Okay, Look Now

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When you think of Daphne du Maurier’s film adaptations, Alfred Hitchcock probably pops to mind.  He shot Rebecca, Jamaica Inn, and The Birds, based on her works.  One non-Hitchcockian adaptation is Don’t Look Now, by Nicolas Roeg.  I’d made the decision to read the story first—which was a good idea—but it was long enough back that I couldn’t recall many details.  This was also good.  Don’t Look Now was the main release by British Lion, in Britain, with the B movie, The Wicker Man, as its follow-up.  While writing a book about the latter movie I’d wondered why this one was chosen as for lead billing.  It’s certainly more mainstream, and an art film in many ways.  Typically labelled a “thriller,” it’s also called “horror,” causing me to question the relationship between the two.  In any case, the movie.

Since this was released in 1973 I won’t worry about spoilers.  The film is a fairly faithful adaptation of du Maurier’s story as well.  Laura and John Baxter are in Venice, trying to recover from the accidental drowning of their daughter.  John has work there, restoring a church—there’s plenty of religious imagery—and Laura befriends two older women.  They’re sisters and one of them is blind but also psychic.  Heather, the psychic, claims to see their drowned daughter and Laura finds relief and comfort from hearing about it.  John is skeptical, but, Heather claims, he also has psychic abilities.  John begins to think he’s seeing their daughter still alive and she leads him down isolated alleys—this is dangerous because there’s a serial killer on the loose.  John then thinks he sees Laura with the women after she has flown back to England to attend to their son at his boarding school.

Movies, like stories, are open to interpretation.  Mine is that the psychic phenomena in the film are portrayed as real.  I had the same impression from du Maurier’s story.  Much like The Wicker Man, appreciation for Don’t Look Now has grown over the years.  It was fairly well received upon release, but is now considered even better than it was at the time.  Maybe not as essential as some Stephen King movies, it is nevertheless believed to be one of the more important films on the horror palette.  I’d been prompted to watch it by several references I’d recently come across.  Typical for me, however, I took it in the wrong order, having seen The Wicker Man years ago.  Classics back then, it seems, took longer to be recognized.

Politicking

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It was weird seeing my face on a 27 x 40 poster.  When I went to give my campaign speech I was wearing dress clothes that I’d bought at Goodwill.  My “campaign manager” said I did a great job, being witty and somehow confident.  I didn’t win.  Still, my stint in politics was not yet over.  The next year one of the presidential candidates asked me to be his campaign manager.  I took on the job with gusto, and, claiming no credit, I would note that he won.  So where was all of this politicking going on?  At the United Methodist Church Conference Youth Council.  I ran for council secretary one year, and lost.  I kept the poster with my face on it for a few years but the ink faded and the paper was cheap, and besides, I’ve never considered myself much to look at.

Thinking about the resources allocations (I didn’t pay for the poster—couldn’t have if I’d wanted to), I have to wonder about the priorities of the church.  Of course, it was only much later, after I’d gained significant seminary experience myself, that I realized just how political a job “ministry” is.  Yes, I had students while I taught in seminary, already strategizing on how to become bishop.  It was a political game.  Such games are no fun without power.  And money is power.  So maybe the Western Pennsylvania Conference was funding some learning experiences on the impressionable minds of the young.  It just took me a few extra years to catch on.  (Some things never change.)

I dislike politics.  Even now I wouldn’t feel compelled to do anything beyond voting my conscience were it not the clear and obvious danger that we’re in, courtesy of what used to be a conservative political party.  Any party that can’t keep a demagogue from receiving its nomination has embraced fascism and that’s a perilous road to travel as Germany and Italy discovered about a century ago.  My dislike of ecclesiastical politics certainly played a large role in my decision not to pursue ordination.  I’ve been a church insider, and what happens at board meetings?  Politics.  The person in the pew often doesn’t realize just how political religion is.  I learned Robert’s Rules of Order from church meetings.  My nomination to elected office in the organization led nowhere.  I was left wondering if there’s anywhere left that politics don’t apply.  The print on the poster faded.  The very last time I unrolled it, it was completely blank.

Tech Warning

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My moon roof is open.  That’s what the late-night alert says.  Thing is, I don’t have a moon roof.  Maybe I should go out to the garage and check, just to be sure.  You see, these new cars, which are as much computer as they are a means of conveyance, are subject to glitches just like the computers at work always seem to be.  And if this is true of a massive and lucrative company like Toyota, how can the rest of us really trust what our devices tell us?  After all, mainly they exist to sell us more stuff.  So whenever we take the Prius out, after it’s put away I get some kind of warning on my phone.  Nearly every single time.  If somebody’s been sitting in the back seat—or even if a bag was resting there—I’m cheerfully reminded to check the back seat once I get into the house.  I appreciate its concern and when I grow even more forgetful I may need it.  But that moon roof…

I use and appreciate technology.  I believe in the science behind it.  It makes life simpler, in some ways.  Much more complex in others.  I confess that I miss paper maps.  Do you remember the thrill of driving into an unknown city and having to figure out how to get to an address with no GPS?  Now that seems like an adventure movie.  Our cars practically—sometimes literally—drive themselves.  I’m no motor-head, not by a long shot.  I do remember my first car that didn’t have power steering or power brakes.  It had a stick-shift and you had to wrassle it at times.  Show it who was in charge.  With technology we’ve all become the serfs.  It breaks down and you have to take it to an expert.  Not quite the same as changing a tire.

I worry about the larger implications of this.  As a writer I worry that my largest output is only electronic.  Publishers don’t seem to realize that those of us who write do it as a way of surviving death.  We have something to say and we want it etched in stone.  Or at least printed on paper.  Tucked away in some Library of Congress stacks in the hopes that it will remain there for good.  I often think of dystopias.  The stories unfold and ancient documents—our documents—are found.  But unless they get the grid up and running, and have Silicon Valley to help them, our electronic words are gone.  It’s as if you left the moon roof open, even though you don’t have one.

Not Murphy’s Mansion

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One of the dangers of streaming is that you can be talked into a movie by the fact of its availability.  Curiosity drove me to Disney’s The Haunted Mansion movie and that led to the discovery that there had been a reboot.  I’m drawn to haunted houses but not to theme parks, but well, you wonder how they might’ve thought they could’ve done it better.  The original movie failed to rock the critics, so, as the saying goes, try, try again.  Last year’s Haunted Mansion is over the top.  The story is more complex, with an ensemble cast, and not really funny or scary.  Based on a sad premise—two families with deceased spouses—they’re drawn, with three other New Orleans outsiders, to a, well, haunted mansion.  The main ghost is looking for a soul to harvest but as the two hours wend on, the characters reveal their sadnesses (one doesn’t).  Perhaps the idea is catharsis, but there are too many subplots and too many abrupt shifts of mood.

A movie should know, it seems to me, what it wants to be.  You feel for the sadness and loss of the characters but  I know something about using horror cathartically, and this movie doesn’t do it.  There are jokes and running gags, but they’re not really funny.  There’s religion involved, but it turns out to be fake, with even a faked exorcism.  There are literally 100 ghosts.  And really only one bad guy among them.  There’s drinking to drown sorrows, murders, and even adult humor that is somehow deeply disturbing.  There are a few nods to the original movie but the plot is quite different and it leaves you feeling drained.

With a budget of about $150,000,000, stops were pulled out all over this organ.  It doesn’t, however, have a focus.  In the original film, the Evers family really has a need to reconnect.  The mansion does that for them, through its ghosts.  The reboot implies at the end that two broken families might heal each other and that evil leads to its own punishment.  Still it leaves open the question: what is this movie trying to be?  The more cynical might say it’s only for money (the worldwide gross didn’t reach covering its budget), but I have to think that those who make movies do so for more than just a buck.  Coping with death is a profound human need that begins when a pet or, more seriously, a family member dies.  I’m not sure that Disney is the best authority on the subject.  At least not for those of us who use horror as therapy.

Six-Hundred and Sixty-Six

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I have to confess to never having read a biography of Aleister Crowley.  I’ve known of him since I was a teenager, however, since you can’t read very much about esoteric stuff without running into his name once in a while.  Crowley was famous for starting the religion called Thelema, revitalizing interest in magick (the additional “k” was to distinguish it from stage magic), and for generally being a bad boy.  In fact, he declared himself the “wickedest man on earth” and liked to be called “the Beast” and loved the number 666.  It was the latter point that caught my attention recently.  In pop culture, 666 really only took off after The Omen.  (Movies often dictate, or at least inform, our religion.)  Crowley, who lived much earlier than the film, saw the marketability of 666 and I wondered how it caught his attention.

Aleister Crowley, public domain via Wikimedia Commons

As I recently posted, the end of the world as we know it is a fairly modern construct.  I happened to be reading about Crowley recently and learned that he was raised in the Plymouth Brethren tradition.  (They don’t loudly claim him as a native son, for some reason.)  He is probably the most famous of the Brethren, across all walks of life.  He even earned a place on the cover of Sgt. Pepper’s Lonely Hearts Club Band.  The Plymouth Brethren were massively influenced by John Nelson Darby, the inventor of dispensationalism.  Dispensationalism is the fairly new Christian belief that time can be divided into ages, or “dispensations,” during which God has a plan already mapped out.  He apparently waited for Darby before letting the rest of the world in on this secret.

Things about Crowley then began to make a little more sense.  His choice to name himself after Darby’s preoccupations adds up.  I haven’t read any biographies so this may be old news, well known among scholars of esoterica.  It nevertheless bears pondering because the religion we teach our kids may have unexpected consequences.  Crowley rejected the Brethren (whose moral predilections were not to his liking, especially as a hot-blooded young man) but the religion influenced him nevertheless.  I wonder if the teachings Crowley received as a child encouraged him to become, in his own mind, the opposite.  Crowley wasn’t “the Beast.”  His precepts included “love is the law” (granted, his version of love was a touch earthier than Christians with whom he’d be raised, but still), not a bad start for an ethical system.  Even the wickedest man on earth believed in the power of love, even if his religion introduced him to 666.

Forgotten Books

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Would you rather never write a book or write a book that’s easily forgotten?  This question springs from a recent exercise of trying (unsuccessfully) to count the books I’ve read.  I mean going through and putting a finger on each one and counting, if I’d read it.  I encountered a surprising number of ordinals that evoked a blank stare—I don’t remember the book at all.   Or I remember having read it, but don’t recall what it was about.  (In one instance, the book was one my wife read, and not me.  That explained a lot!)  This got me thinking about what it takes to write a memorable book.  I’ve always been one to prefer either speculative fiction or the classics.  (I’m aware that “classics” are now being dismantled because they don’t represent all groups.  I’d call them “white men’s classics,” but a surprising number of them were written by women.)  If a book has a speculative element strong enough I will recall having read it.  I like weird stuff.

I’ve read books where parts of them, at least, have stayed with me for half-a-century.  I remember specific things I read as a child (and no, I’m not talking about Barney Beagle—although I do remember that too).  I like to believe that even the bits that are hazy indicate that the book isn’t truly lost, but buried somewhere.  The human mind has an amazing capacity to absorb things.  I’ve read at least three thousand books in my life—I have no idea how many, actually, but Goodreads has me at 1,000 and I started using it in 2013.  I’d been intentionally reading for about forty years already, at that point.  Three of them while working on my doctorate.

I recently (within easy memory) read a Doc Savage novel.  I’d read the entire series, or pretty near, as a junior high schooler.   Anyway, there were well over a hundred of them.  I remembered nothing in my recent re-read beyond Doc’s band of five companions.  The story was completely unfamiliar to me.  One of the more recent books I know I read but couldn’t remember the story at all was a New York Times bestseller.  I guess if I’ve forgotten the author he’ll still be okay on Mars in the future since many others must remember something about it.  I’ll be long gone by then, both on Mars and down here, I’m sure.  I do hope even by then something will remain of all the books I’ve read.

Price Drop

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Here’s a public service announcement for your Friday.  If you’ve been wanting to read Holy Horror but found the price too high, McFarland has now lowered the cover price to under $30.  Here’s the link: Holy Horror.  Of my non-academic books, this has been my “best seller.”  Since I’m currently shopping around another book, and since agents aren’t interested (at least not any more), I wondered whether McFarland might look at it.  The editor who handled Holy Horror had left, and the new editor responded to my concern about pricing by telling me that they lower prices after a couple of years.  She noticed, however, that Holy Horror had been overlooked in the price lowering process, so voila!  It’s now affordable.

This model, while not the same as trade publishing’s efforts to get primarily front-list sales, seems to make sense.  Too many publishers raise prices year after year, so if you don’t buy immediately you’ll pay more.  McFarland tends toward a paperback first model.  The first couple of years are aimed at library sales—and they do well at those—then they lower for individual purchase.  All I had to do was ask.  Two years ago I asked Lexington/Fortress Academic if they’d do a paperback of Nightmares with the Bible.  That poor book never had a chance.  The editor said they were considering it.  Instead they did the trick that publishers seem to like: decoupling the ebook price from the hardcover.  So you can buy some expensive electrons instead of holding a real book.  So it goes.  I’ve written a museum piece.

It’s a little too soon to say about The Wicker Man.  My experience has been that university presses, particularly British ones, like to raise prices rather than chasing sales.  If you’re reading this blog you know that I’ll market my books.  I even printed bookmarks for Holy Horror at my own expense.  Maybe it’s time to start distributing them again.  What a difference ten dollars can make!  I’m a book booster.  (You might not have noticed.)  I’m glad that McFarland understands that individuals will buy books, even if they’ve been out for a while.  The standard wisdom among academic publishers is “three years and then you’re done.”  If you’re inclined to help prove that business model wrong, you can now get Holy Horror without having to take out a second mortgage.  That’s cause for hope—any writer has the dream that her or his book will keep on selling.  Sharing this information will, it seems, make it wider known. Please pass it on.

Why Weenie?

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Often I ponder how incredibly influential Frankenstein has been.  Even those who don’t care for horror instantly recognize the creature and what he represents.  (At least partially.)  Tim Burton thought of tying Mary Shelley’s story to a pet dog in Frankenweenie.  This was a black-and-white, live-action short released in 1984.  It wasn’t aired much before being locked in Disney’s famous vault.  It wasn’t really what Disney was known for.  Ironically, then, in 2012 Disney released a feature-length version, also black-and-white.  This one was stop-motion animation, however, inspired by Burton’s Corpse Bride characters, at least to a point.  At its core the story of a bereft boy bringing his dog back to life, the original showed the mayhem introduced by crossing the border between life and death.  Not too different from what Shelley was intimating some century-and-a-half before.

The remake, or reboot, was feature length and had to develop the plot a bit.  Along the way there are numerous nods to other horror films.  Critics have noted that horror is an amazingly self-referential genre.  Comedy horror delights in parody.  So, as a Vincent Price-like science teacher inspires Victor with the concept of reanimation via electricity, the boy decides to resurrect his pet.  Other school children find out about the undead Sparky and decide to make their science fair projects reanimated pets.  Or sea monkeys, in a clever take-off on Gremlins.  Naturally, the other pets lack Sparky’s good will, not raised out of love, but out of a desire to win a competition.  One student’s resurrected turtle becomes a Godzilla-like kaiju, allowing for winks at Jurassic Park.  The cat-bat reminded me, anyway, of Gremlins 2.

Ultimately, the story comes to the same resolution as the original short.  Of course, this isn’t scary horror.  Comedy horror is an odd genre.  It permits darker-themed elements to play against fun and fantasy.  Frankenweenie isn’t really laugh-out-loud material, and if you’ve seen the previous version the story arc is already known.  Still, it’s an effective movie.  Although it made millions at the box office, it wasn’t as many millions as Disney has come to expect.  But it is quintessential Burton.  It also has a moral attached—that even scientists need to pay attention to love and the motivation for learning.  The parents at the PTA meeting are scandalized by what science does, in a bit of real-life parody as well.  So Frankenweenie came across as pretty good to me.  I like monster movies.  It did lack, however, the emotional impact of the original.  Of course, the tale of a boy and his dog is its own kind of archetype, I suppose.

The Movie Maker

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Roger Corman has died.  So passes an era.  I’ve always had an appreciation for the speculative films of the fifties and sixties.  Many of these involved low budgets and content intended to shock.  Or at least excite youngsters.  And Roger Corman was a huge name among directors, producers, and promoters of such schlock.  He entered the realm of horror in 1955 with Day the World Ended.   Attack of the Crab Monsters a couple years later put the focus firmly on monsters.  Producing and directing three or more movies a year, he built a reputation for being cheap and quick, but that didn’t prevent him from creating some good movies.  A film’s producer is the one responsible for overseeing the production.  Often they come up with the ideas of what to film.

Roger Corman, publicity still; public domain via Wikimedia Commons

As the sixties were dawning, Corman produced several films “based on” work by Edgar Allan Poe.  I remember seeing some as a young person and wondering what they had to do with the Poe I’d been reading.  Still, he managed to grace cinema with House of Usher and The Masque of the Red Death.  These are good films, despite limitations.  At the same time, Corman was still producing creature features as well, wracking up an impressive list of nearly 400 produced films.  As an established player in cinema he also took on the role of distributor from time to time.  When The Wicker Man was being ignored in Britain, Corman undertook the role of US distributor, likely saving the movie from total obscurity.

Circling back to Day the World Ended, we’ve become accustomed to believe that some kind of divine or human ending is in the offing.  These ideas get embellished over time, as I suggested in my new piece on Horror Homeroom.  Corman knew that this putative end would get the attention, whether or not there was any truth to it.  Perhaps that was the genius of his work—he knew how to attract attention.  And he wasn’t afraid to do so.  The business of cinema is one of attracting viewers.  Telling stories we want to hear.  We remember reading Poe, and even if the movies differ from the stories he penned, they are nevertheless reminders, reminiscent of what we’ve read.  If there are monsters they are somehow perhaps even more effective for not really being believable.  In short, Corman was a showman.  He made a living doing what he loved.  And he influenced many lives along the way.

Writ Small

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I have a loupe on my desk.  Two, in fact.  I bought them for examining rocks up close, but they have other usages.  The other day I wanted to post a comment on a friend’s blog.  Of course, WordPress still doesn’t recognize me after thirteen years, so I had to enter my password.  I write small.  I couldn’t make out my own scrawl, so out came the loupe.  Problem solved.  (But WordPress, please!  Don’t you remember me?)  Here’s a true story.  When I was in college I had very little money.  In fact, losing three dollars one day sent me into a week-long depression that I still remember.  I bought college-ruled notebook paper for writing reports (before typing them up).  And I wrote three lines per ruled line on the page.  I dearly wish I’d kept some of those symbols of my extreme frugality.  Growing up poor will do that to you.

Thing is, I never outgrew writing small.  My handwriting is minuscule and my eyes aren’t as young as they once were.  The loupes date from when I was teaching and I was free to pursue my love of rocks.  The glacial til of Wisconsin brought up interesting things and some locations in the state (I joined the Wisconsin Geological Society) had wonderful possibilities for collecting.  I’ve never told any movers, since what happened at Nashotah House, that, yes, those boxes do contain rocks.  I’ve always had plenty of interests outside what my career happened to be.  Even now what passes for a career is just a job.  Life offers too many other things to explore to limit myself to one.

Indeed, if we had a Universal Living Wage or something like that, my job would be “writer.”  At least in this phase of my life it would be.  Of course, if justice were anything but a joke I’d still be teaching.  And I’d probably still be hunting rocks.  My wife puts up with me bringing home unusual ones that I find.  The earth is full of gifts and it seems a shame to squander things.  Even paper.  Especially paper.  It takes a lot of resources to produce it.  I may not write three lines per line anymore—wide-ruled pages look absolutely criminal to my eye—but I still write small.  The things we learn when we’re young often come back to us as adults, reminding us of the freshness with which we first faced the world.  It seems our initial assessments may have been correct after all.

Downtowns

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I recently wrote about the movie Peeping Tom.  I mentioned a scene, particularly creepy, where a news agent sells a girl a candy bar after selling an older man pornography.  Writing about this reminded me of my own youth.  After we’d moved to Rouseville, the nearest town with shops in western Pennsylvania was Oil City.  It had a reasonable downtown then—a couple of blocks with a Woolworth’s, Thrift Drugs, a movie theater (the lamented, lost Drake), stationary stores, and the like.  By the time I was in fifth grade I’d begun to discover books.  (Ours was not a reading family, being much more of the television crowd.)  Finding books in Oil City was a bit of a challenge.  There wasn’t a bookstore.  The nearest regular bookshop was all the way over in Meadville, and Mom didn’t want to drive that far too often.

I’ve noted before that I bought used books at the Goodwill up in Seneca (where we bought clothes and household items as well).  If you stayed downtown in Oil City, though, you could find books for less than a dollar in a bin at Woolworth’s.  (I still have a few of those cheaply printed and bound “Easy Eye” editions on my shelf.)  There was, however, just a door or two down, a mysterious shop where I’d spied a rotating wire rack of paperbacks.  I was curious and although Mom never forbade us to go in, she certainly didn’t encourage it.  I was a tween ravenous for new reading material.  This shop also sold magazines and tobacco products.  Some of the magazines had their covers obscured, and although on the cusp of puberty, I was really only after books.

One time I went in to give the wire rack a whirl.  I seem to recall that the owner gave a rather wry look when a minor, myopically focused on books, wandered in.  The fare there was not what I was used to.  There was a novel about Bigfoot, I recall.  I thought maybe that would be of interest, but I didn’t buy it.  When I walked out, I had that creepy feeling that seedy places seem to leave palpably on your skin.  I guess it might’ve been the feeling of that innocent little girl wandering into a shop selling nudie pictures to buy a candy bar—probably because it was the closest shop to home.  Such downtowns, and undoubtedly, such stores still exist.  They’ve become rare.  Downtown Oil City is no longer recognizable when I go there.  Now, it seems, there’s nowhere to buy books at all.

Ordinary Heroes

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Mothers sacrifice to give us life.  Sacrifice lies at the heart of much of religion, so it may be that women resonate with this theme naturally.  Without mothers none of us would be here to read this right now.  Mothers are mortals, however, like most heroes.  Naturally I’m thinking of my mother today and how much like a hero she was.  Like many heroes, she was prepared to die.  Her love, however, lives on.  It’s difficult, if not impossible, to count all the ways a mother influences our lives.  Not all are gifted at it.  It’s a difficult job, and one for which there’s no “economic” benefit—you don’t get paid for supplying the world with future contributors to this human experiment.  So we pause to think of how we might show our respect today.

I try not to involve family or friends on this blog—I don’t like giving the internet everything—but the other mother in my daily life, my wife, has said it’s okay.  This week we received the news that her cancer is in remission.  This joyous news came just in time for Mother’s Day and gives us yet another reason to celebrate.  Mother’s Day keeps on taking new shades of meaning as life unfolds.  Nature both takes and gives.  Sometimes in rapid succession.  We need to appreciate all that mothers, women, contribute to our lives and society.  I’ve never been able to figure out why this is such a difficult thing to figure out.  Some men seem to think it’s not as important as things like making money and making war.  We couldn’t do anything, however, without mothers to put us here.

My thoughts are just a touch scattered today, being pulled this way and that.  Since my mother’s death last year we’ve passed Christmas, Easter, her birthday, and now Mother’s Day.  There have been plenty of occasions to stop and remember.  I know that my choices in life have been profoundly influenced by her guidance.  Her wisdom.  She always said that she wasn’t smart, but intelligence doesn’t come only from finishing high school.  Life is a teacher for all who are capable of learning.  Having come through a dysfunctional home life herself, and two difficult marriages, she managed to show how to exist in the world with grace.  And she taught the value of sacrifice through her own example.  We honor our mothers by treating women more equitably everywhere.  And guys, there are lessons to be learned here.

TV Zone

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An unenviable task, it must be, to try to sum up The Twilight Zone.  Barry Keith Grant, however, has done an admirable job in this TV Milestones volume.  He addresses in a forthright way one of the questions on my mind quite a bit as of late—what are the borders of genre?  For a creative species such as our own, with imaginations that range far and high, we blend unlikely ingredients.  The Twilight Zone had finished its initial run before I ever watched television, but I was around to catch early reruns.  Their focus on the weird, the unusual, the twist ending, informed my childhood love of the strange.  They also helped shape my imagination.  This little book helps to capture some of that.

I haven’t watched every episode of the series yet.  I’ve been making my way through it slowly since I really don’t have much time for watching, and I tend to give priority to movies.  Still, The Twilight Zone was one of the most influential television programs of all time, as Grant demonstrates.  Although he tries, it may be impossible to determine just why so many people use it as a frame of reference.  Even with my penchant for analyzing, I can’t work out what it was about those disparate, discrete episodes that so captured me.  Perhaps like most influences, it was specific episodes that hit very deep.  That showed new ways of thinking about things.  That opened up worlds of possibilities.

I was exposed to Serling’s stories not only through my own reading, but also through school.  I have no hope of remembering what grade it was in, but in one of my English classes we were assigned “The Monsters Are Due on Maple Street.”  I was probably lost in the haze of puberty and adolescence at the time, but I remember well how that story made me feel.  And the teacher pointing out how people behaved when they were afraid.  Perhaps appropriately, Grant ends his book with a quote from that very episode.  Others, however, stayed with me as well.  Perhaps that’s the thing that’s so remarkable about the Zone—some episodes are not easily forgotten.  We’re accustomed to the flood of anodyne media that dowses us with entertainment of little consequence.  Some Twilight Zone episodes were that way as well.  But when we experience something significant, we tend to remember it and remember it well.  So many episodes did that kind of work on a mind too young to make lasting life decisions.  I guess I’m still waiting for Mr. Serling to step into frame and explain it.

Finding The Exorcist

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This blog is the closest thing to a diary that I keep anymore.  It’s also the place where I remind myself when I read a book or saw a movie.  I started this blog (actually, my niece did, but I started putting content on) about a decade-and-a-half ago.  Most of the books I’ve read since then (but not all), have been featured here.  It didn’t start out that way with movies.  I watch a lot of films.  The other day I was wondering when I first watched The Exorcist.  I figured that it must’ve been something I’d blogged about, knowing me.  It could be that I watched it before 2009, or it could be that the search function on WordPress doesn’t allow me to find the post, if it exists.  You see, I don’t know what else to search for beyond “The Exorcist,” because I can’t recall what I might’ve written about it.  If I did.

So, in case I haven’t, I do want to say a bit more about that experience.  I was only eleven when the movie was released.  Three movies that I grew up terrified to see were Rosemary’s Baby, The Exorcist, and The Omen.  I finally saw them as an adult.  Since it was the DVD era (preceded by the VHS era, and followed by the Streaming era—all within about three decades) I bought the disc.  In all likelihood this was at FYE, which used to be a thing, just like Blockbuster before it.  Of course by the time I sat down, trembling, to watch it I’d seen many clips, stills, and parodies.  Still, I was afraid.  The movie, some thirty years old, lived up to its reputation.  I was left trembling more than when I started.

Many books have been written about The Exorcist, and although people sometimes laugh at it today, most horror fans I know still speak of it with reverence.  This movie changed horror.  It also changed demons.  Today what we believe about demons derives largely from this movie.  Its explanatory value is that it offers somewhere to turn when nothing else works.  Religion as a last resort.  And, ultimately, religion works where everything else fails.  It is possible, that somewhere in this sprawl of a blog, that I wrote first impressions of seeing it.  It would’ve been 2009, or perhaps I saw it as early as 2006.  I was struggling with my own demons then.  And, as often happens in such cases, precisely when things happened can be a little difficult to determine.

Shadow Half

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Sometimes you just take a chance on a book you haven’t heard of.  You see, I keep a very active “to read” list.  The problem is that many books on it are a bit on the heavy side and it takes me a long time to get through lengthy books.  Every once in a while I go to a bookstore to browse for a book that’s short and speculative.  It seems that when I was growing up it wasn’t difficult to find fiction under 300 pages.  In any case, that’s how I found Sunny Moraine’s Your Shadow Half Remains.  It was in the “horror” section of a local bookstore.  (Even “horror” sections are now difficult to locate.)  It looked like it wouldn’t take me a month to read.  It was a good call.  It’s what I like in a scary story.

Not too gory and written with literary finesse, Your Shadow Half Remains is a pandemic story.  Well, not literally, but sort of literally.  It was published just this year and the story revolves around a pandemic in which people are infected by looking into each other’s eyes.  Nobody knows for sure how this happens, but people who are infected begin to act violently toward those around them before killing themselves.  Naturally, therefore, survivors begin to isolate themselves.  So Riley moves to a lake cabin where her grandparents got infected and died, but since there’s nobody else around the contagion can’t spread.  She lays in supplies and awaits, well, that’s just it—awaits what?  Her plan is interrupted, however, when she learns that she has a neighbor.  Maybe two.

One neighbor she starts to get to know, but they can’t look directly at one another and can’t really know each other’s motives.  Herein hangs the tale.  People are social creatures and the pandemic (in real life) caused much of its damage in the form of isolating ourselves from one another.  Other people, instead of being companions, were threats.  Especially in the early days when it wasn’t clear how the virus was spreading.  The safest thing was to stay home and avoid others.  It’s that aspect that Moraine really captures here.  A woman set to try to wait this thing out alone, but then, another person complicates things.  And how can you tell insanity from infection apart from insanity brought on by isolation?  Both seem to lead to the same results.  I took a chance on this unknown story, and it was a chance well taken.