Colin Burrow's "Ogres Are Cool" argues that ogres, far from being simply monstrous, embody complex and often contradictory cultural anxieties. From their ambiguous origins in folklore to their modern depictions in children's stories and film, ogres reflect evolving societal fears about the other – encompassing foreignness, wildness, and the blurring of human/animal boundaries. The ogre's cannibalism, a defining characteristic, taps into primal fears of consumption and the violation of social taboos, while simultaneously offering a perverse fascination with transgression. Ultimately, the enduring appeal of the ogre lies in its capacity to embody these anxieties in a figure that is both terrifying and strangely compelling.
Fraser McDonald's diary entry in the London Review of Books reflects on the centenary of Nan Shepherd's birth and the enduring power of her nature writing, particularly The Living Mountain. McDonald contrasts Shepherd's intimate, embodied experience of the Cairngorms with the more detached, scientific approach of contemporary nature writers like Robert Macfarlane. He emphasizes Shepherd's focus on direct sensory perception and her rejection of anthropomorphism, highlighting her unique ability to merge with the mountain landscape and find a profound sense of belonging within it. The piece also touches upon Shepherd's other works, including her poetry and novels, and her dedication to representing the distinct character of Northeast Scotland.
HN commenters largely appreciate the diary excerpt focusing on Nan Shepherd's nature writing and her connection to the Cairngorms. Several share personal experiences of reading Shepherd's work, particularly "The Living Mountain," praising its evocative descriptions and philosophical insights. Some discuss the challenges of modern nature writing, contrasting it with Shepherd's focus on immersive observation and internal reflection. A few commenters also touch on the beauty of the Cairngorms themselves, recommending visits and sharing related resources. The overall sentiment is one of admiration for Shepherd's writing and the power of nature to inspire deep connection.
Summary of Comments ( 9 )
https://news.ycombinator.com/item?id=43369739
HN users largely agree with the author's premise that ogres are experiencing a cultural resurgence, moving away from purely monstrous depictions. Several commenters highlight Shrek as the pivotal turning point, making ogres sympathetic and even heroic. Some discuss the etymology of "ogre," linking it to Hungarian and historical figures like Attila the Hun. Others explore the shifting portrayals of ogres in various media, from Tolkien to Dungeons & Dragons, noting their complex and sometimes contradictory nature (brutal yet family-oriented). A few users push back, arguing that ogres have always had a multifaceted presence in folklore, predating Shrek. There's also a brief discussion of other "monster" rehabilitations in popular culture.
The Hacker News post "Ogres Are Cool" (linking to a London Review of Books article of the same name) generated a modest discussion with 15 comments. Several commenters engage with the premise of the article, which, based on the comments, seems to explore the evolving portrayal and cultural significance of ogres.
One commenter appreciates the author's exploration of how ogres, initially figures of terror, have become somewhat sympathetic figures. They highlight the shift from ogres being purely monstrous to their portrayal in works like "Shrek" where they possess relatable qualities and struggles. Another commenter picks up on this thread, mentioning George MacDonald's "The Princess and the Goblin" and suggesting that perhaps ogres have always held a more nuanced position in folklore than solely being objects of fear.
The discussion also touches upon the nature of folklore and mythology. One commenter remarks on the fluid nature of such stories, highlighting how they adapt and change across cultures and over time. This malleability, they suggest, is what allows figures like ogres to be reinterpreted and recontextualized.
A couple of comments offer further reading suggestions related to folklore and mythology, pointing to other analyses of fairy tales and monstrous figures. One commenter even draws a parallel to Tolkien's orcs, suggesting that they, too, underwent a similar shift from purely evil beings to more complex characters with their own motivations, particularly in the works of Tolkien's son, Christopher.
There's a brief tangent about video game representations of ogres, with one commenter mentioning how they're often portrayed as brutes or cannon fodder. Another commenter contrasts this with the nuanced portrayal of ogres in the tabletop role-playing game Dungeons & Dragons, suggesting that their depiction there allows for more complex interactions and character development.
Overall, the comments section reflects a general agreement with the article's premise and explores the evolving cultural understanding of ogres. The commenters delve into the adaptable nature of folklore, comparing different portrayals of ogres in literature and gaming, and reflecting on the shift from pure monster to more complex and sometimes sympathetic figure. The discussion remains relatively focused on the topic, without significant digressions or disagreements.