Going Once, Going Twice

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Do you ever get that feeling that you’ve been sold?  One thing I learned early on in academic publishing is that buyouts aren’t that unusual.  I recently wrote about Transaction being acquired by Taylor and Francis, for example.  Just a couple days ago I noticed in Publishers Weekly that Bloomsbury had bought out Rowman & Littlefield’s academic wing.  Then, at a company meeting the buyout was mentioned again.  Finally, I had an email from R & L letting me know.  You see, Nightmares with the Bible was published by Lexington Books/Fortress Academic.  This is an imprint of Rowman & Littlefield.  This means the rights to Nightmares have just been sold to Bloomsbury.  I do hope Bloomsbury has a more progressive idea about paperbacks!  In one of those strange synchronicities (all of this happened on the same day), I’d emailed one of the series editors of Horror and Scripture, asking if the series was still going.

I have no real concerns about being owned by Bloomsbury.  If you haven’t heard of them, it’s probably because they were a small operation until they took a chance on an unknown author by the name of J. K. Rowling.  Suddenly flush with cash, they started buying out smaller presses.  Big fish got to eat too!  Rowman & Littlefield had been buying out other publishers for years.  If you’re an academic you probably remember University Press of America.  Ever wonder where it went?  They bought Rowman & Littlefield in the late eighties and took over their name.  They bought other “assets”: Prometheus, Scarecrow Press, Hal Leonard.  They grew an enormous list of academic titles, now owned by Bloomsbury.

As someone who has knocked around academic publishing for some years now, it seems like this small world is getting even smaller.  Companies buy other companies and sometimes it works out for the benefit of authors.  Sometimes not.  Bloomsbury is only 37 years old.  Rowman & Littlefield was 75.  University Press of America (which first bought R & L, would’ve been 49.)  The younger buying out their elders.  Perhaps it’s because of my career malfunction, but I’ve discovered academic publishing to be a fascinating world in its own right.  Many academics pay little attention to the publisher, especially outside the big-name university presses.  But there are stories here.  I know that before I began working in the industry I’d never heard of Bloomsbury.  Then they bought out Continuum, which had bought out T & T Clark, from my beloved Edinburgh.  Now one of my books is under their umbrella.  And I have to wonder who will be sold next.

Unidentified

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Some topics are subject to ridicule.  The poster child for this is UFOs.  What’s so remarkable about Leslie Kean’s book is that she began as a skeptic.  She points out that before a sea change takes place intense ridicule against the new idea is normal.  Then Kean did an extraordinary thing—she actually looked at the evidence.  UFOs: Generals, Pilots, and Government Officials Go on the Record is a remarkable book.  It’s filled with stories of the power of conversion.  Many UFO experts were skeptics at first, completely dismissive of the phenomenon, until they took a close look.  Official government files, even those available to the public, demonstrate the reality of UFOs.    Interestingly, as Kean highlights, the average person now no longer really requires convincing.  The elites (government officials, scientists, and mainstream media) are slow to accept the fact that UFOs/AUPs exist, even if we can’t say for sure what they are.  And they still like to poke fun.

Skepticism is necessary for science.  We can’t simply accept anyone’s word for something.  Kean’s book, which contains pieces written by an international group of high-ranking witnesses, points out that strong evidence does exist.  And it is possible that some group (not “the government”) does have more information than they’re sharing.  I also found it interesting that a number of countries—many, in fact—treat UFO reports from pilots seriously.  In the UK they are required to report them, for example.  In the United States, they are instructed to keep their mouths shut.  They doesn’t stop them from seeing what they do, however.  Still the ridicule taboo remains.

Ridicule of what we don’t understand must be a deeply ingrained defense mechanism.  As Kean notes, it took centuries before a heliocentric model was accepted.  People laughed.  And as recently as the nineteenth century it was considered impossible for rocks to fall from the sky.  Paradigms had to shift.  Meanwhile, people laughed.  We seem to have an aversion to anything in the sky other than God and angels.  Even in current models that assure us that the universe above us stretches on to infinity.  The only one “up there” is divine.  So we laugh at anyone who’s mastered the skies.  Until we catch up.  Heavier than air flight was impossible in my grandparents’ lifetimes.  People laughed at the idea.  It took me over a decade to find the courage to read this book—it made a little splash when it came out, but it didn’t change much.  Until the U.S. Navy fessed up.  Other countries had already done so.  Maybe we should see a psychologist about that laughing reflex, though.

Leopard Spots

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There’s always a dilemma involved.  Rent or buy?  Libraries face this when deciding on a subscription or perpetual access deal—is this something you’ll need for a long time?  More than once?  So also with movies.  Do you rent, watch, and forget or buy, supposing you’ll need to go back?  This plays out in my head when there’s a movie I want to see in these days of streaming.  The Leopard Man wasn’t a big hit when it came out in 1943.  There wasn’t really much of a taste for horror during the Second World War anyway.  In retrospect, however, it’s one of those films that has appreciated with age.  Apart from its effective use of the Lewton bus, the movie was well written.  It retains ambiguity and suspense throughout.  And if there is a leopard man who shapeshifts, we never see him doing it.  Spoilers follow!

Following on from his better known Cat People the previous year, Jacques Tourneur kept with the large cat theme in this film.  A publicist who (apparently) has no scruples, encourages his client/girlfriend to upstage a fellow performer by taking a leopard into her act.  The stunt backfires, however, when the frightened cat escapes.  Then mauled women are found and a hunt is on for the leopard.  If you’re adept at this kind of set-up you’ll figure out who the killer is—it’s not the leopard, except in the first case.  It’s implied that, rather like Cat People, the religion of the ancients, as Dr. Galbraith points out, might have some effect on modern people.  His dispassionate remarks about serial killers provides a clue, however, to who’s really behind it.

Religion runs like a thread throughout the movie.  The processions intended to alleviate the guilt for the treatment of the Indians, the ancient religion of those who made the museum pieces, and the Catholicism of the locals all play a part in this.  The question of whether Galbraith really becomes a leopard or not remains unanswered, but I sense it’s strongly implied that he does.  He had no intention of murdering the young woman in the cemetery and certainly had no time to premeditate the carrying of leopard hairs and claws to cover his tracks.  This is a man of science caught up in the spell of a forgotten religion.  Or so it seems to me.  In any case, it’s time to dust off this old gem and bring it back to the light.  It’s probably worth buying just to see it again.

Free Cookies

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The principle is a simple one.  People, being what they are, want more than just a nibble of something good.  Bakers know that giving away a free cookie generally leads to the sale of several cookies.  Most businesses realize this and give away freebies in hopes of selling more.  Something I don’t write much about (and this is related) is my artistic pursuits.  I love to draw and paint.  The fact is, were I able to do so I’d probably do that all day long just about every day without tiring of it.  The problem is I don’t have time for drawing or painting anymore.  Work demands increasing numbers of hours per day and writing is a time-intensive hobby.  I dream of illustrating my own blog since I know the kinds of images I’d like to use.  I just don’t have the time.  So I often use Unsplash.

Photo by Food Photographer | Jennifer Pallian on Unsplash

I discovered Unsplash in 2020, during the pandemic.  A website of free photos, you can search and download and reuse them for free.  And give the photographer credit.  They benefit from the exposure and you get a nifty free image to use any way you like.  Now it’s beginning to seem that was a free cookie.  (I told you the topics were related!)  Lately, when I visit Unsplash, more and more images appear with a “plus” in the upper right-hand corner.  The plus images are those you pay for.  If you scroll long enough you come to the free images, but only after you’ve seen the ones that look especially polished.  Hey, you’ve been eating free cookies for years, don’t you think it’s time you paid your tab?  Well, I don’t make any money from this blog—in fact I pay WordPress for the privilege of writing here—so I’ll settle for what’s still free.

The truly valuable things in life seem to be those under threat since the pandemic.  I skulk about the nonprofit world—I’ve never been interested in making money for money’s sake.  I see valuable institutions struggling to stay afloat because the free cookies are gone and nobody seems to want to pay for a dozen anymore.  In fact, we’ve come to expect some things for free.  And we’re not about to start paying now.  I still use and support Unsplash.  I give the artists exposure here (such as it is) and hope that they’re getting hired for their talents.  I know that if I had the time these daily posts would come with hand-drawn art from yours truly, but I see it’s time to get to work.

No Demons

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There’s a connoisseurship about it.  Making bad films, that is.  It’s a wonder that Night of the Demon—I should specify 1980 as the year—hasn’t really become a cult film of any standing.  You can tell the maker tried hard to shoot a reasonable film, but with a nearly Ed Woodsian level of incompetence.  It lacks Woods’ artistry, however.  For those just getting on the Bigfoot kick in the new millennium, it might help to know that Sasquatch was big in the seventies.  Yes, the first real efforts to sort this thing out came about when the psychedelic seventies were underway.  The documentary The Mysterious Monsters came out in 1976.  The first serious efforts to explain Bigfoot as not just a hoax began.  And James C. Wasson, Jim L. Ball, and Mike Williams took a shot at making a horror film of the hairy guy.

The acting is about the worst you’d care to see, and the script is abysmal.  The effects are anything but special, and the flashback scenes incongruous.  But it does have significance for religion and horror.  It goes like this: a professor and some students go to investigate a series of Sasquatch-related murders.  They’re led to “Crazy Wanda,” who lives alone in a remote cabin.  Wanda, when finally persuaded to talk, reveals that her crazed preacher of a father killed her Bigfoot-hybrid baby.  His followers still perform demonic rituals in the woods, worshipping the Sasquatch.  Wanda had burned her father to death in retaliation for killing her child—she kinda likes Bigfoot, it turns out.  The professor and students, naturally, fall victim to the beast.

Only the professor survives.  He’s assumed to be criminally insane and suspected of murdering his own students.  It’s almost painful to watch a movie where everyone is trying so hard to do it well, but just can’t seem to manage it.  The plot line about the cultists is immediately dropped after an intended rape ritual is interrupted by the professor.  Wanda’s preacher father, who seems to fit into no particular form of Christianity, has no motivation beyond avoiding Hell for himself.  At one point he seemingly admits killing her mother.  There’s even a scene where Bigfoot kills two Girl Scouts.  With all of this going for it, you might think it would’ve picked up a following.  It has some fans, I’m sure, but I’m not certain that it’s well enough known to make it onto lists of worst movies of all time.  More’s the pity since it would absolutely deserve it.

Saint Material

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Miracles don’t often make the New York Times.  The Gray Lady was reluctant to release stories about verified UFO cases, for crying out loud.  But the story about a twenty-first century saint made me pause.  Well, Carlo Acutis isn’t technically a saint yet (at least he wasn’t at the time of the story), but you can’t become a saint without miracles.  Miracles are difficult situations for which to set up a control group.  Often they involve human beings and we really don’t understand ourselves well enough to say what might be supernatural from time to time.  All we know, at least from the “educated” establishment, is that materialism accounts for everything so miracles don’t happen.  QED.  That’s why I found the account of Carlo Acutis so interesting.  A story about a young person dying from leukemia is always sad, but this report doesn’t end there.

In his brief life, Acutis tried to bring good into the world via the internet.  In this shadowy realm where trolls and hatred thrive, here was a young man trying to spread positive things through this collective of anybody who can afford connectivity.  That does make a remarkable news story in and of itself, but that miracle.  Two, in fact.  Catholic practice is not to assign sainthood without out two very carefully studied miracles.  The Vatican has been involved with science for many decades.  The idea of the Big Bang, after all, derived from Georges Lemaître, a Catholic priest and physicist.  Controls are set up for miracles, and the church even used to use Devil’s advocates to try to disprove miracles in such cases.  Skepticism was an essential part of the process.  In its own way this is the scientific study of miracles.

The miracle that may put Acutis over the top, according to the Times, is a spontaneous remission of a brain hemorrhage after a prayer was made to the young man.  Such things happen and doctors can’t explain them.  We as human beings have no way to determine what actually causes such unconventional healings—miracles—often deemed impossible by medical science.  A saint is as good an explanation as any other.  What’s fascinating here is that this miraculous recovery in all likelihood would’ve been overlooked by the New York Times, had it not been for this pending sainthood case.  Such cases as this aren’t everyday occurrences, but they reflect realities that modern people may be very slow to acknowledge.  They still do happen, whether they make the papers or not.  Perhaps our world would be a bit better if they did get reported a little more often.

To Their Own Devices

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This one’s so good that it’s got to be a hoax.  One of the upsides to living under constant surveillance is that a lot of stuff—weird stuff—is caught on camera.  I admit to dipping into Coast to Coast once in a while.  (This, originally radio, show [Coast to Coast AM] was well known for paranormal interests long before Mulder and Scully came along.)  It was there that I learned of a viral video showing devices praying together during the night in Mexico City.  The purported story is that a security guard in a department store came upon electronic devices reciting the Chaplet of the Divine Mercy.  One device seems to be leading the other devices in prayer.  Skeptics have pointed out that this could’ve been programmed in advance as a kind of practical joke on the security guard, but it made me wonder.

I’m no techie.  I can’t even figure out how to get back to podcasting.  I do, however, enjoy the strange stories of electronic “consciousness.”  I use the phrase advisedly since we don’t know what human, animal, and plant consciousness is.  We just know it exists.  I am told, by those who understand tech better than I do, that computers have been discovered “conversing” with each other in a secret language that even their programmers can’t decipher.  And since devices don’t follow our sleep schedules, who knows what they might get up to in the middle of the night when left to their own devices?  Why not hold a prayer service?  The people they surveil all day do such things.  Since the video hit the web not long before Easter, with its late-night services, it kind of makes sense in its own bizarre way.

As I say, this seems to be one of those oddities that is simply too good to be true.  But still, driving along chatting to my family in the car, some voice-recognition software will sometimes join in with a non sequitur.  As if it just wants to do what humans do.  I don’t mean to be creepy here, but it may be that playing Pandora with “artificial intelligence” is dicey when we can’t define biological intelligence.  I’ve said before that AI doesn’t understand God talk.  But if AI is teaching itself by watching what humans post—which is just about everything that humans do—maybe it has learned to recite prayers without understanding the underlying concepts.  Human beings do so all the time.

Let us pray

Demons and Gremlins

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Gremlins have an ancient pedigree, whether they know it or not.  Credited with airplane problems during the Second World War, these meddlers in technology had an older cousin in the demon named Titivilus.  Titivilus was a demon said to be responsible for errors in the works of scribes.  Long before the printing press hit Europe, manuscripts were copied by hand, of course.  Anyone who works with Bibles, for example, knows that no ancient manuscript exists without errors.  But scribes copied more than Bibles, and anyone who has tried to copy an entire manuscript knows that errors always creep in.  (When I was a college student I tried to get my local church back home to set up a Bible-copying station so that when hungry parishioners were leaving the service they might stop and copy a verse.  This was to show how errors appeared in biblical texts.  The experiment took place but results were disappointing—full of errors but we didn’t get past the early chapters of Genesis).

However that may be, having a demon to blame for things going wrong proved to be mighty handy.  The tradition lasted well into modern times.  In the days of manual typesetting the young printers’ apprentices were called “printer’s devils.”  Demons were blamed for spilled cases—capital letters were kept in the upper case, and minuscules in the lower case—and other mishaps.  It may be a stretch, but such a demon interfering with humans trying to accomplish something important, led to ideas such as gremlins.  Most of us, I suspect, don’t like to confess that we’re sometimes clumsy or sleepy and make errors.  One of my notebooks is all crinkly because I knocked a nearly full water bottle over onto it while trying to catch a bug in my office.  ’Twas no demon, just haste making waste, as it does.

The idea of someone not human to blame is compelling.  All the more so because sometimes we are the legitimate victims of circumstance.  Life offers many opportunities to wander, unknowingly, into situations that might not turn out so well.  We don’t have minds well equipped to see the entire picture.  Even if we could the universe, we’re told, is infinite.  Who doesn’t make mistakes because of limited knowledge?  And sometimes those mistakes can eat up years of your life.  Doesn’t it seem more likely that a demon or gremlin lurks behind an all-too-human error in a judgmental world?  I’m sure that, for most people, if we knew better we wouldn’t have done it.  So we invent our demons.  We sometimes even give them names, and thus Titivilus was born.

Image credit: artist unknown, public domain via Wikimedia Commons

Okay, Look Now

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When you think of Daphne du Maurier’s film adaptations, Alfred Hitchcock probably pops to mind.  He shot Rebecca, Jamaica Inn, and The Birds, based on her works.  One non-Hitchcockian adaptation is Don’t Look Now, by Nicolas Roeg.  I’d made the decision to read the story first—which was a good idea—but it was long enough back that I couldn’t recall many details.  This was also good.  Don’t Look Now was the main release by British Lion, in Britain, with the B movie, The Wicker Man, as its follow-up.  While writing a book about the latter movie I’d wondered why this one was chosen as for lead billing.  It’s certainly more mainstream, and an art film in many ways.  Typically labelled a “thriller,” it’s also called “horror,” causing me to question the relationship between the two.  In any case, the movie.

Since this was released in 1973 I won’t worry about spoilers.  The film is a fairly faithful adaptation of du Maurier’s story as well.  Laura and John Baxter are in Venice, trying to recover from the accidental drowning of their daughter.  John has work there, restoring a church—there’s plenty of religious imagery—and Laura befriends two older women.  They’re sisters and one of them is blind but also psychic.  Heather, the psychic, claims to see their drowned daughter and Laura finds relief and comfort from hearing about it.  John is skeptical, but, Heather claims, he also has psychic abilities.  John begins to think he’s seeing their daughter still alive and she leads him down isolated alleys—this is dangerous because there’s a serial killer on the loose.  John then thinks he sees Laura with the women after she has flown back to England to attend to their son at his boarding school.

Movies, like stories, are open to interpretation.  Mine is that the psychic phenomena in the film are portrayed as real.  I had the same impression from du Maurier’s story.  Much like The Wicker Man, appreciation for Don’t Look Now has grown over the years.  It was fairly well received upon release, but is now considered even better than it was at the time.  Maybe not as essential as some Stephen King movies, it is nevertheless believed to be one of the more important films on the horror palette.  I’d been prompted to watch it by several references I’d recently come across.  Typical for me, however, I took it in the wrong order, having seen The Wicker Man years ago.  Classics back then, it seems, took longer to be recognized.

Politicking

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It was weird seeing my face on a 27 x 40 poster.  When I went to give my campaign speech I was wearing dress clothes that I’d bought at Goodwill.  My “campaign manager” said I did a great job, being witty and somehow confident.  I didn’t win.  Still, my stint in politics was not yet over.  The next year one of the presidential candidates asked me to be his campaign manager.  I took on the job with gusto, and, claiming no credit, I would note that he won.  So where was all of this politicking going on?  At the United Methodist Church Conference Youth Council.  I ran for council secretary one year, and lost.  I kept the poster with my face on it for a few years but the ink faded and the paper was cheap, and besides, I’ve never considered myself much to look at.

Thinking about the resources allocations (I didn’t pay for the poster—couldn’t have if I’d wanted to), I have to wonder about the priorities of the church.  Of course, it was only much later, after I’d gained significant seminary experience myself, that I realized just how political a job “ministry” is.  Yes, I had students while I taught in seminary, already strategizing on how to become bishop.  It was a political game.  Such games are no fun without power.  And money is power.  So maybe the Western Pennsylvania Conference was funding some learning experiences on the impressionable minds of the young.  It just took me a few extra years to catch on.  (Some things never change.)

I dislike politics.  Even now I wouldn’t feel compelled to do anything beyond voting my conscience were it not the clear and obvious danger that we’re in, courtesy of what used to be a conservative political party.  Any party that can’t keep a demagogue from receiving its nomination has embraced fascism and that’s a perilous road to travel as Germany and Italy discovered about a century ago.  My dislike of ecclesiastical politics certainly played a large role in my decision not to pursue ordination.  I’ve been a church insider, and what happens at board meetings?  Politics.  The person in the pew often doesn’t realize just how political religion is.  I learned Robert’s Rules of Order from church meetings.  My nomination to elected office in the organization led nowhere.  I was left wondering if there’s anywhere left that politics don’t apply.  The print on the poster faded.  The very last time I unrolled it, it was completely blank.

Tech Warning

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My moon roof is open.  That’s what the late-night alert says.  Thing is, I don’t have a moon roof.  Maybe I should go out to the garage and check, just to be sure.  You see, these new cars, which are as much computer as they are a means of conveyance, are subject to glitches just like the computers at work always seem to be.  And if this is true of a massive and lucrative company like Toyota, how can the rest of us really trust what our devices tell us?  After all, mainly they exist to sell us more stuff.  So whenever we take the Prius out, after it’s put away I get some kind of warning on my phone.  Nearly every single time.  If somebody’s been sitting in the back seat—or even if a bag was resting there—I’m cheerfully reminded to check the back seat once I get into the house.  I appreciate its concern and when I grow even more forgetful I may need it.  But that moon roof…

I use and appreciate technology.  I believe in the science behind it.  It makes life simpler, in some ways.  Much more complex in others.  I confess that I miss paper maps.  Do you remember the thrill of driving into an unknown city and having to figure out how to get to an address with no GPS?  Now that seems like an adventure movie.  Our cars practically—sometimes literally—drive themselves.  I’m no motor-head, not by a long shot.  I do remember my first car that didn’t have power steering or power brakes.  It had a stick-shift and you had to wrassle it at times.  Show it who was in charge.  With technology we’ve all become the serfs.  It breaks down and you have to take it to an expert.  Not quite the same as changing a tire.

I worry about the larger implications of this.  As a writer I worry that my largest output is only electronic.  Publishers don’t seem to realize that those of us who write do it as a way of surviving death.  We have something to say and we want it etched in stone.  Or at least printed on paper.  Tucked away in some Library of Congress stacks in the hopes that it will remain there for good.  I often think of dystopias.  The stories unfold and ancient documents—our documents—are found.  But unless they get the grid up and running, and have Silicon Valley to help them, our electronic words are gone.  It’s as if you left the moon roof open, even though you don’t have one.

Not Murphy’s Mansion

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One of the dangers of streaming is that you can be talked into a movie by the fact of its availability.  Curiosity drove me to Disney’s The Haunted Mansion movie and that led to the discovery that there had been a reboot.  I’m drawn to haunted houses but not to theme parks, but well, you wonder how they might’ve thought they could’ve done it better.  The original movie failed to rock the critics, so, as the saying goes, try, try again.  Last year’s Haunted Mansion is over the top.  The story is more complex, with an ensemble cast, and not really funny or scary.  Based on a sad premise—two families with deceased spouses—they’re drawn, with three other New Orleans outsiders, to a, well, haunted mansion.  The main ghost is looking for a soul to harvest but as the two hours wend on, the characters reveal their sadnesses (one doesn’t).  Perhaps the idea is catharsis, but there are too many subplots and too many abrupt shifts of mood.

A movie should know, it seems to me, what it wants to be.  You feel for the sadness and loss of the characters but  I know something about using horror cathartically, and this movie doesn’t do it.  There are jokes and running gags, but they’re not really funny.  There’s religion involved, but it turns out to be fake, with even a faked exorcism.  There are literally 100 ghosts.  And really only one bad guy among them.  There’s drinking to drown sorrows, murders, and even adult humor that is somehow deeply disturbing.  There are a few nods to the original movie but the plot is quite different and it leaves you feeling drained.

With a budget of about $150,000,000, stops were pulled out all over this organ.  It doesn’t, however, have a focus.  In the original film, the Evers family really has a need to reconnect.  The mansion does that for them, through its ghosts.  The reboot implies at the end that two broken families might heal each other and that evil leads to its own punishment.  Still it leaves open the question: what is this movie trying to be?  The more cynical might say it’s only for money (the worldwide gross didn’t reach covering its budget), but I have to think that those who make movies do so for more than just a buck.  Coping with death is a profound human need that begins when a pet or, more seriously, a family member dies.  I’m not sure that Disney is the best authority on the subject.  At least not for those of us who use horror as therapy.

Six-Hundred and Sixty-Six

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I have to confess to never having read a biography of Aleister Crowley.  I’ve known of him since I was a teenager, however, since you can’t read very much about esoteric stuff without running into his name once in a while.  Crowley was famous for starting the religion called Thelema, revitalizing interest in magick (the additional “k” was to distinguish it from stage magic), and for generally being a bad boy.  In fact, he declared himself the “wickedest man on earth” and liked to be called “the Beast” and loved the number 666.  It was the latter point that caught my attention recently.  In pop culture, 666 really only took off after The Omen.  (Movies often dictate, or at least inform, our religion.)  Crowley, who lived much earlier than the film, saw the marketability of 666 and I wondered how it caught his attention.

Aleister Crowley, public domain via Wikimedia Commons

As I recently posted, the end of the world as we know it is a fairly modern construct.  I happened to be reading about Crowley recently and learned that he was raised in the Plymouth Brethren tradition.  (They don’t loudly claim him as a native son, for some reason.)  He is probably the most famous of the Brethren, across all walks of life.  He even earned a place on the cover of Sgt. Pepper’s Lonely Hearts Club Band.  The Plymouth Brethren were massively influenced by John Nelson Darby, the inventor of dispensationalism.  Dispensationalism is the fairly new Christian belief that time can be divided into ages, or “dispensations,” during which God has a plan already mapped out.  He apparently waited for Darby before letting the rest of the world in on this secret.

Things about Crowley then began to make a little more sense.  His choice to name himself after Darby’s preoccupations adds up.  I haven’t read any biographies so this may be old news, well known among scholars of esoterica.  It nevertheless bears pondering because the religion we teach our kids may have unexpected consequences.  Crowley rejected the Brethren (whose moral predilections were not to his liking, especially as a hot-blooded young man) but the religion influenced him nevertheless.  I wonder if the teachings Crowley received as a child encouraged him to become, in his own mind, the opposite.  Crowley wasn’t “the Beast.”  His precepts included “love is the law” (granted, his version of love was a touch earthier than Christians with whom he’d be raised, but still), not a bad start for an ethical system.  Even the wickedest man on earth believed in the power of love, even if his religion introduced him to 666.

Forgotten Books

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Would you rather never write a book or write a book that’s easily forgotten?  This question springs from a recent exercise of trying (unsuccessfully) to count the books I’ve read.  I mean going through and putting a finger on each one and counting, if I’d read it.  I encountered a surprising number of ordinals that evoked a blank stare—I don’t remember the book at all.   Or I remember having read it, but don’t recall what it was about.  (In one instance, the book was one my wife read, and not me.  That explained a lot!)  This got me thinking about what it takes to write a memorable book.  I’ve always been one to prefer either speculative fiction or the classics.  (I’m aware that “classics” are now being dismantled because they don’t represent all groups.  I’d call them “white men’s classics,” but a surprising number of them were written by women.)  If a book has a speculative element strong enough I will recall having read it.  I like weird stuff.

I’ve read books where parts of them, at least, have stayed with me for half-a-century.  I remember specific things I read as a child (and no, I’m not talking about Barney Beagle—although I do remember that too).  I like to believe that even the bits that are hazy indicate that the book isn’t truly lost, but buried somewhere.  The human mind has an amazing capacity to absorb things.  I’ve read at least three thousand books in my life—I have no idea how many, actually, but Goodreads has me at 1,000 and I started using it in 2013.  I’d been intentionally reading for about forty years already, at that point.  Three of them while working on my doctorate.

I recently (within easy memory) read a Doc Savage novel.  I’d read the entire series, or pretty near, as a junior high schooler.   Anyway, there were well over a hundred of them.  I remembered nothing in my recent re-read beyond Doc’s band of five companions.  The story was completely unfamiliar to me.  One of the more recent books I know I read but couldn’t remember the story at all was a New York Times bestseller.  I guess if I’ve forgotten the author he’ll still be okay on Mars in the future since many others must remember something about it.  I’ll be long gone by then, both on Mars and down here, I’m sure.  I do hope even by then something will remain of all the books I’ve read.

Price Drop

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Here’s a public service announcement for your Friday.  If you’ve been wanting to read Holy Horror but found the price too high, McFarland has now lowered the cover price to under $30.  Here’s the link: Holy Horror.  Of my non-academic books, this has been my “best seller.”  Since I’m currently shopping around another book, and since agents aren’t interested (at least not any more), I wondered whether McFarland might look at it.  The editor who handled Holy Horror had left, and the new editor responded to my concern about pricing by telling me that they lower prices after a couple of years.  She noticed, however, that Holy Horror had been overlooked in the price lowering process, so voila!  It’s now affordable.

This model, while not the same as trade publishing’s efforts to get primarily front-list sales, seems to make sense.  Too many publishers raise prices year after year, so if you don’t buy immediately you’ll pay more.  McFarland tends toward a paperback first model.  The first couple of years are aimed at library sales—and they do well at those—then they lower for individual purchase.  All I had to do was ask.  Two years ago I asked Lexington/Fortress Academic if they’d do a paperback of Nightmares with the Bible.  That poor book never had a chance.  The editor said they were considering it.  Instead they did the trick that publishers seem to like: decoupling the ebook price from the hardcover.  So you can buy some expensive electrons instead of holding a real book.  So it goes.  I’ve written a museum piece.

It’s a little too soon to say about The Wicker Man.  My experience has been that university presses, particularly British ones, like to raise prices rather than chasing sales.  If you’re reading this blog you know that I’ll market my books.  I even printed bookmarks for Holy Horror at my own expense.  Maybe it’s time to start distributing them again.  What a difference ten dollars can make!  I’m a book booster.  (You might not have noticed.)  I’m glad that McFarland understands that individuals will buy books, even if they’ve been out for a while.  The standard wisdom among academic publishers is “three years and then you’re done.”  If you’re inclined to help prove that business model wrong, you can now get Holy Horror without having to take out a second mortgage.  That’s cause for hope—any writer has the dream that her or his book will keep on selling.  Sharing this information will, it seems, make it wider known. Please pass it on.