I. What is Horror?
In literature, horror (pronounced hawr-er) is a genre of fiction whose purpose is to create feelings of fear, dread, repulsion, and terror in the audience—in other words, it develops an atmosphere of horror. The term’s definition emphasizes the reaction caused by horror, stemming from the Old French orror, meaning “to shudder or to bristle.”
Horror literature has roots in religion, folklore, and history; focusing on topics, fears, and curiosities that have continuously bothered humans in both the 12th and 21st centuries alike. Horror feeds on audience’s deepest terrors by putting life’s most frightening and perplexing things—death, evil, supernatural powers or creatures, the afterlife, witchcraft—at the center of attention.
II. Example of Horror
Horror should make the reader feel afraid through imagery and language.
Example 1
As the teenage boy stepped into the old mansion, his friends cackling behind him, he thought he could hear things that, he forced himself to believe, were in his head—rattling bones, scurrying rats, hushed whispers…and the slow drip, drip, drip, coming from a spot he told himself wasn’t really there; the red, oozing stain in the ceiling boards above. He only had to spend one hour in the house and he would prove to his friends that he wasn’t afraid. Just one hour. He took one last glance out the door before shutting out the light of the full moon, enclosing himself in complete darkness, with only the sound of his racing, terrified thoughts.
First, example above uses words and phrases that create a creepy, unsettling air—rattling bones, rats, whispers, oozing, and so on. Second, there is an emphasis on the fact that the main character will be continuing his task alone, which is never comforting. Lastly, the setting—an old and likely haunted mansion, darkness, the full moon—helps to accomplish the feeling of foreboding in the situation.
III. Types of Horror
a. Gothic horror
Gothic horror, also known as gothic fiction or gothic fantasy, is a dark style of fiction that combines horror and Romanticism. Its style combines the artistic pleasures of Romantic literature with the frightening elements of horror, making it terrifying in a seductive and pleasing way. Gothic horrors stories are written both with and without supernatural elements, but are always mysterious in nature. Examples include novels like Dracula, Frankenstein, and Dr. Jekyll and Mr. Hyde.
b. Supernatural Horror
A supernatural horror is work of fiction that relies heavily on supernatural or paranormal elements to drive the story, featuring things like ghosts, monsters, demons, aliens, witchcraft, zombies, and so on. The main source of terror in supernatural horrors is the human reaction to being faced with the unknown, usually in the midst of a serious conflict—i.e. a haunting, a possession, an invasion, a curse or omen, etc.
c. Non-supernatural Horror
A non-supernatural horror is a work of fiction that does not include supernatural elements, The terror of non-supernatural horror comes from the idea that what is happening in the story could plausibly occur in real life—usually involving the possibility of death—making it the ideal style for frightening crime or mystery stories.
IV. Importance of Horror
In what is often considered the most important essay on the horror genre ever written, “Supernatural Horror in Literature,” horror fiction author H.P Lovecraft begins by stating, “the oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” Accordingly, horror is important because it unearths an audience’s deepest nightmares and anxieties and truly pushes the limits of human emotion and fear. Appreciably, horror writers often employ topics and ideas that the everyday person would be apprehensive of addressing.
V. Examples of Horror in Literature
Example 1
Short stories are an ideal and widely used form for horror literature, and Edgar Alan Poe is one of literature’s greatest Gothic horror story writers. His short stories are quintessential pieces of the genre and have been inspiring horror authors for decades. Below is a selection from his famous work, “The Tell Tale Heart”:
There came a light tap at the library door—and, pale as the tenant of a tomb, a menial entered upon tiptoe. His looks were wild with terror, and he spoke to me in a voice tremulous, husky, and very low. What said he?—some broken sentences I heard. He told of a wild cry disturbing the silence of the night—of the gathering together of the household—of a search in the direction of the sound; and then his tones grew thrillingly distinct as he whispered me of a violated grave—of a disfigured body enshrouded, yet still breathing—still palpitating—still alive!
Poe expertly chooses his words to develop an air of terror, shock, and mystery. To learn more about the victim—the disfigured but still breathing body—the reader will have to continue, though they fear to find out who or what is responsible for this gory scene.
Example 2
Not all horror has to be directly bloody or violent with its language. For example, William Faulkner’s short story “A Rose for Emily” uses subtle cues and an air of mystery throughout the plotline, without truly revealing Emily’s dark side until the end of the tale—
The man himself lay in the bed. For a long while we just stood there, looking down at the profound and fleshless grin. The body had apparently once lain in the attitude of an embrace, but now the long sleep that outlasts love, that conquers even the grimace of love, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay; and upon him and upon the pillow beside him lay that even coating of the patient and biding dust.
In this passage, Faulkner tells the audience what happened to a man that disappeared from Emily’s town (and the story) years before. He has been found—or rather, his skeleton, which is subtly revealed through the language: a “fleshless grin.” With this short passage, the reader learns that there has been a murder, who the murderer is, and that Emily is more disturbed than anyone ever could have imagined.
VI. Examples of Horror in Pop Culture
Example 1
Present day author Stephen King is a giant in contemporary horror fiction. For 40 years his works have been dominating the horror market in literature and have had a huge presence in film and television—in fact, hundreds of his works have been adapted for the screen. Below is a clip from the icon horror novel and movie of the same name, The Shining:
This clip exhibits a scene from the film that has been a symbol of the horror genre for decades, including the infamous and often repreated phrase, “Here’s Johnny!”
Example 2
Many pieces of horror literature have become cult classic horror films, for example, William Peter Blatty’s supernatural horror novel The Exorcist and the subsequent film, for which he also wrote the screenplay. Below is a clip of a well-known scene from the film, in which the priests perform an exorcism on Regan, a young girl whose body it has been possessed by a demon:
The horrifying nature of this scene is obvious—a possessed child with a grotesque appearance, the presence of a supernatural spirit or demon, the use of religious power or magic to solve the situation, and so on. Though its visual effects may now be outdated, The Exorcist remains one of the most notoriously terrifying and disturbing horror movies to date.
VII. Related Terms
Thriller
A thriller is a genre of whose primary feature is that it induces strong feelings of excitement, anxiety, tension, suspense, fear, and other similar emotions in its readers or viewers—in other words, media that thrills the audience. Essentially all horrors are thrillers because of the nature of their content; however, not all thrillers are horrors.
VIII. Conclusion
In conclusion, horror is a genre of literature designed for readers who want to be frightened and have their imaginations expanded through fear of the unknown and unexpected. It can be combined with other genres and styles to develop creative and frightening tales that leave audiences on the edge of their seats.