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A slasher film is a subgenre of horror films in which a killer typically stalks and murders a group of people using a sharp tool or weapon. The subgenre rose to prominence in the late 1970s and early 1980s, although it drew inspiration from the earlier psychological horror of Alfred Hitchcock and Italian giallo films of the 1960s. Slasher films were often low-budget and critically reviled for their shocking depictions of violence. However, after the success of The Texas Chainsaw Massacre (1974) and Halloween (1978), slasher films flourished in American cinema until the mid-1980s. In 1984, A Nightmare on Elm Street helped to revive interest in the genre by introducing supernatural elements into the slasher narrative. By the 1990s, slasher films began to demonstrate metafictional and self-aware attributes, notable in films such as Scream (1996) and I Know What You Did Last Summer (1997). Slasher films typically feature a group of people being pursued by a masked killer with an unusual weapon due to some past wrongful action. The killer is often a villain protagonist and a main perspective character, and franchises tend to follow their continued exploits rather than the stories of the victims. These killers have iconic appearances and many—such as Michael Myers, Jason Voorhees, and Leatherface—wear masks. Slasher films are also known to feature a trope called the final girl, wherein only one, usually “virginal,” teenage girl can survive the horrific violence of the film and defeat the killer. Contemporary slasher films have parodied or subverted these tropes, notably the film The Cabin in the Woods (2012), which deconstructs the symbolic importance of the final girl.
Stephen Graham Jones is a Blackfoot Indigenous American author born in 1972. He was born in Midland, Texas, completed his PhD at Florida State University, and is currently a Professor of English at the University of Colorado, Boulder. Jones is a member of the Blackfoot Nation (or Niitsitapi), and his works often feature Indigenous protagonists and explore issues relevant to the modern Indigenous communities of North America. Many of Jones’s novels fall into the genres of science fiction, fantasy, and horror. His novels Mongrels (2016) and Night of the Mannequins (2020) also play upon and mix the genre tropes of werewolves, monster movies, and slasher films. Jones’s novel The Only Good Indians (2020) uses a supernatural horror premise to explore the impact of colonial violence and ecological destruction upon Indigenous communities. His works are highly referential and feature many allusions to works of popular media. While Jones’s work frequently falls into the horror genre, his style is notable for its use of comedy and irony. In the book’s acknowledgments, Jones recalls his childhood love for the slasher genre, remembering how the terror would often become laughter. He claims that at that moment, “whether we get away or not doesn’t matter anymore, because whatever’s after us can never touch our smile” (400). Jones’s work seeks to capture the ways in which dark and disturbing topics in horror provide an outlet for processing the trauma people experience in real life.
My Heart Is a Chainsaw is the first entry in a three-book series called the Indian Lake Trilogy series, named for the lake beside the fictional town of Proofrock, Idaho. The second book, Don’t Fear the Reaper (2023), also follows Jade Daniels four years later after she is released from prison and returns to Proofrock, Idaho. A convicted serial killer named Dark Mill South escapes from a prison transfer during a blizzard and begins to menace the town. Dark Mill South is an Ojibwe man with a hook hand, and the novel explores the ways in which marginalized groups are often mythologized as “monsters.” The sequel sees the return of characters such as Letha Mondragon and Sheriff Hardy, and it expands the “Slasher 101” interludes to include “Slasher 102,” with new information addressing the twists and subversions of more recent slasher films. The final novel in the trilogy, The Angel of Indian Lake, is set to be released in 2024 and will conclude the story with Jade’s final confrontation with the Lake Witch. The entire series reflects upon the genre of horror and its relationship to the intergenerational trauma experienced by Indigenous communities in the American West.
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