In paragraphs 12 and 14, King refers to "alligators" and "gators". What does the alligator represent? What does King mean when he says that all the world needs love - "(a) as long as you keep the gators fed"?

Instructions - "To back up yur comments all you discussions answers should include specific infor from the essay" 

Our discussion which we be posted to should include: "Student provides accurate response to assigned questions. incorporating terminology and concepts
"Student provide specific support (example, question from the text) to support his/her response
Student brings additional questions and observations into the discussion

We are instructed in writing effect paragraphs Thanks Keith
appropricate and exact language coherence

WHY WE CRAVE HORROR MOVIES

Stephen King

 I think that we’re all mentally ill; those of us outside the asylums only hide it a little better -and

maybe not all that much better, after all. We’ve all known people who talk to themselves, people who

sometimes squinch their faces into horrible grimaces when they believe no one is watching, people who have

some hysterical fear- of snakes, the dark, the tight place, the long drop...and, of course, those final worms

and grubs that are waiting so patiently underground.

 When we pay our four or five bucks and seat ourselves at tenth-row center in a theater showing a

horror movie, we are daring the nightmare.

 Why? Some of the reasons are simple and obvious. To show that we can, that we are not afraid,

that we can ride this roller coaster. Which is not to say that a really good horror movie may not surprise a

scream out of us at some point, the way we may scream when the roller coaster twists through a complete

360 or plows through a lake at the bottom of the drop. And horror movies, like roller coasters, have always

been the special province of the young; by the time one turns 40 or 50, one’s appetite for double twists or

360-degree loops may be considerably depleted.

 We also go to re-establish our feelings of essential normality; the horror movie is innately

conservative, even reactionary. Freda Jackson as the horrible melting woman in Die, Monster, Die!

confirms for us that no matter how far we may be removed from the beauty of a Robert Redford or a Diana

Ross, we are still light-years from true ugliness.

And we go to have fun.

 Ah, but this is where the ground starts to slope away, isn’t it? Because this is a very peculiar sort of

fun, indeed. The fun comes from seeing others menaced-sometimes killed. One critic has suggested that if

pro football has become the voyeur’s version of combat, then the horror film has become the modern

version of the public lynching.

 It is true that the mythic, “fairy-tale” horror film intends to take away the shades of gray.… It urges

us to put away our more civilized and adult penchant for analysis and to become children again, seeing

things in pure blacks and whites. It may be that horror movies provide psychic relief on this level because

this invitation to lapse into simplicity, irrationality and even outright madness is extended so rarely. We are

told we may allow our emotions a free rein...or no rein at all.

 If we are all insane, then sanity becomes a matter of degree. If your insanity leads you to carve up

women like Jack the Ripper or The Cleveland Torso Murderer, we clap you away in the funny farm (but

neither of those two amateur-night surgeons was ever caught heh-heh-heh); if, on the other hand, your

insanity leads you only to talk to yourself when you’re under stress or to pick your nose on your morning

bus, tben you are left alone to go about your business...though it is doubtful that you will ever be invited to

the best parties.

 The potential lyncher is in almost all of us (excluding saints, past and present; but then, most saints have

been crazy in their, own ways), and every now and then, he has to be let loose to scream and roll around in

the grass. Our emotions and our fears form their own body, and we recognize that it demands its own

exercise to maintain proper muscle tone. Certain of these emotional muscles are accepted -even exalted- in

civilized society; they are, of course, the emotions that tend to maintain the status quo of civilization itself.

Love, friendship, loyalty, kindness-these are all the emotions that we applaud, emotions that have been

immortalized in the couplets of Hallmark cards and in the verses (I don’t dare call it poetry) of Leonard

Nimoy.

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9 When we exhibit these emotions, society showers us with positive reinforcement; we learn this even

before we get out of diapers. When, as children, we hug our rotten little puke of a sister and give her a kiss,

all the aunts and uncles smile and twit and cry, “Isn’t he the sweetest little thing?” Such coveted treats as

chocolate-covered graham crackers often follow. But if we deliberately slam the rotten little puke of a

sister’s fingers in the door, sanctions follow-angry remonstrance from parents, aunts and uncles; instead of a

chocolate-covered graham cracker, a spanking.

 But anticivilization emotions don’t go away, and they demand periodic exercise. We have such “sick”

jokes as “What’s the difference between a truckload of bowling balls and a truckload of dead babies? (You

can’t unload a truckload of bowling balls with a pitchfork...a joke, by the way, that I heard originally from a

ten-year-old). Such a joke may surprise a laugh or a grin out of us even as we recoil, a possibility that

confirms the thesis: If we share a brotherhood of man, then we also share an insanity of man. None of which

is intended as a defense of either the sick joke or insanity but merely as an explanation of why the best

horror films, like the best fairy tales, manage to be reactionary, anarchistic, and revolutionary all at the same

time.

 The mythic horror movie, like the sick joke, has a dirty job to do. It deliberately appeals to all that is

worst in us. It is morbidity unchained, our most base instincts let free, our nastiest fantasies realized ...and it

all happens, fittingly enough, in the dark. For those reasons, good liberals often shy away from horror films.

For myself, I like to see the most aggressive of them -Dawn of the Dead, for instance -as lifting a trap door

in the civilized forebrain and throwing a basket of raw meat to the hungry alligators swimming around in that

subterranean river beneath.

 Why bother? Because it keeps them from getting out, man. It keeps them down there and me up here.

It was Lennon and McCartney who said that all you need is love, and I would agree with that.

 As long as you keep the gators fed.

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