LANGUAGE IN INDIA

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Volume 25:8 August 2025
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The Craft of Eerie Atmosphere in Lalzuithanga's Horror Fiction

R. Ramdinmawii and
Dr. Lalrammuana Sailo

Abstract

Lalzuithanga's contribution to Mizo horror fiction lies in his subtle yet powerful construction of eerie atmosphere, which functions as both a literary device and a cultural expression of fear. His narratives employ light and darkness to destabilize perception, silence and sound to heighten psychological tension, and the manipulation of time to distort readers? sense of reality. Such strategies move beyond conventional plot-driven horror, emphasizing instead the slow build of dread that lingers in familiar yet unsettling spaces. Rooted in Mizo folklore and belief systems, Lalzuithanga's works illustrate how supernatural fear is inseparable from cultural imagination, while also revealing how human malice often hides behind the mask of the otherworldly. By blending folkloric tradition with modern horror techniques, his fiction demonstrates how atmosphere becomes an active agent of fear, shaping both character experience and reader response. Situating Lalzuithanga within broader discourses of horror theory, this study argues that his craft of atmosphere not only enriches Mizo literature but also dialogues with global traditions of the eerie and uncanny.

Keywords:Mizo literature; Lalzuithanga; horror fiction; eerie atmosphere; supernatural; folklore

Introduction

Horror fiction in Mizo literature is unique because it combines traditional folk beliefs with modern narrative techniques. Among the leading writers of this genre, Lalzuithanga stands out for his careful craft in creating an eerie atmosphere. Eeriness, as a literary effect, does not rely on immediate shocks or grotesque images but on a slow and unsettling feeling that something may not be as it seems. Mark Fisher explains that the "eerie" is often linked to the sense of "something missing" or "an unexplained presence" (61). In Lalzuithanga's novels, this is achieved through disguise, cultural belief, supernatural figures, and carefully using settings.

Noel Carroll defines horror as a genre that produces a particular emotional state?fear mixed with curiosity and unease (Carroll 18). Lalzuithanga uses this principle to shape his stories in ways that make the reader question the boundary between the real and the supernatural. Instead of simply presenting ghosts or spirits, he blurs the line between human deception and supernatural possibility. This strategy connects directly with Mizo culture, where folktales about spirits, lasi, and unseen beings continue to influence collective imagination (Pachuau 142).

The following discussion looks at three of his major works?Phira leh Ngurthanpari, Thlahrang, and Aukhawk Lasi. Each text shows a different technique in the creation of eeriness: disguise and uncertainty, crime and supernatural belief, and the ambivalent figure of the supernatural feminine. Finally, the essay also considers how setting and pacing help Lalzuithanga sustain the eerie mood.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.

R. Ramdinmawii
Research Scholar
Mizoram University
ardyrenthlei73@gmail.com

&
Dr. Lalrammuana Sailo
Assistant Professor
Pachhunga University College


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