Nightmares in the Sky: Gargoyles and Grotesques by Stephen King

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Author: Anne R. King
Release date: October, 1988
Media: Hardcover
ISBN: 0670823074

Did not catch the many-century old value of these gargoyles

This is a coffee table book. But it does not have to be bad. The pictures, by f-stop Fitzgerald, of those gargoyles are interesting, some of them very original, but the introductory text, by Stephen King, is definitely too long for what it has to tell. The only idea of some value is that these gargoyles, and yet some of them are not gargoyles, are alive. Fine. And then what ? Why are they ugly, though some of them are not ? What is their symbolical value on twentieth century houses or buildings in New York or Chicago ? This is not answered.

Originally those gargoyles, a long time ago indeed, were there to protect the buildings they were sitting on, many churches among others, by fending off the real devils and monsters they were supposed to represent, and people believed these monsters and devils did exist in those days. That was the first function. The second function was to teach people (essentially on church porches or inside churches, and they were not gargoyles any more) the dangers of sinning, the devils that were waiting for us or the suffering we may be condemned to. That was a pedagogical function. They were thus alive because they represented some faith, some belief that gave them life.

With the passing away of religion as the center of our life, these values have disappeared, and yet they survive in a less religious value. These gargoyles, these monsters, who are not always monsters, protect our homes against the outside world that is dangerous or against our fears they are supposed to keep out. Pedagogically, they do not teach us religion anymore but they have taken over an artistic value. They have become a decoration, and they are intended to be monstrous or frightening. They are supposed to be a way the people in the house tell us to stay away, they are like shouts from those people directed at us to frighten us away, most of them. But they also have another value. They are references to classical gods, to natural elements, to cultural characters that only exist in our literatures or mythologies. Then they become some kind of showing off ordered by the owner to decorate his or her house to show everyone he or she has some culture : here Jove or Zeus, here Neptune or some Sun-God (p. 121), etc.

What would have been interesting, would have been the following questions. Why are some not frightening at all (p. 116, 86, 78), and why are some not looking at us at all (p. 117) ? Why are some not Christian at all, not western at all ? A Chinese one for instance page 110, if it is Chinese. And finally why are so many just plain nice and friendly, like page 90, or some kind of clown like page 115 ? They probably represent the fantasms, fears, likes and desires of the owners, builders, artists, but they cannot be reduced to nightmares in the sky. They are interesting declarations someone we don't even know is throwing at us with the hope we may understand, appreciate or like them. In other words they are not cathartic. They are a discourse directed at us and we are supposed to understand it.

Dr Jacques COULARDEAU, Paris Universities II and IX. - an Amazon customer review

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