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By Karen J. Renner

Focusing on narratives with supernatural elements, Karen J. Renner argues that the hot proliferation of news approximately evil childrens demonstrates now not a declining religion within the innocence of adolescence yet a wish to safeguard its purity. From novels to song video clips, images to games, the evil baby haunts a variety of texts and springs in a number of varieties, together with changelings, ferals, and big newborns. during this publication, Renner illustrates how each one subtype deals a special cause of the matter of the “evil” baby and adapts to altering historic situations and ideologies.

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8. 9. 10. 11. 12. 13. 14. 15. …I personally agree…that women’s liberation has been an antimotherhood movement” (81). Oliver quotes one author as writing, “The emotions of the mother are experienced directly by the fetus, and indirectly by the infant after it is born” (2012, 116). The 1975 film I Don’t Want to Be Born, also known as Sharon’s Child, depicts a murderous child, the product of a curse laid upon the mother by a dwarf with whom she worked while a stripper. The mother, played by a young Joan Collins, is punished for her sexuality: not only was she a stripper, but she had an illicit affair with her manager, who might even be the child’s father since she slept with him the night before her wedding.

The narrative then proceeds in Rosemary-fashion, with the mother not knowing what to believe about the nature of her unborn twins. I’m Not Jesus, Mommy (2010) adds even more of a twist on this story by making the mother a fertility specialist. Finding that she, too, is infertile, she impregnates herself in her own laboratory, not realizing that the embryo she has implanted is actually a clone of Jesus made from genetic material taken from the Shroud of Turin. 20 This new method of accounting for the origins of the antichrist through reproductive technologies is not simply a hip update designed to play on more contemporary anxieties.

The technology of the nursery performs an equivalent function to paranormal powers in that it can turn their deepest and most forbidden desires into reality. No definite explanation is given for the nursery’s sudden capacity to do this, but Lydia believes that Peter has rigged it to do so. She states that “Peter’s set it to remain” on the veldt, a feat he’d likely be more than able to accomplish considering “[t]hat IQ of his” (1980, 269). It is also possible that the room itself has taken on life.

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