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Bordering On Fear: A Comparative Literary Study of Horror Fiction by Aalya Ahmad, B.A. (Hons), M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute of Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada January, 2010 ©2010, Aalya Ahmad Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-63864-4 Our file Notre reference ISBN: 978-0-494-63864-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1*1 Canada Abstract The emerging academic field of horror studies that has been mapped out by die work of cultural studies, film and feminist theorists tends to emphasize horror films while neglecting all but a handful of novels. Academic horror criticism, in producing theory, has also tended to ignore the role of horror fans. In literature, horror has become almost entirely subsumed under the category of the Gothic. Beginning with a comprehensive overview of the scholarship to date, this dissertation takes issue with the "Gothic consensus" that written horror fiction is covered by the Gothic, arguing that more analysis of horror literature, and particularly more acknowledgement of the importance of short horror stories, is required in order to better represent the field. This issue is situated within the context of what the dissertation calls "fan(g)dom," referring to the range of practices that constitute, condition and distinguish both individual and collective responses to horror, including discourses of affect. The dissertation explores theories of the representation of generic figures, arguing that changes in the horrific affect of these creatures occasioned by shifting cultural and political discourses must be taken into account. In order to analyze what Edgar Allan Poe proposed as a "unity" of affect in written horror, the dissertation employs narrative theory to identify recurring affective elements as they appear in a wide range of short modern horror stories. This dissertation makes a significant contribution to the field by demonstrating that the marginalized short horror story which has never relinquished its ties with oral narrative is central to the Ango-American horror tradition. In keeping with its project of breaking down the scholar-fan divide, the dissertation offers an interpretive framework towards a poetics of horror that is informed by both scholarly and fan knowledge, and that can be used to compare and contrast horror fictions of all kinds. ii Acknowledgements To paraphrase the Grateful Dead, it has been a long, strange trip. My gratitude goes to the people who kept on believing in the project despite the many lengthy delays, roadblocks and dry spells to which it has been subjected since I first embarked upon my research. These people have sustained this work over the course of many years. They have brought me cups of coffee, cooked, cleaned and babysat, filled in for me in various capacities, typed and formatted, and offered encouragement in difficult times. Without them, this dissertation would never have been completed. Firstly, I must thank my supervisor, Dr. Brian Greenspan. His unfailing support and confidence, and his keen observations have made all the difference. I have enjoyed Brian's sense of humour throughout, and will always treasure the draft of one chapter where my inept use of semicolons was noted in bright red ink in the margins with deathly groans, scribbled sketches of dripping knives and severed limbs, and even a bloody cutlass on page forty-two. I am immensely grateful to Dr. Greenspan for seeing this dissertation through to the end with me and for being there at the defence on a day where he was scheduled to undergo surgery. Such dedication both humbles me and makes me proud to be his student. To the internal members of my committee, Dr. Gurli Woods and Dr. Andre Loiselle as well as Dr. Brian Johnson, your thoughtful comments were greatly appreciated. In particular, I would like to thank Dr. Woods for all her kind words of encouragement over the years. I also appreciate the input of Dr. William Beard, my External Examiner. I also acknowledge the assistance of Olga Cada, Administrator at the Institute for Comparative Studies in Literature, Arts and Culture. My colleague and friend, Dr. Victoria Bromley deserves a special thanks for her constant encouragement and willingness to nag me to finish this project. I would also like to thank Dr. Sean Moreland, Poe scholar and fellow ghoul, as well as all the ghouls in Ottawa, both on and off-campus for many enjoyable screenings and discussions about horror. At a recent conference we attended together, Sean kindly provided valuable feedback on the dissertation and reminded me of Poe's principle of the unity of effect. Dr. Zhigang Huang generously volunteered her time for some last-minute editing and formatting. The fans, writers, scholars, directors, and various lurkers and posters from all walks of life on the Horror in Film and Literature listserv which is based out of the University of Indiana have been part of my fan(g)dom for many years now. Some fantastic conversations have occurred on this list and I have learned much from all the contributors, but I would like to particularly acknowledge the kind encouragement and valuable comments of Kate Laity, Pearce Duncan and Todd Mason, talented folks all, who have probably between them forgotten more about horror than I will ever know, as well as thank Mildred Perkins, the "Demon Den Mother," for moderating the listserv. in Just when I had begun to despair of ever finishing "die beast with four chapters," as I had begun to call it, I had the good fortune to be able to explore some of my ideas for the dissertation with the "Monstrous Feminist: Gender and Horror" class I taught at Carleton University in the summer of 2009. These wonderful and enthusiastic students gave me an important and timely reminder of how rewarding academic work can be. To them, I am more grateful than I can express as well as to the Pauline Jewett Institute for Women's and Gender Studies for giving me the opportunity to share my passion for horror fictions, to teach and to learn. My extended family members have excused me on occasions too numerous to count for being flaky, irritable, absent-minded, self-absorbed and generally making myself scarce and unavailable to them during the course of this work, especially during its last stages. I look forward to spending a lot more time with them now that it's finished at last. To my sister Nadya Ahmad, to Giovanna Gossage, Maha Zimmo, Heidi Rimke and Kristin Cavoukian, to Nelson Ford, Joanne Burbidge and Mark Stephenson, to Bianka Lambert, Paul Reich, Pat Gouthreau, Jocelyn Chandler and Sean Good, to Glen Kit and JoAnne D'Aoust, Krim Cole, Linde Behr, J-Ho, Bob D'Errico, Liz Kim, Andrew, Lisa and the girls, Adrian and family, Zoe, Fiona and the Octo-crew, Kier Sider, Cathy Tillsley, MJ Houle, and many others whom I am truly blessed to have in my life, thanks for your patience, assistance, love, support, encouragement and understanding at all stages of this journey. I am also blessed by the unconditional love of Elizabeth and Khalid Ahmad, my parents. Finally, I owe deepest, humblest and most heartfelt thanks to my beloved Dietrich Sider, who in his devoted way, has seen this through to the end with me, and without whom I could never have finished it, and to our daughter Sophia, my little wisdom and much joy. IV Table of Contents Chapter One: Problems of the Horrific 1 1.1 Introduction: Scholars in the Fan(g)dom of Horror 1 1.2: Overview, Part One: Disputed Definitions of Horror 38 1.3: Overview, Part Two: The Gothic Consensus 79 Chapter Two: Genre Mutations in Horror's "Monster Narratives" 104 2.1 Claims Staked on Horror 105 2.2 The Gothicization of Serial Killers 136 2.3 Romancing the Zombie 173 Chapter Three: Towards a Poetics of Literary Horror 186 3.1 An Art of Darkness 186 3.2 The Told Tale at the Heart of Horror 221 3.3 Splatterpunk versus Quiet Horror 258 Chapter Four: The Elements of Horror's Style 277 Conclusion 358 Works Cited 362 Filmography 388 v 1 Chapter One: Problems of the Horrific "What remains to be done? Nothing other than to destroy the present form of civilization.

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