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W. Scott Poole Is Back at It, Claiming the Horror Genre's Origins in World War I

10/19/2018

14 Comments

 
​A couple of years ago, W. Scott Poole wrote a book about H. P. Lovecraft that I did not like, and a few years before that, he wrote a book about monsters in America that I also did not like (Part 1 and Part 2). Having read much of his work, it is clear that he and I have very different views on the origins and development of the horror genre. This week Poole releases a new book, Wasteland: The Great War and the Origins of Modern Horror, unread by me, about what he sees as the profound impact of World War I on the development of the horror genre. While there is no doubt that the war found its way into horror—as it did comedy, as Laurel and Hardy, the Marx Brothers, and many others attest—my visceral reaction to his claims in a recent Vice interview is that he has grossly overstated the case.
​I’ll let Poole make his argument before I explain why I am skeptical of it:
The macabre had existed long before the Great War, in epics, gothic novels, the work of Shelley and Stoker and Baudelaire. But new themes that we connect with horror—dismemberment, mutilation, the dead that return for revenge, the sense that not only a house might be haunted, but that the whole world could become a charnel house—this appeared for the first time and found a far larger audience. What I have seen in the writings of veterans, including those who became some of the first horror auteurs, is a desire to compulsively relive the trauma over and over again. Horror is a language of trauma. […] This is perhaps the most important way that horror became part, not only of mass culture, but of how we see the world. The 19th century had sentimentalized death in many ways, especially in burial and mourning practices. This became impossible after the Great War, and both soldiers and civilians were buried in mass graves, unidentified and unidentifiable. We see in horror films like Paul Leni’s Waxworks (1924) or The Cabinet of Dr. Caligari (1920) the idea of the body as an automata, a kind of death doll, an empty husk. This is terrifying.
​The first and most important way Poole’s argument does not entirely conform to facts is through his choice to focus almost all of his discussion on horror films of the 1920s and 1930s and to consider this as “horror” and all the literary work that preceded it as “the macabre.” This artificial distinction allows him to see the obvious connections between World War I and the succeeding decade’s horror as something apart from the horror tradition of the prior century and a half.
 
The specific themes he pretends are new—dismemberment, mutilation, revenants, and a world of charnel horror—are all themes that were found in the Gothic writers, the Romantics, and the Victorians. Edgar Allan Poe’s “The Tell-Tale Heart” is a fairly ideal example of many of these themes. But the restless dead seeking revenge can be found in the very first horror novel, The Caste of Otranto, in the 1700s! It is, quite literally, one of the most important themes in Gothic horror. Mutilation might have been limited in the 1800s due to the boundaries of propriety and taste, but H. G. Wells filled The Island of Dr. Moreau with mutilated bodies in grotesque parody of the human form. The whole world turned to a charnel house is, arguably, less a theme in prewar horror, but only because the Victorians and Edwardians didn’t distinguish cleanly between horror as a genre and literature as a whole. The literature that followed the American Civil War dealt extensively with the horrors of war, but authors like Stephen Crane and Ambrose Bierce often did so directly, by telling war stories of brutality, horror, and fear, rather than by blanketing their thoughts in metaphor.
 
Poole’s mention of the body as an automaton is perhaps the most outrageous appropriation of the past in service of the present. This was literally the starting point Mary Shelley used for her Frankenstein, and the tension between the traditional distinction of body and soul animated much of Victorian horror fiction. Granted, the Victorians tended to focus more on the soul than the corpse, but reanimated corpses were not beyond the Victorian purview.
 
He suggests, too, that any appearance of an open field strewn with dangers is an evocation of No Man’s Land between the World War I trenches, but this surely must be an oversimplification. Similar imagery appears in the eerie Civil War photographs of Matthew Brady and in the war stories of the era. Blasted heaths and haunted moors were long a staple of British horror fiction, and Arthur Conan Doyle made use of them in the Hound of the Baskervilles in 1902.
 
I do not mean to minimize the trauma of World War I, but I do mean to say that the horror that followed the war enhanced the themes that preceded it. Images and themes that reflected the war did so only in ways that were more extreme versions of the reactions to previous wars, especially the American Civil War. Poole seems to have overstated his case in the hopes of lionizing interwar horror movies and pulp fiction at the expense of everything that came before. If anything, he is right on one thing: The war helped make horror into a genre, but that was not a good thing. Becoming a genre divorced it from high literature and high art, forced it into the shadows, and left it much diminished in stature compared to the supposedly healthy literature of the modernist movement.
14 Comments
A Buddhist
10/19/2018 09:23:41 am

Mutilation might have been limited in the 1800s due to the boundaries of priority and taste
should be
Mutilation might have been limited in the 1800s due to the boundaries of propriety and taste

Reply
Dan link
10/21/2018 03:41:41 pm

Descriptions of mutilation in pre-WW1 fiction and drama were quite widespread. Jason mention Bierce and Crane, for instance, but consider Shakespeare (e.g., “King Kear” and “Titus Andronicus”), Homer (just about any battle scene in the Iliad), Sophocles, and Euripides — all solid canonical stuff that the hoi oligoi would think respectable people should be familiar with. Not to mention, this would all be part of a well rounded literate person’s education.

Also, during the mid-19th century, there was the rise of sensationalism in journalism and in fiction. This was decades before the war. One might make a case that the US Civil War and the Franco-Prussian War had more of an influence here.

Reply
Dan
10/21/2018 11:01:54 pm

I love me, too.

Have a fun week. See you Saturday.

Dan
10/21/2018 11:45:48 pm

https://m.youtube.com/watch?v=y9Gf-f_hWpU

Dan
10/21/2018 11:50:41 pm

You’re so sweet.

scottinso
10/25/2018 06:00:38 pm

Speaking of manufactured horror for social engineering...everyone should be aware of how the manson psyop was a part of mk-ultra and entirely scripted. We should be aware because of the new Tarantino film reinforcing the mythology. New research is here:
https://www.bitchute.com/video/HDfLqP5ed7O7/

Frank
10/19/2018 11:03:56 am

Nothing new, as bodily horror must go back at least to man's stone-age. What could be more horrific than watching a member of your cave-men hunting party being dismembered and eaten alive by a saber-tooth tiger? And as far as wars and the horror associated with it, was it not more horrific when the wars were carried on with swords, axes, and spears, up close and face to face hand combat? Perhaps WWI, and the wide use of chemicals, was more gruesome than just bullets and bombs, and gave us new bodily suffering horrors to look at. And in modern wars we were still, at times, mimicking the old methods and early weapons of wars with the use of bayonets at close range. But are bodily horrors anything to fear when compared to the suffering of the soul? Now, there, is the horror of all horrors, provided that the mind is made to believe in the existence and immortality of the soul.

Hell is not a new concept, nor a recent one, as it goes back centuries upon centuries. But is there more graphic horror for the suffering soul in hell and purgatory than what Dante gave us in his Divine Comedy? Dante combines bodily suffering with the eternal nature of the soul. He has the souls of the dead suffering excruciating bodily pains in ways that the living body never did, coupled with eternal suffering. But not only that, as he has the minds of the souls aware of the nature and duration of the suffering. What can be worse than that, the realization that the horror will never cease, as death is not the end, but only the never-ending beginning of their woes.

Dante makes out the souls suffering mental anguish too. Because the souls in hell realize that they traded a very short pleasurable, material physical life, at any cost, for an eternal lasting, and most unpleasurable one. And as painful as physical pains can be, they are nowhere near the pain of mental pains. What can be more painful than first experiencing the pains of hell, and then the real horror of realizing that they will never end? What can be more horrific than realizing that there is no hope of ever getting out of hell? Following Plato's example of placing a sign at the entrance of his school in Athens, Dante also placed a sign at the entrance of hell; Let all those that are about to enter abandon all hope.

But perhaps hell is not just one of those old wives' tale. And thus, Jason, for those that really understand horrors and the tale of Atlantis, real wise men tell us that "The tale has been saved and has not perished, and will save us if we are obedient to the word spoken; and we shall pass safely over the river of Forgetfulness and our soul will not be defiled. Wherefore my counsel is that we hold fast ever to the heavenly way and follow after justice and virtue always, considering that the soul is immortal and able to endure every sort of good and every sort of evil. Thus shall we live dear to one another and to the gods, both while remaining here and when, like conquerors in the games who go round to gather gifts, we receive our reward. And it shall be well with us both in this life and in the pilgrimage of a thousand years..."

But perhaps we should listen to T, Franke instead of wise men. What is this difference?

"""An idea would be that Bigfoot and psychics are allegedly located in our present world, and the experience of many speaks against it. But concerning ancient times, this experience is missing. Many people are simply not "at home" in ancient times, like Jason Colavito. So, they tend to believe nonsense without noticing the nonsense.

The solution would be to make people more familiar with ancient times. Making them "at home" there."""

Wise men say the solution is to make them "at home" in hell for a thousand years, and that is the TRUTH. The horrors of Hell will, literally, make a believer out of anyone. And yes, you will even believe "nonsense," as the souls in hell feel not the five senses, and have no sense at all, for which this non sense led them there, to begin. The pains of hell are imaginary. As the mind is made to imagine, and so are the pains.

The Twilight Zone was brilliant, depicting mental horrors, a mental hell zone. There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.

You're traveling through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination. That's the signpost up ahead - your next stop, the Twilight Zone!

You unlock this door with the key of imagination. Beyond it is another dimension - a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things a

Reply
V
10/19/2018 11:04:00 am

...somebody introduce this man to Japanese mythology, STAT. Every single one of those themes has been around in Japanese mythology for CENTURIES--since before Westerners encountered them, for sure.

Reply
Shane Sullivan
10/19/2018 12:04:42 pm

"...the dead that return for revenge..."

Someone's unfamiliar with the murder ballad tradition.

Reply
Dan
10/19/2018 03:14:09 pm

“W. Scott Poole Is Back at It, Claiming the Horror Genre's Origins in World War I”

Goddamnit I love this blog!

Thanks, Jason!

You are consistently the best read on the web.

Reply
Dan
10/19/2018 03:20:20 pm

And all of you posters, too!

This blog is unprecedented as a bolt hole for extreme book-geeks, and you make it that way.

So appreciative, what with every one of my favorite bookstores having been eaten by Amazon.

Reply
AmericanCool"Disco"Dan
10/19/2018 03:45:43 pm

"What could be more horrific than watching a member of your cave-men hunting party being dismembered and eaten alive by a saber-tooth tiger?"

The Saudi Consulate in Istanbul. Anyone who's been "canoed" by SEAL Team Six. Buncha faggots.

Reply
Dan
10/19/2018 09:27:48 pm

Oh my God!?

Maybe you [i]are[\i] me.

Reply
Charles Verrastro
10/24/2018 10:44:51 am

Just a minor point about the "Body as Automata" in a military/historical context. The magical zombie-like warriors sprung from the dragon's teeth in Classical Myth:
to search
For other uses, see Dragon's teeth (disambiguation).


Cadmus Sowing the Dragon's Teeth, by Maxfield Parrish, 1908
In Greek myth, dragon's teeth feature prominently in the legends of the Phoenician prince Cadmus and in Jason's quest for the Golden Fleece. In each case, the dragons are real and breathe fire. Their teeth, once planted, would grow into fully armed warriors.
Cadmus, the bringer of literacy and civilization, killed the sacred dragon that guarded the spring of Ares. The goddess Athena told him to sow the teeth, from which sprang a group of ferocious warriors called the spartoi. He threw a precious jewel into the midst of the warriors, who turned on each other in an attempt to seize the stone for themselves. The five survivors joined with Cadmus to found the city of Thebes.[1]
The classical legends of Cadmus and Jason have given rise to the phrase "to sow dragon's teeth." This is used as a metaphor to refer to doing something that has the effect of fomenting disputes.
References[edit]
Jump up
^ Grimal, Pierre (1992). "Cadmus". The Penguin Dictionary of Classical Mythology. A. R. Maxwell-Hyslop (trans.) (Reprint ed.). Penguin Books. ISBN 9780140512359.
Or, staying in that era and clime, the Myth of Talus, the mechanical Shore Watch warrior:
In Greek mythology, Talos, also spelled Talus (/ˈteɪlɒs/;[1] Greek: Τάλως, Talōs) or Talon (/ˈteɪlɒn, ən/; Greek: Τάλων, Talōn), was a giant automaton made of bronze to protect Europa in Crete from pirates and invaders. He circled the island's shores three times daily.

And Frankenstein has long been known as influenced by the myth of the Golem in Judaic lore:
The word golem occurs once in the Bible in Psalm 139:16, which uses the word גלמי (golmi; my golem),[3] that means "my light form", "raw" material,[4] connoting the unfinished human being before God's eyes.[3] The Mishnah uses the term for an uncultivated person: "Seven characteristics are in an uncultivated person, and seven in a learned one," (שבעה דברים בגולם) (Pirkei Avot 5:6 in the Hebrew text; English translations vary). In Modern Hebrew, golem is used to mean "dumb" or "helpless". Similarly, it is often used today as a metaphor for a brainless lunk or entity who serves a man under controlled conditions but is hostile to him under others.[2] "Golem" passed into Yiddish as goylem to mean someone who is stupid or lethargic[5].
One could look at Leonardo Da Vinci's (and other's) automatons in the same light. War is not only Hell but Inhuman.

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