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)

“Books are not dead things but do contain a potency of life.” John Milton


One morning, while working on this project and letting my ideas simmer, I took all the books read in this class down from my bookshelf, stacked them up one on top of the other, and starred at them. To be honest I was taken aback by how small the literature looked when piled together alphabetically. The contents of these books had all felt very vast and overwhelming in my mind yet the sources of ideas, thoughts, and stories looked meek when piled together politely sitting as closed books.

This exercise in reflection and inspiration helped me to realize just how powerful stories are.

Monstrare



 “Our monsters are always trying to show us something, if we would only pay attention. The word "monster" itself goes back to the Latin verb monstrare, "show" or "reveal." Monsters are inherently demonstrative. So what are they trying to show us now?” (Beal, 2)

I feel throughout this course what I have reflected on most from learning about the monstrous through texts, is how monsters relate to me and how I draw conclusions regarding what makes a monster. Although they are largely misunderstood and ostracized monsters demonstrate threats. Yes, threats to society but there is also something at work on a deep level when a monster is seen as a threat to self. We feel fear from monsters because they are viewed from a distance yet I wonder what happens when they are brought in and examined, how they relate on an individual level when they are unwelcome, invasive, and revolutionary. 

Cited: Beal, Timothy. “Our Monsters, Ourselves.” The Chronicle of Higher Education. Print. 9 Nov. 2001. (Via CSU Channel Islands Blackboard “CI learn”)



“Bring your guns, bring your knives”



In class discussions I found myself consistently referring to Buffy the Vampire Slayer because it is my favorite television show but also because of its ability to strongly and successfully humanize monsters. I did not recall another example of something that relates to society’s relationships with monsters until beginning this project and recalling how monsters related to my childhood.

I don’t remember how old I was, but I do remember vividly, if I concentrate very hard, the moment someone attempted to enlighten my young elementary school mind.

There was an assembly at school one morning. A powerful black man was addressing my peers and I. What grade I was in, I do not know but I do recall his passion and how he treated us like adults. The connections he was drawing for us were universal yet also beyond our years and reach, but on some level they stayed with me, even after all these years.

He was speaking on bullying, a big call to action kind of thing and brought up Walt Disney’s Beauty and the Beast. He didn’t play anything for us, because it was the 90’s, but he quoted with much conviction the lines. Slowly and distinctly he spoke, “We don’t like what we don’t understand in fact it scares us and this monster is mysterious at least.” Looking back I wonder if he was waiting for us to put the two together. He certainly was inviting our eyes to have the spark of realization, the “ah-ha” moment, I doubt many of us did but I commend his efforts for they were of a crucial subject matter. Yet for some reason I also feel assemblies on bullying are often more for the bullied than they are for an entire student body, to prepare them for an understanding of why things are.

This makes me wonder if stories of monsters are more for the creatures of the darkness than they are for the humans.    

Cited: Beauty and the Beast. Dir. Gary Trousedale, Kirk Wise. Perf. Richard White. Walt Disney Pictures, 1991.






“Darkness stirs and wakes imagination”

After drawn out reflection brought on by the books read within this class, I have found that I still feel what is most compelling about monsters is how they affect the imaginative. The texts used within this class raise more ideas and questions than they do solidify answers or help us reach conclusions regarding the monstrous and how we relate. In the past I have been quick to dismiss my own relationship with monsters. I often state, “I don’t watch scary movies” because it is easy to associate monsters with what frightens us rather than associating them with what comes to inspire us or recall what they do for the imagination. I have also discovered that with the vast amount of material on monsters, it is easy to forget the meticulous creation behind monsters and how myths, creatures, and legends come to be and live in our memories for a lifetime.
At the beginning of this project my main desire was to get to the heart of what frightens me most about monsters. I feel what sticks with me is how these monstrous creatures relate to the unknown and how as a defense, we attempt to fill the gaps through use of our own imagination, but this often leads to more fear, more adrenaline induced wonderment.

I feel my most immediate example of this situation can be traced back to only a few months ago. I awoke early to go on a run, far too early than was necessary. I awoke abruptly and was goal oriented for it only took me about seven minutes to get out of the house. Upon quietly exiting the house I was shocked to find how my neighborhood looked at five in the morning. I was immediately taken aback by how deeply it contrasted the hazy warmth and familiarity of my afternoon summertime runs. This morning glimpse of my environment that usually ceased to frighten me was resulting in a gradual buildup on an eerie mysterious feeling, and that I for once, was out of place within the nature. Although I was able to see my own breath, I was not cold for I had an adrenaline raging inside of me, adrenaline brought on by how other-worldly this moment in time felt. Having been asleep less than ten minutes ago only added to my feeling of being somewhere between awake and dreaming. Thinking I could shake these emotions off, I began to run and found how wrong I had been. With each stride my pace quickened. This pre-dawn run began to feel like a mistake as I realized how the unknown was affecting me mentally. My imagination ran wild with me while each surrounding bush or waist high  shrubbery fed the fear I had been creating.


 I feel this reflection is compelling due to how helpless I felt to my own imagination and how when frightened it takes immense will power and reasoning to fight off what is produced  within your mind as a result of that fear.

I am now able to truly appreciate the feelings and the fear I experienced on that morning in addition to the other occasions in which my imagination has had the ability to scare the hell out of me, for in a way it is a testament to creativity and suspension of belief. I also feel it is significant for on some level this moment is universal for it mirrors the noted moments of inspiration authors have when they are struck by an idea or something that frightens them and leads to inspiration.

Wednesday, November 23, 2011

Stay Tuned!

http://www.youtube.com/watch?v=DgWHNllJ7vI


Welcome! This post is meant to serve as a placeholder as the content for this blog is still being created. Please check back on Monday November 28th, 2011 for monster project posts.


Ya all come back now ya hear