Pitfalls

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While watching Roger Corman’s The Pit and the Pendulum, it occurred to me that these movies have improved with age.  The series of American International Pictures’ Corman Poe productions do manage to capture a mood.  One of the reasons, I suppose, is that Vincent Price was an able, often underrated, stage performer.  No, these aren’t like modern movies.  They’re clearly fictional and the backdrops are pretty obviously fake and it always seems to be thunder-storming outside. They are going for a mood, and for those who watch films for the feelings they generate, this can work.  Although based—very loosely—on Edgar Allan Poe, The Pit and the Pendulum was screen-written by Richard Matheson, an able novelist in his own regard.

The Poe story hinges on the terror of the slowly descending pendulum and it has been used and reused in various guises over the years in everything from horror films to James Bond movies.  Corman’s Poe movies often set trends.  For example, in the backstory to Pit and the Pendulum, Nicholas’ (Price) father was a member of the Inquisition.  He kept a personal torture chamber in his basement—well, he lived in a castle, after all.  One of the victims of his father was Nicholas’ mother, an event the young Nicholas witnessed.  A very similar scenario, with even some similar shots, occurs in Tim Burton’s Sleepy Hollow.  I’m sure it must occur elsewhere as well, but in making a narrative of the story, this is my own unprofessional observation.

Yes, Corman is often over the top.  His films know they’re for entertainment purposes.  He’s not above camp and gimmicks.  The strange juxtaposition, in my own case, is that movies are meaningful.  Ninety-minutes to a couple of hours relieved from the constantly pressing demands of work and trying to maintain some sort of social life.  (And yard work.)  In ancient times, I suspect, myths served a similar purpose.  They still do.  Our myths have become more Technicolor over the years and have evolved from celluloid to pixels.  Their function has also evolved from escapism to a location of meaning.  On a recent weekend on my own I ended up watching five movies, feeling guilty between times for not painting the porch or doing that plastering that’s requiring attention in the attic.  The movies, however, give meaning to these other more mundane tasks such as work or housekeeping.  They’re not literally true, I know, but we need not disparage Roger Corman for stating the obvious.  Myths entertain as well as inform.

Dedication

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Formulas are convenient, even if they don’t always work.  I’m thinking specifically of areas I know, such as writing.  And I compare this against the advice of those who do it for a living.  How do you know you’ve made it (and it has nothing to do with not being paid for it, although I suspect that’s in the back of everyone’s mind)?  One formula I’ve heard is the hundred-thousand-word rule.  Write a hundred-thousand words then throw them away.  After that you’re a writer.  I passed that particular benchmark decades ago, but it hasn’t really led to any income (so it comes to money again).  Then there’s Malcolm Gladwell’s more stringent hundred-thousand-hour rule.  To be an expert, you need to do the activity (say writing) for a hundred-thousand hours.  

Let’s try to break that down because big numbers can be scary.  Presuming it’s not your job—remember this point—those hours, if you can spend an hour a day on what you really love—translate to twenty-seven years.  You’ve got to add a decade or so for childhood, I suspect, when, in my case, you were simply doing stupid things and being amazed you’d survived them.  There’s a certain amount of maturity required.  So, let’s say you started writing when you were ten.  If you did it an hour a day without fail by the time you’re thirty-seven you should be an expert.  But are you?  What if circumstances dictate that you can’t dedicate a full hour a day?  One of the most influential teachers in my life said that it was a matter of constancy, not duration.  “Write every day,” was his advice, “even if it’s just for fifteen minutes.”  According to the Gladwell formula, that’d take over a century to become an expert.  But it’s more doable.

Life is busy.  Remember work?  It will end up eating up far more than forty hours every week.  And if you’ve decided you’d like to read once in a while—other writers suggest that the key to success in writing is reading—that too will cut into your time.  If you belong to any community organizations, because people like to see other people once in a while, or if you have a family, and if you like to eat and sleep, time soon gets fractured.  What all these formulas have in common is the idea of dedication.  If you want to be an expert, do what you love and do it as much as you can.  Yes, there will be obstacles.  And you might not be able to tell when you’ve arrived.  But at least you’ve enjoyed the time you spent getting there.

The Persistence of Streaming

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I’ve had to start keeping a list.  If I don’t I’ll forget which movies I’ve streamed.  I suspect I’m not alone in this.  Electronic information is vapid and eminently forgettable.  If you go see a movie in a theater, you’re likely to remember it.  Memory of place and occasion aid the memory of plot and effects, I suspect.  To my knowledge I’ve never had anyone ask if I’ve seen a movie that I didn’t remember, if I saw it in a theater.  Streaming—maybe yes, maybe no.  A few weeks back I found myself streaming a film and thinking “this looks awfully familiar.”  The longer I watched the more convinced I was that I’d seen it before.  When it was over I checked.  I had watched it only a few months earlier.

When you buy a DVD or Blu-ray (or even a VHS tape), the physicality of it serves as a reminder.  Unwrapping the package, handling the case, loading it into your player—these are all keys, hooks upon which memories hang.  As I’ve intimated before, movies are, I believe, our modern mythology.  The idea’s not original with me, but think about how movies are often our frame of reference around the water cooler or with friends.  What did you think of Nope?  It’s a safe way to express our beliefs and aspirations.  Even if it’s not great, it’s helpful to be able to remember it when you want to.  Streaming, it seems, often lacks commitment.  Particularly if it’s from a free site.  (I use such only when the media are otherwise unavailable.)  Maybe there’s a reason it’s free.

Streaming asks little by way of investment, financially or psychologically.  It costs time, of course, and perhaps that’s the greatest siphon of all.  If you’re a busy person time is a commodity.  Spending some of it watching a movie—depending on who you are—isn’t simply entertainment.  Mythology gives us meaning.  I suspect that’s why we value those auteurs who break through the noise and manage to stand out in our minds.  Those who know what it is to captivate an audience.  Those who are really invested in their projects.  Like most books I read, the movies I watch come from a list.  I have a reason for watching them, often related to research.  And if you put the time into it, you want to remember it.  For that, I recommend keeping a list. (Have a written a post like this before?)

Like Sheep

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Since horror grew up in the late 1960s, religion has become a favorite theme in the genre.  Although religion had been in horror from the beginning, Rosemary’s Baby marked a definite sea change.  More and more religion has been moving from a subsidiary theme to the main vehicle of horror.  Małgorzata Szumowska’s The Other Lamb is a case in point.  “Shepherd” is the leader of a separatist religion that consists only of women.  The premise itself is creepy enough, but it becomes clear that Shepherd—the group literally has a flock of sheep—physically abuses the women.  They are divided into two groups: sisters and wives.  When unexplained things happen, Shepherd gives prophetic pronouncements.  His followers are expected to accept everything he says on blind faith.  Many religions do this by proclaiming faith against evidence a virtue.

One thing that I’ve emphasized in various presentations I’ve done is that Christianity, and perhaps all religions, work because believers are great followers.  While Shepherd uses biblical-sounding language, there are no Bibles in the film.  There are recognizably Christian themes, but the doctrine isn’t familiar.  Part of the reason, obviously, is that Christianity has a negative view of sex and Shepherd treats his flock as his harem.  The women follow because he “rescued” them from worse situations and their communal life is better.  Only it’s not.  When a woman director stands behind such a film, there’s clearly a message being sent about male privilege.  Any system set up with male superiority will lead to abuse.  When Shepherd’s enclave in the woods is discovered, they must move.  He instructs the women that they are going to find Eden.

Throughout, the movie is more creepy than scary in the traditional sense.  There are no jump-startles, but the situation makes you sense that something’s not right.  The women, acclimated to this lifestyle, many of them for years, know no other way of being or even where to go.  They have no vehicles.  Forced to move, they walk—Shepherd carries nothing while the women backpack out supplies.  Once Eden, on the shore of a lake, is reached, Shepherd baptizes the sisters and drowns the wives so the younger women can take their place.  You get the sense throughout that this movie is a parable.  Men like to take the privilege of determining women’s fates without understanding women’s needs.  This new kind of horror is insightful and symbolic.  There is no final girl when women band together.  The Other Lamb deserves wider exposure than it’s had.  It’s a good example of what religion can do to those who simply follow.

From Russia

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A New York Times headline recently caught my eye.  “Russia opened a murder investigation into a car blast near Moscow.”  I wondered how a country that’s an aggressor at war, killing civilians in Ukraine every day, would be interested in something so petty as murder.  Then I saw the rest of the headline: “that killed the daughter of an influential ally of President Vladimir Putin.”  So there it is—some lives are more valuable than others.  Don’t get me wrong—I’m saddened by this (and any) murder.  And the use of violence to get what one wants is unethical.  Justice in this world, however, is based on unequal standards.  The supporters of Putins and Trumps matter more than any other people.  Death should not effect them the same way it effects civilians being missiled and shot.

Throughout all this we might wonder where the voice of the church is.  Churches, as institutions interested in power, are political players even when there’s no state religion.  The Patriarch of the Russian Orthodox Church supports Putin implicitly.  With the power of Russia, the power of the church rises.  A few thousand dead civilians, well, let God sort them out.  Churches become corrupt when they become politically powerful.  Politics is one of the most polluting things humans can do.  Long ago Lord Acton put it this way: “All power tends to corrupt; absolute power corrupts absolutely.”  Churches got into power-brokering in the fourth century and we’ve seen the results ever since.  It’s not just Christianity, however; Islam makes it political and yes, even Buddhism and Hinduism incite violence when they become politicized.  A religious body that takes its mythology too seriously becomes dangerous when it tastes political power.  The world has many mythological figures.

What really took my breath away, however, is how many state resources will be devoted to finding and prosecuting those who killed one government supporter—we must find and punish those responsible—while thousands lie dead with the Russian government as their killers.  Other nations are just as guilty of course, but there’s a karmic imbalance when that nation is an aggressor in war.  Would you have ever expected a fair trial in Nazi Germany?  Does not unprovoked war make a mockery of the very concept of justice itself?  Justice, of course, means fair treatment.  For all.  She’s pictured as wearing a blindfold, after all.  She’s perhaps one of those mythical figures as well.

Photo by Tingey Injury Law Firm on Unsplash

The Invasion

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So I’m sitting here thinking it would be great if Liz Cheney were to run for president.  Then I think, have things really got so bad that Dick Cheney’s daughter would be an improvement for the Republican party?  At least she believes in democracy.  And something has to break this trumpstipation that seems to have plugged up the GOP.  You don’t want to stand behind a constipated elephant.  I look at the hero worship spawned by a man who’s been known for lying his entire life and wonder where our critical thinking failed.  People far smarter than me have been writing about how democracies die, and this seems to be the case, all because a guy ran six years ago to give his personal business a boost and has been showing us the extreme distortions money causes ever since.

It’s sad really.  Once in a while I think about how Eisenhower was a Republican.  He was a smart man and he clearly had the best interest of America at heart.  Nixon not so much.  Some politicians are motivated by ego rather than the good of others.  I stopped being Republican when Reagan got the nomination.  Maybe it was at Watergate, but I was really too young to grasp what was going on then.  Of course, that was before politics became a real life soap opera.  As the GOP became less G with each passing president, the party seems to have lost its fortitude.  Young people are progressive so we take measures to prevent them from voting.  When Blacks vote we find ways of tossing out their ballots.  Minority rule rules.

Cheney was ousted from her own party for stating the obvious.  Trump is a sore loser.  Not only that, he’s willing to take the entire country down with him rather than admit he was ever wrong.  Stealing government secrets is just another day in office in Margo-la-la land.  I sit here and scratch my head.  It used to be that no matter which party ran things they at least believed they were doing things for the sake of the country, not for the sake of the country club.  All that’s changed in our new plutocracy.  I’m no politician, but I am a guy who tries to make sense of the world.  I see a country of people who go so riled up when they thought Martians were invading not even a century ago.  An event so important that there’s a plaque in Downer’s Grove.  And when a real invasion takes place we now side with the Martians.

Walking Home Alone

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It is an American-Iranian, female-directed vampire movie.  Shot in black-and-white and entirely in subtitled Persian, A Girl Walks Home Alone at Night is a very unusual and artsy movie.  The film has been described as a “spaghetti western” as well, but that’s a bit more difficult for me to see.  If all these disparate elements seem odd, the director’s background may help explain it.  Ana Lily Amirpour was born in England, but of Iranian heritage.  She moved to the United States as a child and began making movies quite early.  A Girl Walks Home Alone at Night is her best-known film to date (I only found out about it by reading a book about horror films that recommended it.)

The title may set certain expectations that will be subverted by the film.  There will be spoilers here, so if you’re likely to see the film you might want to wait to read on.  Who knows?  Maybe spoilers will make you want to see it.  The girl who walks home alone is the vampire.  She’s perfectly safe at night.  The story involves her falling in love with a compassionate young man who’s trying to support his heroin-addicted father.  The movie is quite gritty.  The girl is a conflicted vampire, which happens to be my favorite kind.  She’s never explained.  She simply is.  Her first victim that we see is the drug-dealer and pimp who’s pressuring the young man’s family.  Although they live in poverty, he takes their car in payment.  He’s a nasty piece of work.

The young man, also conflicted, takes over the dead thug’s drug-selling business, but doesn’t take advantage of people.  The vampire is attracted to his virtue.  She also befriends one of the thug’s prostitutes because she’s sad.  Apart from the dead petty crime boss, everyone in Bad City lives in humble circumstances.  The young man finally throws his father out of the house.  The vampire attacks him, leaving him dead.  The young man, in love with the vampire but not knowing she’s a vampire, talks her into leaving with him although he can see she’s implicated in his father’s death.  This is a most unusual film, praised for its feminine outlook.  That’s unusual in both vampire movies and horror, but there’s no reason that it should be rare.  More of an art-house movie than a cineplex blockbuster, A Girl Walks Home Alone at Night is a movie that will leave you wondering.  And that, it seems to me, is a good thing.

Wicker Back

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The dilemma of my eclectic interests sometimes runs up against the natural slowness of publishing.  My book on The Wicker Man has been given the green light by Auteur Publishing and should be out next year.  I just received the readers’ reports and they were positive enough to make me blush.  The thing is, I submitted the manuscript back in January and I’ve nearly finished writing my next book since then.  It’s on a different topic for which I’ve been collecting sources since January.  I really hope this next one won’t publish with an academic press.  The endless rounds of revision from peer review can wear a body out.  Reviewers, you see, have university jobs.  Libraries at their fingertips.  Sabbaticals.  (I work with authors who won’t write unless they have one of the latter.) Now my reading shifts back to Summerisle.

For those of us with 925s that get a paltry number of holidays per year (which are spent holidaying) and paid like most working stiffs, with no academic library access, this can present somewhat of a challenge.  I see peer reviews all the time.  Academics so deeply into the subject that they don’t (can’t) think of the practicalities.  When I see a reviewer write that a book is ready for publication, but if the author could only restructure the whole thing and approach it from this angle instead… I have to chuckle.  During my teaching career I worked in situations that didn’t allow for sabbaticals.  Even among academia those given such rare benefits are privileged.  It’s a wonder that so many books get written, all things considered.

Like waking from a dream world, I suddenly have to downshift to a previous project.  I haven’t really thought much about the Wicker Man since January.  My next book, which is eclectic, has been slowly gestating over the months.  My reading has been geared towards it and is financed personally.  I’ve tried contacting the local college and university libraries.  I can’t borrow, or do inter-library loan, so the weird resources I need I have to buy.  Preferably used.  One thing reviewers like to do is point out new resources.  And yes, I have to agree that my argument would be stronger with them.  I have a strategy to the way I write my books, now that I’ve found a receptive readership, so none of this is mishap, I hope.  (Ironically, now I get quite a few readers of my revised dissertation asking me questions about ancient West Asian studies.)  That trireme paddled from shore long ago.  I’ve moved my current project to another burner, and you’ll be hearing more about The Wicker Man in coming weeks.  Next year is the film’s fiftieth anniversary, so I have a deadline that I just can’t miss. It’s time to get reacquainted with an old friend.

The Burton of Thought

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I haven’t seen all of his films.  Some of them I have seen I didn’t really like.  When Tim Burton does strike a chord, however, he does so hard.  Burton on Burton is one of a series of books of interviews with directors.  This one covers all of Burton’s films up to Corpse Bride with free-ranging answers to what are really more remarks than questions.  (The book is edited by Mark Salisbury.)  Although I’ve not experienced his entire oeuvre, it’s pretty clear that I share quite a few sensibilities with Burton.  He expresses that what he’s looking for in movies is feeling.  A good plot helps, but it’s the emotion he’s after.  And he knows that the dark isn’t bad.  At many points I had to shake my head and say, “I thought I was the only one who thought like that.”

This memoir is also full of information on the way movies get made—not the technical side, but from the studio or creative side.  Someone has an idea.  It may be original or it may be an adaptation of a well-known tale.  Sometimes, especially in Burton originals, they begin as a series of sketches.  Anybody who’s watched DVD extras knows about storyboarding.  A movie is sometimes laid out in a series of cards that show, step-by-step, the action.  Before that, or maybe during, a script is written.  In order to get funded—for all this costs money—a studio or production company has to pick up the concept.  The person pitching it might be a screenwriter or a potential director.  And, as in every avenue of life, money talks.  Once you’ve had a breakout success they start to pay attention to you.

Although Burton and I grew up with similar outlooks, he notes that he never did like to read.  Being a visual artist (he got his start at Disney), that’s perhaps no surprise.  You start to realize, once you get a sense of the number of people involved, why film credits go on and on.  It takes a village to make a movie.  Not only that, directors may be involved with several projects simultaneously.  That’s not so different from being an (unofficial) writer, I suppose.  At any one time, from my experience, I’ve got at least a half-dozen projects going.  Some will never be finished, most will never be published.  And who knows?  Maybe someday one of my fiction stories might catch a sympathetic (or perhaps simply pathetic) director’s eye?  In the meantime, we go on creating.

Gorilla Thinking

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We don’t understand consciousness, but we want to keep it all to ourselves.  That’s the human way.  Or at least the biblically defined human way.  Animals, however, delight in defying our expectations because they too share in consciousness.  Take gorillas, for example.  Or maybe start with cats and work our way up to gorillas.  We all know that cats “meow.”  Many of us don’t realize that this sound is generally reserved for getting human attention.  Cats tend not to meow to get each others’ attention.  According to Science Alert, gorillas in captivity have come up with a unique vocalization to get zookeepers’ attention.  Not exactly a word, more like a sneeze-cough, this sound is used by gorillas at multiple zoos for getting human attention.  Even if the gorillas have never met in person.

Photo by Joshua J. Cotten on Unsplash

This is a pretty remarkable demonstration of consciousness.  What’s more, it’s an example of shared consciousness.  The same vocalization shared over hundreds of miles without a chance to tell each other about it.  We’re very protective of consciousness.  As a species we like to think that consciousness is uniquely human and that it’s limited to our brains.  Moments of shared consciousness we chalk up to coincidence or laugh off as “ESP.”  Funny things happen, however, when you start to keep track of how often such things occur.  It might make more sense to attribute this to moments of shared consciousness.  In our materialist paradigm, however, that’s not possible so we just shake our heads and claim it’s “one of those things.”

Animals share in consciousness.  We don’t always know what their experience of it is—indeed, we have no way to test it—but it’s clear they think.  I live in a town, so my experience of observing wild animals is limited to birds, squirrels, and rabbits, for the most part.  I often see deer while jogging, and the occasional fox or coyote, but not long enough to watch them interact much.  But interact they do.  Constantly.  These are not automatons going through the motions—they are thinking creatures who have sophisticated ways of communicating with each other.  Ours includes vocalization, so far uniquely so in the form of spoken language.  The great apes—chimpanzees and orangutans, according to Tessa Koumoundouros—also vocalize and do so with humans.  Now we know that gorillas do too.  And we all know that a barking dog is trying to tell us something.  If we took consciousness seriously, and were willing to share it a bit more, we might learn a thing or two.

October Early

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Still feeling that August is the new October, although that particular day happened to reach over ninety degrees, I watched Halloween.  Not the John Carpenter original; I’ve seen that one a few times before.  No, I watched the 2018 version only to learn it’s a retcon.  If you’re like me you’ll wonder what a retcon is.  It’s a portmanteau of “retroactive continuity.”  That’s where a sequel goes back and makes adjustments, or simply ignores, story elements from the original to take the story forward.  I haven’t followed the Halloween franchise.  There are too many movies I want to see that are original, with fresh ideas, to be spending my time trying to find my way through an emerging mythology of a serial killer.  Michael Myers, as horror fans know, inexplicably killed his sister as a child.  As an adult he terrorized Haddonfield, Illinois  one Halloween and Laurie Strode was the final girl.

What drew me to this sequel was that Jamie Lee Curtis was back as Strode, all grown up.  Michael predictably escapes again and goes for an even higher body count in Haddonfield.  Laurie, meanwhile, has gone NRA and booby-trapped her entire house in anticipation of this day.  You can see the draw, I hope.  You kind of want to see how this ends.  The original had Michael’s apparently dead body disappear at the end.  In the retcon he was arrested after that and re-institutionalized.  The thing is, you can never really kill a monster.  Original scenes and scenarios are revisited, and those familiar with the Carpenter story are rewarded by situations that subvert expectations.  Where is he hiding this time?  You always watch the credits roll wondering how “the authorities” don’t realize that a guy shot, stabbed, and incinerated and keeps coming back might be something other than human to be put in an asylum.

I should know better than to watch these kinds of movies when I’m home alone, but I don’t.  So it’s a good thing that I try to piece all these things together.  We have three strong women—three generations of final girls here, and the obligatory basis for a sequel.  (At least two, in fact, bringing the franchise up to thirteen movies.)  Laurie’s granddaughter is among the virginal, non-drinking final-girl prototypes.  Her less Puritan friends are killed off, although her worthless boyfriend survives the night.  You’ve got to love the endless self-references of such situations.  That’s why we keep on coming back.  We’ve seen it before but we still want more.  Even if it’s only August.

Aging Writers

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The fact that V. C. Andrews didn’t have any success as a novelist until her late fifties (a benchmark that has already slipped for me), gives me hope.  Another thing I didn’t realize about Cleo Virginia Andrews is that she was confined to a wheelchair.  She didn’t want that fact advertised and she didn’t want peoples’ pity.  She wanted to write.  Many of the books published under her name were ideas she had but that were only brought to fruition by others after her death.  She became a legacy.  Writers are fascinating people.  I only recently learned that Anne Rice was transgender.  I had assumed from her public persona something that I had taken for granted.  Gender is a complex thing, no matter how loudly religions shout.  The sheer number of people born intersex should make that obvious.

Writers express the human experience.  Some perspectives aren’t really considered worth pursuing, as I know from personal experience.  But learning about writers’ lives always gives me hope.  There are those whose lives will always contain mystery—was Washington Irving homosexual or just inept with women?  What really happened to Edgar Allan Poe in Baltimore?  Who was Homer, really?  No matter how much those of us inclined to write do so, there are still huge swaths of life that are left off the page.  (Much of it boring, spent at work, or mowing the lawn.  I try to imagine Herman Melville on a riding mower, but I just can’t do it.)  Writing successfully involves a publisher or agent willing to take a chance on you.  But if you’re old enough to be a one-hit wonder (sorry John Kennedy Toole), they don’t see dollar signs down the road, so move on down to the next door, please.

I had a novel under contract a decade and a half ago.  It never materialized, so don’t look for it.  My nepenthe consists of learning about writers, whether one-hit wonders or not.  I can still look to the Frank McCourts, Laura Ingalls Wilders, and Harriet Doerrs of the literary world.  For most writers it’s the story of what happened before success that is the most compelling part.  Especially those who were older and just kept on trying.  Some had to die, ironically, before the world realized they had something important to say.  You can’t blame the world.  The world’s busy.  But the fact is nobody would remember what it was like if somebody hadn’t bothered to write it down.  So we continue to chronicle the human experience.

Is It That Time Already?

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Maybe it’s just me, but August seems to be the new October.  If any of you are experiencing the heat wave that’s (oddly enough) like global warming, my apologies.  Around here—and local is what we all are—nights are cool enough to require blankets after our very hot July.  In fact, I need long sleeves and long pants in the mornings, it’s so chilly.  By mid-afternoon I’m starting to roast, but the grass is brown and that October feeling is in the air.  Or maybe it’s just that I’m awake at odd hours and the perspective from this time of day is somehow prescient.  Who knows?  As I try to sneak a jog in before work I see the walnuts have already gone yellow.  And I wonder.

We idealize the weather of our youth.  That sense of oughtness sets in early.  This is the way the weather should go.  We’ve been pouring greenhouse gasses into the atmosphere, however, for all of my life and before.  The warning signs have been around for decades but somehow liars with false hair convince us that any progress ought to be reversed.  I wonder if he’s been outside lately.  The planet is constantly changing based on the larger picture.  It has been doing this for eons, well before our species evolved.  Thinking it was created for us distorts our thinking.  The real question is whether we’ll be able to adapt.  I can’t say the prognosis is rosy, given how we’re constantly trying to kill those who live just across that mountain range, or that wide river.  We can’t seem to coexist.

I like October.  Still, I can’t help but think of all the things we didn’t get done this summer because it was too hot to be working outside.  Or we couldn’t get contractors to return our calls.  Seasons change as the atmosphere tries to adjust to all the chemicals we cough out.  October and its monsters seem to arrive earlier each year.  I’ve been feeling it for weeks already.  Seasons are really negotiations.  Around here, in this temperate zone, we spend most of the year with the furnace on, taking the edge off cold mornings and trying to keep this drafty house habitable for about six months of the year.  Everything’s constantly in flux and we simply try to adjust.  Not even the sun will last forever.  But for now I see the signs of harvest season beginning, and I feel the change in the air.  And I can sense October just around the corner. So goes August.

Some High School

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I have a soft spot for bad horror.  And Sleepy Hollow High isn’t exactly good horror.  It’s not horrible horror either.  It follows the story of five teenage delinquents at Sleepy Hollow High School.  Threatened with expulsion, their only choice is to do community service.  In this case that means picking up trash in the eerily secluded town park.  I won’t give away the one big spoiler, but it’s fair to say not is all that it seems.  It’s very low budget (paid for by credit cards and estimated to be $16,500) shows in several places, but it does keep you watching.  And wondering, to an extent.  It claims that the legend of Sleepy Hollow is true, but not exactly in the way you might think.  (Sorry for being cryptic—I don’t want to give too much away.)

One of the reasons I appreciate efforts like this is that I know what it’s like to be possessed by a story you want to tell but being unable to find a publisher—or in this case, a distributor/studio—who’s willing to take a chance on you.  The movie is largely the effort of Kevin Summerfield and Chris Arth.  They are listed as co-directors and co-producers, and each has credited roles beyond that.  Neither one is famous, and yet they made the film anyway.  It’s the same impetus behind self-publishing, I suspect.  The problem with the latter is that anyone can do it, and it often shows.  Most of us don’t have access to proper movie equipment, props, and actors willing to work for free.  Heck, I don’t even know most of my neighbors.

Movies like this stand a chance of becoming cult favorites.  I have no idea how that happens or who makes the call on it.  Low budget (often), cult films catch the imagination of a certain kind of fan and eventually generates some buzz of its own.  Wikipedia articles will appear about some of the people involved because those who watch grow curious.  Our highly developed publicity systems make decisions on who or what gets exposure.  That doesn’t mean the rest of us can’t get a small dose of attention now and again, but those who’ve made it have had some help.  Sleepy Hollow High was perhaps able to cash in a bit on the previous year’s Tim Burton effort, Sleepy Hollow.  But there are horror movies—and stories—out there that nobody knows about.  And which might, if discovered, have their fifteen minutes.

The Roll of Churches

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I really don’t have time to follow any social media religiously, generally glancing at a page and perhaps scrolling down an inch or two when I have a moment.  I tend to glance at headlines, often pre-selected for me by a non-human intelligence, I expect.  Nextdoor dot com occasionally has a story that looks important to read, because it’s local.  Recently a poster from Bethlehem noted meeting a homeless person and was asking virtual neighbors where to turn for help (for the homeless person).  The answers weren’t surprising but reminded me of something I recently heard elsewhere—this is where churches still have a chance to shine.  While I’m tired of all the doctrinal and theological nonsense that arises from those who didn’t pay close enough attention in seminary, I do lament the plight of our churches.

Society has been too Republican for too long to care for those who can’t make it in an uber-capitalist environment.  Those with mental illnesses turned out when Reagan-era “reforms” “improved” our system for handling them.  Those who, through no fault of their own, can’t hold down a job.  Those who just happened to end up on the wrong side of a wave and find that a new wave breaks over them before they can properly take a fresh breath.  As the most affluent nation in the world, each homeless person is a reminder of the terrible price we pay for living within a system that rewards greed far above anything else.  Churches do have their problems—I’ve experienced many of them firsthand—but they often feel an obligation to take care of the sick, the homeless, the elderly.  Those not of value to a capitalist system because they don’t “contribute.”

When I commuted to Manhattan my bus arrived early.  I often saw the many homeless sleeping on the street as I made my way across Midtown.  Many days I wished I had an extra peanut butter sandwich with me so that I could give them something.  Anything.  Churches that aren’t caught up bickering about whose genitals belong where, or whether females are equal to males, often turn their sights to those who need help.  These churches are supported by the donations of members (for which said members can claim a tax break).  These are members who care for those they’ve never met, simply because they are human and in need.  Churches themselves are now facing difficult times and, unless they support Republican causes, can be assured they won’t receive a government bail out.  Compassion may be a dying species.