But Lovecraft was dead before Pearl Harbor; Bradbury would turn his hand more and more often to his own lyric blend of science fiction and fantasy (and it was only after he did so that his work began to be accepted by such mainstream magazines as Collier's and the Saturday Evening Post ) ; Robert Bloch had begun to write his suspense stories, using what he had learned in his first two decades as a writer to create a powerful series of offbeat novels, which are only surpassed by the novels of Cornell Woolrich.

During and after the war years, horror fiction was in decline. The age did not like it. It was a period of rapid scientific development and rationalism-they grow very well in a war atmosphere, thanks- and it became a period which is now thought of by fans and writers alike as "the golden age of science fiction." While Weird Tales plugged grimly along, holding its own but hardly reaping millions (it would fold in the mid-fifties after a down-sizing from its original gaudy pulp size to a digest form failed to effect a cure for its ailing circulation), the sf market boomed, spawning a dozen well-remembered pulps and making names such as Heinlein, Asimov, Campbell, and del Rey, if not household words, at least familiar and exciting to an ever-growing community of fans dedicated to the proposition of the rocket ship, the space station, and the ever-popular death ray.

So horror languished in the dungeon until 1955 or so, rattling its chains once in a while but causing no great stir. It was around that time that two men named Samuel Z. Arkoff and James H. Nicholson stumbled downstairs and discovered a money machine rusting away unnoticed in that particular dungeon. Originally film distributors, Arkoff and Nicholson decided that, since there was an acute shortage of B-pictures in the early fifties, they would make their own.

Insiders predicted speedy economic ruin for the entrepreneurs. They were told they were setting to sea in a lead sailboat; this was the age of TV. The insiders had seen the future and it belonged to Dagmar and Richard Diamond, Private Detective. The consensus among those who cared at all ( and there weren't many) was that Arkoff and Nichols-on would lose their shirts very quickly.

But during the twenty-five years that the company they formed, American-International Pictures, has been around (it's now Arkoff alone; James Nicholson died several years ago), it has been the only major American film company to show a consistent profit, year in and year out. AIP has made a great variety of films, but all of them have taken dead aim on the youth market; the company's pictures include such dubious classics as Boxcar Bertha, Bloody Mama, Dragstrip Girl, The Trip, Dillinger , and the immortal Beach Blanket Bingo . But their greatest success was with horror films.

What elements made these AIP films shlock classics? They were simple, shot in a hurry, and so amateurish that one can sometimes see the shadow of a boom mike in the shot or catch the gleam of an air tank inside the monster suit of an underwater creature ( as in The Attack o f the Giant Leeches ). Arkoff himself recalls that they rarely began with a completed script or even a coherent screen treatment; often money was committed to projects on the basis of a title that sounded commercial, such as Terror from the Year 5000 or The Brain Eaters , something that would make an eye-catching poster.

Whatever the elements were, they worked.

3

Well, let all that go for the moment. Let's talk monsters.

Exactly what is a monster?

Begin by assuming that the tale of horror, no matter how primitive, is allegorical by its very nature; that it is symbolic. Assume that it is talking to us, like a patient on a psychoanalyst's couch, about one thing while it means another. I am not saying that horror is consciously allegorical or symbolic; that is to suggest an artfulness that few writers of horror fiction or directors of horror films aspire to. There has recently been a retrospective of AIP movies in New York (1979), and the idea of a retrospective suggests art, but at most they are trash art. The pictures have great nostalgia value, but those searching for culture may look elsewhere. To suggest that Roger Corman was unconsciously creating art while on a twelve-day shooting schedule and a budget of $80,000 is to suggest the absurd.

The element of allegory is there only because it is built-in, a given, impossible to escape. Horror appeals to us because it says, in a symbolic way, things we would be afraid to say right out straight, with the bark still on; it offers us a chance to exercise (that's right; not exorcise but exercise ) emotions which society demands we keep closely in hand. The horror film is an invitation to indulge in deviant, antisocial behavior by proxy-to commit gratuitous acts of violence, indulge our puerile dreams of power, to give in to our most craven fears. Perhaps more than anything else, the horror story or horror movie says it's okay to join the mob, to become the total tribal being, to destroy the outsider. It has never been done better or more literally than in Shirley Jackson's short story "The Lottery," where the entire concept of the outsider is symbolic, created by nothing more than a black circle colored on a slip of paper. But there is no symbolism in the rain of stones which ends the story; the victim's own child pitches in as the mother dies, screaming "It's not fair! It's not fair!” Nor is it an accident that the horror story ends so often with an O. Henry twist that leads straight down a mine shaft. When we turn to the creepy movie or the crawly book, we are not wearing our "Everything works out for the best" hats. We're waiting to be told what we so often suspect-that everything is turning to shit. In most cases the horror story provides ample proof that such is indeed the case, and I don't believe, when Katharine Ross falls prey to the Stepford Men's Association at the conclusion of The Stepford Wives or when the heroic black man is shot dead by the numbnuts sheriff's posse at the end of Night of the Living Dead , that anyone is really surprised. It is, as they say, a part of the game.

And monstrosity? What about that part of the game? What sort of handle can we get on that? If we don't define, can we at least exemplify? Here is a fairly explosive package, my friends.

What about the freaks in the circus? The carny aberrations observed by the light of naked hundred-watt bulbs? What about Cheng and Eng, the famous Siamese twins? A majority of people considered them monstrous in their day, and an even greater number no doubt considered the fact that each had his own married life even more monstrous. America's most mordant-and sometimes funniest-cartoonist, a fellow named Rodrigues, has rung the changes on the Siamese-twin theme in his Aesop Brothers strip in the National Lampoon , where we have our noses rubbed in almost every possible bizarre exingency of life among the mortally attached: the sex lives of, the bathroom functions of, the love lives, the sicknesses. Rodrigues provides everything you ever wondered about in regard to Siamese twins . . . and fulfills your darkest surmises. To say that all of this is in poor taste may be true, but it's still a futile and impotent criticism-the old National Enquirer used to run pictures of car-wreck victims in pieces and dogs munching happily away at severed human heads, but it did a land-office business in grue before lapsing back into a quieter current of the American mainstream. *

*And yet there is life in the old Enquirer yet. I buy it if there's a juicy UFO story or something about Bigfoot, but mostly I only scan it rapidly while in a slow supermarket checkout lane, looking for such endearing lapses of taste as the notorious autopsy photo of Lee Harvey Oswald or their photo of Elvis Presley in his coffin. Still, it is a far cry froth the old mom COOKS PET DOG AND FEEDS IT TO KIDS days.

What about the other carny freaks? Are they classifiable as monstrosities? Dwarves? Midgets?

The bearded lady? The fat lady? The human skeleton? At one time or another most of us have been there, standing on the beaten, sawdust-strewn dirt with a chili-dog or a paper of sweet cotton candy in one hand while the barker hucksters us, usually with one sample of these human offshoots standing nearby as a specimen-the fat lady in her pink little girl's tutu, the tattooed man with the tail of a dragon curled around his burly neck like a fabulous hangman's noose, or the man who eats nails and scrap metal and light bulbs. Perhaps not so many of us have surrendered to the urge to cough up the two bits or four bits or six bits to go inside and see them, plus such alltime favorites as The Two-Headed Cow or The Baby in a Bottle (I have been writing horror stories since I was eight, but have never yet attended a freak show), but most of us have surely felt the impulse. And at some carnivals, the most terrible freak of all is kept out back, kept in darkness like some damned thing from Dante's Ninth Circle of Hell, kept there because his performance was forbidden by law as long ago as 1910 kept in a pit and dressed in a rag. This is the geek, and for an extra buck or two you could stand at the edge of his pit and watch him bite off the head of a live chicken and then swallow it even as the decapitated bird fluttered in his hands.

There is something so attractive about freaks, yet something so forbidden and appalling, that the one serious effort to use them as the mainspring of a horror picture resulted in the film's quick shelving. The picture was Freaks , a Tod Browning film made in 1932 for MGM.

Freaks is the story of Cleopatra, the beautiful acrobat who marries a midget. In the best E.C. tradition (an E.C. that was almost twenty years unborn in 1932), she has a heart as black as midnight in a coal mine. It's not the midget she's interested in, it's his money. Like the mateeating human trapdoor spiders of those comic-book stories yet to come, Cleo soon takes up with another man; in this case it's Hercules, the show's strongman. Like Cleopatra herself, Hercules is at least nominally okay, although it is with the freaks that our sympathies lie. These two heels begin a systematic poisoning program on Cleo's tiny husband. The other freaks discover what is going on and take an almost unspeakable revenge on the pair. Hercules is killed ( there is a rumor that, as Browning originally conceived the film, the strongman was to be castrated) and the beautiful Cleopatra is turned into a bird-woman, feathered and legless.