Vincent Cacciotti

Ceilings in the Hermitage museum

“The road to Hell is easy. Pluto’s door is open day and night. But to retrace one’s steps and come back up to the world above, that is the problem.”

— Aeneid, Vergil 

monster theory 101

So anyone who has even glanced at my blog knows that a lot of my work is built around an area of literary theory called ‘monster theory’, which is far from a major theoretical discipline. As such I thought I’d give a little run down on what it is and resources that are good in terms of getting started.

Monster Theory is loosely described as the study of monsters, fictional characters that we (humans) deem monstrous. This is usually rooted in the concept of norm/other, which becomes human/monster. The basis of modern monster theory is built on the work of Jeffrey Jerome Cohen, who published a paper in 1996 titled Monster Culture (Seven Theses) which included seven different and overlapping views on what monsters are, why we create them, what they mean and how they fit into both literary canon and our society. These seven theses are (very quickly and loosely);

The Monster’s Body Is A Cultural Body: a monstrous being “is born only at [a] metaphoric crossroads, as an embodiment of a certain cultural moment.” Meaning a monster created for a work of fiction is generally an embodiment of a certain cultural anxiety or fear occurring in a specific socio-cultural moment. For instance, during the 70s and 80s, during the AIDS crisis in the US, you’ll notice a sharp rise in the number of vampire films (creatures who transmit a kind of ‘death’ through bodily fluids, through a highly sexualised penetrative contact).

The Monster Always Escapes: a monstrous being is, in part, so threatening because it is pervasive. The monster might appear dead, only for the corpse to be missing in the final shots of the film. This builds upon the previous point; a cultural anxiety does not immediately vanish simply because the personified monster of it is slain, issues like disease, poverty, homophobia, racism, ableism will ultimately again rear their ugly heads.

The Monster Is The Harbinger of Category Crisis: monstrous beings refuse “to participate in the classificatory ‘order of things’,” and resist any kind of systematic structure. In a culture so obsessed with binary oppositions and classifications, things that refuse classification are often a threat to that very system of classification. If the system is not all-encompassing, it fails altogether. This can cause monsters to shake established systems of understanding culture, identity and knowledge. 

The Monster Dwells At The Gates of Difference: “…the monster is difference made flesh […] monstrous difference tends to be cultural, political, racial, economic, sexual.” Monstrous beings are, as previously mentioned, a cultural body, which also means generally they take on traits of ostracised members of a culture, and act as stand in’s for fears, phobias and ostracisation of these social groups. For example, in a later work by Cohen, Undead: A Zombie Oriented Ontology, he states of zombies; “…we feel no shame in declaring their bodies repulsive. They eat disgusting food. They possess no coherent language; it all sounds like grunts and moans. They desire everything we possess.” And further notes that the generally accepted method of dispatching them is a gunshot to the head–a war crime against another human being. This same rhetoric could easily be applied to conservative white opinions of immigrants–and in fact, the origin of the word zombie can be traced back to the Haitian slave trade route.

The Monster Polices The Borders Of The Possible: to live in the dynamic the monster is predicated upon (norm/other, human/monster), there must, therefore, be a border between the two. The monster can therefore serve as a warning; transgress the boundaries by which you are human, and become monstrous; “…the monster prevents mobility (intellectual, geographical, sexual).” The most popular examples of this theory comes in the form of a Disney film: Beauty and the Beast. The Prince does not extend hospitalities to the old woman seeking aid, acting outside an accepted code of conduct for their society, and is therefore rendered monstrous as a result. While this is a more direct example, the trope is pervasive even among works and genres not featuring the supernatural.

The Monster Is Really A Kind Of Desire: the monstrous is often associated with a kind of transgressive or forbidden action, like say…the fact that female villains will often take on intense temptress roles, this is usually in an attempt to enforce and normalise the opposite behaviour. “The same creatures who terrify and interdict can also evoke potent escapist fantasies; the linking of monstrosity with the forbidden makes the monster all the more appealing as a temporary egress from constraint.”

The Monster Stands At The Threshold…Of Becoming: This thesis is really only a paragraph and is possibly my favourite piece of writing ever so rather than try and explain it I’ll simply let it stand on it’s own: Monsters are our children. They can be pushed to the farthest margins of geography and discourse, hidden away at the edges of the world and in the forbidden recesses of our mind, but they always return. And when they come back, they bring not just a fuller knowledge of our place in history and the history of knowing our place, but they bear self-knowledge, human knowledge–and a discourse all the more sacred as it arises from the Outside. These monsters ask us how we perceive the world, and how we have misrepresented what we have attempted to place. They ask us to reevaluate our cultural assumptions about race, gender, sexuality, our perception of difference, our tolerance towards its expression. They ask us why we have created them.

It is important to note that while this essay is considered fundamental in the concept of monster theory and it’s study, Cohen’s work is built upon work like Julia Kristeva’s Power of Horror: Essays on Abjection, and Barbara Creed’s Monstrous-Feminine. Additions to the field have been added since then; collected editions like the Ashgate Research Companion to Monsters, Monstrous Children and Childish Monsters, as well as essays in journals, collected editions on other wider topics (like horror, fantasy, sociology in literature). But the field is still relatively small at this point. I’ll be putting together a sort of reading list at some point in a post about where you can really get a good overview of the area, but the central starting point for monster theory is decidedly Cohen’s essay (which is the introductory chapter to an entire book on the subject). 

green's my colour.

Nikita Gill, from “Great Goddesses: Life Lessons from Myths & Monsters,”

《《 secret world of arrietty edits ( my ig 》》 / studio ghibli

russian classics aesthetic

Brothers Karamazov: orthodox monasteries, deep woods, starry nights, the sound of paper being torn, dimly lit rooms, withered roses, an unfinished letter, piles of books, the sound of shattering glass, ticking of clocks in a silent house, heavy wooden furniture, the air before a storm, the smell of earth, a crowd of people dressed in black, distant murmurs, emptied streets, the fear of walking alone in dusk

Crime and Punishment: coldness of the skin against a blade, slender pale fingers and slightly shaking hands, a red stain blooming on white fabric, lonely steps in a corridor, the slow dripping of water, looking out of the window into the thickening darkness, a single dying candle on the table, listening to one’s breath and counting heartbeats, too many stairs, the desire to be invisible, a subtle memory of kind word

The Idiot: classical statues, wealth covered with dust, a dark house tainted with inherited madness, an unsettling feeling, long walks in a park, useless chatter, a silken ribbon forgotten on a bench, a melancholic face, an unexpected spring rain, the joy of reading one’s favorite book, the clarity of mind after fully perceiving the world around, looking at cloudless sky  

Anna Karenina: fields of crops, flowers brought from an early morning walk, the wind caressing a girl’s hair, a bowl of fruit, the smell of ripe pears, the clatter of a spoon against porcelain when stirring tea, children’s laughter coming from the garden, soft sunlight and white curtains, the sensation of velvet against skin, pearls from a ripped necklace spilling on marble floor, a sudden silence in a room full of people

War and Peace: a glass of wine, the brightness of  a crystal chandelier, white lace, a raging snow storm, the sound of a door being gently closed, the moment of holding one’s breath before walking in a ball room, indulging in looking at a beautiful earring against light, the sound of a saber being drawn, closing one’s eyes for a moment while dancing, the sweet smell of strawberries, a pair of gloves left on an armchair, light scent of powder

The Master and Margarita: the chaos of a lively city, ambient jazz in expensive restaurants, jumping on a moving tram, the sight of Moscow from the roof of a house, yellow flowers in a vase, leaning out of the window, shelves stacked with books, a small tin box with old photographs, strange shapes in the night sky, laughing in the middle of the night on a balcony, colorful posters for a surreptitious magician’s show floating in the wind

Eugene Onegin: a lonely mansion, reading a book in the parlor, faint piano melody lingering in falling silence, long evenings, passing seasons, discussing french novels of the moment, unspoken thoughts, leaning against the door frame, quickly averted glance, eating a peach absent-minded, bright mornings, footprints in snow, a loud gun-shot terrifying a flock of birds nearby   

A Hero of Our Time: byronic boredom, getting up late in the afternoon, the hidden unspeakable sadness of existence, shakespeare’s tragedy opened next to untouched breakfast, cigarette smoke, polished boots, walking with one’s coat wide open letting the night chill break through to the bone, carved wooden chair, fading warmth of the ashes late in the evening, the thought of farewell  

Fathers and Sons: birch groves, morning mist, moss covered stones near a  moor, scientific books, white roses, cheap champagne, shabby pocket-watch, light-hearted irony, a maladroit cello sonata, freshly mowed grass, leaving thoughts come and go, a slow yawn, picturesque plates and bowls filled with traditional dishes, drinking tea on the porch, longing for the future   

Doctor Zhivago: a strange feeling of loss, writing poems in a diary, traveling by train, the hesitation before touching someone’s hand, the gaze of one lost in thought, the warmth of cinnamon, a scarf brightly embellished with flowers, a glass of water, two people listening each on the other side of the door, a threadbare jacket, the tempting void, the evanescent serenity of yesterday  

Dead Souls: horses in a merry gallop, delicious smells mingled, grotesque and bizarre tragedy, luxurious attire cheap soul, masks, a perfumed love letter, the triumph of sarcasm, an unattached wheel rolling down a dusty road, the atmosphere of commedia dell’ arte, puzzling speeches, a baffling caricature drawn on a handkerchief   

Cherry Orchard: a lone chair in an empty room, falling blossoms, old samovar, the unsettling need for change, a mirror reflecting full moon, the disappointment of a glossy object turning worthless after second glance, a piano out of tune      

Dark Academia // Fall Reminiscence

the picture of dorian gray // oscar wilde