Grim, Ghastly and Grotesque: New Horror Fiction
Mannequins, such as statues and cast dolls, are not intimidating because of their wonders, but different: They are very good. With bold, carefree and careless words about the suffering of the living, manququin shows that the human mind alone is useless. They are dangerous to perfection, and in front of them someone faces the challenge of being liberated and compared.
Mu NIGHT OF MANNEQUINS (Tordotcom, 135 mas., Paper, $ 13.99), Stephen Graham Jones delves into these things to see the distractions of growth. A group of high school friends have found Manny, a “white nude dress” like “Ken’s big toy,” their last year near a river. All year long, Manny goes between them and then forgets about it. As their senior year approaches, the author decides to “repay her for this” as a way of “honoring the children we have lived with.” The result is not what he expected, and it makes a dangerous myth that is strange and magical in exchange. Filled with questions about change and relationships, “Night of the Mannequins” is an unstable story that portrays Graham Jones’ signature as intelligent, irreverent.
A negative look at the mannequins can be found in Junji Ito’s painting on Edogawa Ranpo’s story “Unreachable Love.” The wife hears her husband making love to his masters in the upstairs room and, on his way back, finds a “cold, lifeless toy. The increase in space was very painful and frightening to me.” amisili, VENUS IN THE Blind Place (Viz Media, 272 p., $ 22.99). The book features some of Ito’s shortest pieces, such as “Billions Lives Alone”, where the discovery of two bodies “intertwined” with a fishing line opens up a mystery in a world where many corpses are connected. I really liked Ranpo’s other adaptation, “The Human Chair,” referring to the “evil chair-maker who became obsessed with cruelty” and “hid himself inside the chair he built and devoted himself to his own distractions.” Poe, as well as a pen by Taro Hirai (1894-1965).
1964 French textbook CALLER (Valancourt, 176 mas., $ 15.99), Writer Roland Topor, transformed into a horror movie by Roman Polanski in 1976 – eight years after his “Rosemary’s Baby” – was later forgotten; just released by RB Russell’s latest statement. Interpreted by Francis Price, the book follows unscrupulous Monsieur Trelkovsky and social activists as they enter a house in Paris, and are actively ostracized by their neighbors. The biggest problem Trelkovsky faces is one of the erasers: He desperately wants a house, but can’t find his place. He was forced to leave his old home, and he thought: “Some are coming in … and it is a perpetual assertion that the so-called Monsieur Trelkovsky lived here long ago. Unknowingly, from one day to the next he would have died.”
Threatening neighbors is a story that Topor was well aware of. During World War II, his father was imprisoned in a prison in Pithiviers, and he fled before being sent to Auschwitz. The French landlady from Topor turned to the couple, took their belongings and tried to inform the government of her father’s whereabouts. After the war ended, they charged him with what he owned and returned to their old home, where he lived, and paid the rent for the woman who had given them up.
In his opening remarks, Russell wrote that “Tenant” is not a book about being foreign. … It is about the ignorance of the people we all want to be with. “While Topor, who was also an artist, is often regarded as an extremist,” Tenant “is a natural, portrait of his contemporaries who are well-suited to the idea of our torture: Even an ordinary person with a polluted air and a comb can do shit.