Supernatural fiction

Last updated

Supernatural fiction or supernaturalist fiction [1] is a subgenre of speculative fiction that exploits or is centered on supernatural themes, often contradicting naturalist assumptions of the real world.

Contents

Description

In its broadest definition, supernatural fiction overlaps with examples of weird fiction, horror fiction, vampire literature, ghost story, and fantasy. Elements of supernatural fiction can be found in writing from the genre of science fiction. Amongst academics, readers and collectors, however, supernatural fiction is often classed as a discrete genre defined by the elimination of "horror", "fantasy", and elements important to other genres. [1] The one genre supernatural fiction appears to embrace in its entirety is the traditional ghost story. [2]

The fantasy and supernatural fiction genres would often overlap and may be confused for each other, though there exist some crucial differences between the two genres. Fantasy usually takes place in another world, where fantastical creatures or magic are normal. In supernatural fiction, though, magic and monsters are not the norm and the mystery of such things is usually closely intertwined in the plot. The supernatural genre highlights supernatural creatures or happenings within the real world. Moreover, supernatural fiction also tends to focus on suspense and mystery and less on action and adventure.

Occult detective fiction combines the tropes of supernatural fiction with those of detective fiction. Supernatural fiction and drama has supernatural elements blended into a story about the characters' internal conflict and/or a dramatic conflict between the protagonist, human and/or supernatural world, society and between groups.

Origin

The author of The Rise of Supernatural Fiction, 1762–1800 states that the origins of supernatural fiction come from Britain in the second half of the 18th century. Accounts of the Cock Lane ghost were featured in the newspapers in 1762, and an interest in Spiritualism was also currently prevalent. There was a need for people to see real ghosts and experience them vicariously through the writings of fiction. [3]

S. L. Varnado argues in Haunted Presence: The Numinous in Gothic Fiction that the beginning of an interest in the supernatural comes from humanity's craving for the experience of the divine, so that even the old mythological tales of the knights of King Arthur give the reader a sense of the presence of "holy" things. The author does then go on to trace this influence further into the future with the Gothic literature movement. [4]

The famous horror writer H. P. Lovecraft cites man's fear of the unknown as the origin of supernatural fiction in his essay "Supernatural Horror in Literature" (1927). He also goes on to describe the literary genre's roots in Gothic literature. The description in Wuthering Heights (1847) of the natural surroundings in which the novel takes place and the eerie mood it evokes is cited as one of the first instances of supernatural horror's being evoked in literature. [5]

In the 20th century, supernatural fiction became associated with psychological fiction. In this association, descriptions of events that occur are not explainable through the lenses of the natural world, leading to the conclusion that the supernatural is the only possible explanation for what has been described. A classic example of this would be The Turn of the Screw (1898) by Henry James, which offers both a supernatural and a psychological interpretation of the events described. In this example, ambiguity adds to the effects of both the supernatural and the psychological. [6] A similar example is Charlotte Perkins Gilman's story "The Yellow Wallpaper".

Film

Supernatural film is a film genre that encompasses themes related to gods, goddesses, ghosts, apparitions, spirits, miracles, and other extraordinary phenomena. These themes are often blended with other film genres, such as comedy, science fiction, fantasy, and horror. Historically, the primary goal of supernatural films was not to terrify audiences but to offer entertainment, often in whimsical or romantic contexts. [7]

The film genre is part of several hybrid genres, including supernatural comedy films, supernatural horror films, supernatural religious films, and supernatural thriller films. [8]

Internet fiction

Supernatural beings have also seen common uses in internet creepypastas and urban legends; a well-known supernatural Internet character is the Slenderman, a tall faceless being associated with the forest. Another well-known internet urban legend is the Backrooms, an endless liminal space of moist carpet, humming fluorescent lights and monotone yellow wallpaper. The Backrooms are commonly depicted as being inhabited by supernatural monsters known as Entities.

Related Research Articles

<span class="mw-page-title-main">Gothic fiction</span> Romance, horror and death literary genre

Gothic fiction, sometimes called Gothic horror, is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.

<span class="mw-page-title-main">Horror fiction</span> Genre of speculative fiction

Horror is a genre of speculative fiction that is intended to disturb, frighten, or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length ... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing". Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.

<span class="mw-page-title-main">Ramsey Campbell</span> English author (born1946)

Ramsey Campbell is an English horror fiction writer, editor and critic who has been writing for well over fifty years. He is the author of over 30 novels and hundreds of short stories, many of them winners of literary awards. Three of his novels have been adapted into films.

<i>The King in Yellow</i> 1895 book of short stories by Robert W. Chambers

The King in Yellow is a book of short stories by American writer Robert W. Chambers, first published by F. Tennyson Neely in 1895. The British first edition was published by Chatto & Windus in 1895.

Fantastique is a French term for a literary and cinematic genre and mode that is characterized by the intrusion of supernatural elements into the realistic framework of a story, accompanied by uncertainty about their existence. The concept comes from the French literary and critical tradition, and is distinguished from the word "fantastic", which is associated with the broader term of fantasy in the English literary tradition. According to the literary theorist Tzvetan Todorov, the fantastique is distinguished from the marvellous by the hesitation it produces between the supernatural and the natural, the possible and the impossible, and sometimes between the logical and the illogical. The marvellous, on the other hand, appeals to the supernatural in which, once the presuppositions of a magical world have been accepted, things happen in an almost normal and familiar way. The genre emerged in the 18th century and knew a golden age in 19th century Europe, particularly in France and Germany.

Weird fiction is a subgenre of speculative fiction originating in the late 19th and early 20th centuries. Weird fiction either eschews or radically reinterprets traditional antagonists of supernatural horror fiction, such as ghosts, vampires, and werewolves. Writers on the subject of weird fiction, such as China Miéville, sometimes use "the tentacle" to represent this type of writing. The tentacle is a limb-type absent from most of the monsters of European gothic fiction, but often attached to the monstrous creatures created by weird fiction writers, such as William Hope Hodgson, M. R. James, Clark Ashton Smith, and H. P. Lovecraft.

<span class="mw-page-title-main">Oliver Onions</span> English writer (1873–1961)

George Oliver Onions, who published under the name Oliver Onions, was an English writer of short stories and novels. He wrote in various genres, but is perhaps best remembered for his ghost stories, notably the collection Widdershins and the widely anthologized novella "The Beckoning Fair One". He was married to the novelist Berta Ruck.

<span class="mw-page-title-main">Southern Gothic</span> Subgenre of Gothic fiction

Southern Gothic is an artistic subgenre of fiction, country music, film, theatre, and television that are heavily influenced by Gothic elements and the American South. Common themes of Southern Gothic include storytelling of deeply flawed, disturbing, or eccentric characters who may be involved in hoodoo, decayed or derelict settings, grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.

<span class="mw-page-title-main">Ghost story</span> Literary genre, work of literature featuring supernatural elements

A ghost story is any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of a "haunting", where a supernatural entity is tied to a place, object or person. Ghost stories are commonly examples of ghostlore.

Dark fantasy is a subgenre of fantasy literary, artistic, and cinematic works that incorporates disturbing and frightening themes. The term is ambiguously used to describe stories that combine horror elements with one or other of the standard formulas of fantasy.

Southern Ontario Gothic is a subgenre of the Gothic novel genre and a feature of Canadian literature that comes from Southern Ontario. This region includes Toronto, Southern Ontario's major industrial cities, and the surrounding countryside. While the genre may also feature other areas of Ontario, Canada, and the world as narrative locales, this region provides the core settings.

<span class="mw-page-title-main">Lovecraftian horror</span> Subgenre of horror

Lovecraftian horror, also called cosmic horror or eldritch horror, is a subgenre of horror fiction and weird fiction that emphasizes the horror of the unknowable and incomprehensible more than gore or other elements of shock. It is named after American author H. P. Lovecraft (1890–1937). His work emphasizes themes of cosmic dread, forbidden and dangerous knowledge, madness, non-human influences on humanity, religion and superstition, fate and inevitability, and the risks associated with scientific discoveries, which are now associated with Lovecraftian horror as a subgenre. The cosmic themes of Lovecraftian horror can also be found in other media, notably horror films, horror games, and comics.

<span class="mw-page-title-main">Weird West</span> Term applied to three hybrid genres of the Western

Weird West, also known as Weird Western, is a term used for the hybrid genres of fantasy Western, horror Western and science fiction Western. The term originated with DC's Weird Western Tales in 1972, but the idea is older as the genres have been blended since the 1930s, possibly earlier, in B-movie Westerns, comic books, movie serials and pulp magazines. Individually, the hybrid genres combine elements of the Western genre with those of fantasy, horror and science fiction respectively.

<span class="mw-page-title-main">Supernatural horror film</span> Film genre that combines aspects of horror film and supernatural film

Supernatural horror film is a film genre that combines aspects of supernatural film and horror film. Supernatural occurrences in such films often include ghosts and demons, and many supernatural horror films have elements of religion. Common themes in the genre are the afterlife, the Devil, and demonic possession. Not all supernatural horror films focus on religion, and they can have "more vivid and gruesome violence".

<span class="mw-page-title-main">Fantasy</span> Genre of speculative fiction

Fantasy is a genre of speculative fiction which involves themes of the supernatural, magic, and imaginary worlds and creatures.

<span class="mw-page-title-main">Urban Gothic</span> Subgenre of Gothic fiction, film horror and television

Urban Gothic is a sub-genre of Gothic fiction, film horror, and television dealing with industrial and post-industrial urban society. It was pioneered in the mid-19th century in Britain, Ireland, and the United States, before being developed in British novels such as Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886) and Irish novels such as Oscar Wilde's The Picture of Dorian Gray (1890) and Bram Stoker's Dracula (1897). In the twentieth century, urban Gothic influenced the creation of the sub-genres of Southern Gothic and suburban Gothic. From the 1980s, interest in the urban Gothic was revived with books like Anne Rice's Vampire Chronicles and a number of graphic novels that drew on dark city landscapes, leading to adaptations in film including Batman (1989), The Crow (1994) and From Hell (2001), as well as influencing films like Seven (1995).

A horror game is a video game genre centered on horror fiction and typically designed to scare the player. The term may also be used to describe tabletop games with horror fiction elements.

<i>Beautiful, Frightening, and Silent</i> 2020 horror novel by Jennifer Anne Gordon

Beautiful, Frightening, and Silent is a gothic horror novel by Jennifer Anne Gordon that delves into the psychological depths of grief, guilt, and the supernatural. Set on the haunted Dagger Island, the novel intertwines the lives of Adam, a man overwhelmed by the loss of his family, and Anthony, an elderly man haunted by the ghost of his past lover. The novel is recognized for its detailed setting and exploration of themes such as redemption and longing.

References

  1. 1 2 Cavaliero, Glen (1995). The Supernatural and English Fiction. Oxford, England: Oxford University Press. p. 159.
  2. Wilson, Neil (2000). Shadows in the Attic: A Guide to British Supernatural Fiction, 1820–1950. London: The British Library.
  3. Clery, E. J. (1999). The Rise of Supernatural Fiction, 1762–1800 (1st pbk. ed.). Cambridge: Cambridge University Press. ISBN   0-521-66458-6. OCLC   41620634.
  4. Varnado, S. L. (1987). Haunted Presence: The Numinous in Gothic Fiction. Tuscaloosa: University of Alabama Press. ISBN   0-8173-0324-3. OCLC   13823178.
  5. Lovecraft, H. P. "Supernatural Horror in Literature". www.hplovecraft.com. Retrieved 2020-04-28.
  6. Bleiler, Everett F. (1983). The Guide to Supernatural Fiction . Kent, Ohio: Kent State University Press. pp.  277–278.
  7. "Supernatural Films". Filmsite . Retrieved August 9, 2023.
  8. Buffam, Noelle (March 26, 2011). "Supernatural". The Script Lab. Retrieved August 10, 2023.

Further reading