Long Winter

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I have to confess that I often feel uncharitable towards very long books.  Mainly, I think, that is because one of my main blogging topics is books and when it takes a long time to read one I have to come up with other things to write about.  Still Dan Simmons’ The Terror had been strongly recommended.  I found it in an indy bookshop on independent bookstore day and began reading it sometime back in May.  It started out strong, but about three-hundred pages in began to feel a bit tedious and self-indulgent.  (I’ve done that myself with my fiction, so this criticism is also aimed at the one writing this reflection.)  In case you haven’t read it, the Terror of the title is HMS Terror, the ship captained by Francis Crozier under the command of Sir John Franklin, captain of HMS Erebus.  Both ships, seeking the northwest passage, froze in the Arctic ice in 1846 and their combined crews of 129 died without ever being found.

That’s a strong basis for a horror novel.  Your mind can’t help but wonder what it’d be like to be stuck in the dark, sunless winter, temperatures well below what most of us could survive, and realizing that you were never going to get out.  Simmons traces the story arcs of several of the crew that historically populated the ships.  Since there were no survivors, just about anything is fair game.  Including creating a monster to attack them.  Even as I began to warm to the book in the last hundred or so pages, it seems that some of this could’ve been trimmed and the same sprawling majesty been preserved.  Maybe I’m just jealous because none of my novels have been published and I keep being told you have to keep things short to get any traction.

In any case, by the end of the book I was really drawn in.  This was after the villain got his own, and Crozier starts to recognize the indigenous Arctic people for their truly remarkable survival skills.  (Not vegan friendly, of course, since vegetation doesn’t thrive in ice-bound conditions.)  It comes to a remarkable conclusion and I gradually found myself letting go of my petulance for having to invest so much time in one book.  I’m a slow reader with a very large pile of books yet to read.  In any case, Simmons won me back.  I quite enjoyed his Night of Summer and A Winter Haunting many years ago.  If you’re not afraid of big books, and you’d like to read about what can go wrong with a group of men trapped in the Arctic, then The Terror may be for you.

Spliced

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Predictably, I watched Splice again after reading the novelization by Claire Donner.  It is, as I indicated in my post on the book, a sad story.  During this rewatch, a few things stood out.  First and foremost, how many times you must rewatch a film to pull off writing the novel.  Either that, or hit the pause button constantly.  When I was writing Holy Horror I did both of those things quite a lot.  A detail you want to catch, and you have to see what’s on the screen.  I’d pause a scene and put my face right next to the screen, seeing individual pixels.  You have to know your stuff.  Another factor is that actors really do have influence on your understanding of character motivation.  An ambiguous look for the camera comes away pregnant with meaning in the novelization.

The emotional life of the characters is really filled in, in print.  The movie felt like it was going too fast.  That’s a finger on the pulse of reading a book versus watching a movie.  For a writer a movie deal can be a real boon but often you read about how they dislike the results.  That’s really no surprise.  A book takes time to read and you reflect as you go.  Movies hit you with constantly shifting images.  Both can be powerful media, but in different ways.  Another thing I noticed (I hadn’t seen the movie for thirteen years before reading the book) is that the mental image I’d formed of the characters was quite different from what the actors looked like.  

In the introduction to the novelization, screenwriter and director Vincenzo Natali notes that he likes how Donner explores Dren’s inner life.  Dren, in case you’ve not read or watched, is the hybrid.  Indeed, that is an element largely missing from the movie.  Some critics suggested that it should’ve explored that more.  For many of us, emotion is a major motivating factor of life.  We are frequently driven by our feelings, and, despite what AI says, they are integral in our thought process.  What was going through the mind of a creature, part human, with no parents?  I know that having grown up not really knowing my father left deep impressions, voids, in my life.  The novelization explores these kinds of things for all the main principals.  In my opinion, reading the book enhances watching the movie.  Of course, I’ve always been on the book side of the equation to begin with.  

Novelization

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I watched the sci-fi horror film Splice a few years ago.  Long enough that I don’t recall many details.  When Claire Donner, a friend of mine from Miskatonic Institute of Horror Studies, told me she’d written a novelization of Splice, I knew I had to read it.  If you’ve seen the movie then you know the story.  If you haven’t, you can read it in her book.  I don’t often read novelizations—I read the one for Tim Burton’s Sleepy Hollow, and as a young person read the original three Star Wars novelizations.  Such books really only apply to movies not already based on a novel, of course.  They give the reader a path into the inner lives of the characters.  Naturally, now I have to watch Splice again to see it through Donner’s lens.  The basic idea, if you want some encouragement, is that a couple of scientists add some human DNA into a gene-spliced animal being lab grown for enzymes to fight disease.

In the rawest sense, this is the story of Frankenstein for a more technological crowd.  Like Frankenstein, it is a sad story.  And like said sad story, it involves reproduction without two human parents.  The real builder this time, however, is Elsa and Donner gives considerable development to her motivations and thought process.  (I’m very curious to know if I can see that in the movie or not.)  Clive, her partner, isn’t aware of the source of the human DNA.  The spliced creature grows into the passably human Dren, who finds herself asking the questions Frankenstein’s creature asked about his own existence.  Like said creature, Dren has to be hidden away, and controlled.  At the same time, she is evolutionarily superior to her maker.  There’s a lot to see here, folks!

Having written a fair bit of fiction in my time, I do wonder what it might be like to do a novelization.  I suspect most of us, if a movie is well made, decide on the motivations of characters but how often do we delve into their inner lives?  I’m not sure that I do that most of the time.  When I write fiction I do it all the time.  I want to know my characters and why they are the way they are.  Sometimes they remain mysteries to me, but that doesn’t prevent me from trying.  This novelization is deftly done, and approved by the screenwriter/director.  And the deep motivations make the scenario plausible.  If you haven’t seen Splice you might enjoy doing so.  And then read the novel.  Or the other way around.

Bad Boy

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I’m still trying to figure out what I think about it.  The introduction by Grady Hendrix got me interested in the novels of Ken Greenhall.  The introduction was in Hell Hound and it described how Greenhall’s books whispered horror rather than shouted it.  That’s also true of the horror stories I write, and it’s clear I still have plenty to learn.  Baxter is a bull terrier whose thoughts are recorded for part of each chapter in this short book.  What we read isn’t terribly welcome.  Baxter is aware and intolerant of human weakness and he has a strong will.  So strong that he uses it to get people he doesn’t care for out of his way.  At the same time, as the story unfolds, you can’t see Baxter as evil.  He obeys his nature but he has morals.  Spoilers follow.

His first owner, an old woman with little joy in life, is his first victim.  He’s adopted by a young couple but they’re about to become parents and when they do his jealousy appears in the worst way.  They couple give him away to a young boy who aspires to be a Nazi.  A fan of Hitler, he appreciates Baxter for his power and his, as he thinks, killer instinct.  But Baxter doesn’t kill for the sake of it.  Misguided as he might be, his kills all have a purpose.  The boy is a bit different.  He demonstrates his callousness by trying to have Baxter kill another boy.  Then the Nazi kills the pups Baxter has sired.  The two face off and the story is written well enough that you find yourself hoping that Baxter will prevail.  But alas, opposable thumbs do give a fatal advantage.

It’s unclear by the final chapter how much, if at all, the boy has changed.  He knows how to manipulate others and his own interest is what guides his actions.  It’s kind of a bleak story in the end.  It is, however, well told and compelling.  Greenhall wasn’t known much during his life, but he did manage what’s rather difficult today—he had a series of novels published.  He died over a decade ago and is now starting to be recovered.  That’s often the sign of quality writing.  Those who make an impact are often overlooked in their own time.  Hell Hound isn’t my favorite horror novel, but it is a strangely affective and effective one.  And it shows that dread need not take place over many hundreds of pages to work.  I’ll likely be coming back to Ken Greenhall for more.

Field Hockey

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Friends recommended We Ride Upon Sticks by Quan Barry.  I’m glad they did.  A woman-empowering novel, it ties together so many important things: what it’s like to grow up as a girl, what it means to trust other people, and the importance of believing in yourself.  My experience of reading it as a man at times made me want to apologize for my sex.  So many guys have trouble reining it in and that leads many women to feeling uncomfortable, or even threatened.  The book’s also a great story of awakening to who you really are.  Set in Danvers, Massachusetts in the late 1980s, it’s the tale of the girl’s field hockey team and their “deal with the devil” to win the state championship after being a team having a reputation for losing.  The eleven players on the team are sketched so wonderfully that you get a good idea of that many distinct protagonists.

There is a tie-in with the Salem Witch Trials—much of which actually played out in Danvers.  Although the assumed implication is that the girls begin winning because they’ve made a pact with the darkness, the story doesn’t give it up that easily.  There’s a subtlety at play here and even if you’ve never been on a sports team, the sense of camaraderie is palpable.  The real magic comes in believing in yourself.  Barry is eloquent about such life and how it can change you during the difficult period of adolescence.  I’m always impressed with adult writers who can capture so well what coming-of-age feels like.  For many of us, I expect, there is a trauma associated with it.  Cultural expectations on young women are burdensome in so many ways.  At the same time this story is so well written that you hesitate to put it down.

While I never participated in high school or collegiate sports—I have no particular gifts in that regard—regular readers may find it difficult to believe that I played on the Nashotah House football team for a couple of years.  Lest you get the wrong idea, the seminary played one annual game of flag football against Seabury-Western Seminary in Chicago, styled as conservative vs. liberals.  I was younger, and in better physical shape than many of my students, so I made a team effort for a couple of years.  Still, the team spirit demonstrated in We Ride Upon Sticks is of an altogether different sort.  Fun and thoughtful at the same time.  It’s the kind of book I’m glad to have pointed out to me.

Story Book

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Book people, ironically, often don’t know much about how publishing works.  That’s not a condemnation; I was the same way before I took up a job in editing.  “I’ll write a book and let someone else handle the details,” was pretty much the thought process.  Now I find the whole enterprise fascinating.  The Untold Story of Books by Michael Castleman is an important book.  It is one of the most clear-eyed accounts of publishing that I’ve encountered in my long years at this practice.  There are many myths busted here.  Most—the vast majority of—writers make very little money from books.  Most never become famous.  Publishing is a low margin business.  We see the Stephen Kings and Dan Browns and say, “that could be me!”  Dreams are fine and good and sometimes come true, but writers write because that’s who we are.

As someone historically inclined, I was primarily interested in the storied days of early publishing.  This is what Castleman calls the first book business.  You didn’t expect to make much money from publishing in those days; you usually had to pay for the privilege.  Then publishing became a business.  I found this part of the story utterly fascinating.  Publishers and authors have often been at loggerheads.  Authors tend to come out on the short end of the stick (don’t quit your day job!) and Castleman doesn’t pull any punches here.  This is valuable information.  It also helped me understand why it seems that so few people in the publishing industry are authors.  I know a few besides myself, but not many.  There are reasons for that, and this book helps the curious to explore them.

Publishers began mergers for practical, if capitalistic, reasons.  Among presses that sell primarily fiction (or trade nonfiction) there are two main sources of income: bestsellers and backlist.  The backlist is the unsung bank of many publishers.  Bestsellers may be stocks, but the backlist is bonds.  Balancing these, publishers get by.  And of course, many are bought out by bigger companies.  As I mentioned here before, there are really only five big publishing houses in the English-language market.  They own most of all the publishers that may be household names.  Castleman also goes into the third book business, which covers publishing in the electronic era.  I love his sense of optimism.  Books are durable and people do enjoy reading.  Castleman has had more success with his writing than I’ll ever have, but reading him is like meeting a friend who understands what compels you to write.  Even if the devil is in the details.

Books Left out

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I’m still working on my bibliography of this blog.  It’s going to take some time yet to finish it.  One of the things that has surprised me already, though, is the number of books I read but didn’t discuss here.  In the first five-plus years of this blog I tried to tie every post in to religion.  A friend had told me that staying on topic would get me more readers and I think he was right.  I now discuss many subjects and my readership has fallen off.  But my writing in general has moved away from all religion all the time.  The real loss, however, is that many very interesting books didn’t get discussed here.  Were I to want to do so I’d have to go back and re-read them.  And I don’t have time for the reading of the books required for my current book project.

Books have defined my life since I got past that stage of eating candy and running around to burn off the energy.  I began early with the Bible but started reading seriously when I was a tween.  And I haven’t stopped.  My bibliography, and this is just a guess, has about 600 books on it so far.  These are books that I’ve discussed on this blog.  Goodreads shows me I read far more than that since 2013 (this blog began four years earlier than that).  I don’t regret being a bookworm.  The neighbors might be out mowing the grass, but I’m behind a book living in a different world.  Maybe for a future project I’ll take the books from Goodreads that didn’t make it to the blog and give them their own post.  It might cause red cheeks because I remember that some of them I didn’t post on because I was embarrassed for having read them.

You see, to publish fiction you’re often told to read books from the independent publishing houses to which you’re pitching.  That accounts for several of the no shows.  Early in my blogging life I avoided posting on the paranormal (I like weird things—they help with writing), those books didn’t show up here either.  Others simply weren’t religiony enough.  Or I couldn’t think of anything to say about them.  Still, it might be interesting sometime.  Goodreads has my list at over 1,100 books at the moment.  I’ll be curious to see how many have shown up here.  I was in my late forties in 2009, when this blog began.  I’d been reading for some three decades before that.  How many books?  Well, the bibliography won’t be half the story.

Spiraling

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I’m not the world’s biggest manga fan, so when I post about it it’s a safe bet a friend lent me a book.  This happened a few years back with Kouta Hirano’s Hellsing series I blogged my way through.  (I don’t own the books so please don’t come knocking at my door.)  Another friend recently let me Junji Ito’s Uzumaki.  I lack the finer points of manga (or anime, for that matter) interpretation, but I see the appeal.  Both of these series are horror, and my friends know that I read and watch horror.  Uzumaki is fascinating in the sheer number of ways it involves both body horror and folk horror.  There will likely be spoilers here, so be warned.  It’s all about spirals.  At first I had difficulty seeing how they could be made scary, but there are some seriously disturbing images in this work, if you read through the entire collection.

The story follows Kirie Goshima and her boyfriend Shuichi Saito and their life in Kurouzu-Cho, a town infested with spirals.  The spirals become the vehicle of horror as some people go insane because of them, but others twist into spirals, or have spirals cut into their bodies, or become jack-in-the-boxes, or grow into snails with spirals on their backs, or turn into vampires because of umbilical cords.  The town is plagued with hurricanes and tornadoes.  The ancient lighthouse’s beam becomes an incinerating spiral.  There’s no way out of the town because all exits spiral back into it.  People who stay in the old houses in town twist into each other’s spiral bodies.  That kind of thing.  Kirie (and her family) and Shuichi try to escape but end up surviving until it becomes clear that an ancient spiral culture still has a grip on the town and it will never let go.

As a kid, much to my mother’s chagrin, I used to read American horror comics.  Some of them contained images frightening to a child.  I really wasn’t expecting that this could be replicated on an adult level, but I’m willing to admit I was wrong.  Uzumaki  is compelling as horror.  Creative and bizarre, the comic shows what can be done with a concept that is pressed for more and more ways of developing fear from something otherwise quite benign.  Junji Ito has an eye for horror and my limited exposure to manga makes me think I’d be open to borrowing more of it.  If I can fit it into my spiraling schedule.

Still Early

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I’ve been thinking quite a bit about the history of horror movies of late.  Although they began being labelled “horror” in the early 1930s, the idea had been around for some time.  When I learned that the problematic director D. W. Griffith presented an early horror film based on Edgar Allan Poe in 1914, I had to see it.  Fortunately it’s easily found.  Long in the public domain, this silent film can be watched in its entirety on YouTube.  The Avenging Conscience is an adaptation of “The Tell-Tale Heart.”  The set-up is quite different, and it has a happy ending.  The characters aren’t named, apart from the sweetheart, who is called Annabel.  She’s taken from Poe’s poem “Annabel Lee,” which is also used in the film.  A young man owes his good fortune to his uncle, who raised him as an orphan.  When he falls in love with Annabel, the uncle objects.  The lad owes him loyalty.

The young couple decide to break up, so as not to upset the uncle.  The young man has been reading “The Tell-Tale Heart,” and thinks about killing his uncle.  He falls asleep in a chair and when he awakes decides to do the murder.  He is witnessed, however, by a passer-by.  He has to pay him off, but he is now free to pursue his love.  He walls the body up next to the fireplace.  A detective, alerted by the uncle’s friend, interviews the young man and the tapping of his pencil reminds the nephew of a beating heart.  He begins to see the ghost of his uncle.  His guilt eventually comes out and he begins a shoot-out with the detectives.  When he can’t win, he hangs himself, which causes Annabel to leap off a cliff in despair.  Then he wakes up.  The uncle is still alive, and has had a change of heart about the young lovers.  The couple marries and a weird coda involving Pan and some strangely dressed children, apparently a book the nephew wrote, winds things up.

The ghosts, insanity, and the murder mark this as early horror.  Although the actual deaths, except the uncle’s, take place off screen, they are still horror territory.  And, of course, horror properly didn’t quite exist.  Although The Avenging Conscience can’t really take credit as the first horror film, it is certainly an early one.  And it is based on Poe.  Silent, black-and-white, and not really scary at all, this movie has a place in the history of what we now recognize as horror. Watching it is to watch a bit of history.

Paper Writer Back

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We need to push back against the technocrats a bit more.  A story in Publishers Weekly recently affirmed what many of us know—people prefer books in print.  Ebooks have been shoved at us for years now and in academic publishing there’s been a trend away from print to electrons.  It was cheering to see in the same issue of PW that some British publishers are actually listening to readers and starting to release paperbacks first.  Imagine that.  People will read if they can afford to do so, and they do buy books.  And when I say books, I mean objects made of paper.  I don’t have a paper phobia.  I enjoy holding and reading books.  The only ebooks I’ve ever read were those I couldn’t access in print.  When I sit down to write a book, I have an image of a specific object in mind.

Technocrats are fond of telling us what we should prefer.  I wonder who died and made them king.  Or God.  If I recall correctly the latter preferred to write on stone.  That might create a few storage issues, but at least it was physical.  Consciousness, which we’re still a long, long way from adequately defining, can’t be captured in electronic form.  AI can pretend to be human, but it isn’t.  Nuance, subtlety, and embodiment are all missing.  We need to say that they need to stop telling us what to do.  Even as I was writing this post my laptop showed signed of requiring replacement.  To me, five years is a bit young to consider something old aged, but that’s what our tech masters tell us.  Thinking back over my laptop history, my previous computer lasted, let’s see, about five years.  It happens that this is a bad time for an expensive, unplanned purchase.  The tech lords have made the alternative unthinkable.

By my count, I’ve purchased six laptops over the course of my life, all primarily in the service of writing.  And they average out, it seems, on about five years.  This blog was started three laptops ago.  And the years seem to be going faster and faster.  I do most of my writing in a room filled with printed books.  I spend a lot of time in this room reading said books.  Tech has me caught between two worlds.  I’m trying to reconcile myself to spending a large amount of money after being scammed (by people using tech) last year.  If only I had a book to help me decide what to do.

Thorough

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It was a warm summer’s day, sometime in the mid-eighties.  I was living in Boston and some friends asked if I’d like to go to Walden Pond, outside Concord.  I’d read Henry David Thoreau’s Walden, so yes, please.  I knew Thoreau was an early Massachusetts Transcendentalist, mystic, and nature lover.  That particular day we were the only ones at the site where his cabin in the woods once stood.  I suspect that, being there with friends, it wasn’t as contemplative a trip as it would’ve been had I made it alone.  Still, here we were, nearing a century-and-a-half after his death, remembering him.  My wife and I recently watched the PBS three-part documentary on Thoreau, and I learned a lot about him.  He was admirable in a way that few public figures are today.  What’s more, it’s clear that he’s widely appreciated as a visionary and believer in freedom.

Image credit: Benjamin D. Maxham, public domain (via Wikimedia Commons)

Writing in the nineteenth century, it seems, got you noticed much more than it does now.  Thoreau had profound things to say.  He had strong convictions about abolition and being shuffled into an existence of work, forced from being free.  He was able to live the way he did largely because he didn’t need many things.  He also had famous friends, Ralph Waldo Emerson, for one, who gave him a place to stay when he had none of his own.  The documentary makes the point that, despite being a hero to many, we’ve gone ahead and built the world Thoreau most feared.  Few, or at least a few of us, find that work doesn’t define us.  Writing, it seems, still helps with that.  Those of us born to write do so, and long days “in the office” must be endured to come to life when writing is again possible.

If you think deeply about it you start to realize that we’ve allowed ourselves to be hoodwinked by economics.  If you have a mortgage you know this to be true.  Or if you have a medical condition—you can’t afford not to have a job without insurance.  Thoreau, it seems, lived with the tuberculosis that ultimately killed him pretty much all of his life.  And he died too young, we feel, because he had so much to say.  So much to say that was worth listening to.  Such writers are rare today because, like everything else, writing has become a business and some readers even prefer things “written” by AI.  And yet I remember that warm summer’s day and think of a placid time still earlier when one might’ve met Henry David Thoreau in the woods.

Walking Sleep

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It has been suggested to me that I might try screenwriting.  I’ve always resisted this, even though some of my fiction may be movie-worthy (one editor told me it was, but then I have a huge stack of rejections from others).  In any case, I had high hopes for Sleepwalkers.  I’d never heard of it before, but I saw that it was Stephen King’s screenwriting debut.  Not all novelists can, or should be screenwriters.  I like King’s novels.  The only one that really didn’t wow me was The Tommyknockers, and even it was well written.  This movie struggles.  Part of the reason is, undoubtedly, that directors depart from the script sometimes.  And the budget doesn’t seem to pay off its estimated 15 million.  For one thing, it’s set in Indiana but the scenery is clearly, clearly California.  They didn’t even try to make this look like the Midwest.  And the acting isn’t great.  The little jokes fall flat.  Something’s wrong in Kansas.

The story seems promising enough.  Sleepwalkers are shapeshifting cat people.  They’re also psychic vampires, drawing their energy from virginal girls.  So far so good.  Then it gets weird.  They transfer energy to each other through incest.  And they can turn invisible.  And turn cars invisible, even at a distance.  They’re super strong and can survive gunshots.  You can kill one by poking its eyes out, however.  And cats are their natural enemies, setting them on fire if they scratch them.  Slow down—there’s too much going on!  And there’s a quasi-comedic tone that prevents this movie from ever really feeling like a Stephen King novel.

A couple of things: those of us who write horror often find humor in our stories.  Sometimes we just can’t avoid it.  And the other thing is writers are often typecast.  For example, we think of Edgar Allan Poe as a horror writer because his best known stories are the scary ones.  Poe wrote funny, however.  And what we’d call, for lack of a better word, literary fiction.  Writers write.  Other people categorize.  In the case of Sleepwalkers, however, it does seem that it was intended as (it was certainly advertised as) horror.  And it has horror moments.  It also has quite a bit of sympathy for the monsters, which isn’t a bad thing.  Predators have to feed—that’s the way of nature.  The sleepwalkers are, to all outward appearances, human.  And they have human emotions.  Stephen King’s first screenplay wasn’t his best work, but we all have to start somewhere.

Dr. 2 P 2

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Before reading Lord Byron’s Doctor by Paul West, I started reading John William Polidori’s diary.   This is freely available online, but I need a book in my hands to truly read.  A little backstory: before his trip to Switzerland in 1816 with Lord Byron, the poet’s publisher paid Polidori to write this diary.  After Polidori died by suicide, his sister edited out what she thought reflected badly on the family, and destroyed the original.  The diary was published in 1911, edited by Polidori’s nephew William Michael Rossetti.  The edition I read was a reprint by Forgotten Books, containing the University of Toronto’s Library’s edition for scanning.  While not the most exciting reading, it is revealing.  Polidori appreciated the finer things in life (he qualified as a medical doctor), but he sometimes missed the point.  For example, being paid to write about Byron’s travels, his mentions of Bryon are relatively few.

You get the real sense that Polidori was jealous of the Lord with whom he traveled.  Then, when Percy Bysshe Shelley and his party arrived in the neighborhood, it becomes clear that Polidori was jealous of Byron’s attention to Shelley.  I sympathize with the author; both Byron and Shelley were already famous and infamous for their writing and lifestyles.  Both were from aristocratic families and had no profession other than writing and traveling.  For Polidori this was a working trip.  His mood seems to be reflected in that, just after the famous ghost story contest, entries begin to focus mostly outside the gathered writers until they stop altogether.  Much of the summer is left blank.  In September Byron sent Polidori packing, and the remainder of the diary is about his, often penurious, travels through his ancestral Italy.

Polidori is now known as the author of “The Vampyre,” which he wrote during the period covered in the diary.  He doesn’t talk about it much.  For me, Polidori is a sympathetic figure.  A lonely man, he was intimate with the most famous English poet of his day.  He often, however, in his own accounts, wasn’t in control of his emotions, particularly when he felt he’d been slighted.  Jealousy can be a very difficult monster with which to wrestle.  But reading this diary does lead to the uncanny sense that the most interesting parts were the things he didn’t discuss.  The diary has been used as the basis of more than one fictional treatment of the events of the summer of 1816.  And since some of the juicy bits are left out, free rein is given to the imagination.

Rabbit Holes

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Rabbit holes are my favorite part of the internet.  They can be used for heavy-duty research, but in my case they’re mostly just fun.  I’ve written about Dark Shadows many, many times on this blog.  Although I did watch many episodes of the original run with my brothers, my memories of the story line tend to come from the concurrent series of pulp fiction books by Marilyn Ross.  These books, which I have only ever seen used, were distinguished by their olive green covers and an oval cutout on the front where an image from the television series, sometimes apparently selected at random, was shown.  There were a total of 32 of them and, as an adult I collected them all.  Some months ago I wrote about my delight at finding several of them, in very good condition, at an antique and curio shop not far from us.  Recently in that shop again, I looked over the titles and discovered one that wasn’t in the series but was in the larger series, Paperback Library Gothic.

I’d never really given much thought to it, but the book was in great shape and was riffing off the Dark Shadows series.  It was reasonably priced, so how could I not?  Excited as a schoolboy coming home in time to catch the series on TV, I looked up the series online and fell down a rabbit hole.  There was an entire series in the mass market paperback format that I adore, from the sixties and seventies.  Shy of writing a bestseller myself, I’d never be able to afford them all.  The series included some classic titles out of copyright by such authors as Ann Radcliffe, Jane Austin, Bram Stoker, and Wilkie Collins (no relationship to Barnabas).  To these they added contemporary gothic titles including several by W. E. D. Ross, writing under the pseudonym Marilyn.  These were pre-Dark Shadows books.  There were well over a hundred of them.

Paperback Library was an independent New York City publisher founded either in 1960 or 1961, capitalizing on the pulp fiction and mass market paperback models.  They were bought out by Warner in 1970.  Warner eventually became Grand Central Publishing—still in New York.  In the large conglomerations that brought us down to only five major publishing houses in English, Grand Central was acquired by Hachette, one of said big five.  Recently the main distributor of mass market paperbacks decided it would no longer handle that format, essentially dooming it.  And with it a piece of my childhood.  Thankfully there are still some rabbit holes to fall down.

Dr. P.

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My recent fascination with the meeting of Lord Byron with Percy Shelley’s party in 1816 led me to read Paul West’s novel Lord Byron’s Doctor.  In case this meeting isn’t familiar to you, it involved five English travelers gathering for a few months outside Geneva.  Those present, beyond the two already named, were Mary Godwin, soon to be Mary Shelley, Claire Clairmont (her step-sister), and John William Polidori, who was, well, Lord Byron’s doctor.  Polidori, when not being completely overlooked, is a bit of an enigma.  He aspired to literary renown and produced a few works.  His most notable piece, “The Vampyre,” was initially attributed to Byron.  He wrote at least two plays and a novella, as well as some nonfiction.  He had been hired by Byron’s publisher to keep a diary of their travels, which, it turns out, leaves Byron out most of the time.

It’s clear from the historical sources that Polidori was quite jealous, both of Lord Byron and Percy Shelley.  They were both aristocratic and had achieved fame through their writing, but Polidori not so much.  He also seems to have been jealous that Shelley received Byron’s attention unstintingly.  Byron was a lord and Shelley the scion of an aristocratic family.  Polidori, while not exactly what we’d call “middle class” today, did not have nobility in his family and, perhaps worse  among the English in the period, he was half Italian.  Paul West takes the story of Polidori and tries to flesh it out.  I haven’t read any other of West’s works, but given this novel I’m unlikely to.  He does do a good job of probing the inner feelings of being left out and excluded from what one really wants to do with one’s life.  (Some of us know this firsthand.)  He overdraws, however, just about everything.

For anyone with an idea of what happened among the English party that summer, and the fact that Byron dismissed Polidori when the summer was over, the basic shape of this narrative will be familiar.  As an extended character study it seems to do passably well.  Some of us, however, find trying to think like someone else might have a bit of a fatuous fictional folly.  My mental image of Polidori, apart from the feeling left out part, is quite different.  In other words, attempting this kind of novel is sure to put some readers off from the start.  I gave it a good faith effort.  Some parts of it I enjoyed.  The whole, however, felt tedious and too long.  It may, however, give some readers a sense of who Polidori might have been.