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"Skeleton Fiction"
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Skelly's Halloween
When a fall causes Skelly B. Skeleton to come apart on Halloween, his animal friends try to put him back together based on their own bodies.
Book
“Death by Fright”: Risk, Consent, and Evidentiary Objects in William Castle's Rigged Houses
This article analyzes the in-cinema objects William Castle used to promote his breakthrough hits as an independent producer: the Lloyd's of London insurance certificates associated with Macabre (1958) and the Emergo skeleton in House on Haunted Hill (1959). These objects created semiotic and physical parallels between theatrical space and the haunted houses within Castle's films that drew viewers into more direct contact with onscreen scenarios. Understanding Castle's specialization in rigged theaters highlights the multifaceted challenges faced by American exhibitors in the 1950s and underscores some of the implicit corporeal contracts of moviegoing.
Journal Article
Give me back my bones!
\"A stormy night at sea has uncovered some long-buried secrets and surprises. Is that the mast of a shipwreck? A faded pirate hat? And what's that hiding in the sand? A mandible and a clavicle, phalanges and femurs, a tibia and a fibula -- could there be a set of bones scattered across the ocean floor? And who might they belong to? A jaunty rhyme takes readers on an underwater scavenger hunt as a comical skeleton tries to put itself back together piece by piece. Make no bones about it: this rollicking read-aloud will have young ones learning anatomy without even realizing it.\"--Publisher.
Book
The skeleton makes a friend
Georgia Thackery is feeling good about her summer job teaching at prestigious Overfeld College and the relaxing cabin she's renting for her daughter and Sid the skeleton. When a teenager named Jen shows up looking for Sid, they set off to find a missing online gaming partner.
Book
The Anatomical Gaze in Tomorrow's Eve
In the sf novel L'Eve future [Tomorrow's Eve, 1886] by Philippe Auguste Villiers de l'Isle-Adam, the female body is dissected repeatedly: a female android is technologically disassembled, a living woman is poetically blazoned, and a dead woman is cinematically deconstructed. This article explores the novel's central thematic of dissection, tracing its rhetorical and visual coding to the anatomy theater of the Renaissance, and in particular to the work of Andreas Vesalius, to whom the scientist-anatomist Thomas Edison (a character in the novel) is explicitly compared. Within the anatomy theater, the medical investigation of the body was conducted within a highly symbolic and ritualized environment in which the act of dissection was intended not only to foster empirical analysis but also to inspire metaphysical awe. Such awe was cultivated via an anamorphic or doubled vision, which encouraged a sublime reading of grotesque phenomena— that is, a reading in which dissection is simultaneously a revelation of the interior wonders and horrors of the body and of larger, universal truths that defy both vision and intelligibility. This doubled vision via dissection is reproduced in the novel with the help of modern technological inventions that encourage the kind of \"cognitive estrangement\" and \"sense of wonder\" that will become associated with later science fiction.
Journal Article
The school skeleton
At Green Lawn Elementary, the entire school becomes involved in a mystery when Mr. Bones, the skeleton in the nurse's office, disappears.
Book
THE GOSPELS OF ALICE THOMAS ELLIS
Heddendorf discusses the works of British novelist Alice Thomas Ellis, who created shrewd and formidable female characters that have little patience with men. An outspoken Catholic, she deplored feminism and the reforms of the Second Vatican Council. In eleven works of fiction that followed The Sin Eater, Ellis continued to imagine complex characters who sprinkle her opinions into mixtures of keen analysis and tart dialogue.
Journal Article
Skeleton tree
The day twelve-year-old Stanly finds a finger bone growing into a skeleton in his yard everything changes--his seven-year-old sister Miren adopts the skeleton, which only children can see, as a friend and playmate, and as her health continues to deteriorate Stanly blames the skeleton and tries to drive it away, although it's the only thing that seems to give Miren any joy.
Book