Ghost Publishers

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Ancient Near Eastern studies, where my academic work has the widest recognition, is still an area of fascination.  I have to hold myself back when I see a new book published in the area.  You see, I learned when I researched in this field that there is little academic opportunity in it.  As per usual, the public seems quite interested so academia is not.  A few practitioners, however, have been able to break through.  One of them is Irving Finkel, a curator at the British Museum.  He’s been writing popular books about ancient ideas and getting respectable press for doing so.  His most recent book (The First Ghosts), as described in an article in the Smithsonian, deals with the earliest depiction of a ghost.

Perhaps because of copyright complications, his book on the subject doesn’t seem to be widely available in the United States, despite having been published by a trade house.  It could be that the publishers don’t think anyone will be interested.  Hello?  Ghosts and Mesopotamia?  Haven’t you been paying attention?  This is part and parcel of the academic publishing world.  The editorial board has to decide which books see the light of day and which won’t.  And how to price them.  Is this primarily a library book or can it somehow claw over into the crossover market?  Academic publishers will casually add five or ten dollars to the price, assuming it won’t hurt sales.  Guess what?  It does.  As much as I’d like to read Finkel’s book, my interest doesn’t hover around the 60 dollar range.

When I first studied Hebrew I wanted to buy a textbook my professor mentioned, but it cost nearly $100 in the US.  This was back in the 1980s, so that really was steep.  When we moved to Scotland I discovered the same book was available there is paperback for a reasonable price, so I bought it.  That’s when I began to realize copyright laws direct the shape of scholarship.  Publishers decide what makes it into reputable book form and who will be able to afford it.  That’s power.  You see, people have believed in ghosts from as long as we could convey the idea.  The dead never really leave us.  Finkel’s book examines a clay tablet used to exorcise ghosts and may contain a line drawing of a spirit.  Who wouldn’t want to read such a book?  It’s getting press coverage but those who make such decisions have decided, apparently, there’s no market for it.  When that happens a book hasn’t a ghost of a chance.

Postscript: Checking Amazon one last time before clicking “publish,” I see the book has now come down to the $30 range. I can’t take credit for that, but my point still stands.

Haunted Landscapes

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The Devil’s Advocates series consists of short books focused on a single horror film.  For horror fans they’re a great resource, as they will hopefully also be in teaching settings.  David Evans-Powell’s recent volume on The Blood on Satan’s Claw is a fine example of just how intelligent horror can be, and how it can be interpreted so.  This particular movie from the early seventies was never a major revenue earner, but that in itself is a lesson.  Influence, measured in smaller scales, can still create an impact on people’s lives.  Evans-Powell’s treatment takes several angles, each of which casts light on this unusual movie.  Reading this little book brought quite a few ideas to mind, both about social structures and religion.  The film is set in the early 18th century, with a city judge who is problematic actually saving the day.

Since The Blood on Satan’s Claw is folk horror, quite a bit of the discussion focuses on landscape.  Paying close attention to landscape reveals hidden information.  It becomes almost a character.  At the risk of too many spoilers, the film is about uncovering Satan—or a demon, it’s not terribly clear on the point—from a farm field.  As this evil character gains power the local children are drawn to him and the village authorities are unaware of what’s going on in the nearby woods.  Landscapes reveal and conceal as the creature gains power and the children engage in acts of violence.  The response of the judge is a violence of its own.  The movie doesn’t really deliver all that it promises in that regard, but Evans-Powell explains how the film was made and that, in turn, explains some of the rough edges.

Religion and horror go naturally together.  I suppose any film with “Satan” in the title will address religion somehow.  Not all horror is religious, of course, but many of our fears derive from religious subjects.  It’s almost as if as we ceased to fear the landscape—nature having been tamed to some degree—we began to find fear in religious thinking.  Put another way, religion has kept fear alive.  The Blood on Satan’s Claw was never a major, big-budget release.  Except for fans of British horror it has largely escaped notice.  Folk horror, because of its recent revival, brought interest back to some of these older efforts to explore such themes, many of them implying a religion hidden in the landscape.  This book provide a useful map in exploring that territory.

Walking Bear

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Indigenous peoples have been on my mind over the past several months.  Indeed, I read books by American Indian authors with awe.  In this darkening time of the year the Indian monsters join those of European descent in my imagination.  The wendigo has become somewhat popular in recent years but the bearwalk, or bearwalker, remains obscure.  Although a novel for young readers, Joseph Bruchac’s Bearwalker is a genuine horror story and the author is of American Indian descent.  It took someone giving it to me as a present (mainly because it was for young readers) to get me to pick it up.  I’m glad I did.

As might be expected for young readers there’s some blood but not gratuitous violence.  There are skillful twists in the novel and Bruchac knows how to put his protagonist on a cliff, as the old adage goes, then throw stones at him.  In this case, Baron, a thirteen-year-old Mohawk boy, is tormented by the bullies at his school.  Befriended by a respected teacher, he attends a three-day camping trip to the Adirondacks where a family dispute has led to a plan to terrorize the camp and force its sale.  The plan is to make it the scene of a mass murder with the school children present.  It’s here that Baron is able to demonstrate his worth to his classmates by escaping from the would-be killers and bringing help.

Throughout the story bears feature.  There’s some question as to whether there is a real bearwalker present, but the idea is there.  As with literature for young readers there’s some protective layering—no sex or strong language, for instance—but violence, at least in intent, is clearly there.  It is a very good story with suspense and excitement enough to keep even an adult horror fan going.  The main reason I’d had my eye on the book was to learn how the bearwalker might appear in it.  And also to see the story told from a First Nations’ point of view.  Like Baron in the story, American Indians I read aren’t aggressively angry about the way their people have been treated (which they certainly have a right to be).  There’s nevertheless a sadness and inevitability there.  Still, there’s also a pride in being part of an ancient and surviving culture.  There’s also quite a bit of symbolism in the story; Baron’s parents both proudly serve in the military, despite what the nation has done to their people.  And more subtle indications occur here and there that mainly adults would notice.  Although for young readers this is a real horror story, but one with a conscience.

Everything’s a Nail

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Taking my first, tentative steps into horror analysis, I had read a great many monographs on the subject.  I had watched many horror films over the years, but since my family has no love of the genre, and since habitually under-employed I can’t afford to pay for many, my quota is fairly modest.  I’ve missed out on many.  When I could afford it, I started out with either movies I’d heard of when younger but had never watched, or packs of ultra-cheap B (C or D maybe) movies that nobody has ever heard of.  As I lamented recently, British films were rare—Hammer, which held the English reputation for horror, was the undiscovered country.  Then I saw that Peter Hutchings’ Hammer and Beyond: The British Horror Film had come out in a second edition.  (The new edition contains three of Hutchings’ other articles as well as the original text.)  I had to read it.

Although I’ve not seen many of the movies discussed in the book (again, access issues) it was fascinating nonetheless.  Hutchings considers the elements of gender and Britishness in his readings of the films and there’s quite a lot there.  Horror is generally seen as a conservative genre (it tends to uphold typical social values) and for many Hammer and other films this meant that male prerogative was important.  Equally important, however, is that horror often disrupts this hierarchy.  There are strong, and even fatal, women here.  Horror embodies the acting out of the complex world of fear between women and men.  The study, as befitting a revised dissertation, is laid out chronologically for the most part.

Some readers of this blog have kindly pointed out ways to access Hammer films in the US.  Now all I need is the time.  I’ve been able to keep up with my reading, at least.  And this was a worthwhile book to read, even without having seen much Hammer.  It surprised me, however, that their list of classic horror wasn’t longer.  Having read about Hammer for many years,  I suspected their output was massive.  Instead it was mostly just impactful.  The essays following the main body of the book make the point that British horror was/is distinctive.  These days a lot of international cooperation takes place in the movie industry, and national cinema is becoming more global.  We could use a little less nationalism just about now.  So I’ll continue my quest for Hammer and try to make my way through the movies I really should add to my repertoire.  It’s a good book that can make you want to do that.

Horror Week

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“Remember, remember, the fifth of November,” the old rhyme goes.  Earlier this week I advocated for Halloween being the start of the holiday season.  There’s been a lot going on this week and I’m now reflecting on how Halloween also took some of its identity from Guy Fawkes Day (or more properly Guy Fawkes Night), here on November fifth.  Halloween, as we know it, incorporates traditions from Samhain (actually November 1), All Souls Day (November 2), as well as Guy Fawkes (November 5).  All the while the Hispanic world is observing Dia de los Muertos, a multi-day holiday whose origins are somewhat uncertain but which shares similarities with Halloween.  In other words, it’s a veritable week of spookiness to get our November started off right.

Ironically, at least in corporate America, none of these are work-free holidays.  For the Celts Samhain was the most important day of the year.  A day when the dead might wander into our realm or we might stumble into theirs.  For the modern person it’s a day of checking email, making deals, trading and evaluating how well we did at it.  Pretty mundane stuff.  The message of all of these holidays is that there are matters of deeper import going on.  We should perhaps look up from our monitors and see.  Just as that veil between the living and dead thins at this time of year, so does that line between work and personal life, when our laptops are as omnipresent as a haunting deity set to keep our minds on the sin of not working.  

Guy Fawkes is about rebellion.  More specifically, putting down rebellion.  Keeping the status quo.  Halloween and its siblings are all about challenging the way things are usually done.  I often wonder what it would be like if people took it seriously.  The costumes are fun, yes, and the trick-or-treating, but there’s something more serious underneath.  Perhaps symbolically we pretty much ignore All Saints to Guy Fawkes, or Dia de los Muertos as pleasant diversions.  There’s some spiritual heavy lifting going on behind the scenes, however.  It’s not all about fun and games, because fear is always with us.  We know there are problems but it’s more comfortable keeping things as they are.  Guy Fawkes, perhaps for a cause we see as obsolete—restoring a Catholic monarchy—was trying to change things for the better.  What’s more, his motivation was religious.  There are spooky parallels here, even today.  It might be good to take a day off work to ponder the implications.

Horror Show

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The horror film history narrative runs something like this: although there had been some scary movies in the silent era, the term “horror” was first used to describe Universal’s 1931 release of Dracula and Frankenstein.  Some other studios got in on the action and creature features were a staple of US cinema until the fifties when they began to peter out.  By that point a UK horror industry took off, largely due to Hammer Studios.  While these Hammer offerings often remade the standard creature features, they also branched out into less commonly explored areas such as films set in contemporary times focused on the occult.  This phase faded in the sixties just as “modern horror” was taking off with classics like The Night of the Living Dead and Rosemary’s Baby.  Modern horror quickly grew.  Further divisions can of course be made, and the modern period has gone through several transformations as well.  It’s a rich coffer.

There’s a real problem with this, however, for those who might’ve missed a decade or two somewhere in there.  Many of the UK films are still not available in the US for anything like a fair price.  Part of the reason for this is copyright law, but another is apparently the ignoring of demand.  I saw maybe one Hammer film (on TV) growing up.  Saturday afternoon fair was more often American B movies like Zontar the Thing from Venus.  I’ve got a hankering to watch some of those Hammer films, but even in the 2020s they’re difficult to find.  Even with the internet.  Often the DVDs are (because of differing copyright laws) coded so they can’t be viewed in North America.  You can buy a player to see them, but when you think of the inevitability of streaming it hardly seems worth the cost.

Streaming might be the solution, but much of the Hammer oeuvre doesn’t stream in the US, at least not that I’ve found.  If I’m wrong please let me know in the comments!  You see, I spend time reading about horror and when you do this recommendations often arise.  Some Hammer classics are as expensive as the academic books that discuss them.  Is it possible to be a horror connoisseur?   And can you truly be a connoisseur without sampling what’s on offer overseas?  We tend to forget that the world is culturally divided by copyright laws.  If nobody’s watching the movie anymore what’s the harm in making it free?  If people do want to see it, why not sell it to them at industry standard price?  Even trying to watch horror, it seems, has become a horror show.

Photo by Michael Mouritz on Unsplash

Author Talks

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Author talks are one of my favorite perks.  While work obligations mean I often can’t attend, I was glad to have caught this week’s visit by Mathias Clasen.  Clasen has been writing books on horror movies for Oxford University Press, and his talk strangely made me feel less alone.  Let me explain.  First of all, lots of people came.  Yes, Halloween is merely days away, but I get accustomed to thinking I’m the only one who watches horror.  Nobody close to me does.  Learning that many colleagues enjoy the genre was a boost.  Clasen runs the Recreational Fear Lab at Aarhus University.  Their survey of Americans found that 55 percent liked horror films.  I’m actually in the majority, which felt affirming.  

The Recreational Fear Lab studies various aspects of why people seek things that make them afraid.  This ranges from thrill seekers to those who cower in the corner of a theater to watch the latest slasher.  There were several takeaways from his talk.  One was that two main types of people subject themselves to horror: “adrenaline junkies” and “white knucklers.”  Adrenaline junkies are pretty self-explanatory—they like getting scared for the rush of it.  White knucklers, on the other hand, enjoy steeling themselves from fear while subjecting themselves to it.  They try not to scream, but keep control.  I was putting myself in the latter category when he mentioned that further research had revealed a third personality type: the dark copers.

Dark copers are those who use horror as therapy for themselves.  I immediately knew this was my group.  Some people, for whatever psychological reasons, find horror movies therapeutic.  They help us cope.  Interestingly, and in line with other materials Clausen has published, horror is good for people.  It has many benefits and if we deprive children from any stressful situations in their young lives they tend towards neurotic behaviors when they’re faced with stress as adults.  The Recreational Fear lab is a place for the scientific study of voluntary fear experiences.  They operate by grants and have many programs of study from a variety of disciplines.  And some of them watch horror.  Perhaps because when I started this blog I tended to write mostly about religion, I suspect many of my readers don’t really care for the horror posts.  They’ve been there from the beginning, however; my first month I wrote about werewolves, zombies, and Barnabas Collins.  Religion and horror are closely related, even if it makes me feel a bit alone to say so.

Not Quite Quetzalcoatl

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It must be difficult to write the same basic story over and over.  And nostalgic adults like me can be tough critics as we try to recapture faded childhood glories.  Those memories fade like afternoon shading into evening, but still I can’t help myself.  Marilyn Ross wrote 33 gothic tales of Dark Shadows in the spinoff series from the long-running television program, and I’m determined to read them all.  In small doses.  The one, Barnabas, Quentin and the Serpent is actually a bit distinct.  The writing is still journeyman, that of a tired potboiler author, but the plot offers something a little different.  As in the last volume reviewed, Barnabas is free from the vampire curse for a time, allowing him to emerge in the daylight.  And his arrival at Collinwood is actually dramatic and well-timed.  The story is set in the nineteenth century.

Gerald Collins, a professor of archaeology, unexpectedly inherits Collinwood along with his daughter Irma.  They head to Maine from Mexico taking exotic creatures with them, including a dimetrodon that escapes and tries to eat them.  The story revolves around rumors that the professor caught and transported back a flying serpent.  At Collinwood (and let’s think about this a minute—if you add up the body count from all the novels you’ve got to wonder why there’s been no federal investigation) people start to die and reports circulate of a flying snake.  The professor’s going to be driven out of town because angry villagers think he brought this creature back with him.  It’s all very melodramatic.

As in the last novel, Barnabas acts as a detective.  Quentin, who is the werewolf cousin, manages to allude detection by disguising himself.  Even Barnabas is fooled.  The story tries to avoid invoking the supernatural—there’s no such thing as flying serpents—while allowing a werewolf to perpetrate a hoax.  It’s all good fun (except for that body count).  There’s a bit of vim here from our weary journeyman writer, but there are nine novels yet to go in the series.  Writing a series seems to be smart money.  Children (and I first read several volumes of this series as a child) like to complete things and can be loyal series fans.  I never read the full series when I was younger; they were haphazard finds at the local Goodwill book bin.  Of course they were still being published at that time.  I have to admit that I’m curious where it will go from here.  And I do miss Barnabas as a vampire.

Skin In

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It took me back to my younger years.  Tanya Krzywinska’s A Skin for Dancing In: Possession, Witchcraft and Voodoo in Film.  Wide ranging and insightful, this book was a delight to read.  Published in 2000, it discusses many movies that I watched in the eighties and which had somehow managed to be overrun by other stimuli since then.  I like to think that, even if recall isn’t instant, that we never truly lose the books we’ve read or movies we’ve watched.  (Some we may wish to forget, but that seems a sure way not to achieve that goal!)  As her subtitle says, Krzywinska’s book analyzes possession, witchcraft, and voodoo.  Since there are so many examples of these the discussion has to be selective, but she’s got a keen eye for choosing evocative films.

As any of my regular readers know (both of you!) I don’t really review the books in my “reviews.”  I limit myself to about 500 words and I don’t like to give spoilers.  A Skin for Dancing In would require quite a few words even to summarize.  Krzywinska covers demonology, possession, sacrifice, paganism, witchcraft, voodoo, and more, in several movies.  What really struck me in reading this was that she comes to a similar conclusion to what I’ve found—people learn about these things through film.  Scholars tend not to write much about such things (although this has improved somewhat since the turn of the millennium).  The average person doesn’t read academic books, and since culture has become “rational” there’s not much talk about such things from discoursing heads.  Still, movies.

These topics make for great movies.  One of the points I’ve made in my own work is that what we know about demons comes from the cinema.  It seems that we should pay close attention to what movies tell us.  They’re the “public intellectuals” that many academics want to be.  A Skin for Dancing In is a good example—it’s compelling, if a little academic, but very hard to find.  It’s difficult to lead public discussion if your book is limited to university libraries and those who have access to them.  Of course, you don’t need a talented scholar to tell you how to watch a movie, but I was reminded here of many films I thought I had forgotten.  And what’s more, I have a deeper understanding of how they fit into the larger world of cinematic possession.  This is one of those books I wish I’d found sooner.

New Monster

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The Babadook is a horror film about loneliness.  Written and directed by Jennifer Kent, it has an arthouse cinema feel to it.  I missed it when it came out in 2014—it didn’t receive major billing and publicity in the United States—but it gained critical acclaim as intelligent horror.  It follows the small family of Amelia and her son Samuel, who has special needs.  I’ll try to avoid too many spoilers here because I think you should see it if you haven’t already.  Amelia’s husband died in a car crash taking her to the hospital to have their first child.  That haunting tragedy drives the film.  And when you throw a monster called the Babadook into the mix, loneliness and sleeplessness make the dark something to fear again.

With wonderful acting, the story of childhood monsters highlights the continuing plight of single mothers.  How are you supposed to survive when you have a child that requires constant supervision and yet you need to make ends meet?  And if sleeplessness begins to distort your sense of reality all kinds of things seem possible.  

Hollywood hasn’t been a friendly place for female directors.  This film was shot in Australia.  I’m not sure that sexual parity is better there, but this movie is a great example of what can happen when a woman shows what horror means to her.  Not too many horror movies have female directors, yet.  It seems to me that women have many things to fear and have much to show us about what horror can be.  It seems to me that loneliness, although often part of horror, isn’t often the focus.  We would rather look away than to see it because it’s too painful.  Horror compels us to look at what we’d rather not see.

Aside from all of this, the film gives us a new monster.  The Babadook was invented for this film and although we don’t have to worry about whether it’s real or not, the issues it brings to the fore certainly are.  There is darkness inside people.  Even those of us who try to do what is right struggle against it.  Often it takes quite a lot even to admit as much.  This movie lets the dark out and finds a new narrative path through which it might flow.  Although a box office success—earning more than it cost—The Babadook is still little known.  It should be discussed more because intelligent horror has some important lessons to teach us.

Interview Two

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October turns the northern hemisphere mind toward Halloween.  It must be strange to receive northern media while living in the global south—Halloween occurs just as spring is getting underway.  I guess that’s what May Day’s for.  In any case, in the United States Halloween thinking is in nearly full swing.  My last two books, while not Halloween themed, look at horror films which, in keeping with October, are on everyone’s mind this season.  And it’s been quite a week for interviews.  The second half of my podcast interview on The Incarcerated Christian was posted yesterday.  If you want to hear more fun Q & A with Robin and Debra, click here.  I’ll post more about this Friday, but tomorrow my interview with Eric Ziolkowski of Lafayette College will air as part of the Easton Book Festival.  The festival’s going on right now, so be sure to check out the offerings online.

One bit of advice that I give as an editor: if you want to make it as an author you need to promote your own work.  Some of us were reared to believe that it’s in poor taste to do this, but in the internetted world it’s pretty much a requirement.  Something I learned from political activism is that every election is local.  Getting noticed also has to start in your own backyard.  I love doing interviews.  It’s always flattering to know that someone’s read your book and wants to know more about it.  I’ve started to explore the newish area of religion and horror.  From what we see in the news, it seems like it’s an area that’s likely to take off.  But only if those who work in it get their stuff out there where it can be seen.  (Or heard.)

Neither Holy Horror nor Nightmares with the Bible have sold very well.  They’re expensive, and academics, who will spend money on books, are still trying to decide if this area’s worth exploring.  I admit that there’s a puerile kind of naughtiness to taking monsters and “low brow” entertainment as a subject of study.  Horror, however, has lots of fans.  Perhaps not in the academy, but in the real world.  I like to think such marginal areas bring people together.  Horror, like demons, isn’t going away any time soon.  Instead of running away from what you fear, why not try embracing it?  If not even that, please consider the free content available on The Incarcerated Christian and the Easton Book Festival.  After all, Halloween’s just about here…

Kindred Spirit?

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Possession stories have a poignancy to them that perhaps other horror stories lack.  The loss of self-control is a frightful thing.  Lisa Tuttle sets this up well in her novel Familiar Spirit, a tale that has recently been reissued.  The threat against a young women—the usual target of possession—leads to some scary moments here.  As the story unfolds Sarah has to deal with personal loss as she learns that the house she’s just rented is inhabited by an unfriendly spirit that seems to be a demon.  This is a haunting story that features a strong protagonist who ultimately has to decide what she really values most.  It’s a book that stays with you.

I discovered Tuttle by reading a book on female horror writers some time ago.  One of the points I make in Nightmares with the Bible is that female victims of possession match Poe’s dictum about the most poetic topic being the death of a beautiful woman.  That may sound sexist to modern ears, but Poe was a product of his time and he was a keen observer of what made stories memorable.  Possession has largely become a female phenomenon over the centuries.  The biblical stories about possession tend to have male victims, but by the Middle Ages the balance had shifted.  That gender imbalance continues today.  A friend recently asked whether shifting awareness of the gender as not strictly binary might change this in the future.  It’s a fascinating question, especially since we really don’t know what demons are.

Possession is a clash of the unknowns, which is fertile ground for fear of the unknown.  Feminist studies have begun to share space with studies of masculinity and both have been joined by analysts who study gender as nonbinary.  I suspect many of us really didn’t know about such things before the internet began to bring them to our attention.  Many people don’t want to accept such facts.  The world is easier to live in when everything is black or white, male or female, this or that.  Most things, we’re beginning to learn, are on a scale.  Human society, as it takes this into account, will inevitably, if slowly, change.  The old guard (angry white men, mostly) refuse to accept facts, trying to equate them with the person with the loudest voice.  This too is a kind of possession.  I don’t want to give too many spoilers for Familiar Spirit, but if you’re like me it’ll give you many things to think about.

Documenting Horror

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Watching documentaries always seems to raise questions.  I recently found A History of Horror with Mark Gatiss on YouTube.  Produced by the BBC in 2010, the set of three episodes is a selective walk through the horror genre through the eyes of an insider in the film industry.  Divided over three segments, he covers early horror (primarily Frankenstein-related movies), British horror, and the American horror revival beginning in the late 1960s.  It occurred to me while watching this that horror is often—but not always—an intellectual genre.  Many of the plots and ideas are sophisticated and puzzling.  At one point Gatiss says it is nearly the perfect genre for movies.  I would tend to agree.  Many of the payoffs of horror are the reasons I go to see a movie.

Of course, documentaries involve interviews.  While discussing religion and horror—the two are closely related—in the third segment, he considers the impact of what I termed the “unholy trinity” in Holy Horror: Rosemary’s Baby, The Exorcist, and The Omen.  His primary interview for this set was with David Seltzer, the screenwriter for the last of these.  At this point my memory took me back to an interview on one of the extras for my DVD edition of The Omen.  In that interview Seltzer mentions that the antichrist is at that moment (clearly this was shot shortly after the movie came out) walking the earth.  In my mind I compartmentalized this to interpret his stance as that of a religious conservative.  The idea of the Antichrist, after all, is post-biblical, at least in the sense that end-time scenarios are developed.

The Gatiss interview was filmed many years later and he asked Seltzer if he believed in the Devil.  “No,” Seltzer laughed, stating that if he did he wouldn’t work on movies like The Omen.  People’s opinions change over time, of course.  And the Devil and the Antichrist are two separate characters as they develop after the Bible was completed.  Still, I had to wonder if his earlier interview included that comment about the Antichrist being alive now wasn’t intended as a bit of spooky propaganda for the movie.  It’s difficult to know what someone really believes.  Most people mouth what their ministers say, not really considering where said clergy get their information.  For these many years I’ve been thinking that The Omen was considered as some kind of documentary by the screenwriter.  Documentaries always seem to raise questions.

It’s Thorpe, Jim

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On a rainy fall day we found ourselves in Jim Thorpe, Pennsylvania.  We’d been through the touristy town before, but had never had any luck finding parking so getting out to explore was problematic.  Named after perhaps the greatest all-round athlete America has ever produced, the town bore the American Indian name of Mauch Chunk prior to the communal name change.  Once the greatest eastern vacation attraction after Niagara Falls, it’s now a town that caters to a regular stream of tourists and supports the small, boutique shops that thrive in such an environment.  Whenever I’m in a new place, I look for books.  Perhaps an illness, it is one I have no wish to cure.  Sellers Books is small but I didn’t walk out empty-handed.

A few yards later a sign at Emporium of Curious Goods caught my eye.  A store of mystical, magical whimsy, it had a posted note saying the owner had been friends with Ed and Lorraine Warren.  I hadn’t anticipated such a thing—we were here with friends and really just expecting to enjoy the quaint ambiance.  Being October, nearly every house and shop on Broad Street was decorated for Halloween, creating that frisson that only this time of year offers.  I stepped inside the shop and looked around.  I asked the owner how he’d met the Warrens.  He said that many years ago they’d lectured at East Stroudsburg University.  Introducing himself, he’d invited them over to his place and soon they became long-time friends.  They agreed to do a talk there in Jim Thorpe.

The brief conversation made me aware that as much as reading reveals, it never conveys the full story.  The store advertised having all the Warrens’ books.  I have all of them myself, but I had never seen all of them together in a single store before.  I wished I had something magical or mystical to buy to support the owner so willing to share information, but I had little time to look around with friends waiting outside, probably wondering what I was doing in such a place to begin with.  The Warrens are both deceased but their legacy lives on through the Conjuring movies.  More than that, in the lives they’ve influenced.  Yes, they may have been using their fame as a way of making living, but many celebrities do that.  It doesn’t mean they were any less sincere in attempting to help people with their ghosts and demons.  A rainy day in October reveals so much.

Taking Part

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It’s always a pleasure to be invited, even if not as a proper guest.  To an academic conference, I mean.  Most of us sit around feeling pretty obscure most of the time, even if we do write books.  I am literally genuinely surprised when sometime contacts me to tell me they’ve read my work.  It was, therefore, a complete surprise to be asked to attend the “Ancient and Modern Ideas of Possession” conference hosted by the University of Innsbruck.  I wasn’t an official participant, but the organizers, somewhat surprisingly, knew of Nightmares with the Bible and thought I might be interested in, well, possession.  Because I work “nine-to-five” and because Austria is several hours ahead of the Eastern Time Zone, I couldn’t Zoom in for all of it, but what I did hear I really appreciated.

One of my suspicions was confirmed, and that is that the idea of possession remains an outlier in academia.  The sixteen or so presenters represented several academic fields, none of which boasts of being interested in such things.  What surprised me, but then really didn’t, was that a comment or question came up several times: do any of us believe in the ontological reality of demons?  At least for the time I was able to sign in the question was never fully discussed but I had the sense that one or two of these academics were willing to lean in that direction.  We all know that individual observation is often faulty and subject to biased interpretations.  We may, however, know that many such accounts have been written by highly reputable individuals with nothing to gain by making spurious claims.  Academics should remain curious.

I learned that at least two of the presenters had written books that it would’ve been useful to have read for my own book.  Books are part of a conversation.  Seldom is any single volume the last word on a subject.  It was a privilege to be among other academics, if I may classify myself as one, even if erstwhile, that had come to a similar place in their explorations of the world of spirits.  Women and men who were willing to ask that most shunned of questions, “what if?”  Human experience moves ahead and some ideas are left behind.  That doesn’t mean those ideas should never be revisited.  Nobody at the conference mentioned my book, but at least one person in the room was aware that it was, in some form, part of the discussion.