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The Biology of Horror: Gothic Literature and Film, by Jack Morgan
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Unearthing the fearful flesh and sinful skins at the heart of gothic horror, Jack Morgan rends the genre’s biological core from its oft-discussed psychological elements and argues for a more transhistorical conception of the gothic, one negatively related to comedy. The Biology of Horror: Gothic Literature and Film dissects popular examples from the gothic literary and cinematic canon, exposing the inverted comic paradigm within each text.
Morgan’s study begins with an extensive treatment of comedy as theoretically conceived by Suzanne Langer, C. L. Barber, and Mikhail Bakhtin. Then, Morgan analyzes the physical and mythological nature of horror in inverted comic terms, identifying a biologically grounded mythos of horror. Motifs such as sinister loci, languishment, masquerade, and subversion of sensual perception are contextualized here as embedded in an organic reality, resonating with biological motives and consequences. Morgan also devotes a chapter to the migration of the gothic tradition into American horror, emphasizing the body as horror’s essential place in American gothic.
The bulk of Morgan’s study is applied to popular gothic literature and films ranging from high gothic classics like Matthew Lewis’s The Monk, Ann Radcliffe’s The Mysteries of Udolpho, Charles Maturin’s Melmoth the Wanderer, and Mary Shelley’s Frankenstein, to later literary works such as Poe’s macabre tales, Melville’s “Benito Cereno,” J.S. Le Fanu’s Uncle Silas, H.P. Lovecraft’s “The Shadow over Innsmouth,” Shirley Jackson’s The Haunting of Hillhouse, Stephen King’s Salem’s Lot, and Clive Barker’s The Damnation Game. Considered films include Nosferatu, Invasion of the Body Snatchers, Friday the 13th, Halloween, Night of the Living Dead, Angel Heart, The Stand, and The Shining.
Morgan concludes his physical examination of the Gothic reality with a consideration born of Julia Kristeva’s theoretical rubric which addresses horror’s existential and cultural significance, its lasting fascination, and its uncanny positive—and often therapeutic—direction in literature and film.
- Sales Rank: #15085333 in Books
- Published on: 2002-10-29
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .75" w x 6.00" l, 1.08 pounds
- Binding: Hardcover
- 280 pages
Review
“The Biology of Horror does something I’ve not seen in over twenty-five years of working on and with the Gothic: it builds a biological model of the Gothic, a model that reveals a dark inversion of comic regeneration. Using the work of Suzanne Langer and Mikhail Bakhtin as the theoretical poles of this new model, Morgan uses his reconfigured Gothic paradigm to deconstruct various literary and cinematic emblems of humanity’s innate fear of its own organic vulnerability and fleshly brevity.”—Mary Pharr, coeditor of The Blood Is the Life: Vampires in Literature
“Jack Morgan’s The Biology of Horror offers a tantalizingly organic reinterpretation of the form and function of horror literature, emphasizing its close and too-often neglected relationship to comedy. An eminently readable and insightful book, The Biology of Horror is a must for both scholars and general readers interested in the history and deeper significance of the gothic.”
—Caitlin Kiernan, author of Threshold: A Novel of Deep Time
From the Author
I can be reached at jmorgan@mst.edu
About the Author
Jack Morgan teaches in the English department at the University of Missouri-Rolla. He has published widely in American and Irish literature and is the coeditor, with Louis A. Renza, of The Irish Stories of Sarah Orne Jewett (also available from Southern Illinois University Press).
Most helpful customer reviews
4 of 5 people found the following review helpful.
Impressive Analysis, Very Readable
By A Customer
Morgan provides persuasive readings of a number of classic and lesser-known books and films. While the book is theoretically informed, a non-specialist audience as well will find it a pleasure to read. Any fan of horror or the gothic ought to read this book.
1 of 7 people found the following review helpful.
"Whatever Just Crash It"
By A Reader 2
Toyota's recently-aired television spot featuring two male middle-schoolers and an adult technician at a crash-test facility strikes my limit when it comes to horror: i.e., mere children bullying an adult. The follow-up was even more outrageous. Thus, though not a fan exactly of gothic literature and film, but one who's aware of its pervasive (and persuasive) influence on popular culture, I keep an eye peeled. That's how I come to Jack Morgan's gem of a study. His insights into the nature of gothic make a difference, make one take it more seriously. Moreover, the actual biology is substantial and, finally, Morgan's sound scholarship and lucid prose (no slack anywhere) recommend it highly. Lucid prose.
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