Wandering

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Sarah Perry seems to be a writer who refuses to be pinned down.  Some of us are careful in our fiction to make sure things progress logically, almost factually.  With Perry you’re never quite sure.  Was there a sea monster in The Essex Serpent?  I’m not sure how this played into my decision to read Melmoth.  I knew the title had to have drawn its inspiration from the gothic classic Melmoth the Wanderer, a book I’ve never read.  (The internet has, in some ways, taken the sport out of wandering used book stores, where the possibility of finding such things was once a part of their charm.)  In any case, I saw Melmoth on the front table of Buffalo Street Books in Ithaca, and you learn which bookstore front tables to trust.  It was back when bookstores were open and autumn was in the air.

The concept of the wandering Jew (which I address in Holy Horror) is one that has the power to offend.  By emphasizing the atrocity of the Holocaust, Perry parries that here while maintaining the concept.  The wandering Jew committed some ancient crime and is sentenced to roam the earth until, well, usually the end times.  Perry makes Melmoth one of the women at the empty tomb of Jesus who, when asked to confirm the truth of the event, denies what she saw.  Condemned to walk the world on bleeding feet, she finds sinners and invites them to join her.  Not only finds, but watches—she is the one who sees all your transgressions—and insists that you come to her.

Melmoth is, like the original story, a set of nesting dolls.  The frame story contains other documents that shed more and more light on this dark wanderer.  Characters must own up to their shortcomings.  Indeed, confession is a large part of the story.  Although set in modern times, the book is quite biblical, both in sensibility and in some of the plot elements.  It even has several quoted snippets from the Good Book.  This caught my attention partially because a recent article I wrote (there will be notice here when it appears) suggests that the horror genre goes back to the Bible itself.  Those uncomfortable with the darkness may not realize just how much the two have in common.  Not all the strings are tied up neatly by the end, but this novel will perhaps inspire the reader to do a bit of wandering their own. 

Eternal Returns

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Nightmares with the Bible has been submitted.  Those of you who read this blog regularly know that it is my fourth book and that it is a kind of sequel to Holy Horror.  Nightmares looks specifically at demons.  I was inspired—if that’s the right word to use for it—to write the book because the chapter on possession movies in Holy Horror was clearly overflowing.  Not only that, but at the time I started writing the book not many resources were out there on demons.  Almost nothing, certainly, that asked the big question of what they are.  To answer that we need to go to the movies.  People get their information from popular culture, especially when it comes to trying to understand the arcane and even esoteric field of theology.

Movies, studies have shown, often participate in the reality our brains conjure.  Back when Reagan was president—is it even possible to believe those seem like halcyon days compared to these?—he was caught occasionally citing events from movies as historical realities.  We all do it from time to time, but then, most of us, if pressed, can tease movies apart from facts.  Church attendance has been going down for some time (and on Zoom you can tune in and tune out without having to “stay in the room”), and so people have to get their information on demons somewhere else.  Reality television and the internet also play into this as well, of course, but Nightmares sticks with movies because I’ve only got so much time.  The message is pretty straightforward though, we must consider where people get their information.

After you submit a large project, if you’re anything like me, you’re mentally exhausted for a while.  I’ve been working on this book for nearly five years—I started it before Holy Horror was submitted to McFarland.  I had already begun work on my next book, but I yet have to decide which one it will be.  I have several going at any one time.  Hopefully this next one won’t be coming out with an academic publisher.  I’d like it to be priced in the realm where individual buyers might consider it worth the investment.  I know from experience that even books just over twenty dollars are a stretch for most people, especially if they’re on academic topics.  Nightmares will come back, I know.  There will be proofs and indexing and all kinds of further work to be done.  I’m hoping that by that point I will have the next book nearly done.  If only I could decide which one it will be.

Still Evolving

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Evolution, the 2001 movie, I mean, is good escapism.  Thinking back on 2001, instead of a space oddessy, another piece of news—another national crisis, in fact, dominated.  The film kind of slumbered in the background until we could sort out what it meant to live in, ironically, an unsafe world.  That’s precisely what the movie was about.  I wasn’t thinking that when I recently pulled it off the shelf.  I was simply wanting some fantasy to relieve the daily pressure of living in stress mode.  Besides, it has some of the best alien monsters you could hope for in a comedic setting.  Soon, however, the parallels began to appear.  A source of contamination from outside.  A growing threat.  A government that doesn’t know what to do and that can’t admit its mistakes.  It all seemed eerily familiar.  Dr. Allison Reed is even from the CDC.

Life isn’t constant crisis.  Funnily enough, when Democrats are in office there seem to be far fewer of these large-scale troubles.  “There will be signs,” I guess, “in the sun, moon, and stars.”  The thing about signs is that we’ve left the reading of them up to Fundamentalists.  And Fundamentalists don’t believe in evolution.  Or science.  Or modernity.  Idealizing medieval thinking does come with a price tag.  So I reach for the remote.  While the government has lots of money that it spends on its own volition, the crisis grows.  The alien menace is set to spread across the country.  Although beginning in a different geographical location, all that red on the map sure looked familiar to me.  How little has changed in the last two decades.  Evolution came out before smartphones even evolved.

Meanwhile, practically unnoticed, the U.S. Navy has been saying UFOs are real.  The story, muted and subdued—we’ve got more immediate concerns, such as getting reelected—has been on major reputable media.  When they land on the White House lawn we’ll ask the aliens if they have respirators and masks aboard.  Preferably the kind with face-shields.  In the movie the monsters are aliens.  They’re like an infection, and even hazmat suits can’t keep you safe.  The solution, of course, isn’t fire-power, but a good shampooing.  Now I know you still can’t go to the salon in lots of places, but washing up at home seems to be pretty good advice.  We put the movie on for simple escapism, but there’s no escaping the fact that we now live in an alien environment.

Religion’s Trickster

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I’m not sure I’ve read any fiction by Native American writers before.  Owl Goingback has established a reputation among horror writers for his blending of Indian concepts and the horror genre.  Coyote Rage is a novel that blends worlds.  Coyote is, of course, a trickster figure.  Upset with human abuse of the world and our indiscriminate killing of animals, he decides to wipe out the human race.  Since all animals, including humans, plead their causes in the council in Galun’lati, the original world, he decides to take humans out by killing their last representative on the council, an elderly Native American in a nursing home.  The fact that his victim has a daughter unaware of her heritage, means that Coyote has two people to hunt.  As a shapeshifter able to travel between worlds, Coyote is a formidable enemy.

I don’t want to put any spoilers here, but it is worth considering the spiritual aspects of the story and how they blend so well into horror.  I’ve commented before on how religion plays into the genre.  Here is yet another example.  Galun’lati is presented as reality.  Not only do the animals talk there, it is a place that has its own dangers.  It’s a forest world, appropriate to Native American experience and context.  It’s very much a natural, supernatural world.  The novel splits its time between Galun’lati and the New World—this world—as humans try to prevent their own extinction while most people have no idea there’s even any threat.  Oblivious, we carry on.   Religion can play into horror that way.  While there are plenty of examples of purely secular horror, in my experience tales that have supernatural sources of threat are the scariest.

It may come back to the issue of ultimate concern.  When our spiritual wellbeing is taken into account, we often approach it with some trepidation.  The physical world feels so real and occupies much of our time.  If, however, we need to add spiritual concerns on top of everything else, it can become overwhelming.  What if physical threats, such as the coronavirus, and any other of a myriad of dangers, are only part of the picture?  What if there is another entire world in which we also have a stake?  If that world is beyond normal perception, we must rely on those who understand it.  Much effective horror knows to tap into this area of natural uncertainty.  Owl Goingback uses it remarkably well in crafting a horror tale that makes you think.

Misreading Melville

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I make it a practice not to discuss books I’m still reading on this blog.  There’s no reason I shouldn’t, I suppose, but it just feels like cheating getting more than one post for a book.  Besides, there’s so much other stuff to blog about!  I’ll make an exception this time, because it involves an unusual typo.  Well, it’s not so much unusual as it is apt.  In chapter 82 of Melville’s classic, Moby Dick, “The Honor and glory of Whaling,” he discusses the mythical history of whaling.  In typical Melvillian style, he takes mythical stories to support his contention of how honorable whaling is.  After Perseus and St. George and the dragon, he mentions the curious biblical episode of Dagon and the ark of the covenant, found in 1 Samuel 5.  It’s here that my edition has a typo.  Melville writes “this whole story will fare like that fish, flesh, and fowl idol of the Philistines, Dagon by name” but my edition reads “Dragon by name.”

Image credit: Vignette by Loutherbourg for the Macklin Bible 12 of 134, via Wikimedia Commons

My very first academic publication was on this story about Dagon (I had intended to write my dissertation on that deity).  I had no idea of H. P. Lovecraft’s appropriation of Dagon at that point.  The interest was purely based on the fact that you couldn’t find much information on this curious god.  It was clear that he was well known among ancient cultures of West Asia.  He was attested at Ugarit, specifically as the father of Baal.  (Both would later be assumed to be demons.)  Further east, he was apparently a fairly major deity in Mesopotamian religions, although we are still awaiting a readable synthesis of that massive corpus of texts and the religions toward which it points.  In other words, Dagon is mysterious.  Lovecraft likely picked him up from the biblical story.

The tale in 1 Samuel is provocative.  After defeating Israel, the Philistines (who would eventually give Palestine its name) took the ark to the temple of Dagon as spoils.  The image of their god fell face-down before the ark overnight.  Disturbing as this was, the next morning after they’d replaced him, Dagon was again tumbled but also decapitated and with his hands broken off.  That meant his body was all that was left.  Somewhere along the line the name Dagon (close to the Hebrew word for “fish”) was interpreted as a maritime entity.  This seems unlikely, given what we know of his origins, but the idea stuck, leading to some compelling horror fiction.  Dagon does indeed become a kind of dragon in that realm.  My edition of Moby Dick has a typo that we today would blame on autocorrect, but in reality was likely the result of a copyeditor not knowing his or her Bible as well as Melville did.

Bats and Bloodsuckers

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In what looks (somewhat cynically) like at attempt to add newness to frightfully old news, the World Health Organization has renamed COVID-19 to the much scarier SARS-CoV-2.  The basics remain the same: the virus is transmitted the same way.  If it lands on a non-organic surface it soon dies without a host, rather like the elected officials of an old party once grand.  Like any parasite, it requires the life of another to prosper.  And so we find Mitch McConnell telling states to declare bankruptcy in a move taken from the Bible’s own playbook.  You see, during a famine in Egypt Pharaoh bailed out the food banks, and by buying all the land made peasants in essence slaves of the state.  The Good Book has all the answers.  A few generations later, however, and Pharaoh had to learn how to swim in the desert.  The divine economy is not without humor.

The WHO report also states that the vector has been traced to bats.  Bats make me think of vampires—I can’t help it, I’m a late monster boomer.  While WHO doesn’t make any connections with vampire bats, I researched them when I was younger.  Unlike elected members of the gOP, vampire bats aren’t selfish.  Nor are they greedy.  Finding a victim, the make a small incision with their sharp little teeth and lap up enough blood to survive.  If another bat goes a night or two without success, vampire bats will share their success, realizing in a way that politicians don’t, that helping one another is an assured way of establishing communal strength.  Or you could just be capitalist about it, let the unsuccessful starve, and go seeking another victim of your own.  Bloated bats don’t fly well.

If the Old Party learns from nature we’ll all benefit.  Greed is hardly the basis for sound government.  Nature would suggest that ingesting disinfectant isn’t the best advice to dole out to a nation about which you truly care.  The Old Party refuses to do anything, of course.  Having proven themselves unable to govern, they’re busy pulling together campaigns for November’s election.  With a leader who’s already said on national television that Republicans can’t win without gaming the election process itself, they don’t even blush.  I’m no expert, but it may be because they don’t have enough blood to rise to their cheeks.  If they’re short on blood it might be worth their while to learn a thing or two from vampire bats.

See Monster

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What happens when someone encounters something anomalous?  In real life this is often described as a religious event.  In fiction that sometimes happens as well, as in Christopher Coleman’s The Sighting.  Set on a beach somewhere along the Atlantic, the story is about a woman who encountered a sea monster and decided it was a god.  Gods, of course, require sacrifice, and thus the tale turns on her effort to placate the beast in its current appearance cycle.  Such sacrifice doesn’t come willingly, and this introduces a murderous main plot.  Unlike the gods of lore, however, this one literally eats, tipping the reader off that its divinity is somewhat of an illusion.  The hungry beast becomes the divine only to its blind follower.

I’ve not read any of Coleman’s fiction before, and this self-published novel appears to be a good introduction to his story-crafting.  His monster, like a god, comes with no explanation.  It simply is.  Since religion isn’t really susceptible to being examined under a microscope, the truth of not being able to locate an origin for gods seems natural enough.  Still, people are curious about monstrous origins.  Mary Shelley tells us the genesis of Frankenstein’s monster, but Bram Stoker leaves Dracula’s ultimate origins somewhat misty.  In the present day, with its ubiquitous cell phones and information, we do wonder if monsters can’t simply be explained.  Even if that simple explanation is complex.  Coleman’s title page tells us this is book one, so further elucidation perhaps comes later in the series.

The sea, in classical thought, gives rise to monsters.  Coleman’s creature comes from the Atlantic.  All the world’s oceans are organically connected, and their surface area is so massive that we really haven’t figured out all of what’s under there.  Stories still appear in newspapers announcing this or that unidentified creature that has washed out of the sea.  Its depth and relative impenetrability make it a natural birthplace for monsters.  By the end of The Sighting the reader is really still only given a glimpse of what this god might be, or why, indeed, it is considered a god at all.  Origin stories make monsters less scary sometimes—Shelley’s genius was to take it in the opposite direction.  Often in horror stories, the humans are more frightening than the monsters.  So it is here.  What makes this story so disturbing is the unquestioning human acceptance of belief, for it is often here that gods can become monsters.

Connecting Connecticut

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One of the many lessons of the current pandemic has been that my appreciation of horror is not misplaced.  Horror Homeroom has just published my piece “Demons or Ghosts?  Hauntings in Connecticut,” available here.  I’ve noticed that Horror Homeroom has had a surge of pieces since all of this began, which seems tacit evidence that horror is a coping mechanism.  It’s no wonder, really.  Horror often deals with “worst case scenarios” and specializes in isolating victims.  Now that we’re all practicing social distancing we’ve entered into one of the main framing plots of the horror movie.  Contagion isn’t an unusual trope either.  My article is about neither of these, but I still maintain that watching horror is therapeutic.  As with most therapy there’s good and bad varieties.

The films I write about in this instance aren’t good movies.  The Haunting in Connecticut franchise misses on so many levels that it doesn’t seem bound for classic status.  Yes, there are classics in the genre.  When the outbreak started many people referred to The Shining as how they felt being cooped up all the time.  There are those who vehemently deny that The Shining is horror, but given the association with Stephen King it seems difficult to deny.  Horror doesn’t have to involve slashers or bug-eyed monsters.  It isolates.  It imagines worst case scenarios.  All Jack Torrence needed was an inept national administration to put us all in the Overlook, one at a time.  

The pandemic has slowed down the release of new movies, of course.  The much anticipated A Quiet Place Part II has been pushed out to September.   Sitting here in isolation I wonder if that’s long enough.  Politicians with money in mind over their human constituents are chomping at the bit to get us mingling again.  Exposing one another.  Horror, however, knows all about aftershocks.  I don’t like jump startles.  I prefer my movies to built thoughtful, moody situations.  Despite their many sins, the Connecticut haunting movies do that correctly.  While they have other problems, they do throw us into a world where things aren’t quite right and we know it.  Elaborate plots really aren’t necessary, though.  The mind is pretty adept at filling in the story.  Like children asking to have the same book read over and over, we know how it goes.  We just like someone else to show us exactly how.  Isolation should continue for some time.  And horror provides a reasonable narrative to help.

Bug Eyes

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Science fiction and horror are close kin.  Once relegated to the cheap rack of “genre fiction,” both have now developed considerable literary sophistication, perhaps in the wake of their ability to bring in money.  I used to attend used book sales.  Two of the big ones in central Jersey were the Bryn Mawr sale, held just outside Princeton, and the even larger Hunterdon County Friends of the Library sale.  Both were springtime events and highlights on my calendar.  I always had a list with me when I went, but there were also so many books I’d never heard of and that looked fascinating.  One such book was the science fiction anthology, Bug-Eyed Monsters, edited by Bill Pronzini and Barry N. Malzberg.  The garish cover was half the appeal, and, well, monsters go without saying.

Although I’ve mostly moved to the horror end of the spectrum, there were some good stories here.  Bug-eyed monsters were a staple of 1950’s sci-fi, gracing the covers of pulps, often menacing women with their tentacles.  Some of the tales here share that kind of wide-eyed wonder at the sheer power of imagination, while others are much more subtle.  Monsters, of course, lurk between genres, bursting into consciousness when something unexpected is discovered.  They also have strains of religious awe associated with them.  That’s obvious in a couple of the stories as well.  Since I’m trying to read through my own books while stores are closed, I decided to spend some time with my monsters.  The problem with story collections, however, is you can’t discuss them all in the short format to which I limit myself here.  Besides, some of them I didn’t like.

Monsters deserve to be treated with respect.  In the “golden age” of sci-fi they were often played for titillation.  Most of the monsters in this collection are from outer space.  Some are homegrown, generally in the scarier tales.  We are afraid of those who are different.  Monsters, as more than one of these stories indicate, can be more humane than humans often are.  It’s no surprise that they tend to represent the foreigner, the person whose culture and appearance are different than our own.  Titillation apart, these narratives often ask us to stop and consider what might happen if we really did listen.  Would we not improve ourselves if we could learn from those we fear?  In these days of government-approved xenophobia, perhaps we should dust off our copies of the old genre fiction.  Even in those days we were encouraged to be open minded like our monsters.

Reading Connections

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It’s flattering to have someone notice your work.  The other day I had the very first email from someone who’d read Holy Horror and wanted to discuss it.  It was from an undergraduate, no less, who was doing a report on religion and horror.  She’d read my book (and yes, it’s undergrad friendly) and wondered if I’d be willing to talk about it.  I can’t express how surprised I was (and still am).  You see, I have emailed authors after reading their books.  Many of them show no interest in carrying on a conversation with someone they’ve “met” through email.  I’ve had so many single-sentence responses with no enthusiasm whatsoever that I’ve begun to think of those employed in academia as hopelessly stuck in tunnel vision.  If you write a book you’re wanting conversation with those who read it, I should think.  At least I am.

Those of us outside academe don’t have tenure committees to please or effectiveness committees to placate.  We write books to try to engage readers.  Unfortunately Holy Horror is priced for the library market.  During our phone interview, my interlocutor asked about the cover.  She said something publishers should hear: when walking around with Holy Horror her friends asked what the book was about because the cover is intriguing.  (It’s actually based on Chloë Grace Moretz from the reboot of Carrie, discussed in the book.)  In the midst of a pandemic, this first show of interest made my day, like seeing the first crocuses after a long, hard winter.  I do welcome conversation about my book.  I don’t have a classroom of students to force to buy and read it.  It’s out there for discussion.

Nightmares with the Bible is nearly finished.  Of course, publishers have hit a bit of a slow patch with many of their business partners shutting down.  Some publishers have gone into hibernation during the pandemic.  Books, though, will get us through.  A colleague of mine said the industry reports are showing that novels continue to sell while nonfiction is suffering.  Well, I’m no expert, but I do wonder if nonfiction might do better if authors would be willing to respond to this who express an interest in their work.  I know it’s a radical idea.  I also know that my books reach nowhere near what most publishers consider a viable readership.  What people are looking for during enforced isolation is a sense of connection.  Reaching out to find someone reaching back.  Books can do this, even if we never physically meet.

Haunted States

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I’ve been going through a spate of watching “The Haunting” movies.  Just to be clear, I don’t mean The Haunting, by Robert Wise (1963), which is excellent.  Instead I mean movies spun off of the Discovery Channel’s series A Haunting.  Several years ago, between jobs and too near an FYE store, I picked up a cheap two-fer.  This set contained the television movies A Haunting in Connecticut and A Haunting in Georgia.  I watched them once and then traded them in to get something else.  The first one really bothered me.  The Connecticut story deals with a childhood cancer victim, and that alone is scary enough.  It had the limitations of a television movie and left me thinking it wasn’t too satisfying.  The Georgia haunting was more of a documentary, but it was also open-ended.

Then someone got the idea to make a movie out of the two.  The Haunting in Connecticut blows the plot over the top.  I kept thinking as I watched it, isn’t it in bad taste to make a horror movie based on the true life horror of tragic disease?  The protagonist of the story, Philip Snedecker, died about three years after the movie came out.  Although the plot generally followed the first movie an entire subplot was added to pad it out.  A nineteenth-century funeral director has enslaved a young man to be his medium.  The undertaker steals and marks dead bodies to enhance the boy’s powers.  These completely fictional characters intermingle with the real life tragic Snedeckers.  As you might expect, chaos ensues.

The oddly named The Haunting in Connecticut 2: Ghosts of Georgia also had to add an entire fabricated story to the troubles of the Wyrick family.  In real life the Wyricks moved into a house where their daughter started seeing things, including a kindly ghost named Mr. Gordy.  She also saw some sinister spirits.  So much so that her family invited a parapsychologist to investigate.  The theatrical version adds in a stationmaster on the underground railroad who was also a taxidermist.  Instead of helping all the slaves to freedom, he saved some for stuffing later.  No real motivation is given, beyond his enjoyment of sawdust and thread and death.  

While these two movies really didn’t help much, I generally find watching horror during a pandemic therapeutic.  Horror films sometimes help viewers envision worst-case scenarios and figure out how they might deal with them, learning from the victims’ mistakes.  I suspect that’s why, a few years back, the CDC posted instructions on what to do in case of a zombie apocalypse.  It was all about disaster preparedness.  Of course, in those days we had no idea what was really coming to Connecticut, and Georgia, and to every state of the union.

Not Sterling

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Only indirectly has the coronavirus pandemic influenced my decision to read books of short stories.  Indirectly because bookstores are closed and I have several such volumes gathered here at home.  This particular collection includes a book “especially written for young people” called Chilling Stories from Rod Serling’s The Twilight Zone.  This is a book I had as a young person, discarded, and then regretted discarding.  I have to say that most books I discard I eventually regret.  When you’re young and moving from apartment to apartment, though, you can’t keep all your books.  Anyway, I re-acquired it several years back.  The book doesn’t list an author.  Instead, the title page says “Adapted by Walter B. Gibson.”  Gibson was best known for writing The Shadow series.  The end result is that I don’t know who wrote the stories in this book.  They have the ideas of Rod Serling, but the writing isn’t in his style.

When I buy a book (I got this one used on the internet, back when it was young) I like to know the author.  WorldCat lists Serling as the author, but the book was published pre-ISBN days, back when publishers could be a bit less than transparent about such things.  Other websites put Gibson first under authors, followed by Serling.  The publisher, Tempo Books, was an imprint of Grosset & Dunlap, which eventually came under the Random House/Penguin umbrella.  Originally publishing primarily children’s books, Tempo lists this book for young readers, although as an adult reader I wonder if it could appeal to young people today.  There’s no sex and any violence is really implied rather than explicit, but there’s some adult-level subtlety going on.  Books for young readers are much different these days.

Just recently my daughter introduced me to the increasing sophistication of levels of book genres.  Like most readers and writers I’m encouraged at how young adult books have taken off.  A future generation of readers is cause for hope.  There are now “new adult books.”  These are targeted at those college aged or just over.  Unlike young adult titles they’ll have sex and adult language.  My Twilight Zone book lacks these, and it also lacks the sparkle of Serling’s teleplays.  Serling was a playwright and screenwriter.  These stories clearly contain his ideas but not his ability.  I didn’t know that as a child.  I do know that I never finished the book before now.  One of the reasons, I expect, is that it didn’t really seem like I was reading Serling, even to my young self.  Still, ghost stories during a pandemic have their own appropriate place, and who doesn’t want to be young at heart?

Making Frankenstein

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Some days ago I mentioned reading a book about Frankenstein.  This was Making the Monster: The Science behind Mary Shelley’s Frankenstein, by Kathryn Harkup.  I’ve read several books like this, many of them written about on this blog (search “Frankenstein”—there is a search box out there!), about the context of Frankenstein.  The base story is all the more compelling for having been written by a teenager who’d eloped with a married man who would eclipse her literarily.  Mary Shelley never got rich off Frankenstein, but it is one of the best known novels of the nineteenth century.  It had an impact during the author’s lifetime and has continued to have one these centuries later.  Harkup, however, is a scientist.  Her specific interest, apart from being a female writer herself, is in the science of the story.

Arranged thematically, Making the Monster covers several of the developments which would’ve been “in the air” at the time.  Mary and Percy Shelley both read science also, and knew many of these things.  There was the question of reanimating the dead that coincided with the early dissections of humans that made the modern study of anatomy possible.  There were medical breakthroughs—some of the more difficult parts of this book to read—and there were experiments with electricity.  There were cases of children raised in the wild that had been found and their subsequent stories documented.  There was evolution (in the form known to Charles Darwin’s grandfather Erasmus), there was revolution.  It was a time with so much happening that Frankenstein became a cathartic outpouring of the human soul amid the science that both Shelleys atheistically accepted.

Much of this book is fascinating, even after reading other similar accounts to the background of the novel.  What really brought it all together for me, however, was reading through the chronology at the end.  It takes me several days to read books.  What with the monster of daily work I often forget some of what I’ve read along the way from introduction to conclusion.  Having a chronology at the end reminded me of just how much information is packed in between these covers.  The narrative covers about a century (longer, if you include the alchemists), and shows how Mary was using fiction to address some very real science.  Harkup never loses track of Mary Shelley’s personal experience, however.  Estranged from her father, constantly on the move, widowed fairly young, losing several children, treated poorly by aristocratic in-laws, hers was a story of perseverance and ultimately influencing the western canon.  It shows that science and art can assist one another to make us all more human.  And the monsters left behind endure.

Frankenstein’s Family

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The story of Frankenstein has many unexpected twists and turns.  I’m currently reading a book about the writing of the novel—something I’ve done a number of times before.  There was an aspect of this story that hadn’t really caught my attention too much, but then, circumstances changed.  Suddenly old information became new.  It all started with a missed opportunity from childhood. 

It was a real puzzle.  Although my grandmother lived with us her last years, I never knew the name of her mother.  There had been hints.  My grandfather’s book with birthdays in it listed the first name, so I had a Christian moniker and birthdate only.  She’d died young, I knew, somewhere in the Washington, DC area.  This had been the state of my knowledge for many years.  My grandmother died before I was a teen, and before I took any interest in the family story.  I knew her heritage was Germanic, her father having been a first-generation American.

So young Mary Shelley (technically Godwin) was on a tour of Europe with her lover Percy.  Although they both came from distinguished backgrounds, they were cash poor.  Running out of money they made their way back to England as cheaply as they could.  They passed near Castle Frankenstein along the way, although there is no record that they actually visited it.  The name seems to have stuck, as does the story that they potentially learned about a mad scientist who’d lived in that castle.  This scientist was a theologian who dabbled in alchemy and experiments with dead bodies.  I know what you’re thinking—it’s like a puzzle piece we desperately want to go in this place but its fit’s ambiguous.  We’re not sure how much of this Mary Shelley knew.  The alchemist’s name was Johann Konrad Dippel.  I’d read about him before.

I’d spent nearly an entire summer some years back working on my grandmother’s family, finding little.  Just two years ago I did a casual search on “Find a Grave,” and to my surprise, I found my great-grandfather.  I knew it was him because his second wife’s name matched information from all the family records.  The cemetery record, in Maryland rather than DC, had his first wife’s name.  It was that easy.  After decades of searching, a few keystrokes revealed the mystery.  When it also listed her parents, the significance of her mother’s maiden name—Dippel—escaped me.  Now I have no way of knowing if this is the same Dippel family of Castle Frankenstein, but it put flesh on the bones of my long-standing interest in monsters.  Seeking them out may be the same as learning family secrets.  Perhaps it always is.

Coincidentally

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I hope I never become too sensible not to pay attention to coincidences.  With the death of Max von Sydow falling the same week as the time change, the full moon, and Friday the thirteenth, I’m left feeling a little vulnerable.  I mean, what do we do now that the Exorcist is gone?  A couple days ago, when the moon was full—the last full moon before the vernal equinox—I awoke before 3:00 a.m.  Thinking Daylight Saving Time would have me groping for a few extra minutes abed, instead I found myself wide awake at the hour when monsters are thought to be afoot.  As I put my feet to the floor I saw the brilliant lunar light beating through the blinds like midday.  It was remarkable how very light it was.

A bipartisan bill has been introduced in congress to make Daylight Saving Time permanent.  Of course, getting any law passed without numerous riders and bickering is unlikely, but I do wish they’d get on with it.  That having been written, the time shift has been remarkably easy on me so far this year.  Perhaps those of us regularly awake in the dead of night adjust a little more quickly.  Keeping out of New York with the coronavirus lurking, I’d rather deal with my own monsters anyway.  I remember my amazement at seeing Max von Sydow unchanged from Fr. Merrin to Dr. Naehring.  Then I looked up just how much makeup the Exorcist had to have to age himself several decades.  He was a young man when The Exorcist was filmed.  At this time of day anything is believable.

Friday the thirteenth is a bit of lore grown from Christianity.  Friday was inauspicious because of Good Friday and the thirteenth lot fell on Judas, who, along with the others, made thirteen.  It was as if some demon were afoot on such Fridays.  These bits of Christian lore made their way into popular culture and then crept into horror films.  A good deal of Nightmares with the Bible revolves around The Exorcist.  So I sit here before sunrise with a bit of just-past full moon shining in, not too tired from losing an hour on Sunday.  It’s not difficult to think of scary things at this time of night.  Of course, demons traditionally come out around 3:00 a.m.  This week has been like that.  And without Max von Sydow, we want to be very cautious around demons.