Excess signals uncontrolled natural agency and thus provides a key ingredient in horror and ecohorror. Because excess ultimately threatens our agency over matter and meaning, nature comes to threaten the fall and dissolution of humanity, offer an erasure of what it means to be human, and exert a muffling of the very agency that defines our sense of our exceptionalism. Yet horror and ecohorror also enthrall. They do so precisely because they provide a perversely traumatophilic/traumatophobic sensation, a paradoxical presence of opposites that somehow, like sweet-and-sour soup for the psyche, tastes good. We watch or read ecohorror for the attraction and repulsion its various traumas offer. Horror and the disgusting captivate us, reminding us at the same time of our corporeality and its fragility. Slime is central here. Slime is the horror of boundary transgressions, of indefinability, of unstoppability, of corporeal and natural agency. Reactions to slime reveal not only a fear of nature but a fear of women, and understanding theoretical connections between sexism and ecophobia is a critical step toward ending both. Central here is understanding how the balancing between attraction and repulsion, traumatophilia and traumatophobia, produces compelling spectacle that is entertaining but stimulates no activist engagement.

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