Socks and Books

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The other day I was thinking about my annotated copy of Friedrich Nietzsche’s Thus Spoke Zarathustra.  I read this in seminary and took notes in the margins.  It was part of my permanent collection.  After a couple of moves from Boston, finding myself in Illinois, I couldn’t find it.  Like socks in a dryer, it had simply vanished.  Socks, of course, sometimes fall out of a sweatshirt or some other garment some time later—a piece of clothing with which they shared the carnival ride of the tumble dry.  The book, however, stayed vanished.  I often wonder where it went.  Prior to Nashotah House, mostly my wife and I kept our books in boxes.  Even now with a house many of them are still in boxes.  But I’ve never knowingly left a book behind when vacating an apartment.  Where is Nietzsche?

Wherever he is, he’s not alone.  This has happened before.  While attending Edinburgh University it seemed like a good idea to get out a bit.  Travel is an excellent form of education.  My wife and I, both interested in history, joined Historic Scotland.  Membership came with a guidebook describing all the properties and we used this as a record of which sites we’d visited and when.  (We used to keep extensive travel diaries, but epic trips are few these days now that we’re no longer academics.)  In any case, when we moved back to the United States, that guidebook was a treasured possession.  Yes, we kept it with the other books but in those days they weren’t so many as they’ve become now.  When we were unpacking things in our apartment in Illinois, we noticed it was missing.

Our flat in Edinburgh was small—really only three rooms.  Nothing was left behind there.  Where, then, did our book go?  Where’s Nietzsche?  What other items have we lost that we haven’t discovered yet?  And where do the socks go when they’re lost in the dryer?  It’s almost enough to make me believe there are little wormholes scattered around our planet, particularly attracted to socks and books.  Well, phones, wallets, and car keys too, I suppose.  The biggest mystery, for me, is the books.  We’ve unpacked nearly all of them now that we have a house.  Those still in boxes have been taken out and returned, no box remains unopened.  Our Historic Scotland guide and Also Sprach Zarathustra aren’t among the books we have.  They’re out there with the many things we treasure and misplace over time.  Perhaps some day we’ll stumble upon that place and be amazed.

Whose Baby?

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Some books are better known as movies.  I suspect that I, like many, saw the movie Rosemary’s Baby without ever reading the book.  It turns out that they’re very similar.  The book takes the action a few minutes beyond the end of the movie, but otherwise they’re quite close.  Reading a horror novel where you know everything that’s going to happen isn’t exactly the recipe for thrills and chills, but I’m nevertheless glad to have done it.  For a book published as long ago as it was (1967) it still isn’t easily found used.  New copies tend to be just as expensive as new books.  I just wanted to have a read to see if Roman Polanski stayed close to Ira Levin or not.

Levin had a string of successful novels, but Rosemary’s Baby is probably still his best known.  He is quoted as saying he didn’t believe in the Devil and felt guilty that his book (and movie) may have led to many people taking on that belief.  In many ways Polanski’s movie kicked off the age of modern horror, being released the same year as George Romero’s Night of the Living Dead.  Rosemary, however, opened the door to horror with overt religious themes.  It paved the way for The Exorcist and The Omen.  The latter, written by David Seltzer, was another example of a movie based on the Devil by an author who didn’t believe in him.  Personal belief aside, that trinity of movies remade the horror scene and led to one of the strangest cooperations in cinematic history.

In the book versus movie scenario often there’s a clear winner.  On other occasions the movie is so powerfully made that it overshadows its novel.  Rosemary’s Baby, along with The Exorcist, tended to do so.  (The Omen was novelized from the screenplay by the screenwriter.)  I wonder if that might not be because religion pays right into cinematic representation.  The novels, after all, can take several days of reading on a normal workaday schedule.  The film, if well done, transports the viewer there for a couple of hours and leaves you feeling as if you’ve been through, in the case of Rosemary, a traumatic pregnancy.  It so happened that the unholy trinity of religious horror tapped into that rapt storytelling of which celluloid proves so capable a medium.  Still, reading the novel fills in many of the gaps and brings to mind the benefits of the written word.  And this is, like a birth, something to be celebrated.

A Little Fuzzy

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Animals don’t obey the law.  As I observed just a few days ago on this blog, they don’t recognize indoors or outdoors.  And they certainly don’t respect private property.  Conflicts are sure to arise.  Mary Roach turns her impressive writing skills to address this, and related issues in Fuzz: When Nature Breaks the Law.  I’ve read an academic book on this subject as well, and I have to say that one wasn’t as much fun.  Roach has a way of bringing the humor out of even potentially trying subjects such as how do we scare carrion birds away from human corpses?  How do we eliminate pests that we’ve accidentally introduced?  (Think of rabbits in Oceania.)  How do we stop birds from getting sucked into jet engines?

Although the book handles these with a light touch, as with most of Roach’s work, it also raises some serious issues.  Solutions to introduced species can involve poisoning that also kills native species it’s designed to protect.  Genetic engineering may have (likely will have) unforeseen effects.  What is a dominating species to do?  We have laws about ownership, after all, and we expect them to be obeyed.  Squirrels, for example, won’t care that you just had to have a sink replaced at great expense.  They’ll gnaw their way in anyway, creating a new crisis right on top of the old one.  Deer cross highways, their brains not yet evolved enough to interpret what a car is—they’ve only been around for just over a century.  (The cars, not the deer.)  They sometimes cross runways too.  (The deer.)  We like animals well enough in the wild— in fact we long to see them.  When they get into our space, however, our rules don’t apply.

As long ago as the Bible, and perhaps before, the question arose of punishing animals.  If your ox gores someone what should you do with it?  I’m not sure Homo sapiens are the best species to be making such decisions.  We’ve shown colossal poor judgment (think of Trump and try to disagree).  We’re actively destroying our own environment, the terrestrial equivalent of defecating in our own fishbowl.  What gives us the right to punish other creatures who are more in tune with what nature tells them to do?  Perhaps the biggest takeaway from all of this is that we may try to make the rules, but the rest of the planet responds to what we might call a higher power.  I’m glad that writers like Mary Roach can show the fun side of it all.

Secret Formula

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When writing fiction, I’ve never tried a series.  Some, such as Harry Potter, can set a writer for life.  I’ve always had the sense that the Dark Shadows novels were more potboilers.  There was a built-in fan base, and somehow in the sixties and seventies we didn’t expect Rowling-level writing.   It was the entire package: the Gothic, the recurring characters, the moody setting of Collinwood.  And of course, Barnabas Collins.  These novels may be journeyman writing, but here at number 25 in the series, Barnabas, Quentin, and the Magic Potion, there are some signs of literary improvement.  They are slight, rather like the first tinging of leaves with yellow as August begins to settle in, but they are there.  The series is nearing its end for me (provided I can actually find the last few books), but maybe it’s getting better.

What’s my reason for such a burst of enthusiasm?  Well, in this episode we see some features of Quentin that are more in line with how I remember him.  First of all, Ross tries some misdirection.  Quentin is presented as a master of disguise in the series and here there’s some clever hinting that, if you’re trying to think it through, leads you to mis-guess early on.  Not only that, but there’s a more positive view of Quentin here.  He’s not the evil satanist that he is earlier in the series.  Perhaps Ross had figured out by now that if people liked the idea of a Barnabas who is a conflicted victim, the same might apply to Quentin.  He’s not evil, but when you’re a werewolf, well, what can you do?

The “magic potion” is just as contrived and sketchy as most of the plot devices in this series—Harry Potter this is not.  It’s just a get rich quick scheme for a reprehensible old man and serves to move the plot along without really adding anything to it.  Carolyn here discovers that Barnabas is a vampire and, it seems to me, some of the plot devices for the Tim Burton movie might’ve been picked up from this particular novelization.  Although still not belle lettres by any stretch, the story here seems to have made some progress over the previous 24.  As a child, of course, I didn’t read these in order.  I relied on what I found at the bin in Goodwill, when I could find them.  I never had the whole series.  While trying at times, reading them may be a worthy exercise as an adult.  Perhaps series too grow up.

Keeping Categories

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Writing books about movies with a limited budget presents some challenges.  Our subscription to Disney Plus doesn’t really help with the horror genre, but my wife insightfully added Hulu to the package.  Now Hulu isn’t known as a horror streaming hub, but they do have some movies on my viewing list.  The other day I noticed one of their offerings with a title I didn’t recognize.  I  tried searching it on IMDb and came up with nothing.  A bit more research revealed it was an episode of an original Hulu series, mixed in with the horror movies.  The eroding of categories bothers me a bit.  It’s not just Netflix and Hulu and Amazon with movies, but it’s across the board.  I grew up when movie and television were easily distinguished.  Now we live with hybrids.

The same is happening in publishing.  When I sit down to write a book I have a specific end-goal in mind.  Everyone knows what a book is, right?  Well, the future of publishing is all about breaking that down.  Already years ago you could purchase aggregates for classroom use.  These were custom-selected chapters from certain books (electronic, of course) that an instructor could bundle into a “textbook.”  You could mix in articles, blog posts, anything to which you had the rights.  Such a textbook is not a book.  Nobody set out to write it in that form.  It looks like things are moving more and more in that direction.  You’ll be able to purchase just a chapter, or even a paragraph, to use.  Even if the book only makes sense when taken as a whole.

Photo by Hans-Peter Gauster on Unsplash

The electronic era is all about breaking down what civilization took centuries to build up.  Not everything about civilization has been good, of course.  It has been patriarchal, treating women unfairly.  It has been supremacist, treating those less technically developed in horrendous ways.  It has been classist, favoring the rich and their interests over those of the vast majority.  Still, it has left us some good legacies—the book, the symphony, the movie.  Such things have made us better people.  It may be fine to break such things down—who knows?  Maybe it will create more fairness for more people.  It won’t help me, however, when I’m trying to write a book about movies.  You still have to know what counts for each category, even if you have to do so on a budget.

Reconstructing Celts

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There are myriads of them.  They come in all shapes, sizes, and colors.  They are believed seriously by the faithful.  Of course I’m talking about religions.  Scholars have been inclined to focus on the “big five” or “six” or “seven,” depending on how you count them, but each of those has sects—some with unbelievable numbers of them.  Christianity alone has somewhere in the region of 40,000 denominations.  I tend to think of them as different religions.  A snake handler has very little in common with the Pope, for instance.  Celtic Reconstuctionism is a smaller religion, but it has a very clear idea of what it is.  The group-written CR FAQ, originally a web document, is a question-and-answer format explanation of this particular set of believers.  It’s fascinating to read.

One thing that immediately stands out is that these are very intelligent and deliberate folks.  They are scholarly, sincere, and clear about what they’re trying to do.  Believing that ancient Celtic religions (for again, there are many) can be reconstructed and refitted for modern use, they learn the languages, read the books, look at the archaeological evidence, and critically engage with other modern religions that borrow from Celtic culture.  Indeed, the inauthenticity of some recent religions’ use of Celtic elements led to Celtic Reconstructionist Paganism.  The CR community is well aware that there are other Celtic revival religions.  This particular sect strikes me as among the better informed regarding the origins of their religion.  Most modern Christians have some vague idea how their empire got started, but they tend to be weak on the details.

Religions have sometimes been deliberately crafted, going back to antiquity.  Zoroastrianism, as far as we can tell, was an attempt by Zarathustra to avoid the pitfalls of indigenous Persian religions.  He wanted an ordered, systematic belief system.  As measured in years it was certainly successful.  It is the world’s oldest continually practiced formal religion.  Both eastern and western religious traditions were influenced by it.  CR is an attempt to live a Celtic religion as if its development hadn’t been interrupted.  Obviously, Christianization of the Celts was a major disruption, but it wasn’t an obliteration.  Most religions manage to survive in the colonizing faith.    Groups worshipping ancient Greek, Norse, Canaanite, and Celtic gods are thriving.  Aware that things have changed, they find value in the pre-Christian religions of their heritage.  If CR is anything to go by, they do so inclusively and thoughtfully.  And for those who wish to learn more, they leave written records.

Banning Ideas

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It’s been in the news lately that some communities, in keeping with the current fascist trends, are starting to ban books.  One of the plays in the Nazi book was to burn them, followed soon after by destroying the people who read them.  Ideas are, by their very nature, dangerous things.  Trying to destroy them by banning books, however, doesn’t work.  The kinds of books being banned are predictable: those that portray races as equal, those that offer understanding and acceptance of those differently gendered or oriented, and books that show the white man caught with his pants down (metaphorically, although in actual life this happens quite often literally as well).  Books premised on lies are just fine, but as soon as we get to ideas that make us think, well, we ban and burn.

Book banning is normally presented as protecting the children.  Something any attentive parent knows is that children understand a lot more than we think they do.  I suspect they realize that books are prohibited because they contain the truth.  Nobody bans a book of “harmless” fantasy—books where white men have all the answers and solve all the problems.  And when they lose their tempers they start wars, which, of course, the white guys always win.  Such stories, based as they are on basic untruths, are fantasy indeed.  Our slow move into the new millennium from the growing awareness of the sixties, has shown us the necessity of looking deeper.  Expanding beyond the stories white men tell to comfort themselves.  Those invested in this narrative are very reluctant, of course, to let it go.

The more we move into the new millennium the more determined we seem to repeat the last one.  That one had a pandemic near the beginning and wars and white men only on the front pages.  The younger generation, thankfully, by and large doesn’t share these poison biases.  They were read to as children.  Teachers and other heroes didn’t ban books, but encouraged reading them.  Local communities are making a concerted effort to break down learning and then we wonder why the United States has the highest infection rates in the world.  If only there were some way to figure out why that might be!  Reading books with uncomfortable truths might be a good start.  Ideas that can’t stand up to logical challenges may not be the best ones for building a society.   Read a book rather than banning it, and see if we all might learn something.

Nine Secrets

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By their very nature they make us wonder what they’re up to.  Secret societies, I mean.  That’s part of their appeal.  Those on the outside speculate and usually the ideas swirl around mysterious rights and probably sex and money.  Leigh Bardugo takes it in a different direction in Ninth House.  Since I try not to read reviews before getting into a book, I wasn’t aware of the premise that the secret societies of Yale University were the nine houses referred to in the title.  Bardugo’s imagination takes the route of suggesting that they all specialize in different kinds of magic.  That makes this kind of a fantasy horror novel because the protagonist, Galaxy Stern (“stern” is, of course, German for “star”), can see ghosts.  And some of the professors aren’t who you think they are.

Somewhat gritty, Alex (Galaxy) isn’t exactly college material, let alone Yale.  She’s a recovering drug runner who has a past that would keep her out of most universities, particularly those of the Ivy League.  Still, she’s invited to Yale and she has some personal motivations, not necessarily academic, to accept.  She’s brought there by the ninth house, Lethe, because of her ability to see ghosts.  As portrayed in the novel Lethe is the secret society that makes sure the others don’t go beyond their bounds, the police, if you will.  Each society specializes in a specific kind of magic and it uses it to help its members benefit in school and career.  That’s why the university is so well funded.  It paints a compelling image of New Haven and it manages to capture the mystery many of us felt about attending college in the first place.

Yale is one of the two Ivy League campuses I’ve never been on (the other is Dartmouth).  Even so, Bardugo writes in a way that makes you feel as if you’ve been there.  The story is a page-turner that goes quickly for its size.  Alex, who is a novice in Lethe, spends the novel trying to find her mentor, Darlington, who’s been missing since some bad magic got him.  There are many unexpected twists along the way.  Although I don’t know much about Bardugo’s past, it seems likely that she knows some people in the drug culture.  Maybe she’s even seen some ghosts.  All of this combines to make a magical read that should appeal to Neil Gaiman fans as well as those of Stephen King.  And, of course, those who like to speculate about secret societies.

Can You Recall?

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While recently in touch with a colleague I’ve never met, I agreed to send along a filmography of my two horror movie books, Holy Horror and Nightmares with the Bible.  I tend not to read my own books after sending them to the printer.  Defensively it might be that I can say, “I know what I wrote,” but in reality it’s probably more a lack of self-assurance.  Writers often experience self-doubt and although you’ve convinced an editor and an editorial board you may still have your harshest critic to please.  Even though you’ve read the book many times through—at least fifteen each for these two books—you fear you might’ve overlooked something.  So it was strange trying to recall which films I’d actually discussed.  Or how many.

The latter point became clear in a recent review on Reading Religion.  Knowing how I went about piecing together Holy Horror, I’d forgotten just how many movies I watched and rewatched for it.  While it was never intended to be a comprehensive treatment of the Bible in horror (I haven’t seen all horror films), it nevertheless ranges widely.  After having submitted it I continued to watch horror and I continue to find various Bibles in it.  The amazing thing is just how truly widespread the Good Book is as an iconic symbol.  Indeed, I’d been reading about the Bible as an iconic book and that idea took hold in the early days of putting words down for the book.  As an editor I help authors figure out these kinds of issues all the time.  Physician heal thyself.

Even though Nightmares with the Bible just came out over a year ago I couldn’t list all the films off the top of my head.  Sometimes you need reminders.  My books are never discussed at work.  The people I interact with on a daily basis have no interest in them.  In other words, unless I’m having an interview or reading a review, I don’t have much opportunity to think about them.  I’ve moved on to my next projects.  The draft of The Wicker Man has been submitted and I have three promised articles to work on.  Still, I’m trying to settle on the next book.  I seem to have found some acceptance among the horror crowd.  Biblical meteorologists and researchers on Ugaritic goddesses are much less seldom in touch.  Monsters are often mixed forms.  I should know that after watching all these movies.

Others’ Weeping

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I was first introduced, consciously at least, to la llorona via the movie, The Curse of la Llorona.  The film is part of The Conjuring universe, but just barely.  It was clear from the movie that the weeping woman (la llorona) wasn’t invented for the film.  I’ve never lived in, or even spent much time in, the southwest.  Even less in Latin American countries.  In my rather strange career path, the best source of such things to penetrate my own experience tended to be my students.  (Those who think professors do all the teaching have the equation backward.)  Since becoming more isolated as an editor, my interactions are often someone approaching me with an idea mostly formed, often fully formed, and few of them have to do with ghosts or folklore.  That’s why I found Domino Renee Perez’s book There Was a Woman: La Llorona from Folklore to Popular Culture such a treasure.

As an Anglo reader endowed of white privilege, it’s important to read books where I’m clearly the outsider.  Being a kind of historian, I was curious about the origins of the tale.  As a person living in the modern world I was also interested by its reception history.  This book contains many, many examples of the latter.  It will demand that the outsider reader accept unfamiliar names and cultural conventions.  It will, in some ways, force you to stand “south of the border” and face the suffering our nation has caused and continues to cause in the name of white supremacy and its adjunct, capitalism.  There are other ways to be in this world, but when money gets involved all bets are off.

There’s much to discuss in a packed book like this, but one aspect, near the end, caught my attention.  Briefly, if you don’t know the story, la llorona is a woman betrayed by her husband.  She drowns their two children and is condemned to wander the riverbanks for eternity crying as she searches for them.  Interestingly Perez makes the connection with Rachel in the Bible.  I’ve read the Good Book many times and yet I seem to have missed Matthew’s use of Jeremiah’s interpretation of Rachel’s story.  Joseph was kidnapped and sold to slavery by his brothers but Genesis focuses on the grief of Jacob.  Rachel doesn’t live to be reunited with her lost son like Jacob does.  Perez makes the point that the stories are quite different, but it showed me once again how much I have yet to learn.  We need to pay attention to those who experience life differently.

Write It Down

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Those of us with a bookish outlook often wish we could look things up.  This comes to mind because of a recent documentary I watched, but the thought has occurred many times when visiting museums, particularly for special exhibits.  I’m pretty easily overwhelmed by too much information at once.  In a museum I have trouble reading all the placards and remembering how they tie in because there are so many interesting artifacts to look at.  I leave inspired and impressed and wishing I could look up the information I just read.  I’ve often wondered why museums don’t sell exhibition books that have photographs of the objects with replications of the placards describing what they are.  Maybe it’d just be a market of one, but I’d buy them.

The same thing is true of documentaries.  I’ll readily admit I’m poor with names.  It takes many interactions before a person’s name sticks with me.  (It’s nothing personal, I assure you—it’s just the way my brain works.)  When I watch a documentary I often wish a booklet accompanied it with the names, and credit lines of the interviewees and (because I know this is available on IMDb) a full bibliography.  The books mentioned.  You see, those of us inclined to research enjoy looking things up.  In the case of a long documentary (and that’s only if you subscribe or buy it instead of “renting” it for a one-time viewing) it means having to skim through it all again to reach the information that you could easily look up in a book.  Books are wonderful.

For me, one of the benefits of books is their stability.  Electronic resources change.  When you go to cite a website as a source you have to list the accessed date because things may have changed.  The book on your shelf remains reliably unaltered.  The few ebooks I’ve read come with marks in them.  There’s probably a way of turning this off, but I don’t want to see what other people think is noteworthy.  I suppose it’s supposed to make reading a communal experience.  Reading, in my experience of it, is mostly a private things.  One of the great joys in life is talking about reading with others, whether it’s the same book you’ve read, or a different one.  Why not add to that by making books to go with other species of information-sharing, such as museums and documentaries?  Those of us with a bookish outlook aren’t hard to please.  We just like to have it down on paper.

Movie History

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We take much for granted.  Consider the movie.  We all know what movies are, and, prior to 2020 we all knew what the experience of going to the theater was.  Some of us even recall the drive-in experience.  Technology (and the pandemic) has changed all that.  People now watch movies at home, or alone on their devices.  Nevertheless, we still recognize what movies are and, being creatures drawn to story, we tend to enjoy them.  In fact, many theorists of myth see cinema as the new mythology.  Myths give us meaning and we tend to find meaning in films.  We also find information in them.  One of the points I’ve argued in my own work is that people learn about their religion from what they consume in the media.

Geoffrey Nowell-Smith offers a compact introduction to how we got here in this little book.  The Very Short Introductions have wide recognition among those who want to learn something authoritative without taking too much time to do it.  This introduction to cinema history is a wonderful overview of a complex subject.  A few things became clear to me in reading it: cinema began as, and remains, an artistic industry.  Other art forms developed as personal expression of visual, aural, or written expression.  They eventually codified into art forms such as painting, symphonic music, or novels.  Cinema, instead, grew out of the film industry and sought to become a new way of expressing artistic ideas.  Clearly it has done so successfully.  Not only that, unlike other art forms, it has always been a business.

Initially, photographic equipment was too expensive for most dilettantes.  Studios brought together people with skills in the many areas required to put a movie together.  You needed actors, directors, film developers, sound engineers, props and crews to make sets.  Indeed, most art—such as book writing, or music albums—is a group effort.  Movies especially so.  And these people have to be paid.  Film has, and has always had, a profit motive.  While you get the sense that many artists would’ve painted even if they starved (and many did), and that most of us who write will do it regardless of not getting any profit from it, cinema would’ve collapsed without it.  There’s a lot packed into this small book.  For those who may have been reading about film for many years it will contain startling insights.  A wide-angle book with a variety of lenses, it brings many things into succinct focus.

Getting Used

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Unknowing is a blessing in disguise sometimes.  There is so much to learn and, regrettably, little time outside work to do it.  Books are my life.  I work in publishing, so I know a passable amount about the book business.  I have much still to learn.  To support my research, which doesn’t include a university library, I often have to purchase academic books.  I know quite a bit about academic book pricing (hint: what the market will bear), and I know that it’s assumed academics have university professor-level salaries.  The “independent scholar” is as much a ghost as the next revenant.  So I buy books used.  The best clearinghouse I know of is Bookfinder.com.  They list other sellers who have the book and facilitate your buying of it.  I strongly suspect they take a small cut.

While looking for an obscure book (it pains me to say, for I met the author), I wondered if Amazon’s used copy had the lowest price.  So I went to Bookfinder.  The Amazon copy was there, along with seven comparably, slightly lower, priced other copies.  Reading the descriptions, I realized these were different vendors hawking the exact same copy of the book.  Some of the description wording was oddly specific and that led to this epiphany.  Down at the bottom was a lone seller some $4 to $5 dollars cheaper, selling the book directly.  Navigating to this page I discovered it was the self-same book—the same physical book being marked up by the other vendors.  Each reseller along the way, with wider reach, stopping at Amazon with the widest reach, was charging a finder’s fee for this same object.  It was available directly from the seller.

Used books are a thriving business.  Many publishers these days are focusing on “the electronic future,” scratching their heads that people are still reading paper.  What will happen to walking into that impressive library?  Have you ever walked into someone’s impressive iPad or Kindle?  It looks the same no matter how many electrons you add.  The internet has been taken with the photo of the late Johns Hopkins humanities professor Richard Macksey’s library.  Would it be possible to have walked in there and not been impressed with the obvious love of books?  As a Hopkins professor I doubt he had to resort to used books much, but I kind of think he probably did anyway.  Bibliophiles are like that.  A first edition is a thing of beauty forever.  And so I find myself on Bookfinder and I’m willing to give them a cut just for the privilege of holding a coveted book.

Richard Macksey’s home library. Credit: Will Kirk/Johns Hopkins University

Making Noise

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There’s a real danger, it seems, to having an open mind.  We live in a world defined and classified by materialists.  They hold sway not only over science and commerce, but in whether prestigious jobs are on offer.  Consider the case of William Roll.  Roll was a fully credentialed psychologist with an interest in parapsychology.  His book The Poltergeist is a classic in the field.  He’s now frequently called a “credulous investigator.”  What that means, of course, is that he listened to and sometimes believed the people who reported the paranormal.  For materialists that discussion is already closed.  Anyone who tries to pry it back open is ridiculed and called names.  (We’re all adults here, right?)  Yet his classic book still gives pause.

If you actually read it, “credulous” is not a word to suggest itself.  Could Roll have been tricked by clever pranksters?  Yes.  Most people, even clever pranksters, can.  If someone is caught hoaxing a phenomenon, does that mean the whole thing is a hoax?  Not necessarily.  It’s here the materialists swarm.  Interestingly, Roll acknowledges that there could be good psychological reasons for hoaxing after a genuine event.  The person caught hoaxing perhaps realized the benefits of the attention received when something unexplained occurred, and learned how to replicate, or at least imitate it.  People will do anything for attention.  Roll asked a bit more finely parsed question: does hoaxing discount genuine phenomena?  He even tried to get experiencers to the lab where controls could be put into place.  As this book demonstrates, he doubted some of the cases and did so openly.

I became interested in Roll after watching A Haunting in Georgia.  The Wyrick family maintains that the events happened (I’ve written about a book penned by two of the aunts), and they seem sincere.  The problem is money.  Once there’s potential money to be made the skeptics come out, claws bared.  The problem is we all have to make money to survive.  If that involves “capitalizing”—even that word betrays much—on weird things that happen to you, skeptics claim it’s all made up.  There’s an ulterior motive.  For most of us there’s an ulterior motive for going to work, too.  For me, Roll appears to have been sufficiently skeptical.  Statistical anomalies shouldn’t be simply dismissed.  If they are, it’s possible we’re missing something important.  While this book may not have aged particularly well, it is still worth reading with a mind at least a little bit open.  

Nightmares with Poe

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A review of Nightmares with the Bible recently appeared in which the reviewer said he didn’t get the Poe references.  Indeed, the anonymous reviewer said the same thing.  What neither of them understood is that Edgar Allan Poe has been formative for my life and that book was a tribute to him.  Did Poe write about demons?  Not really.  Did he once claim that the death of a beautiful woman was the most poetic theme?  Yes.  I saw the opportunity, in discussing possession movies, to draw Poe’s observation into the conversation.  Could the book have been written without it?  Yes and no.  Yes, I could’ve written a book on demons without mentioning Poe.  No, I would likely not be writing books at all were it not for Poe.

Today is Poe’s birthday.  What is this strange attraction I have for him?  It began, as most things do for me, with growing up poor.  We couldn’t afford bookstore prices, and that’s even assuming there was a bookstore nearby (there wasn’t).  I found the majority of my reading material at Goodwill in Seneca, Pennsylvania.  The shop had a book bin or two with prices I could afford (books were a quarter, if I recall).  I found a copy of Poe’s Tales of Mystery and Terror there.  I probably heard about Poe from my big brother—he’s a good source for scary information.  Reading Poe, I wanted to read more.  We couldn’t afford Scholastic school fare rates, but I did find a four-or-five volume collection of Poe’s writings at Goodwill.  Foolishly, I bought only two—those with his stories.

By high school I was checking out biographies of Poe from the library.  Perhaps as the child of an alcoholic I identified with a man who seemed so tormented.  I count his stories still among my favorites.  My favorite short story is, I believe, “The Fall of the House of Usher.”  It has come back to me at several points in my life and I find myself thinking about that gloomy house.  Particularly the narrator’s arrival there.  So full of possibilities.  So much potential fear.  Those of us who consume horror have a gateway to it—some event, or influence, or person who introduced the aesthetic of fear to us.  For me it was Edgar A. Poe.  Nightmares with the Bible is of a piece with Holy Horror.  To leave Poe out of it would’ve been the worst kind of sacrilege.