OBSO

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Oxford Biblical Studies Online is a subscription service for institutions that gives access to many biblical studies resources produced by the press.  It also features current essays that stand on this side of the paywall, written on contemporary issues.  In a shameless self-promoting plug, I’d direct you to this link to see my latest publication.  You see, I’m not alone in looking at Bible through the lens of horror.  As the acknowledgements to Holy Horror reveal, many conversations were going on that led to that book.  While the ideas contained in it are my own, I’m by no means the only one to have noticed that the Good Book makes guest appearances in genre fiction.  One of the points I made to my students when I held a teaching post was that the Bible is ubiquitous in our culture, whether we know it or not.  Just look at the Republican Party and beg to differ.

The idea is not without precedent.  For those who read the Bible real horror isn’t hard to find.  The Good Book can be quite a scary book.  Consider for just a moment the final installment—Revelation, apart from being full of amazing imagery, is an amazingly violent book.  Attack helicopters and atomic bombs may not yet have been invented, but there was no shortage of ways to kill people in the pre-gunpowder world.  Revelation paints the world in the throes of horrible suffering and death.  Indeed, the completely fictional Left Behind series rejoices in the death of the unrighteous who are, well, left behind.  Even today there’s a significant segment of “Christianity” that rejoices in the chaos Trump has unleashed.

In the OBSO article I sketch a brief history of how this came to be.  The history could work in the other direction as well.  The fact is the Bible and horror have always gone fairly well together.  Among genre literature, however, horror is a distinctive category only after the eighteenth century (CE).  Early horror novels, under the guise of Gothic fiction, often involve religious elements.  Culture was already biblically suffused then.  This is a natural outgrowth of a would steeped in violence.  Personally, I don’t like gore.  I don’t watch horror to get any kind of gross-out fix.  My purposes are somewhat different than many viewers, I suspect.  What we do all have in common, though, is that we realize horror has something honest to say to us.  And it has been saying it to us since from in the beginning.

Poppins Fresh

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The holiday season often means doing things out of the ordinary.  Despite writing books that deal with movies, I can’t afford to see them in theaters often, but we went as a family to see Mary Poppins Returns.  A few things about that: I grew up never having seen Mary Poppins (I first encountered it in college).  The new movie is neither a remake nor a sequel proper.  It follows the same basic pattern as the original but with new songs and animations, and all of it based on a somewhat darker premise—the death of the mother (which allows Jane and Michael, as adults to both be back in their childhood home) has led to financial straights that threaten to leave the Banks family homeless.  The bank has turned cruelly capitalistic and wants as many foreclosures as possible.  Sinister stuff.

The reason I mention the movie here, however, is a premise that it shares with Hook: children can see things that adults can’t.  Or more precisely, that adults learn not to see.  Some investigators of unusual phenomena suggest that as we grow we’re taught not to believe what we see if it’s impossible.  I’m in no position to assess the validity of such an assertion, being an adult, but it does give me pause for wonder.  We regularly shut out the vast majority of stimuli we experience; our brains are not capable of taking in every little detail all the time.  Instead, we’ve evolved to pay attention to that which is threatening or rewarding to our survival, and we tend to ignore many of the mundane feelings, sights, sounds, and smells that are constantly around us.  Perhaps we do shut out what we’re taught is impossible.  Mary Poppins Returns says it outright. 

In many ways this is behind the materialism we’re spoon-fed daily.  The only reality, we’re told, is that which can be measured and quantified with scientific instruments.  Any apparent reality beyond that is simply illusion.  We all know, however, that our experience of life doesn’t feel that way at all.  There seems to be no counter-argument, however, since we have no empirical evidence to offer.  Experience, we’re told, is unreliable.  Perhaps we’re not too old to learn a few things from the movies.  Mary Poppins Returns won’t likely become the cultural sensation that its forebear was, nevertheless it contains a message that may be worth preserving.  Childhood may hold the keys to understanding reality.

The Cult of Relaxation

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Relaxation comes with a price.  As with most people who work hard, I find taking more than a day or two off work tricky.  It’s not that I want to go to work, but that I feel the need to keep improving my mind.  I read quite a bit on holidays, and, being of the opinion that movies are the modern mythology, I like to watch what I can.  Last night I saw a film I’m too embarrassed to name, but which was so utterly awful that I can’t get it out of my head.  Call it an experiment in relaxation.  Or call it madness.  Either way, I came to realize just how much impact a movie might have without really containing anything to give back.  This particular film is often listed as a cult classic.

I’ll confess right now that I loved Attack of the Killer Tomatoes the first time I saw it.  (This is not last night’s feature.)  It is a bad movie—so bad that it’s good.  My professional reputation may suffer for it, but I have to admit to having watched it multiple times over the years.  I’d heard that last night’s film was like that.  So bad that it’s good.  And that made me ponder the blurring of these categories.  Without a universal deity to declare the terms, good and bad are matters of consensus.  No quantitative means exists for making, a movie for example, good or bad, beyond the human judgment of viewers.  We tend to listen to critics, who experience more cinema than the rest of us can afford, but I’m sure we all have our secret likes that don’t match the decrees of the experts.

Films that flaunt convention so radically, and which gather disciples, are, as I mentioned, called “cult classics.”  This is the language of religion.  Although religionists have moved away from the use of the word, cult implies irrational intensity of devotion toward that which is clearly, in the eyes of the majority, bad.  Again we come to the question of who defines value.  For most of human history it has simply been majority opinion.  Cults, however, give meaning to those who “get it.”  Cult classics have faithful followers.  In the line of duty some months back I watched Exorcist II: The Heretic.  I later found out that it also frequently makes the list of all-time worst movies, despite starring Linda Blair, James Earl Jones, Paul Henreid, and Richard Burton.  It’s a cult classic.  The unnamed film from last night has no known stars.  Hideous acting.  Ludicrous writing.  I watched it to relax.  Now I wonder if I’ve joined a cult, or if I just need a vacation.

Reading Lights

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Late one night in Wisconsin—I had just come off the train from Champaign-Urbana—one of the students from Nashotah House was driving me to my spooky apartment on campus as part of his work-study job.  He mentioned what seemed an obscure topic to me, and I asked him why he liked it.  “Who can say,” he responded, “why they like anything?”  He had a point.  Work on Nightmares requires reading current studies of horror, and one that came out just before Halloween was Darryl Jones’ Sleeping with the Lights on: The Unsettling Story of Horror.  I don’t know why I like such things, but when the book was first announced I knew I’d need to read it, and soon.  It had to wait until the Warren books were finished, however.

This little gift book (with a novelty cover, even) contains quite a bit of insight.  In fact, while reading it I discerned that Jones had spotted something that I’d begun to write down independently.  Horror does that to people.  The book is divided up into chapters addressing different genres of monsters and analyzing why they have proven so popular with both horror authors and auteurs.  The discussion is lively and even witty at times, as befits a topic that most people really misunderstand.  I myself used to misunderstand it—I went through a terrible period of repudiating the things I liked when growing up (who could say why?).  I jettisoned my interest in the Gothic even as I visited ruined castles in the Scottish highlands, and thought that horror was something best left to the uneducated.

One of the realities of my own life—perhaps some of my readers will find it true as well—is that once you’ve been put through the mill once or twice your mind starts going back to childhood in what may be a vain effort to start all over again.  The likes of your youth come flooding back—this is why I began reacquiring Dark Shadows novels.  They aren’t fine literature, but they were one of the guilty pleasures with which I grew up.  As Jones notes, vampires are one of the most enduring of monsters.  He suggests that Bram Stoker’s Dracula was among the notably influential books of Victorian English literature.  As Jones points out, there are people who back away from him when he tells them he studies horror.  He also makes a clear case for its enduring connection with religion.  I might add as a coda here, that telling people you study religion often gets the same response as telling them you study horror.

Better Late Than

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It seems that Holy Horror is now available, although I haven’t seen it yet.  According to the McFarland website it’s in stock just in time for the holidays.  Those of you who know me (few, admittedly) know that I dabble in other social media.  One of my connections on Goodreads (friend requests are welcome) recently noted that he does not like or watch horror.  Indeed, many people fall into that category.  His follow-up comments, however, led me to a reverie.  He mentioned that reading the lives of the saints and martyrs was horrific enough.  One of the claims I make in Holy Horror is that Mel Gibson’s Passion of the Christ is a horror film.  My friend’s comment about martyrs got me to thinking more about this and my own revisionist history.

Traditionally horror is traced to the gothic novel of the Romantic Period.  Late in the eighteenth century authors began to experiment with tales of weirdly horrific events often set in lonely castles and monasteries.  From there grew the more conventional horror of vampire and revenant tales up into the modern slasher and splatter genres.  I contest, however, that horror goes back much further and that it has its origins in religious writing.  Modern historians doubt that the mass martyrdoms of early Christianity were as widespread as reported.  Yes, horrible things did happen, but it wasn’t as prevalent as many of us were taught.  The stories, nevertheless, were written.  Often with gruesome details.  The purpose of these stories was roughly the same as the modern horror film—to advocate for what might be called conservative social values.  The connection is there, if you can sit through the screening.

Holy Horror focuses on movies from 1960 onward.  It isn’t comprehensive, but rather it is exploratory.  I’ve read a great number of histories of the horror genre—a new one is on my reading stack even as I type—and few have traced this phenomenon back to its religious roots.  Funnily, like horror religion will quickly get you tagged as a weirdo.  Perhaps it’s no coincidence that both goths and priests wear black.  As I’ve noted before on this blog, Stephen King’s horror novels often involve religious elements.  This isn’t something King made up; the connection has been there from the beginning.  We may have moved into lives largely insulated from the horrors of the world.  Protestants may have taken the corpus from the crucifix for theological reasons, but for those who’ve taken a moment to ponder the implications, what I’m saying should make sense.  Holy and horror go severed hand in bloody glove.

Carrie On

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Stephen King was still a fairly new writer when I first read “Lawnmower Man” for an English class in high school.  Carrie had been published by then, but I didn’t read any more Stephen King until after my academic job ended.  (There is, for those who are curious, a correlation between that traumatic change and my interest in horror.)  Like many, I suspect, I saw some of the movies before reading the King books behind them.  With a writer as prolific as King there’s always the issue of where to start, and I’m often subject to the selections independent bookstore owners make.  I seldom buy fiction through Amazon—I have to see the book for it to grab me (a kind of King thing to happen).

A used copy of Carrie recently came my way.  Now, I’ve seen the movie (both versions) many times; it is discussed at some length in Holy Horror.  I’d not read the novel until now.  Obviously there are differences between book and movie, but as this was Stephen King’s debut novel it struck me just how central religion was to the fearful scenario he paints.  That’s pretty clear in the film, I know, but it’s even more so in the novel.  Carrie is made into a monster by religion.  One could argue that she was born that way—telekinesis as a genetic marker is also a theme in the book, although absent from the films.  Still, it is Carrie’s rejection by others, largely because of her religion, that leads her to use her powers to destroy Chamberlain, Maine.

In a strange way, Carrie is a coming-of-age story from a girl’s perspective.  Strange because King is a man and some literary magazines won’t even accept stories written from the point-of-view of someone of the opposite gender.  Men can’t know what women go through.  Indeed, most of the male characters in the story are less than admirable, while some are downright wicked.  The real question is whether religion saves from wickedness or causes it.  There’s not much ambiguity here on the part of Mr. King.  Holy Horror, although it deals with movies and not novels,  makes the point that films based King don’t infrequently use religion as a source of horror.  Long-time readers of this blog know that I frequently make the point that this genre, more so than most, relies on religion as an engine to drive it.  And religion also has a role in repressing women.  Coincidence?  Ask Carrie.

Beneath the Exorcist

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William Friedkin rose to fame as the director of The French Connection.  William Peter Blatty had written the screenplay for the Pink Panther film, A Shot in the Dark.  Now Blatty had a serious project in mind as he considered whom to pitch to direct the film of his novel, The Exorcist.  He wanted, and got, Friedkin.  The two disagreed about the final cut of the movie, with Friedkin winning out.  The movie was a tremendous success.  Several years later the cut favored by Blatty was released, again with success.  Blatty died last year.  The year before that so did Fr. Gabriele Amorth, an exorcist for the Diocese of Rome.  Last night I watched The Devil and Father Amorth, a documentary by William Friedkin about the famed exorcist.

The Exorcist made an impact on the lives of many people, not least Friedkin.  Over four decades after making this film, the director is still mulling it over.  The Devil and Father Amorth is primarily footage shot by Friedkin of an exorcism performed by Amorth.  In general the filming of exorcisms is forbidden, but given his stature as a film-maker, Friedkin was given permission to film without crew, on a small, hand-held video camera.  Although nowhere near as violent as the fictionalized film, it is disturbing to watch.  As a documentary, it includes interviews with doctors, some from Columbia University, who agree that possession is “a thing,” but one suspects they might disagree with the director as to what that thing might be.

Although Friedkin isn’t an academic, society accepts that (at least some) film-makers are intellectuals.  Perhaps lacking subject specialization, they nevertheless read a lot and possess quite a bit of street knowledge concerning psychology.  Friedkin does.  At just over an hour, this documentary isn’t long, but it is provocative.  For me it raises once again an issue that I address in Nightmares with the Bible—the curious laity, due to lack of engagement by traditional scholars, must rely on such efforts to get information about spiritual entities.  The documentary, which deals with a heavy subject, is one that Friedkin tries to lighten a bit at the end by stating that if there are demons then angels must also exist.  This goes back to the idea, discussed more fully in my book, that demons derive from fallen angels.  The “one size fits all” approach of academia has shoehorned belief in one direction.  While The Devil and Father Amorth won’t likely convince skeptics, many who watch it will be left wondering.

Where Was I?

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Finally!  I have sent my proofs and the index for Holy Horror back to McFarland and I find myself in that state following intensive concentration on one thing.  Well, as much as work will allow such concentration.  Those who write books know how difficult it is to switch gears from fifth back to first while driving at highway speeds.  As soon as the email arrived stating that the proofs were ready, I dropped everything to get them read, outside work hours, of course.  With mind focused on a single goal—get the job done—I’ve managed to forget where I was before being interrupted by my own work.  I recall it had something to do with demons, though.

Perhaps the most taxing part of trying to write while employed full time is keeping track of where you are.  The luxury of spending hours outside of class doing the index, for example, is compressed into the little free time I have between writing for this blog and work—between a blog and a hard place, as it were.  Indexing, which can be quite pricey when a professional does it, is  much easier with a searchable PDF than it ever was going through a printout page-by-page to find obscure references you forgot you ever wrote.  It reminded me of the time I had Owen Chadwick over for dinner at Nashotah House.  I recalled someone asking him about something he’d once written and he looked puzzled for a moment and then replied, “One writes so many things.”  Indeed.  Millions and million of words in electrons, if not on paper, mark the status of a life.  And indexing will prove it to you somehow.

This morning I awoke with the proofs and index safely emailed back to the publisher.  What was I doing before that?  I know that work is looming just a short hour or two ahead, and I need to accomplish part of my life’s work before going to work.  I can’t afford to waste this time.  Nightmares with the Bible is coming along nicely.  A very drafty draft of the book exists.  I have some more research to do, however, and the annotated bibliography—ah, that’s where I left off!—is still a shambles.  Not only that, but I’ve got a stack of reading on the topic next to my chair.  Time to put on a pot of coffee and warm up those typing fingers.  I’ve got real work to do.

Proof in the Pudding

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Writers anticipate and dread proofs.  After several months of delay, I have received the proofs for Holy Horror—it should be out in the next couple of months for both of you who’ve asked about it.  Anticipation is pretty straightforward, but why the dread?  Those of us who write books have to deal with the fact that publishing is, by nature, a slow business.  What I’m proofreading now is material that I wrote a couple of years ago; the final manuscript was submitted back in January.  The internet has accelerated the pace of everything, and now that I have a daily record of my public thoughts on this blog, I can see how my own outlook has changed in that time.  Reading proofs reminds you of whence you came, not where you are.

I suspect that has something to do with the internet and instant access to information.  I also suspect that’s why many of us trust books more than the “open web.”  The oak that has taken centuries to grow is a hardy tree.  The handcrafted piece of furniture lasts longer than the mass produced.  Books, hopefully, stand the test of time.  Writing is an exercise in building eternity.  These thoughts, the author hopes, will be around for some time to come.  As long as libraries endure.   Looking at the proofs, there’s pressure to get things right.  Was I correct in what I wrote down so long ago?  Since then I’ve read dozens of books more.  I’ve even written the draft of another book myself.  I face the proofs and shudder.

Part of my angst, I suppose, is that Holy Horror will likely sell better than my previous two books.  It may actually get read.  No, it won’t be any kind of best-seller, but perhaps a few hundred people will read it.  That’s a lot of pressure for those of us who’ve primarily written for other academics.  Perhaps this fear is the reason I’ve moved to writing about horror films.  Those of us blocked from the academy have to build our own credibility, one book at a time.  Reading the proofs, although already dated, I find myself liking this book.  It was fun to write, and it has a good message, I think.  Even prestige presses know that books about horror films are of popular interest.  As I read through where my mind was in days stretching back before the nightmare of Trump, I see that I had only just started on this path.  Before me are the proofs of that.

Saturdays Past

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Feeling somewhat between a state of self-pity and that of a salmon who couldn’t find his way upstream, I turned to horror.  The weekend before Thanksgiving has traditionally been AAR/SBL weekend for me.  I missed the Annual Meeting a few times due to unemployment, but for the most part I have been there every year since 1991.  As the representative of a publisher it is an endurance-testing event.  I had half-hour meetings scheduled all day on Saturday, Sunday, and today, and even a couple for the much neglected Tuesday morning.  Then I found myself home, awaiting a suitcase delivery.  United Airlines couldn’t say where the bag would be, and it only arrived Saturday night.  My wife had to work all that day, and so I turned to my boyhood.  Saturday afternoon was monster movie time.

For my current book project I’m discussing the components of The Conjuring diegesis.  I’m also trying to do some traditional research on the films.  Airport-lagged (I hadn’t been on a jet, but at my age being awake so late and sleeping so poorly has its own consequences), I pulled out Annabelle and Annabelle: Creation.  I wondered what it would be like to see them in the order of their plots rather than their actual chronological order.  Would the story hold together?  Would I find anything new?  The films discussed in my books are those I’ve watched many times—what I like to call “guilty pleasure research.”  Or just a boyhood Saturday afternoon revisited.  I couldn’t leave the house since I was told my bag couldn’t just be dropped on the porch.

From the beginning the story of Annabelle, the “possessed doll,” takes many twists and turns.  The demon is invited into the spooky toy by distraught parents after the tragic death of their child.  It then takes over an orphan who is adopted by a couple that she murders, as their natural daughter, in the earlier installment.  The doll is possessed in that telling because the girl Annabelle had joined a Satanic cult, like Charles Manson’s, and her blood dripped into the doll as she lay dying.  After claiming another female victim, the doll is sent to a couple of nurses as a present, where she appears at the opening of The Conjuring.  The story shifts with each sequential telling, leaving the binge viewer dissatisfied.  I haven’t had time for a double-feature since moving this summer.  Thick snow still covered the ground and the sky held that solemn haze of late November.  My colleagues were discussing erudite topics in Denver, and I was home using horror as therapy.  If you’re curious for further results, the book will be out in a couple of years.  Be sure to look for it at AAR/SBL.

Pleasant Dreams

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The last time I watched Pleasantville I didn’t have this blog running to discuss it.  It was also during the Obama administration where it felt more like nostalgia rather than a documentary.  In case you’re not familiar, Pleasantville is a movie about how a nerdy teen, David, and his cool sister Jennifer get sucked into a 1950’s sitcom, “Pleasantville.”  They find themselves in black-and-white and in a world as regimented as Stepford, but somewhat more humorously so.  As Jennifer is eager to get back home, she introduces this colorless world to sex, and as the two-dimensional characters begin to experience strong emotions colors start to appear.  The “picture perfect” Pleasantville begins to let the plastic facade of the 1950s slip to reveal a complex and messy world of true humanity beneath.

Watching the film in the age of Trump, as with most things, interjected a current of fear.  The townspeople feel threatened by those who are different, colorful.  They want everything just as it was—women serving their husbands, everyone the same hue, and pretending that sexuality doesn’t exist.  It may have been originally intended as an homage to the the 1960s, but what became clear in an age of MAGA is that crowds easily respond to suggestions of hatred.  Many of those in the group, individually, are “coloreds” themselves, but fear to let it show.  Conformity is much safer even if it means hating those who are different.  I wasn’t alive in the 1950s, but the superiority of the white man apparently was.  One of the characters is, tellingly, named Whitey.

Initially drawn to the film seeking biblical references (occupational hazard) I knew there was an Eden scene before I first watched it.  Margaret, on whom David has a crush, has discovered actual fruit at Lover’s Lane.  She brings him an apple which, the TV Repairman (if you’re lost, please watch the movie—it’s quite enjoyable) points out, is a form of sin in this world of simple answers and unspoken repression.  A mash-up of Jasper Fforde and American Graffiti, the film exposes the lie behind the idea that all were put on earth to serve the white man.  Jennifer discovers books and stays behind in colorized Pleasantville to go to college, something of a rarity in those days.  Although the movie bombed at the box office, it has a serious message to convey.  There was no perfect 1950s iconic America.  The process of becoming great is one of evolution, rather than that of a fabled Eden, available only in black-and-white.

V November

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“Remember, remember the fifth of November,” begins the parable V for Vendetta before opening on a government not unlike our own.  Fascist, built on hatred, an angry white man speaks for the few who worship nothing but power and call it God.  Tomorrow is election day, and V can also stand for Vote.  Two years ago our nation awoke in shock.  Since that day we’ve seen hate crimes transform from illegal to commendable as Neo-Nazis are described as very fine people and those who actually do the labor for the nation have been disenfranchised so the uber-wealthy can have tax cuts.  Violence isn’t the answer, but voting can be.  As soon as the GOP sensed it might lose, it began voter suppression measures.  They have never watched V.

The hope for any democracy rests in the volition to vote.  We have to be willing to inconvenience ourselves to get to the polling station tomorrow for an outcome that will decide the fate of this nation.  We’ve had “fake news” spewn out at every fact that is distasteful.  Open, bald-faced lies backed up by sycophantic adoration of a non-charismatic hater—well, have you watched V for Vendetta?  Graphic novels, it turns out, can indeed be prophetic.  And since there are other nations out there that look to emulate the land of Amerigo Vespucci’s legacy.  We have forgotten what it was like to be a colony.  Instead we prefer following blind leaders—those who can’t understand that hateful words lead to hateful deeds.  Those who can’t understand that a terrorist can be an elected official.

I’m describing V for Vendetta, of course.  The coincidence of the Roman numeral five and the word “Vote,” however, hasn’t been lost on me.  I’ve talked to those displeased with the results of election day two years ago who hadn’t gone to vote.  What we see as V designs his intricate plan is that the will of the people still matters.  But for your will to be known, you must use your voice; you must vote.  Or be victims of our own system.  We’ve had two years to see what damage can be done—a constitution treated as a napkin and due process subverted in order to ensure ill-gotten gain.  Vivid colors have been used to stain this canvas.  We don’t often receive a chance to correct imbalances but there’s a lot at stake this time.  If you doubt me, at least watch V for Vendetta and remember that parables are, by definition, true.

Body or Soul?

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Something’s wrong with Buddy Love.  He doesn’t act like a professor.  Meanwhile, Sherman Klump, heavyset but brilliant, feels that human companionship is passing him by.  Still, he’s a professor and has the support of a major university—at least as long as he brings the grant money in.  The Nutty Professor, a re-envisioning of the 1963 Jerry Lewis film, is instructive to watch.  One of the immediately obvious things to those of us who’ve been professors, is that movie makers don’t really understand what it’s like.  And it’s not just comedies—Indiana Jones doesn’t get it any more than Dean Richmond does.  Academics who watch these films shake their heads, if they think about the presentation of their profession.  Indeed, for being high profile, it is a job the public does not understand.

That’s not really what this post is about, however.  Although it’s been a few years, I suspect The Nutty Professor still has some currency.  In case I’m wrong, here’s the gist: it’s a modern, funny version of Dr. Jekyll and Mr. Hyde.  An overweight professor invents a formula that leads to instant weight loss.  The formula, however, also has side-effects, such as a boost in testosterone levels that leads to instability and violence.  In the climactic scene of the movie, Eddie Murphy transforms back and forth from Sherman to Buddy while on stage at the alumni ball.  Papa Klump, who has paid to attend, calls out, “Someone had better go and call the exorcist!”  

Now, this is screwball comedy.  Still, it reflects something that I’ve been struggling with in my current book—the public view of possession.  Demons aren’t generally known for changing body mass indices.  They’re after the soul, after all.  Still, there’s an element of truth, according to church teaching, about what Papa Klump says—demons are bodily afflictions.  Traditionally, they can’t impact a person’s soul.  In fact, possession is not considered a sin, and those under demonic influence aren’t held responsible for sins they commit while under that influence.  The soul is considered, unlike the physical body, something that cannot be “possessed.”  I know not to take movies like this seriously, but they do contribute to the pool of public “knowledge” about possession.  In this way, at least, it’s important to pay attention.  Such films may not really comprehend what the lives of professors are like, but they do reflect, even if in a nutty way, what people believe.

Organic Experience

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Holy Horror, it looks like, has been delayed until January.  That doesn’t mean that I have to wait to find some relief in the escape to film.  Over the weekend my wife surprised me by being willing to watch The Exorcist with me.  As we settled in to see it, a few things occurred to me—watching horror with someone else isn’t nearly as frightening as watching it alone.  I know this from experience, and it seems that it has something to do with the willing suspension of disbelief.  It’s harder to do when someone is with you.  Left to one’s own devices, it’s possible to believe what you’re watching, even if intellectually you know that it is merely a movie.  That tells us something about the way brains are wired.

I object to the word “wired,” really.  As organic beings, we are not computers.  What invented consciousness would watch a scary movie for pleasure?  What is the rationale for it?  It was a gray and rainy Saturday evening in late October.  In human experience that may be all that it takes.  Seeing orange and black in the stores sets a mood that computers, I strongly suspect, simply can’t feel.  They lack the human experience of childhood trick-or-treating, or throwing on another layer as the days grow chillier, or watching the leaves turn and slowly drift down from weary trees.  No, these aren’t wired experiences—they’re very organic ones, and often those that mean something even to adults as the seasons wend their way through the calendar.

The author waiting for proofs is rather like an expectant parent.  Well, that analogy’s not quite right either, but you get the point.  I know the book is coming.  It was accepted and submitted long ago.  The publication process, however, is more complex than most people might assume.  In fact, in the publishing industry it is often the main role of the editorial assistant to assure that manuscripts make it through all of the necessary hoops to move from finished manuscript to printed book.  Johannes Gutenberg likely had a simpler process worked out, although, in the early days of book-buying you could purchase the pages and have them bound by your choice of bindery.  Now cover and content are glued or stitched together in what one hopes is a seamless way.  Still, that stitching can’t help but to recall Frankenstein’s monster.  It is, however, another gray, rainy day in October.  It’s just a shame my computer can’t share the experience with me.

Café Américain

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What with the Republican approved method of mailing bombs to Democrats (and, interestingly, not vice-versa) I have to wonder if democracy is gone for good.  I recently watched Casablanca again with my wife.  What struck me about it this time around was how, although many of the characters clearly hated one another, they were civil—downright polite—unless safely locked out of sight by the Nazis.  It also struck me that in the 1940s Nazis were bad whereas now they are the legitimate nickname of the GOP.  It used to be calm, collected enemies playing by the rules even with their hatred intact.  Now politics has become gaming the system itself so that the other side can’t win to the point that Major Strasser looks like Colonel Klink.

I suppose what’s most distressing about all of this is that moderate Republicans have so quickly acquiesced to Trump’s agenda of hatred.  Not one speaks out against him, fearing his money.  Somehow they manage to sleep at night.  I’m guess that if they watch Casablanca they don’t see what some of us do.  There comes a point, when a game gets too serious, that most of us know to back off and do something else for a while.  When we were kids we knew it instinctively.  What began as playful rivalry started to feel like hatred.  The twelve year old knows that at this point it’s time to back away, otherwise it will come to blows and we will feel regret.  There is no regret in the Grand Old Party.  They only regret that Tricky Dicky didn’t get away with it.  Welcome to the most unfair democracy in the world.

Ah, but I digress from Rick’s.  It we come downstairs we will hear Victor Laszlo leading the band in “La Marseillaise,”a national anthem far more robust than bombs bursting in the air.  These, after all, are patriots, not panderers after personal power.  Even Major Strasser doesn’t start lobbing pipe-bombs in Rick’s Café Américain, and he orders Captain Renault to find a legal reason to shut the place down.  This is the rule of law, no matter how crooked.  In the end, however, Victor Laszlo and Ilsa Lund are on a plane to Lisbon, and Rick and Louis are planning their flight from the city to take on more noble pursuits.  The swamp in the desert has been left by those of any integrity, save the underground.  Casablanca, after all, translates to “white house.”