alright, iv'e seen all these posts about southern gothic (sexy, sweaty, voodoo and devils at crossroads) and new england gothic (deep dark forests and lake monsters and colonial ghosts) and southwest gothic (basically night vale)
what about long island gothic
your velour tracksuit glows like a velvet void in the watery sunlight.
your flat iron not only fries your hair, it fries the air around you, everything it touches it. leaves hot and flat and split and feathered. your hairspray leaves a trail of tangible dark that invades the nostrils of all who pass
there’s a diner at the edge of the void-marina called the east bay or the apollo or something, where the burgers are mediocre but the moussaka is delicious. dont try the coffee. your waitress has served lou reed, the jersey devil that one time he was on vacation, at least two middle eastern dictators, and probably poseidon. she was equally rude to all of them.
billy joel wants you to put actual bread in his jar for some reason. man, what are you doing here?
your aunts asks you endless streams of questions about what your major is, what you’re going to do after college, who you should be sacrificing raccoons to in the light of the half moon for good luck, who your grandfather thinks it should be and why he’s wrong, then return to gossiping about who your middle school english teacher touched inappropriately last summer.
everything smells a little like the sea, even when youre miles from the shore, even when you sleep.
Forests to the [early] Northern European peoples were dangerous and generous, domestic and wild, beautiful and terrible. And the forests were the terrain out of which fairy stories, one of our earliest and most vital cultural forms, evolved. The mysterious secrets and silences, gifts and perils of the forest are both the background to and source of these tales….
Forests are places where a person can get lost and also hide— and losing and hiding, of things and people, are central to European fairy stories in ways that are not true of similar stories in different geographies. Landscape informs the collective imagination as much as or more than it forms the individual psyche and its imagination, but this dimension is not something to which we always pay enough attention.
Sara Maitland, excerpt of Gossip from the Forest