SHOCK VALUE

HOW A FEW ECCENTRIC OUTSIDERS GAVE US NIGHTMARES, CONQUERED HOLLYWOOD, AND INVENTED MODERN HORROR

An entertaining history of the metamorphosis of the horror film during the 1970s from a cult genre to a major part of mainstream Hollywood.

Today’s filmgoers may think nothing of going to the local multiplex to see the latest incarnation of the Saw franchise, but New York Times theater reporter Zinoman reminds us of a time when such fare was restricted to drive-ins, while “mainstream” horror consisted of cheesy Vincent Price movies or vampire films from Britain’s Hammer studios. The change is attributed to a group of maverick writers and directors including Wes Craven, John Carpenter, Tobe Hooper and George Romero, makers of such films a Night of the Living DeadThe Last House on the LeftThe Texas Chainsaw Massacre and Halloween, which created a new type of horror based on reality instead of fantasy. The author investigates the cultural conditions that made the “New Horror” possible, and Zinoman is particularly interested in the personal aspects of the genre, including the influence of the creators’ family lives and the idea that the appeal of horror movies is closely tied to childhood experiences. The author deeply explores the transition from the grindhouse to the mainstream theater through such movies as Rosemary’s BabyCarrie and The Exorcist, as well as the commercialization of the genre into the sequel-producing monster of today. Zinoman sometimes stretches a bit with his psychoanalyses, and the narrative structure can be somewhat awkward, but the characters and stories behind the films are engaging enough to keep even casual readers involved. The author also includes interviews and first-person recollections with many of the participants, and there is no shortage of juicy gossip, notably the falling-out between Carpenter and his film-school partner and Alien creator Dan O’Bannon. Like many trailblazers, O’Bannon and others, including Hooper, often failed to profit from their influential work, and Zinoman argues that the promise of the New Horror remains largely unfulfilled. An engrossing look at an important cultural moment and a valuable addition to the canon of popular film history.

 

Pub Date: July 11, 2011

ISBN: 978-1-59420-302-2

Page Count: 272

Publisher: Penguin Press

Review Posted Online: June 28, 2011

Kirkus Reviews Issue: July 1, 2011

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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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