Supplement: October Screams Derrida

October Screams: A Halloween Anthology (2023) edited by Kenneth W. Cain

Readers unfamiliar with October Screams may prefer to read these notes only after reading the anthology.

The following are potential comments that Derrida might make on stories in the anthology October Screams: A Halloween Anthology (2023), edited by Kenneth W. Cain. The comments are based on Derrida’s philosophical concepts and his deconstructive approach to reading texts.

My initial post about October Screams is here: https://open.substack.com/pub/jayrothermel/p/october-screams-a-halloween-anthology?utm_source=share&utm_medium=android&r=1vg2di

“Tate” by Ronald Malfi

There are several key elements that resonate with Derrida’s philosophical concepts:

1.  Haunting and Spectrality: The story is ripe for a deconstructive reading, particularly concerning the spectral presence of Tate. The boy who appears at the door is not Tate, yet Nick insists he is. This blurring of reality and delusion could be interpreted as the spectral nature of memory and grief, where the deceased continue to ‘haunt’ the living, disrupting their sense of presence and reality. The television show Jack-o-Screams Halloween Spooktacular, which mysteriously turns on by itself, further adds to the spectral atmosphere, acting as a haunting reminder of Tate’s presence. Derrida might argue that the story demonstrates how the spectral is not simply the opposite of the real, but rather a ‘presence’ that disrupts the binary opposition between presence and absence. 

2. The Nature of the ‘Event’: The appearance of the boy at the door, dressed in a simple costume, could be seen as an ‘event’ in the Derridean sense. It is an unexpected occurrence that disrupts the couple’s ordinary Halloween night, forcing them to confront their unresolved grief. The event’s significance lies not in its factuality (whether the boy is actually Tate or not), but in its ability to ‘reorder past contingencies by conferring on them the sense of necessities to come,’ as Derrida interprets Freud’s concept of ‘full speech’ in ”Le Facteur de la vérité” ( The Post Card, 478). The boy’s arrival forces Nick and Alice to re-evaluate their past and their future, highlighting the ‘artifactuality’ of their reality and the impossibility of a clean break from the past.

3.  The Deconstruction of Identity: The story could also be read as a deconstruction of identity, particularly Nick’s insistence that the boy is Tate. This denial of difference, the refusal to acknowledge the boy’s otherness, could be seen as a desperate attempt to maintain a sense of self and continuity in the face of loss. As Derrida writes in Spurs: “Woman … averts herself from herself’ (358). Similarly, Nick averts himself from the reality of Tate’s death by projecting his son’s identity onto another. 

4.  The Role of Writing: Finally, Derrida might comment on the significance of writing in the story. Alice, an ER nurse, uses her medical knowledge to drug Nick, highlighting the power of writing (in the broad sense) to control and manipulate reality. The story itself, as a written narrative, further emphasizes the role of writing in shaping our understanding of events and identities. As Derrida argues, ‘there is nothing outside of the text’ (Of Grammatology, 158), suggesting that our very perception of reality is mediated by language and representation. 

Derrida’s analysis of “Tate” would likely focus on the story’s exploration of the spectral nature of memory and grief, the undecidability of events and identities, and the complex relationship between writing and reality. He would likely see the story as a demonstration of how deconstruction operates not as a method or a theory, but as an ‘event’ that disrupts our understanding of presence, identity, and truth. 

“Sweetmeat” by Clay McLeod Chapman

The Metaphysics of Presence and the ‘Sweetmeat’: The insatiable craving for the ‘sweetmeat’ could be seen as a metaphor for the human desire for an unmediated experience of pure presence or absolute truth, a central theme in Derrida’s critique of metaphysics. The ‘sweetmeat’ dissolves instantly, leaving only a trace, highlighting the elusive nature of presence and the impossibility of fully grasping or possessing it.

The Violence of the 'Sweetmeat': T”e destructive effects of the ‘sweetmeat’ on the body and mind could be interpreted as a commentary on the violence inherent in the pursuit of absolute knowledge or presence. The characters’ transformation into monstrous beings reflects the potential dangers of seeking an unmediated experience of the ‘truth.’

The 'Sweetmeat' as Pharmakon: The ’sweetmeat’ functions as both a remedy (providing temporary pleasure and satisfaction) and a poison (leading to addiction, destruction, and the loss of self). This duality aligns with Derrida’s concept of the pharmakon, which embodies the undecidable nature of writing and its ability to both heal and harm.

“The Magic Trick” by Gregory L. Norris

The Deconstruction of Childhood: The narrative’s focus on the loss of childhood innocence and the confrontation with the harsh realities of the world could be seen as a deconstruction of the idealized notion of childhood. The ‘magic trick’ of Warren’s disappearance and tragic death disrupts the narrative’s initial sense of wonder and possibility, highlighting the fragility of childhood innocence and the inevitability of loss.

The Haunting of Memory: The protagonist’s recurring memories of Warren and the traumatic events of their childhood could be interpreted as a commentary on the haunting nature of memory and its ability to disrupt the present. The past is not simply a collection of past events but a spectral presence that continues to shape and influence the present.

The 'Magic' of Writing: The story's exploration of the power of storytelling and the protagonist’s fascination with Warren’s ‘magic’ could be seen as a reflection on the ‘magic’ of writing itself. Writing, like magic, has the ability to create illusions, to transport us to other worlds, and to challenge our perceptions of reality.

“The Treat-or-Tricker” by Evans Light

The Deconstruction of Ritual: The subversion of the traditional “trick or treat” ritual and the imposition of strict rules by the mysterious boy could be seen as a deconstruction of the conventional expectations associated with Halloween. The story challenges the notion of a fixed or stable meaning for the holiday, highlighting its potential for disruption and the subversion of established norms.

The 'Treat' as Pharmakon: The poisoned candy given as a ‘treat’ embodies the dual nature of the pharmakon. It is both a pleasurable reward (a ‘treat’) and a deadly poison, highlighting the potential dangers lurking beneath the surface of seemingly innocent rituals and traditions.

The Uncanny Nature of the Boy: The boy’s unsettling seriousness and his insistence on the correct observance of Halloween rituals create an uncanny atmosphere. His presence disrupts the familiar and comfortable, blurring the lines between the ordinary and the extraordinary, the living and the spectral.

“Tutti I Morti” by Steve Rasnic Tem

The Deconstruction of Time and Memory: The protagonist’s fragmented memories and his struggle to distinguish between the past and the present could be seen as a deconstruction of linear time and the traditional understanding of memory. The past is not a fixed or stable entity but a spectral presence that haunts and disrupts the present.

The Haunting of the Past: The protagonist’s encounter with the spectral figure of his wife and their journey through a nightmarish Halloween landscape could be interpreted as a commentary on the haunting nature of the past and its ability to shape our perceptions of the present. The past is not simply a collection of past events but a living presence that continues to influence and haunt us.

The 'Feast' as a Metaphor for Memory: The grotesque feast at the end of the story, where the protagonist consumes the remains of the dead, could be seen as a metaphor for the act of remembering. Memory, like the feast, involves consuming and incorporating the past, even if that past is fragmented, disturbing, or traumatic.

“The Last Halloween” by Larry Hinkle

The Deconstruction of Family and Identity: The disappearance of the children and their subsequent return as alien beings could be interpreted as a deconstruction of the traditional notions of family and identity. The story challenges the idea of a fixed or stable identity, highlighting the potential for transformation and the blurring of boundaries between the self and the other.

The 'Aliens' as Specters: The children's return as alien beings on Halloween night could be seen as a spectral manifestation, disrupting the familiar and the comfortable. Their presence challenges the boundaries between the living and the dead, the human and the non-human, creating an uncanny atmosphere.

The 'Last Halloween' as an Event: ”The story's title and the ominous ending, where the protagonist is surrounded by the alien children, suggest the end of Halloween as a traditional holiday and the beginning of something new and unknown. This could be interpreted as a commentary on the changing nature of cultural traditions and the potential for disruption and transformation.

“Katrina’s Halloween Candy Journal” (2023) by Patrick Flanagan

Deconstruction of Childhood and Power: Katrina’s controlling behavior and her frustration with her friends’ lack of enthusiasm for her Halloween vision could be seen as a deconstruction of childhood power dynamics. The story challenges the traditional image of childhood as a time of innocence and playfulness, highlighting the complexities of social relationships and the desire for control.

The 'Feeling' as a Force of Deconstruction: Katrina’s ‘Feeling’—an overwhelming sense of helplessness and rage—could be interpreted as a force of deconstruction, disrupting her carefully constructed world and leading to the destruction of the neighborhood. The Feeling challenges the stability of Katrina’s reality, blurring the lines between the real and the imagined, the human and the monstrous.

The 'Spaceship' as a Metaphor for Escape: The spaceship in the story could be seen as a metaphor for escape from the constraints of reality and the limitations of childhood. It represents a desire for a world where Katrina is in control, where her fantasies become reality, and where the boundaries between the self and the other are blurred.

“The Wind” by Brennan Fredricks

The Deconstruction of Reality and Perception: The soldier’s struggle to distinguish between the wind and potential threats in the darkness could be seen as a deconstruction of the distinction between reality and perception. The story challenges the notion of a stable or objective reality, highlighting the subjective and interpretive nature of experience.

The 'Wind' as a Metaphor for the Unconscious: The wind, with its whispers, gasps, and eerie whine, could be interpreted as a metaphor for the unconscious, a spectral presence that haunts and disrupts the soldier’s conscious perception. The wind’s constant presence and its ability to shape-shift and create illusions reflect the elusive and unpredictable nature of the unconscious.

The Haunting of Memory and Trauma: The soldier’s recurring memories of childhood fears and anxieties, triggered by the wind and the darkness, highlight the haunting nature of memory and trauma. The past is not simply a collection of past events but a spectral presence that continues to shape and influence the present, blurring the lines between the real and the imagined.

“Free Candy and Telescope Views” by Red Lagoe

Deconstruction of Innocence and Evil: The story’s exploration of the dark side of seemingly innocent childhood activities like trick-or-treating and the subversion of expectations associated with the friendly offer of “free candy and telescope views” could be seen as a deconstruction of the traditional notions of innocence and evil. The story challenges the idea of a clear-cut distinction between good and bad, highlighting the potential for darkness and violence lurking beneath the surface of seemingly harmless facades.

The ‘Telescope’ as a Metaphor for the Gaze: The telescope, as a tool for observing and scrutinizing the cosmos, could be interpreted as a metaphor for the gaze, the act of looking and interpreting. The story explores the power dynamics associated with the gaze, highlighting its potential for both revelation and violence.

The 'Witch' as a Figure of Ambigui”y: Marietta, the woman who offers the children a glimpse through her telescope, embodies the ambiguous nature of the pharmakon. She is both a welcoming figure, offering knowledge and understanding, and a potentially dangerous one, associated with the disappearance of Van’s friend and the unsettling presence of the scarred cat. Her character challenges the traditional image of the witch, blurring the lines between good and evil, knowledge and power.

“The Halloween Lost” by Frank Oreto

Deconstruction of Nostalgia and Loss: The story’s exploration of the protagonist’s nostalgic longing for his childhood Halloweens and his grief over the loss of his daughter could be seen as a deconstruction of the idealized notion of the past. The story challenges the idea of a stable or retrievable past, highlighting the complexities of memory and the inevitability of loss.

“A Perfect Night for a Perfect Murder” by Jeremy Bates

The unreliable narrator: The narrator’s confidence and authority are undermined by the very nature of his discourse. He presents himself as an expert on murder, yet the story reveals the inherent instability of his position. The narrative’s performative aspect—the narrator’s attempt to instruct the reader on how to commit the perfect murder—is undercut by the revelation that he is himself implicated in the act of murder he describes. The distinction between the ‘expert’ and the ‘amateur’ collapses, highlighting the inherent undecidability of identity and the impossibility of any definitive or authoritative position.

The absence of the body: The narrator’s first rule, “Get rid of the body,” could be seen as an attempt to control and erase the trace of the crime. However, Derrida might argue that the absence of the body does not eliminate the trace but rather intensifies it, making the act of murder even more spectral and haunting. The absence of the body becomes a spectral presence, a reminder of the violence that has taken place.

“Eleven One” by Philip Fracassi

The blurring of time and reality: The narrative’s fragmented structure and Gwen’s disjointed memories create a sense of temporal and ontological instability. The boundaries between the past, present, and future blur, as do the boundaries between the real and the imagined. The repetition of the phrase “none of this is real” underscores the protagonist’s struggle to distinguish between reality and the phantoms of her own guilt and trauma. The story’s ending, with Gwen’s transformation into a witch-like figure, further destabilizes the notion of a fixed and stable identity.

The haunting of the past: The television show, The Jack-o’-Screams Halloween Spooktacular, serves as a haunting reminder of Gwen’s past trauma. The show’s macabre imagery and themes mirror Gwen’s own experiences, suggesting that the past is not simply something that can be forgotten or repressed but rather something that continues to haunt the present. The television, as a teletechnological apparatus, becomes a medium for the spectral return of the past.

“In the Night, A Whisper” by Robert Stahl

The undecidability of the supernatural: The story plays with the reader’s expectations, leaving the existence of the ‘devil’ figure open to interpretation. The creature’s ambiguous nature—both monstrous and alluring—reflects the undecidability inherent in any attempt to define or categorize the other. The story’s ending, with the girl’s disappearance and the boy’s transformation, further blurs the lines between the real and the supernatural, suggesting that the true horror lies not in the existence of monsters but in the human capacity for violence and betrayal.

The power of language: The story highlights the power of language to both create and destroy. The girl’s promises of candy lure the boy into danger, while the creature’s words manipulate and control Kenny. The story’s title, “In the Night, a Whisper,” emphasizes the seductive and dangerous power of language, particularly in the context of the unknown and the unseen.

“The Hooper Street Halloween Decoration Committee” by Gemma Amor

The tyranny of the community: The story explores the dark side of community and the pressure to conform. The neighbors’ obsession with Halloween and their hostile reaction to the protagonist’s non-participation highlight the potential for violence and exclusion within seemingly benign social structures. The escalating acts of retaliation—from the giant skeletons to the obscene gestures—culminate in the murder of Louise, demonstrating the potential for the community to become a monstrous entity that devours those who do not conform.

The fragility of identity: The story's ending, with Luke’s realization that his wife has committed murder and his own sense of complicity in the events, underscores the fragility of identity and the potential for the self to be deconstructed or destroyed by the pressures of the community. The final image of the skeletons looming over the scene of the crime serves as a haunting reminder of the power of the community to define and control the individual.

“Sown” by T.J. Cimfel

The deconstruction of nature: The story challenges traditional notions of nature and the natural, presenting a world in which the boundaries between the human, animal, and vegetable kingdoms have collapsed. Kyra’s confusion about the distinctions between fruits and vegetables, her anthropomorphic thoughts about the cow, and the monstrous pumpkin creature all contribute to a sense of ontological instability and the deconstruction of the natural.

The violence of language: The story’s fragmented narrative and Kyra’s disjointed thoughts reflect the violence inherent in language and the impossibility of fully representing or understanding the world. Kyra’s struggle to articulate her experiences and the intrusion of unfamiliar words and concepts into her thoughts suggest that language is not a neutral tool for communication but rather a force that can both create and destroy meaning. The story’s ending, with Kyra’s submission to the monstrous pumpkin, further emphasizes the power of language and the impossibility of escaping its grasp.

“The Iron Maiden” by Rebecca Rowland

The haunting of the past: The story explores the lingering trauma of a childhood experience and its impact on the protagonist’s sense of self. The recurring image of the “Iron Maiden” from the Iron Maiden song serves as a haunting reminder of the protagonist’s past trauma and her inability to escape its grasp. The story’s ending, with the protagonist’s abduction and imprisonment, suggests that the past is not simply something that can be forgotten or overcome but rather something that continues to shape and define the present.

The undecidability of the supernatural: The story’s ambiguous ending, with the protagonist trapped in a cage and confronted by the specter of her friend’s twin, leaves the reader questioning the reality of the events. The blurring of the lines between the natural and the supernatural, the real and the imagined, creates a sense of ontological uncertainty and highlights the impossibility of any definitive interpretation. The story’s title, “The Iron Maiden,” further reinforces this sense of undecidability, as the iron maiden itself is both a historical torture device and a symbol of female power and sexuality.

“Spiders Under My Skin” by Larry Hodges

The fragmented self: The narrator’s sense of self is fragmented and divided, his body inhabited by a colony of spiders that control his actions and thoughts. This internalized otherness challenges traditional notions of subjectivity and autonomy, suggesting that the self is not a unified entity but rather a collection of competing forces and desires. The narrator’s repeated attempts at suicide, and the spiders’ ability to reassemble his body, further emphasize the fragmented and unstable nature of the self.

The cyclical nature of trauma: The story’s cyclical structure, with the narrator’s repeated attempts at suicide and rebirth on Halloween night, reflects the cyclical nature of trauma and the impossibility of escaping its grasp. The spiders, as symbols of the narrator’s trauma, represent the persistence of the past and its power to shape and define the present. The story’s ending, with the narrator’s transformation into a spider-like creature, suggests that trauma can ultimately consume and transform the self, leaving behind only a monstrous remnant.

“November Eve” by Bridgett Nelson

The allure of the other: The story explores the protagonist’s fascination with the supernatural and her desire to escape the mundane reality of her life. The Halloween party, with its costumes and rituals, offers a temporary escape from the ordinary, but it also leads to a confrontation with the darker side of the holiday and the protagonist’s own complicity in the events that unfold. The story’s ending, with the protagonist’s transformation into a witch-like figure and her embrace of her “lover,” suggests that the allure of the other can ultimately lead to a rejection of the self and an embrace of the monstrous.

The power of the gaze: The story highlights the power of the gaze to both seduce and control. The boy’s unwavering stare and the glowing eyes of the witch toy create a sense of unease and vulnerability, suggesting that the gaze can be a powerful tool for manipulation and control. The story’s ending, with the protagonist’s own transformation and her embrace of the monstrous gaze, further emphasizes the power of the gaze to define and transform the self.

“Let the Dark Do the Rest” by Kealan Patrick Burke

The haunting of the past: The story explores the lingering trauma of a childhood experience and its impact on the protagonist’s sense of self and his relationship with the world. The recurring image of the dark forest and the spectral figure that haunts it represents the protagonist’s unresolved trauma and his inability to escape its grasp. The story’s ending, with the protagonist’s confrontation with the darkness and the suggestion of his impending doom, underscores the persistence of the past and its power to shape and define the present.

The fragility of the self: The protagonist’s anxiety and fear, his sense of inadequacy and his inability to confront the darkness, all point to the fragility of the self and its vulnerability to the forces of the unknown and the unseen. The story’s title, “Let the Dark Do the Rest,” further emphasizes this sense of vulnerability and the protagonist’s resignation to his fate. The darkness, as a metaphor for the protagonist’s trauma, represents the ultimate power of the other to consume and destroy the self.

“Twin Flames” by Gwendolyn Kiste

Identity and Doubling: The concept of twins invites an exploration of the complexities of identity, mirroring, and the inherent ‘otherness’ within the self. Derrida’s deconstruction of the self/other binary, as explored in texts like Dissemination, could illuminate the unsettling dynamics between the twins and their blurred boundaries.

Spectrality and Haunting: The narrative’s ghostly elements and themes of haunting resonate with Derrida’s work on spectrality in Specters of Marx. The lingering presence of the past and the blurring of the lines between life and death could be analyzed through a Derridean lens.

“The Collecting” by Cassandra Daucus

Gift and Economy: The act of collecting and the exchange of objects could be examined in relation to Derrida’s critique of the gift in Given Time. The story’s exploration of the complex motivations behind collecting and the inherent debts and obligations associated with it could be illuminated by Derrida’s deconstruction of the gift/economy binary.

“The Puppeteer of Samhain” by Todd Keisling

Origin and Narrative: The narrative’s exploration of storytelling and the power of myths and legends could be analyzed in relation to Derrida’s deconstruction of origins and narratives. The story’s cyclical structure and the blurring of the lines between reality and fiction could be interpreted through a Derridean lens.

“Any Other Wednesday in a Bar” by Cat Voleur

Temporality and Repetition: The story’s repetitive structure and the protagonist’s experience of reliving the same events could be examined in relation to Derrida’s work on temporality and repetition. The disruption of linear time and the protagonist’s entrapment in a cyclical pattern could be interpreted through a Derridean lens.

“No Such Thing” by Jacqueline West

Language and Meaning: The story’s exploration of the power of words and the slipperiness of language could be analyzed in relation to Derrida’s deconstruction of language and meaning. The characters’ struggle to communicate and the instability of their interpretations could be illuminated by Derrida’s work on difference and dissemination.

“Masks” by Richard Chizmar and Brian Keene

Identity and Performance: The use of masks and the characters’ exploration of hidden identities could be examined in relation to Derrida’s work on identity and performance. The story’s blurring of the lines between the self and the other, the real and the performed, could be interpreted through a Derridean lens.

“Doll” by Ryan Hart

Object and Fetish: The story’s focus on a doll and its significance for the characters could be analyzed in relation to Derrida’s work on the object and the fetish. The doll’s uncanny presence and the characters’ complex relationships with it could be interpreted through a Derridean lens.

“Scattergoods” by Kevin Lucia

Spectrality and Haunting: The narrative’s ghostly elements and the protagonist’s encounters with the supernatural could be analyzed in relation to Derrida’s work on spectrality. The story’s exploration of the lingering presence of the past and the permeability of the boundary between the living and the dead could be interpreted through a Derridean lens.

Overall, Derrida’s deconstructive approach, with its emphasis on the instability of meaning, the play of language, and the complexities of identity, could offer insightful readings of the stories in the October Screams anthology. By challenging traditional notions of genre, narrative, and representation, Derrida’s work could illuminate the underlying structures and hidden tensions within these stories, revealing their complexities and ambiguities.

Punchline: Composed by Google’s AI Gemini based on my reading notes and uploaded copies of October Screams, The Derrida Dictionary, and A Derrida Reader.

Jay

12 September 2024