Monsters in America Quotes

“The monster in American history is not simply that which destroys. It is a being that must be destroyed. ...There can be no simple border wars in America's conflicts. Every battle is a mythic battle, a struggle against savagery, whether it be a Native American war, the search for a sea monster, or a war on terror.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“American cold war culture represented an age of anxiety. The anxiety was so severe that it sought relief in an insistent, assertive optimism. Much of American popular culture aided this quest for apathetic security. The expanding white middle class sought to escape their worries in the burgeoning consumer culture. Driving on the new highway system in gigantic showboat cars to malls and shopping centers that accepted a new form of payment known as credit cards, Americans could forget about Jim Crow, communism, and the possibility of Armageddon. At night in their suburban homes, television allowed middle class families to enjoy light domestic comedies like The Adventures of Ozzie and Harriet, Father Knows Best, and Leave It to Beaver. Somnolently they watched representations of settled family life, stories where lost baseball gloves and dinnertime hijinks represented the only conflicts. In the glow of a new Zenith television, it became easy to believe that the American dream had been fully realized by the sacrifice and hard work of the war generation.

American monsters in pop culture came to the aid of this great American sleep. Although a handful of science fiction films made explicit political messages that unsettled an apathetic America, the vast majority of 'creature features' proffered parables of American righteousness and power. These narratives ended, not with world apocalypse, but with a full restoration of a secure, consumer-oriented status quo. Invaders in flying saucers, radioactive mutations, and giant creatures born of the atomic age wreaked havoc but were soon destroyed by brainy teams of civilian scientists in cooperation with the American military. These films encouraged a certain degree of paranoia but also offered quick and easy relief to this anxiety... Such films did not so much teach Americans to 'stop worrying and love the bomb' as to 'keep worrying and love the state.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“All the creatures of folklore and popular culture raise unanswered questions about the bodies we inhabit. The walking corpse horrifies because our bodies will bear a real resemblance to them someday, sans the perambulation. Medical oddities are distburbing because they remind that the boundaries of the human body are inherently instable... Other members of the monstrous fraternity, even the sultry vampire, threaten to puncture, rend, and ultimately destroy our bodies. We fear the monster perhaps because we fear the death and dissolution of our temporal selves.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“A number of scholars, many of them seeking to explain the appeal of the monstrous in pop culture, have seen the monster primarily as part of an inner horror show, the personal nightmares of the ego torn between a reptilian id and the moralistic superego. This interpretation understands the monster as a metaphor of human development, the demons that guard the gates of adulthood and emotional maturity. Monsters, according to this view, are primarily inner monsters. Our desire for them emerges from our desire to embrace our own darkness. This approach often makes the self, especially the adolescent self, the locus of understanding the horrific.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“Monsters of all kinds are far more than malefic explosions of the id, more than a return of the repressed. Monsters occupy a central place in American social and cultural history. They sit like spiders in the center of a web of political identities, economic forces, racial fantasy, and gender dynamics. They are more than the dark side of the human personality or the dark side of popular culture. They are part of the genetic code of the American experience, ciphers that reveal disturbing truths about everything from colonial settlement to the institution of slavery, from anti-immigrant movements to the rise of religious fundamentalism in recent American politics. They are more than fantastical metaphors because they have a history coincident with a national history. The interpretation of the monstrous as the working out of psychic trauma is deeply flawed in its reductive and overdeterminative implications.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“The monsters of our wired world can also quickly become commodified, as can be seen in the extraordinary story of the cult PC game Five Nights at Freddy’s.”
― W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and the Haunting