Women in Horror Month Fiction Fragments: Violette Meier

Last week I had two amazing conversations with Sumiko Saulson and Tonia Ransom. If you missed either of those interviews and fragments, go check them out.

This week, Girl Meets Monster welcomes the prolific speculative fiction writer, Violette Meier.

Violette Meier is a happily married mother, writer, folk artist, poet, and native of Atlanta, Georgia, who earned her B.A. in English at Clark Atlanta University and a Masters of Divinity at Interdenominational Theological Center. The great-granddaughter of a dream interpreter, Violette is a lover of all things supernatural and loves to write paranormal, fantasy, and horror. She is always working on something new. Her latest work in progress, called Oracles, should be released by winter 2021.Her published books include: The First Chronicle of Zayashariya: Out of Night, Angel Crush, Son of the Rock, Archfiend, Ruah the Immortal, Tales of a Numinous Nature: A Short Story Collection, Hags, Haints, and Hoodoo: A Supernatural Short Story Collection, Loving and Living Life, Violette Ardor: A Volume of Poetry, This Sickness We Call Love: Poems of Love, Lust, and Lamentation, and two children’s books: I Would Love You and Would You Love Me?

Ten Questions

GMM: Welcome to Girl Meets Monster and thank you for being part of my first Women in Horror Month series, Violette.  What projects are you currently working on? Is horror your primary genre, or do you write in other genres? If you write in other genres, which do you feel most comfortable writing, and why?

VM: Thanks for having me! Right now, I’m not working on a novel called, Oracles. It’s a supernatural reflection of an old woman’s life on her 101st birthday. Horror is one of my genres. I also write paranormal thrillers, urban fantasy, and science fantasy. Maybe to some, it’s all horror. I’m not sure because nothing ever scares me. What may seem slightly eerie to me may be scary to someone else.

GMM: When did you first know that you were a horror writer? How did you develop an interest in the genre? What initially attracted you to horror stories? Which writers influenced you then? Which writers influence you now?

VM: I knew I was a horror writer when I was a teen because I was so fascinated with ghost stories and all things of a numinous nature. Every time I wrote something, it always went to the left.

I grew up with a great grandmother who told so many ghost stories, that as a child I was always on the lookout for a haint. I was comfortable with fear and uncertainty. Honestly, I don’t know if I’m capable of writing something normal. Dean Koontz and Stephen King were my favorite horror writers when I was younger. Now I’m influenced by a host of independent black writers.

GMM: The documentary, Horror Noire: A History of Black Horror (2019), explores Black horror and the portrayal (and absence) of Black people in horror movies. As a definition of what Black horror means begins to take shape, Tananarive Due says “Black history is Black horror.” What do you think she meant by that? Can you give an example of how this idea shows up in your own work?

VM: “Black history is horror” is based on the diabolical black experience through the institution of slavery, racism, Jim Crow, police brutality, red lining, separate and unequal education, the penal system, economic disparity, war on drugs, gang violence, church hurt, the destruction of the black family, self-hate and conformity, etc.

These things show up in my work sparingly. It’s there but it’s never the focus. I focus more on black excellence, love, intelligence, simply the normalcy of black life that the world doesn’t focus on. Black folks have enough trauma porn.

GMM: As a WOC writing horror/dark speculative fiction, do you feel obligated to have a deeper message in your stories? Can writers of color write stories without broader messages about identity, class, and racism? Is it possible to divorce yourself from that ongoing narrative within our culture when you set out to write a story?

VM: I do not feel obligated to do anything but write the story that’s in my head. Writers of color can write whatever we wish. There are no limitations to our talent and imagination. The only boxes that we have are the ones we create.

GMM: What are your top five favorite horror movies, and why? Top five horror novels? Which book or movie scared you the most?

VM: That’s a hard question. I have so many. There are so many different kinds of horror. If I’m forced to choose, I would pick: Fright Night (the one from the 80s), Blacula, Bram Stoker’s Dracula, Jeepers Creepers, and Tales from the Hood.

Honestly, I don’t read a lot of horror. I try not to read a lot of books in the genre in which I write. I don’t want to inadvertently absorb someone else’s ideas. But, when I was in college, I loved everything written by Anne Rice. The book that scared me the most was The Exorcist.

GMM: How do you feel about white-identifying writers who write stories about non-white characters? What problems have you encountered? What potential issues do you see with white-identifying writers telling BIPOC stories? What advice would you give those writers?

VM: That’s a double-edged sword. On one hand, I believe in artistic freedom. On the other hand, knowing the history of white people being culture vultures, and the stories of BIPOC being suppressed or being told through a belittling lens, it’s important that BIPOC tell our own stories.

GMM: All writers have experienced some form of impostor syndrome. What has your experience with impostor syndrome been like? Did you ever have a particularly bad case of it? If so, what caused it and how did you manage it?

VM: Like you said, all writers feel that they may not be great at their craft, especially when books aren’t selling as much as you think they should.

I manage it by telling myself that my stories are unique and that they are mine to tell. No one can tell my story but me. Some people will love what I do. Some will hate it. Both are okay.

GMM: Tell me a bit about your great grandmother, the dream interpreter. Did you know her when you were growing up? Did she pass on any of her knowledge? How important are dreams to you as a writer? How has that ancestral legacy had an impact on what you write?

VM: I grew up with my great grandmother until the age of nine. She was the greatest storyteller. Sitting at her feet listening to what she claimed as real-life supernatural stories, put a love of the paranormal in my heart. She’s my biggest influence as a writer. She’s the reason why I write. Dreams are important to me as a writer and as a person. Dreams can be warnings, revelations, fantasies, or just the purging of the subconscious. In my Angel Crush series, there are a lot of prophetic dreams.

GMM: How often do people you know, either people you have close relationships with, or strangers you encounter randomly, end up as characters or the inspiration for characters in your fiction? Are some of them easily recognizable? Are there characters you’ve written based on people you know that you wouldn’t want them to know you wrote about them? Have people ever accused you of misrepresenting them in a story?

VM: All the time. Real life always influences fiction. I am careful to mix characteristics of people I know personally so that no one can pinpoint themselves. Therefore, no one has ever accused me of misrepresenting them. Also, I write supernatural fiction. Most people don’t see themselves in the situations I create, but people love that I name my characters after them.

GMM: What is the most positive feedback you’ve ever received for something you’ve written? Would you consider that one of your proudest moments? What is some of the most negative feedback you’ve received? How did it push you to become a better writer?

VM: The most positive is when a reader told me that I was their favorite writer. It made me feel so good. Of course, that was one of my proudest moments. Nothing feels better than someone loving my stories as much as I love them. It makes me feel like they get me. Like they had a glimpse through intimate parts of my mind.

The most negative is when someone compared one of my books to the Left Behind series. I had no idea how they could have possibly come to that conclusion. It was like comparing Sula to Fifty Shades of Grey. I was lost on that feedback.  My push to become a better writer is a personal push. I always want a current story to be better than the last. Although I love effective criticism, I rarely allow the opinions of others to override my vision for my stories.

Excerpt from Oracles by Violette Meier

1

It’s February 12th again and I’ve made my one hundred and first circle around the sun. I was hoping when I opened my eyes this morning to be in the bosom of Abraham or trying to possess the body of a newborn baby, or at least sunbathing in a flowery field in another dimension; but I’m still here on earth celebrating another birthday. Don’t get me wrong, I’m grateful. I am able-bodied and in my right mind. I can still dance when I hear a song that takes me back to times when the winding of my hips could hypnotize any onlooker into a helpless trance. Now the winding of my hips sounds like a twentieth-century watch being wound. My lined face is but a shadow of the woman I used to be. The mirror lies; showing me crow’s feet and laugh lines as deep as canyons; muddy eyes and a turkey neck. When I close my eyes, I see taut skin, gypsy eyes, voluptuous lips, and a neck like a swan’s. I am still that woman inside.

My health is good. Well, most of the time anyway. My blood pressure gets a bit high when I eat too many potato chips or take a week off from walking. My knee gets a little stiff at times and occasional low energy levels force my bedtime to start with the evening news.

I could do the average old lady thing and offer a list of my ailments, but I won’t because for the most part, I’m healthy and happy.  I’m surrounded by my family, who loves me, in a cozy home that I share with my eldest granddaughter, Sage, and her family. Sage and her husband Kevin have been good to me.  Life is pleasant. Sadness creeps up on me from time to time because my heart still yearns for my husband. It has been ten years since Josiah transitioned. According to him, he’s probably in a new body trying to learn the lessons he missed his last lifetime. I never believed much in reincarnation, but he did, and I am sure that he lives on somewhere in the world. Josiah had a knack for being right or so he claimed. My luck, he’s right about reincarnation and I’ll have to come back to this godforsaken planet. Not that I do not love living, but I have been on this earth a long time and I am ready to be gathered to my people. The ancestors are calling me. Their beckoning plays in my ears like a song stuck on repeat, fluttering in the distance. I can hear them calling my name; a melodic whisper that never stops humming day or night.

“Ma Lily!” my ten-year-old great grandchild yells from the other side of the door.

Violet is a loud one. Her voice is deep and full sounding like a chorus harmonizing every note. It would be perfect for the voice of God in a movie.

“Ma Lily, can I come in?” she asks as she taps the door like her finger is vibrating. I see the shadow of her toes dancing underneath the door.

I tell her to come in and Violet pushes open the door like she is trying to test her strength; causing it to fly open like a tornado is spinning in the hallway. Every time I see her, which is every single day, it makes me laugh inside. She looks the most like me out of all of my great grandchildren. Light brown with freckles, a cloud of thick black hair sits on the top her head like a beach ball held in place by a giant purple ribbon tied into a perfect bow with its ends framing the sides of her face, and the most intoxicating smile on this side of the world. She is radical, nonconforming, fearless and ostentatious like a ten-year-old should be. 

“Whatcha doin’?” Violet asks plopping down in my rocking chair as I push myself up into a sitting position. I pull the covers off my legs and toss my legs off the side of the bed. I look down at my ashy feet as my toenails scrape the floor. My toenails look like talons. Maybe I was turning into a wild thing like a creature in one of Violet’s story books. I voice activate the lamp and instruct her to open the curtains. Sunlight changes the entire energy of the room. It instantly renews every cell in my body. All of a sudden, a new birthday didn’t seem so annoying.

“Just waking up,” I answer looking at the digital holographic clock hovering over my nightstand. It was 7:59 am. “Why are you up so early?” I ask her as she rocks back and forth swinging her legs like she is on a playground swing. The chair groans like an old man. “It’s Wednesday. Why aren’t you in school?”

“Because it’s your birthday!” Violet exclaims. “Mama says that turning one hundred and one is a big deal and we’re gonna party like it’s 1999,” she replies scratching her head confused about what that meant. That song is nearly a century old. I was surprised her mother knew the lyrics, but then again, Prince is and will always be my favorite musical artist of all time. My children grew up on his music and when my grandchildren and great grandchildren visited me, they too became familiar with Prince’s ear piercing falsetto and his sacrosanct sexuality. I love everything about that little musical mastermind. I love that man! If I had any musical ability, Prince is who I would channel. For a moment, I consider placing my music microchip into my ear and playing Prince’s greatest hits, but I’m sure Violet will not let me listen in peace. Per her request, I would have to blast it loud through the ceiling speakers and frankly, it was way too early for that kind of noise.

“What does your mama have planned?” I ask, a little anxious about Sage’s plans.

Sage always went over and beyond what was humanly necessary to do anything. She is a perfectionist in the worst way and habitually slunk away from gratification like it was the plague. Watching her frown and fret over every single detail was torture. Sage could make a person feel guilty about having a birthday because of all the trouble that celebrating it will cause her. I’m glad I won’t be around to see what she plans for my funeral.

When I turned one hundred, she made a movie about my life consisting of old videos and photographs. It was a nice sentiment until she rented out a local theater to show it and invited everyone in town. I had to wait in line for thirty minutes to see my own movie and she stressed herself out over cold popcorn and incorrect digital tickets until she fainted and had to be fanned back to consciousness.

“I can’t tell you,” Violet says as she hops off the rocking chair onto my bed. The bounce nearly catapults me across the room. I grip the mattress to balance myself and exhale.

“Can I do your hair?” she asks as she twists my silver dreadlocks into loops and pin them to the top of my head. I lift myself so she can pull the ones free that I was sitting on, and I sit back on the bed.

“Looks like you’re already doing it,” I retort while yawning. I sit as still as I can as my great granddaughter styles my hair. My dreadlocks are floor length. It amazes me how she effortlessly gathers my big blue-gray ropes of hair and turns them into flower petals. She pulls the last bobby pin from her pocket and places it in my hair.

“Done!” she exclaims and bolts back over to the rocking chair.

I stand up and walk over to the cherry wood vanity that sits in the corner of my room, pull the emerald cushioned seat out and sit down. I look in the mirror and smile. Violet does exquisite hair just like her grandmother, my daughter, Chloe.

“Thank you, baby,” I reply as I put on a thin coat of pink lip gloss and give myself an air kiss in the mirror. I swear the lip gloss and hairstyle takes twenty years off my face. I don’t look a day over eighty.

“You’re welcome Ma Lily,” Violet replies as she rocks like a mad woman in the chair.

“Bring me my owls,” I instruct while admiring my hair in the mirror.

Violet hops off the chair and crosses the room and opens the top drawer of my jewelry armoire. She pulls out two sterling silver necklaces, both with large owls hanging from them, and a matching pair of earrings. After she hands them to me, I put on both necklaces, one owl hanging lower than the other and put on the dangling earrings.

I look at myself once again in the mirror and smile, extremely pleased with Violet’s handy work. I feel beautiful.

A shadow moves on the opposite side of the room, its dark reflection appearing like a man made of smoke. My chest constricts as I gasp aloud. I spin around.  Nothing is there.

The room falls silent. The screeching rocker squeals no more. Violet sits in the rocking chair as if time has stopped; her small face flushes red and her back is as stiff as a board.

“You okay baby?” I ask her as a shiny tear made its way down her cheek.

“Did you see it?” she whimpers.

“I saw it,” I confess. I want to deny it, but it is no use. Violet and I both were born with a veil; born with two crowns on our heads like the elders used to say. It was one of the things that helped us forge such an intimate relationship. Her mother cannot see, but her grandmother Chloe can and so can Violet’s older brother Uriah.

“It’s coming to get you Ma Lily. I saw it,” Violet whines. “I don’t want you to go.”

I stand up and walk over to my great grandchild. I instruct her to stand up so I can sit down. My knee is hurting a little. Rain must be coming. Violet sits on my good knee. She feels heavier than she did yesterday. “There is a season for everything under heaven,” I reply. “A time to laugh and a time to cry. A time to live and a time to die.”

Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you Friday!

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.

Fiction Fragments: Sheri Sebastian-Gabriel

Last week, I spoke with Brandon Getz about werewolves in outer space, and this week Girl Meets Monster welcomes Sheri Sebastian-Gabriel.

SSGHeadSheri Sebastian-Gabriel’s short fiction has appeared in a number of anthologies and magazines over the past decade. Spirits, her first novel, is out now from Haverhill House Publishing. She lives in the Northeast with her fiance, the writer Matt Bechtel; her three children; and her two diametrically opposed dogs, Nya, a German shepherd mix, and Kai, a Chihuahua.

Three Questions

GMM: Welcome to Girl Meets Monster, Sheri. Congratulations on publishing your debut novel, Spirits, last year. 2019 was one hell of a year. What are some of your greatest accomplishments from last year? What do you have planned for 2020, and what are you working on right now?

SSG: Thank you so much! It’s been a crazy year. Publishing Spirits and doing the promotional work associated with that pretty much tops my list of accomplishments for 2019. I’ve read in front of some amazing crowds. I particularly enjoyed my reading at Otto’s Shrunken Head, this adorable tiki bar in the East Village of Manhattan. The staff there is just delightful. You should go the next time you’re in New York. They make a mean Stormy Skull.

In 2020, I’ll probably still be promoting the living hell out of Spirits. Chris Golden once told me it’s a marathon, not a sprint.

I’m working on my second novel now. It follows an African vampire named Wekesa. Wekesa experienced the horrors of slavery as a young man. He roams the Deep South, feeding on racists. Sam Rayburn is a single mom who rents out a room to the mysterious Kes. The tiny town of Helms, Georgia, experiences a rash of grisly murders, and Sam suspects her new boarder may be responsible.

GMM: I’ve been a die-hard fan of horror fiction and films since I was a kid and could watch or read almost anything your put in front of me. After I became a mom, the concept of horror changed for me. The Exorcist was no longer scary because of demonic possession. It was scary because a woman with a sick child couldn’t find the help she needed to save her daughter. The Babadook felt like a documentary about being a single parent dealing with mental health issues and a child with behavioral problems. Has motherhood changed the way you view and write horror? What scares you these days?

SSG: I think you’re so right about motherhood shaping our worldviews and changing our fears. When I was young, I was afraid of monsters. I believed there were things out there that could hurt or kill me. But when I grew up, I realized monsters can be destroyed. As a parent, and a single parent at that, I understand that real terror comes from the things we can’t control. My number-one fear is something awful and beyond my control happening to my kids.

GMM: Speaking of the horror of motherhood, your fragment taps into one of the fears most parents share — bad things happening to our children when we aren’t there to protect them. I think we would agree that some parents have an even harder time keeping their kids safe because of financial difficulties and sociopolitical issues like racism and sexism. Your fragment features a woman of color raising two boys. What inspired the story, and does the current political climate have an impact on your writing?

SSG: The current political climate has absolutely impacted my writing! Subversive art is necessary. We both have stories in the forthcoming Dystopian States of America, an anthology benefiting the ACLU Foundation. It’s a cause near to my heart, because the damage done by the current administration is going to be felt for a really long time. There are children in cages, for fuck’s sake. Can we really just turn a blind eye to that?

From Blood for the Soil, by Sheri Sebastian-Gabriel

Sam tapped the pen against the kitchen table. If she skipped the cable bill for another month, she might be able to pay both the power bill and the car insurance, and she’d still have fifty dollars left to buy groceries for the next two weeks. The laptop glowed in her face as she punched in her debit card number and hit the Pay Now button.

Her stomach roiled. Harper’s hadn’t reopened after being shut down by the health inspector, so her services as a table jockey weren’t exactly in demand. The Beehive Café might be hiring, but Sam couldn’t bring herself to speak to Azilee McVey after the bitter old hag yelled at Nat for trying to sell basketball fundraiser candy outside her over-hyped establishment.

It was more than a little odd to her that Azilee gleefully hosted a carwash for the marching band a week later. She’d driven by to see a dozen or so white kids scrubbing cars and spraying each other, laughing in the carefree midday sunshine. Her boys would always face people like Azilee and cops who are scared of unarmed black boys whose only crime is existing. And her parents. Her blood ran cold.

Failing them wasn’t an option. She logged out of the power company’s website, typed in http://www.helmsherald.com, clicked on the classifieds section, and scanned the site for a way to place an ad. When she found the right form for apartments for rent, she filled in:

Room for rent in quaint farmhouse. $300 a month, utilities included. Smoke-free household. Must be neat. Call Sam at (706) 531-2243. 

She hit the submit button and clicked the X to close the browser.

The clock on her laptop told her it was a quarter past seven, and her heart jumped. The boys should have been home by now. She leapt up and dashed to the door. The crickets had started their evening serenade. Lightning bugs blinked on and off. The sky was navy blue and a smattering of stars punctuated it. The grass tickled the bottoms of her feet as she walked into the yard.

“Nat! Kyle!”

Her voice echoed through the trees that ran the perimeter of the farm. Something metallic rattled in the distance. Sam ran, barely noticing the gravel of the driveway jabbing her feet. The gravel turned to asphalt as she reached the roadway. Two shadowy figures emerged from the diminishing daylight. One lurched. The other walked alongside a clanking bulk. Sam’s legs burned and her feet slapped the craggy ground as she ran toward the figures.

She met them at the edge of the forest. A moan rose up from the dark.

“Mom! Nat’s hurt! Someone hit him as we were turning into Cooper’s. I’ve got his bike. I had to leave mine at the store.”

Sam’s stomach fell. She scooped the younger boy up and carried him, draped across her forearms. He whimpered and tucked his head into her shoulder like a shy toddler. He was heavy, but she shuffled and redistributed his weight until they made it to the front porch. She set him down and knelt in front of him. Blackened blood streaked his shin. A gash on his knee crusted as the blood dried.

“What happened?” she asked.

“This old lady was turning into the grocery store parking lot as we were crossing the street, and she crashed right into Nat. He fell off, and her car crushed his bike. The wheel is so bent, I had to push it home. Is he gonna be okay?”

Sam examined the wound. It was dirty but seemed superficial.

“Let’s go inside and get you cleaned up. I think you’ll be okay. Thanks for taking such good care of him, Kyle. You’re a good brother. We can go back to Cooper’s tomorrow to pick up your bike. So, what did the old lady say about hitting you?”

Nat’s eyes flashed with anger.

“She took off,” he said. “Just left me there.”

Sam hefted him onto his feet. Blind rage warmed her face. Her body quaked as she suppressed the urge to launch into an expletive-filled rant, focusing instead on ushering them both back into the house. Kyle stayed behind in the living room as Sam led Nat to the bathroom.

He sat on the toilet. Sam pulled the first aid kit from under the sink and placed it at his feet.  She ran a washcloth under the tap. Nat’s eyes were trained on the white tile floor. Tears lined his bottom eyelashes, and his bottom lip quivered. She dabbed at the red wounds, careful not to rub or irritate the raw skin. Blood flaked up and left maroon streaks on the cloth.

“What if I died?” he whispered. Sam wasn’t sure she’d heard him right.

“What, sweetie?”

His soulful brown eyes met hers.

“What if I died? That woman. The old lady who hit me. She took off right after she hit me.”

Nat’s breath came in ragged bursts. A single tear streamed down his cheek.

“She didn’t know I was okay,” he said, his shaky voice growing in volume. “I could have died, and it wouldn’t have mattered to her.”

Sam lowered the cloth, placed her hands on either side of his face, and pulled his head to her chest. His warm tears soaked her shirt, and she stroked his hair.

Do you have a fragment you’d like to share with Girl Meets Monster? Send it my way at chellane@gmail.com. See you next week!

Now It’s Dark: Lynchian Images in The Babadook

babadookPOPUPBOOOK This weekend I watched Australian writer-director Jennifer Kent’s amazingly beautiful and haunting film, The Babadook (2014). It was my second viewing of the film in about a month. My intent was to kick start my brain into generating a blog post; or rather a series of blog posts about horror films that focus on the darker side of motherhood— “The Horror of Motherhood”. And, I was going to begin posting the series in time for Mother’s Day. I’m still going to write the series of posts, and I will do my absolute damnedest to get the first one posted in time for Mother’s Day, even though I will be attending World Horror 2015 in Atlanta next weekend. According to most successful writers, and several of my well-meaning friends, I simply cannot allow life to get in the way of writing the stories I need to tell. Even if they are just musings about the art and literature I wrap myself up in to hide away from the realities of life. I keep tripping over those realities each time I think I’m going to sit down to finish that poem, story, or book. MUST. KEEP. WRITING.

My intent, while settling in for another viewing of what I consider to be one of the scariest films I’ve seen in a long time, was to inspire myself to write about a series of horror films I feel deeply connected to. Horror films about mothers and their children. This connection stems not only from my awareness as a mother who appreciates how rewarding it can be to raise a child, but also how dark and terrifying it can be to realize that your life is no longer your own. Motherhood is fraught with a host of responsibilities, expectations, and societal pressures that go beyond the basics of keeping the children you bare alive. You must adhere to a very strict level of high standards that seem to fall under constant scrutiny, or you will be deemed a monster. As much as I love monsters, I don’t wish to be accused of being one. Notice that I didn’t say I don’t wish to become a monster. If becoming a monster means protecting the safety of my child, then there will most certainly be a gnashing of sharp teeth.

This concept of the horror of motherhood first occurred to me when I was pregnant with my son. I took a film class to fill the void of boredom, or stave off the fear that I would never have a life again after my son was born. True story. Each week we sat in a dark classroom on the University of Pittsburgh campus for several hours watching films and then discussing them. I was a non-traditional student. By non-traditional I mean an unwed thirtysomething pregnant woman of color with a full-time job at the University, and a master’s degree in English literature in a classroom full of mostly white twentysomething undergraduate students oddly misinformed about cinema. If my alma mater had offered a film minor I would have earned one while pursuing my undergraduate degree…but, I digress (and I will keep doing that, because I am in stream-of-consciousness mode lately and there’s not much I can do about it right now if I want to keep writing. Like it or lump it).

motherdaughterSo, horror of motherhood…film class…right…what was the point I was trying to make…? Oh yeah! One week we watched The Exorcist in class. I saw the movie for the first time when I was maybe ten-years-old. It scared the living shit out of me. I had nightmares for weeks, and I refused to sleep with the lights off for a long time afterwards. To me, that’s a sign of a good horror flick. But, is that enough? When I was kid? Absolutely. I still watch horror movies just for the thrill of being scared, but now I tend to evaluate them with a different set of standards in mind. And, I honestly think I began to think about horror films in this way during my viewing of The Exorcist as a pregnant woman. As a kid, the film was terrifying because, let’s be honest, some really unsettling things happen to Regan and her mother once the demon manifests and takes control of the young girl’s body. We’re talking body horror at it’s finest, demon possession, a parasitic invasion of the mind and body in which the host is totally helpless to defend herself from the invading entity. The connection between demon possession and pregnancy was not lost on me as I sat in the darkened classroom. The film suddenly took on a very personal tone, and my original fears quickly evaporated as I began to perceive a new set of fears the film stirred up in me. I was about to become a mom, so the fears were two-fold. Like Regan, I had a being growing inside me that I had little or no control over. My body had been invaded, and unlike many women who look forward to the miracle of birth, I was terrified, because I didn’t completely have faith in my own body to do what it needed to do to bring forth life. And, I also saw the film from the perspective of Regan’s mother, who has a very sick child that no one in the medical field can seem to correctly diagnose, and as her behavior becomes more bizarre and she is subjected to test after test, it became very clear to me that the horror in this film is very real. The horror(s) of motherhood – fear that you won’t be able to help your child if she becomes sick, fear that people will accuse you of being a bad parent, that somehow your child is ill because of something you’ve failed to do right. Yeah, that’s scary stuff. And, because I had to think about those very real fears while rewatching The Exorcist as a mother-to-be, the film gained a new depth of meaning for me, placing it higher on my horror film hierarchy list.

I’ve studied film unofficially for many years, and have a love of the art form that goes beyond catching the latest blockbusters Hollywood has to offer. In fact, I would consider myself a bit of a film snob. I enjoy certain large production films, like the whole Marvel superhero franchise that has enlisted the talent of some of my favorite actors, screenwriters, and directors, but I prefer indie, foreign, and classic films – silent, noir, Murnau, Welles, Hitchcock, Bergman, Polanski, Herzog, Universal, Hammer, American International – and my taste runs toward the dark, the uncanny, and the bizarre. However, a film has to be more than just weird or unsettling for me to really engage with it. There needs to be some sort of artistic or intellectual exploration happening to maintain my attention for an hour or two. My senses need to be tingled, my emotions need to be swayed (unhinged if possible), and what I’m watching on screen should be jangling loose memories and connections between other films and narrative forms I have encountered before. My enjoyment as a reader, writer, and lover of film comes from the connections I am able to make between these different mediums.

I love films, especially horror films that delve into our dark psychological past in the form of reimagined fairy tales and myths. I am particularly thrilled when I see a newer filmmaker paying homage to another filmmaker whose work I enjoy. The Babadook accomplishes both. Kent’s dark fairytale that features a fictional children’s pop-up book, Mister Babadook, introduces us to a new retelling of a particular type of fairytale that delves into the madness that can result from unresolved emotional trauma and the isolation that often comes along with it. I have a lot to say about this deeply disturbing, and yet somehow familiar tale of motherhood, in which a woman fights against a malevolent spirit to halt her transformation into a monster. She refuses to heed the entities demands to harm her own child. She fights madness and ignores what the voices are telling her to do. But, I’m not going to talk about that here. Not now. Think of this as merely a teaser if you will. I have more thinking to do on the subject, but I will share my thoughts soon.

As the title of this post suggests, while I watched The Babadook this weekend, it became very clear to me that Kent has a very serious love of David Lynch. So do I. I became even more excited about this film, which I didn’t think was possible. I love surprises.

Before I get too far ahead of myself, I want to give you a very brief synopsis of the film, but I don’t wish to reveal too much, because I really hope that if you haven’t seen the film yet, you will. So, I’m going to steal the two sentence synopsis from Kent’s website (parentheses are mine): “The film tells of a single mother (Amelia), plagued by the violent death of her husband, who battles with her son’s (Samuel) night time fear of a shadowy monster (The Babadook). But soon, she discovers a sinister presence is lurking in the house.”

repulsion-2Kent’s film has been compared to Roman Polanski’s films, and there were many instances when I was reminded of Repulsion (1965). Especially while watching the scenes in which Amelia is wandering around the house alone at night through shadowy hallways in her nightgown. I couldn’t help but think of Catherine Deneuve sleepwalking through her nightmarish descent into madness.

Jennifer Kent admits that David Lynch is her favorite film director, so it is no wonder that his influence can be seen in this terrifying masterpiece about the darkness that lives inside all of us. After noticing the second reference to his imagery, I picked up a notebook and started jotting down notes in an ecstatic rush of joy. Not only is this film well written, carefully crafted, and very scary, but also the filmmaker is asking me to engage in the narrative she has created on a very intellectual level through images that evoke memories of other narratives. Specifically, Lynch’s films and his television series, Twin Peaks.

If you have seen more than one Lynch film, you’ve probably noticed several recurring images and themes. He communicates his narratives through a very surrealistic system of dream-like images, causing the viewer to experience the story in a state of disorientation they share with many of the characters on-screen. Dreams and hallucinations play a major role in his narratives, and so do darkness and the dangers that hide there. Kent employs several of Lynch’s lighting techniques to create a similar feeling for her viewers. She uses light and shadow to define space within a scene, and creates a sense of isolation, claustrophobia, and even makes her viewer squint to get a closer look at what is hiding in the darkness. We begin to suspect that things are lurking in the dark corners of Amelia’s house long before the monster is ever introduced. She goes so far as to use one of Lynch’s trademark images, flickering electricity and burned out light bulbs, which I initially read as a common trope of horror films indicating a supernatural presence. I think Lynch uses this recurring image similarly to convey an element of the supernatural set against the backdrop of ordinary life.

The-Black-Lodge-twin-peaksFilms often provide us with an escape from this ordinary life, and while we wish to become immersed in the narrative unfolding before us, both filmmakers have a desire to remind us that we are in fact watching a film they have created, and delve into the realm of metafiction. Lynch does this by creating a proscenium arch in nearly every one of his films, and he even goes so far as to include curtains. Usually very heavy red curtains, which most people will remember from Agent Cooper’s black lodge dream sequences in Twin Peaks. He not only suggests that there is a stage where his characters are performing, but he creates one within a scene. Behind that arch, which sometimes has curtains, and sometimes is just a wall of darkness, there usually lurks something his characters don’t wish to face. The truth. Danger. The darkness within us. Kent uses a wall of darkness to create one of Lynch’s proscenium arches during a very emotionally charged and terrifying scene, in which the Babadook is threatening Amelia’s safety and the safety of her son. She screams at the monster hidden behind the arch and refuses to back down. Refuses to show weakness. She protects her son from the darkness and what it hides. And, much like one of Lynch’s films, eventually something emerges from the darkness. In this case, the true cause of Amelia’s grief and depression is revealed. And then, we are rewarded with yet another Lynchian image, a gaping head wound. I’m pretty sure I squealed with delight during that scene. One reason Lost Highway is one of my favorite Lynch films is because it has two head wounds.

Lost-HighwayAnother example of Lynchian themes Kent uses in The Babadook that really confirmed her love of his work is the concept of split consciousness. In several of his films, Lynch features female leads with dual roles: Patricia Arquette in Lost Highway, Naomi Watts in Mulholland Drive, and Laura Dern in Inland Empire, as well as Sheryl Lee in Twin Peaks. These split identities often highlight the darker side of human behavior and puts the two characters at odds with each other. While Essie Davis plays only one character in Kent’s film, Amelia goes through a psychological transformation rather than a physical one, teetering on the edge of madness. She doesn’t become two people like in Lynch’s work, but her grief over the loss of her husband and her unwillingness to fully accept her role as Samuel’s mother creates a similar fractured female identity. She struggles with depression and feels guilty for wishing she could still have her husband even if it meant giving up her son. She is in danger of not only being a bad mother, but of becoming a monster herself.

GarmonboziaFinally, the icing on the cake for me came near the end of the film when Amelia goes through a terrible night in which the Babadook enters her body. There is a kind of possession that takes place, further supporting this idea of fractured identity. She is becoming a monster. She poses a threat to her own son. But, Amelia is strong, and she is able to force the darkness out. She exorcises her own demons. In the process of casting out the monster, she expels what I like to call emotional ectoplasm. She literally throws up an inky black substance that made me shout: GARMONBOZIA! She expels her pain and sorrow, which is what the demons in the black lodge eat. Bob expels a similar black substance from his hands in Fire Walk With Me when The Man from Another Place demands, “Bob, I want all my Garmonbozia.” Oddly enough, that inky substance, which I equate with a literal emotional discharge, a physical manifestation of pain, isn’t actually garmonbozia. Lynch depicts garmonbozia as something completely ordinary and mundane. Creamed corn. In my opinion, that’s the true stuff of nightmares.