Monday, November 28, 2011

Original creative work, invent a real monster particular monster, must have a bio, monster’s history and cultural relevance

Little Houses

We were young when we first heard about her. During elementary school recess one day the seed was planted within our brains by Natalie Erdman’s older sister. We listened intently as we ate our graham crackers and Monica told us just enough to get us hook line and sinker, yet we never imagined how real this sleep beast could be.

As the eager questions piled up Monica leaned over the bench and told the handful of us all about the dream monster.

Amid whispers we learned of the dream demon and that her origins can be traced back to when the first baby awoke and cried. While exchanging anxious looks we were told her name: Circadia the hunter and dream re-designer.

 After you’ve gone to sleep Circadia goes through your room in search of your most revealing belongs. Once she is adequately prepared to prey on the details of your personal intimacies she sits beside you, and watches the movements beneath your eyelids. Sometimes she sits with a closed fist beneath her chin, others she watches while twiddling her thumbs, keeping time with the intervals.

When the pace is just right and the waves have subsided, Circadia sweeps a cold touch of her hand across her victim and she enters their dream.

She cannot see the dream right away as it is taking place within a little house, yet she marches up and begins by chipping away at the quality of your dream. She takes a rusty nail to the exterior as the flakes of your dream are sent flying. Once the flakes hit the air they are held, suspended like a snapshot, and your mind gets fuzzy as each suspended detail has no choice but to begin to loop: thus your dream becomes multiple looping exchanges. Once the exterior has been chipped, Circadia skips around merrily plucking each flake and placing it on her tongue. She twirls around as the good details of your dreams begin to dissolve into her. As this occurs a fear grows within your subconscious and with each flake the little fears become bigger and bigger. With each flake, Circadia consumes more of your fears and stores them in a satchel that she wears across her body. Once the exterior of your little house has been chipped away she removes her right boot and knocks it repeatedly into the surrounding structure sending the once solid house ingredients crumbling again in mid-air, but these she does not consume, these pieces stay where they are for later.   

Once your house has been damaged she enters and sets to work. Within the house are long white sheets hanging from ceiling to floor, the elements of your dream play out on the sheets in different areas of the house. Circadia goes around from sheet to sheet once again viewing the details currently comprising your dream. She makes her rounds, tears a bit here, shreds a bit there to manipulate the sacred relationships of your thoughts so there is nothing left but the bad. A harsh wind then moves through the house and throws the fringed sheets about, stirring the trauma, that is how Circadia then knows it is time. She moves back outside the house and gathers the pieces of structure. With her arms full of materials she haphazardly pieces the house back together locking in the chaos she made.

Your dream self is now destined to live out the recurring traumatic dreams and heavy emotional elements because of Circadia’s destruction. Once this has occurred she will delicately haunt the sleeper for eternity in small yet notable ways. She’ll be there when you try to fall back to sleep after awaking from a nightmare, preventing the presence of thoughts unrelated to your nightmare. She’s the wool on the sheep, the burdensome anxieties, the worries and fears, but mostly she is there in the jolt of an awakening free fall, her way of saying, “I’m coming for you.”  























“And in this state she gallops night by night.”

http://www.youtube.com/watch?v=VsRQSazjl4U




I can clearly recall where I was the first time I ever heard John McEnery’s impassioned interpretation of the Queen Mab monologue in Act I, Scene 4 of Shakespeare’s Romeo and Juliet. During my first year of high school, after having read Romeo and Juliet we were watching Franco Zeffirelli’s film adaptation on a hot Wednesday afternoon somewhere between summer and autumn, when John McEnery’s Mercutio became an awe inspiring sight.

I was captivated by how the conflict appeared in person in relation to the text. These two men, these two friends, making their banter a public spectacle, were creating meaning and drawing me in.

All it takes is the line, “O, then, I see Queen Mab hath been with you” and the story has begun. This line works because it follows Romeo’s statement of, “In bed asleep, while they do dream things true” which opens up possibility for this line shows Romeo’s naivety in thinking dreams are real, significant, and worthy of premonition.

I feel this scene represents the art of good story telling and also the art of introducing a character within a story who serves as a vehicle of taking meaning from pleasant and fanciful to something ominous and compelling.

The first time I viewed this scene I felt very inspired and moved to discover more. After studying literary theory last spring, I felt motivated to return to the study of dreams, fantasy, and how truth and fiction relate to the subconscious.

What would make Mercutio’s Mab something to be frightened of? How do we move from a Queen Mab of wish fulfillment to a figure that instills fear, anxiety, and hesitation? Well we return to the imagination and take a look back at what once frightened us as children because I have found creation is much easier when it is fully embraced and believed in with a thoroughness that can most specifically be compared to the imagination of childhood.

Cited: Romeo and Juliet. Dir. Franco Zeffirelli. Perf. Leonard Whiting, John McEnery. BHE Films, 1968. Film.

"Formatia trans sicere educatorum."





Quick post, encouraging you to watch more Buffy. I assure you that seeing as how it is one of my favorite things this world has to offer, you will understand that there are too many reasons why this show should be watched, to begin to list them, but I truly believe you won’t be disappointed. Netflix has seasons 1-7.

Three cheers for a show that strongly and successfully humanizes monsters. Totally deserving of its cult-like following.


“What’s this? Sitting around watching the telly while there’s evil still afoot; it’s not very industrious of you. I say, we go out there, and kick a little demon ass. What can’t go without your Buffy? Is that it? Let’s find her! She is the chosen one after all. Come on! Vampires! Err! Nasty! Let’s annihilate them! For justice and for the safety of puppies and Christmas right? Let’s fight that evil! Let’s kill something.” Spike, Buffy the Vampire Slayer

And if you still need a kick in the ass:

“I read the news today oh, boy.”

I have always felt the song takes a turn and the crescendo starting at 1:48 sounds like one hell of a nightmare. What a hook.



Also, holy crap 

“I saw a werewolf with a Chinese menu in his hand, walking through the streets of Soho in the rain.”

My own personal favorite.

What has the monstrous done for music?



“There is something at work in my soul which I do not understand” (Shelley 14)

“Every time you turn another page . . . you not only get us closer to the monster at the end of this book, but you make a terrible mess.”



The first monster book I ever read

Cited: Stone, Jon. The Monster at the End of this book: starring loveable, furry old Grover. N/A. Golden Books, 1971. Print. (electronic version accessed via Google search engine, 23 Nov. 2011)