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Disturbia 1 the House Down the Street: the Suburban Gothic In Notes Introduction: Welcome to Disturbia 1. Siddons, p.212. 2. Clapson, p.2. 3. Beuka, p.23. 4. Clapson, p.14. 5. Chafe, p.111. 6. Ibid., p.120. 7. Patterson, p.331. 8. Rome, p.16. 9. Patterson, pp.336–8. 10. Keats cited in Donaldson, p.7. 11. Keats, p.7. 12. Donaldson, p.122. 13. Donaldson, The Suburban Myth (1969). 14. Cited in Garreau, p.268. 15. Kenneth Jackson, 1985, pp.244–5. 16. Fiedler, p.144. 17. Matheson, Stir of Echoes, p.106. 18. Clapson; Beuka, p.1. 1 The House Down the Street: The Suburban Gothic in Shirley Jackson and Richard Matheson 1. Joshi, p.63. Indeed, King’s 1979 novel Salem’s Lot – in which a European vampire invades small town Maine – vigorously and effectively dramatises this notion, as do many of his subsequent narratives. 2. Garreau, p.267. 3. Skal, p.201. 4. Dziemianowicz. 5. Cover notes, Richard Matheson, I Am Legend, (1954: 1999). 6. Jancovich, p.131. 7. Friedman, p.132. 8. Hereafter referred to as Road. 9. Friedman, p.132. 10. Hall, Joan Wylie, in Murphy, 2005, pp.23–34. 11. Ibid., p.236. 12. Oppenheimer, p.16. 13. Mumford, p.451. 14. Donaldson, p.24. 15. Clapson, p.1. 201 202 Notes 16. Ibid., p.22. 17. Shirley Jackson, The Road Through the Wall, p.5. 18. Friedman, p.79. 19. Shirley Jackson, Road, p.5. 20. Anti-Semitism in a suburban setting also plays a part in Anne Rivers Siddon’s The House Next Door and, possibly, in Richard Matheson’s I Am Legend (in which the notably Aryan hero fends off his vampiric next-door neighbour with a copy of the Torah). 21. Shirley Jackson, Road, p.43. 22. Friedman, p.84. 23. As we shall see, the suburban community as lynch mob is a common trope in the Suburban Gothic. 24. Jackson, Road, p.206. 25. Ibid., p.213. 26. Oppenheimer, p.17. 27. Ibid., p.16. 28. Quoted in Oppenheimer, p.125. 29. Oppenheimer, p.125. 30. As is obvious in her later novels, physical boundaries such as walls and gates frequently isolate the Jackson protagonist from the real world, and find reflection in the psychological containment and self-obsession of her characters. 31. Oppenheimer, p.18. 32. Joan Wylie Hall’s ‘Fallen Eden in Shirley Jackson’s The Road Through the Wall’ (in Murphy, 2005) furthers this contention by claiming that Road contributes to a prominent theme of much Californian literature: the loss of innocence in the Eden of the final American frontier. 33. Wharton, p.106. 34. ‘Richard Matheson’ The Science Fiction Encyclopaedia, (London: Orbit, 1993) p.585. 35. Winter, p.40. 36. Hereafter shortened to Legend. 37. Interestingly, Jack Finney’s Invasion of the Body Snatchers (1955) was also set in 1976, although, as in Matheson’s novel, the future still seems very like the 1950s. As to the reasons why this year was chosen as the setting for two of the decade’s seminal sci-fi/horror novels it seems likely that since 1976 marked the 200th anniversary of the founding of the United States (the bicen- tennial) it represented a useful milestone for nightmarish narratives such as these. 38. Oakes, p.105. 39. Ibid., p.45. 40. ‘Houses for the Atomic Age!’ The Golden Age of Advertising: The 50s (Taschen, 2004) p.55. 41. Newman, p.66. 42. Zicree, pp.90–2. 43. Fox Television, Episode 2F11. Original US airdate 5 February 1995. 44. The low-budget thriller Right at Your Door (2006), provided a interestingly post 9/11 variation on this theme, as the detonation of several so-called Notes 203 ‘dirty bombs’ in downtown Los Angeles forces a slacker suburban husband to seal up his home with duct tape and wood. He spends much of the film denying access to his pleading wife, who had been dangerously close to the bombs when they went off, and is therefore, according to official broadcasts, one of the ‘contaminated’. In an ironic twist, at the climax of the film it is revealed that by remaining inside, he is the one who has become irradiated, not her, and in a scenario reminiscent of that seen at the climax of films such as Romero’s The Crazies (1973), David Cronenberg’s Rabid (1977) and the 2007 Spanish Zombie movie [REC] he is sealed in forever by the military and left to die. 45. Matheson, Legend, p.8. 46. Jancovich, p.149. 47. Matheson, Legend, p.44. 48. Ibid., p.13. 49. Ibid., p.110. 50. Winter, p.40. 51. Matheson, Legend, p.10. 52. Avila, 2004. 53. Ibid., p.35. 54. Matheson, Legend, p.23. 55. Ibid., pp.26–7. 56. Ibid., p.30. 57. Ibid., p.53. 58. Ibid., p.153. 59. Ibid., p.157. 60. Ibid., p.160. 61. Ibid., p.160. 62. Matheson, The Shrinking Man. Hereafter shortened to Shrinking Man. 63. Matheson, Shrinking Man, p.175. 64. Ibid., p.186. 65. Hereafter referred to as Stir for convenience sake. 66. Though overshadowed by the release of the similarly themed The Sixth Sense in the same year, the 1999 movie adaptation of Stir of Echoes (starring Kevin Bacon) is actually a surprisingly effective and engaging movie which intelli- gently updates Matheson’s original text. The middle-class, suburban setting of the original has been replaced however by a distinctly urban, blue-collar setting, and Tom Wallace is now a working-class telephone repairman rather than a young executive type. 67. Matheson, Stir of Echoes, p.69. 68. Ibid., p.106. 69. Ibid., p.43. 70. Ibid., p.43. 71. Ibid., p.104. 72. Ibid., p.44. 73. Ibid., p.48. 74. Ibid., p.49. 75. Ibid., p.121. 76. Ibid., p.180. 204 Notes 2 Conjure Wife: The Suburban Witch 1. Sharon Russell, p.115. 2. Ibid., p.116. 3. Karlsen, p.xii. 4. Rosenthal, p.3. 5. Hoffer, p.xv. 6. Rosenthal, p.2. 7. Creed, p.76. In an interesting discussion indebted to Russell’s earlier arti- cle, Creed briefly traces the depiction of the witch in film as a prelude to her discussion of Brian De Palma’s 1976 horror movie Carrie. The ‘witch as housewife’ trope is mentioned only in passing. 8. Sharon Russell, p.117. 9. Ibid., p.121. 10. Ibid., p.121. 11. Klaits, p.119. 12. Filmed as Weird Woman (1944), Burn, Witch Burn! (1962: Also known as Night of the Eagle) and Witches’ Brew (1980). 13. Smug male academics also play an important role in Jack’s Wife. 14. Leiber, p.9. 15. Ibid., p.5. 16. Ibid., p.12. 17. Ibid., p.17. 18. Ibid., p.23. 19. Ibid., p.61. 20. Ibid., p.63. 21. Ibid., p.124. 22. Herbie J. Pilato, Bewitched (Tapestry Press, 2004). 23. Reprinted in The First Mayflower Book of Black Magic Stories, (ed.) Michael Parry (Frogmore: Mayflower, 1974). 24. Beaumont, p.132. 25. Season 6, Episode 15. First shown on 7 March 1999. 26. In an interesting contrast to her role in Bewitched, Montgomery would later play the lead role in the made-for-television movie The Legend of Lizzie Borden (1975) based on the case of nineteenth-century New England’s most famous alleged murderess. 27. Gerard Jones, p.174. 28. Marc, p.107. 29. Ibid., p.109. 30. Shirley Jackson also resided in Westport with her husband and young family from 1949–59, before moving to the Vermont town of North Bennington, where she lived for the rest of her life. 31. See also the television show Mad Men (2007–) which is similarly about the relationship between a work-obsessed ad man and his frustrated wife. 32. Gerard Jones, pp.178–9. 33. Ibid., p.77. 34. Chafe, p.123. 35. Clapson, p.125. 36. Skolnick, p.57. Notes 205 37. Patterson, p.361. 38. Ibid., p.363. 39. Chafe, p.123. 40. Degler, p.418. 41. Ibid., p.418. 42. Chafe, p.125. 43. Ibid., p.123. 44. Patterson, p.368. 45. Degler, p.423. 46. Ibid., p.430. 47. Ibid., p.430. 48. Skolnick, p.102. 49. Gerard Jones, p.177. 50. Marc, p.113. 51. Gerard Jones, p.179. 52. Skolnick, p.51. 53. Ibid., p.52. 54. Indeed, I have come across just two critical discussions of the film, the better of which is that by Tony Williams in his excellent book The Cinema of George A. Romero; the other by John Muir in his encyclopaedic Horror Movies of the 1970s, pp.123–4. 55. These scenes feature the unmistakable stereotype of the 1970s suburban cocktail party – cheesy music, kaftans, stiff drinks, big hair, and innuendo- laden chit chat – also seen in contemporary texts such as The House Next Door, The Stepford Wives, and The Exorcist, but also in nostalgic 1990s novels such as Rick Moody’s The Ice Storm. 56. Rather more recently, the ‘witchcraft as drug’ metaphor also became the basis for an episode of Buffy the Vampire Slayer (‘Wrecked’, Season 6, Episode 10), in which Willow becomes hopelessly addicted to the energies generated by forbidden magical practices. 57. John Muir, Horror Movies of the 1970s, p.124. 58. In an interesting paper on Jack’s Wife delivered at the 2007 International Gothic Association Conference in Aix-en-Provence, France, Christophe Chambost provided a rather more optimistic reading of the film in which he noted that the final scenes featured no men at all, and suggested that Joan has actually attained freedom and independence after all, and that her actions would inspire other women to subvert social norms.
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