I read Stephen King’s Misery earlier this summer for my comprehensive exams. Then, I let the book rest for a while and didn’t do much with it. It juxtaposes fascinatingly with the film, which depicts an Annie Wilkes who’s incredibly true to King’s story, courtesy of the monumentally talented Kathy Bates. And, like the film, it explores concepts like female madness, and madness depicted as monstrosity, but in more depth than the film does. Wilkes is at least a somewhat complex character who King—and his protagonist, Paul Sheldon—come close to virtually humanizing at times, despite her atrocious actions. But the fact remains: Annie Wilkes is a madwoman, and she’s depicted as a monstrous madwoman. I thought I’d use this post to look at more of Annie’s personality, and what the madwoman—and the monster woman—is, if we take Annie as an example of both. So, let’s do this. Continue reading “Objects of Abjection: The Mad Monster in Stephen King’s Misery”
A few nights ago, I decided to enjoy a little casual viewing of a horror classic. Christine, the story of the monster car, is a horror staple that, with a well-written script and believable characters, delivers ample entertainment without ever really terrifying the viewer—at least, if the viewer is me. Because Christine doesn’t situate itself in the realm of the typical horror movie, rife with ghouls and vampires and traditional monsters of all sorts. Christine – if you don’t know this, and you probably do – is about a vicious, killer car with unusual superpowers. I chose the film, as I’ve insinuated, because I think it’s a fun watch for a low-key night – nothing as scary, say, as watching Sinister. And unsurprisingly, as I watched the film, a few thoughts came to mind that made me ponder. Continue reading “Cruisin’ With Christine: Attack of the Monster Car”
I can’t say I read many books about the writing process these days. To be sure, I have no vendetta against them – especially not when they’re written by accomplished authors. I remember, years ago, reading Anne Lamott’s Bird By Bird, in which she talks about taking life, and taking writing, step by step, the way her brother had to take a science project “bird by bird” when he stayed up to do it at the last minute. And in my early 20’s, I was obsessed with Mary Pipher’s Writing to Change the World. Pipher is the author of Reviving Ophelia: Saving the Selves of Adolescent Girls, and along with formulating the renowned theory that our society is taking something away from its girls during the transition from childhood to adulthood, she also sought to give people advice on how to write – especially on how to write in a way that would change things, that would make a difference. That was a fair undertaking, because Reviving Ophelia had made waves, and its theory still has resonance today, years later. Continue reading “Reading About Writing: Stephen King’s “On Writing””
If it’s not obvious from the different analysis I publish on this site, I’m a huge fan of The Shining. In fact, I’m reading Stephen King’s On Writing right now, and I’m a bit torn, because I know he hates Kubrick’s version of his story, but I happen to love it. Still no matter what version of the classic tale you favor, we can all agree that the idea of being snowed into a haunted hotel with a mentally unstable, alcoholic, misogynist, self-interested writer and schoolteacher (how Kubrick, though not King, presents Jack) is a precarious situation, especially when you have son with exceptional capabilities but a penchant for blacking out and losing his sentience. Well, since I live in the freezing Erie, PA, a city that repeatedly makes winter headlines for its record amounts of Lake Effect snow, I’ve gotten, over the past few days, to get a sense of what it feels like to be completely snowed in. As such, I thought I’d write a post about the experience of being “snowed in” for three days, and the cabin fever that ensues from such an experience – you know, in the service of exploring different territory for my blog. Continue reading “Snowed-In: A Cabin Fever Story”
In the beginning of Place: An Introduction, Tim Cresswell describes the significance of placing a specific art exhibit, one foregrounding Bollywood movies, in an elite Swedish town where only the 1% tend to visit, in part because it’s difficult to get there. Cresswell includes the following quote in his introduction: “ ‘It’s difficult to get to,’ Mr. Wakefield added, ‘but because of that, it also demands a different kind of attention. You discover the art through the place and the place through the art.’ The exhibition at Gstaad reflects a wider interest in how art and place interact on the part of both the artists and art theorists” (2). This got me thinking that it might be intriguing to examine The Shining not just from a few lenses but – perhaps – from the intersection of a few lenses: Space or place, as its conveyed in the film, the cultural space in which the film is produced, and the current cultural space in which I, the viewer, am watching the film. This move, I think, is necessarily spectral, or turns the art under examination into a specter that disrupts linear time, since I become sort of engaged in this spectral moment, where I’m looking at the art forward, backward, etc – and this is especially true of The Shining, which situates its primary space, The Overlook Hotel, as a place that’s both mad and spectral, that consistently – if not constantly – manifests itself as a presence in the spectral moment by embodying both the past and the present – and, to the contemporary viewer, the more recent past (1921, 1980, 2017, but arranged as 2017 encompassing a film that shifts back and forth between 1921 and 1980, that begins by emphasizing 1980 but ends by emphasizing 1921). As a “cautionary note,” I found, as I was watching, that it was challenging to thread the entirety of this analysis throughout my interpretation of the film, especially for a blog post, but that’s the general angle I’m coming from when I look at the film. (As a sidenote, I wonder the extent to which we could deduce that all art is “spectral” – or maybe that’s what I’m getting at, but that seems like a sweeping argument for a later time). Continue reading “The Shining: A Spacial and Temporal Examination of a Spectral Narrative”
With Michael Miller
So yesterday, Michael and I spent a fair bit of time flexing our creative muscles and writing a The Shining Meets the Ghostbusters, a mashup that mixes the relatively dark Kubrick version of King’s canonical horror story with the beyond famous, original Ghostbusters franchise (although the new female Ghostbusters gang will likely be featured in later series installments). In other words, the blog has a new feature: genre mash-up fan fiction. Our version of The Shining, with the intervention of The Ghostbusters, has a bit more levity than the original. And Michael’s masterful knowledge of The Ghostbusters, creativity, and quick wit helped animate and bring them to life. We hope you enjoy. We had a lot of fun with this, so there’s likely more fan fiction to come….
So…final papers continue to be imminent, and I continue to break for a frequent, intense, scene by scene examination of The Shining, my all-time favorite horror film directed by the one and only Stanley Kubrick. My intent, when I started writing, was to write a couple posts. But, this is segment number four in the series, and Jack isn’t even (completely) crazy yet. As such, I think I’ll continue. If you’d like to read my first three blog posts, which cover about the first half hour of the movie, you can check out the first, second, or third!