October slipped in this year, and now I find myself unexpectedly in the season of ghosts, monsters, and witches. Given the number of posts on this blog about horror movies, it stands to reason that these are a few of my favorite things. The nights are longer now and since I work in a cubicle all year round, I miss the daylight from 8 to 4 on most days. Judging by the billboards along highway 22, others have noticed that Halloween’s approaching as well. One of the odd things about being on the internet myself is that I don’t spend much time web browsing. Who has time? But when a friend sent me a story on witch windows, I had to take a look.
I’ve only been to Vermont twice. Of all the New England states, it, along with Rhode Island, are kind of out of the way for the areas I tend to visit. I’ve enjoyed my time in Vermont (and Rhode Island), but there just hasn’t been much of it. The article “Witch Windows Are Still A Thing And Here’s Why They Actually Exist” by R. J. Wilson points out an architectural feature I didn’t notice during my brief Vermont visits. Confined to the Green Mountain State, for the most part, are slanted windows in line with the slope of the roof. When I saw the photos in the article my first thought was that they were for admitting more light. Vermont is a northern state and already in September days are getting a little lean on light. These windows, however, are commonly called “witch windows.” Nobody really knows why they’re called that. As the Urbo article points out, nobody really believed that witches couldn’t enter through crooked windows.
People are quick to posit supernatural explanations for mundane things. It’s one of the more charming things about the witching season. We need not believe the explanations for them to convey some kind of meaning. Ghosts, monsters, and witches survive because they provide such meaning for us. They symbolize the things against which we have to struggle. Looking for light as the nights lengthen is a very human thing to do. We often house our monsters in the dark. There is utility in taking them out in the daytime to give them a closer look. Now that October’s here, of course, there’s less daylight in which we might easily see. If I were in Vermont I think I’d want a witch window too.
Although it hasn’t always been this way, one of the most characteristic aspects of the modern horror film is the sequel. Some franchises spin into countless sequels and remakes, until their iconic anti-heroes become household names. The Conjuring diegesis participates in this somewhat, but instead of having a repeat fiend, it’s a theme that comes up time and again, tied together by the work of Ed and Lorraine Warren. I’ve written about The Conjuring before, as well as The Conjuring 2. Prior to the sequel there was a prequel of sorts—more properly a spinoff—Annabelle. Not attaining the critical regard as its originator, Annabelle nonetheless did quite well at the box office, as horror movies often do. The idea behind the movie was to give some backstory to the doll that appeared in The Conjuring.
According to the Warrens, there really is such a haunted doll. Technically it’s not haunted. They call it a conduit through which a demon seeks to entrap a human soul. This past summer a prequel to the prequel, Annabelle: Creation, received higher critical marks than its initial installment. All of this is to say that I had to see the original Annabelle in order to try to make sense of this whole series. Despite its failings, the movie once again shows the interlaced nature of horror and religion. It opens in a church and the priest, Fr. Perez, makes several appearances in the story as the Form couple struggles with the demon inside the doll. Pregnant and vulnerable, Mia Form is traumatized when two cult members invade and then die in her home. Annabelle Higgins, one the intruders, dies holding the doll, bleeding into it. She and her accomplice are satanists, trying to raise a demon for nefarious purposes. (I suppose those are the only kinds of purposes to raise a demon, actually.)
The plot takes various twists and turns, never veering far from the main conceit that the demon wants Mia’s soul. I won’t give any spoilers in case any readers are even further behind in their movie viewing than me. Suffice it to say, this is one of the most thoroughly religious horror films I’ve seen. The Conjuring 2 will pick up the story again with the Warrens and a demon disguised as a nun (and a sequel to both The Conjuring universe and the nun are in the works). Critics are certain religion is dying. If popular culture is any measure, that conclusion is far from certain. Sometimes it’s a bit preachy, but it’s there in horror. Even a possessed doll knows that.
Posted in Monsters, Movies, Popular Culture, Posts, Religious Violence
Tagged Annabelle, Annabelle: Creation, demons, Ed and Lorraine Warren, horror movies, The Conjuring, The Conjuring 2
Religion is dead. So they say. They have been wrong before. One of the great things the web has given us is book fan sites. There are a number of them, and my wife frequently sends me stories from BookRiot. Often they are lists, and the most recent one is Teresa Preston’s “100 Must-Read Novels about Religion.” As I scanned through the tons of tomes to see which I’d read, it struck me once again just how many novels touch on—at the very least—religion. Many are based on it. That’s because religion is an inherently fascinating phenomenon. We don’t really understand it, and even the staunchest of atheists believe something, no matter how secular. Novelists are those who, successfully finding a publisher, express their views of living on this planet in terms of fiction. It’s often factual fiction.
One of the best bits of advice I can give to academics who want to write for a wider readership is this: read fiction. There’s been a time-honored stigma, of course, outside literary studies, of academics reading fiction. Once, at a conference, I was awaiting an author meeting. It was a small conference so I had taken a book to read between appointments. When my author came up, he asked what I was reading. (I’d cautiously removed the book jacket before taking my novel along, not wanting this topic to come up.) “Just some fiction,” I explained. His eyebrows shot up and he questioned why an academic should be reading fiction at all. I have known academics successful in the fiction market, but they’ve had to use a pseudonym because their real name might discredit their scholarship. We are a divided, perhaps schizophrenic, society.
Not all academic novels, of course, are cases involving religion. Still, it’s often there. I recently finished Annie Proulx’s The Shipping News and Neil Gaiman’s The Ocean at the End of the Lane. Both involved religious themes at various points. This is so much the case that unless it’s really obvious or unusual I don’t always discuss such tropes on this blog. (Although I do register the books I read on Goodreads, yet another excellent book fan site.) If they want to appeal to the deepest of human needs, novels must address religion from time to time. Paying respect to the dead is, after all, a very human thing to do. And should it prove true that rumors of its demise have been greatly exaggerated, we shouldn’t be surprised. Like they say, reading is fundamental.
Posted in Books, Higher Education, Literature, Popular Culture, Posts
Tagged 100 Must-Read Novels about Religion, Annie Proulx, BookRiot, fiction, Goodreads, Literature, Neil Gaiman, Teresa Preston, The Ocean at the End of the Lane, The Shipping News