The Canine Mystique

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BlackDogAnyone who spends long enough in the United Kingdom will hear about them. Not everyone believes in them, but reports of their presence are pervasive. Some call them ghosts while others call them protective spirits. They are the black dogs. As Mark Norman points out in his new book Black Dog Folklore, the tales of these spectral canines go back centuries and they also appear in other parts of the world. The majority of the lore comes from the British Isles and even there they are concentrated into certain parts of the country. Norman isn’t setting out to prove that they exist, though. This book is an exploration of folklore and the question of the reality of the phenomenon isn’t the point. The fact is people have reported encountering similar kinds of black dogs that vanish in similar ways frequently enough that secondary characteristics can be described and the accounts can be treated as lore.

Dogs were the earliest domesticated animals. Long before cattle and sheep could be tamed, humans and dogs had learned the mutual benefits of each other’s company. This very long association between species has, however, not always been smooth. Dogs retain something of the ancestral wolf in their nature, even as we harbor our inner ape. Some people fear dogs, and indeed, dogs are still used for security and can be trained to attack, or even kill, people. Their millennia-long association with humans, however, has assured them a place in our mythologies. Ancient cultures frequently mythologize dogs, making them prime candidates for an afterlife in folklore.

Traditionally, dogs are chthonian creatures. That word tripped me up the first time I encountered it. “Chthonian” is literally something like “of the earth,” but in mythology it is used to designate that they are associated with the underworld. As in life, dogs may act as guides in mythology, and one of their regular associations is with the realm of the dead. It’s no wonder, then, that dogs came to be associated with ghosts. As Norman demonstrates, the lore was pervasive enough to engage Sherlock Holmes in The Hound of the Baskervilles, and perhaps even Bram Stoker used the image in Dracula. Winston Churchill referred to his depression as a black dog. Norman’s book won’t convince the reader that such things actually exist, but what it does do is draw the tales together to determine what there is to analyze. Since dogs have been our companions for so long, they have become part of our narrative tradition, participating in what it means to be human. As with all good folklore, there are those today who still swear these spectral dogs still haunt those who are willing to believe.

Nightmares

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I spend a lot of time thinking about monsters. Could there be any more statement of the obvious? The deeper issue, however, is why. Why am I, among countless others, drawn to the monster? This may not be politically correct—I apologize in advance—but that which is unusual naturally draws our gaze. Humans, along with other conscious creatures, are curious. (There’s another trait that reductionism hasn’t adequately explained; we’d be far more secure sticking with what we already know works.) The out-of-the-ordinary will keep our attention although we’re told not to stare. The monster is defined as something that isn’t “normal.” We’re captivated. We stare. Indeed, we can’t look away.

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The media play into this with their coverage of Trump. I realize I risk participating in that rude behavior by even addressing the topic, but as I hear intelligent people everywhere asking why Trump has captured the imagination I have to ask, have you seen the headlines? Newspapers that don’t endorse him run huge headlines when his name is in the news. It’s horrible, but I can’t look away. Historians scratch hoary heads and wonder how Hitler came to power. Populism combined with an undereducated population in a democracy may be an equation that political analysts should try to solve before it’s too late. Meanwhile, my thoughts turn to monsters. Ugly, large, and threatening, they rampage through my dreams and now my waking reality. I watched in horror as the electorate lined up behind Reagan. Bush, I told myself, was an aberration. Until the second time. Then I realized it was the summer of Frankenstein indeed.

From my youngest days I recall the antipathy that my classmates showed toward school. I didn’t mind school that much, or at least the learning part. Gym I could’ve done without. I never did get the socializing thing down. Feeling a bit like Frankenstein’s monster myself, I realized I was a pariah (that was a vocabulary word). When did monsters shift to being worthy of emulation? The monsters of my childhood were to be feared, and curious creatures will always keep an eye on that which causes fear and trembling. The media say we don’t want Trump but they give him all the air time he could wish and more. In headlines in massive, almost misshapen letters. They’ve expended their superlatives on what they tell us we shouldn’t see. They have, perhaps unwittingly, played into the very hand bitten by that which it feeds. I can’t help it. I’m staring.

Minding Souls

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The mind, despite nay-sayers, is real. It isn’t an illusion. Emergent phenomena are often larger than the sum of their parts. One of the problems with the non-physical is that we can’t parse it precisely. “Mind” may be called “soul” may be called “personality” may be called “spirit.” You get the picture. Many scientists would answer “none of the above” to the question of which of these exist. Other scientists, not on the fringe, are beginning to see that the answers aren’t quite so simple. A recent piece in the mainstream Washington Post, dares to say what we all feel. Or at least many of us feel. There are realities that religions have recognized for millennia, that demonstrate the existence of the non-corporeal. “As a psychiatrist, I diagnose mental illness. Also, I help spot demonic possession,” an article by Richard Gallagher, is worth reading. Gallagher, with a hat-trick of Ivy League-awarded degrees, believes in demons. They’re rare, of course, he says, but real.

The standard story—in large part correct—is that ancients misdiagnosed epilepsy and some forms of mental illness as demons. Undoubtedly their standard threshold was too low. Occasionally, however, they may have been right. Unlike what we’re sometimes told, the ancients recognized at least some mental illness when they saw it. There were non-functional people then, and while some may have blamed demons, others saw them as people who don’t think like the rest of society. Then there were the possessed. As Gallagher notes, humans with superhuman strength, speaking languages they never learned, and yes, even levitating, have been witnessed by credible viewers. Very rare, yes. But also very real.

Despite the need that many feel for freedom, we are, as a species, fond of laws. We want to know the rules and we’re quick to call out those we catch cheating. We’re so fond of laws that we apply them to nature and claim that natural laws can never be broken. Well, at least not above the quantum level. A friend shared that this concept of applying legal language to nature is a fairly recent development in human thought. The idea of a law, however, requires someone to oversee and enforce it. One of the subtleties here is that any enforcement that takes place requires a measure of value, and value, as much as we all treasure it, simply can’t be quantified. Is gold more valuable than silver? It depends. The value comes in assessing its usefulness. Laws separate good behavior from bad behavior. And, if many credible people are to be believed, the behavior of mind sometimes defies the laws of nature.

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Joban Vampires

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Interview VampireThe first vampire novel I ever read, I remember correctly, was one of the Dark Shadows series written by Marilyn Ross. I don’t recall which one, since I had to buy my books from Goodwill or some such vender utilized by the poor. Now, I’m really a squeamish guy and the sight of blood bothers me. Barnabas Collins, however, was a compelling character—deeply conflicted and a reluctant vampire. The combination of his sadness and the setting in coastal Maine kept me looking for Dark Shadows books every time we went shopping. It surprised me, given all that, that I had such difficulty getting into Anne Rice’s Interview with the Vampire. I started reading it years ago (it was also a second-hand copy, and, interestingly, the color scheme of the cover nearly matched Dark Shadows novels) and some eighty pages in put it down only to forget about it. Starting from the beginning a few weeks ago, I gave it another try. Although Louis is a conflicted vampire, the pace is languid and it was almost as if the self-pity was overdone. I was determined this time, however, to see it through.

One of the recurring themes of the book, and I presume the Vampire Chronicles series, is that vampires are not evil because of the Devil. In fact, there is nothing Satanic about them. Blame tends to fall on God for their state. The more I thought about it, the more the theodicy of the vampire began to resemble that of Job. Like Job, death for a vampire takes a long time. There is much suffering along the way. Louis can love, in a measure, and can loath himself. He never really understands what it is to be a vampire. The other undead he meets help to define him, but he can’t get too close. His life is a kind of Hell without Satan.

Rice’s vampires don’t fear crucifixes or shun churches. In fact, Louis takes a priest as one of his victims, sacramentally near an altar in a church. Religious imagery and discussion abound in the book. It truly is a vampire theodicy. Perhaps, for its day, it was the next step in vampire evolution. Bram Stoker, while the most famous contributor to the modern vampire myth, didn’t corner the market on defining the undead. When Louis meets vampires of the old world, they are mindless, plodding killing machines that even other vampires avoid. Rice’s vampires feel, think, and yes, theologize. I feel strangely satisfied now that I’ve finally finished the Interview. It was a vampire at my bedside for so long that it feels like an accomplishment to have finally laid it to rest.

Summer of Frankenstein

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Two centuries can make an enormous difference. Just two-hundred years ago Napoleon’s defeat at Waterloo was merely one year in the past. North America and parts of Europe were experiencing “the year without a summer.” Perhaps due to that cool and rainy summer, when Mary Godwin and Percy Bysshe Shelley called on their friend Lord Byron, their thoughts turned to ghosts. According to the legend, together with Byron’s personal physician John Polidori, the friends spent a night writing scary stories. Polidori, although not widely remembered today, invented the vampire that would, in Bram Stoker’s hands, become the aristocratic Dracula, and eventually, with Anne Rice’s influence, Lestat, Louis, and Armand. Mary Godwin, soon to be Shelley, gave birth to perhaps the most successful of new monsters ever created—that of Victor Frankenstein’s construction. Many have claimed the monster’s pedigree to have been that of the golem, but Shelley’s creativity went beyond this forebear into the sympathetic misfit who, like all of us, never asked to be born. The two centuries since that summer have been haunted.

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Quite apart from the monster tale, Frankenstein is also about building that which we, in our hubris, can’t understand. Progress without forethought, as Epimetheus could never learn, housed immediate and very real dangers. The two centuries since Frankenstein have proven Mary Shelley a prophet. An early supporter of women’s equality, she profited from her novel, but never managed to thrive. Just six years later her famous future husband would die tragically in the Romantic genre of a shipwreck. Even with important friends, Mary found it difficult to capitalize on her success. The monster was real enough.

We’ve become accustomed to making things we can’t control. When’s the last time you were able to fix a car broken down by the road, apart from the occasional flat tire? Can you really stop your job from becoming completely different from what you signed up to do? What about when that bully wanders from the playground into the political field? Once you’ve figured out how to split an atom, you never forget. It may have been Napoleon still recently in the news, or the fact that 1816 failed to warm up like it was expected after the solstice. Perhaps it was the fact that Mary Godwin was a liberated woman in a world still utterly determined by men. We can’t know her intimate and ultimate reasons for creating a monster, but we do know that once the monster is unleashed we can never bind it again.

Popular Eternity

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EntertainingJudgmentPopular culture, it seems to me, mediates reality. The media of various descriptions teach us what to think, and even if there is a religiously “orthodox” answer to questions, we will weigh it in the scales against what larger society says. This becomes clear in Greg Garrett’s Entertaining Judgment: The Afterlife in Popular Imagination. Garrett, a scholar of religion and popular culture, turns his attention to death in this book. More precisely, what happens after death. The usual suspects of ghosts, vampires, and zombies are here, but also the realms of Heaven, Hell, and for the Catholics in the house, Purgatory. All of these are seen through the various lenses of movies, television, song, comic books, regular books, and games. It’s fair to say that we’re a culture obsessed with death. But then again, what culture isn’t? It may be just that it comes across more charming when there’s a buck to be made at it.

What I found interesting is that although the Bible has little to say about Heaven or Hell (and nothing at all about Purgatory), each of these realms has developed a canonical script. Hell is hot and fiery, Heaven is cool and cloudy. Purgatory is gloomy, but beyond that comes in mild, medium, and hot varieties. We know these things from various teachings of our respective religions. In popular media, however, the script has been changing. We now have mild unpleasantness passing for Hell, if it lasts forever. Nobody needs to get burned. Heaven, meanwhile, can be just okay. It’s certainly better than the other place. Or the other two. We’ve overused our superlatives and have been left feeling like we’re on antidepressants.

Polls continue to tell us that many, if not most, Americans believe in literal Heavens and Hells. A point Garrett raises, however, is they may not mean by that what their clergy assert to be the case. Since near death experiences are controversial, nobody can say that they’ve actually been to either place, or the third. The exception to this rule is those who work in fiction—in whatever form. Since we can see their visions of the afterlife so clearly they have become the arbiters of eternity, with or without any religious training. In this day of marketplace religion and nones, Heaven and Hell seem to have become secular. The church may have introduced the ideas (actually, they seem to go back to the Zoroastrians, but I’m thinking of American culture) but the media have taken them over. We may be secular, but we still die. Entertaining Judgment might give you an idea of what to expect, depending on whose vision you buy.

Man’s Best Fiend

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While reading the Hull Daily Mail (don’t ask), I came across an article entitled “Rock legend Alice Cooper ask questions about the Beast of Barmston Drain.” Apart from that lovable Britishism of making groups into grammatical plurals, this brief article gave me much to wonder about. After all, Paul Simon’s most recent album features a song entitled “The Werewolf,” (about which I recently wrote) and here is another rock performer from my youth raising the question about a similar beastie. According to the piece by Amy Nicholson, the Beast of Barmston Drain is a new urban legend about a creature half-man and half-dog. No doubt, werewolf reported sightings have been in the ascendent over the past few years, but how such an insignificant beast drew the attention of Alice remains unknown.

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Many who know me—and those are few—are shocked to learn that I grew up listening to Alice Cooper. A fundie kid listening religiously to the father of shock rock? Songs about monsters, spiders, female maturation, and necrophilia? Perhaps it was because Welcome to My Nightmare just summed my childhood up rather nicely. Whatever the reason, to this day Alice Cooper is the only big name rock act I’ve even seen in concert. And that was only about six years ago, when I was still teaching at Rutgers. I had trouble hearing student’s questions in class on the next Monday night. Alice and werewolves in the same headline feels so much like yesteryear that it makes me want to believe in shapeshifters all over again. No wonder Hull is set to be the City of Culture. (Hey, Glasgow had it’s turn, so fair’s fair.)

To me, werewolves reveal much about a culture that strives to be far too civilized. We suppress our inner animal to become tie-wearing, wine-swilling sophisticates only to wonder where the wonder’s gone. And we start seeing werewolves lurking in culverts and drainage ditches. At least people are getting out at night. I’ve followed American tales of the dogman for years now, reading all of Linda Godfrey’s books on the subject. Even if it doesn’t exist, we stand to learn much of the creature that just won’t go away. Of all the transformations people talk about, that to the wolf is the most compelling, and among the most ancient. It may only be a dogman that people are seeing at the moment, but given some time it will evolve back into the wolf from which the story had its very beginnings. The answers, as always, probably lie in our childhood.

The Werewolf in Summer

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It must be incredibly difficult to write a truly scary song. I don’t mean the kind of scare that most heavy metal can innately deliver, but I mean the kind of thrill that a classic horror movie gives. I’m constantly looking for the movie that can recreate the chills without getting blood all over the carpet. Music, however, soothes the savage beast. I remember when Michael Jackson’s Thriller came out. Now, nothing about Jackson’s musical style shows any hint of being scary. It’s too upbeat. In the end the ghost will be a mere reflection in the mirror, and the zombies will fade with the sunrise. I had some people tell me back then that it gave them the chills just listening to it. Amateurs. A couple weeks back I wrote a post on Radiohead’s “Burn the Witch.” It’s kind of scary, but it doesn’t keep me up at night. I haven’t heard Paul Simon’s new album Stranger to Stranger, but when I learned from NPR that it has a track called “The Werewolf,” I knew I’d eventually add it to my growing stack of MP3s.

Like Thriller, the musical style of the song isn’t inherently scary. The organ in the final minute is pretty effective, though. What’s scary about “The Werewolf”? The lyrics. Simon is, to this child of the sixties, the foremost lyricist of his genre. Rich, complex, nuanced, his words tell a story and that story is scary. While I prefer my werewolves with different baggage, it’s pretty clear that like most shapeshifters the werewolf stands for hunger. There’s violent rage, of course, but like the wendigo, hunger drives those who can’t fulfill their desires in human shape. The Howling, for example, shows how lust can make a werewolf. There is a lust more dangerous than that of the flesh, and that is the greed that leads to societies with one-percenters who just can’t stop eating.

When we see Trump-clones who pay no taxes at all, due to the good that being uber-rich offers the economy, we should listen for howling in the night. Too many an April has rolled around where those of us called “middle class” stare in wonder at just how large a cut our government takes. The werewolves don’t wait for October to come around. No, those who are hungry eat all the time. I don’t find Simon’s music to be particularly scary. The tempo is upbeat and his voice just can’t feel threatening. Still, I’m shivering after listening to “The Werewolf” even though the shortest night of the year is fast approaching on padded paws.

Omen, O Man!

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Of the unholy trinity of late-60s to mid-70s horror movies Rosemary’s Baby (1968), The Exorcist (1973) and The Omen (1976), the last always seemed the least effective to me. Having recently read about the Devil in American popular culture, and having a rainy Friday evening alone, I decided to give it a try again. Based as heavily on Hal Lindsey as it is, once one outgrows dispensationalism it is hard to be frightened by the idea of biblical end times. Everything from making up verses in “Revelations” to utterly bogus Holy Land geography (Megiddo is north of Jerusalem, not south—did the writers not even own a map?) contributes to a set of untenable tenets, even among the bibliterati. The film relies mostly on shocks and startles to earn its horror stripes, and after you’ve seen the movie once, these lose their power in subsequent viewings. Nevertheless, on this rainy May night, so close to June 6, I noticed new ways in which the movie undermines its own message.

The premise, of course, is that Damien, the son of the Devil (who apparently has a thing for bestiality), is plotting to take over the world through the means of politics. Having been watching the events of the past few months I have to wonder how the Devil could improve on progress through such channels. But I digress. His step-father Robert Thorn, US ambassador to London, discovers his “son”‘s identity and tries to kill him. With a strong anti-Catholic bias (the Antichrist is born in Rome, the seat of the church, and is protected by Roman clergy) the film nevertheless spawns sympathy for the Devil. As a child, Harvey Stephens hardly appears diabolical. Maybe it’s just because my brothers and I also spilled goldfish from their bowl once, but it seems to me he acts just like most little boys do. Who really wants to go to church at that age? As the movie approaches its climax, he’s represented as the biblical good-guy.

Thorn has to confirm Damien’s satanic identity. Like Delilah, he creeps up on the sleeping boy and cuts his hair. Convinced by a man who introduces himself “I am Bugenhagen” that he has to stab the boy, Thorn in a white car outraces police (so there might be a bit of prophecy here after all) to sacrifice the child on the altar. The movie casts Damien as both Samson and Isaac within a few short minutes. Apart from the film’s use of violence against women’s bodies (Thorn won’t allow an abortion, Kathy seems to have a penchant from falling from high places in slow motion, Baylock gets a fork in the neck) it actually seems ambivalent about the evil of the boy. An unfortunate birthmark does not a devil make. We’ve made it through the change of the millennium and many other hazards, yet dispensationalism is still with us, as is its anticlimactic Antichrist, Damien. He’s less scary than the real politics of an entirely secular age.

Devil’s Workshop

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SatanInAmerSome of us prefer taking our monsters neat. With Old Scratch, however, we have a slippery, protean beast. This is amply demonstrated in W. Scott Poole’s Satan in America: The Devil We Know. Not only the Devil, but vampires, demons, and the human minions known as Satanists and witches populate this study of American culture. The Dark Lord is difficult to pin down. This is true even concerning his obscure biblical origins. As I’ve noted before, there is no Devil in the Hebrew Bible. By the time of the Gospels he’s alive and well and on planet earth. Or at least what passed for planet earth in those days. Tempter, father of lies, prince of the power of the air—he was a pretty ambitious fellow, seeking like a lion those he might devour. Those were early days, however, and Poole focuses specifically on his development in American culture. It is, as he shows, a rich culture indeed.

Beginning with the colonial era, with the Matherses, Jonathan Edwards, and their ilk, and bringing the figure up through fairly contemporary times, Poole shows us how the Devil defines America, in many ways. Please don’t misunderstand; Poole does not say America is evil or Satanic, only that our culture has had an undying fascination with Satan. Not everyone agrees, of course, with who he is or how to interpret him. Although theologians have largely left the Devil in the dust, polls tend to show about half of the American population believes in the Beast (yet another character in the mixed martini of evil Poole serves up), or more properly, Satan. It really might help to have a diabolical score card here: is the Antichrist the Devil? Is he the same as the Beast? What about demons? As a child I was taught there is only one Devil, but lots and lots of demons. Legions of them, in fact. There can be only one morning star, one Lucifer.

One thing we can say for certain about Satan, at least in the context of Poole’s study, is that he is evil. Not that some haven’t had sympathy for him. Popular culture has helped to keep the character alive. Sometimes comically, sometimes with dead seriousness, novelists, cartoonists, film-makers, and playwrights come time and time again to the font of the inexplicable evil we all seem to sense, in some sense, exists. The evidence is all around us. Whether conceived as an external agent of supernatural origin, or as some inborn tendency for—at least some—committing atrocity, we do have to explain evil. Satan has been a convenient way of doing so for centuries. But, as Poole intimates, it might be a defense mechanism. Perhaps we need to take a closer look at ourselves. Perhaps trumping our exceptionalism in the face of a world in need is a symptom that requires a serious exorcism.

What Vampires Abhor

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It began as an innocent trip to the grocery store. I was in the produce section seeking the various vegetarian foodstuffs I need to make it through the week when I came across a monster. Well, more precisely, the mention of a monster. Brad’s Crunchy Kale. Vampire Killer variety. Now, I’m not the world’s expert on vampires; I’m a dilettante at best. Still, I’ve never heard of kale as a vampire bane. (The store didn’t have wolfbane on offer, that I could see.) But this advertising ploy made me wonder about the use of vampires, and other monsters, as means of selling food. The Count Chocula family of breakfast cereals is perhaps the most famous example. Kids love their monsters. Especially with milk. Perhaps Brad is trying to get kids hooked on kale? Start them early on the right path and they’ll not soon depart from it.

Walking through the aisles I didn’t see much else that related to monsters. More the daily bread than the undead. After all, this was just post-Easter and people won’t be thinking about ghosts and ghouls until the other equinox rolls around. The brighter half of the year is a time for sunnier prospects. Monsters go into hibernation. Long, light-filled days are ahead. Why are we putting Vampire Killer on the shelves now? I looked at the ingredients. Garlic didn’t seem to feature prominently among them. I had to admit to confusion. And a desire for garlic bread.

Food, so scarce in many parts of the world, is something we need to decorate to get the attention of the modern consumer. Who’d buy a bunch of generic green, leafy stuff that requires some preparation—you at least have to wash it. And even then it might not protect you from vampires. Try a little packaging. All you have to do is open and eat. Rather like a vampire, actually.

We used to shop in one of those stores where they eschew fancy packaging and you pay for grains and dry goods by the wholesome, unwrapped pound. There seemed to be little ambiguity about what you were getting then. But we wish to be entertained by our food. This could be part of Buffy’s buffet, could it not? I find myself having to hold up a crucifix to stop from dropping it into the cart. There are vampires out there, I’m just sure of it.

Golem

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GolemReduxI read a lot of books. About a hundred a year. At the end of the year I go over them all again and many of them, I see, failed to make a deep impression. Some, I know, before I close the back cover, will stay with me. Maybe even haunt me. I count Elizabeth R. Baer’s The Golum Redux: From Prague to Post-Holocaust Fiction among those that will linger long. My regular readers will know of my predilection for monsters, so a golem book will hardly be a surprise. I realized, however, upon completing my academic paper on Sleepy Hollow, that my reading on the golem was rather slim. I’m no longer sure that it’s even a monster. As a goy who’s spent a good deal of his life among the Hebrew Scriptures, there’s a natural resonance, it seems, with those oppressed for being who they are. Golems are created in times of crisis but have unexpected, or at least unwanted, repercussions. Baer offers a thoughtful, intertextual study of the golem, largely through the lens of Jewish fiction.

Having dealt with the Bible as portrayed in Sleepy Hollow, I treated the episode where its significance truly unfolds (“The Golem”) as the entryway into the culmination of the first season. Now it appears likely that season three will be the erasure of the aleph, it seems appropriate to give golems their due. The story begins with the oppression of the Jews in early modern Prague. Rabbi Loew makes a golem from mud to protect the beleaguered community. This soulless, selfless protector becomes an archetype for various superheroes and literary characters ably summarized by Baer. The book put me in mind of my only visit to Prague, too brief and too ill-informed to truly appreciate what I was seeing. To see you have to learn to read.

While some writers have fun with the golem, others understand it in more serious tones. Those who can’t forget the Holocaust see things in a way that others cannot. Not that only Jews can summon a golem, but its origins and reuse have a special place in a community that longs for a protector. I’m reminded of the book of Job, and there’s a good reason for that. While reading The Golem Redux on my commute, I came home to find a copy of Pete Hamill’s Snow in August on my wife’s stack of books to read. As it is one of the titles studied by Baer, I felt an odd synchronicity at play. The book had been recommended by one of the booksellers at our local indie shop just a few weekends back. Tied in with all the other golem-based thoughts in my head recently, I’m inclined to think that this was no mere coincidence.

Cthulhu’s Tea Party

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It was in the eldritch-sounding Oshkosh that I first came across H. P. Lovecraft. The web was still somewhat of a novelty then, and I’d run across a Dagon symbol that I couldn’t identify. My researches led me to the old gods of Lovecraft’s atheistic imagination. Even non-believers are haunted, it seems, by deities. Dagon, about whom I’d published an academic paper, always seemed to be a divinity to whom very few paid attention. Little did I know that in popular culture this god, along with others made up by Lovecraft, were slowly gathering an immense following. Now, about a decade later, Cthulhu is everywhere. I was reminded of this when I came across a website advertising Cthulhu tea cups. As you drink your tea, Cthulhu emerges. These novelty items, along with many, many others, are easily found. Cthulhu is running for president. The creature that Lovecraft described with such terror is now available in a cute, stuffed plush. Board and card games come in Cthulhu varieties.

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What I find so interesting about this is that the following of Cthulhu has taken on religious dimensions. Not that writers haven’t invented religions before—L. Ron Hubbard came up with Scientology after a career of science fiction writing, and Jediism is considered a religion by some—but Cthulhu represents the darker aspects of religious thought. As Lovecraft described him, he is a horror. Not the kind of thing you’d want to discover peering out of your teacup. I wonder if this is precisely why the fictional god has become so incredibly popular. In a time when some real presidential candidates are really scary, suggesting that an evil deity take on the job may only be natural. Cthulhu is, after all, really more an alien than a god, but to puny humans the point is moot.

Mainstream religion is not about to disappear any time soon. There is, believe it or not, a strong resistance to the materialistic reductionism that presses in on us from all sides. People are not becoming less religious—they’re becoming differently religious. The old sacred texts are being replaced by the fictional Necronomicon. Ethereal beings that have always been there are bowing before ancient aliens who aren’t really eternal or omnipotent, but who feel more real in our culture of might makes right. Whether a religion is factual or fictional has come to matter less than the feeling that there is something, anything, larger than humanity that demonstrates the vanity of our striving after material gain. That actually sounds quite biblical. Anything believed with adequate passion stands a chance, it seems, of becoming a religion.

Monster Epistemologies

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A friend ensures that I see internet stories of hidden monsters. Not hidden in that you can’t find them, but hidden in that my freedom to explore the web entails only weekends and even some of those are very busy. In any case, a bestiary from Mental Floss landed on my virtual desk recently and I couldn’t wait until the weekend to check it out. A bestiary is a list of strange creatures, what we might today call monsters, some of which reflect a world not well explored and others which reflect religious, or—admit it—superstitious ideas. In the days when travel was limited and news was slow and unreliable, garbled accounts of strange beasts were compiled in bestiaries. The tradition continues today, as is evidenced by this article by Paul Anthony Jones.

Whenever I see monster stories like this I ask the question: did they really believe such things “back then”? Some of these monsters clearly have analogues in the natural world, but part of my brain reminds me that we are destroying species faster than we can count them in the rainforest, and who knows what we have yet to uncover? Is it really a matter of belief or is it actually a matter of knowing how we know? The fancy word for the latter is “epistemology.” As I used to ask students: how do you know that you know? Has that changed since the days of the bestiary? Knowing about medieval monsters seems to have been the acceptance of the reports of those who, if they hadn’t actually seen the beast, had at least talked to someone who knew someone who had. It is the authority of the senses. Or of reliable reporting. Seeing is believing.

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Fast forward to a day of popular cryptozoology. We have monster hunters of many sorts on television. Some claim evidence for what they have seen. Lighthearted laughter is the common response. Monsters just don’t fit into our worldview anymore. Our epistemology has become more circumspect. If it doesn’t come from a lab, like a genetically modified organism, we have no reason to believe it exists. We’d like to create our own monsters, thank you. It’s at times like these that I like to reflect that a bestiary doesn’t sound so different from a breviary. Both are medieval sources of knowledge. Our modern epistemology seems to have grown a little too narrow to see a world that is full of wonder. Unless, of course, it’s on the television. Seeing is believing.

Modern Vampires

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VampiresTodaySometimes I feel guilty. A grown man reading about vampires? Then I think of such puerile things as television and the stock market over which other adults waste their time and my pituitary gland releases endorphins and I carry on. I must say, however, after reading Joseph Laycock’s Vampires Today: The Truth about Modern Vampirism, that I’m not a vampire. Nor have I ever wanted to be. I am fascinated by the idea, however. The more I read—as is the case with most good academic books—the more I questioned definitions. Laycock does a good deal of that questioning himself in this book, and I came away wondering what indeed defines a vampire? As a child it seemed pretty clear. The vampire was a blood-sucker who came out at night. Fangs, a thirst for blood, and a faded aristocracy seemed to be the essential characteristics. But I was only a child.

Before you get the wrong idea about Laycock’s book, I need to say that his is a serious study of modern day vampires. Yes, they exist. No, they’re not easy to define. As an academically trained scholar of religion, Laycock is keenly aware that self-definition is crucial to categorization. Religious believers self-identify. We have no way of categorizing an adult (and some would say no way at all of children) without their own affirmation of what they believe. Vampires Today, however, raises the pointy question of whether those who self-identify as vampires constitute a religion. Or if vampire communities may be considered religious groups. In case you’re confused: many people identify themselves as vampires—sanguinarian and/or psychic. They believe they require the life energy of others to live and prevent illness. They sometimes drink blood—with permission—or siphon the life force of other people. Like all adults, they should be treated as self-identified. Probably not, as Laycock carefully spells out, a religion.

As in his other books, Laycock takes seriously groups that would, based on numbers alone, be considered fringe. Nevertheless, these groups are a part—sometimes an influential part—of larger society. We live in a world where we’re authoritatively told there is nothing but matter and energy, and as biological beings our purpose is reproductive success and then death. Is it any wonder that vampires and others are seeking something more? I’m no vampire. I read the occasional, thoroughly pulp, Dark Shadows novel to recapture a little of that after-school wonder I felt watching the waves pounding on the Maine cliffs while Barnabas Collins lurked inside. And he bore a strange truth that was perhaps instilled in those young years. Age is only partially a biological matter. Defining it any other way is, I have to believe, immature. So I read about vampires and wonder.