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This chapter examines the acts of burial and exhumation in three contemporary British history plays. For the purposes of this argument, a ‘history play’ may be defined as a piece of writing for the theatre that engages with historical events or settings. Such plays inevitably, at the moment of their staging or revival, take on particular meanings for audiences, since theatre as a live, durational art form encourages spectators to compare the historical events depicted with their present historical moment. The chapter argues that acts of burial and exhumation in contemporary British theatre are intimately tied to notions of land, soil and belonging. These became increasingly pertinent ideas in the UK’s political climate in the years following the 2016 Referendum on membership of the European Union. Of the three case studies, Victoria by David Greig (2000) dates from more than a decade before this vote, whilst Common by D. C. Moore (2017), and Eyam by Matt Hartley (2018) were written and staged in the interim between the Referendum result and the UK’s withdrawal from the EU. All three, however, feature corpses on stage as a means to consider time, temporality, place and history. Each play offers a different interpretation of what it means to play dead and to stay dead.

Communications regarding this column should be addressed to Mrs. Cheney, Peabody Library School, Nashville, Tenn. 37203. Mrs. Cheney does not sell the books listed here. They are available through normal trade sources. Mrs. Cheney, being a member of the editorial board of Pierian Press, will not review Pierian Press reference books in this column. Descriptions of Pierian Press reference books will be included elsewhere in this publication.

Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection. These female-centred narratives rely both on Islamic cosmology and myths and folktales of pre-Islamic Anatolian oral culture. The chapter will first explore the reasons horror has been neglected in the century-long history of cinema in Turkey and move on to highlight the socio-economic, cultural, and political contexts that were catalysts for the horror genre’s emergence. Then, the chapter will discuss the codes and conventions of the genre and explore the unique place of Alper Mestçi’s 2007 film Haunted (Musallat), among its contemporaries in terms of the ways in which the film challenges these established codes and conventions. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

Jordan Peele’s critically acclaimed directorial debut Get Out (2017) highlights the issues regarding racism and Black identity that have seldom been the subject of horror film. More specifically, Get Out offers representations of Black masculinity that push against the stereotypical and reductive ways that Black men have often been depicted in horror cinema. The portrayal of Black men in Get Out takes shape in ways influenced by a range of relationships featured in the film. Amongst these is the dynamic between the leading character Chris (Daniel Kaluuya) and his white girlfriend Rose (Allison Williams), in addition to Chris’s interactions with Rose’s mother Missy (Catherine Keener), as well as his best friend Rod (Lil Rel Howery). As such, scrutiny of Get Out yields insight into the construction of Black masculinity in horror film, including how on-screen inter- and intra-racial relations are implicated in this. The writing that follows focuses on how Get Out offers complex and scarcely featured representations of Black masculinity, and boyhood, in horror. As part of such discussion, there is analysis of the entanglements of on-screen gender and racial politics, which contribute to the nuances of depictions of Black masculinity in Get Out.

The first season of HBO's Lovecraft Country is based on Matt Ruff's 2016 novel and explores the horrifying world of H.P. Lovecraft and the very real Jim Crow-era racism that plagued the United States in the 1950s. The series, developed by Misha Green and produced by Jordan Peele, places Black protagonists at the centre of a Lovecraftian horror story. The Black characters have to face shoggoths, grand wizards and magic but they also have to deal with and escape very realistic horror, in the form of racist police violence and white supremacy. By bringing the Black characters into the centre – often the metaphorical villains of Lovecraft's stories – the series allows for a new layer of meaning to Lovecraft's fear of the other. Atticus, Leticia, Uncle George, Hippolyta and the rest of the cast are struggling to escape the everyday real and supernatural manifestations of racism. Their struggle can be seen as a reflection of the actual struggle of the Black communities today, who are trying to liberate themselves from the shackles of oppression and systemic racism once and for all, so all people regardless of the colour of their skin, gender, race and ethnicity can finally be free. Lovecraft Country can be read as a symbolic yet crucial contemporary representation of this struggle for freedom. The series was created before George Floyd's and Breonna Taylor's murders, but it came after the deaths of Trayvon Martin, Philando Castile and Sandra Bland. Once the viewers search deeper and look past the dark mansions, the wicked wizards and the shoggoth monsters, they can understand that the supernatural and fictional land of Lovecraft Country is not a distant place after all.

Traditional visions of masculinity are inextricably linked to some tropes believed as ‘essential’ in men such as valour or strength. If a man fails in comply with these ‘essences’, then he fits into a form of deviant masculinity that transforms him into an Other.

Now, what happens with the issues of ageing in masculinity? The ageing man slowly but naturally loses all the aspects that made him ‘manly’ enough, becoming instead a double of himself. Men are doomed to fail as their bodies start to malfunction.

Two horror films highlight ageing and failed masculinity as a way to engage with these new concerns. Bubba Ho-Tep (Don Coscarelli, 2012) and Late Phases (Adrián García Bogliano, 2014) revolves around two aged heroes (Elvis Presley in the former, an ageing war veteran in the latter) who live within retirement communities. There, in the last years of their life, both men must face supernatural menaces: a walking mummy and a werewolf respectively. Facing supernatural horror, the ageing heroes must compensate their failing masculinity – a body that does not work as well as it used to do – with new forms of empathy and manliness.

Uniting film studies with investigations on masculinity and ageing, we propose to read these two films to point the ways in which both stories engage with the cultural politics of ageing masculinity.