Earth Haunting

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I’m still not sure what I saw.  I’m not even sure how I learned about it (it was likely either Theofantastique or Horror Homeroom), but In the Earth is a very strange film.  I can’t say it’ll be on my shelf of favorites—there’s a little too much Wolf Creek here for that—but I can say it’s something I’ll be thinking about for some time.  Body horror isn’t my favorite, but I do like to remind myself periodically of the dangers of going into the woods.  Released just last year, In the Earth is a pandemic-response film that critics say is funny (I kind of missed that aspect, I’ll admit) about a scientist and a ranger who are journeying into a particularly fecund woodland outside Bristol for research.  Martin, the lead, has an ulterior motive in that the researcher already in the woods is a former girlfriend.

Martin heads out with Alma, the ranger, and they fall into a trap set by Zach, and I suppose the humor comes in Zach’s constant observations that Martin’s wounds have gotten worse and require backwoods surgery.  The couple escape Zach (who’s clearly deranged) after he drugs them and poses them in odd clothes to propitiate the spirit of the woods.  They find their way to Olivia (the researcher/former girlfriend) and her research station only to learn Zach is her ex-husband.  And here things get weirder.  To communicate with the earth, Olivia first used an old ritual book that includes the Malleus Maleficarum and additional material.  This ancient book tells how to decipher the language of the earth through the use of light and sound with the aid of a runic standing stone that’s on no map.

Religion plays a major part in the horror here.  Olivia and Zach both want to sacrifice Martin at the runic stone.  Anyone who can watch this without seeing echoes of Abraham and Isaac probably has fewer religious nightmares than I do.  Martin, they all say, is so innocent and straightforward.  Alma keeps on trying to get Martin out of the woods but either Zach or Olivia, or the forest itself via a toxic cloud of mushroom spores, prevents them.  There are so many flashing strobes and intercut images from the spores and oddly disturbing sounds to make out what really happens at the end of the film, but one thing is clear.  Zach and Olivia have taken a religious text too literally and doing so leads them to sacrifice the innocent.  Almost biblical, no?

Serious Horror

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Academically, horror has historically had a difficult time.  It’s one of those genres that people have already made up their minds about (even academics), and therefore nobody talks about this Bruno.  Nevertheless it’s still there and it has a tremendous impact on our culture.  Who hasn’t at least heard about Jaws or The Exorcist?  Some of us are renegades with little to lose, and have taken to subjecting horror to academic study.  So I was delighted to find the recently launched website HorrorLex.  Check it out.  I have no idea who Lupe Lex is, but s/he has a clever website that I’ve only begun to explore.  It lists academic works on horror and is a great resource for those who wonder why professors so seldom talk about it.  They do, and here’s proof.

The website has an alphabetical index of horror movies that will take you to a remarkably full bibliography of sources on any particular film.  If you’ve got grad students working in this area this is a resource they should know about.  It’s an example of what can be done to grow knowledge without a paywall.  Publishers, who have to make money off everything, often give bibliographic aids to those who subscribe.  On HorrorLex, you can simply take a look and find a whole swarm of information.  If you’re like me, it may also be a place where you’ll start to feel a little less alone.  As an editor I’ve been open to academic books on horror and as an editor you’re always pleased to find websites where those books will be made known.

At least half of the research journey is discovering what’s already been published on a subject.  One of the things I’ve missed most about academia is access to bibliographic databases.  Trying to build a bibliography from an individual account on JSTOR and searches on Amazon is somewhat hit-or-miss.  A focused source like this is a real service, especially if it’s shared widely.  You can share this post, or you can use your own means to get the word out, but please do it, no matter how.  This is a real service that’s being offered and the website is attractive and cleverly designed.  I know that I’ve learned quite a bit from my somewhat brief (being a working stiff) visits to the site.  If you’re researching a horror film, this is a resource you shouldn’t overlook.  Go ahead, you can always trust a werewolf!

Maudren Saint

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Saint Maud is one of those movies that requires some thought.  (And I’ve been giving it plenty.)   It follows a brief time in the life of Maud, a hospice nurse who becomes obsessed with saving the soul of one of her patients.  Maud has direct experiences of God, like Teresa of Ávila but the film doesn’t make it clear, until the very end, if she suffers delusions.  After the traumatic loss of a patient at the beginning of the film she becomes a devout Catholic and when she feels she isn’t succeeding in her mission she punishes herself by using medieval-level means.  She hears God talking to her and what he (yes, he’s male) demands makes the viewer wonder if she’s found the correct spiritual entity.  Moody, edgy, and theological, Saint Maud is another example of how horror and religion work together.

It’s one of those movies that, when you finish it you start looking around for someone to talk to about it.  Of course, I watched it alone, wearing headphones, so I had dialogue with my own imagination.  One of the founding principles of cinema was the realization that viewers liked to discuss what they’d just experienced.  The other horror fans I know tend to be academics far removed from here.  I don’t know any of them well enough to pick up the phone, or call up on  Zoom, and say “Hey, let’s talk about Saint Maud.”  The thing is, I understand some of the doubts and motivations of Maud.  It’s always that way when religious interactions are with an invisible, petulantly silent deity.  Kind of like watching horror movies alone.

Horror has proven to be a kind of therapy for me.  The stresses of life are many and unrelenting.  Watching someone even worse off can help, as long as it’s fiction.  The world we’ve created is a very unfair place.  Many people suffer so that a few can enjoy more than they deserve.  Their lifestyle is protected by lawmakers that they buy while others suffer.  I’d just spend a day hearing about such injustices, and then paying hefty bills, and it seemed that some weekend horror was just what the doctor ordered.  I’ll probably watch Saint Maud again once I’ve had time to recover, and to think about the implications of the story.  Horror and religion have a viable partnership.  Such films occasionally become blockbusters, but sometimes they’re smaller affairs waiting to haunt us on weekends after hearing about the sad state of the Frankenstein world we’ve all created together.

H. P. Luca

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Disney has a lot of cash lying around, which means they can buy things.  One of those acquisitions, some years ago, was Pixar.  In my mind Pixar is now Disney, but in fact it does have a different aesthetic.  One of Pixar’s recurring themes is acceptance of those who are different.  Luca is Disney with a touch of Lovecraft.  This Pixar animation feature is about sea monsters acclimating to human culture, only they turn back into sea monsters when they get wet.  Kind of a combination between The Little Mermaid and Splash.  Even the Italian village in which Luca and his friend Alberto show up looks like the Imboca of Stuart Gordon’s Dagon (yes, I know Imboca is in Spain and I also know it’s fictional).  The villagers are, predictably, terrified of sea monsters since they earn their living from the sea.

In Luca once sea monsters come onto land they become human.  In fact, their culture below the surface is pretty much like human culture above.  The Lovecraftian element comes in the sea “monsters” (those in Luca are generally cute) coming to live among humans.  Lovecraft was, somewhat infamously, a racist.  While there’s no excusing that, there’s also no question that his fear of “the other” often develops the creepy atmosphere for which he became posthumously famous.  Cthulhu and many of the other great old gods dwell beneath the sea.  Human interactions with them generally lead to the humans becoming insane because of the implications.  Here Pixar adds its own twist—maybe humans are insane already.  What we permit in our societies is often less than humane.  At least with Lovecraft we could blame monsters.

Monsters are a reflection of humanity.  We take what we least like about ourselves and project it onto often fictional creatures that dwell beyond the bounds of human habitation.  We fear those who are different.  In more current thinking, that means humans should be accepting of other humans who don’t conform.  Those who think different, or, more especially, those who look different.  Sea monsters, at least hominid ones, hold great symbolic value.  They live in a world we barely know and to which we have little access.  Their lives under the great pressure of all that water must be very different from ours.  It’s only when we get beyond seeing them as monsters that we grow as humans.  If you follow the Creature of the Black Lagoon series to the end you see this playing out in black and white.  Sea monsters have much to teach us.

Making Noise

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

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

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

Nightmares with Poe

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

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

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

Are Ghosts Monsters?

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It’s a question as old as my interest in horror.  As a child I kept ghosts distinct from monsters.  Ghosts may be scary, yes, but they’re people who’ve died.  Then zombies came along.  I was too young to watch Night of the Living Dead when it came out (I was only six).  Depending on how far you want to go with this, among the classic monsters they’re pretty much all human.  Dracula is undead, but originally human.  Frankenstein’s creature is dead folks stitched together.  The mummy is a person reanimated.  The invisible man is, well, a man.  So is the wolf-man.  The latest of the Universal line-up, the gill-man was more a human-like reptile with gills.  To add a few other favorites, Mr. Hyde was Dr. Jekyll.  Witches were magical women.  For sure, there are plenty of non-human monsters (Godzilla, the blob, and those various giant spiders) but it seems much of what we fear is warmed over human.

So ghosts—are they monsters?  I still have a difficult time sorting that out.  They seem different from other revenants, don’t they?  Uncle Joe or Aunt Sally don’t really pose an existential threat, do they?  (Unless one of them was a psychotic killer or something.)  Yet we still fear ghosts.  Many horror movies and novels feature them.  It seems more because they represent the unknown in a kind of ultimate way.  We can’t die to find out and then come back.  Although, it seems, that’s just what ghosts do.  That liminal line, or terminal line in the sand is the point of no return for the human imagination.  Yet on a dark night in a creaky old house it feels like more than just imagination.  Of course, other monsters could be lurking in the dark.

Image credit: Henry Justice Ford, public domain via Wikimedia Commons

The thing about horror is that it holds up a mirror.  We see what really does scare us and what we see reflected back is human.  We all die and most of us don’t like to think about that.  Ghosts force us to.  They make us confront perhaps the most primal of fears.  There are, of course, bad ghost—dybbuks and hungry ghosts and whatnot.  Of course they’re monsters.  But considering the garden variety, or perhaps haunted-house variety ghost suggests maybe our fears are misplaced.  Monsters can be scary.  Ghosts don’t have to be.  We classify them all together as horror, but that may be a hasty judgment.  As least for someone who used to be, and maybe still is, simply human.

Rusticated Fears

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I don’t recommend sick days.  This one was weird with all the symptoms of illness but really having them just be the side-effects of a shingles vaccine.  I don’t recommend it, but I was able to use the day, between dozing off, by watching Woodlands Dark and Days Bewitched: A History of Folk Horror.  This late 2021 documentary is over 3 hours long and I’d been wondering when I’d have the chance to view such a lengthy movie.  Besides, when you’re feeling utterly miserable, horror is a kind of elixir to make it all better.  Watching the film made me aware of just how many movies I haven’t seen.  Another way of putting it is that I still have my work cut out for me.

Folk horror, you see, has a natural appeal for those of us who grew up away from urban centers.  Much that we did in the small towns of my childhood was, frankly, weird.  As the interviewees make plain, cities are the centers of economic and cultural power.  The big educational institutions are there and those of us from the hinterlands might not obey the rules that city dwellers seem to absorb through their feet.  In reality, I suspect, urban culture largely derives from folk culture.  Those who venture away into the large cities take pieces of their home with them.  Cities tend to blend all this together and transform it into something different.  Those in rural areas, however, have their own way of doing things.

Perhaps it’s embarrassing to center this much, but it was clear to me in watching Woodlands Dark and Days Bewitched that much of the fear showcased to city folks (for movies tend to be shown in urban settings) is the weird religion of the country cousins.  Both the words “pagan” and “heathen” are references to those who dwell outside urban areas.  “Pagan” comes from Latin for rustic, while “heathen” means those out in the heath.  Mainstream religion is that of the cities—the Vatican is located in Rome, and the large mosques, synagogues, and cathedrals are in population centers.  There’s no telling what the country dwellers might get up to if left to their own devices.  And religion taken seriously can be quite dangerous to outsiders, as we’ve seen time and time again.  Folk horror never really went away but it is undergoing a resurgence at the moment.  As the documentary suggests, this tends to happen in times of social instability.  At least we have something to look forward to as the world collapses around us.  Folk horror will help us cope, if my experience is anything to go by.

Homegrown Haunts

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The thing about the unknown is that it’s, well, unknown.  Like many people I’m interested in getting at the truth behind ghost claims, so American Hauntings: The True Stories behind Hollywood’s Scariest Movies—from The Exorcist to The Conjuring, by Robert E. Bartholomew and Joe Nickell looked helpful.  Indeed, it is.  To a degree.  The book, however, devolves at points to debunking cases that aren’t in the movies and frequently asks “Why didn’t somebody take a picture?”  (In cases where there are pictures they say how they could be faked.)  Given the authors, you kind of know none of the claims will be accepted.  Even so, there’s a lot of good information here.  They do a great job of outlining the very probable hoax at Amityville.  For some of the lesser known cases they offer explanations harder to believe than the poltergeists they so abhor.

That’s the thing: for all the “hauntings” they default to poltergeists and then explain how poltergeists are faked.  They begin with An American Haunting, and move on to The Exorcist, Poltergeist, The Conjuring, The Amityville Horror, and The Haunting in Connecticut.  Sandwiched in there is also the non-movie Don Decker case.  What struck me as strange is they often seem offended that movies embellish stories.  That’s what movies do.  They’re quite right about the money aspect, however.  They also take in films that make no claims about being true, such as Poltergeist, which drew inspiration from an actual case but didn’t make that assertion.  It’s also odd that they didn’t ask some of the writers about this.  I once met Brent Monahan, author of An American Haunting.  He readily admitted some of it was made up.  In other words, taking offense at the “based on a true story claim” feels a bit naive.

In some cases they speculate what might’ve happened without visiting the location.  It’s hard to tell if a leaky roof can explain things when you don’t specify if the room is on the first or second floor.  Also, suggesting a young boy is faking because a professional magician can duplicate effects raises its own set of questions.  If a kid is as good as a professional, why doesn’t s/he go on the circuit and make some money from it?  That kind of question, by the way, characterizes much of the skepticism in the book.  Why not become a magician?  Because we don’t have the whole story.  It seems to me that dismissiveness doesn’t really help to get at the truth.  Nevertheless, this book contains much that is useful and skeptical voices should always be included when attempting to sort our extraordinary claims, even if you never , ever want to be caught without a camera.

Phobia Therapy

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I don’t like being scared.  That’s why I watch horror.  You see, many people deal with fear by running away from it.  Embracing artificial fears, however, prepares you for the horrors life will inevitably throw at you.  We humans have created an artificial environment for ourselves with many natural dangers removed.  For example (and there are always exceptions) we’ve been able to seal ourselves up in our homes and wear masks in public to avoid a killing virus.  For the most part we’ve destroyed our large predators.  As a society we tend to avoid the things that make us afraid which, in turn, makes us fragile when we have to face truly frightening situations.  I wouldn’t suggest becoming a fear junkie, but experiencing scary scenarios can diminish the overall  fear factor.

People often make assumptions about those of us who watch horror, even though it is the majority of Americans.  We’re seen as creepy people who lurk in dark places, unable to get along with our fellow human beings.  Perhaps it’s true, or perhaps it’s a reasonable coping technique.  I tend to think of it as a spiritual practice.  Spirituality is often about feeling, but it’s not completely divorced from rationality.  Often it has to do with that gut feeling that this is really real.  This is something that my years on this weary old globe have taught me is true.  Many times it’s this way in the face of evidence.  Others have trouble believing it, although some bearded guy alone on a mountain top says it’s true.  So life goes.

Spirituality is important.  I have many humanist friends and they are often uncomfortable thinking about spirituality.  It seems dangerous, a superstition that somehow survived enlightenment.  Enlightenment, however, is itself a spiritual idea.  There’s something inside of us that makes us who we are.  Whether it’s something physical or something else, it requires nourishing in order that we might thrive.  We expend a lot of energy arguing about the right (only right) way to do it.  The way to be a more spiritual person.  To me it seems that it’s about discovering what replenishes us.  What makes us into better people.  You find that and you feed it.  Spirituality comes in many forms and shapes.  Some of us have it fed by what others dismiss as mere horror.  There’s more to it than meets the eye, however.  I watch it to learn not to be afraid.

Photo by Pierre Acobas on Unsplash

Ghost Chasing

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I’ve known about Quirk Books from their very first publication.  That’s a rarity, I suppose, since many publishers have been around far longer than I have.  I tend to think of Quirk as mainly a purveyor of unusual fiction.  I’ve pitched a book or two to them myself over the years.  In the last few years they’ve been producing some good nonfiction as well.  The topics are, well, quirky.  I just finished reading Marc Hartzman’s new book with them titled Chasing Ghosts: A Tour of Our Fascination with Spirits and the Supernatural.  It’s a good compendium of material that traces the very long history of human obsession with the restless dead.  It begins with some ancient ideas about ghosts and comes up to contemporary times.  Not all of this can be covered with great detail, of course.  But there’s a lot here.  And it has a great cover.

The chapter on Spiritualism and seances is necessary, but it also reveals one of the reasons, perhaps, that modern skeptics still scoff at ghosts.  Mediums (not necessarily Spiritualists) were often caught in trickery, but as Hartzman points out, that doesn’t logically imply that everything was a hoax.  For me, when the rules start to include special boxes or sitting behind a curtain the old skeptic meter starts clanging loudly.  Still, some of this happened because, it seems, you can’t force a ghost to attend.  If there are ghosts and if they retain personalities, well, how do you like it when people tell you that you must be here at this time so I can make you do what I want you to do?  

The chapter on haunted locations covers many of the expected and a few lesser known haunts.  Often a very real human tragedy has occurred in such places.  Is it unreasonable to think we might impress such things on our environment somehow?  Or that our consciousness—which we still can’t explain scientifically—might not hang around to resolve unfinished business?  The final section on using devices to “capture” ghosts brings us up to the present ghost hunter craze.  The pursuit of ghosts is extremely popular, leading to the predictable result that academics shy away from it.  It’s a shame, really.  A few universities have, and some still quietly do, sponsor(ed) departments or facilities to study such things.  It seems to me that if people have been seeing, hearing, and feeling something for millennia, it might be worth some serious effort to find out what’s going on.  Until then, quirky books like this one will always be a guilty pleasure.

A Haunting Story

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The last book I finished in 2021 didn’t quite make it under the wire for my year-end blog post.  It was the second Stephen Graham Jones novel I read in the year.  I guess I’ve been reading a lot of American Indian books lately.  The Only Good Indians is a horror story and more.  There’s reconciliation.  There’s tradition.  There’s hope.  As part of the privileged “white” class, I’m always a little afraid that writers from oppressed cultures will take it out on me.  It may’ve happened here, but if so it was done in a way that I didn’t feel the sting.  This is a story of friendship, mistakes made, and a monster who has a righteous cause.  There’s a lot going on here.

One of the persistent cultural fears of the unwoke, I suspect, is that there’ll be payback if all things were to become equal.  Perhaps on the scale of karma that’s true, but in reality the people that’ve been oppressed simply want the oppression to stop.  To be recognized and acknowledged as being human.  As if that decision is up to white folk to make.  This novel simply deals with American Indian life as it’s lived.  The characters all pretty much live in poverty but they lack the greed so many white protagonists have.  They’re happy if they have a few hundred dollars, or even a few twenties.  Life is more than playing the capitalist game.  It really all comes down to relationships.  And family.

Stephen Graham Jones writes with a deft hand.  He offers some humor amid scenes of violence and loss.  He speaks plainly and without pretense.  And there are parts of this novel that are genuinely scary.  Since I had no idea how it might end, I wasn’t even sure even while I was on the last page.  

The best monsters are those that teach us to be better human beings.  Quite often they teach us that the truly monstrous ones are those who look and act like people usually look and act.  We take the natural world, assuming it’s ours.  We think our small problems are those of the entire world.  Monsters help to fix our perceptions.  Without them we carry on as if it’s business as usual.  This is a good novel to read in the midst of a pandemic.  There’s hope here that we’ll come out of the crisis better than we went in.  Perhaps scarred and changed for good.  In every sense of the word.

Investigating Investigators

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I firmly stand by my earlier assertion that you can learn a lot from reading badly written books.  It’s difficult not to attribute motives (particularly of the pecuniary kind) to a book apparently hastily written and self-published.  But still, but still.  Writing even a short book takes quite a bit of effort.  One thing that came through in my reading of Paranormal Investigators: The Complete Collection Books 1–10 is that Rodney C. Cannon and Leo Hardy have a legitimate interest in the topic.  Not everyone has the facility with wordsmithy that makes for pleasant reading.  Not everyone has years of research training.  Still, there were moments of eye-rolling and actual out loud snorting that accompanied reading this one.  It continues some useful information, but all of it will need to be double or triple-checked.

My reason for reading it is the dearth of good information on controversial figures.  This has bothered me for some time.  Academia tends to pretend figures such as Ed and Lorraine Warren, Hans Holtzer, and Montague Summers simply don’t matter.  The fact is they have very wide followings and they share the feature of being self-taught in the field of ghosts and/or monster studies.  I knew this book was self-published (itself a warning sign, but then many credible authors self publish because it’s nearly impossible to break into the commercial publishing world).  I had hopes that it was simply because publishers don’t like to take chances on authors without a platform, without household name recognition.

The book is, however, poorly organized and repetitive.  The grammar is bad enough to make an erstwhile teacher such as yours truly pull out his truly’s hair.  And yet there is information here.  I can’t accept anything as factual from a book loaded with grammatical errors, very very few citations, and factual mistakes.  That doesn’t mean there’s nothing of value to be found in it.  In fact, I learned a thing or two (that I’ll need to confirm) that may help me in my own research.  And besides, it’s a quick read.  Given the constraints in the publishing world, we can all be forgiven for not automatically dismissing those who have something to say but who need to sidestep the standard publishing world to do it.  Amazon and others have made self publishing as simple as clicking a few buttons.  Who can be blamed for taking advantage of what others have wrought?  I learned something and that is, after all, the point of reading.

Ghosts Again

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In keeping with my holiday ghost interest, I read John Kachuba’s Ghosthunters: On the Trail of Mediums, Dowsers, Spirt Seekers, and Other Investigators of America’s Paranormal World.  Yes, that subtitle is a mouthful.  The book is a series of essays without an overarching thematic arc, but it does contain some interesting accounts.  If you’re hoping to walk away with proof of ghosts this probably isn’t your book, but a few of the people the author interviews have some pretty convincing stories.  Ghosts remain one of the great unknowns.  People of all intellectual backgrounds, every socio-economic class, and every religion have encountered them, and this is true throughout history.  Ghost hunting isn’t a science and has no developed methodology, but then ghosts don’t seem to perform on demand.

I was particularly interested to see what Kachuba had to say about Ed and Lorraine Warren.  They were the original ghost hunters and their work was controversial from the beginning.  One of the consistent problems with the paranormal is that advanced degrees tend to make you quite skeptical.  You look for proof in the fields recognized by your peers and although a few departments of “parapsychology” have cropped up from time-to-time, mainstream science is doubtful and drives doubt into all comers.  Those who investigate ghosts suggest that if you don’t believe you won’t see.  Here’s the basic paradox between faith and proof.  And it only raises questions when you learn that science doesn’t prove but rather provides the best answer, given the data as currently understood.

Kachuba presents himself as neither a firm believer nor a dismisser.  He clearly enjoys ghost hunting himself and several times mentions his Ghosthuntermobile.  He interviews not only Lorraine Warren (Ed had had a stroke by this time) but also a variety of mediums, Spiritualists, and ghost whisperers.  He writes about various haunted locations, but in the accounts he shares he doesn’t see anything that can’t be explained.  Some of the essays are written with a humorous take on the subject, while others are entirely serious.  It’s kind of a grab-bag of a book in that regard.  Like many readers, I suppose, I hope to pin down something certain when it comes to the unknown.  My guess is that if anything definitive appeared we’d know about it.  Given the goings on in the world these days it probably wouldn’t be front-page news, as much as any information on eternity should be.  In the meanwhile we can read and wonder.

Twilight on Christmas

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We have too many ornaments for the single Christmas tree we can afford.  There are few reasons for this.  One is that I married into a family with Christmas ornaments.  While on my own I never set up a tree and I owned very little beyond books and some LPs.  Besides, I went home for Christmas.  Another reason is that although I seldom think of Christmas before December, we tend to buy ornaments as souvenirs.  Not for everywhere we go, but we did start a ship sub-collection when visiting coastal locations.  We also have a moose sub-collection.  I spent quite a bit of my early adulthood out in the woods looking for moose, generally in Maine.  Then there’s the “other sub-collection.”  The one that’s be relegated to it’s own mini-tree.

To understand this, let me begin by noting that Christmas is the birthday of Rod Serling (shoutout to my friend John Morehead for pointing this out).  Rod Serling is one of the reasons—he can’t take all the blame, of course—that I’m interested in strange things.  The Twilight Zone affected me profoundly as a child, and probably had more impact on my life trajectory than I might’ve realized.  The “other sub-collection” consists of the weird ornaments.  It began with a Cthulhu ornament I found online a few years back.  Then, at a fair trade shop in Ithaca, I found a yeti ornament.  How could I not support fair trade?  This year at Christkindlmarkt I found an alien head made from a recycled Christmas tree trunk round.  It seems my strange Christmas ideas aren’t unique.

Bethlehem styles itself “Christmas City.”  The celebration in the Lehigh Valley is palpable.  My family generally spends a December Saturday strolling up and down Main Street, visiting the quaint shops.  Last year one of them had ornaments of sasquatch skiing.  I didn’t buy it, thinking someone might pick up on my pointing it out.  This year I went back to the store but they didn’t have it any longer.  A quick online search, however, revealed many options for a cryptid Christmas.  What can I say?  These things make me happy!  This year I’ve been thinking quite a bit about ghosts and the holidays.  It’s an ancient connection that has been lost to the commercialization of Yule and Saturnalia and other December celebrations.  So, Rod Serling was actually born on Christmas day.  I hope that however you celebrate this day it will bring you joy, no matter how weird.