If you haven't read Part I, I'd encourage you to at least skim it, since it opens by outlining the goals of this series of articles. In brief:
The observations of these three disciplines [literature, mythology, and biology] as they analyze the world have led me to the realization that they are all inextricably intertwined, and that a careful study of each one will provide critical clues in regard to the other two.
But enough self-promotion. After this, it's all original material._____________________________________________________
We know that in the early days of hominids such as Homo robustus and Homo ergaster, our ancestors were in direct competition with other family groups, as well as other species which we might call "semi-human." I use this term not to describe them as incomplete or unfinished, for they were surely as
well adapted to their environment as any other organism on earth. I mean only to imply that while we Homo sapiens were still casting off our collective birth caul (so to speak), numerous other species thrived, and while they were almost like us--but just different enough to provoke a reaction of repulsion and fear.
But what of the other threats in our world; those dangers that date back to our even more ancient origins? There was a time when we were in greater peril from birds, snakes, and even insects, than from any other tribe of men. It is these phantoms that I wish to explore. This article will turn from the world of man to the realm of the alien, and delve into what exactly horrifies us about those creatures that seem somehow unnatural.
A major difference between vertebrates and invertebrates (aside from the obvious) is the remarkable diversity of uses for limbs that can be found in various phyla. As Stephen Jay Gould is fond of commenting, it's the use of legs as mouthparts that causes us to view insects and chelicerates as repulsive. A similar explanation could be offered for the limbs that eels and snakes lack, or for the mind-boggling range of limb possibilities in the mollusca.
While it's easy enough to manufacture just-so stories about the horror aroused by contemplating such radical discrepancies in appendage form and usage, I prefer to take what I perceive to be the most direct route, and explore the relationship between us and these creatures.
The feud between vertebrates and our mortal enemies, the chelicerates, dates back to the seas of the Ordovician period, when the ancestors of the gnasthostomata, such as ostracoderms, were preyed upon by great nautiloid molluscs and eurypterids. I'm not suggesting that some sort of ancestral memory has permeated our fears across several geological epochs; I'm merely establishing that from the earliest days of vertebrates, we have been food for such creatures.
Several hundred million years later, primates swung through the jungle and leaped across the African plains, pursued by giant birds and pythons whenever they touched the ground. From the dawn of sentient thought, we have feared birds of prey, but we have held a more potent and deeper-seated fascination with the serpentine.
Millennia before the priests of Ba'al and Osiris, the first known human worship sites venerated snakes and snake gods. It remains unclear why our ancestors would have chosen these creatures as objects of worship, but nevertheless, the motif of the great serpent manifests itself across the globe in the forms of Jormungand, Apep, Leviathan, and dragons before they grew wings and legs. For as long as we can trace, man has, by turns, worshiped, hated, and feared the snake.
The slithery undulation of the snake and the multi-legged alien-ness of the spider are blended eerily in the octopus and squid. Tentacles are not only a feature of numerous historical monsters, but a common motif in the writing of the great authors of weird tales and proto-science fiction stories (not to mention the unorthodox sexual fetishes of certain countries). The appendages of molluscs are devoid of joints and fingers, yet grip and manipulate objects with a dexterity nearly matching our own. What are we to make of such inscrutable cleverness?
In writing, we are constantly seeking to strike a balance between cultivating an atmosphere of familiarity, and exploring concepts, locales, and experiences entirely unique. In horror writing, especially, the author aims to develop a sense of security and comfort, then violate its taboos and conventions through an irruption of malign forces.
For this reason, the uncanny valley and the utterly alien can serve a cooperative purpose, if put to use properly. A human character with scaly skin beneath his coat may seem a bit melodramatic, but such images build on fears deeply and instinctively rooted in our distant past. What we accept as human delineates a narrow range of possibilities, and by violating those in creative ways, the writer can tap into a truly primal source of repulsion.