Wordle

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Each year in late capitalism seems to begin with a new fad.  This has been pronounced with the pandemic (which I almost wrote as “academic”) keeping people indoors.  Last year sea shanties were the rage with many of us finding ourselves humming something about a wellerman during the oddest times.  This year’s initial fad seems to be Wordle.  In case you’ve been living on the dark side of the moon, Wordle is an online game that is best described as Mastermind with five-letter words.  Mastermind, in case you were born after the Republican Party turned evil, is a game where you have six colored pegs that one person sets in a board a sequence of four.  The other player can’t see them, but has to try to replicate the colors in the right sequence.  At each guess the one who selected the sequence gives the guesser the following information: which pegs are the right color and which pegs were the right color in the right place.  (It occurs to me that explaining Mastermind could have been left out and I could’ve just described Wordle.  But what’s the fun in that?)

In any case the Wordle player has six chances to guess the right word based on the same clues: the right letter in the wrong place (yellow), or the right letter in the right place (green).  The hook is that you can only get one puzzle per day (otherwise many of us would be starving to death and out of work).  As a kid, I have to say, I could play Mastermind for hours.  I even brought our daughter up on it.  There’s something beguiling about trying to figure out what’s in somebody else’s mind.  There is a dark side to it, however.

I read a lot.  Lately I find that when I’m reading I’m secretly scanning for five-letter words that might be a good initial guess for Wordle.  The ideal word has no repeated letters and at least two vowels.  You need to narrow down the vowels first because every word has to have one of those six letters, since “y” functions as a vowel.  The other day I was thinking “s” has enough lubricant to function as a vowel too, but I digress.  Isn’t that the point of Wordle, though?  To digress?  There’s so much despair in the world with autocrats in power and the planet melting down that we need a little boost.  If only I could let myself read normally again, all might be well with the world.

Horror Shortly

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Some short books have an outsized punch.  Especially when dealing with a large topic such as “horror.”  This isn’t just horror movies, which could easily fill such a book, but also literature and other media as well.  Darryl Jones has proven himself on this topic before and this Very Short Introduction is a showcase of what is a fascinating genre.  I’ve read a number of books in this series and this stands out as one that works admirably within extreme limits—they are very short—in making good decisions about representative aspects in what is really a sprawling field of inquiry.  The introduction lays the task out well and I came away from each chapter feeling inspired.  Of course, not all of horror can be covered in less than 150 pages.  Some may find their favorite fear unaddressed, but they’ll learn something nevertheless.

In his first content chapter, Monsters, Jones focuses on vampires and zombies.  These are both forms of cannibals as they’re currently conceived, zombies being relative newcomers to most favored monster status.  His next chapter, on the occult and supernatural, takes on the Devil himself before addressing satanists, demons, and ghosts.  These are, of course, religious monsters.  Although Jones doesn’t dwell on that aspect, the close relationship is nevertheless evident.  For those of us who explore religion and horror this framing proves helpful.  It’s worth pausing here to consider how all of these entities overlap a bit.  As anyone familiar with ghost hunters knows, ghosts and demons may both be found haunted places, and the Devil is the head demon.  Of course, horror is a fiction genre but many people believe in these entities.  That brings religion and horror within the same room.

Body horror occupies the next chapter, and here werewolves come into the picture.  Other aspects of body horror are also discussed, but the painful transformation of the shapeshifter is prime territory.  Horror and the mind brings us to psychological thrillers and the gothic fear of madness.  The topic segues nicely into science, which the next chapter covers.  Not only science itself but the mad scientist.  Finally, the lengthy afterword looks at where horror has gone, and may be going, in the new millennium.  Something that struck me, and which brings this back into religion, is how frequently Darwin and evolution are mentioned.  This concept challenged the human place in the divine hierarchy and led to much of what we think of as horror.  This book is a great resource in a small package.

Whose Baby?

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Some books are better known as movies.  I suspect that I, like many, saw the movie Rosemary’s Baby without ever reading the book.  It turns out that they’re very similar.  The book takes the action a few minutes beyond the end of the movie, but otherwise they’re quite close.  Reading a horror novel where you know everything that’s going to happen isn’t exactly the recipe for thrills and chills, but I’m nevertheless glad to have done it.  For a book published as long ago as it was (1967) it still isn’t easily found used.  New copies tend to be just as expensive as new books.  I just wanted to have a read to see if Roman Polanski stayed close to Ira Levin or not.

Levin had a string of successful novels, but Rosemary’s Baby is probably still his best known.  He is quoted as saying he didn’t believe in the Devil and felt guilty that his book (and movie) may have led to many people taking on that belief.  In many ways Polanski’s movie kicked off the age of modern horror, being released the same year as George Romero’s Night of the Living Dead.  Rosemary, however, opened the door to horror with overt religious themes.  It paved the way for The Exorcist and The Omen.  The latter, written by David Seltzer, was another example of a movie based on the Devil by an author who didn’t believe in him.  Personal belief aside, that trinity of movies remade the horror scene and led to one of the strangest cooperations in cinematic history.

In the book versus movie scenario often there’s a clear winner.  On other occasions the movie is so powerfully made that it overshadows its novel.  Rosemary’s Baby, along with The Exorcist, tended to do so.  (The Omen was novelized from the screenplay by the screenwriter.)  I wonder if that might not be because religion pays right into cinematic representation.  The novels, after all, can take several days of reading on a normal workaday schedule.  The film, if well done, transports the viewer there for a couple of hours and leaves you feeling as if you’ve been through, in the case of Rosemary, a traumatic pregnancy.  It so happened that the unholy trinity of religious horror tapped into that rapt storytelling of which celluloid proves so capable a medium.  Still, reading the novel fills in many of the gaps and brings to mind the benefits of the written word.  And this is, like a birth, something to be celebrated.

Love on a Monday

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I hope you may find love on a Monday.  I have a feeling that if we took Valentine’s Day more seriously the world would be a better place.  Capitalism, however, abhors interruptions (unless you buy lots of stuff) so many of us are at work this Monday.  I was recently reading how the full, unbroken eight hours’ sleep is a product of the industrial revolution.  I’d never thought of that before.  Everyone is different, of course, but it is natural for our species to wake in the night and be up for an hour or two and then to fall back asleep.  That, of course, interferes with the nine-to-five (925) that capitalism holds so dear.  In response, humans have altered their natural sleep patterns to conform.  The results are predictable: a line at the coffee machine every day at the office.

When I raised this with a friend, I was reminded that much of our life-style has been determined by the industrial revolution.  Certainly the concept of the weekend was.  And the constant feeling of never having enough time to, well, exist.  I awake when my body tells me it’s slept enough.  Generally that’s around 3:00 a.m.  I begin work early because Protestants have this work ethic going, but then I always get sleepy around 8:00 a.m.  Napping on the job is essentially the same as being a communist, so like many others I struggle through the rest of the day, not quite as efficient as I was for the first couple of hours.  In many cultures a nap is built into the after lunch slump.  Intravenous coffee is preferred by capitalists everywhere.

What if love catches you on a Monday?  Is it a sick day?  A vacation day?  A personal day?  Or all of the above?  It’s an opportunity to be human, but less than a true capitalist.  Someone could be making money off your time!  And whoever heard of more than ten paid holidays in a year?  I’m not complaining.  I love weekends and the scattering of holidays I receive, I really do.  Still, I miss the spontaneity of life.  The flight from a predator.  The shutting of the eyes when tired.  The celebration of love when it’s found.  A Faustian bargain was made when Christianity wed capitalism.  We’re encouraged to buy valentines for our sweeties, but show up to work and be there bright and early again the next morning.  May you nevertheless find love on your Monday.

Photo by Jamie Street on Unsplash

Secret Formula

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When writing fiction, I’ve never tried a series.  Some, such as Harry Potter, can set a writer for life.  I’ve always had the sense that the Dark Shadows novels were more potboilers.  There was a built-in fan base, and somehow in the sixties and seventies we didn’t expect Rowling-level writing.   It was the entire package: the Gothic, the recurring characters, the moody setting of Collinwood.  And of course, Barnabas Collins.  These novels may be journeyman writing, but here at number 25 in the series, Barnabas, Quentin, and the Magic Potion, there are some signs of literary improvement.  They are slight, rather like the first tinging of leaves with yellow as August begins to settle in, but they are there.  The series is nearing its end for me (provided I can actually find the last few books), but maybe it’s getting better.

What’s my reason for such a burst of enthusiasm?  Well, in this episode we see some features of Quentin that are more in line with how I remember him.  First of all, Ross tries some misdirection.  Quentin is presented as a master of disguise in the series and here there’s some clever hinting that, if you’re trying to think it through, leads you to mis-guess early on.  Not only that, but there’s a more positive view of Quentin here.  He’s not the evil satanist that he is earlier in the series.  Perhaps Ross had figured out by now that if people liked the idea of a Barnabas who is a conflicted victim, the same might apply to Quentin.  He’s not evil, but when you’re a werewolf, well, what can you do?

The “magic potion” is just as contrived and sketchy as most of the plot devices in this series—Harry Potter this is not.  It’s just a get rich quick scheme for a reprehensible old man and serves to move the plot along without really adding anything to it.  Carolyn here discovers that Barnabas is a vampire and, it seems to me, some of the plot devices for the Tim Burton movie might’ve been picked up from this particular novelization.  Although still not belle lettres by any stretch, the story here seems to have made some progress over the previous 24.  As a child, of course, I didn’t read these in order.  I relied on what I found at the bin in Goodwill, when I could find them.  I never had the whole series.  While trying at times, reading them may be a worthy exercise as an adult.  Perhaps series too grow up.

Being Vigilant

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While keeping to a budget, I’ve been tying to sample some new movies as therapy.  Interestingly, Hulu has had three on my long-time “to see” list, including The Vigil.  I heard about this one as soon as it came out.  Religion and horror have been a recent area of fascination, so how could I not?  A horror film partly in Yiddish is a novelty for me, and the haunting, endlessly haunting holocaust is never far from the surface.  Jacov, a young man with psychological issues caused by the death of his much younger brother, has left Orthodox Judaism.  He’s hard up for money, however, and agrees to sit as a shomer, a watcher who keeps vigil with a corpse of a person who has no family to do it, for pay.  The rabbi informs him the shomer he hired left because he was afraid, but since Jacov has done this before, he’s sure he can handle it.

Sitting in a creepy Brooklyn house with a corpse is made even more difficult by the widow’s Alzheimer’s disease and Jacov’s seeing things.  Unsettling events take place.  The problem is revealed to be a mazzik, a kind of Jewish demon.  As I explore in Nightmares with the Bible, and Holy Horror, the Jewish idea of demons took quite a different track from the Greek-inspired Christian concept.  Jesus was Jewish, but living in a Roman context.  What we in the west understand as demons is largely based on The Exorcist.  In Judaism demons weren’t the same obsession they were for Christians.  The dybbuk tends to be the soul of an evil person that can’t rest after death.  A mazzik is more a demon sent to harm, as a form of divine punishment.

The Vigil presents Jacov in that pincer of having left a religion only to find himself needing it in a time of crisis.  His Orthodox upbringing hasn’t prepared him for the world of having to interact with women, or even gentiles (as wicked as they can be).  The mazzik has haunted the man who’s just died—a holocaust survivor—and is now looking for another broken person.  Ever since the death of his brother, Jacov has been broken.  The film make effective use of several horror tropes, and is quite claustrophobic in the small house.  Even though set in New York City, isolation is the real threat.  More than that, the movie eloquently articulates how religion and horror rely on one another.  And how they might learn from each other.

Nine Secrets

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By their very nature they make us wonder what they’re up to.  Secret societies, I mean.  That’s part of their appeal.  Those on the outside speculate and usually the ideas swirl around mysterious rights and probably sex and money.  Leigh Bardugo takes it in a different direction in Ninth House.  Since I try not to read reviews before getting into a book, I wasn’t aware of the premise that the secret societies of Yale University were the nine houses referred to in the title.  Bardugo’s imagination takes the route of suggesting that they all specialize in different kinds of magic.  That makes this kind of a fantasy horror novel because the protagonist, Galaxy Stern (“stern” is, of course, German for “star”), can see ghosts.  And some of the professors aren’t who you think they are.

Somewhat gritty, Alex (Galaxy) isn’t exactly college material, let alone Yale.  She’s a recovering drug runner who has a past that would keep her out of most universities, particularly those of the Ivy League.  Still, she’s invited to Yale and she has some personal motivations, not necessarily academic, to accept.  She’s brought there by the ninth house, Lethe, because of her ability to see ghosts.  As portrayed in the novel Lethe is the secret society that makes sure the others don’t go beyond their bounds, the police, if you will.  Each society specializes in a specific kind of magic and it uses it to help its members benefit in school and career.  That’s why the university is so well funded.  It paints a compelling image of New Haven and it manages to capture the mystery many of us felt about attending college in the first place.

Yale is one of the two Ivy League campuses I’ve never been on (the other is Dartmouth).  Even so, Bardugo writes in a way that makes you feel as if you’ve been there.  The story is a page-turner that goes quickly for its size.  Alex, who is a novice in Lethe, spends the novel trying to find her mentor, Darlington, who’s been missing since some bad magic got him.  There are many unexpected twists along the way.  Although I don’t know much about Bardugo’s past, it seems likely that she knows some people in the drug culture.  Maybe she’s even seen some ghosts.  All of this combines to make a magical read that should appeal to Neil Gaiman fans as well as those of Stephen King.  And, of course, those who like to speculate about secret societies.

Connection

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I’ve met a few famous people in my time.  Meat Loaf wasn’t one of them.  In fact, the only real rock concert I’ve ever attended was Alice Cooper, back in the first part of the millennium.  Still, the good folks over at WikiTree like to let you know your degrees of separation from the famous.  With the news of Meat Loaf’s passing recently the connections emphasized were rockers, and I ended up being some twenty degrees separated from Michael Aday.  Every time this happens I wonder why our world doesn’t take better account of how closely related we all are.  Fear is a powerful emotion and fear of strangers runs deep.  Even babes in arms often object to being held by those with unfamiliar faces.  We could benefit quite a bit, it seems, by learning to get comfortable with fear.

Looking at the political mess in the United States it seems pretty clear to me that its main fuel source is fear.  It’s been decades now since I first learned that politicians are well aware of how fear makes people behave at the polls.  This fear is carefully crafted and exploited to try to get the election results desired.  If we could learn to master our fears just think of how things would improve!  Instead, those who have something personal to gain use fear to attain it.  Not that there aren’t real reasons for concern.  Facts such as global warming are real and deserve our immediate attention.  To address them we have to work together.  Instead, many chose to use fear for personal gain, and we let them.

For me personally, engaging with horror is a means of handling fear.  Like most people I don’t want to be afraid.  At the same time I’m fascinated by it.  I can’t scroll past a web page listing scariest books.  I try to go through tallies of the scariest movies made.  In doing so I’ve found that many of my phobias (and there are many) have dulled a bit.  Perhaps that comes with age, but then I’ve read that fear tends to increase with age.  Why not get it out of the way when we’re younger?  What has all of this got to do with Meat Loaf?  I suppose it’s the kind of gothic quality of his songs with Jim Steinman that drew me in.  The songs are all stories and the gothic was among the earliest influences of what would become horror.  Now my fear is nobody will be able to fill that need.  Perhaps the answer is connection.

Photo by Miltiadis Fragkidis on Unsplash

Serious Horror

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

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

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

Movie History

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We take much for granted.  Consider the movie.  We all know what movies are, and, prior to 2020 we all knew what the experience of going to the theater was.  Some of us even recall the drive-in experience.  Technology (and the pandemic) has changed all that.  People now watch movies at home, or alone on their devices.  Nevertheless, we still recognize what movies are and, being creatures drawn to story, we tend to enjoy them.  In fact, many theorists of myth see cinema as the new mythology.  Myths give us meaning and we tend to find meaning in films.  We also find information in them.  One of the points I’ve argued in my own work is that people learn about their religion from what they consume in the media.

Geoffrey Nowell-Smith offers a compact introduction to how we got here in this little book.  The Very Short Introductions have wide recognition among those who want to learn something authoritative without taking too much time to do it.  This introduction to cinema history is a wonderful overview of a complex subject.  A few things became clear to me in reading it: cinema began as, and remains, an artistic industry.  Other art forms developed as personal expression of visual, aural, or written expression.  They eventually codified into art forms such as painting, symphonic music, or novels.  Cinema, instead, grew out of the film industry and sought to become a new way of expressing artistic ideas.  Clearly it has done so successfully.  Not only that, unlike other art forms, it has always been a business.

Initially, photographic equipment was too expensive for most dilettantes.  Studios brought together people with skills in the many areas required to put a movie together.  You needed actors, directors, film developers, sound engineers, props and crews to make sets.  Indeed, most art—such as book writing, or music albums—is a group effort.  Movies especially so.  And these people have to be paid.  Film has, and has always had, a profit motive.  While you get the sense that many artists would’ve painted even if they starved (and many did), and that most of us who write will do it regardless of not getting any profit from it, cinema would’ve collapsed without it.  There’s a lot packed into this small book.  For those who may have been reading about film for many years it will contain startling insights.  A wide-angle book with a variety of lenses, it brings many things into succinct focus.

Maudren Saint

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

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

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

H. P. Luca

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

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

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

Out of Hades

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They went together naturally, like chocolate and peanut butter.  Just about seven months ago Jim Steinman died.  Then yesterday, Meat Loaf.  They were both born in 1947 and together they made one of the best selling albums of all time, Bat Out of Hell.  I’m saddened by the loss of perhaps the only truly Wagnerian Rock performer.  After I discovered Bat Out of Hell, raising some eyebrows among those who knew me as a kid, I was hooked.  I bought all the Meat Loaf and Steinman collaborations.  Not only was Meat Loaf’s voice big, it was also sincere.  It was easy to believe the stories he was singing to us, no matter how fantasy-prone they might’ve been.  Once I start listening to one of his albums I end up going through them all.

When we become aware of music helps to define it.  I became aware of Bat Out of Hell during my Nashotah House years.  Still fearful from my evangelical upbringing, I wondered what students might think when they came over.  (Nashotah is a residential campus, and this was largely before the days when faculty were fearful of being alone with a student.)  As strange as it may sound, for a best-selling album, I was unfamiliar with any of the songs before I bought it.  I’ve never been much of a radio listener.  I agonized quite a bit before finally buying the CD.  I quickly came to see why it was so popular.  More than anything, it was the sincerity of Meat Loaf’s voice.

That music saw me through some dark times.  Attending mass in the mornings and listening to Meat Loaf at night proved an effective elixir.  The longer I was at Nashotah the more I came to associate it with the titular geonym.  Eventually Bat Out of Hell II came out.  I was less slow about acquiring it.  The third one appeared only after my teaching career ended.  When things went south at Nashotah, I decided that I would perform some symbolic actions during my departure.  There was nobody there to witness any of them—no person is indispensable to an institution and you’re soon forgotten.  The last thing packed from our on-campus house was the stereo.  I went back alone to get it and the few last-minute belongings from well over a decade in a place of torment.  Just before leaving campus for the last time I cranked the stereo up and played “Bat Out of Hell” at full volume.  An era has come to an end.

Wicker Redux

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The Wicker Man (1973) is a cult classic.  If it had had proper distribution and promotion it might’ve become a more mainstream hit when it was released.  Instead it was a slow burn.  Once it reached cult status controversy grew.  The movie doesn’t acknowledge, but was clearly influenced by, the novel Ritual by David Pinner.  I reviewed the novel earlier, and it isn’t particularly great.  The movie changes so much that it maybe was “inspired by” rather than “based on” the novel.  Several years later the director, Robin Hardy, decided to novelize the film.  His The Wicker Man also credits Anthony Shaffer because a good deal of the dialogue is lifted straight from the screenplay Shaffer wrote.  But the novelization also changes things.  That means there really is no novel that gives the full story of the film.

The creative process is never-ending.  Anyone who’s had a story published knows the tinkering that goes on, even after it appears in print.  The last word’s never truly that.  It takes restraint to leave something alone.  So Hardy wrote one of the more important characters out of his novel and wrote in another who seems to have very little connection to the story itself.  I’m still not sure what the point of adding him might have been.  Incidents that seem to be bracing for a sequel are present, and indeed Hardy wrote a spiritual successor that became a less impressive movie some years later.  Sometimes you do get it right the first time around.

Not that the movie is perfect—none are—but it has held up considerably well, growing in stature over the years.  A novelist, however, tends to have a deft touch that seems to be lacking here.  There’s a great deal of telling instead of showing.  Hardy’s Howie almost becomes a Mary Sue.  Tying his love of birds into the plot of the novel would’ve been one such deft touch.  Instead we have here a serviceable novel with much that’s familiar and even some that is strange and provocative.  It does restore some of the famously edited footage from the first cut of the film.  It tries to make Howie’s religious conviction clearer.  Changing parts of a story comes with the territory of those who spin yarns.  Hardy never really rose again to the heights he achieved in directing The Wicker Man.  It’s no wonder, then, that he felt compelled to return to it in literary form.

Ghost Chasing

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

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

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