The final girl trope is a prevalent one in horror films, specifically slashers, where once the action of the movie sets in and her friends are picked off one by one, the mild-mannered (generally “good”) girl has to suit up, grab a weapon, scream a lot, kill the baddie, and limp off into the rising sun, soaked in blood, forever changed.
And yet, women are not really depicted all that heroically in a lot of horror films. They are in need of saving, fall deep into stereotypes, and are constantly objectified and dissected as parts instead of people. Even though she’s the one who survives, the use of the final girl trope isn’t really all that empowering to women.
I like Clare C. Holland’s use of the term “horror heroine” in her collection of poems that returns power to the feminine, to the women who find within them the primal urge to fight and survive by any means possible.
And that definition isn’t just confined to the realm of horror movies. As Holland outlines in her rallying cry of an introduction—it’s been a shitty year. But it’s also been a time of change, of women stepping up and saying “no more,” of role models and fierce, nasty ladies everywhere taking charge. These poems are for them. And if you agree, these poems are for you, too.
Separated into four parts, each poem carries the title of the name of a girl from a horror movie, and the poem itself is her story, from her perspective as a person who has been terrorized, hurt, or otherwise abused by some kind of villain—human, supernatural, alien—sometimes even she is the villain.
The movies range from classics like Halloween, The Brood, and The Texas Chainsaw Massacre to more recent and indie movies like Under the Skin, The Witch, Honeymoon, and A Dark Song.
There were only a few that I hadn’t seen (added them to my watchlist immediately) and while the context of the movies is helpful and could expand on the reader’s interpretation of the poem, it is by no means necessary to watch them. The poems stand alone as stories of the resiliency of the human spirit and the true badass nature of women.
These are emotional and resonant poems that get to the heart of what it means to be someone who has experienced something traumatic. Through the use of horror films, Holland has also captured a piece of the current socio-political trauma in these pages, and that’s powerful, not only as an argument for why horror is important, but for how we can continue to fight back as creators, artists, and women.
Associate editor, amateur photdographer, bibliophile, and occasional sleuth.