Editorial
Editorial: January 2018
Be sure to check out the Editorial for a run-down of this month’s content, plus all our news and updates.
Be sure to check out the Editorial for a run-down of this month’s content, plus all our news and updates.
The head in a box obviously has resonances with the brain-in-a-jar trope of classic science fiction (and the head-in-a-jar parody of Futurama). There’s a lot of tension between autonomy and lack thereof when you’re a head in a jar (or a box). You can’t move on your own, you’re entirely dependent on outside technology and outside caretakers for your existence, but at the same time you’re free from a lot of mundane concerns: you can eat whatever you want, nobody’s going to ask you to make your bed or take out the trash, etc.
This month, Adam-Troy Castro reviews the enormously polarizing film, Mother!.
I started this story with the premise, “What would a ghost be afraid of?” The Neverman came right out of that. Incomprehensible forces are always scarier than ones we can define, so I’d rather let the reader decide for herself what the Neverman might represent. But I will say that a lot of what the Neverman is came from my subconscious fears, and so there may be something to your theory of nihilism. As a general life philosophy, I find nihilism lazy and myopic. To me, it reflects a failure of imagination.
I may be agnostic now, but I was raised in the Catholic Church. A childhood that was haunted by the smell of burnt candle wax and images of torture as objects of reverie. It was here that I was told about the most terrifying thing my young child mind would ever experience: what the church called transubstantiation. This idea that something can appear the same and be changed on the spiritual level. That this piece of wafer was actually parts of a corpse. That this glass of wine was really blood. An idea that terrified me to the bone.
Be sure to check out the Editorial for a rundown of this month’s content and to catch up with all the latest news.
A couple of years ago, I was listening to a lot of horror podcasts/radio dramas and true crime stories. “Tragically Murdered Little Girl” was a running plot element, and it grossed me out to no end. Whoever it was that said that the death of a beautiful woman was the most tragic, poetic thing didn’t account for the modern fixation on little dead girls. Dead kids are shorthand for “ultra-tragic” but they’re also dead children. They existed for themselves, they were complicated beings who had desires and bad days and relationships. Why shouldn’t those girls get their own stories?
This month, Terence Taylor reviews two novels that explore the meaning of family: Ruthanna Emrys’ Winter Tide and Steven Barnes’ Twelve Days.
Long ago, I ran across an article online about the summer getaways post-WWII, where disfigured veterans went. There was a line in the article that said something like how these getaways would be the only time the veterans felt the sun on their skin, because they would be allowed to remove their masks that they otherwise had to wear when in public. The article went on to talk about the artists that made these masks for the soldiers. I think I found more research on this as well, one article that highlighted a specific artist. And I thought what a beautiful image that was.
I haven’t eaten meat since I was eleven. I was the only vegetarian in my school, in a little farming town where the largest employer was the local slaughterhouse. It wasn’t an easy decision to swim against that overwhelming social current, but it’s one from which I have never since retreated. Looking back, I see a willful child stretching for individuality and control over her life, but I think that even then I understood what I do now: that on a fundamental level, what we choose to eat defines us.