Monsters

JR. Forasteros 10-03-2023

'A Nightmare on Elm Street' / New Line Cinema

The word “monster” originates with the Latin words for “omen” or “warning.” The best monster stories teach us about ourselves — about the evil that lurks in our own spirits. That’s something horror stories and the Enneagram have in common.

Elinam Agbo 7-10-2023
The book ‘Monstrilio’ is at an angle hovering in the air. Various shapes of different colors are spread across a gray-green background on the cover. A small brown creature with round red eyes and pointy ears is visible in the lower center of the cover.

Monstrilio, by Gerardo Sámano Córdova / Zando

ON A BRIGHTLY lit stage in Berlin, a performing artist drapes her dead son’s pajamas over her lap and begins to cry. She cries “loud and unabashed” until her ponytail starts to unravel, and her face becomes swollen and red. Soon, the audience begins to cry too.

The artist is Magos, mother to Santiago, the boy who dies in the opening pages of Gerardo Sámano Córdova’s novel Monstrilio. When Santiago dies, his parents — Magos and Joseph — begin to drown in their grief. But where Joseph isolates himself, weeping endlessly, Magos does something strange. She cuts out a piece of her dead son’s lung, leaves Joseph, and retreats to her mother’s house in Mexico City.

Part family drama, part queer coming-of-age story, Sámano Córdova’s debut gracefully wields its horror elements while navigating the complexities of grief. Structurally, the novel unfolds in four unique perspectives: Magos, Lena, Joseph, and M. After Magos learns about a folktale in which a dead girl’s heart grows into a young man, she sequesters herself in her mother’s house and feeds the lung pork and beef. She doesn’t clean or air out the room. Instead, she uses her odor as a shield, to keep her loved ones away from the lung, to protect its growth. This moment captures the overwhelming nature of Magos’ grief, but it also foreshadows the extent to which she will go to protect what she has left of Santiago.

7-10-2023
The cover for Sojourners' August 2023 issue, called "The Paradox of Poverty." Small figurines of a white couple in fancy garbs stand on top of a tall stack of silver and gold coins. There are other figurines below working by carrying around dollar bills.

CSA-Printstock / iStock

How the “welfare state” is designed to subsidize affluence rather than fight poverty.

JR. Forasteros 9-27-2022
A close-up screenshot from Alien 3; an alien creature with its mouth open is seen from the side, with its teeth next to the shiny face and ear of a white woman who directly faces the camera.

From Alien 3 (1992)

THE PRIEST WALKS into the bedroom to face the little girl. It’s not a little girl, though. Something dark, something other looks out from her eyes. It opens her mouth to spew blasphemies, obscenities. The priest raises a crucifix, shouting, “The power of Christ compels you!”

So goes The Exorcist, the 1973 Oscar winner directed by William Friedkin. As a 17-year-old, I was not prepared for the visceral horror of seeing a possessed young Regan (Linda Blair) serve as the battleground between God and the devil. Neither were my Southern Baptist youth group friends who watched with me in my home. And neither were their parents, who (according to my long-suffering mother) were quite angry that I had hosted this viewing.

On the surface, those parents’ horror is understandable. The Exorcist more than earns its R rating, with gore and a good bit of blasphemy. But sit with Pazuzu (the demon) for a little longer, and it becomes clear that the film aligns well with conservative evangelical politics — a perspective in which I was raised and which persists in many corners of the U.S. church today.

David O'Hara 4-22-2013
Broadcast studio, udra11 / Shutterstock.com

Broadcast studio, udra11 / Shutterstock.com

I’m not offering this as consolation to those who have lost someone they love, but as a warning. What’s true of those we love may be just as true of those whom we hate and fear: we become like what we worship, and we worship what we cherish in our hearts. 

When people commit monstrous deeds, it is hard not to turn and stare in horror. Think about how hard it is to pull your eyes from the television even when none of the news is new, just the same breathless commentary about what we don’t yet know, what we still don’t understand about the latest act of terror. 

When the monsters and their violence become our focus, they grow and become our gods. We’ve become very good at hurting one another, so of course we need to be vigilant. But it’s possible to take our fear too far, to let our natural reaction to sudden violence become a permanent policy of suspicion and terror. Then we are in danger of worshiping our would-be enemies. We don’t worship them joyfully, but we worship them anyway, the way we might worship any vengeful, unstable, wrathful gods: looking over our shoulders and fearing their power. If the best we can come up with is invective against immigrants, suspicion of people unlike us, and perpetually heightened security measures, it starts to look like our hearts are full of fear.

Richard Beck 1-09-2012
Lady Gaga. Image via http://bit.ly/AjdhWA

Lady Gaga. Image via http://bit.ly/AjdhWA

During all my reading about Robyn and Lady Gaga I came across some stuff about Lady Gaga that I found interesting, theologically speaking. As I told Jana over the summer, "I'm sort of developing a theological curiosity about Lady Gaga." Jana asked, "How so?"

Well, Lady Gaga calls her fans "monsters." Or "little monsters." And by that she means freaks--the odd, the weird, the lonely, the rejects, the nerds, the castoffs. And you can't help but wonder, in light of the gospels, about that demographic. In my book Unclean I have a chapter on monsters. And I've written about the theology of monsters on this blog. Consequently, Lady Gaga's use of the label "monsters" caught my attention.

Because as I've written, the category "monster" is charged with ambivalence. On the surface the monster is a normative threat--a defilement, a degradation, a location of moral and communal harm. Thus, monsters are expelled from community. And yet, most monster stories suggest that the monster is often a scapegoat. That the monster is more victim than victimizer. Underneath, if we could but see it, the monster is one of us.

So it's theologically apt that Lady Gaga uses the category monster for her fans. Because she's targeting a group that has been cast out of society. Again, she's explicitly embracing the freaks, weirdos and social outcasts. But Gaga, like in the monster stories, has flipped this and made the label "monster" a term of affection, welcome, embrace, community, inclusion and hospitality. (The diminutive "little" signals the playful affection.) This parallels my own interests in Unclean--Can we show hospitality toward monsters? So I'm intrigued by Gaga's community of "little monsters."