by
Mark Fisher
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With Inland Empire, world-haemorrhaging has become so acute that we can no longer talk about tangled hierarchies but a terrain subject to chronic ontological subsidence. [...]
wow
We are now in a position to answer the question of why it is important to think about the eerie. Since the eerie turns crucially on the problem of agency, it is about the forces that govern our lives and the world. It should be especially clear to those of us in a globally tele-connected capitalist world that those forces are not fully available to our sensory apprehension. A force like capital does not exist in any substantial sense, yet it is capable of producing practically any kind of effect. At another level, had not Freud long ago shown that the forces that govern our psyche can be conceived of as failures of presence — is not the unconscious itself not just such a failure of presence? — and failures of absence (the various drives or compulsions that intercede where our free will should be)?
The story’s unsettling power depends on two levels of threat: the first, of course, is the brute physical terror of the birds’ attack. But it is the second level that takes us into the eerie. As the story develops, we see residual wartime certainties and authority structures disintegrate. What the birds threaten is the very structures of explanation that had previously made sense of the world. Initially, the preferred account of the birds’ behaviour is the weather. As the attacks intensify, other narratives emerge: the farmer for whom Hocken works says that the idea is circulating in town that the Russians poisoned the birds. (This turn to the readymade explanations of Cold War paranoia makes a certain sense, when we remember that the birds have set aside their differences in order to develop a kind of species consciousness, analogous to class consciousness.) BBC radio broadcasts assume a crucial role in the story. Initially, the broadcasts are the trusted voice of authority: when the BBC announces that the birds are amassing everywhere, the anomalous situation achieves a kind of official validation. At this point, the BBC is synonymous with an authority structure that it is assumed will “do something” to repel the birds’ attack. But, as the broadcasts become increasingly infrequent, it becomes clear that there is no more a strategy to deal with the birds than there is an adequate explanation of their behaviour. By the end, the BBC is no longer broadcasting at all, and its silence means that we are definitively in the space of the eerie. There will be no explanation, for the characters or for the readers. Nor will there be any reprieve: at the end of the story, the birds’ siege shows no signs of concluding.
George Romero's 1968 Night of hte Living Dead
The eeriness of the relationship between body and mind was the subject of Andy de Emmony’s 2010 BBC adaptation of M.R. James’ “Oh, Whistle, and I’ll Come to You, My Lad” , which was discussed in an earlier chapter. In this radically reworked version of the story, Parkin is tormented by the dementia that has reduced his wife to a catatonic shell: “a body that has outlasted the existence of the personality: more horrifying than any spook or ghoul”. “There is nothing inside us” , the Parkin in this version mordantly declares. “There are no ghosts in these machines. Man is matter, and matter rots.” Yet Parkin’s own statement establishes that there are ghosts in the machine, that a certain kind of spectrality is intrinsic to the speaking subject. After all, who is it who can talk of having no inside, of man being rotting matter? Not any substantial subject perhaps, but the subject who speaks, the subject, that is to say, composed out of the undead, discorporate stuff of language. In the very act of announcing its own nullity, the subject does not so much engage in performative contradiction, but points to an ineradicable dualism that results from subjectivity itself. The condition of materialists such as Parkin (our condition in other words) is of knowing that all subjectivity is reducible to matter, that no subjectivity can survive the death of the body, but of nevertheless being unable to experience oneself as mere matter. Once the body is recognised as the substrate-precondition of experience, then one is immediately compelled to accept this phenomenological dualism, precisely because experience and its substrate can be separated. There are ghosts in the machine, and we are they, and they are we.
love this
She came back with the pot and poured coffee for him and for the two men. Then she picked up a dish and turned to get some ice cream. She reached down into the container and with the dipper began to scoop up the ice cream. The white skirt yanked against her hips and crawled up her legs. What showed was girdle, and it was pink, thighs that were rumpled and gray and a little hairy, and veins that spread in a berserk display.
The two men sitting beside Earl exchanged looks. One of them raised his eyebrows. The other man grinned and kept looking at Doreen over his cup as she spooned chocolate syrup over the ice cream. When she began shaking the can of whipped cream, Earl got up, leaving his food, and headed for the door. He heard her call his name, but he kept going.
At home he had Doreen take off all her clothes and get on the scale. He frowned when he saw the veins. He ran his finger the length of one that sprouted up her thigh.
"What are you doing?" she asked.
"Nothing," he said.
He looked at the scale and wrote the figure down on a piece of paper.
He read the classifieds. He went to the state employment office. Every three or four days he drove someplace for an interview, and at night he counted her tips. He smoothed out the dollar bills on the table and stacked the nickels, dimes, and quarters in piles of one dollar each. Each morning he put her on the scale.
In two weeks she had lost three and a half pounds.
"I pick," she said. "I starve myself all day, and then I pick at work. It adds up."
But a week later she had lost five pounds. The week after that, nine and a half pounds. Her clothes were loose on her. She had to cut into the rent money to buy a new uniform.
"People are saying things at work," she said.
"What kind of things?" Earl said.
"That I'm too pale, for one thing," she said. "That I don't look like myself. They're afraid I'm losing too much weight."
"What is wrong with losing?" he said. "Don't you pay any attention to them. Tell them to mind their own business. They're not your husband. You don't have to live with them."
"I have to work with them," Doreen said.
"That's right," Earl said. "But they're not your husband. "
so many themes to dissect here: him controlling her as a substitute for his lack of control in the labour market, workers' lack of power during this time in general, his role of "husband" really being an empty vessel for channeling the perceived judgment of other men ...
She stood in the doorway and turned the knob. She looked as if she wanted to say something else. She wore the white blouse, the wide black belt, and the black skirt. Sometimes she called it her outfit, sometimes her uniform. For as long as I could remember, it was always hanging in the closet or hanging on the clothesline or getting washed out by hand at night or being ironed in the kitchen
She worked Wednesdays through Sundays.
inspo maybe (pano)
"Morning," I said, offering the letter.
He took it from me without a word and went absolutely pale. He tottered a minute and then started back for the house, holding the letter up to the light.
I called out, "She's no good, boy. I could tell that the minute I saw her. Why don't you forget her? Why don't you go to work and forget her? What have you got against work? It was work, day and night, work that gave me oblivion when I was in your shoes and there was a war on where I was ..."
[...] She touched the ewdding band on her ring finger with her thumb. She turned onto her side and then onto her back again. And then she began to feel afraid, and in one unreasoning moment of longing she prayed to go to sleep.
Please, God, let me go to sleep.
She tried to sleep.
"Mike," she whispered.
There was no answer.