Stories For Ghosts

Horror Through a Literary Lens

Tag: Body Horror

Raw Film Review: Julia Ducournau’s Voracious Triumph

*Beware: Here be mild spoilers for Raw*

During my time blogging about all things horror, I’ve found that most serious horror fans by and large stick to their favorite horror subgenres. They may only dapple in other subgenres, occasionally dipping a toe into art horror or zombie flicks, but not often. I do this. I love moody, tense psychological horror, ghost stories, and taut thrillers with elegant displays of horrific violence. Slashers? Not really my thing. The Saw movies? Ehhh, pass. And body horror? Definitely not my thing.

For some reason, body horror is particularly challenging for me. Thus, I avoid it. This isn’t to say that I think body horror is bad or uncouth or less capable of artistic potential. I accept the importance of body horror as a subgenre that is, at times, most-equipped to explore themes like mortality, physical weakness, aging and disease, over-population, and the disconnect between our mental power and our bodily strength. After all, body horror is the most universal kind of horror, since everyone is stuck in a decaying body and marches through a field of pain and pleasure towards death.

There are times when even I can’t look away from a well-done, brilliant body horror film, when even I have to admit that I really, really liked it.

This is how I felt about Raw, a 2016 French-Belgian cannibalism and coming of age horror film that made waves at Cannes last year and was finally released stateside a few weeks ago.

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An Interview with Amelia Gray, Author of the Bloody Good “Gutshot”

Earlier this year, I read Gutshot by Amelia Gray. It’s a collection of short stories, written like lightning bolts—short, crackling, stunning. Each story is an well-placed incision in the brain, offering slices of the darkly funny, the disturbing, the oddly romantic, and the grotesque.

While the collection isn’t straight horror literature, it definitely shares the aim of literary horror fiction, which as I’ve posted about before, is to acknowledge and explore the scary parts of ourselves. Gray is not afraid of the darkness. She uses her considerable skill to spin strange, visceral stories. She’s done it before with THREATS, a disorienting novel about a grieving widower who keeps finding threats hidden in the nooks and crannies of his house. She’s examined the absurd and unique in her two other short story collections, AM/PM and Museum of the Weird.

And in Gutshot, Gray expertly confronts her readers, blending genres, juxtaposing humor and sensuality with provocative scenes of body horror, weaving challenging and enigmatic premises, introducing alien yet somehow familiar characters, and refusing to explained the ensuing freakiness. If you this sounds like your cup of tea, you won’t regret following her stories into the shadowy twists and turns of the human mind.

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