Tuesday, September 14, 2021

Bumping Geese 16: One Day At Horrorland

So, uh, I guess I'm feeling less charitable than usual... I apologise in advance to fans of this book and to the author.

This book is fucking terrible.

Above: A book not worth a witty comment

Are you familiar with the term "torture porn"? It was a criticism aimed at some big horror movies in that early 2000s that were allegedly hyper fixated on graphic gore and violence at the expense of the usual marks of film quality like plot, script, character, and theme. In the 20th century, horror fans referred to films like this as Splatterpunk, and they were generally a niche indie market that, yeah, were mostly about the gore and violence. But where as Splatterpunk acknowledges the genre as an art - or counter-art - in its own right, torture porn was intended pejoratively against both the films under its umbrella and the people who enjoyed them. They're not art, goes the allegation, nor are they entertainment in any reasonable sense of the word. They are merely graphic displays intended to titillate the basest urges of their audience. Film goers might see a horror film, but sickos get off on torture porn.

And, largely, it's a lot of crap. A bunch of the movies lumped into this genre, that were apparently so gut churning as to be unfit for consumption, according to these critics, are frankly laughable to anybody who has seen the classics of Mondo and Splatterpunk cinema. And look, I didn't particular care for 'Hostel' either - I don't know why you'd enjoy it, and there really wasn't much to the film other than flimsy, xenophobic justification for torture scenes.

Sometimes you gotta wonder if torture porn isn't a legitimate name, if not a legitimate criticism. It's not my trash, but if it's yours, whatever.

What does all this have to do with Goosebumps #16 'One Day at Horrorland'?

This book is basically torture porn for kids.

And I'd like to thank you all for coming along to my blog. Now that I've typed those words, I expect the AFP will be shutting me down in the next few days.

Okay.

So the plot of this book is that a family gets lost on their way to one amusement park and stumble upon a different amusement park called Horrorland. A theme park full of spooky monster mascots and spooky themed rides. At first, it sounds awesome. That's the kind of theme I'd love for a theme park near me. Except this theme park is TOO SPOOKY.

The family's car blows up (literally) when they arrive, and while the parents try to figure out how to get home, their children Luke and Lizzy, and Luke's friend Clay, explore the park and go on some rides. And all the rides are spooooooooky! And they are surrounded by spooky signs warning them of doom! And that there's no escape! And every ride goes for too long, and gets creepier and spookier as they go, and then it seems like the ride is going to kill them, except it doesn't! And then Lizzy and Clay talk about how scary it was, and Luke laughs about how fun it was, and Lizzy gets made that Luke is acting so brave and excited when he was clearly scared at the time, too.

And then you repeat that seventeen million fucking times and you have this book.

And it turns out the monsters at Horrorland are real monsters! And the chance of death is real! And nobody escapes! Except they do! But maybe they don't! Spooky scary ambiguous ending!

So I had a few ideas for this blog and how to make it more entertaining and interesting.

But fuck that.

This book isn't worth the effort. Frankly, I'm annoyed that I thought I might just put in the effort to read another book and write another blog, despite how awful I'm feeling, despite how much I'd rather crawl into a hole and hide away for the rest of my life, and my reward for trying is this shit.

It could have been another "Stay Out of The Basement" - a book which I love, and will praise eternally, and which genuinely rocks all manner of socks off, but instead it's another monster blood. Terrible under-baked characters, repetitive scenes, painfully contrived set ups, zero pay off. The only nice thing I can say is R.L Stine didn't try to be funny. 

And you know what the worst part is?

All through this fucking book the characters talk about a section of Horrorland called Werewolf village. Do they pass through Werewolf village? Yes. Do they hear howls? Yes. Is there a single fucking scene with a single damned werewolf in this whole arsing book? No.

Fucking cock tease, I tell you.

'Werewolf of Fever Swamp' kind of slipped through the cracks of my memory, but while the individual beats of the plot don't stand out in my mind, I definitely remember enjoying it and being glad to read a cool story about werewolves, because werewolves are fucking awesome. There should be more books about werewolves. And movies. And while we're at it, the world should also just have more werewolves.

'One Day at Horrorland' couldn't even get that right.

So it goes straight in the garbage with 'Monster Blood', lest it sully the good name Goosebumps earned through excellent books like 'Stay Out of The Basement' and 'Let's Get Invisible.' I'll probably keep reading so I can chase those 'Goosebumps' highs - I know RL Stine has got it in him. Everybody has their bad days and the stories that just don't work out, but I swear, the quality of this series is more bi-polar than I am.

Monday, July 12, 2021

Bumping Geese 15: You Can't Scare Me

 Yeah... It's pretty good.

This is the cover of a book I have read

You may remember back in the first review, I said this:

"So now I'm going to read every Goosebumps book, in order of release, one a week, until I finish them. Or get really depressed and give up on life. We'll see."

Well it's almost like I'm psychic because that happened. And so here we are, months without a review. But I had read one more book before that happened. 'Goosebumps 15: You Can't Scare Me'. And while I was starring numbly at my kindle a couple of days ago, trying to motivate myself to read anything at all, vaguely aware that once upon a time I experienced joy from books, I remembered that I had read this book and never written a review.

Well, you know how it goes. You have some caffeine at 1am, the world is quiet, and it's either stick your head in the oven... Or write about Goosebumps for a while. Whatever gets you through the night.

And so here we are.

This book - and the title is too long for me to bother writing out every time, so now it's just "this book" - is about some kids who experience spooky shit.

So there's this girl, Courtney, and she's basically the perfect human. She's smart, brave, pretty, friendly, and only occasionally kind of a bitch, but in that way that all 12 year olds are kind of a bitch because they're 12 and don't know any better.

And there's this kid Eddie - and his friends who don't matter, because nothing matters - who hates Courtney because he's jealous and feels inferior to her. He especially feels weak and cowardly every time he sees Courtney being brave. So this shit kid and his shit friends decide to dedicate their life to scaring Courtney.

Eddie and his friends try putting a fake snake in her bag, getting a big dog to chase her, and probably some other stuff I forgot. None of it works. So finally Eddie decides to enlist the help of his older brother. Eddie's brother is also shit, and I'm sure Eddie has to, like, agree to be his brother's slave for some amount of time before he helps Eddie. But he does agree and even gets his friends in on it.

You see, Eddie's brother and co. are making an amateur horror film about a local legend about monsters called mud people who live in the woods and... um... Do mud people shit, I guess. They're called mud people because they are people made of mud or covered in mud. And I think they were exiled into the woods because they were sick? But I might be getting them confused with the swamp fever stuff in the last book. I don't know. Nor do I particularly care. Nor should you care. Why are you even reading this? Go away. Leave me alone.

Fuck it, we're here, I've started, might as well finish.

So, um, Eddie's brother and his friends have these scary mud people costumes and they make a plan with Eddie and Eddie's friends to lure Courtney into the woods late at night and jump out at her in mud people costumes. And this all goes according to plan and Courtney does get afraid. Victory.

And as they're leaving the woods, Eddie and his friends run into Eddie's brother and friends in their costumes, who apologise for being late. But if they were late, who were the mud people in the woods scaring Courtney?

And that's the twist. Mud people are real. And scary.

It's predictable. And most of the characters are shit. And Courtney is less shit but she's also boring.

But, um... Well, I remember liking the book just fine. Not great, not terrible. The monsters are interesting, the set-up is unique, the delivery works. It's fine.

It's fine.

I guess something in this terrible world has to be okay. Might as well be a children's book.

Okay. Go away, now. We're done.

Wednesday, March 31, 2021

Bumping Geese 14: The Werewolf of Fever Swamp

 What can I say about Goosebumps 14 'The Werewolf of Fever Swamp'?

I'm not actually sure that's a picture of the werewolf

No, really, what can I say about it?

I read this book last week and I've basically forgotten everything about it. Let's see... Um...

'The Werewolf of Fever Swamp' is about a family who moves into a new home in... Well, there are swamps, and it is probably in the USA, so I'm going say Florida. Somewhere in Florida. In the small town of... I'm going to call it Dark Falls. Not because that's the name of it, but because I think that's the name of the town in 'Welcome To Dead House' and all Goosebumps towns are basically the same.

Uh... Where was I?

Oh right.

So this family moves into a new home in a new town, this time in Florida, and the house is near some swamps. And they've moved here because the father is a scientist studying swamp deer. There are no swamp deer in Florida, but he has brought some from... I want to say Africa? From somewhere with swamp deer. I definitely remember swamp deer because I'd never heard of swamp deer and after I write this I'm going to Google whether or not swamp deer actually exist.

I won't be surprised if they do exist. They're probably not from Africa, though. But nature has turned out some weird stuff, and a swamp deer totally...

Hold on. This isn't about swamp deer. This is about Goosebumps. Let's get back to whatever this book was.

So this family has moved to Dark Falls, Florida, to study how swamp deer will manage being moved from Swampistan, Africa to the swamp in Dark Falls, Florida. And I'm going to go out on a limb here and say the swamp is called Fever Swamp. Yeah, that sounds right. Something about a local legend of settlers going crazy with a fever? Oh! And the main character gets a fever... and that sub plot doesn't really go anywhere...

But anyway, this family moves to Dark Falls, Florida with their swamp deer, into a house at the edge of Fever Swamp, and the main character is the son and youngest child of the family... whose name is... Well, I'm going to call him Gabe, which is the name of the kid from 'The Curse of The Mummy's Tomb'. On the first day moving to Dark Falls, Gabe and his sister Lindy (not her real name, and I need not remind you who Lindy is...) go exploring in Fever Swamp, get lost, run into a swamp hermit... Is there a swamp hermit? Pretty sure there is a swamp hermit. For some reason Gabe and Lindy get scared and run out of the swamp and are fine.

After a few days, Gabe makes some friends... Their names are... Kim and Jerry. And it would be cool if they were the Kim and Jerry from the last book and this book finally confirmed the Goosebumps extended universe, but they're not. Pretty sure that's not even their real names. But they could be.

Because I don't remember anything about this book.

And speaking of things I don't remember, I don't remember how many times Gabe and Lindy and Kim and Jerry go exploring in the swamps, but it's a few times and in a few different combinations of the characters, but it's definitely one of those Goosebumps books where scenes kind of repeat a few too many times. At least I think it is. I can't remember. But on one of these occasions, when I think it's Gabe and Kim and Jerry, they get chased by the swamp hermit and Gabe gets bitten by a snake and he's fine but he also gets swamp fever and that doesn't really go anywhere, like I said.

Um... What else...

Oh! So I googled it and it turns out swamp deer are a real thing. But they're not from Africa, they're from south Asia, around the Indian Subcontinent. So that's cool. They're big and floofy but it sounds like they're a threatened species, which sucks. And I don't know if this part is true, but in the book they have these, like, webbed hoofs to walk on swamps, which...

Oh shit. The book. We were talking about a book. The Goosebumps book. Uh... Let's see... Where were we...

Oh yeah! Y'all, there's a werewolf! There's a werewolf in this book! 

So Kim thinks the swamp hermit is the werewolf and the swamp hermit claims to be the werewolf while chasing them, but then says he was just joking to scare them. And Gabe keeps hearing howling at night, and dead animals keep turning up, and Kim insists there is a werewolf in the swamp but Jerry doesn't believe her.

Oh, and Gabe finds a big stray dog and adopts it, and I don't remember what name he gives the dog, so I'm just going to call it Red Herring. So Red Herring is a big friendly boofer of a dog but one night he goes a bit wild and knocks over some furniture while trying to escape the house. After that, when animals start showing up dead, including one of the swamp deer, Gabe's father decides Red Herring must be the killer. And could it be true? Red Herring seems awful intelligent and there are dog shaped paw prints near all the dead animals. Is the real werewolf the pets we adopted along the way?

No.

Obviously not.

So Gabe sends Red Herring away before Gabe's Dad can take Red Herring to the pound. And then one night Gabe goes sneaking out into the swamp for... reasons. I think he wants to prove Red Herring isn't the werewolf. Jerry also sneaks out for... reasons. And off they go together to find the werewolf. And I assume I must be remembering this wrong in some way because this is a terrible plan.

Anyway, it turns out Red Herring isn't the werewolf, but surprise! Jerry is the werewolf! And Jerry attacks Gabe! But Red Herring intervenes and saves Gabe! And the Jerrywolf is driven back! Or maybe killed! I don't remember! But the story ends!

After the attack, Gabe tries to explain all about what happened and how Jerry was secretly a Jerrywolf and Gabe's Dad goes to visit Jerry's house to find out what's up and it turns out the house is empty and nobody has lived there for years.

Oh, and Gabe becomes a werewolf. Yeah. He gets bitten by the Jerrywolf in the climax and so the big twist is that even though Jerry is now gone, Gabe is now the werewolf of Fever Swamp and likes to go hunting on the full moon with Red Herring.

And rather than a shocking horrible twist, it actually sounds like kind of a sweet deal to me. I don't know why the Jerrywolf attacked Gabe, but when Gabe is a Gabewolf he seems to be pretty much in control and just likes hunting with Red Herring and isn't out to hurt anybody. I can only assume Jerrywolf was just always a Jerkwolf.

Anyway, I don't remember much of this book but what I do remember, I remember liking. It's definitely one of the more generic Goosebumps books. All the characters and the premise and the locations feel a bit like a re-tread, and it doesn't do anything exciting with werewolves as a concept. But like with ghosts, I'm just always on board for a werewolf story. Werewolves are cool.

So, yeah. Even though it all kind of slipped through the cracks in my brain as soon as I started reading the next book, I can confidently say this one was fine and I enjoyed it.

Plus, it gives me an opportunity to talk about werewolves from a Marxist perspective. Usually when it comes to a Marxist analysis of the world, vampires are the go to monster metaphor. But I think it's worth looking at how the werewolf mythos gives us an all together different and unique take on...

Um...

A unique take on...

Wait.

What was I talking about?

Tuesday, March 30, 2021

Bumping Geese 13: Piano Lessons Can Be Murder

 Last time on bumping Geese...

"Well you know what I wish?  

I wish I had a better Goosebumps to read.

And somewhere, a monkey's paw curled its finger..."

I'm going to be honest, I really wanted to have some kind of pay-off to that setup, some kind of monkey's paw answer to my wish. But I don't. Did it come true? Yeah. But it was bound to happen eventually. There's a lot of books to go...

There is an unfathomable amount of books to go...

You have no idea how many books there are to go...

My God, there are so many Goosebumps books...

But is the sheer number of Goosebumps books I have to read the wish's down side? Nah. I already knew I'd be doing this until I or R.L Stine die. Sooo... Yeah... Kind of a failed joke.

Which, when talking about Goosebumps, is entirely appropriate!

The next book.
Presented without segue.

Goosebumps 13: 'Piano Lessons Can Be Murder' is a return to creative creepy shit for this series.

This book follow Jerry Hawkins who moves into a new house and discovers a piano left in the attic. But that night, he is awoken by the sound of sad piano music. Jerry investigates and follows the sound to the attic, right to the old piano, but when he reaches the attic, there's nobody in sight. It would seem the piano was playing itself.

Jerry's parents take his fascination with the self-playing piano as a sign that he would like to learn to play piano and Jerry is like "sure, why not." And in typical Goosebumps parents fashion, when Jerry mentions his concerns that this piano plays itself in the middle of the night, they ignore his concerns and rationalise his experiences as some kind of anxiety to do with moving house.

Jerry's parents hire Dr Shreek to be his piano teacher, and he's a friendly but odd sort of chap who is just a little too obsessed with the quality of Jerry's hands. But he's a decent teacher and Jerry enjoys learning piano, even if he wishes he could learn more interesting music and skip boring stuff like learning scales. Eventually, Dr Shreek invites Jerry to come practise at his private music school at the edge of town, rather than having lessons in his home. Jerry's parents are very proud and Jerry is like "sure, why not."

Meanwhile, weird stuff is still afoot. Jerry mentions to his neighbour and new friend Kim that he is being taught by Dr Shreek and Kim immediately runs away from Jerry and the conversation. Later he coaxes out of her the reason: stories that Dr Shreek's school is home to monsters, and that children who enter are never seen again. Spooky stuff, but not enough to scare Jerry. He has been to the school by now and knows the "monsters" are just the large automatic cleaning machines the school's janitor, Mr Toggle, has built. And Jerry has been to the school and obviously hasn't disappeared, so that can't be true.

Although there was that one time he was in Mr Toggle's workshop and walked by a large metal cabinet and heard somebody inside cry out for help. But Mr Toggle says it's just malfunctioning machinery and Jerry is like "Sure, why not."

After all, he has much bigger concerns. Like the piano in his home which keeps playing itself every night. And the discovery that the piano isn't playing itself but is actually being played by a ghost. And the ghost is angry and doesn't want anybody to go near the piano, and every time Jerry tries to play it, the ghost sabotages his performance. Jerry tries to tell his parents but they don't believe him, and he tries to tell Kim, and she thinks he's lying. After all, ghosts don't exist. Not like the monsters in Dr Shreek's school. Which are real. Monsters are real. But I guess ghosts don't count as monsters. Because they're not real.

Kim's world view is inconsistent and she needs to sort her shit out.

Anyway, after one-too-many run ins with the angry ghost at the piano - who, in one encounter, is revealed to have no hands - Jerry decides to quit playing piano and his parents tell him that's fine, but they've paid for one more lesson at the school and he needs to tell Dr Shreek, so he should go to one more lesson and Jerry is like "sure, why not." So he does. And after the lesson he tells Dr Shreek he's quitting, but Dr Shreek won't have it. He explains he needs Jerry's hands, so Jerry cannot leave. They get into a scuffle and a chase, and Jerry runs into an auditorium full of pianos, all being played by floating hands. Jerry calls for help and Mr Toggle arrives to aid him. Mr Toggle turns off Dr Shreek and explains that Shreek is also a machine of his creating. So, it happens, are the hands. You see, Mr Toggle, for all his genius, cannot make good hands to play piano, so he takes them from children and then turns them into automatic piano playing hands.

But he could make Dr Shreek's and the other instructor robots' hands and presumably they play the piano at least a bit as part of their lessons with the children before Mr Toggle does his kidnapping and murdering. But sure. Why not.

Anyway. Mr Toggle still plans to take Jerry's hands, but before he can, the piano ghost appears and summons all the ghosts of the handless children Mr Toggle has murdered and they attack him. The ghost tell Jerry to leave and never return and Jerry is like "sure, why not" and legs it. Never to return.

His parents sell the piano. Jerry gets a new hobby. Life returns to normal. And the twist is the most unique of twists in Goosebumps for some time. The twist is...

There is no twist.

And that's fine. This one doesn't need a twist. It's good enough as it is.

I like this book. It isn't great, but it has a lot going for it. In particular, it has ghosts. I always like ghost stories. It also has some creepy shit R.L Stine has made up and those are always the best kinds of Goosebumps books. When a Goosebumps twist, or a whole book, is built around a well trodden trope or idea, R.L Stine rarely brings something new to the table. And that's understandable. His target audience probably hasn't read 'The Monkey's Paw' or 'Third From The Sun' or seen their adaptations, so why bother spicing them up? Big snobby literary nerds like me aren't who these books are for. But since I am reading them and since I am a big snobby literary nerd and since I do recognise these ideas, they read as a little lazy.

But when R.L Stine does put in the effort, or when the horror is very much his own creation, not only are they often fresh and unique ideas for horror, they're effective. They're exciting. They're scary. And Mr Toggle, with all his horrific tinkering and child-murdering, is unsettling. It's R.L Stine doing what he does best. That's not to say this is 'Stay Out of The Basement' quality, just that it's a decent entry in the series and I appreciated return to form after how dull the last book was.

I also appreciate that this book gives me a handy example of good foreshadowing and bad foreshadowing.

Allow me to do my own return to form and discuss something I used to talk a lot about on this blog: what makes for good writing. And I'll do that by presenting a couple of passages from 'Piano Lessons Can Be Murder'.

"'Okay, Jer,' he said, patting my shoulder. 'Remember - in a few weeks, you'll know I'm right. In a few weeks, this ghost business will all seem silly to you.' Boy, was he wrong!

This shit. This shit is lazy.

Foreshadowing is, partly, the art of enticing your audience to keep paying attention with hints of excitement to come. One way of doing that is to just tell the audience what is coming. When a story starts in medias res, then tells the previous events in flashback, that's this kind of foreshadowing. A recent example of this is the Sonic the Hedgehog movie.


And it can work. It's not an innately bad way of enticing the audience to keep watching or reading, but R.L Stine frequently does it in possibly the worst way. He will have a character suggest things are going to happen, or not happen. Usually it is somebody saying everything will be fine. Then the narrator will say "But it actually wasn't going to be fine!"

And the problem is that this doesn't actually foreshadow anything. It foreshadows a negative. He tells the audience "actually, what we just said will happen, is not going to happen!"

Okay. But that means the possibility of what will happen is literally everything else. There's nothing to be excited about here. And I can just assume things wont be fine because the book has more than one page left after this point. If everything was going to be fine, the story would be over.

On the other hand, good foreshadowing is a little more specific. It poses interesting questions to the audience and promises to fulfil them (pro tip: asking your audience a question and promising an answer is literally all good story telling). R.L Stine can do good foreshadowing. I know he can. He does it in this book.

"Her mouth dropped open in horror as she sated at me. 'You're doing what?' she cried. 
'Taking piano lessons with Dr Shreek,' I repeated.
'Oh!' She uttered a soft cry, spun around, and began running toward her front door.
'Hey, Kim!' I called after her. 'Kim -- what's wrong?'
But she disappeared out the door."

This passage hints at some terror in the future. Just the mention of Dr Shreek's lessons is enough to frighten Kim and make her run away. Presumably she knows something we and Jerry do not. What does she know? Why is it frightening? Will we find out? What will happen at the piano lessons?

This is a different kind of foreshadowing. It doesn't tell you what will happen exactly, just hints at what is to come, and it gives you a reason to care. And the possibilities are not infinite (or infinite minus 1), the possibilities are constrained by the foreshadowing. What will happen is frightening, what will happen involves Dr Shreek. Kim might tell us what she knows. And since we also know Jerry is going to take those lessons with Dr Shreek, we know he is in some kind of peril. That is something that will definitely happen, but there is a frightening shadow hanging over the specifics, a shadow we have been promised will be lifted.

R.L Stine isn't a bad writer. Like I said last time, he's inconsistent, but he was working to an incredibly demanding schedule, and so I'm not surprised he doesn't give every book his all. Buuuuut I find it hard to overlook the sort of laziness in his foreshadowing when I know he can do better. When he does better in the same book. Even young readers deserve better than that.

Still, it's a fine book. And I always enjoy a ghost story.

You know what else I enjoy?

Werewolves. And speaking of werewolves...

See you next time.*

*This was foreshadowing. The next book is about werewolves.

Monday, March 22, 2021

Bumping Geese 12: Be Careful What You Wish For

In the back of my copy of 'Be Careful What You Wish For' there is a short interview with R.L Stine in which he is asked what he would wish for if he had three wishes. R.L Stine says he only ever had one wish, which is to be a writer.

And somewhere, a monkey's paw curled its finger.

R.L Stine was cursed to spend the rest of his life writing 20 Goosebumps books a week. An impossible task to complete and maintain any consistent level of quality. And so, sometimes, R.L Stine was forced to resort to that most terrible of literary crimes: cliché.

Reader beware, you're in for a cliché

I'm being hyperbolic, of course. There's nothing inherently unsalvageabley wrong with clichés. Everybody uses them. Their wide recognisability is both their flaw and their utility. And let's not forget that subverting a cliché can be a great delight... Until that cliché subversion becomes cliché in itself. But the point is, a cliché lives or dies by how you use it. There is a good way...

And then there is this book.

Stop me if you've heard this before.

Samantha Byrd is a regular girl with hard life. What's so hard about it? Everybody around her is an awful person. She's tall and clumsy, she's bad at basketball, and her family doesn't take her seriously. Her classmates tease her, and when they do, even her one friend Cory laughs with them. They call her "stork" because she is tall and her last name sounds like "bird", and they tell her to fly away. And one day, after her regular bully Judith knees her in the gut during basketball practice, Samantha reaches her limit. She gets on her bike and thinks she might just ride forever, run away and leave her shitty life behind.

But when she gets to the edge of her neighbourhood, she encounters a strange woman named Clarissa. Clarissa is lost and asks Sam to help her find her way. Samantha does and, to return her kindness, Clarissa grants Samantha three wishes. Samantha doesn't believe Clarissa can grant any wishes, but to get Clarissa to leave her alone, she agrees to makes one wish.

Sam wishes to be the strongest player on her school basketball team.

Come the next game, Sam isn't any better at basketball. In fact, she plays worse than ever. But all her teammates become physically weak and lethargic. They can barely stay upright and walk, let alone play basketball. Samantha's wish had come true but with horrific twisted consequences.

The next day, nobody on the basketball team shows up to school. They've all become weak and sickly, but doctors can't explain why other than calling it a bad case of the flu.

So you know how this goes, right? Samantha makes wishes, doesn't think the consequences through, terrible things happen as a result, Sam feels guilty, rinse and repeat.

Clarissa agrees, as part of Sam's second wish, to undo the first wish. Clarissa genuinely wants to make Samantha happy in return for helping her, but she explains magic is unpredictable, so it's not really her fault when things work out wrong. Sam must consider her wishes carefully. And what is Sam's second wish?

In a fit of rage, she wishes her bully Judith would disappear. But the next day, her entire town has disappeared and Sam is all alone. Angst, guilt, and drama ensue.

Clarissa shows up again and offers to reverse the wish as part of the third and final wish. Samantha proves to be an unbelievable dunce and wishes that everything be returned to normal, all wishes undone, except that Judith should think Sam is the best person in the world.

And the next day at school, Judith has changed from bully to obsessed stalker. She follows Sam everywhere, imitates her, dresses like her, breaks into her house to spend time with her. It is, of course, not what Sam wanted. Although I honestly don't know what she wanted or expected from this wish. Sam is a buffoon.

Still unhappy, Sam seeks out Clarissa one more time to ask the wish be undone. Clarissa offers Sam one more wish and since we're near the end now, it's about time for the horrific nightmare inducing Goosebumps twist cliché. Samantha wishes that she had never made any of the wishes, never met Clarissa, and that it had been Judith who met and helped Clarissa, Judith who had three wishes. Sam reasons that any wish Judith makes will ruin her life, like they did for Sam. And the wish is done. And Sam sees Clarissa talking to Judith, and hears Judith make her first wish.

Judith wishes that Samantha Byrd would fly away. And Sam, after pecking at a worm she spots in the dirt, flaps her wings and flies off, watching Judith and Clarissa beneath her, sure that Judith's life will now be terrible as hers.

What the fuck...

When I started this, I did not expect there to be quite so much body horror in these books.

Not that I'm complaining. Body horror is my jam. It never fails to super creep me out.

But as for the rest of this book. It's cliché. Its premise is cliché. Its execution is cliché. Its characters are cliché. And that makes it a real slog to read. It's boring. I've seen it all before. I don't even want to do a deep dive because I feel like I've wasted too much time on this book already.

And even if I wanted to, what would I say? There isn't anything worth unpacking and exploring here. What are the deeper themes of this book?

It's in the fucking title. "Be careful what you wish for". Yeah. Thanks, R.L Stine. Never heard that before.

Well you know what I wish?

I wish I had a better Goosebumps to read.

And somewhere, a monkey's paw curled its finger...

Wednesday, January 20, 2021

Bumping Geese 11 (Double Feature): The Haunted Mask

 And now, the finale of our first ever official


And this week we're finishing with what I understand to be the last of the most iconic Goosebumps books, one so emblematic of the series that it was chosen as the two-part pilot for the TV series, and one of the handful of books to receive sequels. I'm far from the first to opine on this book, and I'll surely not be the last. But I'll do it anyway and you can't stop me.


'The Haunted Mask' is the story of Carly Beth, just your usual young girl Goosebumps book protagonist. She lives in the suburbs or a small town, has a best friend, a younger brother, a stay-at-home mother, a working father, and a completely ordinary life until the events of the book transpire. No pet, though, which is unusual. What is also unusual is that a chunk of this book takes place while Carly Beth is at school. Most, if not all the books so far, have either skipped over school hours to take place on weekends and week nights, or have taken place during a holiday period (usually summer break), so we don't see the protagonists at school.

What it completely unexceptional, however, is that Carly Beth is surrounded by just the worst people. Total trash. All her friends? Garbage people. 

Not, like, people who collect garbage as a job, but people who are made of garbage.

I mean, they're not, like, actually literally made of garbage. They're just terrible people.

What makes them terrible is that they have all come to learn that Carly Beth is something of a meek child, very easily frightened, very nervous, and they have decided this is the funniest thing in the world. Her friends - which is a generous term - Chuck and Steve in particular like to do things like trick her into thinking a spider is biting her leg, and they do this while Carly Beth is giving her presentation at the school science fair. Other greatest hits include offering her a sandwich that they have put a worm in, and not telling her until after she has eaten half of it. Then telling her the worm is fake to calm her down, until she investigates it and confirms it is real.

You know, what garbage humans like to call "pranks" and the rest of us call "being awful".

Carly Beth's best friend Sabrina is less involved, but always encouraging of their friends scaring Carly Beth, and dismissive of Carly Beth's fears and frustrations and really just all of her emotions. Sabrina is the sort of person who would burn down your house and then wouldn't talk to you until you apologised for getting mad at her over "a joke."

I'm not saying Sabrina or Chuck or Steve are worse people than Lindy Powell, but characters likes these really make you appreciate the sophistication and cunning of a sociopath like Lindy.

Anyway. After being pushed too far just once too often, Carly Beth gets it into her head to get her own revenge by scaring her friends on Halloween. She takes a last minute trip to a party shop to buy the scariest mask she can, and while browsing, comes across a back room in the store full of the most realistic and most disturbing masks - the perfect frightening masks for her plan. The store owner is hesitant to sell them, but she convinces him and hands over her life savings ($30) for the mask, then sets out to begin her reign of terror.

She starts with her brother, Noah, and scares him when she gets home. It works a treat, and Carly Beth discovers that inside the mask, her voice takes on a sinister growly pitch. It's not a comfortable mask to wear, though. It smells awful, makes her sweat, and is kind of sticky.

Carly Beth rounds out her costume by taking a plaster sculpture of her face (made by her mother in an art class) and sticking it on the end of a broom handle, and carries it as though it were a head on a pike. Now set, she dashes off into the eerie Halloween night to spread fear and terror.

And she does.

We have a montage of Carly Beth scaring some random tick-or-treaters, and her friend Sabrina, and then literally anybody else she runs into. And although none of the adults she meets are afraid, she gives them the same angry and growling treatment she gives everybody else, and claims she is just "in character". Carly Beth has the time of her life jumping out of bushes and roaring at children. When she gets tired of Sabrina's reservations about their mischief, Carly Beth runs off to bring vengeance on the town by herself. She steals somebody's trick-or-treat bag. She throws apples at a house. And finally she meets Chuck and Steve and terrorises them, demanding their bags and threatening to take their heads just like she did to Carly Beth. Chuck and Steve are put off but do their best to remain strong, until, as Carly Beth thrusts her head-on-a-stick at them, all three see the plaster sculpture come to life and plead for help. Chuck and Steve go running and Carly Beth, the real... the maybe real Carly Beth gets such a fright of her own she tosses it aside.

But that only lasts a minute. Once it dawns on her that she has frightened her friends and accomplished her goals, she goes for a mad run around the streets and howls at the night sky. It seems her transformation from meek and frightened girl to something scary, something powerful, is complete. And for Carly Beth, despite a lingering doubt that maybe this is all a bit much, revels in her Halloween shenanigans.

About this time, Sabrina finds her and the two decide to call it a night and go home to sort through their Halloween loot. But when Carly Beth tries to take off her mask, she discovers it has become fused to her body. She and the mask are now one. There is no seam, no space between her flesh and the skin-like mask snug on her face. Carly Beth rushes out into the streets again, this time in a panic, and tries in vain to hide her hideous new face. This desperate flight brings her back to the party store, where the store owner once again welcomes her inside. He explains that he thought she might come back, that he expected this would happen. For the mask is not a mask at all, but a strange life form he invented in a lab. All the masks in the back room are alive, and were once beautiful, but over time became hideous monstrosities. All they want is a body, and from time to time, somebody comes into the store, finds them, and demands to buy one.

And the book just kind of glosses over how fucked up all this is, but, hey, not everything needs to be explained. In a world in which sentient mask monsters can attach to people's bodies, suspending disbelief on the how and why we got here is a small ask. This shit is crazy enough as it is.

Anyway, for other reasons which aren't explained, the mask can only be removed by a symbol of true love. But it will only work once. Should Carly Beth or anybody else put the mask on again, there will be no separating from it.

I'm sure you can see where this is going. Carly Beth runs back into the streets, now chased by the other masks (because of... more reasons), and finds the sculpture her mother made of her face. Carly Beth is able to free herself of the mask with this and drive away all the other masks chasing her. The nightmare apparently over, she returns home to a worried mother. Carly Beth begins to explain where she has been, why she is home late, why she left without the costume her mother bought her, and why she has the plaster sculpture, but she's only a few words in when her brother Noah bursts into the room snarling and screaming, wearing Carly Beth's monster mask!

So I guess the first thing we have to address here is the ending. It is not one of the better ones. There is good planting and pay off, but a lot of the exposition doesn't really add up, and really just leaves you with more questions instead of fewer. The climactic chase scene comes and goes with barely any escalating of the tension and it's not clear why the masks decide to join in the way they do. I've read that RL Stine comes up with the title and the twist ending for the books first, and then writes around them. And I think sometimes you can see the weakness in that approach. Sometimes I get the impression he has stuck too hard to an original idea and the end result is a little forced.

But it's also far far far from the worst case we've seen. 'The Haunted Mask' isn't, in any sense, bad. It's probably one of the best so far, in fact. Unlike 'Monster Blood', it is worthy of its privileged status as an iconic entry in the series. I look forward to the sequels.

Because ultimately, those are small issues. Noteworthy, but not enough to subtract from the overall quality. This might be the best written book in the series so far. RL Stine goes all in to create a visceral Halloween atmosphere. All the motifs you could want are here: trick-or-treating, jack-o-lanterns, dry autumn leaves, cool winds, and frequent acknowledgements of the bright moon hanging over the town, occasionally vanishing behind clouds in the darker moments of the story. More than any other Goosebumps book before it, this one paints its environment for the reader in beautiful detail.

And it might just be that I have a great fondness for Halloween in all its camp tradition. The German word "fernweh" has been described as not merely wanderlust, but as a "homesickness for somewhere you've never been." We don't have a Halloween tradition in Australia, but I definitely feel a kind of fernweh for it, a second-hand nostalgia. Which also sort of describes this whole Goosebumps reading enterprise we're on. And so 'The Haunted Mask', in addition to being an excellent entry in the series, resonated with me and ticked a lot of my personal boxes in the same way 'Stay Out of The Basement Did'.

And I wonder if that isn't the appeal of the series as a whole? Sure, they're all pretty formulaic, they're all spoopy children's books with generous helpings of comedy and occasionally they are awful. But they're so broad in topic and tone, and increasingly broad in setting, that eventually, if you read enough, you're almost guaranteed to find one or two that fits you perfectly. And those are likely the books that will stick out in your mind.

Every time I sit down to write one of these blogs, I am tempted to rag on 'Monster Blood' some more, because it is a bad book and it does deserve the hate I give it. But when I walk away, when I'm starting the next book, when I'm going through my day, it's the good ones I think about most. 'Stay Out of The Basement', 'Say Cheese and Die', and 'Let's Get Invisible' have all stuck with me because they are genuinely good books. They're scary, they're well written, and they have something to say. And 'The Haunted Mask' is going to join that list.

I know this has been something of a Ramble Review and we've talked about a lot, but there's one more thing I want to say about 'The Haunted Mask' and I feel like I'd be doing you and the novel a disservice if I didn't touch on it briefly.

In my reading about the book and its TV adaptation, I saw a few comments about the book's themes regarding peer pressure and how the story is about Carly Beth learning to love herself as she is. And while those are good messages, with all due respect, I don't think those interpretations carry a lot of weight. At the very least, I don't think it is the strongest or even most interesting reading of the book.

As I read 'The Haunted Mask' I was constantly reminded of two famous quotes*: "Before you embark on a journey of revenge, dig two graves." and "Holding on to anger is like grasping a hot coal with the intent of throwing it at someone else; you are the one who gets burned."

Carly Beth's story is a story of revenge. The transformation she undertakes is the result of her desire to get back at her friends for how they have treated her. That desire is so consuming that it ultimately changes her, inside and out. Her vengeance needed a monster, and so she became that monster, even though a lot more people than Sabrina, Chuck, and Steve suffered for it. Even though Carly Beth herself suffered for it.

One way to look at the conflict in a story is examining what the protagonist wants, compared to what the protagonist needs. Often they are different, and how those tensions are revealed and resolved is a big part of what any story ultimately has to say about the world and the human condition. Carly Beth wanted revenge. What she needed was better people in her life. By the end, she had both. But one - revenge - turned her into a hideous monster that carried her own head on a pike like a trophy, and the other - her family - gave her warm cider at the end of a rough night. And it is that latter resolution, Carly Beth getting what she really needed all along, that delivers on her happy ending (obligatory twist not withstanding) and that's how we know it is her need even though it is never stated in the way her want is.

Some of you may well think this all sounds like a lot of High School English Class bullshit and you wonder why a book can't just be a book. A spooky story about a mask might just be a spooky story about a mask. And that is a whole conversation in itself, but let me just say, as somebody with a level of expertise in writing fiction, these themes and ideas your English teachers and book bloggers like to pry out of stories are put there on purpose.**

Obviously I can't speak for RL Stine specifically, but authors are a clever bunch.

Trust me.

*The former is attributed to Confucius and the second to Buddha. There's no evidence of the former, and the latter is from a later Buddhist writer.
**There is also an argument to be made as to whether or not it even matters if it is deliberate but, again, that's is a whole big conversation in itself.

Bumping Geese 10 (Double Feature): The Ghost Next Door

Welcome to the first official


This isn't the first time I've reviewed two books in a week, but it's the first time I'm making a big deal of it. 

Why? 

Is it because it's the third week of January and I've only talked about one book? Is it because there are a lot more Goosebumps books than I thought there was and if I don't do more than one-a-week, I'm going to be doing this until the day I die? Is it because I don't have much to say about this first book?

Yes. All of that is true.

And also I feel like it.

But before I get to that, I want to share some good news with you all.


Eventually, it seems, RL Stine does learn to make a funny joke. I don't know when, I don't know how, and I don't know how many books until it shows up in his writing, but eventually, we can be certain, it happens.

Okay. Onto the first book.


In Goosebumps #10 'The Ghost Next Door' we follow the life and times of Hannah, a girl all alone during summer vacation. Her friends are at summer camp and not writing to her. So it's just her, her parents, and her two younger brothers. She's feeling pretty lonely. And then she meets a new neighbour, Danny. Danny claims to live next door, but Hannah thought the house was empty. Danny claims to be in the same grade as her at the same school, but Hannah has never seen him before. Danny doesn't know any of Hannah's friends, and Hannah has never heard of the boys Danny hangs around with. It's all very mysterious and sudden, and Hannah begins to suspect that maybe--

Hannah is the ghost.

Yeah, this twist was pretty obvious from about page 3.

Despite that, we spend the rest of the book seeing Hannah live out her day to day life mostly alone, sometimes with Danny, eventually stalking Danny from afar to find proof that he is the ghost she thinks he is. But those paying attention at home will notice that outside Hannah's family and Danny, nobody ever interacts with Hannah or seems to notice her.

Hannah also keeps seeing a strange, think, faceless, shadowy figure watching her, following her the way she is following Danny, eventually warning her to stay away from Danny.

All this is very strange, and Hannah can't help but think there is a problem with her theory. If Danny is a ghost, does that mean his family are ghosts? Are his friends that she has never met before also ghosts? And surely the mailman Danny and his friends harass, or the poor ice cream store owner they rob, would notice if they were ghosts. Hannah decides she can't keep puzzling it out and confronts Danny, only to discover in doing so that she is the ghost, that she has been the whole time.

And then something unusual happens.

The book keeps going after the twist. Hannah learns that she died five years ago in a fire, and after her discovery, her ghost family vanishes. Danny avoids her, since now he knows she's a ghost too, and is afraid, but Hannah keeps stalking him and his friends, following them to the home of poor postman Mr Chesney, whom they have been harassing for weeks. Danny and his friends break into the house and accidentally start a fire, but while his friends escape, Danny is stuck. Hannah rushes to his rescue and helps him escape. When Danny is fine, she realises that she came back as a ghost just for this moment, just so she could save Danny from dying the same way she did and now, now she can move on.

Oh and the shadowy figure is revealed to be Danny's unborn ghost trying to keep Hannah from saving Danny so that when Danny dies, his ghost can exist... In some way that is different to how it already exists. But since Danny doesn't die, the ghost-not-ghost does... die... I guess. It's weird and probably best not to dwell on.

So look, I know I am a grown adult and these are spoopy books written for children who probably haven't seen 'The Twilight Zone' or 'The Sixth Sense' or any other version of this story with this twist, so it's not like I earn some bragging rights for guessing the twist. But even though I did see the twist coming about 100 pages before it happened, and even though the twist ending is a big part of the 'Goosebumps' identity, it didn't subtract from my enjoyment of the book.

The characters were likeable and sympathetic. You feel for Hannah's isolation, and you worry about Danny and the bad crowd he has fallen in with. Even when you know Hannah is the ghost, you want to see how she learns and what that means for her. And even though the reveal of the shadowy figure's identity is... bad... It was an extra layer of mystery to keep me going.

'The Ghost Next Door' shows us how even when a mystery is at the heart of a book, the enjoyment doesn't come purely from the reveal but from the journey. And that's just as true of spoopy children's horror novels as it is of actual mystery novels. If it wasn't, nobody would read a Raymond Chandler book twice.

'The Ghost Next Door' was a journey worth taking, even when I'd seen the destination. It's a solid entry into the series, at least in terms of pure entertainment value and page-turning engagement.

But I will say there's not a lot under the surface. Stories from the point of view of a ghost tend to work best when they are thematically about loneliness, isolation, regret, and grief. The ghost's perspective is one of loss. See, again, 'The Sixth Sense' and why it holds up under repeat viewings. The emotionality carries the film more than the actual plot. But 'The Ghost Next Door' doesn't do much with its own themes. They're there, they're just under explored.

That's all for this book, friends. But we're only halfway through our spooky double feature! Click on ahead for more!

Saturday, January 16, 2021

Bumping Geese 9: Welcome To Camp Nightmare

We're a little overdue again, with this one. But I thought it only fitting I start off Bumping Geese in 2021 in the most 2021 way possible.

By being a general disappointment to all involved.

That's not to say 'Welcome To Camp Nightmare' is a disappointment, though. It is... Well, let's talk about what it is.

I think this is my favourite cover so far

'Welcome To Camp Nightmare' is about going to summer camp. I don't know if we have summer camp in Australia. There's probably a niche industry. We have organisations like the Boy Scouts, who go camping, but I don't think I know anybody who has ever been to a summer camp. Our summer school holiday period overlaps with Christmas and New Years, so most families would rather be together around this time, not apart. This means everything I know about summer camp as a concept comes from US media and it's all kind of a weird concept to me.

That made this kind of a tricky one to break into. It wasn't a situation I felt engaged with or that I could relate to. For all I knew, none of the weird stuff in the book would be any weirder to me than summer camp already is in my eyes. As the story begins, the main character Billy is on the bus to summer camp, the bus is full of boys his age and a couple of girls who are attending a near-by and associated but different camp. Billy starts to make some friends and looks out at the empty scenery going past. Then all of a sudden the bus stops and all the kids and their luggage are thrown off the bus.

But not before the bus driver scares them all with a monster mask.

And for a few minutes, all the campers are left alone by an empty stretch of road in the middle of nowhere, no idea amongst them what happens next.

Is this the weird part? I don't know. Maybe this is how camp normally works. Billy's narration suggests it's weird, but he isn't sure and so neither am I.

But then some monster cat things show up and start to attack the campers, but before anyone can get hurt, there's a gunshot, the monsters leg it, and the campers meet Uncle Al. Uncle Al runs the camp and he has arrived to pick everybody up in another bus and take them to the camp.

Is this part weird? I mean, I live in Australia. I know for a fact that sometimes wild animals are strange and look monstrous, and sometimes they're definitely inclined to murder you. And a man with a gun? Seems normal if this book, like the rest, is set in the USA.

It's not NOT scary, but I also don't know how normal any of this is or isn't. So it was kind of difficult to get into the book.

But then we get to the camp and shit starts getting undeniably weird.

And with it, shit gets proper scary.

We quickly learn that Uncle Al and the camp counsellors take a stand-offish approach to caring for the children in the camp. Billy's friend Mike finds some snakes in his bunk and they bite him. Mike rushes off to find the nurse, but the camp has no nurse. One of the counsellors tells Mike to rinse the wound and bandage it (the counsellor offers bandages but does not otherwise help). Over the next few days, Mike's wound gets worse and then he vanishes from camp completely.

The camp has a "Forbidden Bunk" (bunk here means cabin, I think, as opposed to bunks as in beds, like where Mike found the snakes) and the children are warned not to go near it, not to ask about it, and also not to go out at night, lest they be attacked by bears or some kind of mysterious monster called Sabre. Well, two of Billy's friends do exactly that, but only one returns, in a state of terror, claiming some monster tore the other boy, Roger, into shreds near the Forbidden Bunk. Billy and his pals report the attack, but the counsellors don't treat it seriously and accuse them of lying. The boys insist it be investigated, and the counsellor agrees, only to return a day later and explain that nobody named Roger had ever been at the camp.

The tension continues to rise with, eventually, all of Billy's bunk-mates vanishing, and then being replaced by new kids to share his bunk. But those new kids also disappear, washing away down the river in a canoeing accident. One of the counsellors is there when this happens, but treats the loss with the usual indifference. Billy wants to leave, and hopes to contact his parents, but while sneaking around the camp, trying to avoid camp activities and counsellors, he learns the one phone in the camp is false and that the letters he and the other campers have been writing to their parents every day have been collecting dust in the camp office. Never sent. Never to be sent. Two of the girls Billy met on the bus sneak into the boy's camp and report similar disappearances, monsters, and strange goings-on at their camp across the river. Together, Billy and the girls discuss a plan to escape.

But before they can put any plan into action, the whole boys' camp is rounded up for a special hike, walked deep into the woods along the river, handed a rifle each and told that two girls have escaped their camp, and the boys are to hunt them down and shoot them. But the rifles only shoot tranquilizer darts, as if that somehow makes it okay.

Now, you and I both know that a twist is coming up. Before we get there, I want to praise this book. This is some scary shit. Monsters. Isolation. Missing friends. A sense of powerless in the face of the world, and the authorities, who seem not only cold, but complicit. One of the counsellors tells Billy and his friends that Uncle Al doesn't like to "coddle" the campers, but it's clear this really means "does not care if you all live or die."

And by the time they're all being marched into the woods, it seems like anything could happen. This could be a mass execution for all I know. This is by far the darkest Goosebumps book so far, and the most lethal by a long shot. I knew the twist must be coming, but I had no idea what to expect. How could this story get worse for anyone? How much darker can it get?

I was, to say the least, impressed. Despite the rough start, the book really sucked me in. The horror and tension was palpable. And I haven't really made it clear in the recap, but it's worth noting that outside Billy and his friends, none of the other campers seemed to care. Nobody else was worried. These horrors didn't seem to be affecting the other bunks. It adds an unsettling element and made me wonder how many of the campers were in on it too. Whatever "it" was. Sometimes they seemed shocked at what was happening and equally as in danger, but other times they seemed like they were deliberately isolating Billy and his buddies.

When Billy hears what Uncle Al wants and realises that it's his friends from the girls' camp he must hunt down, he refuses. He refuses to do anything Uncle Al tells him, and threatens Uncle Al with the gun. Uncle Al, in a rage, attacks Billy, and Billy fires on him.

But nothing happens.

And Uncle Al takes Billy by the hand, shakes it, and tells him he has passed the test.

Everybody at camp applauds. All his missing friends, he escaped girls, even his parents step out from their hiding places in the woods and they explain to Billy that the whole camp has been a test. You see, Billy's parents are field researchers for the government, and they want Billy to start coming on their science expeditions with them. But they go to some far away dangerous places, so Billy had to be tested. And it had to be a secret because, if he failed, he wasn't allowed to know about the secret workings of the government department his parents work for.

So I guess if he failed, he'd just get to be traumatised and gas lit for the rest of his life? Convinced monsters stalk the woods, that several friends of his died, and there's a camp run by psychopaths that nobody is doing anything about... Cool. Good plan, folks.

Anyway. Billy did pass, and he'll be going with his parents to an especially dangerous place. A place called...

Earth.

Yes, in a twist truly worthy of the Twilight Zone (and which does indeed appear in an episode of the Twilight Zone) this whole story has actually taken place on another planet. Another planet that just happens to resemble Earth culturally, biologically, and even linguistically. I don't think any of the aliens in the Twilight Zone were named, and that works better than trying to justify why your aliens are named Billy, Roger, Mike, Dawn, and so on.

I can't say I like this twist. It does leave a bad taste in my mouth. It's another one of these twists that nobody can predict because it isn't hinted at or signalled at all. They could all have just as easily been snowmen for all the difference it actually makes to the narrative.

But in a way, it's all still worth it. Everything up to that point was good, was gripping, was scary. It reads like RL Stine went as hard on horror as he could get away with, even ditching a lot of the goofy and comic elements that show up in his books. It reminded me of some of other memorable works of horror I've encountered in my life: 'Endurance' by JA Konrath, 'The Texas Chainsaw Massacre' directed by Tobe Hooper, and 'Wolfe Creek' directed by Greg McLean, but, you know, in a way that's not going to scar a person for the rest of their life.*

So, yeah, all in all, this was a good one.

It's also a good example of another classic Marxist complain about labour under Capitalism.

If you just, like, ignore the twist ending and take the narrative as it is presented up until the last two pages. Just like with the mummy book, we're treating this situation as a metaphor for labour.

And speaking of that last time: I explained how the Marxist analysis of Capitalism presents labour as inherently exploitative and as a political struggle between the bourgeoisie and the proletariat. So the question is, what's the alternative? How should it work under a Marxist model?

Well one such answer to that is to bring democracy to the workplace. 

If you think about it, while many of us say we "live in a democracy" because we have some sort of government made of elected representatives, the amount of democracy in our lives is actually tiny. Yes, we might elect a head of state (though not in Australia) and we might elect politicians, but do we elect the civil servants who do most of the work executing the will of those politicians? Generally no.

And for most of us, we might spend a third of our time in any given week working under what is, effectively, a dictatorship. For most of us, our workplace is not a democracy of any kind. And if you consider how much the decisions of your manager, of your company's board of directors, or corporate officers affect you, you might wonder why you don't deserve to have more say in that.

Take the camp Billy is attending - Camp Nightmoon - as an example. It's not a workplace, but Goosebumps is about children in, thankfully, a society where children do not regularly hold jobs. But we're using metaphors, and Camp Nightmoon is clearly a top heavy power structure. It's a dictatorship. Uncle Al makes all the decisions. Decisions like not hiring a nurse to oversee the health of the campers.

“Well, Camp Nightmoon is pretty wild,” Larry said. “And you guys had better be careful. I’m warning you.” His expression turned serious. “There’s no nurse at Camp Nightmoon. Uncle Al doesn’t believe in coddling you guys.”

But that has a profound impact on the campers. Uncle Bill might think it's best not to coddle the children, not to have a nurse, but I bet a lot of the children would rather have a nurse at camp and if they get hurt, the lack of a nurse affects them a lot more than it affects Uncle Bill. Why don't those people who are most at risk get a say in how that risk is managed?

In my younger years, I worked as a kitchen hand in a lot of different places. One place I worked, I had the misfortune of cutting myself with a paring knife. I was lucky it was just a small knife cut and not a cut with, say, the industrial can opener or a meat slicer, because this kitchen had no first aid supplies. Not one. I was told to put pressure on the cut with a paper towel until it stopped bleeding, at which  time I presumably would have gone back to work, had I not instead chosen to leave.

The person who ran that business wasn't a chef. He didn't work in the kitchen. The owner of that business wasn't even in the building that day. He's not going to cut himself with anything, but he's the one who decides whether or not the kitchen has a first aid kit.

You can extend this analysis to more than safety. Maybe you work for a company that builds websites. Maybe you're hired to build a website for a corporation that has been exposed as selling firearms to terrorist groups. You and your co-workers might find that reprehensible, and you don't want to assist that business in growing or advertising. But the workers who make that website don't get a say on whether or not the company takes that contract. The only person who does never has to write the copy that praises the business, or choose the pretty pretty photos of guns that are being used to execute civilians. The only person who makes that decision just cares whether or not the contract will be profitable. Why shouldn't you have the right to say no when the majority of the workers object to the work? Again, it impacts them the most.

And it is, of course, hardly a radical notion to suggest some employers care more about profit than the well-being or safety of their staff. Uncle Al is a great example of these petty business dictators.

“The two boys floated on downriver?” Uncle Al asked, staring hard at Larry, scratching the back of his fringe of yellow hair. Larry nodded. “We have to find them!” I insisted, trembling harder. Uncle Al continued to glare at Larry. “What about my canoe?” he demanded angrily. “That’s our best canoe! How am I supposed to replace it?”

And in theory, if a politician decides they will support a terrorist organisation, democracy affords us a mechanism to remove them, should the majority object. Many of us claim to like that. Most people in the Anglo-Sphere claim to be pro-democracy. But few of us seem willing to engage with the suggestions that we could, even should, have democracy in a lot more parts of our lives than we currently do.

There are two common counter-arguments to this suggestion.

The first is that if you don't like it, you can quit. Get another job. You do have a means to object. Like me, you can walk out the door. You can go build websites for puppies somewhere else instead of being complicit in terrorism.

But can you?

How many times have you walked out of a job one day and into a new job the next? I'm willing to bet that if you did, you'd organised that new job while still working the one you want to quit. When your capacity to buy food, pay rent, pay for medicine, pay for water is all dependent on having a job, you actually aren't free to just leave. The choice is actually between working and starving. That's not a choice. That's an ultimatum. That's coercion. Capitalism, in this way, is coercive, is violent.

The other argument is that if our workplace was organised democratically, the majority might still decide to do something bad. And, yeah, that can happen. To paraphrase, Henry David Thoreau: nothing has ever been right because it was supported by the majority. So yes, that's an imperfection, but you end up no worse off than the system we have now. In a democratically controlled workplace, you have an equal say in that decision. You not only have a say, your equality gives you a position from which to negotiate with your peers. Don't want to build the terrorist website? Okay. Well, you are as much the boss as your co-workers, so you can, perhaps, arrange to work on other contracts while those comfortable with terrorism work on that one. So even if the result is the same, your position is better. You are still better off.

A less common argument, but one I know you may be inclined to make, because I have made it myself, might be the social democrat argument that these problems can be mitigated through regulation. If our government, which we elect, keeps control over labour laws, then a workplace must have a first aid kit. A strong welfare system means labour is not coercive and you are free to walk away. I know these arguments well because I used to be the one making them.

But labour laws in Australia do require a first aid kit in a workplace, and there still wasn't one when I cut myself. And unless an inspector of some kind, acting for the regulating government bodies, visits that site and finds out, there is nothing the employees - again, the people who need it - can compel their employer to do to install one. But if the workers are in control, they don't need that external authority to enforce regulation because they have the authority to do it themselves.

I want to finish by saying that Marxist workers coops do exist. There are businesses owned and run by the workers in equal share. They do work. But the proof we have is limited to small businesses so far. The question "Would this be sustainable in larger corporations over an extended period?" is a question we don't have the answer to and is, at its heart, a bad question.

No anarchist, no communist, no socialist wants to democratise workplaces and stop there. This is not only just one particular approach to organising labour, it is also only one of many changes that would need to be made. We could have democratic workplaces, and solid welfare systems. This thing we call society, this curse called economics, this monster called money, we humans made all of it. The wheels spin because we turn them. We can change them. All of them. In as many ways as we like. As many times as we like.

So to ask how one left wing idea would work if you changed only that and nothing else is to fail to engage with the conversation in good faith. As such, I won't be answering it.

Oh, and if you're wondering where to start. Well, surprisingly, the Goosebumps has an answer for that, too.

“We have to get together. The boys and the girls,” Dawn whispered, peering once again over the tops of the leaves. “We have to make a plan.”

*That really only applies for 'Wolf Creek'. Personally, while it was an excellently made film, it was too intense, too real, and too visceral for me to get any actual enjoyment from. I had to break up my watching of it into two sessions. I've not had to watch a film that way before or since.

Wednesday, January 6, 2021

Now Is The Time of Monsters

We'll return to Goosebumps in a moment but, folks, we need to talk about what's happening in the USA right now.

Here's the ABC's running report on the incident.

But the short version is that Trump supporters have stormed the Capitol Building in Washington DC. Trump supporters are violently rejecting the result of the federal election that saw Joe Biden elected as the next President of The United States.

And how's it going for them?

A lot better than it is going for the Black Lives Matters protests that have been going on for months now.

Here is the national guard mobilised to protect
the Lincoln memorial during a BLM protest


'nuff said

And this is awful. But it's not surprising.

This morning, as I have many days in the last few years, I've been thinking about the book 'Total Proaganda' by Helen Razer. Specifically, this part:



Nobody can predict the future. I can't tell you exactly how this is going to play out and I couldn't have told you that in January of 2021, Trump Supporters would storm the Capitol Building. But it is possible to look at the material conditions, and to look at historical precedent, and make educated speculation.

A butterfly flaps its wings. A tornado forms.

A state fails its people. A fascist rises.

And the USA has failed its people. Those failures are numerous: incredible wealth inequality, crumbling and dangerous infrastructure, malicious denial of health care. The USA has created a desperate population and history has shown us desperate people radicalise.

The US has also spent the better part of a century poisoning the socialist well. There is no main stream left wing movement in the USA. The media and the government will not even entertain the most basic left wing notions. Bernie Sanders' social democratic platform was even too much, too socialist, for the establishment and even for many of the USA's citizens to believe in.

So of course, when those desperate people radicalised, there was only one direction for them to go.

In 2016, when a lot of people were looking at the shit lives they were living in their failing state and asked "What the fuck is going on?" it was a fascist that answered their question. Not only did he answer, but he was the only one answering their questions with a political platform broadcast by the main stream media. 

And it doesn't matter that he has failed in almost every way to deliver on his promise, because he is still, for a lot of people, the only person making the promises they want to hear. Trump may have lost the majority, but those radicalised by his fascist rhetoric are demanding answers for the same problems they were in 2016.

But it wasn't just solutions Trump promised. He also gave them enemies.

Enemies both at the gates and inside the gates is fascism 101. Who can you blame for your shit lot in life? Who can you blame for your problems? Who must answer for these crimes? Blame the corrupt democrats. Blame black, indigenous, and people of colour. Blame LGBTQI+ people. Blame migrants. Blame lib elites. Blame antifa terrorists.

Side note: here's the same shit happening in Wyoming at the same time

As I said, we can't predict the future. At time of writing, a curfew is in effect in Washington DC and Vice President Pence has approved an order to mobilise the national guard. I'm not sure what goal Trump's supporters thought they would accomplish, so I certainly can't say whether it was a success.

But what they intended is not as important as what they did. And in this article from November, India Samarajiva that even if Trump leaves office, even if he is forced from office, extraordinary damage has already been done. The USA's already thin and fragile democracy is cracking like glass and can't be repaired.

One thing we can be certain of is that the current order cannot last. It will either kill us all, or it will crumble and something new will rise from the ashes.

Antonio Gramsci said: “The old world is dying, and the new world struggles to be born: now is the time of monsters.” 

And Rosa Luxemburg said: "Bourgeois society stands at the crossroads, either transition to Socialism or regression into Barbarism."

These latest events are just another paving stone in the road we're all walking. Marxists and Anti-Fascists have been sounding alarm bells for years. We're not surprised.

But this isn't about "I told you so".

This is about ringing those alarm bells until our knuckles bleed.

There is a line to be drawn between the desperation caused by neo-liberalism, austerity, and modern free market capitalist economics and the current rise in fascism. The USA isn't unique, it's just farther along the path.

Australia is walking the same path.

The Liberal/National coalition wants us on this path. And Labor's vision isn't much better. It might be, at best, a slower step.

England too.

The whole Anglosphere and much of Western Europe is walking this path.

Right into the jaws of monsters.