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.

Dangerous Fiction

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At the suggestion of a friend, I recently watched the documentary Daphne du Maurier in Rebecca’s Footsteps.  I confess I haven’t read much of du Maurier’s work, yet.  From a family fairly well off, du Maurier, perhaps unusually for a writer, found early success and was able to make a living from writing.  Like many authors she valued her time alone, but also had basic human needs.  In keeping with her gothic sensibilities, she fell in love multiple times, both with men and women.  And she lived in that kind of fantasy world that fiction writers often inhabit.  For some reason I had it in my head that she had died young, many years ago.  It was somewhat surprising to learn that she lived until I was 26.  I can make the legitimate excuse that I didn’t grow up in a literate family, though.  I learned about du Maurier from my wife.

Copyright released photo, author unknown; via Wikimedia Commons

That doesn’t mean, however, that I didn’t know her works.  I first saw Alfred Hitchcock’s The Birds when I was in college.  In those days I hadn’t yet learned to pay attention to who the writer of a film was.  That intimate interplay between written literature and film easily ties me into celluloid knots.  My wife is a Hitchcock fan and together we watched some of his earlier du Maurier adaptations, such as Jamaica Inn.  Then she introduced me to Rebecca, du Maurier’s early and best-known novel.  We watched the Hitchcock rendition.  The documentary makes the point that du Maurier’s life, in some ways, played out that novel.  Writing can be a dangerous business, especially fiction.

My own most recent book, on The Wicker Man, which I hope will see the light of day, brought me back into du Maurier’s orbit.  The Wicker Man was, of course, nearly disowned by the studio that had sponsored it (British Lion).  Half-hearted about the effort, they made it a B movie, showing it after Don’t Look Now, a film I admit that I’ve never seen.  I learned from watching this documentary that this was yet another du Maurier story.  I’ve read one or two of her short pieces—they aren’t commonly found in American bookstores, although I see them whenever I visit England—and clearly I need to read more.  That brings up, however, the age-old dilemma: should I try to read the story before I see the movie?  I think I know what du Maurier’s answer would have been, and I think it wise to follow her advice.

Carter’s Creations

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Angela Carter was a novelist whose best known work is her short story collection, The Bloody Chamber.  Often acclaimed as both gothic and feminist, these repurposed folktales and fairytales leave the reader in a thoughtful state.  I have to admit to having not known of Carter or her work until quite recently.  I’d seen a biography about her, but there are so many writers and my time seems always so limited.  Then I saw The Bloody Chamber mentioned on a list of best gothic fiction.  I had to find out what this was all about.  The stories are indeed unlike much of the feminist literature of the seventies.  The stories are focused on women, often young, and how they deal with being treated as the property of men.

The first, and lengthiest story, “The Bloody Chamber,” is a retelling of Bluebeard from the point of view of his last wife.  It’s an extended reflection on feeling owned and boxed in—literally trapped—by men’s economic rules of property.  Carter keeps readers on edge, even if they know the base story.  This isn’t a simple retelling.  Nor is it a lament about the natural, biological unfairness of sexuality.  There’s an ambivalence here, an enjoyment tinged with melancholy that gives the story a gothic sensibility.  The women in the different stories here prefigure more recent Disney heroines that take charge of their circumstances.  And there’s also ambivalence about the setting of the stories.  There are contemporary appurtenances but still castles and baronial mansions.  You’re lost in time.

The collection has some stories, such as beauty and the beast, retold twice and ends with three versions of werewolf stories that play, to an extent, on little red riding hood.  Some were tales with which I had no familiarity.  The effect of the whole is thoughtful contemplation of the human condition.  Much of the world, it seems, has been unduly influenced by a kind of literalism—a story, whether biblical or traditional, is supposed to go like this—that has not only robbed great texts of their depth, but has entrapped human beings in a stone-chiseled certainty.  A self-righteousness, if you will.  Even writing a text in stone doesn’t prevent others from interpreting it, however.  Since none of us have all the answers, we are each interpreters.  There was no historical Bluebeard.  There have, unfortunately, been many men who embody his attitude towards women.  Carter’s genius is to remind us that every story has at least two sides.  And the woman’s side may well be the truer of the two.

Virtual Unreality

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You walk into a bookstore and browse.  Maybe you’re looking for a specific topic, or something to fit your mood, but you don’t know exactly what.  Then a title leaps out at you.  Maybe it’s a book you’ve never heard of before, or perhaps some long forgotten suggestion, nearly extinct, comes back to you at the sight.  Whatever the reason, you know you have to read this book.  You buy it and go home happy.  This is a uniquely human experience.  Yes, it applies to the leisured class who have money for books, but it is something that makes many of us feel good.  Those enamored of the virtual world are trying hard, according to the New York Times, to develop an app to replicate the experience.  Without luck.

Perhaps while browsing you meet someone else.  If you’re not too much of an introvert you might ask if they find the book they’re holding good.  Maybe you go get a coffee to discuss books.  This is just one of the many things that could happen.  Here’s another: someone is sitting at a table with piles of books s/he has written.  If they’re well enough known they may have had a public reading from one of them earlier.  You might strike up a conversation.  You might learn something.  A bookstore, you see, isn’t only about books.  What app developers can’t replicate is the phenomenon of literate culture.  Apps want you to buy things.  So do bookstores, but they also want to cultivate community.  Sure, you could buy your virtual book and then go to Facebook to talk about it, but that’s not the same thing.

Those advocating for a virtual world seem more escapist than even your average bookworm.  It’s been observed that when George Lucas was devising Star Wars he took care that no books or paper be shown.  This was a post-print world.  Some believe this is the direction in which we should go, and certainly during a pandemic at times it seemed right.  Even so, when the miasma began to clear a bit some of us first ventured back to bookstores.  Indeed, books fared well during those long months of enforced isolation.  We seem to think that any human experience can be replicated with the aid of technology.  The thing about serendipity, however, is that it’s unexpected because it seems to speak directly to you and how you feel at that exact moment.  No amount of data mining will reveal such things.

Life Writing

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It’s sometimes thought that a writer’s life is easy.  What’s so difficult about scribbling things that people will pay for?  I’m absolutely certain that, like most systems, this one may be gamed.  Amazon has made it quite easy to slap together words and covers and sell them alongside literary giants.  Only time will tell those that endure.  Most writers, apart from those who achieve early success (capitalism loves nothing so much as a repeat source of money), hold down other jobs.  Many of those jobs don’t involve writing, so those with literary ambitions must carve out time from their busy lives to write.  Not only that, but to write well you have to spend a lot of time reading.  Think about your daily life—how often do you have time to curl up with a good book?  Sure, you can read on the internet, but that’s not the same thing.

I love reading about writers.  Often they had struggles to overcome and many remained obscure as writers until after they’d died.  (At least that takes some of the pressure off.)  Someone saw there was money to be made in what they left behind.  Knowing quite a few writers, I suspect most of them really wouldn’t mind that.  Recognition during your lifetime must be nice, but writers tend to have a longer view.  That’s why things are written down, and, against hope, published.  Literary ambition can be a mean dog indeed.  Especially when the lawn requires mowing again and those invasive trees need constant trimming and gee, why didn’t we buy that house with no yard?  Many writers had even greater struggles to overcome.

Image credit: George G. Rockwood, via Wikimedia Commons

When reading, I’m constantly discovering new old writers that I missed.  I didn’t grow up in a literary family.  I find them by reading other writers and, perhaps more importantly, reading about other writers.  Who influenced whom.  Many remained obscure.  Although it’s only an estimate, 2.2 million new titles are published each year.  Readers are, and always have been, a minority.  Most people don’t read for pleasure.  That makes sense, given that we haven’t evolved for that.  Survival involves working for sustenance and mowing the lawn or shoveling the walk when you’re done with work.  A clueless professional once asked me “Why don’t you hire a service?”  With what?  My royalties?  Sacrifice is an inherent part of writing.  Whether it’s the neighbors thinking you’re a trashy yard-keeper, or you boss wanting you to spend more hours on the clock, or cheating sleep night after night, a writer’s life isn’t for the fainthearted.  That’s why they inspire me.

Keeping Your Head

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Horror is a gift that keeps on giving.  Not many horror fans are among my regular readers, but I like to keep a finger in the pie nevertheless.  Just earlier this month it was announced that Paramount has hired Lindsey Beers to direct a new big screen Sleepy Hollow.  It’s early days, of course, and the movie hasn’t been titled, let alone filmed.  Beers is just wrapping up a prequel for Pet Sematary (not yet titled) that I’ll be eager to see.  Women horror directors tend to bring refreshing angles to the genre—and why shouldn’t they?  Women writers were crucial in developing the Gothic genre that evolved into horror as we know it.  No matter what the Supreme Court says, they are just as important—probably more—than males.

I’ve been reading quite a lot about Sleepy Hollow over the past several months, which is how I came across the intelligence about this new movie.  It’s nice to know that the Hudson Valley is evergreen.  My visits there have offered brushes with the uncanny, but nothing explicit.  A weekend near the ice caves of Sam’s Point, geocaching in the woods outside Poughkeepsie, a visit to Sleepy Hollow itself to visit Irving’s grave and tip my hat to the Old Dutch Church.  With deep family roots in upstate New York, I’ve always thought it would be a great place to live.  Alas, not on an editor’s salary.  It’s been too long since I’ve given the area a visit.

John Quidor, The Headless Horseman Pursuing Ichabod Crane, via Wikimedia Commons

There have been many takes on Washington Irving’s “The Legend of Sleepy Hollow.”  Even in the silent era movies were made of it.  In retrospect, it seems odd that it took so long for Tim Burton to bring it back to the big screen.  There were some television movies, usually with plodding plots to draw the story out to commercial length.  Disney had early on devoted half a feature to it, as if the story couldn’t support its own weight.  For better or worse, that film was probably the first introduction to the tale that many people had—the story itself was written for adults.  Of course, many written kids’ versions have come out since then.  The satirical original was meant for a somewhat sophisticated readership with a sense of humor.  The story lends itself to horror treatments, however, if they’re done well.  It may have been an early viewing of the Disney tale that set me moving in this direction.  I like to think I’ve kept my head over it, however.

Dutch Treat

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It was back when I was researching my first religion and horror paper that I learned it.  Since the paper was about Sleepy Hollow, I’d been reading about Washington Irving.  I knew little about him beyond that he’d written this story and also “Rip Van Winkle.”  I had no idea that he was the one responsible for the nickname Knickerbocker for all things New York.  Since then I’ve been quite curious about Irving and his world.  A glance at the books noted on this blog over the last few months will demonstrate this.  I found out about Elizabeth L. Bradley from an interview about Sleepy Hollow during the heart of the pandemic.  Irving was first sent to Sleepy Hollow because of a yellow fever outbreak in New York.  It led to his introduction to the lore and folk of the region.

Bradley’s book isn’t about that, however.  She’s writing about how Knickerbocker went from Irving’s nom de guerre to essentially a trademark for Manhattan, and New York City more broadly.  Knickerbocker graces hotels, sports teams, and once upon a time, a brand of beer.  And much more.  All of this is because of a volume I’ve never read, A History of New York by Diedrich Knickerbocker.  Irving was a satirical writer and this history is an extended satire.  He wasn’t Dutch, but he was born in Manhattan and cut his writing teeth there.  An older sibling to America’s other fledgling writers, he gained fame enough to be able to retire near Sleepy Hollow.  That particular story, along with Rip, made him a household name.  Of course, he wrote much else but it’s not talked about so much.

This book is a brief tour of the city and its love affair with Irving’s pseudonym.  Even having commuted to New York for about seven years of my life, I feel I only know very little about Irving’s hometown of Manhattan.  I do know that on my walks across midtown hurrying either to the office or to the bus, I found a quirky little view of the city emerging.  Little sites of significance only to myself—plaques on a seldom-used street, a church nestled between towers for capitalism, a quiet restaurant that made you forget the millions of others just outside.  It gives me hope that a writer can make such an impact on an ever-evolving entity like New York.  And this quick introduction contains much to help one reflect on the enormity of it all.

Devils and Days

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The kind of devil envisioned by Andrew Michael Hurley in Devil’s Day may not be the traditional one, but it’s scary nevertheless.  In his follow-up novel to The Loney, Hurley demonstrates that he knows the devil can still be frightening.  The Endlands, in northern England are hemmed in by the moors.  The landscape plays such a commanding role here that this can only be folk horror.  And it fits folk horror to a tee.  Tradition, an unchanging life in a land untouched by technology, and forbidding moors where survival is difficult, all amid an English sensibility brings this tale into the folk category neatly.  As should be clear already, Hurley is well aware that religion and horror belong together.  This novel makes their companionship clear.

John Pentecost (note the name) has decided that he and his young, expectant wife—both of whom hold professional jobs—are going to move back to the family sheep farm.  The death of John’s grandfather means that his own father is left to run the farm alone.  Knowing that he belongs there and that his unborn child will need to tend the farm when he dies, a visit to help with the gathering of the sheep, and the celebration of Devil’s Day, turns into a lifelong commitment.  At the same time, the devil has been body-hopping as sheep are killed and family members die and a family of bullies cause more harm than their due.  There’s an inevitability to all of this and at the end you’re not really sure who the devil really is.

The story builds slowly.  By the day of the gathering you really have trouble putting it down.  Putting the Devil into a story can be a dicey proposition.  It’s been done successfully a handful of times, but that doesn’t make it an easy sell.  Our worldview has moved beyond a literal netherworld and the theology that accompanies it.  That doesn’t mean we can’t spot legitimate evil in the world.  Or that evil isn’t often vested in the garments of righteousness.  Ways of thinking that jeopardize others for theological purposes that simply don’t match what we know to be just and fair.  Powerful exploiting the weak.  Wealthy taking advantage of the poor.  Bullies getting their way through brute force.  In this novel the devil is active in a number of characters for a short time.  And you never know where that devil might turn up next.

Godic

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I have tried, in my halting way, to articulate what religion has to do with horror.  Alison Milbank is more experienced than I and it shows in her book God and the Gothic: Religion, Romance, and Reality in the English Literary Tradition.  There can be little doubt that the gothic is the direct ancestor to what became horror in the twentieth century.  In this intriguing study, Milbank explores just how the gothic made extensive use of religion, a sensibility that has carried over into modern horror.  Having taken a good long look at this myself—the fascination was there before Holy Horror and reaches back to my childhood—it is nevertheless affirming to find another student of human fears and fascination regarding the darkness has come to similar conclusions.  I always walk away from books like this with a renewed reading list.

Milbank points out, in the context of the literary world of England, how horror and religion not only cover the same theological ground, but come into direct contact time and again.  She does so by suggesting that Protestantism constantly seeks the lost Catholicism.  In England this came to be embodied in the Church of England, the middle way between Catholic and Protestant.  She covers various aspects of this such as melancholy, the doubling of characters, supernatural creatures, and death.  And more.  This isn’t a quick or light read, but I found myself making many connections I had missed.  Much of this, admittedly, came in books I’ve not read.  One of the problems with interest in the classic gothic is that bookstores don’t cater to selling older books and some of them weren’t successful in their own day, let alone ours.

There is a vindication in finding you’re not alone in a field.  Many of us who work on religion and horror know one another.  We’re a somewhat small, hidden group.  Milbank approaches all of this from the point of view of theology.  Theology is a somewhat distinct practice from religious studies and even from biblical studies.  There is overlap, of course, but theology is generally distinctly Christian in a context like this.  And that fits the living context of the many authors explored in this study.  Many familiar, and a few unfamiliar names appear.  What they have in common, apart from making up the cadre of gothic writers, is that religion influenced their writing and they weren’t shy about noting it.  This book explores the shadows very well and I’ll be revisiting its insights again and again.

Old Ghosts

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As someone who reads about ghost stories, as well as ghost stories themselves, I’ve long been aware of M. R. James.  His Ghost Stories of an Antiquary is regarded as a classic in the ghost-story genre.  Sometime in the haze, I recollect it was years ago, I found a copy at a used bookstore on the sale rack.  Something I’d been reading about ghost stories lately made me decide to read it through.  Now James was an actual antiquary.  He was also an academic at Cambridge University.  His tales are erudite, generally focusing on some ancient secret that releases ghosts, or sometimes monsters, after the individual who discovers the antiquity.  The stories are varied and inventive, but not really scary to the modern reader.  They assume a different world.  One in which antiquaries were monied individuals—often university men—who have both servants and leisure time, rarities today.

I found myself constantly asking while reading, how could they get so much time off?  How did they access such amenities that they could even get to the places where the ghosts were?  James’ world is both textual and biblical.  It’s assumed the reader knows the western canon as it stood at the turn of the nineteenth century.  The Latin, thankfully, is translated.  James, it is said, was a reluctant ghost-story writer.  A university employed medievalist, he had academic publications to mind as well.  Nevertheless he managed to publish five ghost-story collections.  Clearly the idea seemed to have had at least some appeal to him.

The aspect I find most compelling here is that an academic could admit to such an avocation.  While it’s becoming more common these days among the tenured, I always felt like I was walking the eggshell-laden pathway to academic respectability.  I was, after all, at a small, haunted seminary that few outside the Anglican communion knew about.  It was risky to admit being drawn to anything speculative.  Come to think of it, although I read novels while I was there I don’t recall reading many, if any ghost stories.  It was scary enough to be about on campus at night, particularly if you were going to the shore of the small lake to try to photograph a comet alone.  There were woods punctuated by very little light.  On campus ghost stories were fine—the librarian even showed me a photograph of a ghost in the archives—but off-campus such things could never be discussed.  I was an antiquary without any ghost stories. James showed the way.

Fragmented

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The existentialists, remember, used to put scenes in their plays to remind you that you were indeed watching a play.  In keeping with their philosophy, there was no reason to fool yourself.  Meanwhile, movies seldom break the fourth wall, immersing you in a story that, if done right, will keep your eyes firmly on the screen.  With home based media, however, we’ve all become existentialists.  (Of course, some of us had made that move before the internet even began.)  When we watch movies we always have that “pause” button nearby in case an important call, text, or tweet comes through.  We can always rejoin it later.  Life has become so fractured, so busy, that an unbroken two hours is a rarity.  I see the time-stamps on my boss’s emails.

While the existentialist side of me wants to nod approvingly, another part of me says we’ve lost something.  What does it mean to immerse ourselves into a story?  I know that when I put a book down it feels like unraveling threads at the site of a fresh tear in the fabric of consciousness.  Even the short story often has to be finished in pieces.  Poe, who knew much, wrote that short stories should be read in a single sitting.  All of mine have bookmarks tucked into them.  For a fiction-writer-wannabe like me, you need to feed the furnace.  To write short stories, you have to read short stories.  Novels must be spread over several weeks.  Some can take months.  I would like long novels again if time weren’t so short.  Presses are even encouraging authors to write short books.  Readers want things in snippets.

Perhaps all this fragmentation is why I enjoy jigsaw puzzles so much.  Part of the thrill is remembering several places in the picture simultaneously.  Being able to pick up where you left off.  I limit my puzzle work to the period of the holidays when I can take more than one day off work in a row and the lawn doesn’t require attention and those trees that you just can’t seem to get rid of don’t require monitoring.  But puzzles are designed for interruption.  Movies and short stories are intended to engage you for a limited, unbroken period.  The real problem is that we’ve allowed our time to become so fragmented.  A creative life will always leave several things undone by its very nature.  Other forces, mostly economic, will demand more and more time.  The best response, it seems to me, is to be existentialist about it.

Photo by Hans-Peter Gauster on Unsplash

Various Plagues

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At the encouragement of a friend I watched Roger Corman’s version of Poe’s The Masque of the Red Death.  As I’ve mentioned from time to time lately, making short fiction into movies requires padding.  Poe’s tale is easily summarized: Prince Prospero and his wealthy friends attempt to socially distance themselves during the plague of the red death.  During a masquerade, one of the characters is the red death and they all succumb.  Getting about 90 minutes out of this was something to which Corman was well suited.  The interesting thing, and the reason my friend, I suspect, recommended it, is that Corman did so theologically.  Vincent Price’s Prospero is cruel to others to make them face reality.  He’s also, and not unrelatedly, a worshipper of Satan.

When the red death breaks out in a small village, Prospero holes up in his castle where he tries to win over a local girl that has caught his attention.  He’s drawn to her not only for her beauty, but for her faith.  Francesca believes in the goodness of God as strongly as he believes that Satan will welcome him.  The film is further padded out by blending it with Poe’s story “Hop-Frog.”  Despite the Corman hallmarks of quick production and low budget, this adaptation draws much from conflicting religious views.  In fact, this story centers on them.  Granted, this was in the sixties, but the ideas still resonate these decades later.  Rumors of Satanism still spread panic and spark the same kinds of discussions.

Interestingly, the film ends up suggesting that death is stronger than Satan.  And that justice dictates that at least some of the faithful will survive.  Those dedicated to their faith, their family, and their friends make it through alive.  Death specifically lets them go.  Prospero, however, seals his fate by his selfishness.  Apparently his explanations of his motives do him no good.  Death doesn’t condemn him for his devotion to Satan.  The treatment of his fellow humans, it seems, is the ultimate measure used.  Some would argue that theology is best left to theologians, but it seems to me that we all work with the same data.  Philosophers attempt to convince based on the power of their reason.  Theologians try the same, but there’s always something external and unknowable in the equation.  How you know this unknown is on the basis of sacred texts and sacred tradition, as well as reason.  Why does it seem unlikely that writers and directors might have something to add to the conversation?

Slow Running

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It’s extremely slow.  In fact, you might think nothing is happening at all.  I mean the book publishing process, of course.  It takes a long time to read 60,000+ words.  Even longer if you’ve had a few poor nights of sleep.  And many people have to read it before it gets anywhere near a printing press.  Everything about writing a book takes time.  While everything in the outside world happens at an unbelievable pace—last year at this time there was no war in Ukraine, for example—the slow process of organizing thoughts, putting them into words, sending them to a publisher who has many, many other proposals and manuscripts to consider, getting it rejected once or twice, finally finding a publisher, making the requested changes, getting it copyedited and typeset, getting the files sent to one of the few domestic printers left (who have tremendous backlogs), then to the bindery, and finally shipped out to the warehouse—it takes years.

Centuries of work

Current events publishers can rush things through and it often shows.  Meanwhile the authors of all other books learn to wait.  And wait.  Often the payoff isn’t great.  (I’ve received no royalties at all for Nightmares with the Bible.)  So why do we do it?  Those of us compelled to write have many motivations, I suppose.   One is to expand human knowledge.  We’ve discovered something and we want to share it.  We want to inform and entertain.  Those of us who write fiction also hope that our ideas may speak to others.  Having the fiction piece accepted is a validation of our outlook and experience.  Those who do so well may be inflicted on future literature classes.  I still remember The Loneliness of the Long-Distance Runner by Alan Sillitoe.  We had to read it in twelfth-grade English.

None of my friends liked it.  It was a collection of short stories by Sillitoe, titled after the one story that is still his only real claim to fame apart from his novel Saturday Night and Sunday Morning.  The tale of an English boy’s alienation didn’t speak to the rural western Pennsylvanians of the late seventies.  One of my classmates disliked it so much that he drove his pencil through the runner’s image on the front cover in a kind of uncouth performance art.  Now as I experience trying to get short stories published (with a little success here and there, but no royalties), I can feel for Sillitoe.  Still, “The Loneliness of the Long-Distance Runner” was made into a movie and has quite a few cultural references pointing its way.  Long-distance running, like publishing, is sometimes a slow process.  And at times you decide not to finish the race.  Or at least realize this race may last for years.

Aleph, Borges

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I’m never quite sure how I’m supposed to approach books of short stories.  Some of them are truly massive and contain only a handful of tales I wish to read.  Others are governed by a dedication to the author that compels me to read from cover to cover.  Some are by differing authors, among whom some appeal more than others.  I wasn’t sure where to begin with Jorge Luis Borges.  Not having been raised in a literary family, and having never formally studied literature, I found Borges through a friend and co-worker.  After my academic career crashed and burned, I started reading more literary writers and discovered Borges again and again.  I knew the basics of his story—he was perhaps the most famous Argentine writer, he had gone blind, and he had written probing, unusual stories.

I picked up this collection because of the title.  “The Aleph” is included here.  It was also the title of a collection of Borges’ stories, which make up the basis of this book.  To that collection are added some other pieces, and these last become a mix of poetry and philosophy more than a simple narrative.  Of course, Borges didn’t write simple narratives.  His stories are layered labyrinths.  A complex person doesn’t write simple stories.  Often they reflect on religion.  Some of them explicitly so.  They aren’t, however, religious stories.  Indeed, I was drawn to “The Aleph” because of my own experience of Hebrew and the sense that it is a sacred language.  Borges also puts this into the mix here.

So what kind of collection is this?  I’m still not certain.  This time I did read it cover to cover and at several places I became uncomfortable.  Borges doesn’t shy away from the harsh realities of life.  What people are capable of doing to each other, and what they in fact do.  Some of the pieces just under a page long stopped me in my metaphorical tracks.  Was I reading fiction or some kind of history?  Was philosophy secretly being fed to me by being left right out in the open?  This isn’t weird fiction, although it’s clear that some of it could be taken that way.  It is the work of a mind that operated on a plane different from that of many others.  There’s an uncertainty, a tentativeness here that is very becoming, and even beguiling.  Having read the book I’m not sure what it was.  It will, however, lead to yet more reading.  Of this I am certain.

Haunting History

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It’s difficult to do without feeling guilty, even if you personally had nothing to do with it.  It does seem that “Whites” have to take the initiative to dismantle systemic racism before any kind of fairness can settle on the world.  Toni Morrison is a great example of why that’s so important.  Beloved is perhaps her best-known work.  Although it involves a ghost it’s not so much a ghost story as it is a haunted story.  Black experience has been one of enforced poverty, after the emancipation proclamation—much like the American Indian experience.  Morrison represents this in a non-accusatory way, but she indicates in her story how the pain and mistreatment persists.  Her work is more important now than ever.  White supremacists are controlling the narrative in much of the country although they are the minority.  They need to read this book.

There will be spoilers here, if you’re even later coming to Beloved than I am.  Sethe was a slave.  The novel is set just after manumission, but she escaped before that.  She had four children and when she was sexually assaulted she realized this could happen to her children and she decided to spare them that fate.  Although she was stopped before she could kill all four, her first daughter, Beloved, was her victim.  This story is about what happens when Beloved returns to live with Sethe and her remaining daughter.  It is a haunting story.  No “boos” or jump startles, it sets up a sad atmosphere of a woman falling apart because of guilt.  Guilt for an event that would’ve never happened if she’d been treated like a human being.

Apart from the schoolteacher and his cohort, the whites in the story are kindly to Sethe.  Her “owner” was a slaveholder who gave his “possessions” respect.  She was saved from hanging after the death of Beloved by a local white man who understood what slavery might do to a person’s mind.  Even so, these kind people think of Blacks as servants rather than as people in their own right.  It’s difficult to read books like this.  That’s one of the reasons that it’s important to do so.  There is a lot to analyze here, much to reflect over.  If we put books like this on reading lists instead of banning them, it would help to bring understanding and sympathy rather than hatred and fear.  The future only improves when we admit our past errors and move to heal the scars we continue to inflict.