New England in 1692 was a community grappling with the cosmic meaning of capitalism in an age during which the market came to define life in the Atlantic world. Binding contracts, mobile capital and commodity exchange offered both philosophical proof and significant peril for a community rooted in a firm belief in the sacredness of contract covenants and in the reality of spectral forces intervening into the material world. As a result, the legal documents produced during the bloody witchcraft crisis that swept Massachusetts in those terrible years articulate a widespread anxiety about the potentially accursed nature of commodities that travel through and index social connections, the morally ambiguous incursions of invisible economic forces into everyday life, the compelling experience of contracts given divine or diabolical aegis and the cultural syncretism of a constellated culture bound together through market interrelations. As tales of witchcraft have taken root firmly as American narrative touchstones, those anxieties have remained central to representations of the witch trials in popular imagination. The novels, plays and films that return to the crisis’ collection of legal documents, economic contracts and oral performances, position contested issues of obliterative commodification, troubled economic social contact and cultural and racial insecurity at the heart of American folklore. This reading re-centres both primary sources and subsequent popular depictions of the witch crisis around the stories told through contracts and around the commodities and commodity exchanges that remained persistent features of Massachusetts Bay’s imbricated modes of storytelling. It reads these documents as evidence for the emergence of Atlantic market capitalism as a cosmic force, an obscure but interventionist God made powerful through market logic, and it argues that this force continues to define America’s central bloody myth of self.
{"title":"Daemons in the pocket: Contract, commodities and witchcraft in Massachusetts Bay","authors":"I. Green","doi":"10.1386/host_00010_1","DOIUrl":"https://doi.org/10.1386/host_00010_1","url":null,"abstract":"New England in 1692 was a community grappling with the cosmic meaning of capitalism in an age during which the market came to define life in the Atlantic world. Binding contracts, mobile capital and commodity exchange offered both philosophical proof and significant peril for a community\u0000 rooted in a firm belief in the sacredness of contract covenants and in the reality of spectral forces intervening into the material world. As a result, the legal documents produced during the bloody witchcraft crisis that swept Massachusetts in those terrible years articulate a widespread\u0000 anxiety about the potentially accursed nature of commodities that travel through and index social connections, the morally ambiguous incursions of invisible economic forces into everyday life, the compelling experience of contracts given divine or diabolical aegis and the cultural syncretism\u0000 of a constellated culture bound together through market interrelations. As tales of witchcraft have taken root firmly as American narrative touchstones, those anxieties have remained central to representations of the witch trials in popular imagination. The novels, plays and films that return\u0000 to the crisis’ collection of legal documents, economic contracts and oral performances, position contested issues of obliterative commodification, troubled economic social contact and cultural and racial insecurity at the heart of American folklore. This reading re-centres both primary\u0000 sources and subsequent popular depictions of the witch crisis around the stories told through contracts and around the commodities and commodity exchanges that remained persistent features of Massachusetts Bay’s imbricated modes of storytelling. It reads these documents as evidence for\u0000 the emergence of Atlantic market capitalism as a cosmic force, an obscure but interventionist God made powerful through market logic, and it argues that this force continues to define America’s central bloody myth of self.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"11 1","pages":"43-61"},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43822519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2016, Donald Trump was elected President of the United States of America, to great surprise. His election has been connected to the emergence of authoritarianism as a political force in America, as political scholars have argued Trump’s campaign success lay in how his rhetoric is authoritarian in nature, and how it activates an authoritarian tendency in a sizeable portion of the voter base in response to social and demographic changes within the country. This article argues that contemporary horror cinema reflects and responds to the rise of American authoritarianism. Building on the work of scholars of authoritarianism, this article outlines a number of characteristics of authoritarian horror films. Specifically, it analyses the case study of Jigsaw to argue that two understandings are possible, linked to the coding of both the authoritarianism associated with the villain and the social threats they react to as troubling. It then draws on a number of further examples (Unfriended, Don’t Hang Up and the Purge films) to suggest that the emergence of this tendency within horror cinema is reflective of an increasingly polarized population and that, although the films explicitly condemn authoritarianism through their villain characters, they simultaneously cater to both halves of this divide by also depicting the world in which these authoritarians rise as horrific.
{"title":"John Kramer for President: The rise of authoritarian horror","authors":"Reece Goodall","doi":"10.1386/host_00014_1","DOIUrl":"https://doi.org/10.1386/host_00014_1","url":null,"abstract":"In 2016, Donald Trump was elected President of the United States of America, to great surprise. His election has been connected to the emergence of authoritarianism as a political force in America, as political scholars have argued Trump’s campaign success lay in how his rhetoric\u0000 is authoritarian in nature, and how it activates an authoritarian tendency in a sizeable portion of the voter base in response to social and demographic changes within the country. This article argues that contemporary horror cinema reflects and responds to the rise of American authoritarianism.\u0000 Building on the work of scholars of authoritarianism, this article outlines a number of characteristics of authoritarian horror films. Specifically, it analyses the case study of Jigsaw to argue that two understandings are possible, linked to the coding of both the authoritarianism\u0000 associated with the villain and the social threats they react to as troubling. It then draws on a number of further examples (Unfriended, Don’t Hang Up and the Purge films) to suggest that the emergence of this tendency within horror cinema is reflective of an increasingly\u0000 polarized population and that, although the films explicitly condemn authoritarianism through their villain characters, they simultaneously cater to both halves of this divide by also depicting the world in which these authoritarians rise as horrific.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"11 1","pages":"123-140"},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42907420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article focuses on the peculiar employment that in horror mockumentaries is made of the precarious and limited gazes of one or more intra-diegetic cameras, in order to illustrate how, aside from carrying out a veridictive function, these aesthetics simultaneously fulfil various other tasks. In particular, it is shown that, on the one hand, they also operate as a narrative device in support of horror cinema’s traditional modes of storytelling, illustrating how they are used to place us in an ideal fruition situation, to foreground our primal fear of the unknown in a powerful way, and to indicate us when the lives of the protagonists are at risk. On the other hand, always through them is carried out mockumentary’s typical critique to the theories and practices of the documentary film.
{"title":"Precarious camera gazes and their articulated mode of operation in horror mockumentaries","authors":"C. Formenti","doi":"10.1386/host_00008_1","DOIUrl":"https://doi.org/10.1386/host_00008_1","url":null,"abstract":"The article focuses on the peculiar employment that in horror mockumentaries is made of the precarious and limited gazes of one or more intra-diegetic cameras, in order to illustrate how, aside from carrying out a veridictive function, these aesthetics simultaneously fulfil various\u0000 other tasks. In particular, it is shown that, on the one hand, they also operate as a narrative device in support of horror cinema’s traditional modes of storytelling, illustrating how they are used to place us in an ideal fruition situation, to foreground our primal fear of the unknown\u0000 in a powerful way, and to indicate us when the lives of the protagonists are at risk. On the other hand, always through them is carried out mockumentary’s typical critique to the theories and practices of the documentary film.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"11 1","pages":"9-23"},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42098493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I examine how the use of repetition structures in the 2015 horror film Southbound accentuate the genre’s concern regarding the relationship between a peculiar experience of time and the emotion of fear. While analysis of the urge to repeat in horror texts can be examined through a psychoanalytic lens, I suggest that applying a Nietzschean perspective provides an equally helpful framework for reading these films at the levels of both form and content. Specifically, Nietzsche’s doctrine of eternal recurrence offers us much in the way of understanding these films which use a time-loop device to disrupt the experience of both the characters and audience. After delineating how Nietzsche’s ideas can help guide analysis of such repeated action tropes in horror, I provide a close reading of Southbound in an attempt to flesh out this particular theoretical orientation.
{"title":"Once more and for eternity? Facing the horror of cosmic recurrence in Southbound","authors":"B. Zager","doi":"10.1386/host_00011_1","DOIUrl":"https://doi.org/10.1386/host_00011_1","url":null,"abstract":"In this article, I examine how the use of repetition structures in the 2015 horror film Southbound accentuate the genre’s concern regarding the relationship between a peculiar experience of time and the emotion of fear. While analysis of the urge to repeat in horror texts\u0000 can be examined through a psychoanalytic lens, I suggest that applying a Nietzschean perspective provides an equally helpful framework for reading these films at the levels of both form and content. Specifically, Nietzsche’s doctrine of eternal recurrence offers us much in the way of\u0000 understanding these films which use a time-loop device to disrupt the experience of both the characters and audience. After delineating how Nietzsche’s ideas can help guide analysis of such repeated action tropes in horror, I provide a close reading of Southbound in an attempt\u0000 to flesh out this particular theoretical orientation.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"11 1","pages":"63-82"},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47732450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Aesthetics philosopher Noël Carroll affirms that grotesque forms ‘are all violations of our standing categories or concepts; they are subversions of our common expectations of the natural and ontological order’. In breaking structural boundaries, consequently, the grotesque appears as deformations, aberrations, exaggerations, metamorphosis or startling portmanteaus. Given both its nightmarish texture and the evil ingenuity of Dr Lecter’s murders, Hannibal (NBC, 2013‐15) ploughs fertile ground in putting together conceptually distant and even contradictory elements. Hence, this article explores how the aesthetic and philosophical principles of the grotesque are a pervasive presence throughout the entire Hannibal TV series, defining its style, characters’ personality and metaphorical themes. Putting art theory in dialogue with the Hannibal televised text, this article demonstrates how the grotesque ‐ one of the key concepts in Gothic horror ‐ permeates every level of the show, from the opening credits to the protagonist’s inner transformation, converting the narrative into a comprehensive and cohesive liminal artistic ecosystem.
{"title":"‘Tell me, what are you becoming?’ Hannibal and the inescapable presence of the grotesque","authors":"Alberto N. García","doi":"10.31235/osf.io/rg9de","DOIUrl":"https://doi.org/10.31235/osf.io/rg9de","url":null,"abstract":"Aesthetics philosopher Noël Carroll affirms that grotesque forms ‘are all violations of our standing categories or concepts; they are subversions of our common expectations of the natural and ontological order’. In breaking structural boundaries, consequently, the grotesque\u0000 appears as deformations, aberrations, exaggerations, metamorphosis or startling portmanteaus. Given both its nightmarish texture and the evil ingenuity of Dr Lecter’s murders, Hannibal (NBC, 2013‐15) ploughs fertile ground in putting together conceptually distant and even\u0000 contradictory elements. Hence, this article explores how the aesthetic and philosophical principles of the grotesque are a pervasive presence throughout the entire Hannibal TV series, defining its style, characters’ personality and metaphorical themes. Putting art theory in dialogue\u0000 with the Hannibal televised text, this article demonstrates how the grotesque ‐ one of the key concepts in Gothic horror ‐ permeates every level of the show, from the opening credits to the protagonist’s inner transformation, converting the narrative into a comprehensive\u0000 and cohesive liminal artistic ecosystem.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41730998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work from his earlier academic writings as a philosopher, this article argues that Land turns to writing horror fiction, because he sees the genre as a better compositional form than traditional philosophy to continue his critique of anthropomorphism insofar as it is able to stage a confrontation with that which lies beyond all parochial human comprehension. I begin by outlining Land’s earlier critique of anthropocentric philosophies with recourse to the brute fact of humanity’s inexorable extinction as a way to undermine their attempts to project human values and concepts onto an inhuman cosmos for all time. I then examine Land’s theory of abstract horror to see how he envisions horror fiction as the best aesthetic means for transcendentally channeling the traumatic limits of human experience. I conclude with an analysis of Land’s two horror novellas, Phyl-Undhu and Chasm, to draw out the ways in which his earlier critical philosophy continues to inform their literary motifs. What ultimately emerges from this analysis of Land’s fiction is a conception of horror as the dark heir to critical philosophy.
{"title":"Philosophy’s dark heir: On Nick Land’s abstract horror fiction","authors":"Vincent Le","doi":"10.1386/host_00009_1","DOIUrl":"https://doi.org/10.1386/host_00009_1","url":null,"abstract":"Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work from his earlier academic writings as a philosopher, this article argues that Land turns to writing horror fiction, because he sees the genre as a better compositional form than traditional philosophy to continue his critique of anthropomorphism insofar as it is able to stage a confrontation with that which lies beyond all parochial human comprehension. I begin by outlining Land’s earlier critique of anthropocentric philosophies with recourse to the brute fact of humanity’s inexorable extinction as a way to undermine their attempts to project human values and concepts onto an inhuman cosmos for all time. I then examine Land’s theory of abstract horror to see how he envisions horror fiction as the best aesthetic means for transcendentally channeling the traumatic limits of human experience. I conclude with an analysis of Land’s two horror novellas, Phyl-Undhu and Chasm, to draw out the ways in which his earlier critical philosophy continues to inform their literary motifs. What ultimately emerges from this analysis of Land’s fiction is a conception of horror as the dark heir to critical philosophy.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"11 1","pages":"25-42"},"PeriodicalIF":0.2,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66708654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue of Horror Studies is dedicated to the theme of Hispanic horror, or horror texts that have some connection with cultures that can be considered to come under a Hispanic umbrella. The field has a long history that has often gone unnoticed, first because of horror’s exile from the canon and the mainstream for many decades if not centuries, and second, because of the fact that many (although by no means all) Hispanic horror texts have been made in Spanish or, more rarely, languages connected with Spanish-speaking territories. This latter fact has made them less accessible to critique in the anglophone sphere, and greater awareness of them is long overdue.
{"title":"Hispanic horror: An introduction","authors":"A. Davies","doi":"10.1386/host_00001_2","DOIUrl":"https://doi.org/10.1386/host_00001_2","url":null,"abstract":"This issue of Horror Studies is dedicated to the theme of Hispanic horror, or horror texts that have some connection with cultures that can be considered to come under a Hispanic umbrella. The field has a long history that has often gone unnoticed, first because of horror’s exile from the canon and the mainstream for many decades if not centuries, and second, because of the fact that many (although by no means all) Hispanic horror texts have been made in Spanish or, more rarely, languages connected with Spanish-speaking territories. This latter fact has made them less accessible to critique in the anglophone sphere, and greater awareness of them is long overdue.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42550859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
King: Homenaje al rey del terror ( King: Homage to the King of Terror ) (Cáceres, 2018) is an anthology of short stories written by Latin American and Spanish young authors in tribute to Stephen King and compiled by Ecuadorian writer Jorge Luis Cáceres. The anthology has been published in Ecuador, Mexico, Peru, Chile, Argentina and Spain, and some of the texts in the collection have been translated into English by the online webzine Palabras Errantes. The stories illustrate some of the new directions that contemporary Latin American and Spanish cultural production are taking, such as the exploration of non-mimetic forms of fiction (other than magical realism), the embracing of international influences and the understanding of the local in relation to the global. As a tribute to ‘the king of terror’, the short narratives collected in the anthology use resources of the Gothic, horror, the fantastic and science fiction; I concentrate my analysis on the first two. My reading of the Gothic and horror devices in the stories is informed by recent criticism on the gothic mode, as well as contemporary theories of cultural globalization and glocalization. The aim is to recognize and analyse the processes of translation, circulation, deterritorialization and multiterritorialization exemplified in the narratives, and the different ways in which these processes define contemporary Hispanic Gothic.
《国王：恐怖之家》（King：Homenaje al-rey del terror）（《国王：向恐怖之王致敬》）（Cáceres，2018）是一本由拉丁美洲和西班牙年轻作家为向斯蒂芬·金致敬而创作的短篇小说选集，由厄瓜多尔作家豪尔赫·路易斯·卡塞雷斯编撰。该选集已在厄瓜多尔、墨西哥、秘鲁、智利、阿根廷和西班牙出版，其中一些文本已由在线网络杂志Palabras Errantes翻译成英文。这些故事说明了当代拉丁美洲和西班牙文化生产正在采取的一些新方向，例如探索非模仿小说形式（魔幻现实主义除外）、接受国际影响以及理解当地与全球的关系。作为对“恐怖之王”的致敬，选集中的短篇叙事运用了哥特式、恐怖、奇幻和科幻的资源；我集中分析前两个问题。我对故事中的哥特式和恐怖手法的解读得益于最近对哥特式模式的批评，以及当代文化全球化和全球化的理论。目的是认识和分析叙事中所体现的翻译、流通、去三元化和多地域化的过程，以及这些过程定义当代西班牙裔哥特式的不同方式。
{"title":"A tribute to Stephen King: Hispanic gothic and cultural globalization","authors":"I. Ordiz","doi":"10.1386/host_00002_1","DOIUrl":"https://doi.org/10.1386/host_00002_1","url":null,"abstract":"King: Homenaje al rey del terror ( King: Homage to the King of Terror ) (Cáceres, 2018) is an anthology of short stories written by Latin American and Spanish young authors in tribute to Stephen King and compiled by Ecuadorian writer Jorge Luis Cáceres. The anthology has been published in Ecuador, Mexico, Peru, Chile, Argentina and Spain, and some of the texts in the collection have been translated into English by the online webzine Palabras Errantes. The stories illustrate some of the new directions that contemporary Latin American and Spanish cultural production are taking, such as the exploration of non-mimetic forms of fiction (other than magical realism), the embracing of international influences and the understanding of the local in relation to the global. As a tribute to ‘the king of terror’, the short narratives collected in the anthology use resources of the Gothic, horror, the fantastic and science fiction; I concentrate my analysis on the first two. My reading of the Gothic and horror devices in the stories is informed by recent criticism on the gothic mode, as well as contemporary theories of cultural globalization and glocalization. The aim is to recognize and analyse the processes of translation, circulation, deterritorialization and multiterritorialization exemplified in the narratives, and the different ways in which these processes define contemporary Hispanic Gothic.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49253389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is the first detailed study of Miguel Aguerralde’s Canarian novel, Noctambulo. It explores the way in which the author revitalizes vampire traditions, submerging his vampire protagonist, who is transformed into a paid assassin, into the seemingly incongruous environment of Gran Canaria. Challenging and subverting expectations, and offering readers the opportunity to regard its Canarian vampire protagonist as a Robin Hoodesque hero, Noctambulo incites us to reflect profoundly on matters pertaining to the specific Canarian context (particularly the islands’ status as ‘the outcast’ in relation to mainland Spain, issues concerning memory and grappling with the past), as well as on broader concerns. The article concludes by postulating that Noctambulo is a liberating transnational novel, one which transcends genres and borders, refutes preconceived ideas and offers readers worldwide the opportunity to determine how they will interpret the work and envision their futures.
{"title":"‘Vampires in the Canaries?’ Miguel Aguerralde’s Noctámbulo (2010): Revitalizing vampire traditions in the Hispanic periphery","authors":"Rhian Davies","doi":"10.1386/host_00004_1","DOIUrl":"https://doi.org/10.1386/host_00004_1","url":null,"abstract":"This article is the first detailed study of Miguel Aguerralde’s Canarian novel, Noctambulo. It explores the way in which the author revitalizes vampire traditions, submerging his vampire protagonist, who is transformed into a paid assassin, into the seemingly incongruous environment of Gran Canaria. Challenging and subverting expectations, and offering readers the opportunity to regard its Canarian vampire protagonist as a Robin Hoodesque hero, Noctambulo incites us to reflect profoundly on matters pertaining to the specific Canarian context (particularly the islands’ status as ‘the outcast’ in relation to mainland Spain, issues concerning memory and grappling with the past), as well as on broader concerns. The article concludes by postulating that Noctambulo is a liberating transnational novel, one which transcends genres and borders, refutes preconceived ideas and offers readers worldwide the opportunity to determine how they will interpret the work and envision their futures.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44106598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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