goatomi

[goatomi]

Me: Do you understand how much you mean to children? Do you understand how much you alone boost our circulation numbers? Sometimes I feel like you're the single toothpick holding up childhood literacy at a vital transitional stage.

Our Library's Copy of Dog Man: Someone slathered me in spaghetti sauce and threw me in the book drop again. :)

Me: You are my brother in arms, Dog Man.

[goatomi]

Starting to think that Amaury Guichon is in some sort of Scheherazade situation where he needs to create a new elaborate chocolate illusion desert every night to prevent some evil king from murdering him

[goatomi]

I'm teaching a homemade stenciling class at the library in a few weeks and I might need to include a few interpretations of these (with the proper credit of who created the inspiration for the stencils in the class).

Only thing getting me through today is the thought of Starred Egyptian Tomb Ceilings

[goatomi]

it’s that time of year

[goatomi]

work of jordan peele is BIG influence on chuck this is correct. there are quite a few similarities actually, especially when you consider both of us are coming to horror from place of comedy (i personally do not see tinglers as comedy but obviously this timeline has placed them there and i am perfectly okay with this trot).

we are both creating horror stories for our own historically marginalized groups and in particular, writing stories that are SPECIFIC to those groups.

for example when thinking about QUEER HORROR there is plenty of queer horror where the horror itself has nothing to do with queerness, or the queerness is subtext. for instance you could have a slasher where the main characters happen to be gay, but their queerness is not necessarily part of the fear.

on the other hand, CAMP DAMASCUS is directly commenting on a queer issue

BURY YOUR GAYS is directly commenting on a queer issue

by the same token GET OUT is directly commenting on a race issue

US is directly commenting on a class issue which is, of course, going to be wrapped up in topics of race and marginalization

it should be said that the other kinds of horror where issues of the marginalized groups is more in the SUBTEXT are not wrong. there is a time and a place for that. the book that will likely be chucks next horror novel is about bi erasure, but it is much more about the subtext and symbolism. there is a bi lead, but also a monster that does not seem to be about bi erasure AT FIRST. it is much less direct. so there is a time and a place for both kinds of approaches.

but i think the biggest thing that is similar about jordan and chucks approach (and what has been a big influence on me specifically) is that our goal is NOT: 'how HORRIFYING AND TRAUMATIC AND MESSED UP CAN WE MAKE THIS?'

we are doing something else

processing trauma by exposure can be a common goal for horror AND honestly i think it is also totally dang fine to make art like this. there are some incredible pieces where trauma and tragedy is the goal. however (and i will speak for myself here) when you are coming from a buckaroo community that has been through so much of this trauma in real life, i PERSONALLY find that goal to be a little too boring.

my goal is more like this: how can we use this genre of fear and tension that i love to comment and explore and say something new? how can i pull apart an issue and deconstruct it in a way that is cathartic and maybe even changes minds?

so i cannot speak for jordan but i feel like our approaches are similar in this way. i see a LOT of reviews that make comparisons between CAMP DAMASCUS and GET OUT and i am always very flattered

[goatomi]

I re-read The Fall of the House of Usher recently and this came to me in a dream.

[goatomi]

[goatomi]

"You can't be a lurker on tumblr." Yes, you absolutely can. I've been quietly reblogging things since 2014 and I haven't interacted with anyone in years.

[goatomi]

The Beaches of Agnès (2008)

Dir. Agnès Varda