Prošle godine je izašla jedna
spektakularno vredna knjiga za sve ljubitelje horora, a naročito za one
ozbiljnije, kojiće ceniti činjenicu da je dobila Zlatnog Ghoula (TM) u kateriji Non-fiction! Suprajz, zove se ni manje ni više nego baš HORROR LITERATURE THROUGH HISTORY,
a autor ove dvotomne enciklopedije je Mat Kardin (ako znate šta
valja, obavezno overite njegov linkovani sajt!).
Već sam pisao članak o ovom
prvorazrednom izdanju za RUE MORGUE, pa ću, radi jezgrovitog opisa, citirati
početak svog članka iz prošlogodišnjeg broja #178:
Ladies
and gentlemen, make place on your bookshelf for Matt Cardin’s super-ambitious Horror Literature through History,
coming from Greenwood this September. This two-volume monster on over 800 pages
is another indispensable reference book on horror literature to place next to
your copies of Jack Sullivan’s The
Penguin Encyclopedia of Horror and the Supernatural, S. T. Joshi’s and
Stefan Dziemianowicz’s Supernatural
Literature of the World, Joshi’s Icons
of Horror and the Supernatural and William Hughes, David Punter and Andrew
Smith’s The Encyclopedia of the Gothic.
Having already cut his chops editing
two reference books – Mummies around the
World (2014) and Ghosts,
Spirits, and Psychics (2015) – Cardin has set himself a lofty goal with Horror Literature through History;
namely, to show 21st-century horror fans the literary sources of their favorite
entertainment and the rich intrinsic value of horror literature in its own
right.
Izuzetna je to knjiga, ima sve moje
pečate i preporuke, ali imam i tri velike zamerke:
1) Previše je skupa. Na Amazonu je
190 $. Jest da je 800 str, jest da je tvrdi povez, jest da je vredan sadržaj, ali
ipak, mnogo, braćo...
2) Uopšte nije ilustrovana unutra, samo
klot tekst, što je velika šteta. Pored toga, ni dizajn korica nije baš naročito
nadahnut niti dobar, a posebno je loša zadnjakorica, koja sadrži reklamu za
druga njihova izdanja.
3) Pregled autora i dela izvan
utabanih staza Anglo-Američkog horora je prilično skroman, i svodi se na
nekoliko neizbežnih opštepoznatih evropskih autora /Nemci i Francuzi,
pretežno), dok slovenskim narodima nema ni traga ni glasa...
Imajući to na umu, i uprkos tome,
ovo je odlična knjiga koju, ako ikako uzmognete nabaviti po povoljnim uslovima,
ne oklevajte.
Evo mog razgovora sa autorom koji je
jesenas izašao na
sajtu Ru Morga.
HORROR
LITERATURE THROUGH HISTORY
By Dejan Ognjanovic
Matt Cardin’s
super-ambitious Horror Literature through
History has been published recently by Greenwood in two hefty tomes
totalling almost 1000 pages. This monster of a book is the subject of Rue Morgue’s print edition article “A
Bible for the Horror Fiction Bibliophile” which you can find in issue #178.
Matt Cardin was kind to answer a few additional questions
exclusively for the Rue Morgue site.
-
What is the primary aim and purpose of this book?
To quote from
the publisher’s description, which is of course based largely on text from the
book proposal that I submitted to them over two and a half years ago, Horror Literature through History “shows
21st-century horror fans the literary sources of their favourite entertainment
and the rich intrinsic value of horror literature in its own right.” In other
words, it’s meant to serve as both a general reference work about the history
of horror literature and a book that can educate people about the literary
backgrounds of what might be called “screen horror”: horror movies, horror
television, horror video games. Horror’s popularity right now is just off the
charts. This seems likely to continue for a long time. And with the bulk of
that popularity falling in the realm of screen horror, there’s something fundamental,
something crucial, in the fact that there’s a literary background or precedent
or forebear to virtually every monster, plot, theme, and idea that’s in play
right now on screens everywhere, large and small. Plus, the literary side of
horror itself is presently undergoing a kind of revolution. Weird fiction, for
instance, has begun to evolve in striking new directions. The Internet has
given rise to things like creepypastas. So the book is aimed at all of that. It
aims to parse the state of horror right now by delving deeply into its literary
history and tracing its evolutionary arc.
- How hard was it selecting the topics, names and
works which should be included or discarded? And what criteria were used for
either selecting or discarding one?
That was one of
the most difficult parts of the whole project. I had a much longer list than
what eventually ended up in the final version, and it really hurt to cut out
some of those items. I made my decisions based on careful research combined
with a personal sense of who and what is significant enough to warrant a slice
of precious page space in such a project. I also relied on the judgment of my
contributors. There will no doubt be people who will disagree with some of the
inclusions and exclusions, and that’s as it should be, since so much of a
decision process like this ends up being a matter of subjective judgment. I
think it may prove especially slippery when it comes to the inclusion of some
contemporary authors who in historical terms have only just begun to make their
mark. But that said, I felt confident in my decision to include stand-alone
entries on Mark Samuels, Joe Hill, Laird Barron, Michael Cisco, Brian Keene,
and Reggie Oliver.
Then there’s the
fact that the first two sections of the book provide space for discussing a
very wide range of authors, books, stories, poems, and topics that aren’t
included as separate entries in the final reference section. For example, the
writer of the entry “Horror in the Twenty-First Century,” a scholar at the Manchester
Centre for Gothic Studies named Xavier Aldana Reyes, devotes a paragraph to
Adam Nevill. He also mentions a host of worthy additional authors who don’t
have their own separate entries, including Sarah Pinborough, Nicole Cushing,
Sarah Langan, Tim Lebbon, Simon Strantzas, Richard Gavin, John Langan, Quentin
S. Crisp, and Livia Llewellyn. I myself used the master timeline of literary
horror history that appears near the beginning of the book to give mention to a
few worthy items that aren’t mentioned elsewhere, such as Jonathan Padgett and
his remarkable 2016 horror collection The
Secret of Ventriloquism. So this is all to say that the encyclopaedia
covers a vast swath, even given the necessity to make strategic decisions about
inclusion and exclusion. You really can’t grasp the extent of its coverage
without actually getting hold of a copy and browsing through it.
- What is the definition of Horror Literature which
you used in this book as your guiding principle?
Horror
literature is any work of imaginative writing that hinges centrally on this
feeling, this heady subjective state that is part mental/emotional and part
physiological. Horror literature is the type of literature that dwells upon and
within the dreadful—as in dread-filled—aspect of life and the world. It refuses
to look away from that which makes us want to. And I think the most profound
and important is that such literature will always be the kind that doesn’t try
to do this for mere entertainment value or shock effect, but for the purpose of
conveying something that the author has personally known in his or her own
life. So I suppose this harks back to your question about my criteria for
choosing what to include and exclude in the book. In most cases I was using
this understanding of horror as a backdrop for my editorial decisions.
- The book is
very wide-ranging in terms of time (starting with the
Ancient World onwards); is it as wide-ranging in terms of space, i.e.
the whole world, or is it mostly Anglo-American-centric? In other words, did
you try to make it more wide-ranging and if so, what were the obstacles?
The overall
focus is on Western civilization, with the bulk of the attention going to
British, European, and American horror. But here are many references to other
traditions and parts of the world as well. For instance, the essay “Religion,
Horror, and the Supernatural,” by literature and film scholar Eleanor Beal, has
included a sidebar titled “Religious Horror around the World” that provides
some information on Asian horror, Islamic horror, and American Jewish Gothic
stories. So there’s a global aspect to it, even as the main focus is on the
West.
- Where do you see this book in comparison to somewhat
similar ones, like The Penguin Encyclopaedia of Horror and the Supernatural? Or perhaps you had some other title as
your guiding ideal in shaping the contents and ambitions of this book?
The Penguin
encyclopaedia is such a beautiful piece of work, and also such a seminal one. I
cherish that book. But I didn’t have it in mind as I was working on this one.
(Interesting side note, though: Several of the people who wrote for that book
so many years ago came aboard to write for this one.) To be honest, I really
didn’t have any other book in mind, although in my submitted proposal I
compared and contrasted it with such items as S. T. Joshi’s and Stefan
Dziemianowicz’s Supernatural Literature
of the World, Joshi’s Icons of Horror
and the Supernatural, William Hughes, David Punter, and Andrew Smith’s The Encyclopaedia of the Gothic, and
Jerrold Hogle’s The Cambridge Companion
to Gothic Fiction. (Another interesting side note: Joshi, Dziemianiowicz,
Hughes, Punter, and Hogle all contributed to Horror Literature through History.) Along with creating that unique
three-part structure, the basic point for the encyclopaedia at hand was to make
it more current than any other of its kind. Now, currency is a sliding scale,
of course, so the march of time will eventually remove that edge. But I do
think this project is the first of its kind to formally recognize the
significant new vanguard of horror lit as it advances toward the middle part of
the new century, and to place this within the context of the deep history that
preceded it. It’s the first to start reconciling the epochal shifts and impacts
of the Internet and the digital media revolution with this venerable literary
tradition that has now spun off into multiple non-literary forms, each of which
owes a debt to its literary forebears. It’s the first general reference work of
its kind to deal with horror literature as it relates to the profound cultural
tensions and conflicts, and the attendant shifts in perspectives, that have
characterized these early decades of the twenty-first century.
In short, it’s
unique in its relevance to horror’s unfolding twenty-first century state and
status, with all of that fascinating literary history bristling in the
background of the current boom and extending centuries and even millennia into
the past. As I said, it has been a personally meaningful and deepening
experience for me to edit this project, and I think and hope it will provide
some of the same to its readers.
