Every once in a while you read an inspirational book.I’m hoping readers will keep in mind that inspiration comes from different locations for some of us.Monster, She Wrote: The Women Who Pioneered Horror and Speculative Fiction, by Lisa Kröger and Melanie R. Anderson, is a source of inspiration.With the usual Quirk Books touches, this isn’t a tome heavy on literary criticism, but it is a wonderful compendium of brief bios on women who walk(ed) on the dark side.I find books like this encouraging in a number of respects.First of all, these are women who did what they loved and were recognized for it.Secondly, it gives the rest of us some hope that getting through the establishment to actual publication isn’t as impossible as presses would have us believe.And third, it’s also a lot of fun.
It isn’t often pointed out that women played a major role in the development of the horror genre.Some of the earliest Gothic novels were by Ann Radcliffe and Margaret Cavendish.Probably the first fully fledged horror novel was Frankenstein, by Mary Shelley.The real learning kicks in when the other names come out—many women found, and continue to find, the genre compelling.Most of them, like most of us, are lost to history, but many of them have been rediscovered.Here again is cause for hope; those of us who write, I think, have our eyes set on the far distant future.We’re inscribing our “Kilroy was here” on paper—I still can’t think of ebooks as actually existing—in hopes that those down the road might know us a little better.The fact that some of our sisters have been found suggests that we too may be resurrected some day.
There’s no plot here, and the point isn’t to present some great discovery.This is a book that encourages women to be who they are through example.The fact that it involves monsters and horror is simply a bonus.As a non-female reading this it struck me time and again that women have long been informed of what they should or could do by men.Men don’t like to see women knowing as much as they do about the shadow side of human existence, even as they relegated them to the shadows.It’s my hope that this book will inspire women to be themselves.And if they want to invite monsters along, so much the better.
The Essex Serpent isn’t what it appears to be.Sarah Perry’s debut American novel (although it’s her second elsewhere, publishing being the strange beast that it is) was much anticipated.Like the serpent itself, the novel is difficult to describe.It comes down to a minister, a widow, and the people with whom they associate.Instead of going through the complex storyline, I would instead note that once again a novel that explores religion has garnered quite a lot of attention.It’s difficult to believe the official narrative that we’re constantly fed that religion is well beyond its expiration date when it continues to appear in print media as a prime motivator for people in all kinds of situations.Novels, however, aren’t popular in the way television, movies, and video games are, so this is worth pondering.
While novels are sometimes disparaged in higher education, their clientele tends to be an educated one.It takes more commitment to sit down and read a 400-page tome than it does to flip on some device and meander from app to app, channel to channel, or website to website.Novel reading takes some concentrated effort.Remembering characters and connections across a span of days or weeks as you wend your way through.And one thing novelists do, at least in my experience, is explore the way religion makes us who we are.I don’t choose novels for that reason; I thought The Essex Serpent would be a monster story (remember, I don’t read reviews before reading the book).
My guess is that if you read this blog you’re a potential reader of novels like this, so I won’t offer any spoilers.The book is suffused with biblical language, as befits a story with a clergyman as a major character.The protagonist, however, is an irreligious widow on a journey of self-discovery.Having been dominated by a wealthy husband, she now explores paleontology in a Victorian context.Although the year is never stated, the novel manages to find that Gothic near-ghost-story feel with the close interplay of death by consumption and fear of the dark.It’s not a scary book by any means, although there’s plenty of mist in Essex, and a little gruesome detail of what people can do to each other.The novel caught my attention via reviews I never read and has left me pondering what I’ve just experienced.And it has reinforced my conviction that, despite what the critics may say, religion is what motivates us, whether we admit it or not.And serpents may not be what they seem.