By Robert M. Price
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Additional info for The Tindalos Cycle
Characters regard them not only with fear but with loathing, with a combination of terror and disgust. In the attempted-abduction scene in James Whale’s movie version of Frankenstein, we see—in the background of a medium shot—the monster steal into the bedroom behind Dr. Frankenstein’s prospective bride. As she paces to a door screen-right the monster follows her. Suspense builds. The monster growls. As she turns, the camera cuts in for a close-up. She raises her hand nearly to her eye and shrieks.
20 Moreover, it should be evident that the feelings that accompany emotions 26 / The Nature of Horror not only vary from person to person, but also may vary within a single subject on different occasions. The last time I was frightened my muscles tightened but the time before that my muscles went limp. The qualia view of the emotions appears to entail that when I am in an emotional state I need only look inward to determine which emotional state I am in by attending to whatever pattern of feeling is dominant.
And, of course, some monsters, like the scorpion big enough to eat Mexico City, are magnifications of creatures and crawling things already ajudged impure and interstitial in the culture. Categorical incompleteness is also a standard feature of the monsters of horror; ghosts and zombies frequently come without eyes, arms, legs, or skin, or they are in some advanced state of disintegration. , de Maupassant’s “The Hand” and “The Withered Hand,” Le Fanu’s “The Narrative of a Ghost of a Hand,” Golding’s “The Call of the Hand,” Conan Doyle’s “The Brown Hand,” Nerval’s “The Enchanted Hand,” Dreiser’s “The Hand,” William Harvey’s “The Beast With Five Fingers” and so on.
The Tindalos Cycle by Robert M. Price