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Goodness gracious! There’s some haunting words piled into this essay, one may even say uncanny ones. Besides a couple of really good short stories I haven’t read Mieville so can’t venture to say whether this ultra-specific vocabulary is his style generally or just here, with his tentacle-in-cheek. It’s apt in either case. It did seem to take him a long time to say but a little, but then I agree with what seems to be the crux of the essay, which is the opinion that M. R. James is an highly influential figure in the development of the Weird tale. I would endorse that as I’m in the middle of a James-appreciation patch myself, but I must say I don’t think the actual form of his fiends and bogeymen (it’s true that many of them can’t really be classified as ghosts as such, though they’re clearly far removed from being Lovecraftian entities) has much of an influence on the effectiveness of his work. With James it’s all about the way he establishes his tone, crafting a background of mundanity (in the best sense of the word) into which his terrors emerge. beware the hopping thing. The stories have a charm that is of their time/place, as do the tales of New England in the ‘20s/30s. I did enjoy the drawing of the skulltopus, however. I’ve never thought of octopodes and skulls as being in any way connected before. From now on I won’t be able to resist seeing a link.
For what it’s worth, the last place I saw the Skulltopus was as the Hydra insignia in Captain America. Come to think of it, that might have been the first place I saw it, and yet, appropriately enough, it had a resonance even then of a thing witnessed and not quite fully remembered. Or perhaps I’d never witnessed it, but the synchresis seemed so inevitable that I felt I had.
Either way, fun.
Hauntology haunts the world. Words that change, words that disappear, reappear, or appear from nothing. There’s a whole realm of the supernatural we do not acknowledge because to do so would be to understand that we live in a nightmare.
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I am curious if this is a coincidental usage of the word “hauntology”, bred by necessity, or if it has some relation to the musical “hauntology” of Burial, The Advisory Circle, and Coeur Machant, which was supposedly dismissed as a hoax, or the philosophical “hauntology” which is the current tenant of the pedia article. While the above explanation may be most likely, it appeals to my poetic side that perhaps there is a critical conspiracy to use the word like a clothes-horse for ever more intriguing and modish outfits. Or perhaps, if that is placing too much weight on the concept, then it may be that “hauntology” is a persistent rolling donut at which scholars may send an aerial fornication. For what it’s worth, this literary definition of the word seems the most well-developed. Bravo, again, Mr. Mieville.
Excellent essay. One quibble: James was indeed an antiquary in the sense that the term was used at the time. Although we remember him most notoriously for his supernatural tales, he was also the translator of numerous ancient and medieval manuscripts; he produced the de facto translation of the Apocryphal New Testament, still widely in use to this day:
“The spread of the tentacle – a limb-type with no Gothic or traditional precedents (in ‘Western’ aesthetics) – from a situation of near total absence in Euro-American teratoculture up to the nineteenth century, to one of being the default monstrous appendage of today, signals the epochal shift to a Weird culture.”
What about the kraken in Greco-Roman mythology? Viking legends about squid-like monsters? The appearance of tentacled beasties in Renaissance woodcuts of sea-monsters? I would agree that tentacled monsters were disproportionately rare in European myth to other monster-legends, but to claim Lovecraft created a radical shift in popularizing it is really only a change in relative degree rather than necessarily a change in kind.
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