horror fiction

HORROR : 

HORROR Horror fiction is, broadly, fiction in any medium intended to scare, unsettle, or horrify the audience. Historically, the cause of the "horror" experience has often been the intrusion of an evil —- or, occasionally, misunderstood —- supernatural element into everyday human experience.

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Since the 1960s, any work of fiction with a morbid, gruesome, surreal, or exceptionally suspenseful or frightening theme has come to be called "horror". Horror fiction aims to evoke some combination of fear, fascination, and revulsion in its readers.

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This genre, like others, continues to evolve, recently moving away from stories with a religious or supernatural basis to ones making use of medical or psychological ideas.

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What makes horror literature so pervasive is that its need to evoke the necessary atmosphere and sense of emotional dread is utterly dependent on who we are as readers -- as people. As children, we might be afraid of the shadows looming from a half-closed closet door or of the monster we believe lies under the bed.

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Terrors of the imagination run wild at that age. As adults, our fears become more sophisticated, more grounded in worldly events. They become the death of a loved one, the terminal illness of a small child, the fear of our lives running out of our control. Horror, by nature, is a personal touch -- an intrusion into our comfort levels. It speaks of the human condition and forcibly reminds us of how little we actually know and understand.

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If you take the old definition and scrape away all the monsters under the bed and the vampires and the ghosts, horror is about fear. It’s about abnormal occurrences happening to normal people, which they are often powerless to prevent. Lots of novels that aren’t considered horror are based around fear, have but they’re different, that’s a different kind of fear.’

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Imagine you are in bed at night, naked and all alone, you’ve just woken up and hear a noise outside the bedroom door. On the other side could be a ghost or a monster, or it could be a maniac with a sharp knife and a grin. One option comes straight from the pages of a traditional horror story, and the other from crime or suspense.

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But is there really any difference? Obviously, one has a supernatural bent, and the other does not, but both focus on fear. For both types of fiction the fear comes from horrific and abnormal events happening to ordinary people. The fear comes from the belief that that person could be you.  That is horror.

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Usually horror stories seek to frighten those who watch them.. The main character in those narratives is usually unstable, suffering from difficult circumstances, and lives in an ambiguous setting, so that the viewer expects the worse for the protagonist.

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And these three features make watching or reading these kinds of books interesting. The setting of many of those stories is an old house, or an ancient mansion with underground corridors,, and secret chambers.

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The story also has its own secrets and methods for revealing them. The narrative depends on a secret which must be uncovered. If the truth is a light, the path leading to it is dark and dangerous

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Horrific situations are found in some of the earliest recorded tales. Many myths and legends feature scenarios and archetypes used by later horror writers. Tales of demons and vampires in ancient and more recent folklore were often quite horrific.

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Modern horror fiction found its roots in the gothic novels that exploded into popularity in the late 18th and early 19th centuries, typified by Horace Walpole's The Castle of Otranto (1764) as a prototype, and refined by Ann Radcliffe's Gothic novel The Mysteries of Udolpho (1794). A variation on the Gothic formula that remains one of the most enduring and imitated horror works is Mary Wollstonecraft Shelley's novel Frankenstein (1818, revised version 1831).

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Frankenstein has also been considered science fiction, a philosophical novel or a 'novel of purpose' by some literary historians. At the same time, John William Polidori devised the kind of vampire story that has since become familiar with his short story The Vampyre. This kind of supernatural character, combining evil with sinister charm, has since been much used and elaborated by horror writers.

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