Tag Archives: The Yellow Wallpaper

Guest Article: Tracy Fahey Discusses Contemporary Body Horror in Literature and Her Collection, I Spit Myself Out. #WiHM #HookonWiHM #womeninhorror @TracyFahey

Author and gothic expert Tracy Fahey is a woman in horror who always interests me. I suppose it’s because my first love in horror myself is the gothic sub-genre, but also Tracy always has intelligent and thought-provoking things to say. It’s why, besides wanting to support her, I invited her to write another article for this site during the time frame of her latest release, a collection of female body horror. I knew she’d discuss something that would be make me want to think a bit harder, challenge me. She didn’t disappoint, but extended my thoughts of the pre-conceived boundaries of body horror I had in my mind. And she’s cited one of my favorite stories, and biggest influences, in “The Yellow Wallpaper” by Charlotte Gilman Perkins!

I hope you enjoy it and check out Tracy’s collection too!

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I Spit Myself Out: Contemporary Female Body Horror
by Tracy Fahey, Author of I Spit Myself Out

My new collection, I Spit Myself Out, is yet another addition to the rich tradition of writing the female body in horror. Earlier seminal work includes Charlotte Gilman Perkins’ masterful short story of 1892, “The Yellow Wallpaper,” perhaps the finest portrait of patriarchal repression of post-partum depression ever written. Similarly, Margaret Atwood’s The Handmaid’s Tale (1985) telegraphed anxieties about female autonomy, while Madge Piercy’s 1976 speculative feminist classic, Woman on the Edge of Time, contrasted the wretched life of protagonist Connie Ramos inside and outside the asylum she is confined to with the utopia of Mattapoisett.

In recent years, there has been a renaissance of work on the theme of female body horror. This can be viewed as a direct response to the increasing anxiety surrounding women’s rights. Atwood’s The Handmaid’s Tale was recently adapted for TV. This powerful series, with its contemporary setting, speaks to real, current fears about female reproductive rights, bodily autonomy, and control. Since 2018, female protestors against the erosion of body rights under the Trump regime have worn the iconic Handmaids’ garb of white bonnets and red robes to signal their visceral fear of a new Gilead made reality. Atwood was spurred on by the march of current events to write a sequel to The Handmaid’s Tale thiety years later, The Testaments (2019). In an interview with Laura Lynch, Atwood said of writing this sequel:

I was no, no, no, no, no for a while, but then No. 1: history changed. Instead of going away from Gilead, we turned around and started coming back towards Gilead.

This vision is echoed in Christina Dalcher’s Vox (2016) where women are literally silenced, forbidden to read, and their conversation limited to under a hundred words a day. In Gwendolyn Kiste’s The Rust Maidens (2018) girls begin to transform and to disintegrate, in tandem with the decline of their hometown. Similarly, Georgina Bruce’s magnificent collection, This House Of Wounds (2019), presents a series of visions of the female psyche as riddled with pain, both physical and mental.

In writing I Spit Myself Out, I was conscious of this tradition. There are definite influences that permeate it (there are shades of “The Yellow Wallpaper” in the titular story, and an Atwoodeque fear of the subjugation of the female body in the perimenopausal story ‘Becoming’). However, in this collection, I wanted to find new ways to articulate these concerns. My first influence was Julia Kristeva’s essay ‘The Powers of Horror,’ and in particular by the way she explores the notion of the abject; that which is of us, but which the body casts off.

 “I” do not want to listen, “I” do not assimilate it. “I” expel it. But since the food is not an “other” for “me,” who am only in their desire, I expel myself, I spit myself out, I abject myself with the same motion through which “I” claim to establish myself. That detail, perhaps an insignificant one, but one that they ferret out, emphasize, evaluate, that trifle turns me inside out, guts sprawling; it is thus that they see the “I” am in the process of becoming an other at the expense of my own death.

Justin Park’s wonderful cover design of I Spit Myself Out perfectly captures Kristeva’s idea of the difficulties that arise when we separate ourselves from what we abject. In this collection I wanted to look at these liminal areas of the female body – the skin as membrane, abraded and permeated, eating disorders that purge the body, and, of course, blood rituals that mark the passage of the body from puberty to menopause.

Ancillary to this was my own cultural background of Irish Catholicism and its problematic attitudes to the female body. So this collection is also rife with images of miraculous cures, stigmata, statues, stained glass, and shrines. It also betrays my interest in both forensics (explored in the story ‘The Wrong Ones’) and morbid anatomy (as featured in ‘I’ll Be Your Mirror’). The final font of inspiration for this collection was the troubled relationship between the body and the mind. Characters in I Spit Myself Out inhabit an uneasy world where their bodies become theatres of pain, places that play out the tension between the expectations of society, the desire to conform, and the rebellious refusal to do so.

Like Connie Ramos, like Offred, like the unnamed narrator of “The Yellow Wallpaper,” the women of I Spit Myself Out face their anxieties about what it is to be female, they find their voices, and, ultimately, they spit their stories out.

I Spit Myself Out, About –

Eighteen unsettling narratives map the female experience from puberty to menopause.

I Spit Myself Out is a collection of female-voiced stories exploring the terror that lurks beneath the surface of the skin. In this collection, an Anatomical Venus opens to display her organs, clients of a mysterious clinic disappear one by one, a police investigation reveals family secrets, revenge is inked in the skin, and bodies pulsate in the throes of illness, childbirth and religious ritual.

Disturbing and provoking in equal turns, I Spit Myself Out reinvents the body as a breeding ground of terrors that resurface inexorably in the present.

You can order it at hyperurl.co/ezgri7, or you can order directly from the Sinister Horror Company

Tracy Fahey, Biography –

Tracy Fahey is an Irish writer of Gothic fiction.  In 2017, her debut collection The Unheimlich Manoeuvre was shortlisted for a British Fantasy Award for Best Collection. Her short fiction is published in over thirty American, British, Australian and Irish anthologies.

She holds a PhD on the Gothic in visual arts, and her non-fiction writing is published in edited collections and journals. She has been awarded residencies in Ireland and Greece. She has written two collections, New Music For Old Rituals and The Unheimlich Manoeuvre, the mini-collection, Unheimlich Manoeuvres In The Dark, and the novel, The Girl In The Fort.  

Her new collection, I Spit Myself Out is published by the Sinister Horror Company in February 2021.

You can read another article by Tracy, about Doppelgangers, which she wrote for this site last year, HERE.

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I’ll be celebrating #WomeninHorror and #BlackHistoryMonth in both February and March specifically here, but also still promoting #WomeninHistory month which is March as well. But you know me, I promote women and diversity all year long anyway. But feel free to follow along on my page for Women in Horror for this special honorary time.

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Filed under Feature Articles, Guest Posts, HookonWiHM, women in horror

A White Room, debut historical novel by Stephanie Carroll, Takes on Secrets, Madness, Gender, and Human Rights in 1900s America

Oh, for the Hook of a Book! is pleased to review A White Room by Stephanie Carroll today as the launching point on the start of her summer virtual tour!  After the review and details, please take part in a chance to win her debut novel as well as check out all the other tour dates in which she’ll be interviewed and also have some interesting guest articles. And if you’d comment at the end of the post by clicking “comment” by the bottom footer, Stephanie will be availabe to answer any questions or comments you have! Enjoy!

A White Room 350x525Emma is terrified of her house. It moves, creaks, and seems alive. Is the terror truly there or is it in her own head? Is her isolation driving her mad or is her madness making her isolated?

A White Room by Stephanie Carroll is a historical novel showcasing the plight of women in the early 20th Century, where desperation for women with dreams and desires outside of working in the home could blur the lines between sanity and insanity.  Where men ruled the towns, the families, and the plight of every woman. Where high society women betrayed, humiliated, and bullied other women for wanting more than to launder, cook, and clean.

Emeline (Emma) Evans’ beloved father, who encouraged her dreams of helping people through nursing and had the funds to send her for an education, dies leaving her mother, her siblings, and her in sudden poverty.  Not knowing how else to help her family, she pleads to a family once helped by her father to let her marry their son. Once they agree, she is thrown into an undesirable situation by the new husband, John Dorr, who moves her far away from any family to start a new isolated life in a gothic home that reeks of sorrow and desires unmet.

Coupled with the fact that the only human contact, besides their a few-days-a-week maid who helped her with the incessant chores, were the high society women in the church who ran committees for profit or invited her low rung young husband lawyer to dine at their homes where she inevitably made mistakes.

Society in the early 1900s didn’t approve of women working outside of the home…their duty was to lug and hand wash dishes, launder clothing by hand, starch, iron, cook, scrub floors on hands and knees, be a dutiful wife and have sons…even if they had an education.  Emma knows some of these chores are important for daily life, but yet it seems she cleans for them to be dirty again, cooks what is consumed, and none feel meaningful and have a lasting effect on change or the world or community. She wants to do something important.

And here is where her dedication to herself, her desire to assist those in need, her intelligence and independence, almost drive her mad. Her intimidating eerie home starts messing with her mind. The furniture moves, reflections are odd, yellow eyes glow from the bushes. All this leads to her getting a straight ticket to a diagnosis of hysteria, which means she is confined even further to a bedroom with stark white walls in contrast to the dreary decor of the rest of the house. As the terrors of the home and her thoughts bring her to more paranoia, she flees the home and begins to defy her plight. She starts practicing her nursing, unlicensed and in secret, even as her husband’s law firm boss is hunting down these types of medical practitioners.

Will Emma’s rebellion cause her more pain and confine her further or redeem her from her life of madness and isolation? I highly recommend you read this book to find out. It’s an amazing story of a woman’s determination to use her intelligence and heart to help others, even at cost or danger to herself.

Carroll does a superb job of pulling the reader in from the start. We feel as if we are Emma, her thoughts and actions and worries so pervasive to our own minds.  Just as the house seeps in to our bones and we feel it closing around us as Emma does, as we feel the creepiness making the hair on our arms raise, just as we ourselves might go mad out of anger for Emma’s life, a redeeming break happens. The light enters in and Emma shines.

I totally loved this book. It’s been described as being similar to Charlotte Perkins Gilman’s The Yellow Wallpaper (where a woman becomes obsessed with the wallpaper bedroom), Frances Hodgson Burnett’s The Secret Garden, and Emily Bronte’s Wuthering Heights. Though I concur that all that is true, I go further by being reminded of why the gothic writing work and home remind me of Nathaniel Hawthorne’s House of the Seven Gables (he and I are descended from the same family tree and his work is a favorite of mine) and some of the works of V.C. Andrews, such as Flowers in the Attic. She gives us a gothic feel reminiscent of Daphne de Maurier’s works.

If you have an open mind, or want your eyes to be opened, especially in terms of women’s servitude of the mind that has been happening for ages, this book is a must read. Women’s rights activists like me will highly covet this book as it brings about the secrets of the Gilded Age and also shows how it still transcends into society today.

The content and intricacies of this book are excellent.  I can’t give this book enough great accolades, so don’t hesitate, just read it! If you’re a fan of 20th Century culture, women’s issues, or eerie, haunting work, add this one to your list. Carroll is definitely an author not to be missed and I look forward to more permeating work from her in the future.

A White Room, Synopsis~

A White Room 350x525At the close of the Victorian Era, society still expected middle-class women to be “the angels of the house,” even as a select few strived to become something more. In this time of change, Emeline Evans dreamed of becoming a nurse. But when her father dies unexpectedly, Emeline sacrifices her ambitions and rescues her family from destitution by marrying John Dorr, a reserved lawyer who can provide for her family.

John moves Emeline to the remote Missouri town of Labellum and into an unusual house where her sorrow and uneasiness edge toward madness. Furniture twists and turns before her eyes, people stare out at her from empty rooms, and the house itself conspires against her. The doctor diagnoses hysteria, but the treatment merely reinforces the house’s grip on her mind.

Emeline only finds solace after pursuing an opportunity to serve the poor as an unlicensed nurse. Yet in order to bring comfort to the needy she must secretly defy her husband, whose employer viciously hunts down and prosecutes unlicensed practitioners. Although women are no longer burned at the stake in 1900, disobedience is a symptom of psychological defect, and hysterical women must be controlled.

A novel of madness and secrets, A White Room presents a fantastical glimpse into the forgotten cult of domesticity, where one’s own home could become a prison and a woman has to be willing to risk everything to be free.

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Giveaway~

Want a chance to WIN a copy of Stephanie Carroll’s A White Room? Sign-up for her Rafflecopter giveaway for an e-book version of this exceptional book! Good luck!

Win a copy of A White Room! Click Link Below~

A Rafflecopter giveaway

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Stephanie Carroll, Biography~

Author Photo at Irwin Street Inn - CopyAs a reporter and community editor, Stephanie Carroll earned first place awards from the National Newspaper Association and from the Nevada Press Association. Stephanie holds degrees in history and social science. She graduated summa cum laude from California State University, Fresno.

Her dark and magical writing is inspired by the classic authors Charlotte Perkins Gilman (The Yellow Wallpaper), Frances Hodgson Burnett (The Secret Garden), and Emily Bronte (Wuthering Heights). A White Room is her debut novel.

Stephanie blogs and writes fiction in California, where her husband is stationed with the U.S. Navy. Her website is www.stephaniecarroll.net.

Connect with Stephanie Carroll~

FacebookTwitterGoodreads

Endorsements~

“A novel of grit, independence, and determination … An intelligent story, well told.”

—Renée Thompson, author of The Plume Hunter and The Bridge at Valentine

“The best historical fiction makes you forget it’s fiction and forget it’s historical. Reminiscent of The Yellow Wallpaper … the thoughtful, intricate story Carroll relates is absolutely mesmerizing.”

—Eileen Walsh, Ph.D. U.S. Women’s History, University of San Diego

A White Room, Details~

A White Room 350x525

by Stephanie Carroll

June 2013

408 Pages

Soft Cover: $14.99

eBook: $3.99

Publisher: Unhinged Books

ISBN: 978-0-9888674-0-6

eBook ISBN:

978-0-9888674-1-3

LCCN: 2013930913

The author photo was taken by Corey Ralston Photography and the cover was designed by Jenny Q of Historical Editorial and the original painting is Lady Astor by John Singer Sargent, 1909.

Available in Print and eBook

AmazonBarnes & NobleSonyKoboInkteraSmashwords

Soon to be available on Apple’s iBooks and Baker & Taylor’s Blio

A White Room Blog Tour Dates

A White Room 350x525Weds, June 19 – Oh, For the Hook of a Book:  Tour Kick-off!!  Book Review and Giveaway

Thurs, June 20 – Hazel the Witch:  Interview

Sat, June 22 – Reading in Ecuador:  

Guest Post: How to Write Characters You Hate and Characters You Love to Hate

Mon, June 24 – The Bookish Dame:  Interview

Thurs, June 27 – Momma Bears Book Blog:  

Guest Post: The Story Behind Emeline’s Mental Distress

Tues, July 2 – I am Indeed:  Guest Post: Historical Accuracy in Historical Fiction

Mon, July 8 – Bookfari:  Interview and Giveaway

Tues, July 9 – Hazel the Witch

Guest Post – How to Write the Inner Thoughts of a Crazy Person – Finding Meaning in Insanity?

Weds, July 10 – Satisfaction for Insatiable Readers: Review 

Fri, July 12 – Lost to Books:  Guest Post TBA and Giveaway

Mon, July 15 – A Writer of History:  Guest Post: Writing an Era – Where to Begin?

Weds, July 17 – Michelle’s Romantic Tangle:  Interview

Thurs, July 18 – Oh, For the Hook of a Book:  Interview

Tues, July 23 – Unabridged Chick:  Review and Giveaway

Thurs July 25 – Ravings and Ramblings:  Review and Interview

Tues July 30 – Reading the Past:  Giveaway and Guest Post:

Writing and Historical Thought – They Didn’t Think Like We Did 100 Years Ago

 Sat, Aug. 3 – History and Women:  Guest Post: Victorian Women and the Mystery of Sex 

Be sure to check out all her interviews and guest articles throughout the summer. And stop back by Oh, for the Hook of a Book! for our interview with Stephanie!

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