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Fox's THE FOLLOWING was Brilliant, No Matter What Anyone Else Says

1/21/2013

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I could spend a few hours looking for photos that fall within public domain, but in this case, I believe content is more important than any possible pictures or files.

I sit at my desk, struggling to catch my breath, in awe over the literary brilliance that went into the first episode of Fox’s new series The Following.  I have read pre-release reviews on the show, and they have been as varied as the speculations portrayed in Poe’s art.  Denver Post television critic Joanne Ostrow writes, “[The Following’s creator] seems to be treading a familiar path but with a more adult sensibility. [Kevin Williamson has] left the vampires behind, kept the scream-worthy horror and added some smart plotting.”  In stark contrast, The Washington Post’s reviewer, Hank Stuever writes, “…I realized: ‘The Following’s’ fundamental problem is neither its gore nor its brutality; it’s the display of arrogance. Tangled up in easily avoidable clichés of the genre, this is a show that is entirely too pleased with itself and its pretentious concept. It’s not that we’ve become numb. It’s that we’ve become dulled."

“Pretentious” is often a term used by those who are too ill-educated or unsophisticated to appreciate the brilliance or depth of a particular work.  Stuever clearly doesn’t know his Poe, nor can he appreciate the literary merit that has gone into the series pilot.  As both a well-read student of Poe and an artist, I can say with certainty that Stuver has no idea what he’s talking about.  He’s poorly misinformed, a fact easily discerned by anyone who has any background in the genre.

It is with great irony that I begin with the response to the antagonist’s first novel, which he himself calls “literati pretense.”  He understands the gap between art and perception, and the writers take this concept to its own level.  Clearly, its naysayers have no clue of the brilliance they review.  While they cover the ramblings of a madman, unaware of the literary implications, the most important being the realization of one of Poe’s greatest fears: falling into the chasm of insanity.  Poe also often used the theme of the (often insane) “unreliable narrator” to express ideas far beyond the scope of his characters.  Anyone who has studied Poe will know that the themes explored by The Following explores themes only barely touched by many of Poe’s works.  “The Black Cat,” “The Tell-Tale Heart,” and “The Raven” are three stories mentioned by name, but beyond story titles and thematic implications, the mere mention of these stories says something important about the series and where it is going.

Starting from importance, “The Tell-Tale Heart” hints at the physical issues implicated through other characters’ dialog.  Retired FBI agent Ryan Hardy obviously has some kind of health issue related to his heart, an issue that will surely reveal itself in greater detail in episodes to come.  Ryan is also a clear parallel to Poe’s deductive amateur detective Auguste Dupin.

The symbolism included in the series premiere is as important as any other aspect one might analyze.  Hardy’s discovery of not only Carroll’s part in the continuing murders, but the connection to Poe’s works in his followers, suggests “The Murders of Rue Morgue,” as well as other prominent Poe works.  The significance of “Rue Morgue” demonstrates the implication of Carroll’s ability to reduce his followers to the mental state of an orangutan—capable of great destruction but unaware of the effects of their mayhem.

By connecting the murders with the unfinished work, Poe’s “Lighthouse,” the writers make a point about the power of words.  Poe died after writing three pages of “The Lighthouse,” and yet Carroll is able to harness the power Poe has left behind and use it against his fellow man.  There is repeated reference to “The Black Cat,” as well as reference to the often poorly understood “The Cast of Amontillado.”  By referencing the lost clues that might reside behind closed walls, the story's authors offer deep commentary on what is versus what is perceived, an offshoot of Poe’s strong themes of the unreliable narrator.  When Carroll refers to Hardy as “the flawed hero,” he speaks not only of the ex-agent who has lost sight of his greatest nemesis’ intent.  This, of course, plays upon the literati philosophy of author intent.  The gay couple draws attention from the babysitter, the babysitter represents the “unfinished work” portrayed in Poe’s unfinished short story “The Lighthouse,” and Carroll’s antagonistic leads play against Hardy’s predetermined views about the serial killer and the power he holds over all he’s affected.

The only other thing made clear is that Carroll is intent on creating a Poe-inspired masterpiece of his own by riding the coattails of the Gothic horror master.  Whether or not he will succeed lies in the hands of The Following’s writers.  I suspect they have a decent idea of what they’re going.  Whether or not the general audience will identify with the brilliance the writers are tapping into remains to be seen.

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Happy Birthday, Edgar Allan Poe!

1/18/2013

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Edgar Allan Poe was well known for his critical reviews of other authors, and to pay homage, I’ve decided to offer a critical review of what I believe to be one of his most provocative short stories, “The Pit and the Pendulum.”  While Poe’s reviews were often scathing, I felt it more appropriate to celebrate his birthday with something a bit more praiseworthy and analytical.

In “The Pit and the Pendulum,” Poe uses hellish visuals to portray the irony of religious justification for torture and death.  His unnamed protagonist first describes his physical response to the “inquisitorial voices” sentencing him to death.  His senses fail him before he falls into a mild hallucinatory state, at which time one must consider the possibility that Poe is using his common tool, the unreliable narrator.  This works to the benefit of the story, however, allowing one to regard the entire work as an opinion piece.


The narrator describes,

I saw, too, for a few moments of delirious horror, the soft and nearly imperceptible waving of the sable draperies which enwrapped the walls of the apartment; and then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white slender angels who would save me: but then all at once there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill, as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help.
Here, the seven candles represent the Catholic pontifical high Mass, which is commonly associated with the Pope.  It is in the above passage where he makes clear his intentions in writing this story.  When he describes the candles as “angel forms [that] became meaningless spectres, with heads of flame,” he juxtaposes the holy with hellfire, a visual that will prove to be a recurring theme throughout the work.

The narrator falls into a fugue state, which he can only compare to death.  Poe writes,

I had swooned; but still will not say that all of consciousness was lost. What of it there remained I will not attempt to define, or even to describe; yet all was not lost. In the deepest slumber -- no! In delirium -- no! In a swoon -- no! In death -- no! Even in the grave all was not lost. Else there is no immortality for man. Arousing from the most profound of slumbers, we break the gossamer web of some dream. Yet in a second afterwards (so frail may that web have been) we remember not that we have dreamed.
The narrator’s inability to define or describe his experience represents the unknown and the uncertainty of what lies beyond death.  Through his perceived encounter with those sanctified by the Catholic Church, our protagonist loses his faith in the divine.  He further exemplifies this ironic event in his confusion over what exactly he has encountered: “In the deepest slumber -- no! In delirium -- no! In a swoon -- no! In death -- no! Even in the grave all was not lost. Else there is no immortality for man.”  By claiming, “Even in the grave all was not lost.  Else there is no immortality for man,” the narrator is defining the moment in which he feels forced to question the afterlife.  He compares the encounter to a dream immediately forgotten upon waking, bringing death to a strictly physical level and abandoning any spiritual connection.  He elaborates upon this sentiment when he soon thereafter describes the experience as “some token of the state of seeming nothingness into which [his] soul had lapsed.”
Picture
Illustration courtesy of MacFran:
http://macfran.deviantart.com/
Poe cleverly offers a sense of confusion over the narrator’s unreliability when he comes upon a brief moment of clarity.  He describes, “I brought to mind the inquisitorial proceedings, and attempted from that point to deduce my real condition. The sentence had passed, and it appeared to me that a very long interval of time had since elapsed.”  Here, he recalls his sentencing, but also questions the state in which the shock of that sentence had imposed upon him.  He exemplifies this by adding, “Yet not for a moment did I suppose myself actually dead. Such a supposition, notwithstanding what we read in fiction, is altogether inconsistent with real existence; -- but where and in what state was I?”  By specifically referring recorded experiences of death as “what we read in fiction,” he denies any supernatural connection to said experiences.  His additional observation that it might be “altogether inconsistent with real existence” fortifies the idea that there is a clear divide between his perceived and actual occurrences.

The narrator, upon gaining full consciousness, finds himself in a pitch-black dungeon, which he describes as difficult to gauge in shape and dimension.  This, of course, works as a parallel to the indeterminate size and shape of our universe (which remained an enigma at the time of this story’s creation), his imprisoned world suddenly reduced to the same level of uncertainty.  He clarifies the nature of his prison, however, after again falling unconscious and waking to find the dungeon lit just enough for him to gauge his surroundings.  He describes it as “a wild sulphurous luster” with an “origin of which [he] could not at first determine.”  By describing the vague light source as having “a wild sulphurous luster,” he incorporates sensations most often associated with Hell, and by adding that the origin was one “of which [he] could not determine,” he makes clear the ethereal ekphrasis intended.

When Poe introduces the pendulum, he provides an interconnection between time and death, insinuating the finiteness of all life.  He describes the pendulum as “a painted figure of Time as he is commonly represented, save that in lieu of a scythe he held as a casual glance I supposed to be the pictured image of a huge pendulum, such as we see on antique clocks.”  By meshing the traditional images of (pendulum) and death (scythe), he alludes to the association between the two; both are inescapable and both play against one another in the eventual mortality of all humans.  Many attempt to diffuse their fears over the two through faith, but again, perception and reality do not always go hand in hand.


Poe further alludes to this connection when his narrator describes, “there had been no perceptible descent in the pendulum.”  Like watching a child grow or a person age, the perception is not one that can be viewed in one moment to the next.  One might as well attempt to watch the grass grow.  Old age creeps upon us all, and youth falls to the wayside before it can be fully appreciated.  Death, as inevitable as it is, often seems distant until nearly the moment it strikes.  Most of us think little about our mortality, or the finality that may come with death, until we’re forced to, as Poe’s narrator exemplifies, “For the first time during many hours, or perhaps days, I THOUGHT.”  It isn’t until the pendulum has nearly reached him that he is able to ponder both its implications and his possible escape.

Poe returns to allusions of the battles resulting from the Inquisition when he brings the rats inhabiting the dungeon to the forefront.  The narrator describes,

I had not counted in vain upon their voracity. Observing that I remained without motion, one or two of the boldest leaped upon the frame-work and smelt at the surcingle. This seemed the signal for a general rush. Forth from the well they hurried in fresh troops. They clung to the wood, they overran it, and leaped in hundreds upon my person.
Notice the choice in language here: the “general rush” and the “fresh troops.”  Poe clearly depicts war through the garish guise of vermin warming a man on the brink of death.  Still, his narrator survives, patiently waiting for their assault against his flesh to weaken also the ties that bind him, only to describe the horrors that ensue:
I had scarcely stepped from my wooden bed of horror upon the stone floor of the prison, when the motion of the hellish machine ceased and I beheld it drawn up by some invisible force through the ceiling. This was a lesson which I took desperately to heart. My every motion was undoubtedly watched. Free! I had but escaped death in one form of agony to be delivered unto worse than death in some other.
Picture
Image courtesy of Ryan Russell.
Click on image for more information.
Here, one might find a correlation between the assumed all-seeing eyes of God and the narrator’s torturers: “My every motion was undoubtedly watched.”  The pendulum ceases as soon as he slips from his binds, and he anticipates a new level of suffering to replace the old.  The “lesson which [he takes] desperately to heart” compares to the canonical “lesson[s]” anyone might derive from any given religious text.

When the torturers are finally revealed, the narrator describes “Demon eyes, of a wild and ghastly vivacity, glar[ing] …in a thousand directions where none have been visible before, and gleamed with a lurid luster of a fire that I could not force my imagination to regard as unreal.”  The description here is more ethereal than it is earthly, turning men into demons, meshing the imagined with inescapable reality.  Those trusted with the position of punishing the condemned are no better than those deemed the heathens they have sentenced; human and demon become one in the same.  Poe ensures his message is clear by describing his torturers as “most demoniac of men,” and by transforming the stone walls of the narrator’s prison as “burning iron” ever closing in on his protagonist.

When he rouses from his imagined hell, the protagonist realizes “the fiery walls rushed back” and he is still on the battlefield, fighting alongside General Lasalle of the French army, driving those fighting for the Inquisition into submission.  This reversal of roles here is key to the story.  By shifting the narrator’s hell into reverie, Poe merely shows that he portrays one side of a complicated story.  More importantly, he illustrates the atrocities that might exist due to something as menial as a difference in belief.  The enemy is always the demon, and his domain is always Hell, and it is only human nature to dehumanize he whom one currently fights against.

Works cited by link:

http://www.newadvent.org/cathen/01347a.htm
http://www.literature.org/authors/poe-edgar-allan/pit-and-pendulum.html

http://macfran.deviantart.com/
http://www.tumblr.com/tagged/edgar%20allan%20poe

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