Popular Literature - Monsters Anthology – Bryan Lee...Popular Literature - Monsters Anthology –...
15
Popular Literature - Monsters Anthology – Bryan Lee Cultural Monsters, Human Fears and Phobias Personified Introduction: Create a 700-1200-word introduction to your anthology that explains and explores what interpreting, analyzing, and studying monster stories through the lenses of diversity and humanities can teach us about the diverse experiences of historically, politically, economically, and culturally marginalized groups in the U.S., as well as how diverse writers/creators process and document the human experience. This intro should integrate important concepts from the literary and cultural theories we've explored in connection with several of the monster pieces that you're going to include in your anthology. Before taking this Diversity in American Popular Literature Course, I had absolutely no interest in scary movies, scary books, or the horror genre as a whole. I found it useless to willing put myself into a situation and spend valuable time for the sole purpose of making myself feel one of the most intense emotional feelings there is, fear. Admittedly, I didn’t know that this particular course was going to be about cultural monsters before the first day of class even. I had a requirement to fulfill and this was the class that was available, so I signed up. It only took a few days of class for me to start seeing how my thoughts toward the horror literature and film genre were way off base. Once you realize that actual non-human “monsters” only exist because we will them into existence, the feelings you experience and the thoughts you have while watching or reading a horror piece are completely different. You start to ask yourself things like, “Why is this kind of monster being used in this story? Why not some other sort of monster?”, “Who is really the bad guy here?”, “Why does this monster exist in the first place?”, “Is this fear I am feeling a result of or reaction to the monster or is actually a reaction to the things that the monster represents?” Once you make the connection and understand that the monster’s body is our cultural body, the monster always escapes, the monster is the harbinger of category crisis, the monster dwells at the gates of difference, the monster polices the borders of the possible, that the fear is really a desire to see, know, or understand the monster, and that we already are / are becoming the monsters and we create/created the monsters, the horror genre clearly becomes one of the most blunt, brutally honest, and creative methods of portraying, confronting, or reflecting on our purpose, beliefs, ethics, morals, laws and social constructs, flaws, mistakes, and culture as a whole. When it comes to marginalized groups in the United States and in the world, issues of race and color, issues of gender and sexuality, nationalism, superiority, religious and cultural difference,
Transcript of Popular Literature - Monsters Anthology – Bryan Lee...Popular Literature - Monsters Anthology –...
PopularLiterature-MonstersAnthology–BryanLee
CulturalMonsters,HumanFearsandPhobiasPersonifiedIntroduction:Createa700-1200-wordintroductiontoyouranthologythatexplainsandexploreswhatinterpreting,analyzing,andstudyingmonsterstoriesthroughthelensesofdiversityandhumanitiescanteachusaboutthediverseexperiencesofhistorically,politically,economically,andculturallymarginalizedgroupsintheU.S.,aswellashowdiversewriters/creatorsprocessanddocumentthehumanexperience.Thisintroshouldintegrateimportantconceptsfromtheliteraryandculturaltheorieswe'veexploredinconnectionwithseveralofthemonsterpiecesthatyou'regoingtoincludeinyouranthology.BeforetakingthisDiversityinAmericanPopularLiteratureCourse,Ihadabsolutelynointerestinscarymovies,scarybooks,orthehorrorgenreasawhole.Ifoundituselesstowillingputmyselfintoasituationandspendvaluabletimeforthesolepurposeofmakingmyselffeeloneofthemostintenseemotionalfeelingsthereis,fear.Admittedly,Ididn’tknowthatthisparticularcoursewasgoingtobeaboutculturalmonstersbeforethefirstdayofclasseven.Ihadarequirementtofulfillandthiswastheclassthatwasavailable,soIsignedup.Itonlytookafewdaysofclassformetostartseeinghowmythoughtstowardthehorrorliteratureandfilmgenrewerewayoffbase.Onceyourealizethatactualnon-human“monsters”onlyexistbecausewewillthemintoexistence,thefeelingsyouexperienceandthethoughtsyouhavewhilewatchingorreadingahorrorpiecearecompletelydifferent.Youstarttoaskyourselfthingslike,“Whyisthiskindofmonsterbeingusedinthisstory?Whynotsomeothersortofmonster?”,“Whoisreallythebadguyhere?”,“Whydoesthismonsterexistinthefirstplace?”,“IsthisfearIamfeelingaresultoforreactiontothemonsterorisactuallyareactiontothethingsthatthemonsterrepresents?”Onceyoumaketheconnectionandunderstandthatthemonster’sbodyisourculturalbody,themonsteralwaysescapes,themonsteristheharbingerofcategorycrisis,themonsterdwellsatthegatesofdifference,themonsterpolicesthebordersofthepossible,thatthefearisreallyadesiretosee,know,orunderstandthemonster,andthatwealreadyare/arebecomingthemonstersandwecreate/createdthemonsters,thehorrorgenreclearlybecomesoneofthemostblunt,brutallyhonest,andcreativemethodsofportraying,confronting,orreflectingonourpurpose,beliefs,ethics,morals,lawsandsocialconstructs,flaws,mistakes,andcultureasawhole.WhenitcomestomarginalizedgroupsintheUnitedStatesandintheworld,issuesofraceandcolor,issuesofgenderandsexuality,nationalism,superiority,religiousandculturaldifference,
warcrimesandcrimesagainsthumanity,thehorrorandculturalmonstergenresareaninvaluabletoolandresourceforunderstandingthedeepandembeddedcharacteristicsthathaveexisted,stilldoexist,andthathavedefinedusasindividualculturalbodiesandastheonehumanculturalbodyasawhole.Theysaythepenismightierthantheswordandinthiscase,Iwholeheartedlybelievethattobetrue.Theonlywaywecanmoveforwardasapeopleistoaddresstheissueswehavebothunderlyingandonthesurface.Justlikeamonstermovie,weneedtodigalittledeeperthanthesurfaceandtheinitialshockinordertocriticallythinkandbeginquestionwhywefeelthewaywedotowardscertaincharacteristics,cultures,races,etc.Doweactuallyfeelthatwaytowardsthatperson,idea,orthingorhasthatideaofhowyoufeelbeeninfluencedbyyourculture,religion,society,family,media,personalbeliefs?Ifthereisanythingyoucanbeinatleastsomewhatcontrolofasahumanbeing,itisyourself,youractions,yourreactions,andyourideas.TableofContents:
• MonsterNovel:IAmLegendo Author:RichardMathesono Resources:GoodReadsListingandPreview
• MonsterPoem:TheTimesTableo Author:RobertFrosto Resources:QuoraDiscussionAboutTheTimesTable
• NativeAmericanWriter/Story:Windigoo Author:LouiseErdrich
• LGBTQ+Writer:“TheBabadookasanLGBTiconmakessense.No,really”o Author/Reporter:JessicaRoyo BabadookWriter:JenniferKent
• MonsterStorybyanAfrican-American:ZoneOneo Author:ColsonWhiteheado Resources:Q&AwithColsonWhitehead
• MonsterIntersectionality:RaceinAbrahamLincolnVampireHuntero Director/Writer:TimurBekmambetov,SethGrahame-Smitho Resources:IMDbPage
• SocialCommentaryonPerceptionofDisability:TheMonsterintheMirror:OnHorror,Disability,andLovingBothatOnce
o Author:EmilyFoster• EnvironmentalConcerns:TheLorax
o Author:Dr.Seuss• MonsterStorybyaFemaleWriter:WomanHolleringCreek
o Author:SandraCisneros• MonsterStorybyaLatinxWriter:CasaTomada(HouseTakenOver)
o Author:JulioCortázar
o Resources:https://www.ukessays.com/essays/spanish/treatment-of-the-outsider.php
AuthorRichardMatheson:RichardMathesonisacelebratedAmericanAuthorwasborninNewJerseyinthemid1920’s.Thenovelheismostwell-knownforisIAmLegend,buthehaswrittenseveralothernovelsthatwereadaptedintomajormotionpicturesaswellasscreenplaysdirectlyforfilmorTV.HecitedBramStoker’sDraculaasoneofhismainandearlyinfluencestohisworkwhichgivessomeinsightintowhyhechosetousevampiresashisfear-personifyingandhumanraceendingmonsterinIAmLegend.SummaryofIAmLegend:IAmLegendbyRichardMathesonisanovelabout“thelastmanonearth”(RobertNeville)whohassurvivedwhiletherestiftheworld’spopulationhasbeenreducedtozerobyabacillusthatturnsit’shuman(aliveordead)hostintoabloodcraving,bloodseeking,andbloodsuckingvampire.Mathesontouchesonseveraldifferentpoints
throughoutthenovelandsomeofthemostsignificantincludesurvivor’sguilt,loveandloss,lonelinessanddepression,companionship,difference(and“theother”),socialconstructionandinfluence,righteousness,andmorality.It’shardtobelievethatsomuchcouldbepackedintoashort170-pageorsonovel,butanend-of-the-human-race-and-modern-society-as-we-know-itsituationisagreatsettingforsuchreflectionsaboutthehumanraceanditdefinitelyhasbeendoneherebyRichardMatheson.Thenovel’sconclusionleadsthereadertoreflectontheirowncurrentenvironment,surroundings,andsocietyandaskthequestion,“Howcanwereallyeverknoworsaywhatwedoashumansistrulymoral,correct,ethical,respectable,orrightifthatisactuallyjustaluxuryandaprivilegeofthemajoritytodecide?”WorksCited(MLAFormat):
• “RichardMatheson.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Richard_Matheson.UsedtoresearchdetailsaboutRichardMatheson'sbackground.
• Matheson,Richard.IAmLegend.PawPrints,2012.• Matheson,Richard,etal.“IAmLegend.”ByRichardMatheson,
www.goodreads.com/book/show/14064.I_Am_Legend.
Author-RobertFrost:RobertFrostisconsideredoneofthemostfamousAmericanPoetswholivedfromthe1870’stothe1960’s.FrostwasknownforthelanguageandspeechheusedinhiswritingsaswellasthesettingsinNorthAmerica(particularlyNewEngland).Hewroteandpublishedmanyworksandwon4PulitzerPrizesinPoetryforhisworkoverhislifetime.SummaryofTheTimesTable:TheTimesTableisashortbutjam-packedpoemthatfocusesonafarmerandhishorse,bothseeminglynearingtheendoftheirlives.Whilemanypeoplewouldn’tnecessarilyconsiderthisshortpoema
monsterstory,Imostdefinitelywould.Somewriterchoosetousedevices,language,andpersonificationtodepictthingsandconceptslikedeath,butnotRobertFrost.Frostdepictsdeathinthewaythatweusuallyseeitinreallifeashumans,butitisnolessamonster.Thehorsestopsatthesamespringtheyalwayshavestoppedatwhileheandfarmerbothdrinkfrombrokenglasses(canneverbefullagain).Astheyarestopped,thehorsestrugglesforairandfeelsastitchinitssidewitheachandeverybreath.Iasthereaderimaginedthefarmergoingthroughthesamepains.Wefeardeathforalmostourentirelivesandaretaughttodosobythemanydifferentconfusingideasleadingustobelievethatwedon’treallyknowwhathappenswhenwedie,justwhatwecandowhilewe’rehereinthepresentandalive.Thehorserepresentsthefarmer’spassionandinnerdriveoverthework.Ithascarriedhimthroughlivethusfarbutisnearingtheendofitsabilitytodoso.Attheendofthepoem,Frostreflectsonthepassionandinnerdriveofliveandlastlysaysthatifourpassion,motivation,anddrivearegoingtobeusedtocauseharmtoothersortotheworld,thanweshouldseenobetterreasonthantheendourefforts,lettheworldkillitselfoff,andstartanew(returntoinnocence).Deathisoneofthescariestandmostreferredtomonstersouttherebecausewefeartheunknownmorethananythingelseinthisworld.Ifweliveonlytocausedeathanddestructionforothers,weareworsethandeath.
Deathisjustathingandwespendourwholelivescalculatingit(likeaTimesTable)throughourbreath,actions,etc.–Wehumansarethemonstersandthedeathbringers.WorksCited(MLAFormat):
• “RobertFrost.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Robert_Frost.UsedtoresearchdetailsaboutRobertFrost'sbackground.
• Frost,Robert.“TheTimesTable.”FamousPoembyRobertFrost,www.poetrysoup.com/famous/poem/the_times_table_16705.
• “WhatdoesRobertFrostwanttoconveyinhispoem"Thetimestable"?”WhatdoesRobertFrostwanttoconveyinhispoem'Thetimestable'?-Quora,www.quora.com/What-does-Robert-Frost-want-to-convey-in-his-poem-The-times-table.
Author-LouiseErdrich:LouiseErdichisanAmericanAuthorwhowrotethefamouspoemWindigo.LouiseErdichborninandfromLittleFalls,MinnesotawheresheisamemberisactuallymorethanoneNativeAmericanIndiantribe.MinnesotaisandhasbeenhometomanyNativeAmericantribesthroughouthistory.Sheismostwell-knownforherwritingandcharactersembodyingNativeAmericanpeople,culture,andtraditions.
SummaryofWindigo:WindigoisashortpoemthatusesmanyabusiveandviolentwordstodescribeaterriblemonstercalledtheWindigowhohasaninsatiablehungerforflesh(orman).ThepoemandtheWindigomonsteritselfismeanttorepresentman’slossofconnectionwiththeenvironmentandhistoricallyNativeAmericantraditionsregardingtheearth.Ashumans,weknowthatweareslavestowhatourenvironmenthastooffertous.Atthecoreofourexistenceisthenaturalworld,itscharacteristics,anditsvariouslaws.However,wemasqueradeandactasifwearethemastersoftheearth.Weseemtocontinueourtraveldownthepathofexcessanddestructionashumansonthisearthwhiledisregardingthattheearthisactuallywhatisprovidinglifeforusinthefirstplace.WorksCited(MLAFormat):
• Erdrich,Louise.“WindigobyLouiseErdrich.”PoetryFoundation,PoetryFoundation,
www.poetryfoundation.org/poems/43086/windigo.• “LouiseErdrich.”Wikipedia,WikimediaFoundation,Dec.2017,
en.wikipedia.org/wiki/Louise_Erdrich.
Reporter/Author-JessicaRoy,JenniferKent:Shortcopiedbioaboutreporter,JessicaRoy(nodetailedinformationlistedonline):“JessicaRoyworksontheaudienceengagementteamattheLosAngelesTimes.Shecoverspopculture,politicsandtechnology.”JenniferKentisanAustralianwriterandactresswhorecentlyhadhermotionpicturedebutwithherfirstcriticallyacclaimedmovie,TheBabadook.Overhercareershehasfocusedonthesupernatural,queer,
monstrified,andotherthroughmonsterstories,televisionshows,andmoviesworkingonthingsfromtheAustralianversionoftheTheTwilightZone(calledTwoTwisted),self-directedshortfilmsabountmonsters,etc.Summaryof“TheBabadookasanLGBTiconmakessense.No,really.”&Babadook:Ifeltitwasimportanttocoverthisparticularmediaarticleinthisanthologybecausemediaandthepublic’sviewofyourworkasamonsterandhorrorwriterisjustasimportantasthemeaningyouweretryingtoportrayasthecreator.TheBabadookisaboutamonsterwholivesinafamily’sbasementandhauntsthemthroughabookthatmysteriouslyappears(evenafterbeingdestroyedseveraltimes)intheirhouse.ThismoviewasnotmadetorepresentLGBTQrightswhenitwascreated,buttheBabadookmonsterhasevolvedintoanLGBTQiconbymistake.ThroughtheBabadookbeingmistakenlyaddedtothe“LGBTmovies”categoryonNetflix,jokesstartedtopopupwheretheBabadookwaseithersuperimposedoverarainbowflagortheBabadookhimselfwouldbepicturedbrandishingarainbowflaginhishandwithabigsmileonhisface.ThismistakebyNetflixstartedaconnectionbetweenqueerothernessandTheBabadookandbecameaniconfromthere.Onerespondertothemistakenphenomenonsays,“Inthismoment,whobetterthantheBabadooktorepresentnotonlyqueerdesire,butqueerantagonism,queerin-your-faceness,queerqueerness?”Weoftenputthedescriptionof“different”or“unrelatable”oreven“scary”onthethingsthatwedon’tunderstand.Wegivederogatorydescriptionstoideasorlifestylesthatwedon’tsubscribetosolelybecausewedon’tsubscribetothempersonally.Partofcriticallyanalyzing
culturalmonstersandsymbolsispickingoutwhatsocietalstigmas,pressures,andinstitutionshaveledustotreattheworldandcertainpeopleinitthewaywedoandaskourselves,why?!WorksCited(MLAFormat):
• Roy,Jessica.“TheBabadookasanLGBTiconmakessense.No,really.”LosAngelesTimes,LosAngelesTimes,9June2017,www.latimes.com/entertainment/movies/la-et-mn-babadook-gay-icon-lgbt-history-20170609-story.html.
• “TheBabadook.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/The_Babadook.
• “JenniferKent.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Jennifer_Kent.
Author:ColsonWhiteheadBio:ColsonWhiteheadisanAfricanAmericanwriterandnovelistwhohasbeenawardedtheNationalBookAwardforFictionandthePulitzerPrizeforFiction.Whiteheadusesseveralmethodsthroughouthisworkstodrawattentiontothecurrentworld,socialconstructs,racialtensions,inequalities,assumptions,andissues.ColsonutilizeshishomestateandcityofNewYorkasthesettingformostofhiswritingsbecauseitwastheAmericathathegrewupinandisattachedto.Whileheisattachedtothissettinganditprovideshisroots,hehasverystrongfeelingsattachedtothisplaceanduseshiswritingstodrawattentiontocharacteristicsofthisenvironmentthatshapedhimasanAmericanforbetterorforworse.ColsonwenttoHarvardUniversity,hasbeenfeaturedonOprah’sbookclub,andhashadanovelchosenbyPresidentObamalistedasoneofhispicksforasummerreadinglist.
SummaryofZoneOne:ToapersonreadingZoneOnestrictlyforpleasure,itmaybesomewhateasytoquicklyreadthroughthisnovelpurelyforentertainmentasazombienovel.WhiteheadtakesthesettingofNewYorkandahumanstartedZombieApocalypseandusesittoshinelightonallthethings
aboutlife“BeforeLastNight”thatkeepusinlimbobetweentheworldthatusedtobeandthenowzombie-filledworldthatisreality.WhileWhiteheadcoversmanythingsthatdescribeandcriticizethehumanraceandwhatwillmostlikelyleadusintoazombie-apocalypseasawhole,oneofthemainthemesofthebookisdrawingattentiontoraceandthemaincharacter’slifeasanAfricanAmericanman.Spitz,themaincharacter,realizesasthedays/bookgoesonthatrebuildingthesocietythatledtothedestructioninthefirstplaceisequallyasangering,painful,anddifficultasitwastoseeitallfallapart.Spitzissadlynowabletoexcelinaworldwhereprevioussocialconstructsandexpectations(createdandledbymostlyrich,whiteChristians)nolongerexistandherealizesastimegoesonthatmaybeitwastimeforthosebarrierstofalldown.Weputbarriersuptokeeptheunknown,thescary,thedifferent,theblack,thequeer,thebrown,etc.outinsteadofunderstanding,adapting,andmovingforward.Asalways,wearethemonster,wecreatedthemonster,andtheonlywaytoridourselvesofthesemonstersistoconfronttheharshideasbehindwhywethinkmonstersexistinthefirstplace.Doesthatpreviousworldfilledwithsystemicracism,outdatedtradition,flawedethics,andI’m-Right-You’re-Not-Religionreallyneedtoberebuilt?WorksCited(MLAFormat):
• “ColsonWhitehead.”Wikipedia,WikimediaFoundation,16Nov.2017,en.wikipedia.org/wiki/Colson_Whitehead.
• ColsonWhitehead(Goodreads,etal.“ZoneOne.”ByColsonWhitehead,www.goodreads.com/book/show/10365343-zone-one.
• Whitehead,Colson.Zoneone:anovel.ThorndikePress,2012.
Director/Writer-TimurBekmambetov,SethGrahame-Smith:SethGrahame-Smith:SethGrahame-SmithisanAmericanAuthorwhohasusedtoideaandconceptofzombiesandtheundeadandthenappliedittoseveralhistoricalstoriesandcontexts(PrideandPrejudiceandZombies,AbrahamLincoln,VampireHunter).Alongwithwritingbooks,Sethisalsoafilmproducer,filmdirector,andTVwriter.Grahame-Smithisknownforthisstyleandhasahistoryoftakingexistingworks,publicfigures,popculture,andhistoricaltextsandspinningthemtoincludezombiesorotherculturalmonsters.TimurBekmambetovisaRussian-bornfilmdirectorwhodirectedthefilmforAbrahamLincoln,VampireHunter.HehasanextensiveresumeoffilmsandprojectsinbothRussiaandtheUnitedStatesmostlyintheaction-genre.
SummaryofAbrahamLincoln,VampireHunter:AbrahamLincoln,VampireHunterfollowsanalternatestoryaboutournation’sformerpresident,AbrahramLincoln.ThestoryandmovietakesLincoln’slifeandsuperimposesastoryofvampiresandrevengeoverinsomewhatofacrudeway.Whileonecandefinitelycallslavemasters,sellers,anddriversbloodsuckingmonsters,itishardtonotlookatthisuseofthemonstervampireasjusttheblatantuseofvampirestereotypestodescribearealgroupofpeoplewhocommittedandperpetuatedrealandterribleactsinournation’shistory.WhileanauthorlikeRichardMathesonconfrontsmanyofthevampiremythsthroughoutIAmLegendandattemptstounpackthemandlookattheminadifferentlight(fromtheperspectiveofthelastmanonearth),theALVHfilmseemstotakemostofthosestereotypesatfacevalueandthenappliesthemtothestory.OnepositivethingthatIwouldliketosayabouthisstoryisthatIdothinkitissomewhatimportanttocontinuetoshinelightontheatrocitiesofournation’spast,especiallyinregardtoslavery.Racismisstilloneofthebiggestproblemsfacingusasthehumanspeciesandalotstillhastobedoneinorderforustotrulymoveon.Takinghistoricalstoriesandeventsandthenretellingtheminmoremodernandpop-culturerelatedwaysisagreatwaytoretellthosestoriesandconveytheirveryrealmessagesandmeaningstoanewgenerationofpeople.WorksCited(MLAFormat):
• Bekmambetov,Timur,etal.AbrahamLincoln,VampireHunter.• “TimurBekmambetov.”Wikipedia,WikimediaFoundation,Dec.2017,
en.wikipedia.org/wiki/Timur_Bekmambetov.• ShmoopEditorialTeam.“AbrahamLincoln:VampireHunterThemes.”Shmoop,Shmoop
University,11Nov.2008,www.shmoop.com/abraham-lincoln-vampire-hunter-book/themes.html.
• “SethGrahame-Smith.”Wikipedia,WikimediaFoundation,27Nov.2017,en.wikipedia.org/wiki/Seth_Grahame-Smith.
Author-EmilyFoster:Bio:EmilyFosterisanAmericanAuthorwhoattendedtheUniversityofNorthernColorado.Shewritesaboutcharacterswhoovercomeeitherunsettlinganduncomfortablesituationsandcircumstancesinasocietywherethosecircumstancesareusuallydepictedasotheredor“monstrified.”SheistheauthorofanovelcalledTheDrowningEyesandalsowritesshortstories(liketheonewereadanddiscussedinourclass).SummaryofTheMonsterintheMirrorTheMonsterinTheMirrorshortstorystartsoutbygoingoveraparticulardatingexperiencewherethemaincharacterwhohasautismiskickedoutofthecarnearthebeginningofthe
dateforthereasonthatshewasverydifferentfromthemanwhowastakingheronthedate.Shesawthedifferencesanduniquecharacteristicsofthispersonshewasabouttogoonadatewithasinterestingandenamoringwhileheonlysawthedifferencesthatmadehimuncomfortableandunsettled(whichledhimtokickheroutofhiscarbeforethedateevengottoapointofsubstanceorrealcharacter).Characterswiththingsaboutthemthataretypicallyseenasdisablingorotheringaremonstrified.Thecharacteristicsthatmakethemuniqueandindividualalsomakethemdifferentwhatisconsideredasthenorm.Insteadofbeingembracedasuniqueandindividual,thecharacteristicsareseenasahold-back,somethingscary,somethingdifferent,somethingthatIcan’tdealwithbecauseIamnotlikethatandcan’trelate,etc.Storieswithcharacterswhoovercomeunsettling,uncomfortable,orotheringcircumstancesarejustasuniqueandindividualasthecharactersinthestory.Themonsterisn’ttheother.Wecreatethemonsterwhenheattributethingstotheotherthatmakethemnotrelatable,different,andunalike.WorksCited(MLAFormat):
• “TheMonsterintheMirror:OnHorror,Disability,andLovingBothatOnce.”Tor.com,15Mar.2016,www.tor.com/2016/03/15/the-monster-in-the-mirror-on-horror-disability-and-loving-both-at-once/.
• June26,2016·byEmily·inHowNottoFall,etal.“Emilyfoster.”Emilyfoster,emilyfosterwrites.wordpress.com/.
• “EmilyFoster.”Tor.com,www.tor.com/author/emily-foster/.• “EmilyFoster|Authors|Macmillan.”USMacmillan,
us.macmillan.com/author/emilyfoster/.
Author-Dr.Seuss:Bio:Dr.SeussisoneofthemostcelebratedAmericanchildren’sbookauthorsandillustrators.Hisworkssoldover600millioncopiesandhasbeentranslatedintoover20differentlanguages.OvertheWorldWarIIera,SeusscreatedmanypoliticalcartoonsfortheTreasuryDepartmenttheWarProductionBoard(1940’s).SomeofSeuss’smostwell-knownandcelebratedworkswerewrittenpost-WWIIinhishomeinCalifornialikeCatInTheHat,HowTheGrinchStoleChristmas,andmore.SummaryofTheLoraxTheLoraxisaboutacuriousboywhogoestotownelderinordertofindmoreaboutandknowthestoryoftheLorax.Helearnsfromtheelder(orOnce-ler)ofhowhistownwasdestroyedovertheyears(by
loggersandeconomists)andalsowhathecoulddoasanindividualtorestorethetowntoitsformerglory.Oneofthelastthingsthattheeldertellstheboyisthathehastocareabouttheenvironmentandhowwechoosetouseitasinhabitantsoftheworldifwereallywanttoseechangeandimprovementinhowwehavedestroyedandtakenadvantageofithistorically.Ifwedonotcare,therestoftheworldwillgothewayoftheTruffulaTreeandeventuallydisappearintononexistence.Ifwedocare,ifweplanttreestogrowaforest,talktotheloggersandtheeconomistsandhelpthemtounderstandthelong-termimplicationsofourindustrialandcommercialactivities,andifweprotectourenvironmentfromthehackofanaxe,wecanmakechangeandensurethatfuturegenerationscanenjoytheTruffulaTreeaswell.“AccordingtoCarlJung,mythshavebecomeanimportantaspectofpopularculturebecausetheytendtocompensateforthoseaspectsofpersonalitythataremostneglectedinasociety(Friedman)…TheLoraxasamonsterisculturallysignificantbecauseitsignifiesthevoiceofreasoninthemyth.WhentheLoraxwarnstheOnce-leroftheconsequencesofcuttingdowntheTruffulatrees,itevokesemotionsoffearandanxietyofwhatwillhappenwhenthelasttreegetscut.TheLoraxisacharacterinpopularculturethatcontainsadeepermeaningwhendemystifyingthestoryabouttheissuesofcapitalismthatarerelevantintoday'ssociety,whichrendersitsculturalsignificance.”WorksCited(MLAFormat):
• Seuss.TheLorax.HarperCollinsChildrensBooks,2017.
• “Dr.Seuss.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Dr._Seuss.
• ShmoopEditorialTeam.“TheLorax.”Shmoop,ShmoopUniversity,11Nov.2008,www.shmoop.com/lorax/.
• “MonstersofPopularCulture:TheLorax.”MonstersMonstersEverywhere,monstersmonsterblog.blogspot.com/2012/09/monsters-of-popular-culture-lorax.html.
Author-SandraCisneros:SandraCisnerosisaMexican-Americanauthorwhoismostwell-knownforherbookTheHouseonMangoStreetandhershortstoryWomanHolleringCreek,aretellingofthemonsterstoryLaLlorona.AsaMexican-American,CisneroshashadalifeofexperienceintheracialinjusticeagainstLatinxsandLatinx-Americans.Shealsogrewupastheyoungestandonlyfemaleinafamilywith6brothers–becauseofthesecircumstances,sheaddressesandunpacksthesesocialandculturalcircumstancesinherliteraryworks.Alongwithbeingacelebratedauthor,Cisneroshasbeenateacher,acounselor,poetinschools,artsadministrator,andmore.SummaryofWomanHolleringCreek:WomanHolleringCreekisanimportantpieceofMexican-Americanliteraturebecauseitaddressa
mythicalMexicanculturalmonstercalledLaLlorona.Mexicanhistoryinregardtowomen’srightssadlynotverydifferentfromAmericanhistoryinmanyways.Womenwereexpctedtoperformcertainroles,lookacertainway,docertainthingswiththeirlives(mostlyrevolvingaroundhomemakingforthemanandtakingcareofthechildrenwhilethemanworkedtoprovideforthefamily).Thiswomanwhospentallofherlifeworriedabouthowshelooked,ifshewasgoingtomarrythe“manofherdreams”,andwhathaveyouwasshapedbysocietytoactinsuchaway.Shegetsthehusbandofherdreams,theyhavechildren,sheismistreated(wasexpectedandnormalatthistime),sheisleftbyherselfforthemostpart,andovertimerealizesthatthisjustisn’tthepersonwhoshereallyis.Thelifeshewaslivingwascreatedbyexpectation,notbyherowndriveanddesires.Thegrief-strickenmother/womanwhoinemotionaldistresswhensheseesherhusbandwithanotherwomandecidestodrowntheirtwochildrenintheriver.Evenfurtherstrickenbygrief,shestaysbytheriveranddiesherself.Peoplestillsaythatshehauntstheriver(WomanHolleringCreek)andthattheycanhearthewomanholleringforherchildrentocometoher.
InCisnerosstory,thewoman(withthehelpofherfriends,womeninthecommunity,someevolutioninsocietyandtreatmentofwomanovertime),decidestomadethedecisionsheneedstoforherselfandGETOUTOFTHERE.ThewomanwhohelpshertaketheplungepicksherupandastheycrossWomanHolleringCreekonthewaytohernewlifeasanindependentwomansherealizesthatwomencanbeindependent,wild,powerful,masculine,andproudasthewomandrivinghollersastheycrossthebridgeoverthecreek.Awomanholleringisn’talwayspainfulorsadlikeitdescribedinthemovies,stories,andsociety.Awomancanhollerforjoy,forsatisfaction,forglory,andforwhateverthehellshewantstohollerfor,damnit!WorksCited(MLAFormat):
• “SandraCisneros.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Sandra_Cisneros.
• Cisneros,Sandra.Womanholleringcreek.Bloomsbury,2004.
Author-JulioCortázar:JulioCortázarisaknownasoneofthefoundersoftheLatin-AmericanBoomandisfamousArgentinianauthorwhoismostwell-knownforhisshortstories,essays,andnovelswrittenfromtheperspectiveofArgentinianculture,socio-economicissues,geography,andlife.HismanyshortstoriesarecollectedintoasingleworkcalledtheBestario,whichiswherethestoryLaCasaTomadacanbefound.SummaryofCasaTomada:CasaTomadaisastoryaboutabrotherandsisterwhoinhabitaninheritedhouseinanaffluentareaofBuenosAires,Argentina.Thehouseisverylarge(duetothe
brotherandsisterbeingfromarichfamily),butthebrotherandsisteraretheonlytwoinhabitantsofthe8-bedroomhouse.Thetwoarerichasaresultofthemoneytheirdeceasedfamilyhadleftthemalongwiththehouseandtheydonotneedtoworktoprovidealivingforthemselves.Thesisterspendshertimeknitting,thebrotherspendshistimecollectingstampsashisancestorsdid,andtheysharethecookingandcleaningduties.Overtime,theyhearnoisesintheirhousecomingfromanentitytheydescribeas“they”andabandonthepartsofthehousethenoiseiscomingfrom.Throughoutthestory,thebrotherandsisterclosedoors(putupbarriers)tothosepartsofthehouseuntiltheentirehousehasbeentakenoverandtheyareessentiallyforcedoutwithoutanyoftheirbelongings.
Whilethisstoryhasthepotentialtobeanalyzedindifferentways,I’dliketofocuson“theother”inthisstory.Theothercanbeseenasthebrotherandsisterinawaysincetheyaretheonesunderattack.Theyaretheoneswhoarebeinghauntedbysomesortofthingandpushedoutoftheirhouse.Overthestory,theyareslowlybecomingthe“othered”untiltheyhavebeencompletelykickedoutoftheirhome.Thistypeofsituationcanberelatedtoanysortofcolonizationorconquestthroughouthistory.Ontheoppositehand,youcanseetherestoftheworldbeingtheothertothebrotherandsister.Boththebrotherandsisterareverymuchunliketheworkingclassinthattheydonothavetowork.Alltheydoisexistinthishouseshutawayfromtherestoftheworld.Whilethebrotherandsisteraredriventomadnessbythemundaneandtherepetitivenessoftheirboringlivesandgiantemptyhouse,theyshutouttherestoftheworldaroundthembecausetheyknownothingotherthanaffluence.Theydonotknowahardday’sworkorhowtosocializewithstrangers.Therestoftheworldistheothertothem.Thisstoryandthe“othering”goingonthroughoutcanbeparalleledwithCortazar’sfeelingstowardsJuanPéronatthetimehewrotethisstory.WorksCited(MLAFormat):
• “JulioCortázar.”Wikipedia,WikimediaFoundation,Dec.2017,en.wikipedia.org/wiki/Julio_Cort%C3%A1zar.
• Cortázar,Julio.Casatomada.Plaza&Janés,1995.• “JulioCortazarCasaTomadaAnalysis.”UKEssays,
www.ukessays.com/essays/spanish/treatment-of-the-outsider.php.
