![]() This is an aspect of the trenches on the Western Front that every soldier’s memoir talks about. One of the things that’s important and generally forgotten in terms of soldiers’ and civilians’ experience of World War I is that there probably had been no other time in history when human beings had been exposed to such a large number of dead bodies for extended periods of time. How, to your mind, did the horror genre emerge from World War I? ![]() What I’m trying to do is think about the origins of horror, and not just as popular entertainment, but really as a way to see the world. Including, depressingly, our own mortality. One of the things that runs through my work is the idea that, while monsters are entertaining-and while horror films themselves are commodities, made to make money, made to give us thrills-they’re also a way that we can, at least in an oblique way, think about issues of both violence and death. How does your new book fit in with your earlier research? ![]() You’ve written titles on monsters, Lovecraft, and Vampira, a cult horror figure from the 1950s. ![]()
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