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Horror: A Biography, by E. Michael Jones
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There’s more to horror than cheap thrills. Beginning with Mary Shelley’s Frankenstein, tales of horror have consistently drawn a connection between transgressive sex and violent death. In this captivating history from the French Revolution to modern Hollywood, E. Michael Jones reveals the origins of horror in the lives of its creators.
Tormented by her husband’s spectacular debauchery, Mary Shelley created a powerful and unforgettable avenging monster. Rising in repudiation of the very way of life that produced it, Frankenstein’s monster, Jones shows, became the model for all others.
Turning next to Bram Stoker’s Dracula, Jones follows the progress of horror from the syphilitic underworld of Victorian England to Weimar Germany and the classic film Nosferatu. Bringing his account to the end of the twentieth century, he shows how the Western imagination has responded to the explosive force of the sexual revolution with horror of unprecedented intensity. In the Alien series and other contemporary films, the culture of abortion and pornography has spawned a new and terrifying breed of avenging monster.
Jones’s provocative book:
Shows fans of Steven King, Anne Rice, and Wes Craven “what lies beneath.”
Explores the chaotic lives and haunted consciences of the men and women who created horror
Reveals the connection between sex and horror
Explains our need for horror—and why we don’t understand it
- Sales Rank: #6764248 in Books
- Published on: 2002-06
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: .68" h x 6.74" w x 8.50" l,
- Binding: Paperback
- 312 pages
About the Author
E. MICHAEL JONES is the author of several best-selling critiques of contemporary culture, including his highly-praised trilogy on modernity, Degenerate Moderns, Dionysos Rising, and Living Machines. He lives in South Bend, Indiana, and publishes Culture Wars magazine.
Excerpt. © Reprinted by permission. All rights reserved.
Horror is a lot like the weather; it is both familiar and incomprehensible. Indeed, the prime image of horror—the monster that has no name—shrouds horror from conscious explication. The creators of horror fiction—Mary Shelley is a good example—are, more often than not, representing something which they cannot bring themselves to articulate. Monsters thus invariably involve repression, and repression invariably involves the return of the repressed in a disguised, more palatable form. The iconography of horror is therefore as fixed as that of any genre. There is Frankenstein, and there is Dracula, and then there are various combinations of the two. Both icons made their appearance as literary tropes because of one event in Shelley’s life. Frankenstein was modeled on Percy Shelley. The Vampire was modeled on fellow poet Lord Byron by Byron’s physician, John Polidori, though the world would have to wait another eighty years for the definitive vampire story, which Bram Stoker wrote at the end of the nineteenth century when the Enlightenment was in a less exuberant phase. Emily Sunstein calls Frankenstein “the first modern myth.” She goes on to quote Muriel Spark’s verdict that Mary Shelley anticipated “the ultimate conclusions to which the ideas of her epoch were headed.” “After a century and a half,” as George Levine and U. C. Knoepflmacher write, “Frankenstein begins to look both inexhaustible and inexplicable.”
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