Redacted

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A friend recently introduced me to Redactle.  Yet another of those daily internet games that have become trendy in these pandemic years, Redactle gives you a page that looks like a Freedom of Information Act piece from the government.  Most of the words are blanked out and all you really know it that it is taken from one of the significant pages on Wikipedia.  You get some clues from the format, the way the prepositions and articles they give you are arranged, and occasionally, the punctuation.  You just start guessing words and it fills in the blanks as you get hits.  Like most things of this sort, there’s one puzzle per day, otherwise none of us would ever get anything done.  I’m a sucker for learning games, so we’ve been playing it as a family for a few days now.

A redacted file from the CIA, via Wikimedia Commons

The thing that has surprised me the most in our early on is that the trickiest ones to get right were on religions.  In our first week of play, two of the puzzles were religions: Lutheranism and Shaktism.  We’d been able to guess famous people in two dozen guesses, and countries in about the same.  Religions are trickier.  Despite having studied religion my entire life, my thought process doesn’t include guessing words like “theology” and “worship” for important articles on Wikipedia.  (In the case of Shaktism it took well over 100 guesses.  I taught world religion maybe fifteen years ago, but I haven’t kept up with my Hinduism.)  In the case of both of these religions what eventually gave them away was the place names: Germany and India.

India, of course, has been the birthplace of many religions.  The majority of Indians today are Hindu, but Buddhism, Jainism, and Sikhism were also children of India.  Even in this increasingly secular world, religions remain the driving forces behind lives.  So much so that some religionists consider Secularism a religion.  The fact is we all believe something.  It may not be supernatural, but then not all religions are.  They often brush up against philosophy at their most sophisticated end, and literalism is the least developed form of any belief system.  With some exceptions it doesn’t pay well to be a religionist.  Perhaps that’s because thinking hard about religion reveals uncomfortable truths.  Not only that, studying religion is no guarantee that when you have to fill in the blanks you’ll be able to guess one when it’s right in front of you.  That’s why I appreciate learning games.  

Updating Irving

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Movie quality is measured by many standards.  It’s pretty clear that budgets can make a difference—Hollywood movies generally outshine television movies.  Streaming services, like Netflix and Hulu, have been gaining ground here, but they still lack some of the qualia that come from long-term players in the industry.  Often this was measured, pre-pandemic, by box office success.  I’m not sure how it’s all quantified now, but I’m sure it still comes down to money.  To me, the deciding factor about the quality of a movie is often the writing.  Even with a modest budget excellent writing can make up a lot of ground.  Headless Horseman originally aired on the SciFi channel (now Syfy) in 2007, and I wrote a tiny bit about it in a former post.  I recently rewatched it with an eye toward how religion is integrated in it.

Headless Horseman is not a great movie.  Its writing doesn’t inspire and it leaves too many gaps in the narrative to carry the viewer along easily.  Still, religion plays an important role in the story.  This one resets Washington Irving’s tale in the south—from the license plates, Missouri.  The horseman is a serial killer who offered his victim’s heads to the hydra, the serpent that guards the entrance to Hell.  When the killer is stopped and his body sent through the gateway, he comes back every seven years to chop heads.  The town where all this takes place has the biblical name of Wormwood, and everyone in it is literally family.  So every seven years they have to trap seven outsiders to make their offering.  The person who originally stopped the killer was the local priest.

Even this brief synopsis reveals how deeply religion is engrained in this retelling.  Irving’s classic story is set in an overtly religious period (particularly Protestant, of the Reformed variety), and wears this lightly.  Everyone can be assumed to go to church and the Headless Horseman is a Hessian mercenary decapitated by a cannonball during the Revolutionary War.  Over time, with many retellings, the horror becomes more and more involved with religion.  To the point that the religion itself is the real engine of fear.  A town protecting a Hell-guarding hellion doesn’t exactly make them Satanists, but it does mean they’re not far from it.  The in-breeding is, however, a bit insensitive.  My recent rewatching wasn’t with an eye toward the Bible, as my last viewing was.  When retelling the story, however, it seems religion will surface where once it was only in the background.

Free Reality

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One thing movies can do especially well is to make you question reality.  Early on this was more or less literally true as people couldn’t believe what they were seeing on the screen.  Photography had perhaps captured souls, after all.  A series of movies in more modern days began to ask us to reconsider what we know, with profound results.  In 1998 The Truman Show suggested that we might be living on a stage and God is really a misguided director. The next year The Matrix went further to float the idea we might be living in a simulation—an idea that some highly educated people have taken seriously since then.  They asked us to consider what we meant by reality.  Those questions have haunted us as the cybersphere grew.

I recently saw Free Guy, a movie that slipped me back into that uncomfortable space.  I’m no gamer, so I’m sure I missed many of the references to memes and characters that are familiar to many.  Still, it was fun and profound at the same time.  It’s not giving too much away to say that Guy is a non-playing character in a shared game.  In other words, he’s just code.  Not conscious, not making any decisions.  Until he starts to.  He turns out to be a form of artificial intelligence.  Teaming up with a human player, he learns to appreciate virtual life and works to make Free City a better place to live.  When the credits rolled I found myself asking what I knew about reality.

Not a gamer, I’m pretty sure we’re not caught in that particular matrix.  I’m pretty sure my wife wouldn’t’ve put up with over thirty years of pretending to be married to me just for ratings.  Still, many times riding that bus into Manhattan I had the distinct feeling that none of it was really real.  I would tell myself that on the way to the office.  Not that I think movies are the whole truth, but they definitely seem to be part of it.  Guy learns to rack up points to level up.  He becomes a hero.  In this reality we can look but not see.  Becoming a hero is unlikely unless someone is actively watching you.  Many heroes on a small, human-sized scale exist.  They don’t get to wear sunglasses, but they can watch movies about those that do.  And if they’re not careful, they might find themselves getting in a philosophical quandary by doing so.

Shaping Water

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When I write fiction the genre’s difficult to define.  The other thing is I tend to be behind when it comes to pop culture.  It can take me years to find the time to watch a movie.  This preface is an excuse for why I’ve only just seen The Shape of Water.  Is it a horror movie because it features a monster?  It is, of course, primarily a love story.  As a parable the story has many gaps but it’s so enjoyable to watch that you don’t even mind.  In the rare event that you missed the hype, it’s a tale about a woman who falls in love with a somewhat more modern version of the Gill-man.  Indeed, one of the captors, Strickland, mentions finding him in the Amazon—certainly a nod toward the Black Lagoon.

There’s much you can say about a story like this, but one standout feature was that the antagonist (Strickland) frames pretty much the entire movie with the Bible.  He’s not a good man, but he uses the story of Samson to keep Zelda, the Black cleaning woman, in her place.  He uses her namesake Delilah (middle name) to note how she betrayed Samson.  He goes on to say that God is in the image of man, either him or her.  But then he adds, “Maybe a little more like me, I guess.”  This gives you an idea of his character.  He also notes that the creature was thought to be a god in the Amazon.  At the end, as Strickland sets out to kill the creature, he again uses Samson to tell Zelda that he’s going to bring “this temple” down on all of them.  That’s a healthy dose of religious imagery for a species of horror film.

The Creature from the Black Lagoon also begins with a biblical quote.  And like in this movie, the real monsters are the white men who insist on destroying what’s not like them.  Monsters and religion have similar pedigrees and share a number of features.  A concern for those marginalized by society pervades true religion as well as monster movies.  Nevertheless, the academy has trouble giving awards to any movie labelled horror.  There are definitely elements of it here.  It isn’t unusual to see horror defined as a movie that features a monster.  This monster is a god. Interesting, how often that happens. The film’s mood, however, is also romance and a very real concern for the other.  We can all learn from movies like this, even if five years late.

Annotating Irving

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Really concentrating on a short story is sometimes difficult to do.  I don’t have a degree in literature (I took a few courses, but my specialization was religion).  I’ve been on a bit of a Sleepy Hollow kick lately and I wanted to move beyond just the short story by Washington Irving.  Although I’m sure working through the entire Sketch Book of Geoffrey Crayon, Gent., the book in which “The Legend of Sleepy Hollow” was published, would probably be rewarding, it would also be time consuming.  Irving was trying to find his way as a writer and this particular story has been his lasting contribution.  So I turned to local historian Henry John Steiner’s annotated edition.  It has a useful introduction, but still wouldn’t be “book length” without several pages of photos and a large font size.

Sleepy Hollow may lay claim to several signs of historical importance.  It featured in the Revolutionary War.  Washington Irving did eventually settle there.  As a getaway it attracted the wealthy and powerful from New York City because it’s not that far from Manhattan.  Several movie and television renditions have been made of Irving’s story.  This book generally provides local place connections in the annotations.  A visitor to Sleepy Hollow might wonder where this or that event in the story was set.  This book will help with that.  Still, it left me looking for a bit more substantial treatment.  Not necessarily a literary-theory kind.  Let’s face it, academic writers tend to write for other academics. No, a bit more of the folklore, I suppose.

It did allow me to slow down and really concentrate on the story.  Books have an endpoint that really helps in that regard.  This little book (as was the one I recently read on the Old Dutch Church) was published when the Fox series Sleepy Hollow was taking off.  That all-important media tie-in helps to sell books.  Interestingly, the details of a closer reading are revealing.  This isn’t, in origin, a Halloween story.  It’s a tall tale told American style.  Steiner indicates it was based on an older legend—this is something I’d be interested in hearing more about.  Writers are great recyclers.  I suppose a book on the folklore of the lower Hudson Valley might have more of what I’m seeking.  Nevertheless I came away from this edition feeling as if I’d gotten to know the story better.  Irving’s “Rip Van Winkle” also appears in his Sketch Book, but perhaps it’s asking too much to have both analyzed together.

Status Check

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It took many months, but one of my few Twitter followers was removed not for trying to take the nation by force, but because he’d died.  If I learn to tweet from beyond perhaps I’ll score a few more followers.  The situation, however, is one of the oddities of our socially mediated world.  I was trying to find some information on a potential author the other day and the only online presence I could locate was LinkedIn.  I clicked on the profile only to see the latest update was “Deceased.”  More than that, the Experience column indicated that “Deceased” continued from the date of passing up to the present.  I guess once you’re gone, your gone for good.  Social media, however, will perhaps find a way to keep you alive.

When I’m gone, I imagine WordPress will shut this blog down because nobody will be paying for it.  It’ll probably take a while for Facebook or Twitter to figure out I’m in the new category of “deceased.”  I do hope Academia.edu will keep my downloaded papers there for free. Real immortality, it seems to me, lies in the writing of books.  They too will eventually disappear, and who knows about the real longevity of social media.  It’s pretty difficult to believe Facebook wasn’t even around at the turn of the millennium.  I drive a car that’s older than Facebook.  I keep thinking of LinkedIn listing “Deceased” as a vocation.  Isn’t it really the ultimate vocation for all of us?  If you can’t be found online, do your really exist at all?

While experts debate social media, my job prevents me from using Facebook or Twitter during the day.  After work I’m anxious to get on to the other things in life that virtual friends and followers have to wait.  Early in the mornings I write and research.  I have mere minutes a day to look over social media.  I check Facebook only for alerts.  Life is short.  Is social media making it better?  It’s easy enough to be overlooked in real life, so why indulge in it virtually as well?  Of course, many see social media as a place to vent their spleen.  Why not try to inject some good into the virtual world instead?  There is hope for the dead, for they may still publish.  Their tweets may become somewhat less frequent.  Only the most callous, however, would drop them as friends for being dead.  Let’s just wait for Zuckerberg or Musk to notice.  It may take a few months.

Television Fed

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There have been a number of television shows—The Simpsons primary among them—that instead of castigating the media-raised generation, celebrate it.  As I watch the younger, internet-raised generation, I realize that we were the kids raised on television.  Before the fifties and sixties televisions were too expensive to reach into every home.  Although we were poor, we managed to scrape and scrounge enough to buy a color television by the time I was an early teen (what’s now technically a tween).  And even before that I had a television habit.  Dark Shadows, The Twilight Zone, Star Trek, Gilligan’s Island, Get Smart, The Brady Bunch, The Partridge Family, and the list could go on and on.  Since neither of my parents finished high school, we used television as a window into the wider, more educated world.

Photo by Ajeet Mestry on Unsplash

As an adult I’ve moved beyond that academic stage of being embarrassed about being raised on television.  I’m inclined now to embrace it.  It was forming me long before I started reading and these days I prefer reading to television, which I practically never watch.  Still, I have a great appreciation for its formative influence.  How else are you supposed to learn about the world when you’re poor and uneducated?  Dark Shadows taught me about vampires.  The Twilight Zone made me appreciate the strangeness of life.  Star Trek awoke wonder about space.  Gilligan’s Island and Get Smart taught me to laugh in tough times.  The Partridge Family taught me about music and the Brady Bunch prepared me for Zoom.

For many years I’ve tried to put this behind me as a cause of shame.  I was an academic.  A book-learner.  That way of life, however, shouldn’t deny what has made us who we are.  While following the new rendition of Sleepy Hollow in television format, I came to realize that there was a new direction to go.  Religion in horror had been lurking in the background for many years, even before my career malfunction.  To deny it was to deny the same academic pretentiousness that has refused me a place.  Media can hold meaning for us.  There’s no replacing those younger years in front of the tube, the intravenous meaning that successful writers and media producers of the sixties and seventies were giving us.  When you don’t have the free time for research, you can still access what childhood taught you in the first place.  And perhaps, if you’re lucky, move it forward.

Boone to Some

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Folk heroes sometimes put us in compromising positions.  We appreciate their importance for where we are and yet we recognize that where we are came at a tremendous cost for those who lived here first.  Still, I was somewhat surprised to learn that Daniel Boone was born right here in Pennsylvania.  Like most people my age, I learned of Boone primarily through the television series that aired in the 1960s.  In other words, I learned the commercial Boone.  In reality he was a fascinating individual who preferred outdoors living to the comforts of home.  His prominence meant that he would meet and know such figures as George Washington and Thomas Jefferson.  He was largely responsible for US westward expansion, leading the first Europeans into the territory of Kentucky.  His association with the south is so pronounced that I was surprised to learn he was born in a homestead, that is today, less than an hour north of Philadelphia.

Of course, the land settled by the Boone family was stolen from American Indians.  The story might be somewhat easier to appreciate if we treated Indians better today, but our culture still insists on repressing them.  Racism runs deep, it seems.  Boone himself seems mainly to have gotten along with the Indians he knew.  The fact is his story is exciting to hear.  He was an able negotiator and both Indians and other settlers respected his position.  When tales of his adventures were written down he became famous, if not wealthy.  What seems to have really struck those who heard his story is that he continued his outdoor existence into his eighties.  At an age when many have become frail, he continued to spend months of the year living outdoors in the wilderness.

Being there where he was born felt like a revelation.  Of course the docent was a gifted storyteller, and she told his story with humor and an obvious pride in the man who’s responsible for her living.  I reflected how television once again had shaped my childhood.  Fess Parker’s portrayal of Boone was among the most popular prime-time shows of the mid-sixties to 1970.  I had no idea that I was consuming pop culture in such quantities as I watched it, along with other staples such as Dark Shadows, Gilligan’s Island, Scooby-Doo, and the Brady Bunch.  Some people worry that the rising generation “learns” its narratives from the internet, but my generation learned them from television.  Daniel Boone would have, and indeed did, learned from the outdoors.

Shadows of Childhood

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Childhood, it seems to me, is where we define ourselves.  In the days when life expectancy wasn’t terribly long and people generally lived only long enough to reproduce, there was not much of a need to revisit childhood.  Now that we live several decades, however, childhood begins to loom large.  We have time to revisit and reassess.  This is one of the reasons I’ve been addressing Dark Shadows so much, and why my memories of it have been of such interest.  I recently watched the second feature film based on the series, Night of Dark Shadows.  This was aired after the original soap opera had been cancelled.  It focuses on Quentin Collins rather than Barnabas and it again caused me to reassess.

The story is complex—the soap opera was quite literary and intelligent to begin with—and it involves several characters from the series.  In my mind Quentin is a werewolf.  In the movie he’s not.  This made me realize that my image of Quentin is largely from the Marilyn Ross novels, not from memories of the television show.  I never did see the original series through.  Nor did I ever read all the novels.  Like most people my childhood was a pastiche of this and that as I sampled the somewhat small set of offerings made available in a modest family in a small town.  Fossil collecting and exploring within two or three blocks of home were about all the options.  And then there was television.  I watched a lot of it.  When the rigors of homework started to really hit in high school, I stopped watching so much.  I’d begun reading quite a bit by middle school, and many of those books are the ones I’ve been seeking out in recent years.  Not that middle school was that great, but it was formative.

Night of Dark Shadows, although set in Maine, lacks the Collinwood I remembered.  Yes, it’s a grand old house, but there’s no hint of being on the Atlantic coast.  No crashing waves.  No theremin.  Quentin is instead haunted by the ghost of Angelique and is apparently a reincarnation of an ancient ancestor whom she loved.  Angelique decides to kill off Quentin’s young bride so as to have him to herself.  It wasn’t bad, but I guess I was expecting a werewolf movie.  My view of Quentin was formed by the imagination of W. E. D. Ross, I’m coming to realize.  Sam Hall wrote many of the original episodes.  He also co-wrote this movie.  My childhood, however, remembers all of this differently.

Wicker Lessons

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Beltane creeps up unnoticed.  Not an official holiday in these parts, it is, hopefully, a sign of slightly warmer weather than we’ve been having in April.  It’s also the day that I can’t help but think of The Wicker Man.  One of the early intelligent horror offerings, it came out 49 years ago.  My book on the movie, as far as I know, is still scheduled to come out next year, on its fiftieth anniversary.  Watch this space for further announcements.  In any case, today I have a piece on The Wicker Tree—the “spiritual sequel” to the movie, appearing on Horror Homeroom.  Societies in old Europe tended to celebrate this as the beginning of summer, which explains why Midsummer comes half-way through June.  The seasons aren’t always the same in all times and places.

In Germanic countries, Walpurgisnacht, which began last night, was a time of concern about witches.  Our modern calendar tries to concentrate our fears in late October, but they are appropriate any time of year.  These days Beltane’s more of a day when we expect warmer weather to start rolling in and perhaps, especially this year, hopes for peace.  May tends to be a hopeful time—it’s a transition.  The persistence of our fears suggests that learning to deal with them might well be a good idea.  Instead of hiding monsters away, why not face them?  The Wicker Tree isn’t a great horror movie, but something holds true for it—the monsters are us.  In that film capitalism is the real horror.

What makes The Wicker Man the classic that it is is religion.  More specifically, the clash between religions, neither of which is willing to yield.  This is largely behind religious violence throughout history, up to the present.  Religions convinced that they’re the only possible way to the truth can’t recognize that believers of other religions feel exactly the same way.  Yet May is about transitions—one season giving way to another.  It’s part of the inexorable change that marks life on this planet.  We may not fear witches in the mountains any more, but we still fear what’s out there.  Beltane is a hopeful holiday—a day of blessing animals and building fires to encourage the strengthening sun.  Instead of making it a day of clashing beliefs, perhaps we should look for our common humanity in it.  Perhaps we can learn a deeper lesson from The Wicker Man.

Normal Paranormal

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One of my favorite televisions shows of all time is The X-Files.  I didn’t watch it when it originally aired, but eventually got a hankering to see it on DVD.  There are many reasons to like it, including its originality and the dynamics between Mulder and Scully and the sense that governments really do hide things.  As I rewatch episodes I see how much religion plays into it as well.  This post is actually not about the X-Files proper, but about a place in Bethlehem I recently discovered.  I’m not a preachy vegan, but I do like to support the establishments who make such lifestyles as mine much easier.  It was thus that I discovered Paranormal Pizza in Bethlehem.  I wondered about the name, figuring that it was paranormal that you could have non-dairy, non-meat pizza at all.

To celebrate Earth Day we decided to check it out.  The menu has a set of fixed items, each named after an X-Files character.  I was glad to see that I’m not alone in my appreciation of the show.  The pizza’s very good, and I’m sure the college-age crowd that was there would agree with me.  I did wonder how many of them knew the X-Files.  Is it still a thing?  Maybe recent government disclosures have brought it back into the public eye.  Hey, I’m a Bible editor, about as far from the public eye as you can possibly get.  Vegan pizza on Earth Day, however, just felt right.

Foodiness seems to be trending.  A great many options are available in the land of plenty.  Still, I know that vegetarians and vegans in developing countries exist, and many of them for similar reasons to me.  They know animals think and feel.  We promote the myth that they don’t so that we don’t have to feel guilty about exploiting them.  It seems to me that many of our world-wide problems would start to vanish if we realized we can evolve out of being predators.  Cashews and almonds can become cheese.  Soy beans and wheat can become meat.  And peanuts are about the best food ever, in any form.  Then there’s the natural fruits and veg.  Industrial animal farming is perhaps the largest polluter of our planet.  Yesterday was Earth Day.  I was eating a pizza made from wheat, tomatoes, and cashews.  These ingredients might seem a bit unusual.  Paranormal, even.  But that’s precisely the point.  I won’t be waiting until the next Earth Day to go back for more.

Body Doubles

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Learning about how Dark Shadows developed has freed me a bit, I think.  The stories between the original program, the novels, and the movies were never consistent.  I’d made that most fundamental of Fundamentalist errors—I’d assumed there was only one story and it went in only one way.  This helps explain, but not excuse, the Burton-Depp version of the story.  In any case, now I can read the novels with minimal baggage.  Understanding childhood is important if we survive long enough for it to haunt us.  Barnabas, Quentin and the Body Snatchers is a departure, even for Marilyn Ross.  Something critics sometimes overlook is just how literate the original, and subsequent, program was.  Ross occasionally attempts to cash in on that without feeling tied to the story line.

This plot relies on the 1956 movie, Invasion of the Body Snatchers.  Indeed, as a daily show Dark Shadows couldn’t really utilize a “monster of the week” format effectively (although it seems to have given the idea to those who later did).  The novels, however, could draw on such cultural tropes.  Both major releases of Body Snatchers (there was a remake after Dark Shadows ceased, in 1978) were considered terrifying by implication: how could you tell if someone took over the body of someone you know?  Who could you even trust, if such a phenomenon were possible?  Since such things aren’t common down here, it’s easier to suggest they come from outer space.  So it is that this installment has the weird juxtaposition of a vampire and werewolf having to outsmart aliens who take over human bodies. Kind of an early monsters vs. aliens scenario.

Again, not to seek too much depth where it doesn’t naturally exist, this scenario raises interesting questions.  How would terrestrial and extraterrestrial supernaturals interact?  I’m not sure W. E. D. Ross was up to this kind of gothic-sci-fi mash-up.  He was, after all, primarily a romance writer.  (Although, a recent trip to a library book sale and used bookstore in the same day led to the realization that paranormal romance is a burgeoning field.)  I recently read an article disputing the “willing suspension of belief” that is said to accompany such ventures.  As an adult I know that these novels are what must be considered cheesy, quick, and formulaic ephemera.  Still, I couldn’t help being pleased to see Barnabas and Quentin cooperating here.  If aliens ever do decide to invade, we’ll need all the help we can get.

Shadows of Childhood

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While it may not seem to fit my current re-fascination, I’m not really a “fan”personality.  My interests are far too diverse.  Since I’ve been thinking about Dark Shadows a lot lately I decided to do some reading on it.  There’s a genre of nonfiction that involves small format, short introductions to various media.  I’ve read a few of the Devil’s Advocates series about horror movies and I recently discovered the similar TV Milestones series about, well, TV.  They have a volume on Dark Shadows by Harry M. Benshoff, and I knew it would help scratch my current itch.  You see, I wasn’t really a devoted fan of the show—I watched it after school like a lot of kids did in the late sixties and into the early seventies.  I read a few of the novels.  I never attended any conferences (they exist) and never wrote any fan fiction.  I think my level of engagement was different.

Nevertheless, this is an informative little book.  I found out that there’s even more to the phenomenon than I already knew I didn’t know.  I never really followed the whole plot line.  I didn’t realize just how complex the story is.  Perhaps on some level I knew the series was culturally significant.  As a child I didn’t know much about the wider culture.  We were working class poor, how was I to find out about such things?  For me, Dark Shadows was a kind of escapism, I suppose.  A fantasy that met a need, not a plot to be unraveled.  I wasn’t aware of how sophisticated, if cheap, it was.

By the time I got to college and started to meet different people, it was a moment that had passed.  I really didn’t think much about Dark Shadows again until after my own gothic tragedy of Nashotah House.  During the days of my career malfunction I rediscovered my childhood, perhaps looking for something better.  I started collecting and reading the novels again, and if I’m honest, were it not so expensive I’d consider watching the original series again.  Like all things nostalgic, I know my Rosebud will never be today what it was back then.  My reading sense wasn’t developed enough to see what might’ve been going on behind the scenes.  Benshoff does a good job of bringing much of that to the light.  I’ll likely read more on the series as time goes on, but I now have a better framework for looking at this particular milestone.  Not, however, as a fanatic.

Search and Research

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Woe to those who live to research but who have no professorship!  I have been prone to research since about high school, driven by the need to know.  Almost Wesleyan in my need for certainty, I have always been inclined to check things out.  It took college and a doctorate to teach me the necessary research skills.  It took years of teaching for me to learn how to frame questions on my own.  And it took years of being shunned by the academy to realize that as I’ve been pursuing my personal research agenda that I lack the time to fulfill it.  I’m a slow learner.  Yet I can’t give it up.  The thought process that led to Holy Horror was a kind of epiphany.  I could write a book without reading every last thing about the subject.  The problem, however, would always be time.  I’ve read an awful lot about horror media and I’m only beginning to scratch the surface.

I’m not totally naive.  Okay, I’m pretty far along on that path sometimes, but I want my readers to know that I understand movies and television are made for money.  It’s a business, I know.  But I’m an artist at heart and I like to think the creators are fond of their characters.  Writers are advised to drown their darlings, to put their protagonists on a cliff and then throw rocks at them.  And I also understand that money can make you do even worse to them.  Of course, I’m still thinking about Dark Shadows.  For me it’s been a rediscovery of my childhood.  And just how much time I’d need to make sense of just one television series with a five-year run.  There’s far more information on the web on Dark Shadows than I was able to find in print on Asherah for the years of my doctorate.

And the expense involved.  Plus, it’s only early April and the lawn needs mowing!  I’m still wearing a heavy jacket some days but the grass is always greener.  Period.  What a time to fall into a research reverie!  I need a sabbatical but they don’t have those in the 925 world.  And I need a professor’s salary to be able to afford the media required.  The Dark Shadows series alone has over 1200 episodes.  House of Dark Shadows introduced the fear of the cross to my understanding of Barnabas Collins.  My world has been shaken and to settle it I need research.  What I have, however, is work starting in just a few minutes.

Now watch this, for time is fleeting

Ghost History

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Books on art are often eye-opening to me.  When I was young and trying to escape the working-class hell in which I grew up, I discovered high culture.  This was mostly through local libraries.  I would check out classical music LPs and look at books of classical art.  I did the latter until I could identify several artists by their styles.  (It was probably originally because they’d painted pictures of Jesus and I went to see what else they’d done.)  In any case, I never studied art history.  I recently read an art-historian on the Devil, and now I’ve read one (Susan Owens) on ghosts.  The Ghost: A Cultural History does not address the question of whether ghosts exist, but rather traces the history of how they’ve been portrayed in literature and art throughout time.

Owens quite ably takes us through ancient to modern, pointing out that ghosts change to fit the Zeitgeist—the spirit of the times (not her pun).  In the early modern period ghosts were portrayed as physical revenants.  They were dead bodies that came back to physically harm the living.  We know this fear was widespread because some burials were clearly intended to keep the dead in their graves.  The idea of the physical ghost still comes up in modern horror as the monster you can’t kill because it’s already dead.  It was only gradually that ghosts became spirits and this was largely through emphasis on purgatory, which made it possible for the dead not to be in Heaven or Hell.  Once the idea caught on the literature and art began to focus on the spiritual nature of revenants.  As cultural interests turned towards ruins ghosts inhabited haunted houses.

This is a fascinating study of the way ghosts have evolved over time.  One of the things that struck me was that early commentators often didn’t distinguish clearly between ghosts, demons, and devils.  Demons, as we think of them, really depend quite a bit on The Exorcist.  The use of “devils” in the plural complicates the spiritual geography where we have God v Devil as the main poles of spiritual rivalry.  These ideas, and also those of ghosts, likely blended throughout most of history until a renewed emphasis on literalism came in.  Medieval scholars composed angelologies and demonologies, trying to keep everything straight.  They puzzled over ghosts, however, which don’t fit the scheme very neatly.  They would have benefitted, perhaps, if they had had Susan Owens’ book to help guide them.  It’s an exciting nighttime journey.