Scary Cosmology

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In many ways a harrowing book, A Cosmology of Monsters, by Shaun Hamill, is a real achievement.  A monster story, it’s less a story about monsters than it is about people—which, upon thinking it over, is generally the case.  This story is about the suffering people undergo, sometimes simply for being who they are.  Hamill gets his hooks in early and drags you through this wonderful, terrible story.  Even now that I’ve finished it I’m not quite sure what to make of it.  What’s it about?  Maybe I can try to give you a few signposts and pointers.  To find out more you’ll need to read it and check my work.

The Turner family, through no fault of its own, has been living under a strange kind of curse.  It involves monsters, from what is probably another dimension, kidnapping and enslaving them.  The Turners aren’t alone in this.  Others who’ve been suffering from various causes are also targeted and treated.  Perhaps this is partially a parable on suffering and depression.  The Turner family faces death, missing children, forbidden love, and regret.  They run a local haunted house around Halloween, which the father’s regular job finances.  They do it for fun and it’s free.  It keeps them going when a terrible diagnosis is given.  Stressed financially and emotionally, they barely manage to stay together.  Noah, the narrator and only son, checks out the competition, including a Christian Hell House.  There he meets the girl he’ll eventually marry.  But the monsters don’t stop coming.  He befriends one.

An intricately interwoven story, you might call this horror but you would probably be closer to the truth with literary fiction.  There are uncomfortable facts about families.  Things we tend to overlook or ignore in order to keep society running smoothly.  These kinds of issues are brought out into the open here and mixed in with monsters.  On both the human and monster sides, the emotionally wrenching ideas have to do with relationships.  Noah, who was born just as his father was dying, establishes relationships both with his family and a monster.  As the story progresses over the years, his wife is added to this complex of relationships and they all end up, in a way, competing.  Decisions have to be made and someone you love must lose.  This novel makes monsters and humans the objects of the reader’s sympathy.  What’s more, it works.  I hope I haven’t given too many spoilers here, because this is quite an accomplishment, and well worth a reader’s time.

Burdens

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Listening is very important.  Sometimes there’s nothing really to say but “I hear you.”  This kept occurring to me during All That She Carried: The Journey of Ashley’s Sack, A Black Family Keepsake.  Tiya Miles is a history professor, and she helpfully includes an afterword telling how she came upon the topic for this book.  Ashley’s sack is just that, a sack.  On it, the owner, a female descendent of enslaved African-Americans, stitched a short inscription about the history of the sack, how her grandmother had given it to her mother when the latter was a child under ten, sold away from her mother in South Carolina.  This isn’t an easy book to read.  I have difficulty being faced with what “religious” “white” folks did to Blacks and justified themselves that people can be bought and sold.  Listen, I told myself, just listen.

Those who would deny that any of this ever happened need to learn to listen.  In order to capitalize on the resources this country offered, our ancestors engaged in morally reprehensible acts.  And the cruelty didn’t end with the shipping and the selling.  The treatment of unfree Black people itself was a crime, and their white captors knew full well what they were doing.  Preventing their slaves from having nice things while they themselves lived in luxury.  Beating, raping, and murdering when they didn’t get their way.  Selling their own offspring born of slaves to make a profit.  All the while claiming to be good Christians.  It’s often this part that I have trouble understanding.  Even a literalistic reading gives no license for treating other human beings this way.  Only money does that.

The style of history in this book isn’t that to which many of us are accustomed.  At the point of raising mental critiques I repeated, “You must learn to listen.”  Those who have made the rules showed themselves to be corrupt, and they must be willing to consider alternative ways of telling a story.  Miles makes the point that the history of unfree Blacks was largely erased, leaving the possibilities for histories and heritages slim; if the regular rules are themselves oppressive then it may be time to listen to those of others.  It seems impossible in the age of the world-wide web and all that it implies that we live on a planet where people repeatedly deny their sins while clutching their Bibles in their fists.  We need to learn to listen.

Yelp Me

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Do you remember the Yellow Pages?  Or even phonebooks, for that matter?  (Or wall phones?)  They certainly weren’t perfect, but they tended to be updated yearly (at a great cost in trees).  That meant that they tended to be almost up-to-date.  You’d find the business you sought, and call them to ask for their hours, or directions.  Now we rely on the internet, of course, and the number of businesses that you can find has exploded.  And they open and close with bewildering rapidity.  It took me a couple years of googling to figure out that Yelp was a rebranding of the Yellow Pages.  I also feel sorry for any company that has to try to keep up with the current status of things.  It does seem, though, that Yelp could use some help.

Although it might seem impossible, many businesses still exist without websites.  And if you’re looking for a type of business in a specific city or town, you need to know, first of all, what’s there and what’s not.  The big boxes are never a problem, of course.  When I travel to a new location, however, I want to know what bookstores I’m likely to find.  I’ve done this a number of times recently.  Type in a city name and “bookstore.”  (In the case of Reading, the city name didn’t help at all.)  Yelp helpfully shows up at the top but it lists many establishments that have closed.  Even some of those that are open are virtual and don’t have a store you can wander around.  More than once I’ve come to a place only to discover there’s no longer anybody home.

Independent bookstores have been doing pretty well through the pandemic.  Many people have rediscovered reading.  Since they are seldom crowded, they feel like safe spaces during Covid.  And chances are that people who hang out in bookstores have been vaccinated and will likely be wearing a mask.  The problem is finding such places.  I have to say that Pennsylvania seems to have a healthy population of bookstores.  There are several in the Lehigh Valley and I’ve been pleased with the treasures I’ve discovered elsewhere as well.  Finding them hasn’t always been easy.  One of my favorite used bookstores here in the Valley folded during the pandemic.  Fortunately there are others.  Google maps sometimes work better than Yelp, but nothing beats getting out and exploring on your feet, except sitting at home later and reading what you’ve found.

Beastly Story

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You think you know a story.  You know, you’ve heard it before, or seen it in a movie, so you think you know how it goes.  I’m not the biggest Disney fan in the world, but I have seen many of their movies.  Occasionally those movies are my first introduction to a story.  That was the case with Beauty and the Beast.  I saw this when my daughter was young, and in general found it a good story.  I’ve seen it a couple of times since, and I thought I knew how it went.  I got curious, however, regarding the origins of the tale.  Was it Grimm?  Other ancient folklore?  The reimagining of a classical tale like Pygmalion?  Well, it turns out it was a story from the eighteenth century written by Gabrielle-Suzanne Barbot de Villeneuve.

I decided to read it.  The story is quite different than the Disney version, as is to be expected.  To begin with, Beauty has eleven siblings.  Her father is a merchant rather than an inventor.  The beast is described as having an elephant’s trunk and scales, not fur.  Once Beauty agrees to move into his palace in place of her father Beast is nothing but polite, if somewhat dull.  In broad outline the same action takes place—beauty falls in love with the beast and magically he transforms to a handsome prince.  Any story, as it’s retold, is re-envisioned.  There’s no such thing as the literal retelling of any tale.  As the Italians say, “translators are traitors.”  (Of course, I didn’t read the story in its original French, having had the aid of a traitor.)

As was perhaps the style back then, once the happy ending came the story had to be fully explained.  Indeed, this constitutes half its length, telling, not showing, the backstory.  To Disney’s credit, they do all this in a minute or two of animation time.  The modern reader, unless obsessed with the rules under which fairies operate, and the power struggles among them regarding those rules, will likely find this add-on a bit tedious.  But that’s often the way with original texts.  Think The Iliad.  Think the Bible.  Modern writers seldom explain things fully.  Ambiguity is valued among the literati.  Still, stories have origins.  They start someplace.  Those of us who are curious about those origins are inclined to dig, it seems.  Disney has become our storyteller for children.  It’s a good idea to look behind the curtain now and then, just to see what the original creator wrote.  To see how the story really goes.

The King

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Stephen King.  I haven’t read all of his books, but I’ve done quite a few.  I’ve watched movies based on some.  I read my first story by him in Junior High School.  I’ve even read books about him.  From what I can tell, he’s actually a man with his head on straight.  While some may find that a strange thing to write about a horror writer, it’s been my experience that those who enjoy horror, either as producers or consumers, are generally good people.  Recently King was testifying against the proposed buyout of Simon & Schuster by Penguin Random House.  Penguin Random House is already the largest trade publisher in the world.  The buyout would probably benefit King personally, but he testified it would make things worse for other writers and for independent bookstores.

How many people these days argue against things that benefit them personally?  Certainly not elected officials, particularly of what used to be a grand old party.  It’s all about me!  That seems to be the mantra of late capitalism.  King has publicly called for his own taxes to be raised.  This is nothing short of heroic.  While the Good Book advocates over and over for this kind of behavior, “Bible believers” have somehow overlooked it.  Leave it to a horror writer to get to the heart of the message.  I have no idea if King is part of any religious group or not—he certainly uses a lot of religious imagery and many religious concepts in his writing.  Of course, you don’t have to be in such a group to embody their proclaimed principles.

Thinking of the needs of others was drilled into me as child raised in a Fundamentalist faith.  Looking around me these days, I don’t see many Fundamentalists that hold to that any more.  Enamored of power—especially the power to control other people’s lives—they flock after rich pretenders who care nothing for the Gospel.  Sacrifice (for that’s what we’re talking about here) is something horror writers know well.  It’s never easy giving up something that’s valuable to you.  Or even thinking about it.  Writing, while very enjoyable, is hard work.  Training your mind is like physical exercise—it doesn’t just happen.  I’ve got a few Stephen King novels on my “to read” pile.  They’re big books, often intimidatingly so.  Once I start reading, however, I know I’ll find the work engaging.  And if I pay attention, there will be a message there too.

Not that kind of book.

Paperback Reader

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Sometimes I wonder why I do it.  Horror is a strange category for books and films, but one thing that may be a draw is that they take me back.  Life, it seems, is cyclical.  I liked monsters as a kid, and grew out of it when college and graduate school taught me to be serious.  As a working academic this genre can spell death to your career, so when my career died anyway, I was left grasping at my childhood to try to make any sense of this.  Grady Hendrix’s Paperbacks from Hell took me back.  Not that I’ve read all the books listed here—I came away with a list I want to read—but the lurid covers are a reminder of the kinds of things that caught my young imagination.

Subtitled The Twisted History of ‘70s and ‘80s Horror Fiction, this is actually a very fun book to read.  Hendrix has a light touch and had me nearly laughing out loud (quite an accomplishment) a time or two.  And I learned a lot.  Although I write books about horror, the genre is a large and sprawling one and this book takes a clear focus at the paperback market.  Just a reminder: paperback originals were designed to be sold and consumed quickly.  No waiting around for 18 months while profits from the hardcover roll in.  Hendrix really knows what he’s talking about when it comes to the history.  It also seems like he may have read more horror than is necessarily good for you.  He clearly knows how the publishing business works.

Several of these books were big enough that I knew about them.  He starts off with Rosemary’s Baby and The Exorcist.  (And The Other, which I’m now obligated to find and read.)  In fact, the first chapter focuses on religion-themed horror.  This is something that only began in earnest in the late ‘60s.  While the horror paperback market may have tanked in the ‘90s, the film side of the genre has been doing quite well and continues to do so.  The late sixties also got that kick-started.  It seems that when people stopped running from the fact that religion is scary, horror itself grew up.  I was shielded from that part as a child, but now, looking back, I can see that things weren’t quite what they seemed.  This full-color, grotesquely illustrated book has great curb appeal.  And if you’re not careful, you can learn a thing or two as well.

Who’s It For?

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I suspect editors see this all the time.  I also suspect that I’ve unknowingly participated in it as well.  If you’re a book writer, you have to be clear of your readership.  As an academic editor I receive many proposals for books that either cry for popular treatment, but are too academic, or books that are written for laity on topics of interest only to academics.  A writing life is a struggle to find that correct balance.  Particularly for your typical academic.  You see, doctoral programs don’t generally include instruction on how publishing works.  Or in writing.  It’s assumed that any string of 100,000 words from a credentialed expert is worth publishing.  Worse, as Steven Pinker has pointed out, academics are rewarded for writing poorly.  No wonder people are confused!

Lately I’ve been on a kick about people not paying attention.  It is important to observe.  When writing a book it’s important to gauge who might want to read your potential book.  Indeed, this is something seldom asked early enough in the process.  Who is this book for?  Will they want to read it?  You see, we have this lone ranger attitude to book writing.  In actual fact, most books you see in bookstores are the clear result of teamwork.  Yes, authors do most of the writing.  In many books editors do quite a bit of the fixing of the writing.  Agents, marketers, publicists, sales reps—there are a host of people behind successful books.  It’s easy to think, while writing, that your book will be a bestseller, no matter how academic.  That you will see it in Barnes and Noble and point it out, ever so casually, to your friends.  That it will sell for less than $20.

It’s important to pay attention to what other people think.  We’re all busy, I know.  We have our own lives to live and plans to enact.  Who has time to bother thinking about who might read their book?  Obviously, other specialists such as themselves.  But how many people is that, really?  With the sheer number of books published each year, are there topics that will draw in thousands, instead of hundreds (or less) of buyers?  Writing a book naturally makes you think the topic is important—vital, even.  It’s easy to transfer your personal interest onto the masses.  My advice, for those few who ask or care, is to think carefully about who you wish to reach.  Be honest with yourself.  And try to think from the point of view of somebody else.

Cover Copy

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If you’ve ever wondered why the same images appear on book covers over and over, there’s a fairly simple explanation.  (I should specify, by the way, that I mean academic press books.  The pockets of trade publishers are apparently bottomless.)  For many in the humanities the choices come to the same set of classical paintings that are out of copyright.  Now, in a capitalist system, copyright is a necessary idea.  It protects those who create intellectual property from being taken advantage of.  Their work is treated like a physical object, so an accurate image of a painting is the same as the painting itself.  But if you’ve ever been to an art gallery you know that’s not exactly true.  Art galleries show us that being in the presence of the real thing is different than seeing a reproduction.  But I digress.

Books are not only recognized by their covers, but sold by them.  It’s a strange industry and part of the reason why goes back to one of those eye-glazing-over court cases involving (yawn) taxes.  In 1979 the Supreme Court ruled that companies could no longer devalue old stock for tax purposes.  This was the Thor Power Tool Company v Commissioner case.  The court ruled old stock had to be assessed at value.  While this was about manufacturing, it deeply impacted books.  Publishers now had to destroy old stock (and books are printed in quantity) or face heavy tax consequences.  This led to books being pulped much more quickly than usual (they could then be written off as losses) and directly impacted the book cover.

Despite the old adage, every publisher knows people do judge books by their covers.  Since 1979, extra care has been given to covers to make books sell quickly, and in significant numbers.  Now granted, your nuts and bolts will still be useful in future power tools, but books sell differently.  A typical book has a three-year lifespan.  Sure, there will be those (like yours truly) who’ll buy a book that’s been out for a while, but most books are considered dead after year three.  That old stock is a liability and pulping is common.  It seems an inglorious end for such a noble product.  Not to mention wasteful.  Academic books have similar covers because copyright images are often too expensive to license for covers.  Constantly publishers have to guess as best they can how many copies will sell because old stock is too expensive too keep.  Print on demand has changed a lot of things as well, but that’s a different story.   Covers still do count.

Beyond Natural

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I’ve read quite a few books about the supernatural.  Often these books, which are mostly written by scientists, tend to show the problems with supernatural thinking.  Clay Routledge, it seems to me, has a healthier approach.  Supernatural: Death, Meaning, and the Power of the Invisible World isn’t an apology for the supernatural.  In fact, Routledge is a psychological scientist.  An open-minded one.  The book isn’t an apology, but it does show how natural supernatural thinking is.  This engagingly written study isn’t always easy to read—you have to be prepared to think about death a lot.  But also meaning.  Routledge makes a good case that the human search for meaning is related to our awareness of our own mortality.  We know we’ll die, and we don’t want to believe our existence has been for naught.  That doesn’t make all of us religious, but it does, perhaps, open us to the supernatural.

One of the main takeaways for me is that people misunderstand the power of religious motivation.  Especially in the context of our current political climate.  Many people can’t believe that supreme court justices would decide against laws that slow global warming.  Survey after survey, however, indicates that strong belief in religion means having little or no concern about the world ending.  In fact, for many it is a culmination devoutly to be attained.  You don’t need surveys to learn this.  You just need to talk to Fundamentalists.  I grew up believing this world was a sinful, corrupt place soon to be destroyed.  Further reflection on religion convinced me that this view was wrong, but I certainly understand it.  Too often those trying to find solutions to such problems simply dismiss religion as a motivating factor.  That’s a fatal error.

This is an insightful book.  Although based on science it is neutral toward religion.  Or I should say, the supernatural.  Routledge demonstrates that even scientists, when tested in controlled circumstances, subscribe to some supernatural beliefs.  They may be more abstract, such as the idea that things happen for a reason, or that we’ve been put here for a purpose (the teleological argument), but they are nevertheless present.  To be human is to be a meaning-seeking creature.  We may not be the only ones.  Whether or not that’s the case, our drive for making sense of all this tends to move us toward the supernatural.  Routledge ends with a plea for us to listen to one another.  Pay attention, and care for, those who believe differently.  We have a lot more in common than we have views that separate us.

Jekyll and Jekyll

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W. E. D. (“Marilyn”) Ross was a journeyman writer.  Prolific, he produced more than 300 pot-boilers, and he only started writing at mid-life, which kind of lends hope to me.  (He, however, didn’t always pay attention to literary niceties.)  I’ve made a determined effort, over the past decade or so, to collect and read all of his Dark Shadows novels.  These aren’t great literature, and I generally have to space them out to recover from them.  I just finished number 27 (of 32), Barnabas, Quentine and Dr. Jekyll’s Son.  Although I watched Dark Shadows as a child, it’s pretty clear that my cosmology of Collinwood was primarily shaped by Ross.  Living in an area without a regular bookstore, and without the cash to regularly buy books, I found what volumes I could at Goodwill and read them avidly.

Barnabas, Quentine and Dr. Jekyll’s Son is now a rather rare item on the used market.  It’s pretty clear that as Ross went on and on in the gothic fiction genre, he tried new things and these generally improved his work.  This story, set in the past, involves Dr. Jekyll’s grown son accompanying Barnabas Collins to Maine in order to escape his father’s reputation and, as a sidebar, to try to cure Barnabas of his vampire curse.  This means that one of the Collins girls, Emily in this instance, falls in love with Jekyll rather than Barnabas.  It also marks the point at which Ross tries to make it clear that both Barnabas and Quentin are good guys, but being under their own curses, they have to follow their vampire and werewolf natures, respectively.

I think I may have read this one as a child.  Although each book was stamped with its number in the series, I was dependent on when my mother decided to go to Goodwill and what they happened to have on hand in their book bin.  Some scenes from this book came back to me in the reading—although it was perhaps forty or more years ago—and one of the most important of these was one where Barnabas and Quentin collaborated on capturing the criminal.  Among the true fans of the series, they are known as the immortals (and Quentin isn’t always a werewolf), and they revisit Collinwood over the centuries.  Quentin can be both good and evil, but Barnabas is generally a sympathetic character.  Dr. Jekyll’s son isn’t such a strange guest at Collinwood, and the stories do seem to have improved over time.  It’s still Ross writing, but this one was more than a surface refinishing of a classic tale.

Not Just Horsemen

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With the way they’ve been in the news, UFOs have started to arouse some curiosity.  Since I’ve been reading about the culture of the Hudson, Linda Zimmermann’s Hudson Valley UFOs caught my eye.  I hadn’t realized that the book was essentially self-published.  There are legitimate reasons for self-publishing, primarily that established presses can be quite standoffish.  What you find in book form is largely determined by publishers who decide what will or won’t merit their attention.  Self-publication comes with its own set of problems, including marketing and, as I written before, lack of editing.  Zimmermann’s book is quite interesting but could have used some editorial attention.  It does aid credibility.  Subtitled Startling Eyewitness Accounts from 1909 to the Present, the book is essentially that, collated accounts, some in their own words, some retold.

As became clear shortly after starting the book, this is a second volume for a previous book that I hadn’t heard of.  There is a fascination reading such accounts.  Many can be dismissed and each should be treated with some skepticism.  The thing is, there are so many reports from this area that it’s difficult to jettison the lot.  People with nothing to gain, withholding their names, see things in the sky they can’t explain.  As Zimmermann points out, Project Blue Book didn’t help with its prosaic and often bizarre explanations that are harder to believe than the eyewitness accounts, many of them from Air Force personnel.  What’s emerged in recent years—some would argue since the end of the Second World War—is that the government actively advocated ridicule and intimidation, perhaps because of secret weapons testing.  This policy has made the truth behind UFOs difficult to excavate.

Books like Zimmermann’s have their place in collecting information.  Civilians, however, generally lack the resources necessary for analysis.  Governments worldwide have recently been coming out of the closet.  They too have been treating this seriously while telling everyone simply to ignore it.  People are curious by nature and we live in an apparently infinite universe.  Strange things happen and ridicule is one of the surest ways to shut down serious discussion.  There’s quite a bit of information in this book, and some of it could help point to the long associations of the Hudson Valley with the unusual.  Mainstream publishers are beginning to lose their shyness about the topic and we as a species don’t know as much about this universe as we think we do.  As long as we talk about what we see, this will remain a topic of interest.

Stay Safe

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I’m not an impulse buyer.  Having grown up poor, I tend to walk into stores with a list firmly in hand and I don’t deviate from it.  Advertising has virtually no impact.  I don’t pay attention to ads unless they’re for things I know I need, and even then I shut them out most of the time.  I do let my guard down in independent bookstores, however.  So it was that I found in Aaron’s Books in Lititz, Your Guide To Not Getting Murdered in a Quaint English Village.  It was totally an impulse buy, easily read in a sunny afternoon in a caboose motel.  Or a rainy afternoon in an English manor house.  Maureen Johnson and Jay Cooper have produced a wonderfully witty illustrated guide here.  It helps to have lived in the United Kingdom for a few years.

Shelved face out in the thriller section, it’s a great opportunity for murder-mystery, gothic literature, horror movie fan types to laugh at themselves.  Some parts are snort out loud funny.  Okay, so I was on staycation and being a bit free with cash for a change, but I’m sure I will keep this one near my desk and turn back to it from time to time.  Maureen Johnson is known for her young adult novels and Jay Cooper is a children’s book illustrator.  Their talents, however, work together incredibly well for this slightly naughty guilty pleasure read.  The Wicker Man even gets a nod or two.  Something that those who disdain horror don’t often realize is that it quite frequently has its own sense of humor.  It’s an intelligent genre that doesn’t take itself too seriously.  At times it does, of course, but those of us who are fans can tell fantasy from real life.  Maybe.

Independent bookstores are starting to make a comeback.  A significant part of our population isn’t on board with retailers trying to convert everyday life to the metaverse.  We want to hear our music with the occasional pop and microphone hiss.  We want to drive our own cars.  We want to browse in actual bookstores.  Given my buying record online, I have to laugh every time I look at the recommendations.  The electronic world brain doesn’t know me very well at all.  It assumes it knows why I bought that ladder or that round blank four-inch stamped electrical cover.  Some of us play in nontraditional ways with such things.  And we get ideas from wandering into independent bookstores.  As long as they’re not in quaint English villages.

Time Well Spent

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If you want a bookstore mostly to yourself, go on a fine, sunny summer weekend.  There will always be those with reading on their minds, of course, but since we’re still dealing with a pandemic, going when it’s quiet feels right.  Having to drop someone off for an event in rural New Jersey, I found myself with a couple of hours and the prospect of sitting in a hot car and trying to read or to find another way to use time productively.  It was a fine, sunny summer weekend day.  I realized the event wasn’t far from Frenchtown.  Now, I’d been through Frenchtown several times, often with my wife on her way to a weekend stint at work.  I’d noticed Frenchtown Bookshop, but since we were always on our way somewhere, we could never stop.

Public parking in Frenchtown is difficult on a fine, sunny summer weekend.  There is a bike and hike trail that passes near the Delaware there, and there’s also the river itself.  Kayaking and rafting on the border between New Jersey and Pennsylvania are popular pastimes.  The mercury was creeping up to 90, so people were out, either sweating on the trail or cooling their heels in the water.  Both public lots in town were full, as was all the on street parking I could find.  A bank tow-away lot—the bank was closed—seemed like the only option.  Independent bookstores are national treasures.  I always carry a list with me since it’s too easy to lose my head when surrounded by print.  If my specialized tastes aren’t represented, I can always find something.

Books are one of the great achievements of humankind.  Although circumstances may have prevented many women from making careers in writing early on—Enheduanna proved even among the Sumerians that women had wisdom to convey.  Once novels came to be written, the form was well populated with female sages.  Reading and writing were kept from slaves for fear of what might happen could they see what the knowledge of humanity really said.  The internet has, of course, become the great democratizer of writing, but has made it more difficult to get a publisher’s attention.  Apart from all that, books laid out on a table, or stacked neatly on shelves, are one of the simple, usually inexpensive, joys of life.  For about the price of a movie you can stretch that entertainment dollar out over several days.  Even when they’re fine, sunny summer weekend days.

Sacred Hudson

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As scientific as we may wish to be, there’s no denying that there is a sense of place.  We know that some animals, at least, also feel it.  Whether theirs is a more pragmatic desire to return to where conditions were favorable to be born, or whether something deeper draws them there, we have no way of knowing.  People feel it too, this sense of place.  We know where we’re from, and if we don’t we often want to find out.  The space is somehow part of us.  There’s a compelling exploration of this in Judith Richardson’s Possessions: The History and Uses of Haunting in the Hudson Valley.  While not America’s first haunted location, the Hudson Valley was singled out for this treatment by Washington Irving.  He, however, didn’t invent it.

I’m not from the Hudson Valley.  I could never afford to live there.  That doesn’t mean the area can’t speak to me.  Richardson’s approach is academic yet readable and she considers how hauntings fill needs and how they play a role in that ever-contentious enterprise of land claims.  Ranging through literary treatments, whether the fiction of Irving or tour books of the next generation, or indeed, more recent literary efforts, Richardson deftly guides the reader through American Indian and Dutch and other inhabitants’ stories of themselves.  Race inevitably plays a part, and her tracing of the origins of some traditional tales is really remarkable.  Who owns the land?  Who truly owns anything?   

Similar treatments (I can’t help but feel somehow lesser) must exist of other haunted locations.  Richardson doesn’t engage in arguments over whether ghosts are factual since ghosts serve so many other functions.  Our lives are the stories we tell about ourselves.  Many of those tales involve the place we are or places we’ve been.  In our highly mobile society, few of us, it seems, can make a living where we’re from.  Those of us born in small towns range far and wide to find employment.  In many cases we may not want to go live where the drama of our childhoods unfolded.  Yes, there are pleasant memories there, but there are also ghosts.  Richardson explores how this plays out in one small stretch of the country.  Indeed, it’s a small stretch of New York state.  Stories of hauntings continue in that particular valley.  Uncanny, perhaps, but there are places in this world like that, and this book is a sure road post on this particular overgrown trail.

The Horseman

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Washington Irving’s tale, “The Legend of Sleepy Hollow,” perhaps due to its being the earliest literary American ghost story, has been retold time and again.  When I saw that Christina Henry had a take on it that came out last autumn, I knew I’d be reading it.  I’d read her The Girl in Red late last year, but I couldn’t wait until fall to read this one.  Henry has a way of taking traditional stories and making them relevant.  Horseman is set two generations after Ichabod Crane and Brom Bones and Katrina Van Tassel, but they all appear in it.  According to Irving’s story—and this is often changed in cinematographic treatments—Brom and Katrina wed.  The narrator of this tale is Ben, who in today’s terms would be considered transgender.  He (his preferred pronoun) is the grandchild of Brom and Katrina.

Henry is a master of magic realism.  There really is something in the woods of Sleepy Hollow and it’s taking children’s heads.  Some influence from Tim Burton’s film version is found here, but the story has its own trajectory and inner logic.  Ben actually sees the monster, but nobody will believe him.  Not until it’s too late.  The one person who does believe is Katrina, Ben’s grandmother.  She, however, wants Ben to act like a girl because he was born female.  She wants him to stay home and learn sewing and cooking.  Ben’s hero, however, is Brom.  He’s a good man, if rowdy.  He married Katrina for love, not wealth.  Ichabod Crane does appear, later in the story, but since how he appears is a spoiler I’ll need to let you read for yourself.

Americans are often raised with the wrong-headed notion of canon as the one way a story goes.  Retelling is as ancient as writing itself.  Homer, Apollodorus, and Ovid were retelling stories.  So were many Bible writers.  People tell one another tall tales.  Washington Irving didn’t invent the Headless Horseman out of whole cloth.  Neither did the people of Tarrytown.  How the story goes is a matter for discussion.  Bet yet, it’s also a matter for retelling.  Henry’s version could be made to fit with Irving’s, but with a bit of prior assumption, some posthumous collaboration.  Hers, however, is a tale for our times.  Just like in Red, the protagonist isn’t conventional, according to conservative sexual standards.  Both are, however, authentic.  And although both may be flawed in various ways, there’s no denying that they’re heroes.