TV Series – Father Thomas Ortega is an up-and-coming young priest in Chicago, rebuilding his long-neglected parish and working with the bishop and a local fundraising committee to organize the Pope’s visit to the Windy City. His neat professional trajectory is interrupted when Angela Rance, one of his parishioners, comes to him with a request: her daughter is possessed by a demon, and she wants him to do an exorcism. Rebuffed by the bishop, Ortega turns to Father Marcus Keane, a renowned exorcist who Ortega has never heard of — until the fellow priest appeared in his dreams. Meanwhile, Angela struggles to keep her family together as the demon’s power over her daughter grows more malevolent by the day.
I’m not usually a huge fan of religious horror, and I didn’t much care for the original Exorcist – I just don’t find it all that scary. But while the TV series has just as many jump scares and gross-outs as the movie, with a whole season it has time to do some more interesting things, too. The Rance family dynamics are fascinating, even before the demon shows up, and Father Thomas and Father Marcus are polar opposites in the classic tradition of buddy-cop dramas. There’s conspiracy and ominous foreshadowing; there’s tension over what it means to be a priest; there’s discussion of Gnostic heresies and the dangerous influences of Ouija boards. Most interesting, though, is the portrayal of demonic possession from the point of view of the girl being possessed, letting you see both the power it offers her and the subtle ways it makes her suffer. I really didn’t think you could make a feminist version of The Exorcist, but I think this show has pulled it off.
Book–Based on some 200 cases of ‘fasting girls’ in the US and Great Britain throughout the 19th century, The Wonder follows Lib Wright, a no-nonsense nurse who trained under Florence Nightingale in the Crimean War, who is contracted to determine the veracity of the titular Wonder, a young Irish girl named Anna O’Donnell whose family claims she, of her own volition, has not eaten since her birthday several months ago. Together with taciturn nun Sister Michael, the two women watch Anna in shifts, Lib hoping to expose the O’Donnell family as frauds and secure her own reputation back home. Lib begins to realize, though, as she gets closer to Anna, that their watch is rather cruel. If, up until their watch, Anna has been fed in some covert way and their watch has put an end to it, they are complicit in starving Anna. As Anna begins to grow weak with undernourishment, Lib must decide if she will watch Anna’s slow death, as the village seems to wish her to do, or put a stop to it.
Set just after the Great Famine, the reader can easily see how Anna and her family have made a virtue of not eating. A child who claimed to be full quickly would be a source of relief to her struggling parents. The unique setting, religious faith, and a web of irresponsible adults and family secrets conspire to keep Anna trapped in her fasting and it is difficult to read. The reader feels culpable for Anna’s abuse just as Lib does. This intense read combines the richly detailed, thoroughly researched historical fiction that Donoghue is known for with the pulse-pounding immediacy of her 2010 breakthrough hit Room.