character and the fact that he seems constantly on the verge of becoming that which he hates most is part of what makes him interesting.)

Guess what, folks? It’s hating Niles Caulder hours. He engineered accidents to turn the main characters into his test subjects, and then kept them conveniently hidden away in his large manor. Stole their autonomy and independence but paints himself as a benevolent father figure. And that’s not even including what he does to his actual daughter, Dorothy. He’s terrified of her growing up (read: becoming a young woman) and so he locks her away for almost 100 years and, when she is freed, yells at her constantly and makes her terrified of showing any signs of maturation (even though she’s 111 and clearly tired of being written off as a child).

The relationship between Ozymandias and his daughter, Lady Trieu, is integral to the final act of Watchmen. Heralded as the “smartest man in the world,” Ozymandias refused to acknowledge his daughter as his until he needed something from her. While Lady Trieu is more self-sufficient and independent than some of the applications of this trope, she goes to great lengths to prove herself, first to him, and then to herself when he rejects her.

Part III: Been a Long Time Gone (Constantinople) 

Gothic fiction is often associated with change, and particularly, the collapse of established systems of power. For example, many works like The House of the Seven Gables and The Fall of the House of Usher take place in old, crumbling manor houses. There is a reason for this! These kinds of estates are remnants of a past that is irreversibly gone, and their continued presence in decrypt forms serves as a reminder. 

Each of the four series takes place at a moment, either on a wide scale or on a personal scale (or both!), in which an established order is being questioned, and the constant reminders of that failed order are used to gothic effect.

The Umbrella Academy plays this most directly (In fact, there are TONS of parallels between the end of s1 of TUA and House of Usher that I don’t have the time to get into right now... lmk if you want that meta). We can see the Hargreeves mansion as a very literal example of this. While not worn down, the house is notably both very large and very empty. Shelves are filled with merchandise for a superhero team that disbanded over a decade prior, and portraits of a family that no longer speaks to each other. None of the family members ever seem truly comfortable or at ease in the house, and for good reason - every back corner is a reminder of their incredibly traumatic childhood. 

In The Boys, the story begins with the fridging death of the main character’s girlfriend, Robin, at the hands of a member of the Seven, a group of heroes so ingrained in the public consciousness that when they later hide out in a costume shop, literally every single costume is for one of Vought’s heroes. The Seven represent the system in power, which, at the disposal of Not-Amazon means corporate greed, shallow altruism, and the cultivation of public personas at the expense of actual humanity. 

From that moment on, the sheer presence of The Seven on everything from public billboards to breakfast cereal is a remainder for Hughie (and the audience) that this established system doesn’t work and is based on lies, which serves this effect on a personal level. In the broader scale, however, we also see that the Seven themselves are fracturing under an unsustainable business model. Even their name, “The Seven” starts to seem a bit dated when halfway through season one through the end of season two there are notably... less than seven of them. 

The main characters in Doom Patrol are all in recovery after the accidents that irreversibly changed their lives. We see through flashbacks the people that they used to be, and the difference is striking. They were each established in their own elements: Cliff a famous race-car driver, Rita a world renowned actress, Larry a hero pilot, Jane was involved in counter-cultural movements, Vic was a student and athlete. The foundations upon which their worlds were established are completely decimated by the accidents, and now they (save Vic and sometimes Jane) live mostly in isolation in Niles’ manor house, an estate that is far larger than would be necessary to comfortably house a group of their size.

And you feel the emptiness, both in the manor, and in the lives of the characters. They have barely created a shadow version of their own existence when the series starts, so fragile that a simple trip into town devolves into utter chaos. 

Angela Abar of Watchmen has also constructed a life following the terrifying act of terrorism on the White Night. It’s a bit of a double life, and we see that the balancing act is challenging for her, even before the story truly begins. The death of Judd Crawford, and the revelation about him that follows is not only traumatizing on a personal level (but it definitely is that), but also upsets her understanding of the world. People she’s come to trust are not just dishonest but truly monstrous. And the more Angela learns about what has been happening, the more her understanding of the world begins to unravel. Her memories, and the memories of those around her are cast in a much more sinister light, and the effect is genuinely chilling. 

Part IV: “I’m the Little Girl Who Threw the Brick in the Air”

In episode 3 of Watchmen, Laurie contacts Dr. Manhattan on the cosmic phone booth to tell him a joke. It’s a version of what TVTropes calls the “brick joke,” and it relies on set up taking place early on, other stuff happening, and then the response coming at an unexpected moment. 

So, yeah. Events of the past/buried secrets resurfacing with consequences in the present.

Continuing with the theme from Watchmen, the entire series is punctuated with the way the past and the present intertwine, with elements from both the original Watchmen graphic novel, and actual American history. One of the things we talked a lot about in my gothic lit class was the manner in which the overhanging specter of past atrocities casts a shadow over the present, and how many works cannot help but have gothic themes because there are so many horrifying things in the past that cannot be ignored, and provide both context and nuance for the discussions we have in the present. No series tackles these topics quite so directly (and with as much care) as Watchmen. (note: it does not always make for easy viewing, but if you’re in a place where you feel like you can engage with that kind of material, I highly recommend the show.)

In Doom Patrol, the past actions of the characters very much control the storyline (see: previous discussion of Niles Caulder), but the character whose storyline I want to talk about here is Rita (partially for plot reasons and partially because I just love Rita, okay?). We learn when we first meet Rita that in the past she was... not a great person. We know that the trauma of the accident that gave her her powers has changed her, we also know that she still holds on to the guilt and that her guilt has limited the scope of her world for years, but we don’t know what exactly it is that she’s done. 

Enter Mr. Nobody, all-powerful narrator who is not just aware of Rita’s greatest sins, but perfectly capable of manifesting reminders of them into the story. She is confronted with empty cradles, and the sound of crying children in the background of many scenes and we see how much it effects her, without a full understanding of why it does (see: The Tell-Tale Heart). Her past begins to haunt her physically, and she begins to crumble in response to it, until finally she is forced to confide in a stranger (and thus the audience). The past actions do not just inform the audience of Rita’s character - they show up to influence her behavior in the present. 

The ending of The Umbrella Academy season 1 is super evocative of the gothic genre with Vanya breaking open the soundproof chamber (wherein she was silenced for years) and rising from the basement to destroy the last remnants of the Hargreeves legacy (which would be awesome if the last remnants of the Hargreeves legacy didn’t include the rest of her family). Pretty much every mistake the siblings make over the course of the season feeds together to create the finale, but the primary cause isn’t something any of them actually did. It all ties back to Reginald Hargreeves’ complete inability to be nice to children. Any children. His own and random strangers that need help. 

In The Boys, while the extent to which people are making f-ed up choices in the present cannot be expressed enough, we see through the characters of Homelander that many of the present difficulties are a result of past mistakes. Particularly, the profit-seeking corruption within Vought. We learn in s1 through Vogelbaum that Homelander was raised in a lab by Vought as an experiment, only to be unceremoniously thrust into the spotlight and told he was a superhero (which... does not justify a single one of his actions but is still a major yikes). As the head scientist of the project, Vogelbaum is very aware that ignoring his conscious if the name of research has essentially created the biggest threat their world has ever seen. 

(Seriously y’all just stop raising your super kids in isolation) 

Part V: Put Them Together, and They’re the MF-ing Spice Girls 

Having the environment respond to characters’ emotions/mental states is pretty common in gothic works (it was a dark and stormy night = someone is probably not doing super well). One of the advantages of the genre’s tendency towards the supernatural is that, often, those elements of the stories, as well, are reflections of the main ideas of a work of fiction (see: Stephen King’s really unsubtle period metaphors).

Because all of these shows have a ton of supernatural/scifi elements by virtue of being, well, superhero shows, I thought it would be easier (and more fun!) to come up with a short list of elements, what they mean, and what cases they might apply to.

1. A Nonlinear Experience of Time

The Umbrella Academy: legitimately about time travel. Characters are attempting to fix the timeline but are unable to because they are both mentally and sometimes literally stuck in the past. 

Watchmen: In the episode This Extraordinary Being, Angela experiences firsthand the experiences of her grandfather, under the influence of a drug called Nostalgia. The episode touches on many themes, one of which being the impact of generational trauma in marginalized communities. Throughout the series, Dr. Manhatten is cursed with experiencing all time at once, and the episode A God Walks into Abar illustrates that, because of this, he is constantly facing the consequences of particular actions before, after, and while he is preforming him.

Doom Patrol: Mr. Nobody is able to physically travel to one of Jane’s flashbacks via his fourth-wall breaking powers, and gives Dr. Harrison an ultimatum for the future. 

What it implies: Events, particularly events that evoke guilt or conflict, are not as rooted in the past as one would like to think.

2. Powers/Abilities that reflect personal trauma/failings

Doom Patrol: Larry’s abilities/bond with the Negative Spirit have made it so that he is constantly covering himself with bandages/avoiding other people, which reflects his experiences having to hide his identity as a gay man in the 50/60s. Rita forced herself to walk a thin line, betraying everything in pursuit of her image; her abilities require constant effort to keep her entire body from becoming misshapen and out of control. Vic’s father with boundary issues can literally control his perception of the world through his cybernetic enhancements. Dorothy’s abilities manifest as imaginary friends because she was kept isolated for years at a time. 

The Umbrella Academy: pretty much all of the kids’ powers are representative of the interpersonal skills they were never able to develop. Luther is super-durable but also the most emotionally vulnerable of the group. Five can teleport and time travel but always seems to be too late to stop things. Diego can manipulate the trajectory of projectiles but cannot escape the path his father set out for him, not matter how much he resents it. Vanya always forced herself to stay quiet until the sound literally explodes out of her.

The Boys: Annie’s abilities allow her to control light, but she struggles (in the beginning) to bring to light the horrible things done to her behind closed doors. 

Watchmen: Not technically a power, but Looking Glass’ mirror-mask is a constant reminder of the hall of mirrors that both saved his life and traumatized him forever. 

What it implies: from a story perspective, these allow for an exploration of trauma/guilt to occur on a scale much larger than people simply talking about their problems (as if anyone on any of these shows knows how to talk about their problems...) It also means that the trauma/guilt of the characters takes on a physical form that is able to haunt them, and constantly remind them/hold them accountable for their past actions.

3. Diluted Sense of Reality:

Doom Patrol: The first season is narrated by its main villain, and throughout the season we see that the act of narration itself has an impact on the story.

Watchmen: The event that kicks off the plot of the story is hinged upon a paradox introduced by Angela near the end of the series when trying to speak to her Grandfather in the past through Dr. Manhattan.

The Umbrella Academy: The pair of episodes in season 1, The Day that Wasn’t and The Day That Was take the same point in time and explore two possible avenue for the future from there, with The Day that Wasn’t ending with the events of the entire episode being completely erased from the timeline.

What it implies: you can’t necessarily trust everything you see, even from the audience perspective, giving them a position not unlike that of the characters. The character’s uncertainty and confusion is magnified and reflected in the world that surrounds them.

Other examples: an apocalypse (The Umbrella Academy, Doom Patrol, Watchmen (of a sort)), ghosts (The Umbrella Academy - hi, Ben!), immortality/invulnerability (Watchmen, Doom Patrol, The Boys), and characters that look significantly younger than they actually are (The Boys, The Umbrella Academy, Doom Patrol). 

Part VI: Why Did You Write a Literal Essay Don’t You Have Real Schoolwork (yes... shhhhh...)

And... there you have it. I don’t really have some grand conclusion here. This is (clearly) far from a complete analysis but it is the most my finals-week brain can concoct at the moment. 

If you have other ideas, let me know! You can always add to the notes or message me – my inbox is always open!  If you got this far, thank you so much for taking the time to read this! Much love! ❤️

[suchagiantnerd]

48 Books, 1 Year

I was just two books shy of my annual goal of 50! You can blame the combination of my adorable newborn, who refused to nap anywhere except on me, and Hallmark Christmas movie season, during which I abandon books for chaste kisses between 30-somethings who behave like tweens at places called the Mistletoe Inn (which are really in Almonte, Ontario). 

Without further ado, as Zuma from Paw Patrol says, “Let’s dive in!”

1. Human Errors: A Panorama of Our Glitches, from Pointless Bones to Broken Genes / Nathan H. Lents

We have too many bones! We have to rely too much on our diet for survival! We suffer from too many cognitive biases! Reading about our design flaws was kind of interesting, but the best part of this book were the few pages toward the end about the possibility of alien life. Specifically this quote: "...some current estimates predict that the universe harbours around seventy-five million civilizations." WHAT?! This possibility more than anything else I've ever heard or read gives me a better idea of how infinite the universe really is.

2. The Fiery Cross / Diana Gabaldon

Compared to the first four books in the Outlander series, this fifth book is a real snooze. The characters are becoming more and more unlikeable. They're so self-centered and unaware of their privilege in the time and place they're living. Gabaldon's depictions of the Mohawk tribe and other First Nations characters (which I'm reading through her character's opinions of things) are pretty racist. The enslaved people at one character's plantation are also described as being well taken care of and I just.... can't. I think this is the end of my affair with Outlander.

3. Educated / Tara Westover

This memoir was a wild ride. Tara Westover grew up in a survivalist, ultra-religious family in rural Idaho. She didn’t go to school and was often mislead about the outside world by her father. She and her siblings were also routinely put in physical danger working in their father’s junkyard as their lives were “in god’s hands”, and when they were inevitably injured, they weren’t taken to the hospital or a doctor, but left to be treated by their healer mother. Thanks to her sheer intelligence and determination (and some support from her older brother), Tara goes to university and shares with us the culture shock of straddling two very different worlds. My non-fiction book club LOVED this read, we talked about it for a long, long time.

4. Imbolc: Rituals, Recipes and Lore for St. Brigid’s Day / Carl F. Neal

Continuing with my witchy education, I learned all about the first sabbat of the new year, Imbolc.

5. Super Sad True Love Story / Gary Shteyngart

This in-the-very-near-future dystopian novel got my heart racing during a few exciting moments, but overall, I couldn’t immerse myself fully because of the MISOGYNY. I think the author might not like women and the things women like (or the things he thinks they like?) In this near future, all the dudes are into finance or are media celeb wannabes, while all the women work in high-end retail. And onion-skin jeans are the new trend for women - they are essentially see-through. Gary….we don’t…want that? We don’t even want low-rise jeans to come back.

6. The Wanderers / Meg Howrey

Helen, Yoshi and Sergei are the three astronauts selected by a for-profit space exploration company to man the world’s first mission to Mars. But before they get the green light, they have to endure a 17-month simulation. In addition to getting insight into the simulation from all three astronauts via rotating narrators, we also hear from the astronauts’ family members and other employees monitoring the sim. At times tense, at times thoughtful, this book is an incisive read about what makes explorers willing to leave behind everything they love the most in the world.

7. Zone One / Colson Whitehead

The zombie apocalypse has already happened, and Mark is one of the survivors working to secure and clean up Zone One, an area of Manhattan. During his hours and hours of boring shifts populated by a few harrowing minutes here and there, the reader is privy to Mark’s memories of the apocalypse itself and how he eventually wound up on this work crew. Mark is a pretty likeable, yet average guy rather than the standard zombie genre heroes, and as a result, his experiences also feel like a more plausible reality than those of the genre.

8. Homegoing / Yaa Gyasi

One of my favourite reads of the year, this novel is the definition of “sweeping epic”. The story starts off with two half-sisters (who don’t even know about each other’s existence) living in 18th-century Ghana. One sister marries a white man and stays in Ghana, living a life of privilege, while the other is sold into slavery and taken to America on a slave ship. This gigantic split in the family tree kicks off two parallel and vastly different narratives spanning EIGHT generations, ending with two 20-somethings in the present day. I remain in awe of Gyasi’s talent, and was enthralled throughout the entire book.

9. Sweetbitter / Stephanie Danler

Tess moves to New York City right out of school (and seemingly has no ties to her previous life - this bothered me, I wanted to know more about her past) and immediately lands a job at a beloved (though a little tired) fancy restaurant. Seemingly loosely based on Danler’s own experiences as a server, I got a real feel for the insular, incestuous, chaotic life in “the industry”. Tess navigates tensions between the kitchen and the front of house, falls for the resident bad-boy bartender, and positions herself as the mentee of the older and more glamorous head server, who may not be everything she seems. This is a juicy coming-of-age novel.

10. The Autobiography of Gucci Mane / Gucci Mane and Neil Martinez-Belkin

Gucci Mane is one of Atlanta’s hottest musicians, having helped bring trap music to the mainstream. I’d never heard of him until I read this book because I’m white and old! But not knowing him didn’t make this read any less interesting. In between wild facts (if you don’t get your music into the Atlanta strip clubs, your music isn’t making it out of Atlanta) and wilder escapades (Gucci holing himself up in his studio, armed to the teeth, in a fit of paranoia one night) Gucci Mane paints on honest picture of a determined, talented artist fighting to break free of a cycle of systemic racism and poverty.

11. I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer / Michelle McNamara

McNamara was a journalist and true crime enthusiast who took it upon herself to try and solve the mystery of the Golden State Killer’s identity. Amazingly, her interest in this case also sparked other people’s interest in looking back at it, eventually leading to the arrest of the killer (though tragically, McNamara died a few months before the arrest and would never know how her obsession helped to capture him). This is a modern true crime classic and a riveting read.

12. A Great Reckoning / Louise Penny

The 12th novel in Penny’s Inspector Gamache mystery series sees our hero starting a new job teaching cadets at Quebec’s police academy. Of course, someone is murdered, and Gamache and his team work to dig the rot out of the institution, uncovering a killer in the process.

13. Any Man / Amber Tamblyn

Yes, this novel is by THAT Amber Tamblyn, star of “The Sisterhood of the Travelling Pants”! Anyway, this book is a tad bit darker, and follows five men who’ve been victimized by the female serial rapist, who calls herself Maude. Going into this read I though that it might be some sort of revenge fantasy, but dudes, not to worry - we really feel awful for the male victims and see them in all their complexity. Perhaps, if more men read this book, they might better understand the trauma female and non-binary victims go through? That would require men to read books by women though. Guys? GUYS???

14. Ostara: Rituals, Recipes and Lore for the Spring Equinox / Kerri Connor

Yet another witchy read providing more information about this Spring sabbat. 

15. Scarborough / Catherine Hernandez

This novel takes place in OUR Scarborough! Following the lives of a number of residents (adults and children alike), the plot centres around the families attending an Ontario Early Years program as well as the program facilitator. Hernandez looks at the ways poverty, mental illness, addiction, race, and homophobia intersect within this very multicultural neighbourhood. It’s very sad, but there are also many sweet and caring moments between the children and within each of the families.

16. The Glitch / Elisabeth Cohen

Shelley Stone (kind of a fictional Sheryl Sandberg type) is the CEO of Conch, a successful Silicon Valley company. Like many of these over-the-top real-life tech execs, Shelley has a wild schedule full of business meetings, exercise, networking and parenting, leaving her almost no time to rest. While on an overseas business trip, she meets a younger woman also named Shelley Stone, who may or may not be her younger self. Is Shelley losing it? This is a dark comedy poking fun at tech start-up culture and the lie that we can have it all.

17. The Thirteenth Tale / Diane Setterfield

This is my kind of book! A young and inexperienced bookworm is handpicked to write the biography of an aging famous author, Vida Wynter. Summoned to her sprawling country home around Christmastime, the biographer is absolutely enthralled by Vida’s tales of a crumbling gothic estate and an eccentric family left too long to their own whims. Looking for a dark, twisty fairytale? This read’s for you.

18. Love & Misadventure / Lang Leav

Leav’s book of poems looked appealing, but for me, her collection fell short. I felt like I was reading a teenager’s poetry notebook (which I’m not criticizing, I love that teen girls write poetry, and surprise, surprise - so did I - but I’m too old for this kind of writing now).

19. Erotic Stories for Punjabi Widows / Balli Kaur Jaswal

Hooo boy, my book club loved this one! Hoping to get a job more aligned with her literary interests, Nikki, the 20-something daughter of Indian immigrants to Britain, takes a job teaching writing at the community centre in London’s biggest Punjabi neighbourhood. The students are all older Punjabi women who don’t have much to do and because of their “widow” status have been somewhat sidelined within their community. Without anyone around to censor or judge them, the widows start sharing their own erotic fantasies with each other, each tale wilder than the last. As Nikki gets to know them better, she gains some direction in life and starts a romance of her own. (It should be noted that in addition to this lovely plot, there is a sub plot revolving around a possible honour killing in the community. For me, the juxtaposition of these two plots was odd, but not odd enough that it ruined the book.)

20. Beltane: Rituals, Recipes and Lore for May Day / Melanie Marquis

Beltane marks the start of the summer season in the witches’ year, and I learned all about how to ring it in, WITCH STYLE.

21. Summer of Salt / Katrina Leno

This book is essentially Practical Magic for teens, with a queer protagonist. All that to say, it’s enjoyable and sweet and a win for #RepresentationMatters, but it wasn’t a surprising or fresh story.

22. Too Like the Lightning / Ada Palmer

This is the first in the Terra Ignota quartet of novels, which is (I think) speculative fiction with maybe a touch of fantasy and a touch of sci-fi and a touch of theology and certainly a lot of philosophical ruminating too. I both really enjoyed it and felt so stupid while reading it. As a lifelong bookworm who doesn’t shy away from difficult reads, I almost never feel stupid while reading, but this book got me. The world building is next level and as soon as you think you’ve found your footing, Palmer pulls the rug out from under you and you’re left both stunned and excited about her latest plot twist. Interested in finding out what a future society grouped into ‘nations’ by interests and passions (instead of geographical borders and ethnicity) might be like? Palmer takes a hearty stab at it here.

23. The Trauma Cleaner: One Woman’s Extraordinary Life in the Business of Death, Decay and Disaster / Sarah Krasnostein

When Sarah Krasnostein met Sandra Pankhurst, she knew she had to write her biography (or something like it - this book is part biography, part love letter, part reckoning). And rightly so, as Sandra has led quite a life. She grew up ostracized within her own home by her immediate family, married and had children very young, came out as a trans woman and begin living as her authentic self (but abandoning her own young family in the process), took to sex work and lived through a vicious assault, married again, and started up her own successful company cleaning uncleanable spaces - the apartments of hoarders, the houses of recluses, the condos in which people ended their own lives. Sandra is the definition of resilience, but all her traumas (both the things people have done to her and the things she’s done to others) have left their mark, as Krasnostein discovers as she delicately probes the recesses of Sandra’s brain.

24. Becoming / Michelle Obama

My favourite things about any memoir from an ultra-famous person are the random facts that surprise you along the way. In this book, it was learning that all American presidents travel with a supply of their blood type in the event of an assassination attempt. I mean OF COURSE they would, but that had never occurred to me. I also appreciated Michelle opening up about her fertility struggles, the difficult decision to put her career on hold to support Barack’s dreams, and the challenge of living in the spotlight with two young children that you hope to keep down to earth. Overall, I think Michelle was as candid as someone in her position can be at this point in her life.

25 and 26. Seven Surrenders, The Will to Battle / Ada Palmer

I decided to challenge myself and stick with Palmer’s challenging Terra Ignota series, also reading the second and third instalments (I think the fourth is due to be released this year). I don’t know what to say, other than the world-building continues to be incredible and this futuristic society is on the bring of something entirely new.

27. Even Vampires Get the Blues / Kate MacAlister

This novel wins for “cheesiest read of the year”. When a gorgeous half-elf detective (you read that right) meets a centuries-old sexy Scottish vampire, sparks fly! Oh yeah, and they’re looking for some ancient thing in between having sex.

28. A Case of Exploding Mangoes / Mohammed Hanif

A piece of historical fiction based on the real-life suspicious plane crash in 1988 that killed many of Pakistan’s top military brass, this novel lays out many possible culprits (including a crow that ate too many mangoes). It’s a dark comedy taking aim at the paranoia of dictators and the boredom and bureaucracy of the military (and Bin Laden makes a cameo at a party).

29. Salvage the Bones / Jesmyn Ward

This novel takes place in the steaming hot days before Hurricane Katrina hits the Mississippi coast. The air is still and stifling and Esch’s life in the small town of Bois Sauvage feels even more stifled. Esch is 14 and pregnant and hasn’t told anyone yet. Her father is a heavy drinker and her three brothers are busy with their own problems. But as the storm approaches, the family circles around each other in preparation for the storm. This is a jarring and moving read made more visceral by the fact that the author herself survived Katrina. It’s also an occasionally violent book, and there are particularly long passages about dog-fighting (a hobby of one of the brothers). The dog lovers in my book club found it hard to get through, consider this your warning!

30. Everything’s Trash, But It’s Okay / Phoebe Robinson

A collection of essays in the new style aka writing multiple pages on a topic as though you were texting your best friend about it (#ImFineWithThisNewStyleByTheWay #Accessible), Robinson discusses love, friendship, being a Black woman in Hollywood, being plus-ish-size in Hollywood, and Julia Roberts teaching her how to swim (and guys, Julia IS as nice in real life as we’d all hoped she was!) Who is Robinson? Comedy fans will likely know her already, but I only knew her as one of the stars of the Netflix film Ibiza (which I enjoyed). This is a fun, easy read!

31. Midsummer: Rituals, Recipes and Lore for Litha / Deborah Blake

After reading this book, I charged my crystals under the midsummer sun!

32. Fingersmith / Sarah Waters

So many twists! So many turns! So many hidden motives and long-held secrets! Think Oliver Twist meets Parasite meets Lost! (Full disclosure, I haven’t seen Parasite yet, I’m just going off all the chatter about it). Sue is a con artist orphan in old-timey London. When the mysterious “Gentleman” arrives at her makeshift family’s flat with a proposal for the con of all cons, Sue is quickly thrust into a role as the servant for another young woman, Maud, living alone with her eccentric uncle in a country estate. As Sue settles into her act, the lines between what she’s pretending at and what she’s really feeling start to blur, and nothing is quite what it seems. This book is JUICY!

33. Rest Play Grow: Making Sense of Preschoolers (Or Anyone Who Acts Like One) / Deborah MacNamara, PhD

I read approximately one parenting book a year, and this was this year’s winner. As my eldest approached her third birthday, we started seeing bigger and bigger emotions and I wasn’t sure how to handle them respectfully and gently. This book gave me a general roadmap for acknowledging her feelings, sitting through them with her, and the concept of “collecting” your child to prevent tantrums from happening or to help calm them down afterward. I’ll be using this approach for the next few years!

34. Lughnasadh: Rituals, Recipes and Lore for Lammas / Melanie Marquis

And with this read, I’ve now read about the entire witch’s year. SO MOTE IT BE.

35. In Cold Blood / Truman Capote

How had I not read this until now? This true-crime account that kicked off the modern genre was rich in detail, compassionate to the victims, and dug deep into the psyche of the killers. The descriptions of the midwest countryside and the changing seasons also reminded me of Keith Morrison’s voiceovers on Dateline. Is Capote his inspiration?

36. I’m Afraid of Men / Vivek Shraya

A quick, short set of musings from trans musician and writer Shraya still packs an emotional punch. She writes about love and loss, toxic masculinity, breaking free of gender norms, and what it’s like to exist as a trans woman.

37. The Highly Sensitive Person: How to Thrive When the World Overwhelms You / Elaine N. Aron, PhD

Having long thought I might be a highly sensitive person (lots of us are!), I decided to learn more about how to better cope with stressful situations when I don’t have enough alone time or when things are too loud or when I get rattled by having too much to do any of the other myriad things that shift me into panic mode. Though some of the advice is a bit too new-agey for me (talking to your inner child, etc), some of it was practical and useful.

38. Swamplandia! / Karen Russell

The family-run alligator wrestling theme park, Swamplandia, is swimming in debt and about to close. The widowed father leaves the everglades for the mainland in a last-ditch attempt to drum up some money, leaving the three children to fend for themselves. A dark coming-of-age tale that blends magic realism, a ghost story, the absurd and a dangerous boat trip to the centre of the swamplands, this novel examines a fractured family mourning its matriarch in different ways.

39. A Mind Spread Out on the Ground / Alicia Elliott

This is a beautiful collection of personal essays brimming with vulnerability, passion, and fury. Elliott, the daughter of a Haudenosaunee father and a white mother, shares her experiences growing up poor in a family struggling with mental illness, addiction and racism. Topics touch on food scarcity, a never-ending battle with lice, parenthood and the importance of hearing from traditionally marginalized voices in literature. 

40. Those Who Leave and Those Who Stay / Elena Ferrante

The third novel in Ferrante’s Neapolitan quartet sees Elena and Lila move from their early twenties into their thirties and deal with a riot of issues - growing careers, changing political beliefs, the challenges of motherhood and romantic relationships, and existing as strong-willed, intelligent women in 1960s and 70s Italy. I’ll definitely finish the series soon.

41. Half-Blood Blues / Esi Edugyan

A small group of American and German jazz musicians working on a record find themselves holed up in Paris as the Germans begin their occupation in WW2. Hiero, the youngest and most talented member of the group, goes out one morning for milk and is arrested by the Germans, never to be heard from again. Fifty years later, the surviving members of the band go to Berlin for the opening night of a documentary about the jazz scene from that era, and soon find themselves on a road trip through the European countryside to find out what really became of Hiero all those years ago. Edugyan’s novel is a piercing examination of jealousy, ambition, friendship, race and guilt. And features a cameo by Louis Armstrong!

42. A Serial Killer’s Daughter: My Story of Faith, Love and Overcoming / Kerri Rawson

So Brad and I had just finished watching season 2 of Mindhunter, and as I browse through a neighbourhood little library, I spot this book and the serial killer in question is the BTK Killer! Naturally, I had to read it. What I didn’t realize is that this is actually a Christian book, so Rawson does write a lot about struggling with her belief in God and finding her way back to Him, etc. But there are also chapters more fitting with the true crime and memoir genres that I equally enjoyed and was creeped out by.

43. The Night Ocean / Paul La Farge

This is another book that made me feel somewhat stupid as a reader. I just know there are details or tidbits that completely went over my head that would likely enrich a better reader’s experience. In broad strokes, the novel is about a failed marriage between a psychiatrist and a writer who became dangerously obsessed with H.P. Lovecraft and the rumours that swirled around him and his social circle. The writer’s obsession takes him away from his marriage and everything else, and eventually it looks like he ends his own life. The psychiatrist is doubtful (no body was found) and she starts to follow him down the same rabbit hole. At times tense, at times funny, at times sad, I enjoyed the supposed world of Lovecraft and his fans and peers, but again, I’m sure there are deeper musings here that I couldn’t reach.

44. Glass Houses / Louise Penny

The 13th novel in Penny’s Inspector Gamache mystery series sees our hero taking big risks to fight the opioid crisis in Quebec. He and his team focus on catching the big crime boss smuggling drugs across the border from Vermont, endangering his beloved town of Three Pines in the process. 

45. The Bone Houses / Emily Lloyd-Jones

My Halloween read for the year, this dark fairytale of a YA novel was perfect for the season. Since her parents died, Ryn has taken over the family business - grave digging - to support herself and her siblings. As the gravedigger, she knows better than most that due to an old curse, the dead in the forest surrounding her village don’t always stay dead. But as more of the forest dead start appearing (and acting more violently than usual), Ryn and an unexpected companion (yes, a charming young man cause there’s got to be a romance!) travel to the heart of the forest to put a stop to the curse once and for all.

46. The Witches Are Coming / Lindy West

Another blazing hot set of essays from my favourite funny feminist take on Trump, abortion rights, #MeToo, and more importantly Adam Sandler and Dateline. As always, Lindy, please be my best friend?

47. Know My Name / Chanel Miller

This memoir is HEAVY but so, so needed. Recently, Chanel Miller decided to come forward publicly and share that she was the victim of Brock Turner’s sexual assault. She got the courage to do so after she posted her blistering and beautiful victim impact statement on social media and it went viral. Miller’s memoir is a must-read, highlighting the incredible and awful lengths victims have to go to to see any modicum of justice brought against their attackers. Miller dealt with professional ineptitude from police and legal professionals, victim-blaming, victim-shaming, depression and anxiety, the inability to hold down a job, and still managed to come out the other side of this trial intact. And in the midst of all the horror, she writes beautifully about her support system - her family, boyfriend and friends - and about the millions of strangers around the world who saw themselves in her experience.

48. Christmas Ghost Stories: A Collection of Winter Tales / Mark Onspaugh

Ghosts AND Christmas? Yes please! This quirky collection features a wide array of festively spooky tales. You want the ghost of Anne Boleyn trapped in a Christmas ornament? You got it! What about the ghosts of Christmas Past, Present and Future drinking together in a bar? Yup, that’s here too! 

__

So, what were my top picks of the year, the books that stuck with me the most? In no particular order:

Educated

Homegoing

The Wanderers

Know My Name

Scarborough

[aikainkauna]

Fanfic trope meme

Apologies to those of you who see this for a third time, as I’ve crossposted it to both LJ and Pillowfort. Feel free to comment over on there (or my other posts) if you like. And of course, feel free to grab this one and do it yourself, if you like.

***

Grabbed this meme from a couple of people on LJ. It's... well, apparently about fanfic tropes. Some of them more terrifying than others.

I have written:

-Hurt/comfort (Yeah, baby! Most of my fic is this.)

-Body swapping (Sort of? Souls slipping into each other's bodies for a bit? Jaffar feeling what Yassamin feels? Sex swap, I've definitely done.)

-Soulmate identifying marks (tattoo, red thread of fate, etc) (I have! The Throne of Solomon. And maybe The Past Forgotten counts, in its way. I may have written more, but I forget.)

-Snowed-in cabin/isolated together for extended period of time (The Jaffar/Pwinzezz Cavefic!)

-Found families (I guess the Samarkand gang counts for poor old Fadl? Even if Jaffar *is* his brother, so technically it is his family. But he does have his religious congregation and Zainab, and is... well, he always does seem to be seeking something, so he's the kind of guy to go for this trope.)

-Fairy tale/mythology AU (And not just when I am  writing in *actual* fairytale/mythology fandoms. Which I am doing most of the time, what with Thief of Bagdad being a 1001 Nights fanfic anyway. So I'm writing fanfic about a fanfic of some age-old RPF (fantasy AU!) about historical figures from the late 700s/early 800s...)

-Enemies  to friends to lovers (Yes, please! Aplenty. I'm surprised that  enemyslash/FoeYay/Hero(ine)/Villain(ess), whatever you want to call it,  isn't mentioned on this list.)

-Characters swap roles AU (Uh... I've written sexual switching in some isolated chapters? Like when Laura  briefly doms Torsten in The Fall of Angels, to help him get over some traumas?)

-Friends to lovers (With RPS, Veidtbone in particular, and Theta/Koschei. This also seems to happen whenever I write femslash.)

-Magical  connection (telepathy, etc) (Doctor/Master basically ruined me for all  my other ships what with their telepathic ability. So that now, it feels less interesting for me to write love/sex that *doesn't* have telepathy.)

-Fake dating/fake marriage accidentally turns into feelings (see next trope)

-Royals/political marriage turns into feelings (These last two are pretty much the same thing in ToB, as I've had Yassamin marry Jaffar a couple of times--like The Past Forgotten and The King's White Falcon, but without him laying a hand on her for up to a year, until she finally grows a brain and realises how loveworthy he is after all.)

-Seemingly unrequited pining (Emphasis on the "seemingly." Jaffar's unrequited   pining is painful enough in the movie, so there's no point in making him  suffer any more.)

-Accidentally fell in love with the mission target (Well, *kind of,* what with Torsten. Lars-Erik was definitely his mission target in the original film, and at the start of Because The World Belongs to the Devil, he made no bones about having wanted to kill Laura Erika [the teenage girl version of Lars-Erik in this AU, to those of you just joining in] when she was born.)

-They break up (but then they get back together) (With Jaffar/Fadl.  Fadl's stormed off in a huff at least twice in the past. And Doctor/Master is always the same old on-off car crash, isn't it? Although this is not a favourite trope of mine, as the setup would usually necessitate them being an existing couple in the first place,  and I tend to not write canon or "plausibly lovers" ships because   they're already happily together. What do Two and Jamie, Holmes and   Watson etc. need me for? They're already as good as married. Let them have their happiness.)

-Supernatural creature/human romance (Sort of. I've written Time Lords/humans, humans/djinn at least. And surely wizards count as supernatural romance, anyway?)

-Reincarnation/'25  Lives' AU (What's with the 25 lives? Is this some big fandom thing again? One of the darkest, most fucked-up fics I ever wrote was the Master killing the Doctor during sex and fucking him as he regenerated around him. As you do. And there's reincarnation in one of my Jaffar/Pwinzezz fics,  but I won't spoil it for the new readers by telling you which one it is.)

-Selfcest (possibly due to time travel) (I am scratching my head trying to remember when I wrote this and in which fandom, but I have the distinct feeling I've written it. I've certainly whacked off to  that World Of Simm!Masters clusterfuck what with the pink dress so many  times I... I think I broke two clit buzzers during that time. I've certainly drawn it. And drawn some Connies on Connies. And then there's, of course, Sarosh the Sexbot  who's a clone of Jaffar, looks-wise, but he is very distinctly just a robot, not a living character as such--not the sort with which you could  have a real, interpersonal dynamic. My problem with selfcest, in general, is that I like having that character dynamic--and that requires  the characters to be different from one another. If it's two characters  that are too similar--if they fulfill a similar role in the canons--it's hard to create a dynamic between them and to make it   interesting.)

-Polyamory (Swinging away ALL the bloody time with the Roses!Jaffar and Yassamin, and Torsten/Laura. Sometimes I miss the monogamous 'verses.)

-Amnesia (I've got a post-movie "Jaffar comes  back from the dead" WIP I'll probs never finish, because it doesn't seem to get off the ground. If I wrote this trope, I would have the characters gradually regain memory, though; complete mind-wipes are   horrid. I did have Handy lose the majority of his cognitive/motor/Timey skills in No More  and that was the main reason I had to... well, I'm not going to spoil it if someone hasn't read it yet, but it wasn't the cheeriest of fics. The Past Forgotten *sort of* has this, but I don't want to spoil as to how that happens.)

***

I could write:

-Daemons (Why the archaic spelling? I have written djinn, so I almost put this in the 'have written' section. I can't remember if I actually *have* written real demons, because I might have. Surely, Torsten counts...)

-'Everyone is evil'/mirrorverse AU (Well, mostly, if I want to explore "evil"   characters, I write about those types of characters in the first place, without having to turn anyone evil. Devilry is the 'verse for that. Hell, usually it's the other way around; I try to look for the human elements of the baddies, or at least explore their logic--what makes them tick, what makes them the way they are. So, IDK, I could've also   put this in the "unlikely to ever write" section.)

-And they were roommates! (This would be terrible and also hilarious, whatever characters ended up becoming my victims. Even if I'm more interested in those hurt/comfort plots, overall. And I have always found it *impossible* to live under the same roof with other people because I need peace and quiet and solitude too much. So this is almost a bit too much like the sorts of negative RL experiences I don't really want to get more of in fic.  But I *could* write it as a comedy for cheap lols, especially if the stress were resolved by hot bonking, ASAP.)

-'They  all work in an office' AU (Otherwise, I would've put this in the "just  no" category, but... the Barmakids were civil servants. So I *could*   write Jaffar and Fadl drowning in paperwork--"WHY DID WE EVER introduce paper into THIS EMPIRE?!?" and cursing their fates and Jaffar restraining Fadl from braining Harun al-Rashid with a paperweight. Same with Lina doing Zainab's books and trying to hold back The Fist of Death when Fadl carelessly drops a piece of his lunch over her perfectly calligraphied accounting.)

-'Falling for a coworker/teammate is a bad idea' except this is fiction so it works out (Maybe. Just maybe. But it'd also be in a medieval ToB context.)

***  

I will probably never write:

-'Groundhog  Day'/karmic time loop (I just never got the appeal of this. Sounds like the sort of thing experimental writers would like? The sorts who really  like filling in bingo cards and challenge lists?)

-Vampires/werewolves  AU (I'm not that big on either. Super-unpopular opinion coming up: I prefer sex to the sublimation of it that vampires are often all about; bloodsucking in lieu of sex, and/or being seen as way better than sex just always feel to me like a cheap cop-out from writers who are disappointed in sex, or afraid of it. I've never grokked it any more   than that stupid, stupid "chocolate is better than sex" quip from women who don't know what masturbation is--yes, it fucking well is sex, TYVM! I much prefer to make partnered sex better than it is IRL by adding supernatural stuff like telepathy to *that*. Immortality alone is interesting to explore, as are Gothic themes, but all the usual themes that vampires *specifically* usually represent just... either hold little interest for me, or then, I can explore them in other ways.)

-'Pride  and Prejudice' AU (I don't hate Jane Austen, but it's not my fandom. That kind of society stuff and being witty over teacups in bonnets has never really been my thing--if anything, I usually have my characters exist in their own bubble, isolated from society and its restrictive mores and social stresses.)

***

JUST NO!

-Coffee  house AU/food service AU (AUGH! Please, no coffeeshop AUs for me; the world is full of them already. Maybe I could write it as some terrible, short parody? Or doodle it? But no more than that.)

-Hogwarts AU (Haven't read HP. Young Adult isn't really my genre. I know, I know; I've just lost all my WLW cred.)

-High  school/university AU (I've done Time Lord Academy-era stuff with Doctor/Master, but I expect this means a sort of American high school/university AU with jocks and cheerleaders and shit. Hell, no. Again, the exact sort of horrid society stuff I would rather have my characters escape from.)

-Adopting/raising a baby (Erm, not unless you count Jaffar/Yassamin adopting a cheetah? They do have kids in some 'verses but there's none of that everyday baby stuff that this question/trope probably implies. I'm squicked by   babies, sorry.)

-Unusually specific occupation AU, like, the Author clearly has the same job (It worries me that this is, by virtue of its inclusion here, apparently seen as normal and acceptable..? When it's crap fanfic, inserting yourself into something that should be about the *established* characters instead. Jesus, I don't want to go in expecting a fanfic, and then find out it’s your diary instead! Unless you're Anaïs Nin. And even if you really *do* want to write about yourself, then just... write original fic? An autobiography? A blog? Write an OC that has your job. Don't do this false advertising where you insist it's fanfic when it's not. That's a dick move towards your readers.)

-Loyalty kink (see next trope)

-Alpha/beta/omega (Too creepy. I can write about piss, shit, incest, necrophilia and cannibalism, but not these last two. Any more than I can glorify the Nazis I've written about; I either take the piss out of them, as with Strasser, or just step outside of their politics and bring them into the land of happy sexings like with von Kolb, with the aim of dragging him out of that madness and leaving it behind.)

-Hot single parent(s) (Please. Rundvik: "You love children." Torsten: "I loooooathe themm.")

-Unrequited pining (Too much of an emotional squick. Has to be requited. I write fanfic to fix things, to avenge wrongs, to set things right. I don't write them to make the characters more miserable than they already are. Unless it's for temporary, character-development purposes, that is.)

[nitratestock]

One by one, like a painful slow drip from a finite source, we lose people to time, people who contributed positively to the world in ways political, artistic, scientific. One by one. Considering the sum total is simply too great, we need stagger. For those who share my year of birth by a margin of three years give or take on either side, we’ve been lucky. Lucky in the sense that the stagger has been long and wide. Over the last decade we’ve lost some important people, particularly important to our early life, the exit of our single digits and the early part of our teens. Early on I was crushed by the death of Sidney Lumet, in 2011, a giant of the film community. I wrote about his passing back then, at the point of worst emotional pain, as bad as one can feel without being a family member or close friend. Since then we’ve lost Cimino. We’ve lost Nichols. We’ve lost Varda. We’ve lost Akerman. We’ve lost Hooper and Romero. As we brine in our Gen X jar, we unfortunately transition from sniper fire to machine gun spray. Legato becomes staccato. People of my age group watch in horror as heroes depart. It’s no different of any other age group, perhaps only more enhanced by the increased prevalence of mass media over the course of the last century and into ours. Distance and folklore becomes nearness and screens. In either case we involve ourselves in the lives of others, in ways good and bad. At worst we connect through this urge to pillory those who are guilty of our very same sins. At best, we mourn the passing of a public figure we’ve come to acknowledge, without their knowledge, as a friend. Hopefully out of benevolent interest, that last part.

So I say with the melancholy of a film fanatic that came of age in the 80’s and the heft of a life, if averages count, mostly lived at this point, that the recent passing of one Alan Parker left me despondent. Perhaps not for the fate of the world, but definitely for the fate of film as a malleable form that might struggle with the twin purposes of art and commerce and succeed somehow. Film fanatics, or as I prefer to refer to myself and others, Cinegeeks, often find themselves drawn to figures within the film world considered 2nd or 3rd tier interviews, whose body of work might contain two or three masterpieces amongst a body of mediocrity, or who might have a mostly or even highly successful box office record but never get critical acclaim. Fanatics like to champion the underdog. It’s our nature. To a degree Alan Parker found himself in this category. Partially because his CV didn’t fit neatly into the Auteur Theory folder. Partially because he didn’t play the normal Hollywood game. It’s sometimes overlooked that the boldest outsiders during that New Hollywood era knew how to play the studio/PR angle and did so like sawing a harp from hell. I’m looking at YOU, Coppola and Scorsese.

Parker had artistic ambitions, some would even say pretentious ambitions, and yet I defy anyone to observe his body of work and not see a blue-collar hardscrabble mentality etching away at the base of all his films. He failed sometimes, but in all endeavors he struggled not just to ensure proper light diffusion, but to connect the audience to the scene that was unfolding and the characters within all of that art direction and brilliant cinematography. In his debut feature, the cult classic BUGSY MALONE, he invited audiences to indulge in the lark of basically watching an updated Little Rascals film as whipped-cream St. Valentine’s massacre. With an infectious soundtrack by Paul Williams. And it worked and still works. In MIDNIGHT EXPRESS, he sought nothing less than to put you through the Turkish prison system at its most barbaric. And damn, did he succeed. In FAME, he sought to enroll you in La Guardia High, the School for the Performing Arts, partially ushered in by one Mr. Lumet, and he brought you into the NYC streets to join the dance. In SHOOT THE MOON, he dragged you through the broken glass and nails that is a brutal divorce. Most critics still feel it’s the film that’ll never be topped on that topic. And yeah. It’s punishing to this day.

That’s just his first four films. He followed MOON in the same year with his cinematic distillation of PINK FLOYD’S THE WALL, as ambitious, reckless, insane, obtuse and inspiring as any art film dared to be. He waged one of the bravest, constant battles between the band, their label, his studio and the inevitable lash or backlash from the critics and the crowds as any director dared in that decade, which had now, even by 1992, belonged to Reagan and Thatcher’s crowd. It worked, it was a success on its own terms. It stood with QUADROPHENIA as one of the few successful adaps of a “RockOpera” to screen. And it would serve as an insanely influential piece of cinema/album mashup. I can’t think of another film that’s even attempted to match it to this day.

Parker’s true gift was that of exploration, and this was evinced by his sojourn from cinematic genre to cinematic genre. Like great directors before him, he felt the need to examine and exult in them all. He turned after 1982’s twin trials to what many referred to as William Wharton’s “un-filmable” novel. Parker found a way to film it, and in the process crafted a minor masterpiece, and the first film in his American Gothic trilogy. BIRDY is about so many things; the horror of war, the futility of grand romantic dreams, the last days of glorious, unweighted childhood. It succeeds in all those ambitions, but what it is squarely about is the healing power of friendship, of that bond between brothers that even the trauma of battle cannot best. He accomplished this in two different time periods and two different venues; the 60’s early and late, as disparate as a decade could get from itself; then the wide, economically depressed funland expanse of post-WW2 Brooklyn, against the claustrophobic, chiaroscuro lit cell of the VA, where the only shadow to hide within lies beneath the mottled cot. All of Parker’s CV can be described as character studies of one form or another. Here he began a three film sojourn into America’s pockets, its secret soul and even its original sins. He’d leave the punishing abandonment of what once was the City of Brooklyn as it stood circa 1962, for a far more insidious and painful abandonment, one of a whole swath of the country and of its stolen populace.

ANGEL HEART was ostensibly a mashup of horror and noir, a neat trick that any successful director would’ve been drawn to, especially in the MTV 80’s, a music video era (greatly inspired by directors like Parker, I might add) that found itself drawing on the tropes of past cinema genres in a highly stylized way. The synopsis implies a simple morality tale, a private eye hired by a seemingly nefarious talent agent to track down the client who’s eluded him. Perhaps by supernatural means. Parker expanded on the location by quickly resetting the action from Brooklyn to New Orleans, after a quick trip through Harlem. White culture has to answer to and for black culture in America, and Parker employed this almost caricature smoke-and-topcoat shamus to do this investigation. There is great butchery in ANGEL HEART, which I’ve always believed reps the butchery of slavery and the Jim Crow era. There are bold implications and terrible consequences for what we now term “cultural appropriation”, from Johnny Favorite’s Depression-era crooner stealing from black artists to the Krusemark’s adoption of the patchwork voodoo religion. Above all, there is guilt. There is a clear through line, as clear as Capt. Willard’s river to Kurtz, toward White America’s brutality, ongoing. Harry is our surrogate, should we choose. He goes on his own journey of discovery that becomes, unwittingly and surely unwillingly, one of SELF-discovery. His final manic, desperate denial is the same as any who enjoy white privilege to this day while at the same time being wholly unaware of it: I know who I am. If ANGEL HEART is the one he’s going to be remembered for, I believe it’s this subtext, unplanned or otherwise, that will allow it the test of time well over the brilliant cinematography and perhaps Mickey Rourke’s finest performance. Parker would next attempt to expand on this subtext and present it as text, with very, VERY mixed reactions.

MISSISSIPPI BURNING was a project begun with noble intent, I believe. In an era where white men still got to tell the black narrative in America. While I forgive a lot of the film’s dramatic license, I fully agree with its detractors as well. 1988 was a tipping point for tone-deafness in the film industry. Had Parker made BURNING a decade or so prior, it might enjoy a better rep in the context of its time. The end of the 80’s demanded better. I’m a fan of this film, as a film, not as a history. In the same way I’m a fan of well-crafted cinematic narratives that have dated very poorly. The tragedy of MISSISSIPPI BURNING is not just that he made so well-crafted a film at a point in the timeline when something more inclusive, honest, and better representative of history was possible, it’s that he chose fiction for fiction’s sake. Nevertheless, it was the second and final Oscar nomination for direction he’d receive.

Parker remained in this wheelhouse of American guilt for 20th century wrong-doing. COME SEE THE PARADISE was an earnest attempt to depict, to REMIND America really, of the awful Japanese internment camps of the WW2 years, the venerable FDR’s greatest sin. At the height of his filmmaking powers he was unerring in his balance between stylistic pursuit and substance. Alas, with this effort and his previous, glow softened suffer, and the heart of the tale proved elusive as a result.

Maybe he had a moment of clarity then, after these ambitious but perhaps stultifying efforts, and decided to return to a genre that had stood him in good stead. Parker turned to the homespun Celtic kick of Roddy Doyle and decided to create a real-life soul/funk/r&b band from scratch for THE COMMITMENTS, which most will agree is his last great film, though his later fare has its champions, and fair play to them. For a director so well known for his meticulous prep and focus he fared incredibly well in filming wild abandon. Maybe it was a mode he needed to consciously shift into gear for, but once there he cooked quite a stew. The film delighted both critics and audiences, and also helped re-start a soul music resurgence, helped in no little way by the film’s pre-fab ensemble, who’d take to the road for a series of live shows with various members of the celluloid iteration in tow. Some might argue that he retreated to a stance that shied from his previous inquiries regarding the separation of cultures white and other, and the theft perpetrated by one on the other, and in doing crafted so populist an entertainment as to render the argument moot. That’s a fair assessment. Some others might argue that a truthful, passionate depiction of people inspired by others different from their living experience, plaintively plying their art, is honest work as well, no matter their skin color. The debate won’t go away. And it shouldn’t. In terms of moviemaking, though, Parker had fired on all cylinders. Perhaps for the last time.

The remaining decade-plus of his work was, in most estimations, workmanlike, with the odd Parker flourish here and there recognizable to his fans. THE ROAD TO WELLVILLE was an eccentric choice as follow-up, and also as navigation through the early days of a new and unsure decade (He’d already travelled the biz director-driven, to producer-driven, and was now in the who-the-hell’s-driving 90’s). It features several fine performances, from recent and deserved Oscar winner Anthony Hopkins to the still-finding-their-way Matthew Broderick and John Cusack, and its huckster-health theme does still resonate, or at least it SHOULD, as well today as then as late 19th century. If it ultimately found no target to spear, it remains a well crafted and intentioned work. EVITA was no sleepwalk-to the-Oscar gig, even though the resulting film is at best assessed as a dreamily-hued mess. Parker took on the challenge of a legendary broadway smash, one that Hollywood had been desperate to film for well over a decade. A lesser director would’ve turned the camera on and yelled “Sing!”. But Parker was one of the few who’d found success in the post-studio era with one of its warhorse genres, the musical, which had diminished, and decidedly felled such giants as Coppola and Bogdanovich at their peak or near-peak. It’s a noble effort, if it comes up short. It’s not quite empty Oscar-bait, but it’s well shy of a film with a purpose. He either directed or was gifted a great Antonio Banderas perf, and he did his damnedest with Madonna, which is sorta the theme of her career don’t send hate mail. He got a hard-won, decent turn out of her, perhaps not the magnetic dying star that the role demanded, but an actor giving her all. That’s still worth something, even if they’re miscast. For further evidence I direct you toward Matt Damon in THE TALENTED MR. RIPLEY.

And here’s the part that I always hate to talk about. Parker was a director who, in my estimation, never sought validation, but always inspiration. It’s the source of his greatest works, and they remain some of the greatest of the post-studio years. He took his best swipe at an unlikely best-seller, Frank McCourt’s wildly successful but impossibly depressing ANGELA’S ASHES. Like EVITA, it had “prestige” built into it. Like EVITA, it was a package deal. Like EVITA, the studio expected some love from the Academy at the end of the day. I feel like Parker was thwarted from the start, tasked with this take of utter poverty and despondency while asked to chase the gold. Had the book come out sometime early in his career, had he discovered it and championed it, and then saw it through production and release, we may have been gifted something along the lines of a Ken Loach or even Buñuel at his most honest. The gilt and geld of the Hollywood studios, especially at that time competing with the newly-found prestige of the indies, precluded any chance at that, despite next-level perfs from Stephen Rea and Emily Watson. It’s a not-unworthy effort to seek out, especially if you're a Parker fan, but in some ways it may have signaled his ultimate abandonment of this art form. Maybe he felt he’d said enough. Maybe he felt he wouldn’t be allowed to say his piece on his terms anymore. Maybe he looked ahead at filmmaking in the new millennium and decided he’d not update his passport to this new continent. For reasons we never fully received, Parker was leaving.

His last film would be THE LIFE OF DAVID GALE, an anti-capital punishment screed that felt out of joint, and not due to the lack of effort from its stars, Kate Winslet and Christopher Plummer. But it’s an aimless effort, deprived of any real bite on a subject molten to a wide swath of the citizenry. It was met with mixed box office and mixed reviews. It left with nary a trace. And then, whether we realized it or not, so did Alan Parker.

It seemed to be a welcome retirement. At least in my following of my filmmaker heroes. I don’t believe I saw one item, one gossip piece, about a new Alan Parker project, about a studio extending him an offer on a prestige or even indie film. He popped up as interview subject and fairly frequently, and seemed to enjoy his status as thus. He’d crafted a remarkable body of work, and by all witness enjoyed remarking on it. He occasionally served as mentor, as when Christopher Nolan reached out to him. He’d definitely serve as defense attorney, especially when the subject of Mickey Rourke came up. He absolutely and most magnificently served as beacon to a whole generation of film lovers and future filmmakers, kids who were desperate in the corporate/production team/CAA 80’s to cling to films of their generation they could call their own. At a time when art and the so-called “auteur” was a dirty word in Hollywood he was able to put the work he’d crafted into your head and into your heart. I’m not sure if we’re gonna see another Alan Parker, and he’d be most upset by that notion, but if you’re reading this, and you find this possibility unacceptable, go grab a camera and be another Alan Parker. We’re waiting.

[scifigangsta]

Haunting and Crimson Peak

We have discussed the Gothic extensively in this class, but this week focused specifically on the concept of the spectre. Themes of hauntings, ghosts, and supernatural entities are a recurrent in horror. Not all Gothic fiction features the literal haunting of a ghost, but the genre does typically deal with issues of being haunted by the past.

In “Reviewing the Female Gothic Heroine: Agency, Identification and Feminist Film Criticism,” Helen Hanson discusses the conventions of the Gothic .[1]  One of the key elements of the genre, according to Hanson, is that it exists in a “tension between progress and atavism.” It is a mode with the ability to constantly renew itself, yet still “plays on a fraught relationship to the past.”[2] Characters are unable to escape from their past, sometimes suffering for the sins of previous generations.

Like most horror, the Gothic tends to blur boundaries between masculine and feminine, good and evil, death and sex, the repulsive and the attractive. By marrying these concepts, Gothic has the potential to challenge existentialist thinking. Therefore, Gothic, with all its ambiguity, can be used as critique of social mandates. As Hanson states,  its “retrogressive narration” not only highlights issues about gender and identity, it tends to reveal toxic elements of our culture in general.

Hanson also mentions the visual and stylistic similarities between Gothic women’s writing and Film Noir. Both Noir and Gothic converse with shifting gender roles. However, while Noir tends to express anxieties over women empowerment and their inclusion in the public sphere, the Gothic “reflects women’s fears about losing their unprecedented freedoms and being forced back into the homes after the men returned from fighting to take over the jobs and assume control.”[3] Considering Film Noir is a mode predominantly written and directed by men, it is not surprisingly that it is typically associated with prestige and quality. Gothic, on the other hand, with its association with emotionality, is often “relegated to the margins.”[4]  

Colin Davis, in “Hauntology, Spectres and Phantoms,” discusses the trend in critical and psychoanalytical literature which explores the figure of the ghost as an “wholly irrecuperable intrusion in our world.”[5] The ghost is a figure that is neither living or dead, and which presence makes us question what we claim to know. The ghost represents “undisclosed traumas of previous generations” that disturb the “lives of their descendants even and especially if they know nothing about their distant causes.”[6]  Seeing that the ghost rarely communicates with the haunted directly, it signifies a secret which “is unspeakable.”[7] According to Colon Davis, hauntology is “a place where we can interrogate our relation to the dead, examine the elusive identities of the living, and explore the boundaries between the thought and the unthought.”[8]

Crimson Peak, obviously heavily inspired by the Gothic genre, deals with characters being haunted by the past. On the surface, the ghost in the story is attempting to warn Edith about Thomas and Lucille’s past murders. However, there is deeper level of haunting of the characters.  One of things I found so interesting is how the film plays with our expectations of gender roles. Thomas, who is clearly meant to be gender ambiguous, is emasculated by his inability to make his estate productive.  In the typical period pieces, the woman is often placed in the role of having marry for power. In a reversal of that trope, Thomas is forced to use his sexuality to gain power and wealth. The uncanniness of the Sharpe family is their inability to produce. Their incestial relationship does not permit them to have children, but they are also unable to produce capital.  

[1] Helen Hanson, “Reviewing the Female Gothic Heroine: Agency, Identification and Feminist Film Criticism,” in Hollywood Heroines:  Women in Film Noir and the Female Gothic Film (London New York: I.B. Tauris, 2007).

[2] Ibid., 35.

[3] Ibid., 47.

[4] Ibid.

[5] Colin Davis, “Hauntology, Spectres and Phantoms,” French Studies 59, no. 3 (July 1, 2005): 373–79, https://doi.org/10.1093/fs/kni143.

[6] Ibid., 374.

[7] Ibid., 379.

[8] Ibid., 373.

[thesffcorner]

Kill Creek

Kill Creek is a horror novel written by Scott Thomas. We follow Sam McGarver, a best selling horror author who is suffering from a massive writer's block. He has separated from his wife and is teaching at a university, while trying to write his next novel. He gets an invitation to do an interview for WrightWire, a pop culture website known for putting on massive, scripted shows, and he accepts, not realizing that not only will he not be alone during this interview, but it will also take place at the notorious Kill Creek Manor, a house with a dark and haunted past. The idea of this book sounded awesome; 4 horror authors have to spend a weekend at a haunted house for an interview; kind of like Until Dawn, but instead of teenagers the victims are masters of the genre and could therefore have a unique approach and even predict what the house would throw at them. The first half of this book was excellent; I liked the set-up, I liked the characters, the history of Kill Creek was suitably dark and twisted, and I really liked the direction of the plot. Unfortunately, as soon as the characters arrived in Kill Creek, much like his own lead character, Thomas’ story quickly devolved into cliches, nonsensical plot twists, characters acting completely opposite to what they did before for no reason, and this really interesting premise was squandered. The book never recovers from the wasted potential that is the interview, so I figure I should start with the positives. For a start, I appreciated that all of the characters, while not all likable, were at least relatable and consistent. With the exception of one, each character had an understandable starting point, and though they all end up doing questionable things, I still rooted for them, and wanted them to survive the book. I liked the way each character’s personal trauma and past informed the ways in which they interacted with the house, and for the most part found all of them equally intriguing, at the start. The house itself was really well done. A lot of the book relies heavily on the Southern Gothic tradition, which I enjoy. It’s a big house that has been abandoned for decades, in the middle of nowhere in Kansas, and it does all the things creepy houses do; cold spots, sounds, apparitions, power turning off and on, rooms that go nowhere, creepy crawl spaces, etc. I almost wish, considering the role the house played that we got to spend more time inside it, and really delved into it’s dark history, like Del Toro did in Crimson Peak. I also liked what we get to see of Sam’s classes. His 5 elements of gothic horror were brilliant and I kept reading the book wondering and theorizing about how everything fit in them. I also liked the interview, where Sebastian was explaining what true horror means to him; it was a great deconstruction of Lovcraftian horror and I really liked that the queer character was the one who gravitated most to it. There were other scenes that left an impact: Sebastian seeing Richard for the first time, Sam hugging Wainwright after he tells them what happened to Kate, his stunt with the Underground, Daniel mourning his daughter. The moments of humanity and genuine kindness made me root for the characters, which is something modern horror desperately lacks, often treating its characters like disposable blood bags. Unfortunately, there are more issues than positives. Now, I am by no means a purist; different genres can borrow and modify elements from each other, as even Sam points out in his lecture. There are elements that make a specific piece of work ‘Gothic’ horror, but that same work can also fall under the slasher, body horror or even religious horror category. What Thomas is essentially trying to do here is to take 4 genres of horror fiction: Lovcraftian horror, southern Gothic, slasher and erotic horror and piece them together into one book. And the effect is much the same as the one you get at the end of Cabin in the Woods; confusing, predictable and not particularly effective at any of the genres. I am never scared of Gothic horror; the most I am, is unnerved or unsettled. However, when I watch/read anything pertaining to torture-porn, body horror or even slasher, I am terrified, and there wasn’t a single point in this book where I was even slightly unsettled. Gothic horror and straight up slashers don’t mix, at least not the way Thomas has done it here. For example, we have quiet scenes of Sebastian being haunted by the mistakes of his past, the dread of losing his memories, losing his ability to tell stories, and in the same breath we have Moore getting the shit kicked out of her, or Kate slicing her arm open, Ghosts of Mars style. These simply don’t work together, and the end result is an uneven feeling throughout the book where I’m not sure what I should be scared of, because anything goes. The other main issue was the horror element. The idea that the house was never evil, but people believing that it is made it haunted was just… unsatisfactory. How can rumors actually make a house haunted? And I don’t mean, oh because people think this place is bad, anything even remotely strange or distressing that happens in it is automatically prescribed to the location; no I mean somehow people’s notions that the house is haunted created or called a primordial, decaying evil that has a physical form, and can take on the shape of specific people enough to fool others that it is human, save people from dying, and also kill them in unrelated bus accidents? What? The ending was such a mess, because there are no rules to this creature! It can do absolutely anything, and there was no suspense left in the climax or the epilogue, because I knew exactly what would happen. Thomas just borrows tropes from other horror works, and does nothing to subvert them; he just let’s them play out with no critical eye, which is why we get such a dumb Bloomhouse ending, to what was otherwise a book that really seemed to respect the genre and it’s traditions. There were also major issues with the characters. Let’s start with the ones I had the least amount of problems with: Kate, Wainwright and Sebastian. Kate was boring as hell; she had no personality other than being southern and black. There is a line in the book about how her dad would hate that she’s sleeping with Wainwright not because he’s her boss but because he’s white, which is a can of worms I don’t want to touch with a 10 ft pole. There was an attempt to tie her to the history of the house, seeing as a freed slave woman who lived there was lynched, but we know nothing about Kate or her relationship with Wainwright, other than he is white and she is black. Wainwright at least had a lot of potential to be interesting. There are hints to his personality throughout the first half which never pan out; he has daddy issues, he feels inadequate and like a fraud, he has a temper that fires off when things don’t go his way, he is willing to do anything for clout. I thought the reveal was that he would rig the house for the interview Until Dawn style, or he’d trigger the haunting with something he does, but nothing of the sort happens. I thought maybe his temper and aggressive streak might make him abusive to Kate, but that also never happens. Sam hates and suspects him, but there is no reason for it; he’s just a rich boy who gets way in over his head and nothing beyond that. Sebastian was the character I liked the most, but he was wasted on this book. He is old, he has been closeted his whole life, he has lost the love of his life to cancer, and his father to dementia and is now aware that he too is slowly becoming forgetful. How interesting would it have been if Thomas actually grappled with his past, the wife he betrayed by using her as a beard, his fear of losing his memories of Richard, his desire to remain famous or at least remembered because he himself is starting to forget. How novel to actually have a queer protagonist in a Gothic novel where their sexuality isn’t punished by death of suffering. But no, he’s just barely in the book, and though I appreciate that at least Thomas didn’t have a third act twist where he suddenly became evil, it was clear Thomas had no idea what to do with him. Then we get to the characters I actively hated. Daniel I liked for most of the book; I hated the way his character was treated by the author however. I have never seen such little respect for a religious character in anything; I legitimately felt like I was watching God’s Not Dead, except Daniel was losing his faith instead of finding it. If I had to guess, I’d say Thomas doesn’t like religion, and doesn’t have any interest in actually exploring the complicated relationship characters who are religious have with themselves, their church, their families and God. Daniel is religious because he survived a spider attack as a child, and though he seems to be questioning his faith, we never really get to see why, or what drives him to be a Christian author at all. Every debate Daniel has with Moore is dumb, and the way he answers questions is purposefully written to have Moore come out on top, instead of presenting reasons as to why a person would believe certain things. It came off as fake and disingenuous, especially because the relationship Daniel has with his daughter was so good, and the scenes with him and his wife at the house were heartbreaking. But then, because Thomas needs a villain it’s just Daniel, for no reason other than… Thomas hates parents and/or religious people. I also didn’t appreciate how many fat jokes the other characters made at his expense of how everyone treated him like he was dumb just because he was excited to be around authors who were his peers and influences. Then we have Moore, who was probably the worst female character I’ve ever had the misfortune of reading; worse than Mara Jade, worse than Razorgirl. She deserves to be taught in class as an example of how not to write female characters; a complete caricature of feminism, and ambitious career driven women. She’s rude, abrasive, a massive inconsiderate asshole that is constantly constantly defensive, takes every single gesture in the absolute worst faith but also still has to be a) straight and b) hot. I actually wouldn’t have minded a female writer who started out as an indie erotica writer whose work became successful and her writing darker. I liked that she was clearly an Objectivist with an Ayn Rand level of strict work ethic, who is also rude and unpleasant. But the way she was written made absolutely no sense, and her fucking insulting backstory, about how she was severely abused by her ex, was just the icing on this shit cake. She oozed with ‘I’m not like other girls’ and ‘strong women as imagined by men’; she has an unnecessary and frankly unbelievable romance with Sam, is the only one who is described to write in the nude and is also the token woman in the male group, and if I can say one positive about her character is that it at least stayed consistently rude and disgusting to the very end. Sam was clearly the writer insert character and for the most part he was fine; at least he read like a real, flawed human, not a human-shaped robot. There were many moments where he describes other male characters as beautiful or comments on how attractive their eyes or faces are, so I got excited that maybe this book would explore his sexuality, but no; he is a boring, bland straight protagonist. I appreciated that he had depression and anxiety and was actually being treated for it, I liked that he explored toxic masculinity in his stories, but there was still the ridiculous ‘romance’ between him and Moore, and the reason why he refused to tell anyone what happened to his mother was… unclear. Like he’s clearly an adult and mature enough to know that therapy works, but still childish enough to cling to what his brother told him to protect him when he was 10? Ok? Also I didn’t like that he made no effort to make things better with Erin and he still got her back in the end. If I could recommend half of a book I would, because everything in this novel, up until the authors have their interview was great. Everything past that point kept becoming more and more convoluted, and what made the book interesting, the characters and the mystery of the house completely unraveled. I would be interested to see what else Thomas has written, because there is a good story in him; it just wasn’t this one.

goodreads

[theconservativebrief]

HBO’s Sharp Objects sounds completely irresistible on paper: written by TV veteran Marti Noxon and directed by Big Little Lies’s Jean-Marc Vallée, it’s the latest glossy prestige drama to be adapted from a bestselling woman-centered thriller — penned by Gone Girl’s Gillian Flynn, no less. The pitch, too, is hard to beat, with Amy Adams starring as Camille Preaker, a troubled, demotivated reporter who’s dispatched to her childhood home to cover a series of disappearing teenage girls.

So how well does Sharp Objects live up to the hype? So far, better than we’d dreamed.

Drenched in Southern Gothic tropes and wielding more double-edged charm than a bed-and-breakfast full of peepholes, the first episode, “Vanish,” packs in a host of mystery tropes: emo protagonist with a murky past, a small town with secrets, eccentric local color, it looks like we have a serial killer on our hands, and bingo. But Vallée’s direction keeps things atmospheric and intriguing without feeling too clichéd, and there are enough immediate questions to hook us.

Plus, we get Patricia Clarkson in a standout turn as Camille’s deliciously repressive mother, an old-money townie who’s keeping Camille’s younger sister Amma (Eliza Scanlen) under a tight leash while the killer — or killers — run loose.

So whodunit? And how many tiny travel bottles of Absolut will Camille consume before we find out? Vox’s Aja Romano and Alex Abad-Santos discuss.

Aja: I grew up in a small Southern town around the size of Wind Gap, so the tiny details in “Vanish” made me happy — like the way Camille’s accent immediately comes out the moment she gets annoyed, and the way it gets progressively more pronounced the more she talks to people from her hometown.

The fading town mural, the sweet tea, the “messy” house that’s primed for a visit from Southern Living, the ever-present daddy longlegs on the corner of every ceiling, the way time seems to slow down — it all just felt familiar. Maybe a little too tidy and pasted-on as a quick-hand portrait of small-town Southern life (especially for a town that’s only supposed to have 2,000 people), but I still enjoyed it.

I also can’t resist any giant house with an erratic Miss Havisham type in it, and Clarkson is just glorious.

Alex: Clarkson is totally Miss Havisham but with a better sense of design (hello, farmer’s sink). I love that she’s always in the kitchen in that blush pink gown, but no one knows what’s she’s really doing. I love the way that her character’s malevolence is just boiling under the surface. After her scenes I found myself with my hands under my armpits (one of my anxious tells), and didn’t even notice I was doing it. And that’s a testament to Clarkson’s skill as an actress.

Alex: This show reminds me, especially with the imagery in the first few minutes, of True Detective. The provincial, vaguely Southern, boldly creepy setting; the deep sense of rot and dilapidation; the way it seems like it would smell the way a bar would the morning after; and of course the murders — there are a few parallels to TD.

But what’s more riveting to me is that those murders are secondary to Camille’s jagged history. I don’t think she’s even interested in finding out who’s behind them, nor is this some kind of thrilling whodunit. In the show so far, Camille feels more dangerous — to herself and to others — than whoever is killing these girls.

Aja: Yeah, I definitely got a True Detective vibe here and there, not just because both shows are dealing with murder in the rural South, but because they both seem to be using the crime as an excuse to plumb the psyche of their main character. They’re also using a splash of magical realism that often goes well with Southern Gothic fiction (The Elementals comes to mind). But where True Detective was trawling through weird fiction tropes and tapping into a sense of preexisting mythology, I feel like Sharp Objects, so far, is mainly drawing on true crime tropes and keeping things literal.

I do think we may well end up in a similar “the murderer doesn’t matter” vein here, though; we get a strong hint in this episode that Camille’s editor (Miguel Sandoval) has sent her back to her hometown for a different reason, and the murders are just a cover. Whether that reason is just to get her to sober up and grow into a real reporter, or whether it’s to realize her true role as the Yellow King and ascend accordingly, I guess we’ll find out.

Alex: That relationship is definitely something deeper than writer-editor. I don’t think any editor I’ve ever had would send me home to solve murders to help me find my groove, nor would I want them to. Yet he’s really the only “good” parent we see in the first episode, and his presence as that archetype is especially pronounced considering how brittle Camille’s relationship with Adora and her stepfather is.

Aja: The timeframe didn’t confuse me because it’s not that unusual to see people from the South dressing like they’re from the ’50s on any given day. (Actually, Amy Adams’s unkempt down-dressing reminded me of the famously dowdy look of The Killing’s lead female detective.) And we had a steady stream of smartphone shots guiding us through every new narrative sequence, so nothing felt too dated. But the narrative convergence between past and present definitely does a lot to make things tense, and I think we’re definitely supposed to be on shaky ground regarding just how long it’s been since Camille left town.

I’m happy to see It’s Sophia Lillis playing young Camille, in flashback scenes that make present-day Camille’s constant drinking and clear trauma seem rooted in more than just her sister’s death. Then again, we don’t know how, or really even when, her sister died, and her bedroom slash mausoleum doesn’t give us any timeline clues. Plus, I was really thrown when it became clear her sister barely knew her. What’s up with that?

Alex: I’m not totally sure how much of anything we’re supposed to believe, nor how much we’re meant to question. I have a vague idea about the timeline, but I also love how the show is made to feel disorienting: Camille is an unreliable narrator, and while the characters in town at this point feel a little cliché (e.g. the brassy woman, apparently the town’s designated sass dispenser, who accosts Camille before she joins the search party), it feels like there’s something dwelling behind each of these stereotypes, waiting to be revealed.

I think it’s a credit to director Jean-Marc Vallée’s talent that he can give us something as dreamy and chilly as Big Little Lies version of Monterey, California, then give us this woozy, drippy, stagnant town of Wind Gap. It underlines how the days of Camille’s life all bleed together, how she can’t escape it. And there are points where I can imagine the strain and burden of what it would feel like to be her and live in Wind Gap, and want to escape too.

Aja: I really love not only the visual editing, which our colleague Todd VanDerWerff examines in his full-season review, but also the sound editing, the way the soundtrack to Camille’s life cuts in and out in this jagged way, to further add to our discombobulation about where and even when we are.

I also really appreciate that the story just dives straight into its most decadent tropes: the frigid family dynamics, the terrifying eccentricity of Camille’s mother and her creepily passive stepfather, the scarring — because normally in this kind of story, these are the sorts of things that get revealed to us over time.

But plunging us right into them puts us effectively on Camille’s “side,” because we experience them not as terrifying discoveries but as well-established family traits that, at most, just make Camille seem more tired. Not only does that further complicate our understanding of what normalcy is for this community, but it leaves me wondering: If that’s the starting point, how much more bizarre does this story get?

I think it’s hilarious you thought the brassy woman was a cliché, because the most unrealistic thing about her to me was that there’s only one of her (so far). But then this isn’t Steel Magnolias, and it seems clear that most of the established relationships on this show are manipulative and superficial (small Southern town bingo card almost full!). Is anyone worth rooting for yet? I think I’m rooting for Camille and Amma to find a way to connect — and for her mom’s housemaid to find a way out of that creepy maid uniform.

Alex: I’m rooting for Adora. I don’t know exactly what for (To solve the murders? To get away with the murders? To murder? To make breakfast?). But I am rooting for her.

Original Source -> Sharp Objects wraps small-town murder clichés in an irresistibly glossy package

via The Conservative Brief