Indigenous Gods

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Engulfed by capitalism, it is too easy to ignore the indigenous population of this country.  I grew up thinking, in some way, that American Indians were extinct (this was small town America, after all).  Then we visited a place—in upstate New York, I think, but the recollection’s hazy—where there were real Indians.  This was before exoticism was a bad word, and I thought them quite exotic.  Maybe it was the way I was raised, but I’ve never thought of myself as better than anybody else.  Certainly not on the basis of race or gender, or even personal worth.  In any case, there were still Indians.  I’ve always been an admirer of their culture.  Jennifer Graber’s The Gods of Indian Country is an informative monograph on, as the subtitle says, Religion and the Struggle for the American West.

My interest in American history is relatively recent.  Growing up, I always found European history of greater interest, and then, for many years, the ancient history of the states along the eastern coast of the Mediterranean.  It was the antiquity of it all.  History feels safer when it’s at a great distance.  American history is not old.  When hearing that some of the events discussed by Graber took place in the 1910s, I kept thinking, “were we really that naive just over a century ago?”  Or was our nation willfully blind to the plight of the people who lived here before the Europeans arrived?  The narrative has changed.  And if it hasn’t, it must.  How would we like it if, say, aliens landed and assumed the right to take over capitalistic America?  It’s only our arrogance that prevents us from treating Indians better.

Religion, particularly Christianity, fueled many interactions with the Indians, as Graber ably demonstrates.  The assumption was that Indians had to assimilate to capitalistically-fueled Christianity.  Private ownership.  Free trade.  Otherwise the cultures could not share the land.  Treaties were broken because the “Christian” rules of the new overlords demanded it.  Graber also explores some Native American religious practices as well, chiefly among the Kiowa.  Since the book is fairly brief, it doesn’t include any kind of comprehensive coverage of Indian religion, nor, of course, of early American settler religion.  What happened is that religion and politics joined forces to justify stealing what belonged to someone else.  Those who study the history of religion recognize this pattern.  It isn’t a rarity, unfortunately.  Although my interest in American history is recent, it is growing.  What happened in your own backyard determines so much of how we’ve become who we are.

Dead Darlings

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The thing about being a writer is that there’s no one size fits all.  I watched Kill Your Darlings because it is an example of dark academia, or so it’s sometimes presented.  I have read some Beat Generation writers, but the movie made me feel very ignorant of that aspect of American counter-culture.  The movie is based on true events and such things as coincidences of writers always makes me feel terribly alone.  In case you don’t know the story (I didn’t) Allen Ginsberg came under the influence of Lucien Carr at Columbia.  Carr had been surviving at the university by the writing of his one-time lover David Kammerer.  Carr introduces Ginsberg to William S. Burroughs and Jack Kerouac, and the four (excluding Kammerer) kick off what would become much of the Beats.  Carr, however, kills Kammerer and Ginsberg, who has become Carr’s lover, must decide what to do.

Ginsberg grew up in a broken home, as did Carr.  I could relate to their feelings of loss.  Of course, the Beats relied on drugs and alcohol and sex to write, breaking the rules of institutions like Columbia.  Now that I’ve written my “million words” (and more), posted for free on this blog, I think back to my literary friends.  Both in high school and college I knew guys (I was awkward with girls) who dreamed, or at least talked, of becoming writers.  Over the years this pool has dried up.  Seminary and doctoral study were too focused to find those who really wanted to write.  Academic books, maybe, but not forms of self-expression.  Now, I’ve never used drugs, nor have I wanted to.  I write nonfiction books that are creative forms of self-expression.  Naturally, they don’t sell.

Many of us who write were raised in broken homes.  With tattered dreams we set out to try to make something of our lives in a hostile world.  My behavior in college wasn’t exactly conventional, as any of my roommates could attest.  It often appeared that way on the outside, even as poems rejected from the literary magazine were called “too depressing.”  So I pursued an academic career, but there was, whether anybody saw in or not, always a wink in my eye.  The same is true of my writing since.  This blog scratches the surface.  There’s a huge pile of fiction, and yes, poems, underneath.  They may someday be found, but I do have my doubts.  Movies about writers will do this to me.  Even if they don’t really fit my tastes in dark academia.

First Tower

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In these days when daring to think feels dangerous, R. F. Kuang’s Babel: An Arcane History feels dangerous to read.  Good literature is like that, even if it’s uncomfortable to read as a “white” man.  A fantasy largely set in Oxford, it’s based on the premise that languages, when placed next to one another, engraved in silver, have enormous power.  The power to run an empire.  This is a post-colonial story, and I took comfort in the working class support, for their own reasons, of exposing the very dangerous world of capitalism.  With its “human capital” as we’re now being called by businessmen.  But I digress.  Four students, three from abroad, are brought to Babel, a tower in Oxford that houses the Royal Institute of Translation.  Their use of their native tongues helps build immense power in this Oxford tower.  Power that fuels Britain’s imperial goals.  But all is not well in academic paradise.

Slowly three of the four scholars come to realize that their home countries are being exploited for purposes of yet further exploitation.  The wealth always flows back to England, and even the small emoluments it offers to those other nations cannot negate the fact that the end goal is British superiority.  The protagonist is Chinese, taken from poverty to live in academic luxury, in exchange for what was his birthright—his linguistic ability.  It doesn’t end well.  This is not a happy novel.  But it does highlight something we seldom consider; our language ability is truly an amazing thing.  We try to convey a fraction of what’s going on in our heads to another person, and that person has some ability to understand it.  And languages are ways of thinking.  I used to tell my students that all the time.  It’s more than just words.

This is also a fairly long book.  As with most fairly long books, you’re left feeling it once the story concludes.  Even though language allows us to communicate, it’s sometimes uncomfortable to hear what someone else is thinking.  We don’t have to be woke to realize that Black, or Asian, or indigenous experience is quite different from what we call “white.”  And such voices deserve to be heard.  We live in a time when white men don’t like to be told that they’ve participated in oppressive behaviors.  Probably most of them (for I believe people are generally good) are not intentionally evil, but they participate in a system which can be.  And often unthinkingly so.  Thus these days thinking feels dangerous.  And this book will make you do so, nevertheless.

Undead Again

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I had intended to see it in the theater, but holidays are family time.  And not everyone is a fan of horror.  Last night I finally did get to see Robert Eggers’ Nosferatu.  Eggers is a director I’ve been following from the beginning.  Here’s a guy who pays very close attention to historical detail.  No slips in letting modern language expressions creep in.  Costume and setting designs immaculate—nothing incongruous here.  I was surprised that he was taking an established tale that’s based on a technically illegal film from Bram Stoker’s Dracula as his starting point.  Still, I’m looking forward to Werwulf, probably about two years from now.  (And speaking personally, I’d love to see his take on Rasputin.)  In any case, Nosferatu.  I avoided trailers and online discussions because I wanted to come to it fresh.  He’s managed to make a disturbing story even more disturbing.

If you’re reading this you probably know the basic story.  F. W. Murnau’s 1922 Nosferatu was in violation of copyright of Dracula, and so the basic story is similar.  Eggers manages to bring to the fore the vampire as sexual predator angle.  He prefers to bite chests and take long, slurping drinks.  I said it was disturbing.  And Orlok really looks the translation of the title, “undead.”   Even at over two hours Eggers has difficulty fitting in all the elements of the story.  And there are some unexpected aspects thrown in as well.  In my mind, I couldn’t help compare it to Werner Herzog’s remake.  Both are art-house treatments of Murnau’s work, which was itself German expressionism.  All three are memorable in their own way.

The one character I didn’t fully buy was Willem Dafoe’s von Franz (the van Helsing character).  This often seems a difficult one to cast.  In Bram Stoker’s Dracula Anthony Hopkins just doesn’t do it for me either.  It must be difficult to pull off eccentric but deadly serious.  The unsmiling obsessive.  That, to me, would be even more disturbing.  Ellen Hutter’s fits are amazingly done and there’s a menace to her melancholy that really works.  I’ve never seen Lily-Rose Depp in a film before, but she seems poised to become a believable scream queen.  I was exhausted after watching the movie after a long day at work (there’s a reason to see things in a theater over the holidays, I guess), but after a night of strange dreams, I awoke to find myself wanting to watch it again.  That’s the way Eggers has with films.  They reward multiple viewings.  And although this story’s familiar from the many versions of Dracula out there, it emphasizes some elements that have, up until now, often only lurked in the shadows.

Asteroid

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So, that asteroid.  Good thing Trump won’t be in office in 2032.  Well, it’s only a three percent chance it’ll hit us, but chances are things can’t get much worse anyway.  It might be a good idea to make some plans now—but wait, we currently deny science is real and spend our time renaming bodies of water.  Hmm, quite a pickle.  If science were real it would tell us that an asteroid is not the same as a meteor, although it can become one.  Back in high school astronomy class—yes, our Sputnik-era high school had its own planetarium—I learned that the difference between a meteoroid, a meteor, and a meteorite.  Want to go to school?  Here’s the quick version: a meteor is something in Earth’s atmosphere (thus, meteorology).  A meteoroid is a space rock, or even dust, in the solar system somewhere.  Once it enters our atmosphere it becomes a meteor.

Most meteors burn up as shooting stars and never hit the ground.  Yes, that atmosphere is a pretty good idea.  If a piece does make it to the ground, that piece is a meteorite.  Although your chances of being hit by a meteorite are minuscule, they can be impish.  Not far from here, a few years back, a meteor smashed through the backseat window of a car after a couple had just put their groceries inside.  The meteorite stopped inside a carton of ice cream.  The window had to be replaced, and I can just imagine the conversation with the insurance company.  Or take that meteorite heard on a recording for the first time.  In Charlottetown, Prince Edward Island, a doorbell camera caught a meteorite strike just outside someone’s house.  Both of these were tiny critters, though.

Our 2032 friend is quite a bit bigger.  Sometimes when large meteors heat up, they’ll explode in what is called a bolide.   In western Pennsylvania back in January of 1987 (if I recall correctly) my brother and I were working on a jigsaw puzzle during the holiday break when our house shook.  A loud bang had us worried—we lived in a refinery town, and explosions weren’t a welcome report.  We ran outside to find neighbors also outside looking around.  We later learned that a flaming fireball had gone overhead before exploding, a bolide.  The actual explosion took place quite a distance from us, but sound travels in our atmosphere.  So a possible near miss is scheduled eight years from now.  Let’s hope people show some sense at the polls before that happens. Or we could just rename it MAGA and hope that it hits somewhere else.

An asteroid. Image credit: NASA, public domain

In Praise of Paper

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I write quite a lot.  I’ve done so for decades.  As I’ve tried to carve out a writer’s life for myself I noticed a few things.  I’ll start a story or novel and put it aside.  Sometimes for a decade or more, then come back to it.  I recently found what looks to be a promising novel that I began writing, by hand, back in the last century.  As electronics forced themselves more and more into my life, I began writing it on my computer.  I must’ve picked this story up a few years back because I clearly began revising it, but I ran into a problem.  The program in which I’d written it—Microsoft Word—was no longer supported by Apple products.  I eventually found a workaround and was able to extract a Rich Text Format from files that my computer told me were illegible.  If you want illegible, I felt like telling it, go back to the original hand-written chapters!

I dusted this off (virtually) belatedly, and started working again.  Then I reached chapter four.  That’s where I’d stopped my most recent revision.  Then I discovered why.  Near the end of the chapter were two paragraphs full of question marks with an occasional word scattered in.  A part of the Word file that the RTF couldn’t read.  Frustrated and heartbroken—there’s no way I can remember what this said some thirty years after it was initially written—I simply stopped.  This time I went to the attic and found the hand-written manuscript.  I went to the offending chapter only to find that the corrupted passage was missing.  It was what we used to call a “keyboard composition” and it was eaten by the equivalent of electronic moths.

Photo by Everyday basics on Unsplash

Now, I’m no techie, but I just don’t understand why a word processing file can no longer be read by the program in which it was written.  Publishers urge us to ebooks but how many times in my life have I seen a new system for preserving electronic files fold, with the loss of all the data?  It’s not just a few.  And they’re asking us to make literature disposable.  If I have a book on my shelf and I need to look up a passage, I can do so.  Even if I bought the book half a century ago and even if the book had been printed a century before that.  I’m aware of the irony that this blog is electronic—I used to print out all of the posts—and I have the feeling that my work is being sacrificed to that void we call electronic publication.  That’s why I keep the handwritten manuscripts in my attic.

The Power of

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One rare treat is rediscovering something that intrigued you as a young person, but which you’d completely forgot.  Living in a small town and seldom going to movie theaters, I had to have learned about Magic from television commercials.  I remember parts of the trailer, even down to particular phrases, but it was a movie I’d never seen.  I forgot about it.  That’s not to say that in the intervening decades I might not’ve relived that trailer in my head—I’m sure I did—but since I began binging on horror films a few years ago, it never occurred to me.  I remember it scared me as a kid because the trailer consisted of a monologue by the ventriloquist’s dummy.  Herein hangs the tale.  The movie did reasonably well at the box office but nobody seems to discuss it much.  When it showed up on a streaming service, the thumbnail of Fats’ face transported me back to the seventies and I knew I had to see it.

I have a soft spot for seventies horror.  I was surprised to learn that Anthony Hopkins and Burgess Meredith were in it.  And Ann-Margaret.  A movie about a stage magician going mad, I found that it kept me tense.  I didn’t know how the story went.  In case you’re curious, it goes like this: Corky, a stage magician with a ventriloquist act, is about to hit the big times.  He then flees to his childhood Catskills and finds his high school crush managing a remote, rundown resort.  She’s in a loveless marriage and Corky has trouble with women.  Two things become clear: his dummy says what he (Corky) really feels and Corky is seriously disturbed.  Fear of being found out leads him to murder and although Peg, his crush, really liked and likes him, he can’t separate himself from the dummy.

There’s an ambiguity here.  There are a couple scenes when Fats moves on his own.  Otherwise there’s nothing supernatural going on here.  That raises the question of whether the camera is lying or whether spooky action at a distance is taking place.  Overall I thought the movie was well done.  I wouldn’t have tolerated the language Fats uses when I was younger, but I did think Hopkins’ acting was quite good.  Playing a person struggling with a mental disorder requires some convincing acting to be bought.  And there was a feel to many seventies horror movies.  This one brought me back with the power of suggestion, and perhaps a little magic.

Staunching Stigma

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Independence Day is not a great movie.  As my readers know, that doesn’t stop me from watching.  I’ve seen it a few times.  Watching it post-UFO/AUP disclosure via the New York Times, I was struck by something.  Even in the diegesis of the movie, where alien craft, clearly visible, hover over major cities, when Russell Casse tells the military he’d been abducted, people roll their eyes.  Of all the stigmas our culture has invented that of the “crazy people” who see “flying saucers” is one of the deepest and most persistent.  Even after the Times, and the US Navy admitted they were real, and their tech is not of human origin, people refuse to believe.  I’ve followed this for some time.  I read a book by Donald Keyhoe before I was old enough to drive.  Like most thinking people on the topic, I kept quiet about it.  Stigma.

When I received Luis Elizondo’s Imminent for a Christmas present, I was secretly very pleased.  You see, the evidence has been in plain sight (Poe nods knowingly) for decades, for those who don’t accept ridicule as an immediate response.  The Keyhoe book I read was published in 1955.  It was my grandfather’s book.  For sure, the stories casting doubt on Elizondo’s reputation and sanity began almost immediately after he cooperated with journalists in 2017 when a fraction of the truth made the New York Times.  Between Keyhoe and Elizondo, many insider, “death bed” books had revealed that this was something we should pay attention to.  People laughed.  Oh, we love to laugh.  Imminent, however, is quite a sobering book.  I’m not sure full disclosure will ever happen, but it’s trickling out and a finger in the dam can’t hold forever.

Stigma as a means of social control is unfortunately effective.  I’ve always felt that mocking what you don’t understand is a poor way to get smarter.  Still, for those willing to consider the evidence over the years, there’s been plenty to study.  Either there’s something to this or our government and military are filled with pathological liars (outside the Oval Office, I mean).  It seems far more reasonable to examine the evidence, when it becomes available.  There are contractors in the military-industrial complex (Eisenhower warned us about this decades ago) who benefit from keeping secrets.  Imminent is an eye-opening book.  Hopefully it will be widely read and the implications taken seriously.  It’d be too bad if a catastrophe were necessary to stop the stigma, after it’s too late to do anything about it.

Peak del Toro

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Crimson Peak is perhaps my favorite Guillermo del Toro movie.  Gothic to the hilt, the story—a bit overwrought—features plenty of ghosts and a house appropriate to them.  The many reflexes of horror on display here make it a compelling movie, despite its box office disappointment (although, honestly, how can $19 million really be a disappointment?).  There’s a gothic mansion, a murderous plot, blood-red clay, incestuous siblings, ghosts—what more’s necessary?  Thomas Sharpe is a minor aristocrat down on his luck.  All he and his sister have is the crumbling Allerdale Hall, perched atop Crimson Peak with its clay mines beneath.  In need of investors, they travel to Buffalo, New York, where Edith Cushing (surely no coincidence of names) meets and falls in love with Thomas.  Her wealthy father dies in mysterious circumstances, but she marries Thomas and they head for England along with her inheritance.

It’s clear something’s not right, so Edith, who is an aspiring writer, explores the old house and makes some unwelcome discoveries.  And she sees ghosts.  They help her unravel what’s going on but her health is declining as winter sets in.  Of course, the fact that she’s being poisoned doesn’t hurt.  Thomas and Lucille, the lover siblings, have done this before.  More than once.  There’s a kind of Bluebeard theme running through Crimson Peak.  Each time they inherit the wealth of the deceased brides but they can’t get the mines up and running to save their estate.  The twist is that this time Thomas has actually fallen in love, making it difficult for him to kill Edith.  Their house, except for that gaping hole in the roof, is one of my favorites from any movie.

The more I think about it, the haunted house in gothic films may be the decisive element for me.  I’ve always loved Poe’s “The Fall of the House of Usher,” and perhaps growing up in humble domiciles attuned me to what could be.  I loved reading about Collinwood.  Maybe I even knew that such houses come with a very steep price that consequently casts them as haunted.  Indeed, in the movie itself Edith says the ghosts in her story are metaphors for the past.  Of course, she encounters literal ghosts at Crimson Peak.  This is a movie about moods and gothic settings.  The horror pretty much matches what del Toro offers up in other films like The Devil’s Backbone.  The only monsters here are the ghosts and they aren’t the bad guys.  

A Plea

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One literary Saturday recently I found myself in the attic.  When we first moved to this house I sometimes wrote up there but I quickly learned that with no heating it was intolerably chilly on autumnal mornings, and that didn’t speak well for the coming winter.  Nevertheless, I set up a shelf with my fiction writing on it.  I was looking for something on that shelf when I discovered many things I’d forgotten.  Novels mostly.  I don’t know how many I’ve started, but I have completed six (now close to seven).  Going through the papers and folders on that shelf I found about 250 handwritten pages of another novel—one that I’d completely forgotten.  There were stacks of short stories, also handwritten, awaiting some recognition.  I haven’t had a ton of success in getting fiction published—the current count is 33 short stories—but I was inspired by what I found.

When my wife and I visited a lawyer some years back to make out our wills, I kept trying (unsuccessfully) to interject a literary executor.  At that point I had published only three books and two of them were academic.  Besides, there’d probably be an extra charge for adding that codicil.  I guess what I fear is that all of this work will just get dumped when I die.  Retirement doesn’t look like a realistic possibility for me, and what I need is time to sort it out.  Some of the novels aren’t good.  I know that.  Some are.  One was actually under a book contract for a couple of years before the publisher decided to kill it when the acquisitions editor left.  I haven’t found a replacement publisher yet.  Then, a few years back, my laptop started complaining about the amount of writing I was asking it to remember.  I had to buy external hard drives to store some of my writing.  Even I forget it’s there sometimes.

Graphomania should have its definition expanded to include those whose thoughts overflow to the point that they’re constantly writing.  There’s a reason I get up so early in the morning every day.  Up there in the attic I found what I was looking for and pulled it off the shelf.  A half-written novel that I had, unwittingly, started to write again presuming that the original had been lost.  All of the writing has been done while trying to hold down a demanding 9-2-5 with no sabbatical and few vacation days.  Not all of it is finished.  Not all of it is good.  But someone, I hope, will stand in front of the dumpster on some future day and say, “This doesn’t get thrown away.”

Somehow Inevitable

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You had to expect me to write about Zontar: Thing from Venus.  I bought the “Beast Collection” set to see it many years ago.  In those days I tried to watch the movies through, in order but I didn’t make it through the first disc, even.  Well, now my perspective has changed—I figured I bought this to see Zontar, and Zontar I must see.  You do know that he controls people, right?  Zontar is a notoriously bad movie.  I saw it on television as a kid, and it may have even been close to the first run since it was made for television.  It’s actually a remake of a cheap Roger Corman movie, so it is a cheap remake of a cheap original.  Nostalgia, however, does funny things to a guy.  Although I saw it half a century ago, I remembered some lines precisely.  Television does funny things to young minds after all, I guess.

In case none of the injectapods has found you yet, it goes like this: Zontar, from, well, Venus, is a bat-like monster with three eyes.  He befriends an earthling outsider scientist, through laser communication, and commandeering a satellite, which becomes a passable flying saucer, lands in  a cave from which he takes over the small town of Jackson, which has a military base and plans to take over by having a general assassinate the president.  Meanwhile, his scientist friend directs Zontar to the four people that he needs to take over the world: said general, the sheriff, the mayor, and his best friend scientist, Curt Taylor.  Things don’t quite go Zontar’s way, despite most of the movie’s running time showing him totally in control.  It feels like it’s a lot longer than its 80-minute running time.

Still, I have to agree with the TV Guide review that says it isn’t as bad as everyone says.  Yes, it is a bad movie but it does have a few redeeming features.  Some of the scenery is nice, and you even begin to care for some of the characters.  The rogue scientist’s wife—despite her constant nagging—is the first person who tries to kill Zontar, and she does this for love.  When Zontar gets her you feel a little sad.  At least I did.  You see, the injectapods haven’t reached me yet and I still have human emotions.  Ironically, it is just such things that drive me to rewatch movies like Zontar all these years later.  And the movie ends with a voice-over moral of the story.  Those 80 minutes weren’t completely wasted.

Pet Theory

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We don’t have any pets.  At least not beyond the spider near the sink that I don’t have the heart to release outdoors in winter temps.  But I have had.  I think the reasons our pets mean so much to us is that they’re like people in so many ways, but nonjudgmental.  They accept us with all our quirks and despite occasional—generally unintentional—neglect.  A recent family text chain about the sad occasion of having to put a dog down got me musing about my history of pets.  We get remarkably attached to them.  Growing up we had dogs, cats, birds, turtles, guinea pigs, fish, and we tried a short-lived attempt at hamsters.  My wife grew up with a cat but became allergic after leaving home, so we had to avoid furry pets when my daughter was young.

We had fish, hermit crabs, and a bird.  The bird, a parakeet named Archie (short for Archaeopteryx), was with us at a difficult time.  Things weren’t going well at Nashotah House, but I had no idea that I was in the cross-hairs.  Archie was a suspicious bird.  We tried to get him to talk (mostly “nevermore”) but he wouldn’t.  I tried to get him to perch on my finger—my Mom could get birds to do it—but he only ever bit me.  Still, he was part of the family.  When the seminary axe fell, he moved to two different apartments with us, remaining solitary but stolid in tumultuous times.  In the second apartment he stopped singing.  My daughter thought something was wrong, but we knew from a previous trip to the vet that we couldn’t afford another.  I was unemployed and my wife had to look for a better-paying job.  Then I found Archie dead.  That day is still, all these years later, very difficult for me to think about.  How we cried.  How we snuck back onto land owned by the seminary to bury him in the woods.  How empty our small apartment felt.

Emotions are difficult things, but they’re what bind us together as humans.  We all know loss and sadness.  Many of us have poignant memories of pets who, although we supposed we’d outlive them always thought they’d be there at least another day.  Is there anything that brings us more together?  We think anyone who doesn’t shed a tear at Old Yeller is somehow not really human.  Certainly less human than our adopted animal family members.  How wonderful not to be judged by someone who knows us perhaps better than we know ourselves.

The Search Continues

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This movie’s so bad there’s a backstory.  Years ago I was really wanting to see Zontar: Thing from Venus.  This was before streaming, and I found it as part of the “Beast Collection,” a set of 11 movies for less than the price of one regular first-run DVD.  I watched a few other movies in the collection, but before long it got shoved to the back of a shelf and forgotten.  I remembered it recently because another collection I have was missing a movie, Snow Beast.  I wondered if it might be part of this otherwise forgotten set.  It was (this really encouraged me because maybe my memory is still much better than I sometimes suppose).  In any case, one of the other movies—one I’d never seen—was Search for the Beast.  I figured, why not?  This is a film that fails on every level.  And I mean every single one.  It really should merit a Wikipedia page, just for being so bad.

So, a professor in Alabama goes in search of the beast in the Okaloosa mountains.  The budget for the movie must’ve been a matter of pocket change.  Anyway, the beast has been “killing” anyone who ventures into the mountains and the professor wants to prove it exists.  He’s backed by a guy with money, who isn’t explained at all, and his university office is less well equipped than an average undergrad’s dorm room.  He takes a female grad student with him but his financier, unbeknownst to the benighted professor, hires a bunch of beefy guys with assault rifles to go along, although they’re only going to take pictures.  Of course the professor sleeps with the grad student but then the head of the tough guys kidnaps her as the beast kills off the tough guys’ heavily armed posse.  Turns out the local hillbillies are, apparently, trying to mate the beast with the women who come into the woods.  It’s worse than I’m describing it.

There is some chatter on the internet about this groaner, so I’m sure that I’m not the only one who’s seen it.  Someone recently asked me how such movies even get made.  Well, anyone with a camera can shoot a movie.  Of course, getting paid screen time (or video distribution) is another story.  I doubt the makers of this film made much money off of it, but since other suckers like myself have discussed it online, the producer, director, writer, and actor Richard Arledge, has the last laugh.  His work is being talked about, no matter if nobody has a good thing to say about it.  Of course, I wouldn’t have ever seen it at all, if I hadn’t had a hankering for Zontar: Thing from Venus all those years ago. 

Weather Bugs

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In one part of my life (ahem) I’m compelled to use Microsoft Windows products.  (In my personal life I’ve used Macs since before 1990.)  On a recent update they’ve added little, frequently changing icons in the lower left end of the task bar.  It took me a few days to figure out how to stop it from sending distracting news and sports updates (I don’t need these, and they disrupt my concentration).  They also send weather updates.  I couldn’t figure out how to turn off the weather, so I let it stand.  Perhaps it’s a sop thrown to workers who now spend more hours a day on the job because commuting is becoming less of a thing, a bit of relief from staying on task.  Something to make you feel connected.  Fine and good.  But does it have to be so alarmist?

Some of us can’t ignore sudden changes on the screen (much of advertising relies on this).  When the weather icon shifts, which it does periodically, it draws my eye.  It uses the language that’s become typical to dramatize the weather.  Temperatures will “plummet” on Saturday, for example.  I looked at a more sober weather website.  The high would be ten degrees lower than it was for that day.  Hardly a “plummet.”  Or it will tell me, in rather heightened tones, that four inches of snow are coming on Wednesday.  The more sober site says possibly one inch.  An hour or so later, the icon humbly admits maybe it’ll just be one inch.  The question is, do we really need these constant updates?  With theatrical exaggeration?  I turned off news and sports, otherwise the work day would include an almost subliminal news feed that goes from boot-up to log-off.

I get through these difficult days by mostly ignoring the news.  I don’t ignore the weather—it seems more real than what’s happening in Washington.  Besides, I wrote a weather-oriented book once upon a time, and I haven’t lost the interest.  We’re going through the time of year when spring and winter are duking it out.  Every few days it snows or ices, and in-between I find wasps inside that think maybe it’s time we should just be getting on with this.  Meanwhile, each day, all day, I’m sent weather updates meant to shock and awe me.  Into what?  Yet more panic?  I’ve noted before that in some respects I have a monastic personality.  I prefer calm, most of the time, without too much extraneous stimulation.  I go for hours each day without even glancing at my phone.  And for the weather, I prefer just to look out the window.

Low Stakes

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Elsewhere on this website I refer to myself as an “unfluencer.”  This quasi-serious attempt at humor does bear a kernel of truth.  It’s difficult to get your voice heard on the internet.  By the time I began blogging, vlogging had already become a thing and people prefer watching to reading.  (I do have a few YouTube videos out there, but they take an awful lot of time to put together and I’m kinda busy trying to write obscure books.)  The reason I mention this at all is to make a point.  People sometimes wonder why a guy who has a doctorate in religious studies wastes his time with horror.  There’s a good reason.  People will pay attention when the stakes are low.  Is horror important?  I think it is, but most people don’t.  Genre fiction is easily dismissed as being off in fantasy land, despite the growing number of voices suggesting we should be paying attention to how it influences (unfluences?) religion.

Those who delve in such blue collar things sometimes grow to be taken seriously.  I suspect—since I wouldn’t know—that it’s a matter of sticking with it long enough, and producing enough content that people have some standard for comparison.  And the interesting thing is, you often notice fascinating features along the way.  While working on my next book the other day, I realized a major gap in the study of history of religions.  I can’t say what it is here, of course, because someone without a 9-2-5 may scoop me.  But the gap is clearly there.  And I would never have noticed it if I weren’t spending my time writing about low-stakes monsters.

I’m a blue-collar thinker pretty much through and through.  Talking it over with my brother the other day, I realized that despite the years and years of higher education, I was brought up working class and I look at the world through those lenses.  When I was actually a professor that began to change, but in retrospect, I think that’s why my students liked what I did in the classroom.  I wasn’t some child of privilege handing down tired observations meant to impress other children of privilege.  I’m just a peasant trying to figure things out.  I can point to no highly educated forebears—neither of my parents finished high school.  No, I have been fortunate enough to have clawed my way through three higher degrees only to realize that people only listen if the stakes are low enough.  And I’m alright with that since I get to spend the time with my beloved monsters.