Monsters A Bedford Spotlight Reader

Monsters explores questions about the central concept of the monstrous: Why do we create monsters? Are they animal, human, both, or neither? Which of our fears and desires do monsters embody? What can monsters tell us about our cultural and historical moments? How do we cope with the monsters that haunt our imaginations—and our societies? Readings by classic poets, contemporary fiction writers, pop culture critics, philosophers, psychologists, occultists, veterinarians, ethicists, historians, and others take up these questions and more. Questions and assignments for each selection provide a range of activities for students to write about vampires, werewolves, zombies, mermaids, serial killers, classic horror movie monsters, and more strange things that go bump in the night.

The Bedford Spotlight Reader Series is an exciting line of single-theme readers, each reflecting Bedford’s trademark care and quality. An editorial board of a dozen compositionists at schools with courses focusing on specific themes assists in the development of the series. Each reader collects thoughtfully chosen selections sufficient for an entire writing course—about 35 pieces—to allow instructors to provide carefully developed, high-quality instruction at an affordable price. Bedford Spotlight Readers are designed to help students from all majors make sustained inquiries from multiple perspectives, opening up topics such as borders, food, gender, happiness, humor, language, music, science and technology, subcultures, and sustainability, to critical analysis. The readers are flexibly arranged in thematic chapters, with each chapter focusing in depth on a different facet of the central topic. Instructor support at macmillanlearning.com includes sample syllabi and additional teaching resources.

Introduction for Students

Chapter 1: Why Do We Create Monsters? 
Stephen King, Why We Crave Horror Movies
Mary Shelley, from Frankenstein: The Modern Prometheus
Susan Tyler Hitchcock, Conception
Guillermo del Toro and Chuck Hogan, Why Vampires Never Die 
Chuck Klosterman, My Zombie, Myself: Why Modern Life Feels Rather Undead
Peter H. Brothers, Japan’s Nuclear Nightmare: How the Bomb Became a Beast Called Godzilla
*Clarisse Loughrey, Slender Man: A Myth of the Digital Age
Stephen T. Asma, Monsters and the Moral Imagination

Chapter 2: How Do Monsters Reflect Their Times?
Ted Genoways, Here Be Monsters
Daniel Cohen, The Birth of Monsters
*Anonymous, from Beowulf [[*new translation]]
*Gerald Vizenor, Nannabozho and the Gambler
Matt Kaplan, Cursed by a Bite
W. Scott Poole, Monstrous Beginnings
*Nick Bostrom, Get Ready for the Dawn of Superintelligence
*Isaac Asimov, Robbie

*Chapter 3: How Does Gender Affect the Monster?
*Amy Fuller, The Evolving Legend of La Llorona
Homer, from The Odyssey
*Sophia Kingshill, Reclaiming the Mermaid
Ovid, Battle of the Lapiths and Centaurs
Karen Hollinger, The Monster as Woman: Two Generations of Cat People
*Carol J. Clover, Final Girl
*Judith Halberstam, Bodies that Splatter: Queers and Chainsaws

*Chapter 4: What is the Power of the Monster?
Jeffrey Jerome Cohen, Fear of the Monster Is Really a Kind of Desire
Bram Stoker, from Dracula
Karen Backstein, (Un)safe Sex: Romancing the Vampire
Elizabeth A. Lawrence, Werewolves in Psyche and Cinema
*Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde
*Erica McCrystal, Hyde as a Monster Villain
*Christian Jarrett, The Lure of Horror

Chapter 5: Is the Monster within Us?
Adolf Hitler, Nation and Race
Patrick McCormick, Why Modern Monsters Have Become Alien to Us
*Thomas Fahy, Hobbes, Human Nature, and the Culture of American Violence in Truman Capote’s In Cold Blood
Anne E. Schwartz, Inside a Murdering Mind
Richard Tithecott, The Horror in the Mirror: Average Joe and the Mechanical Monster
William Andrew Myers, Ethical Aliens: The Challenge of Extreme Perpetrators to Humanism
*Kevin Berger, Why We Still Need Monsters

Sentence Guides for Academic Writers

The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.