New Novel ‘There’s No Way I’d Die First’ Puts the Black Girl in the Spotlight as the Ultimate Survivor.
Author Lisa Springer joins theGrio for a conversation about her latest Halloween-themed release and the intricacies of Black horror.
In horror films and literature, Black characters have often met unfortunate fates, frequently not surviving until the end, unless they happen to be portrayed as the antagonist. Surprisingly, it wasn’t until the year 1999 with “Deep Blue Sea” that a Black character, LL Cool J as Preacher, managed to survive a horror movie.
Lisa Springer, a horror author recently debuting with her novel “There’s No Way I’d Die First,” fondly recalls the sense of accomplishment and pride she experienced while watching LL Cool J survive until the end of the late ’90s shark thriller. When discussing her new book and the emerging genre known as Black horror, she expressed her desire for a similar triumphant “final girl” moment for her novel’s Black protagonist, Noelle.
She shared her perspective, saying, “When it comes to a female character reaching the end of the movie, it’s almost never a Black girl. It’s never the Black girl. We seldom witness ourselves in that ultimate showdown, fighting our way to the finish line. We may assist others in reaching it, but it’s rarely our own moment.” Springer, originally from Barbados but now based in New York, highlighted this underrepresentation in horror narratives.
“I aimed to create a book that illustrates that Black individuals possess the resilience to overcome any challenges. We have the skills, the wit, and the intelligence to strategize and find solutions in difficult situations,” Springer emphasized. “It’s because we know that Black people have a history of survival, dating back to our arrival in this part of the world. We’ve endured, and we continue to endure.”
In “There’s No Way I’d Die First,” Noelle, a teenage protagonist, hosts a Halloween house party for her high school friends. The story takes a dark and gruesome turn when a vengeful killer clown makes an appearance. What unfolds is reminiscent of the enjoyable suspense of classics like “Scream” and other teen horror favorites, with a surprising twist that reveals the hero to be just as unexpected as the true villain.
“I wanted to convey that occasionally, the entity you fear isn’t the one you expect. At times, it’s the individual who professes to be on your side,” Springer expressed.
She went on to mention that she wanted to explore this concept further, highlighting how sometimes those who are expected to provide assistance might actually be unintentionally causing harm. The novel also delves into the possibilities that can arise when a house party is attended by a group of teenagers with hidden secrets.
“Noelle will discover that everyone harbors some sort of hidden issue,” she elaborated. “The clown, in particular, is aware of some of these secrets and is harshly judging them for it.”
Noelle is a part of a diverse circle of friends. Despite her affluent background, she remains acutely aware of how her Black identity introduces a layer of difficulty or an unsettling feeling into her life. This uneasiness becomes a key element of the tension that Springer skillfully weaves throughout the story. Noelle can’t simply rely on her immediate instincts in every situation she encounters.
“When it comes to the horror genre, what elicits fear among Black individuals differs significantly from what frightens people of other racial backgrounds,” she pointed out.
Although “There’s No Way I’d Die First” places Black characters at the forefront, Noelle’s narrative isn’t exclusively for Black readers. Springer crafted her book with teenagers in mind, particularly those who feel overlooked by the adults in their lives. Her novel is designed for a broad audience because, in her view, “fear is a universal emotion.”
“The book is inclusive, but I would particularly recommend it to horror enthusiasts. If you have an appreciation for horror, this book is tailored for you,” she explained. “Everyone can relate to a story of survival. However, at its core, it’s a tale for Black girls and Black individuals, as we often don’t receive the same leniency and second chances that others do. So, I aimed to create a narrative that celebrates Black humanity.”
Apart from the actual horror elements in the book, there are numerous allusions to cult classic horror films woven throughout. These references range from chapters commencing with iconic horror movie quotes to Noelle’s extensive knowledge of the horror genre, which aids her in navigating her own night of terror. Additionally, some of Springer’s characterizations bear resemblance to well-known horror antagonists. At times, the killer clown appears reminiscent of iconic figures such as Pennywise from “It,” Jigsaw from the “Saw” franchise, or Ghostface from the “Scream” franchise, which happens to be Springer’s personal favorite.
“I simply adore a bumbling killer,” she remarked, referring to her fondness for Ghostface and his tendency to stumble before making a lethal move.
Reflecting on the trope embodied by Ghostface and other classic horror works that incorporate humor, such as the parodies found in the “Scary Movie” franchise, Springer pointed out that her book intentionally combines horror and comedy, making it a horror-comedy by design.
“Just inundating readers with blood and gore from the very beginning to the end can be overwhelmingly intense. It’s essential to incorporate lighter emotional moments to provide readers with a breather from the intensity,” she explained.
Furthermore, she added, “Comedy and horror are two sides of the same coin.”
Springer also expressed her lack of enthusiasm for narratives where Black characters are solely subjected to racial terror. While she recognizes that “racism is indeed a horrifying aspect of life,” she believes that other harrowing experiences can befall Black characters as well. She expressed her desire to witness more Black horror stories akin to Jordan Peele’s “Nope,” where Black characters navigate “fantastical” settings and scenarios. She observed that although film and television are increasingly featuring Black horror stories, she anticipates that the publishing world will also catch up in due course.
“Between 2023 and 2024, we can expect to see a substantial increase in the number of Black horror books available, along with some enticing anthologies,” she predicted.
As someone who identifies herself as a reader before being a writer, with a decade of writing experience, Springer added, “This is a thrilling period for the genre.”
She also hinted at her upcoming projects, mentioning that her next endeavor will take place in the Caribbean and will explore the question, “What about the dark and troubling aspects that occur in paradise?”
