“There is a Bear in the Woods” is named after a Ronald Reagan campaign ad, from 1984. It’s a classic in high-strategy fear-mongering, and I recommend watching it while listening to the soundtrack to The Witch, for full horrific effect.
My story, “There is a Bear in the Woods,” is the first directly political (that is, about politics) story I’ve published that’s been set in the U.S. instead of Indonesia. One other is forthcoming, at this time. “There is a Bear in the Woods” is also the first to be set in the same universe as a series of to-be-written novels that is very close to my heart. Part of the reason I’ve stayed away from American politics is because I didn’t want to publically commit to writing these books. But now I am, so let me say a little about it, because I think it’s as good an explanation as anything else to what drove “There is a Bear in the Woods.”
I wrote the first version of these books – the trilogy now named after Hirschman’s Exit, Voice, and Loyalty – from ages twelve through thirteen (1999-2000). They formed books 2 and 3 out of a series of 7 (“just a kid with a pad and a pen and a big imagination”), and they were an absolute mess that demanded suspension bridges for all the disbelief. But when I was in grad school I started toying with the idea of resuscitating and rewriting books 2 and 3. I don’t remember what spurred this decision other than the feeling that I had some thing here, some seedling of an idea, that I thought was worth saving. Many of the details have changed in the intervening years – obviously, I took a buttload of political science classes between points A and B – but at its core, the series is about the following:
An alternate-universe United States is dominated by a politically-corrupt, democratically-elected center-left coalition of parties, called the Alliance. Horrified by the morally-depraved decadence of the Alliance’s long reign, a radical deliverance church and a new conservative opposition join forces to oust the Alliance, and end up installing a tenuous and uniquely American fascist regime. Although the accidental fascists are the antagonists, it’s very important to me that they be kept sympathetic throughout – because otherwise, how would they have been voted in? And yes, because I’m a horror writer, there are a few BOB-like demons involved, but, as reflected in “There is a Bear in the Woods,” the demons came to take advantage of an opening that was entirely manmade.
This story is about a plucky grassroots campaign trying to put one of the would-be fascists, Rick McFarland, into Congress. They, of course, think they’re on a noble cause – literally, saving America. And then they have a fateful campaign stop…
“There is a Bear in the Woods” is in Autumn Cthulhu, edited by Mike Davis.
“I’d Love To Change the World” – Jetta: I’d love to change the world, but I don’t know what to do, so I’ll leave it up to you.
“Aenema” – Tool: Some say we’ll see Armageddon soon. I certainly hope we will. Don’t just call me pessimist. Try and read between the lines. I can’t imagine why you wouldn’t welcome any change, my friend.
“2+2=5” – Radiohead: Are you such a dreamer to put the world to rights? It’s the devil’s way now. There is no way out.
[Note: What a perfect video, eh?]
“Coward” – Hans Zimmer: [Instrumental].
[Note: I rarely include soundtrack-like music here, but the combination of title and sound actually make this match perfectly with the appearance of “The Bear.”]
“Warning” – Incubus: All left standing will make millions writing books on the way it should have been.