It's Not About The Zombies. It's About Us.

I was talking with a friend recently about monsters and the prevalence of zombies on our screens. For better or worse, this got me thinking. There are three types of fantasy monsters that keep recurring in our cultural storytelling: vampires, werewolves, and zombies. The history of these legends and the ways in which the stories change over time is a fascinating study on its own. I’m more interested about what is happening right now in American culture, and what our take on the stories - particularly the zombie genre - reveals about us.

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I think it's worth making a general distinction between how these three monsters have been used as archetypes or stand-ins for the monsters with which we wrestle in the real world. I am painting with a broad brush that is dipped in the stories with which I am familiar. Indulge me. If you would like to broaden or brighten my pallet with your additional observations, feel free. I am exploring this topic, not closing it.

Graceling: Monsters and Grace

In my attempt to enter into and better understand the stories, worldviews, and messages shaping my kids and the rest of today's youth, I submit the latest review of trending books, films, and TV shows effecting a primarily YA audience. My goal is not to critique the art form as much as look at why a particular story resonates, and how it is shaping its fans.

Oh, and one other thing: There will be spoilers.

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Publishers Weekly listed Graceling, the debut novel from Kristin Cashore, in its Best Book of the Year list in 2008. Since then, Cashore has published a sort-of prequel called Fire and a sequel titled Bitterblue. Here's Wikipedia's list of awards:

Graceling was shortlisted for the ALA's William C. Morris YA Award, is an ALA Best Book for Young Adults, was a Cybils finalist (Fantasy/SF category), and was a finalist for both the Andre Norton Award for Young Adult Science Fiction and Fantasy (the SFWA's award for YA given concurrently with the Nebulas) and the Indies Choice Book Awards (Best Indie Young Adult Buzz Book category). Graceling won the Southern Independent Booksellers Alliance 2009 Young Adult SIBA Book Award. 

The book also was awarded: Publishers Weekly Best Books of the Year 2008 ; School Library Journal Best Books of 2008; Booklist 2008 Top Ten First Novels for Youth; A Booklist's Editor's Choice for 2008-2009; Amelia Bloomer List 2009; Amelia Elizabeth Walden Award Finalist; Won Mythopoeic Fantasy Award For Children's literature in 2009; Nominated for 2010 Washington Evergreen Award; Nominated for 2010-2011 Eliot Rosewater Award; On the Bulletin's Center for Children's Books 2009; Blue Ribbon List; 2012 California Young Reader Medal.

For what it's worth, Graceling probably deserves them all.

THE BASIC PREMISE

   
The story unfolds in a world where certain people are born with Graces. These graces can be anything from cooking awesome pancakes to controlling the weather.  The kings claim those with the greatest Graces  and forces them into servitude. Those whose Graces are too ordinary to be of use are sent back home to live on the margins of society.  Every Grace is a mixed blessing; the recipients 'unique strength becomes their undoing.

  
Unfortunately, Katsa has a killing Grace.

  
When she was eight, an unfortunate incident involving her fist and and leering man's nose revealed her ability.  Her mother had died of a fever and her father had been killed in battle, so her uncle, King Randa, quickly forces her into his service.  His brainwashing and  iron control turn her into a brutal enforcer and assassin by the time she is a teen. When the story opens, she is feared by all in the realm - and for good reason.  Katsa knows how to kill.

Amazing Monsters

“A genius as an artist, [Pablo Picasso] was often a monster in his relationships – especially with women – because of his controlling, devouring personality. ‘When I die,’Picasso predicted years before the filming of Titanic, ‘it will be a shipwreck, and as when a big ship sinks, many people all around will be sucked down with it.’
       

When Picasso died in 1973, at the age of ninety-one, his prediction came true.  Three of those closest to him committed suicide (his second wife, an early mistress, and a grandson), and several others had psychiatric breakdowns.  ‘He amazes me,’ said his friend, sculptor Alberto Giacomett.  ‘He amazes me as a monster would, and I think he knows as well as we do that he’s a monster.’ Indeed, Picasso referred to himself as ‘the Minotaur,’ the mythic Cretan monster that devoured maidens.
       

One mistresss, Marie Therese, described how Picasso set about painting: “He first raped the woman and then he worked.”  Another told him, ‘You’ve never loved anyone in your life.  You don’t know how to love.’  Picasso himself was brutally blunt,, ‘Every time I change wives I should burn the last one.  Then maybe I’d be rid of them.  They wouldn’t be around now to complicate my existence.’
       

Picasso’s destructiveness was rooted in his childhood but was reinforced by his early acquaintance with Nietzsche through friends in Barcelona. ‘Truth cannot exist…truth does not exist,’ he used to mutter. ‘I am God, I am God.’”

 - From Os Guiness, “The Meaning of Truth,” in Belief: Readings on the Reason for Faith.