All posts by Alyssia

About Alyssia

Alyssia is an Adult Services Librarian at the Vaughan Public Libraries. Nothing makes her happier than a great book and a great cup of coffee. She loves fiction in all formats - books, movies, television, you name it - and is always on the lookout for awesome new music.  |  Meet the team

The Secret History of Bennington College

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In May of 2019, journalist Lili Anolik published a doozy of an article in Esquire chronicling “The Secret Oral History of Bennington: The 1980’s Most Decadent College”. This past September, Anolik turned that juicy piece into a season-long podcast called Once Upon a Time…at Bennington College, utilizing her previous research to explore themes of talent, fame, privilege, and excess more deeply. The piece and the podcast concern Gen-X literary stars like Bret Easton Ellis, Donna Tartt, and Jonathan Lethem, the Bennington class of 1986 who would go on to shape the face of literature in the 1980s and 90s. To recap: Ellis scandalized with Less Than Zero and American Psycho, two works so vulgar and soulless (on purpose) that they sent older generations into a tizzy with concern for “the youth”. Tartt’s debut novel The Secret History was immediately dubbed a classic shortly after its release (and is a current TikTok sensation). Lethem gained fame with his National Book Award winning Motherless Brooklyn, which captivated Hollywood actor Edward Norton so thoroughly that he held the film rights for 20 years, finally releasing an adaptation in 2019.  

But more than that, the podcast is about the glittery mystique of literary circles that flourished in the pre-social media age. This was a time when culturally resonant authors were treated like celebrities, scoring invites to the MTV Video Music Awards, for some reason. Reminiscing about Ellis’s launch into stardom as an enfant terrible, Bennington alumni recall the author’s glitzy college graduation party, which was attended by Andy Warhol (Jean-Michel Basquiat would make appearances at later parties as well). While all this glamorous success took place in New York, Bennington College, a small liberal arts school in Vermont, is key to these authors’ works, and is memorialized by its most (in)famous students. In Ellis’s The Rules of Attraction, the school is dressed up as “Camden College”, home to a host of despicable, ultra 80s characters. The Bennington of Donna Tartt’s world (this time called Hampden College) is one of old world Romance (capital R), a Brideshead-esque place of philosophy, decaying decadence, and not-so-secret drinking problems (the two might occupy the same universe: Ellis’s work mentions a group of students who “dress like undertakers”; presumably the Classics group in Tartt’s novel). 

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My Heart is a Chainsaw and the Comfort of Slashers

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The words “comfort” and “slasher” might not seem to go together—in fact, you might see them as diametrically opposed. After all, what’s comforting about a masked man jumping out of your closet brandishing a knife, or a strange voice on the phone asking if you like scary movies? But in Stephen Graham Jones’ new novel My Heart is a Chainsaw, the well-trod roads of the horror genre are just that, a safety net for his traumatized protagonist. As mysterious—but ominously familiar—events start popping up around the gentrifying town of Proofrock, Jade Daniels uses her encyclopedic knowledge of horror conventions to investigate the goings-on. 

Horror isn’t for everyone, but those who love it, love it. I used to know someone who watched horror movies before bed, the way I might watch an episode of Friends or New Girl (this person also worked in a funeral home, so make of that what you will). In My Heart is a Chainsaw, Jade is singularly obsessed with slasher films, knows them inside out, her stream-of-consciousness-like narration a running encyclopedia of the genre (this Letterboxd list compiles Jade’s film references, all 171 of them). She knows her Final Girls, from Laurie Strode to Nancy Thompson to Sidney Prescott; those “good girls” who follow the rules of surviving a horror movie while their less virtuous friends get offed. Jade herself is something of a Final Girl, but she exists on the fringes of society: an Indigenous teenager with an abusive father and absent mother, who barely scrapes through school and has multiple suicide attempts under her belt. Since the Final Girl rules were cemented by Halloween in 1978, filmmakers have played with them, subverted them, modernized them—but Jade, devotee of the classics, doesn’t even consider that she might have Final Girl potential until she’s all but run out of options.  

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A Fresh Twist on Old Tales

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In July, uber-cool film studio A24 released The Green Knight in theatres, but with the new school year starting and sweater weather approaching, I feel there’s no better time to delve into an old Arthurian legend than autumn (except maybe Christmas, when the story takes place). If you haven’t seen the film, it is an adaptation of an anonymously-penned chivalric romance from Medieval England about Sir Gawain (one the famed Knights of the Round Table). And if you have seen the film, you’re probably like, “what in the world did I just watch?”

Arthurian legends in media are in no short supply. We all at least vaguely know the names King Arthur, Guinevere, Lancelot, and Excalibur, right? You might have seen Disney’s The Sword in the Stone as a child (featuring, iconically, a Converse-wearing Merlin), or maybe the old parody staple, Monty Python and the Holy Grail (“Strange women lying in ponds distributing swords is no basis for a system of government”). More recently, there was BBC’s Merlin, in which the titular wizard is a young man when he befriends the weirdly jock-like Arthur (cue shipping). Historically, the old tales have been interpreted in countless paintings as well (you might recognize this one especially, of Elaine of Astolat, harboring an unrequited love for Lancelot). No matter the version, they’re always recognizable as being Arthurian. The departure from that recognition, from the usual tropes, names, and places, is what makes The Green Knight such a bizarre, and modern, take. 

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