Night Shift

Fear is the emotion that makes us blind. How many things are we afraid of? We're afraid to turn off the lights when our hands are wet. We're afraid to stick a knife into the toaster to get the stuck English muffin without unplugging it first. We're afraid of what the doctor may tell us when the physical exam is over; when the airplane suddenly takes a great unearthly lurch in mid-air. We're afraid that the oil may run out, that the good air will run out, the good water, the good life. When the daughter promised to be in by eleven and it's now quarter past twelve and sleet is spatting against the window like dry sand, we sit and pretend to watch Johnny Carson and look occasionally at the mute telephone and we feel the emotion that makes us blind, the emotion that makes a stealthy ruin of the thinking process.

The infant is a fearless creature only until the first time the mother isn't there to pop the nipple into his mouth when he cries. The toddler quickly discovers the blunt and painful truths of the slamming door, the hot burner, the fever that goes with the croup or the measles. Children learn fear quickly; they pick it up off the mother's or father's face when the parent comes into the bathroom and sees them with the bottle of pills or the safety razor.

Fear makes us blind, and we touch each fear with all the avid curiosity of self-interest, trying to make a whole out of a hudred parts, like the blind men with their elephant.

We sense the shape. Children grasp it easily, forget it, and relearn as adults. The shape is there, and most of us come to realise what it is sooner or later: it is the shape of a body under a sheet. All our fears add up to one great fear, all our fears are part of that great fear - an arm, a leg, a finger, an ear. We're afraid of the body under the sheet. It's our body. And the great appeal of horror fiction through the ages is that it serves as a rehearsal for our own deaths.

The field has never been highly regarded; for a long time the only friends that Poe and Lovecraft had were the French, who have somehow come to an arrangement with both sex and death, an arrangement that Poe and Love-craft's fellow Americans certainly had no patience with. The Americans were busy building railroads, and Poe and Lovecraft died broke. Tolkien's Middle-Earth fantasy went kicking around for twenty years before it became an aboveground success, and Kurt Vonnegut, whose books so often deal with the death-rehearsal idea, has faced a steady wind of criticism, much of it mounting to hysterical pitch.

It may be because the horror writer always brings bad news: you're going to die, he says; he's telling you to never mind Oral Roberts and his 'something good is going to happen to you', because something bad is also going to happen to you, and it may be cancer and it may be a stroke, and it may be a car accident, but it's going to happen. And he takes your hand and he enfolds it in his own and he takes you into the room and he puts your hands on the shape under the sheet. . . and tells you to touch it here. . . here ... and here...

Of course, the subjects of death and fear are not the horror writer's exclusive province. Plenty of so-called 'mainstream' writers have dealt with these themes, and in a variety of different ways - from Fyodor Dostoyevsky's Crime and Punishment to Edward Albee's Who's Afraid of Virginia Woolf? to Ross MacDonald's Lew Archer stories. Fear has always been big. Death has always been big. They are two of the human constants. But only the writer of horror and the supernatural gives the reader such an opportunity for total identification and catharsis. Those working in the gentre with even the faintest understanding of what they are doing know that the entire field of horror and the supernatural is a kind of filter screen between the conscious and the subconscious; horror fiction is like a central subway station in the human psyche between the blue line of what we can safely internalize and the red line of what we need to get rid of in some way or another.

When you read horror, you don't really believe what you read. You don't believe in vampires, werewolves, trucks that suddenly start up and drive themselves. The horrors that we all do believe in are of the sort that Dostoyevsky and Albee and MacDonald write about: hate, alienation, growing lovelessly old, tottering out into a hostile world on the unsteady legs of adolescence. We are, in our real everyday worlds, often like the masks of Comedy and Tragedy, grinning on the outside, grimacing on the inside. There's a central switching point somewhere inside, a transformer, maybe, where the wires leading from those two masks connect. And that is the place where the horror story so often hits home.