Eclipsing the Earth

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We need a new word.  One for the high an eclipse brings you.  I’m finding myself having difficulty coming down from it.  It seems so mundane to have to do something as ordinary as work after experiencing totality.  We only caught very brief glimpses of the moon over the sun through small breaks in the clouds, but we did get to experience totality.  How do you come down from that?  The next day we had a several-hour drive to get home so that we could all be at work yesterday morning.  What could be more ordinary than that?  And the eclipse happened on a Monday, not an unusual day for a holiday.  Only it wasn’t a holiday, but a “vacation day.”  So was the driving day.  At my age you need a day to recover from all the driving too.

Several friends have posted their amazing photos and videos of the event, so I’ve decided to “release” my video to the wild.  A few explanatory notes: we were in upstate New York, on the shore of Lake Ontario.  It was chilly and we were bundled up (we came home to 80-degree temperatures, which was quite a shock).  The video may seem to have not much happening for the first couple of minutes and this is because electronic cameras tend to “even out” the light (film photography is much better).  When I started filming this it was getting dusky but the phone smilingly tried to make it look like normal daylight.  That wasn’t the case.  (Be patient—drama takes time to build!)

It occurred to me that many people (who had clearer skies) thought totality was all about the moon over the sun.  I take a more Buddhist approach.  The Buddha admonished not to mistake the hand pointing at the moon for the moon itself.  The real experience of an eclipse is what is going on down here on earth.  My video shows how the sun faded, and then went completely dark and back again in a matter of minutes.  My experience of this was quite a spiritual one.  If I’d been looking up I very well might have missed it all.  In other words, being in a cloudy situation, totality was an opportunity to take in what was happening on earth, in real time.  There is a lesson in this.  Life tends to deceive us into thinking the most important thing is the peripheral one.  Experiencing an eclipse is all about being, and living, on earth. 

Adulting

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Young professionals that I know often say adulting sucks.  Quite a bit of the time I tend to agree with them.  The 9-2-5 makes just getting along difficult, at times.  I’m sure there’s software to ease some of the woes, but you have to learn how to use it.  And that takes time.  Time I’d rather spend writing or reading.  For example, to get a small break on state taxes, if you work from home, you need to calculate your office space and then how much it costs to exist in your house for the year.  When I remember to do so, I can look utilities and mortgage up in Quicken.  Sometimes, however, when a book in my mind is distracting me I just tot all this up on the back of an envelope.  Then I need to type it in so my accountant can see it (taxes are far too complicated for mere mortals) and, I can’t underscore this too many times: numbers are adulting.

Photo by Tyler Easton on Unsplash

I’m an idea person.  The 9-2-5 (numbers!) that keeps you in front of a computer all week long means that things pile up.  Weekends seem too short to spend on numbers.  But you’ve got to balance that checkbook.  And even tot up the number of hours you give to “the man” each day.  What could be more adult than accounting?  Don’t get me wrong—at times numbers can be interesting.  Numbers, at their best, are philosophical.  One squared is one.  When you square any number greater than one, it increases.  One doesn’t.  And you can’t divide by zero and get zero for an answer, as handy as that’d be from time to time.  These abstract concepts come in useful but adulting involves serious numbers.  Numbers that imply liquidity.  Cash flow.  

Time is made up of numbers too.  If a social event comes up on a weekend, there goes your grocery and cleaning time.  And writing a book takes a tremendous amount of time.  It’s a second job on top of the other one you work 9-2-5.  All of this makes me think of those TIAA-CREF ads that showed prominent professors and captions that said “Because some people don’t have time to think of money.”  Or something similar.  That’s what I’m talking about.  Adulting is all about money.  And money must be taxed.  And you have to keep track of where it all goes.  I’m sure Quicken could help me with this, if I had time to learn it.  (We pay for it after all.)  But I’m kind of busy writing this book…

Eclipse 2024

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Eclipses.  They’re fully explainable.  Or are they?  Yesterday’s solar eclipse, with totality within driving distance of many Americans, led to an inexplicable need to see it.  April, we’re told, is the cruelest month and upstate New York is known for its “ever-changing skies.”  I admit I was skeptical.  Together with some friends we arranged to meet near the umbra, in Penn Yan, and to drive from there to totality up on Lake Ontario.  As is typical in New York, the day started out fair, with a few high clouds.  It was chilly, but this is April.  Our destination: Fair Haven Beach State Park.  The location was nice; we arrived early and found a good spot.  The clouds, however, were willful and wanted to remind us, like last week’s earthquake, that we’re not really in charge here.

As the day went on—totality for us was 3:20 p.m.—more and more people came into the park.  To its credit, with what must be a limited state budget, it absorbed many eclipse seekers without any trouble.  By 3:00 the cloud cover was heavy-ish.  Our friends had heard a sponsored eclipse speaker, however.  Totality was nothing like even 99%.  This would be of a different magnitude, even with clouds.  I remember three previous eclipses.  One in school with the pin-hole method where you really don’t see anything, one in Wisconsin after teaching one morning at Nashotah House, and the 2017 which I saw in midtown Manhattan.  None of this prepared me for totality.  Around 3:18 it started to look dusky.  We could catch glimpses (but no photos) of the crescent sun.  Within seconds it was completely dark.  It was another of those transcendent earthly things, like the earthquake three days earlier.

Perhaps I’m getting old enough to realize that you can’t really describe such feelings.  Maybe I’m getting sensible enough to understand such things are called ineffable for a reason.  All the planning, worrying, anticipating, was for this moment.  Yes, there were clouds overhead, but the park was full of cheering people.  They too had come here for something extraordinary and to my surprise I found tears in my own eyes.  I captured no photos of stunning clarity, but I had experienced something I’d heard about since childhood but had only glimpsed in the most crude of facsimiles before.  We were able to experience a kind of rebirth that comes only after night.  Conditions weren’t ideal, but are they ever?  And an encounter with the numinous always comes on its own terms.

The sun, hours before being eclipsed

Colorless Sunday

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Growing up, my Saturday afternoon horror movies were catch as catch can.  I never really had a plan and I’m sure that there are several films I saw that I have forgotten.  I’m sure one of them wasn’t Black Sunday.  I knew nothing of directors and their reputations then and I was unaware that Mario Bava made quite a splash with this moody movie.  I can now understand why (thanks to Amazon Prime).  This is an unusual vampire and/or witch story, and one which had quite an impact on future films, including one of my favorites, Tim Burton’s Sleepy Hollow.  Indeed, Black Sunday is about as gothic as they come.  A witch is murdered as the film opens, along with her lover.  Two centuries later a couple of doctors stop for the night in the Moldovan town where this happened.  They find the corpse of the witch and accidentally reanimate it.

The monster the witch raises (her lover, initially) attacks people like a vampire does and the victims become vampires themselves.  The best (but not only) way to kill them is by driving a sharp spike through their left eye.  This is quite violent for a 1960 film, but it certainly cemented Bava’s reputation.  In any case, the younger doctor falls in love with the local princess, but the witch has designs on her too.  The older doctor and the princess’ father both get transformed into vampires and get killed off.  By the end, only the young doctor and the princess remain, along with an Orthodox priest who helps with deciphering how to take care of occult monsters.  The plot is more complex than that, and the film is now understood as a landmark.

At the time and place where and when I went to college, courses in horror films were not on offer.  (I was rather preoccupied with religion, in any case, and might not have taken one anyway.)  By the time I was in college, however, I viewed monster movies with nostalgia, but I was trying hard to be respectable.  You always have to be proving yourself when you grew up poor.  Learning how these early horror films fit together is a form of self-education.  And it’s fun.  And horror movies offer an escape from a world where you know you’re having trouble fitting in.  Many of the movies I watch are still catch and catch can, but I think it pays to be more intentional about them.  And I’m glad I caught Black Sunday at last.

Hopeful History

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We could all use a little hope.  Given the rate of change in the world it often feels impossible to catch your breath.  And not only that, but the change often feels decidedly negative.  Few would opine, for instance, that we live in the golden age of politics.  And while it has its supporters, AI seems bent on our destruction.  So why not eat, drink, and be merry?  Scott Edwin Williams, whose last book Lightbulb Moments in Human History I reviewed here, has been at it again.  His basic idea is that our “lightbulb moments” give us hope for a better future.  Lightbulb Moments in Human History II: from Peasants to Periwigs, keeps the same general idea afloat, but barely.  As history progresses it’s harder and harder to say that the lot of humanity, tout court, has improved.  True, we live in relative comfort in “the developed world,” but we still have looming Trumps and other nightmares in the wings.

This book tries to cover large swaths of history, and that’s a difficult task.  Williams tries to keep it lighthearted but even he struggles to do so when discussing the rise of big business.  The chapter “Takin’ Care of Business” really showcases the negative traits that humans are too often willing to display when they form companies.  Capitalism may have been a lightbulb moment, but the untold misery it has introduced into the world gives the reader pause.  For example, the East India Company’s business decision to addict as many Chinese to opium as possible, seems quite strange in the context of a “war on drugs” being used as a means of incarcerating “undesirables” because, well, drugs are bad.

There are some signs of hope, and some lighthearted moments in the book.  It does, at times, seem to work against its own thesis.  It makes me glad for living in an age of anesthesia, and of general agreement that people should respect each other’s boundaries (unless you live next to Russia).  Even the lightbulb moments of Mesoamerican/South American history demonstrate the kind of cruelty humans often perpetrate against “outsiders.”  Williams notes here that two more books are in the works (authors know that a series isn’t a bad thing) but it does make me wonder if light and dark don’t balance each other out.  I know from my own family history that some of my ancestors died of things quite curable today, and they lived not all that long ago.  And that I can write these words and publish them instantaneously (whether or not anyone reads them).  And I can buy most necessities of life (apart from toilet paper during a pandemic) fairly easily.  And I do appreciate books that give me hope.  But balance isn’t such a bad thing either.

Craving Stability

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As memorable events go, earthquakes are right up there.  Well, we don’t get them often around here, but at 10:23 a.m. yesterday a 4.8 hit about 30 miles east of us, in New Jersey.  The whole house was shaking and it took quite a while to calm back down.  (Me, not the ground.)  The only other time I experienced an earthquake was the Virginia quake of August 23, 2011.  Yesterday’s was much closer and therefore felt much stronger.  It took a few seconds to believe it was even really happening.  Work will do that to you.  Such an event, just 3 days ahead of a total solar eclipse, has an almost apocalyptic feel to it.  And we’d just come off of a punishing super-soaker storm that left puddles in one of our bedrooms.  Those of us out east just don’t get these kinds of things happening very often.  It’s a little difficult to process and it kind of makes me wish I’d gone into geology after all.

Since apparently nobody was hurt, this goes into the category of transcendent earthly things.  Ironically, confirmation came from social media before any news networks had anything to say about it.  Big wheels turn slowly, I guess.  The first minutes after it hit were a time of confusion—did it really happen?  Was that actually an earthquake?  What else could it be?  The same was true after the Virginia quake.  I don’t want to brag about surviving an earthquake if that’s not what it was.  Funny how you want validation, even at a time like that.  Such events remind us that we’re small compared to this planet we call home.  When the earth moves there’s nothing you can do about it.

Ironically, there are no maps detailing the Ramapo Fault line that was responsible for this quake. At least there aren’t any on the web. At 5:58 p.m. we had a 4.0 magnitude aftershock, much briefer than the main event.  An end-of-the-day reminder that we rely on mother earth for just about everything.  Earthquakes are times to call certainties to question.  Time to ask what we really know.  The tri-state area (in this case New York, New Jersey, and Pennsylvania) isn’t particularly susceptible to earthquakes—or isn’t prone to them, in any case.  I grew up in Pennsylvania and never felt one, although a bolide shook my childhood house back in January 1987, I believe it was.  Such reminders serve a purpose and in that sense they’re signs and portents.  We need to listen to the earth.  If we don’t, she will get our attention.  And then we must ponder.

Nothing as bad as this! Image credit: illustration extraite Prodigiorum ac ostentorum chroniconde Lycosthène, public domain via Wikimedia Commons

More Omens

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Brushing up on my eschatology, I watched The Omen again.  The original, that is.  One of the underrated aspects of cinema is that people learn their theology from it.  Movies tend to be more memorable than sermons.  It is opined among some that The Omen is responsible for the prevalence of dispensationalism among many Americans.  I’d put a bit of a finer point on it in that The Late Great Planet Earth was being raptured off the shelves all the way through the seventies (I personally bought two copies) and it caused a feedback loop with The Omen.  Many mainstream ministers, without benefit of a Fundamentalist upbringing, were caught unawares, I expect.  Scholars of religion have noted how several aspects of the narrative—the character of “the Antichrist,” the rapture, indeed, the Apocalypse—have been read back into the Bible by credulous believers.

What I found interesting in this viewing is the debt owed to The Exorcist.  Of the two there’s no doubt as to which is the superior film.  The name Damien in The Omen, I read somewhere once upon a time, was taken from Fr. Damien Karras.  During the late seventies and early eighties, unruly boys were routinely called “Damien” by frustrated camp counselors and others.  Apart from this nod, if true, is the fact that the abruptly introduced character Karl/Carl Bugenhagen is an archaeologist exorcist.  (He’s the guy who gives Robert Thorn the knives, if you haven’t seen it for a while.)  The scene shot in Jerusalem (said to be Megiddo) underscores that Fr. Merrin is also being channeled here.  I suspect that the film was getting a bit long in the tooth and some explanatory material on Bugenhagen was left out.

It has also been suggested that the number 666 entered popular culture because of The Omen.  I would temper that a bit with the fact that a lot of people were reading Hal Lindsey’s new apocalypse as well and the two of them got the job done.  There’s no doubt that after the film the evil number took off in a direction that would’ve left John of Patmos scratching his head.  This brings me back to the point that belief is influenced—sometimes constructed—by movies.  The Omen was a huge success at the time, despite the fact that many critics (also not raised Fundie) thought the premise was silly.  Most people aren’t film critics.  The Bible can be pretty impenetrable as well.  Preachers may not be inspiring.  Movies, however, wrap it up neatly and tell you what to believe.  Perhaps it’s some kind of sign.

Thinking Thinking

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Something that’s been on my mind (anticipatory pun) lately, has been thought.  More especially, the quality of thought.  We are conscious beings, although we’re not sure what that means.  Beyond a Cartesian self-awareness.  Everyone knows what it is to have times when you’re not thinking clearly.  Or are feeling confused.  Those of us who tend to live quasi-monastically (keeping to a routine, early rising, writing and reading daily before the 9-2-5 routine) notice the ways subtle things can influence the quality of our thinking.  For me, first thing in the morning is the best time.  (Although I must confess that lately I don’t wake up with the crystalline clarity that I have for years, as if sleep is beginning to intrude on my earliest hours.)  Once I’m up and going, though, routine, you’d like to think, would provide the same results.  But it doesn’t.

Photo by Pierre Acobas on Unsplash

I’ve written before how the quality of sleep can affect the quality of awake thinking—something we’ve all known all along.  But even when I have somewhat identical nights (same quality of sleep more than one night in a row), the subtleties of difference in thought persist.  To understand this, you need to realize that I’ve been rising well before the sun for a dozen years now.  I awake to a quiet house and spend a couple, sometimes a few, hours writing and reading.  (It’s how I write my books, as well as this blog.  And my fiction.)  Even on “identical mornings” where the weather’s pretty much the same, and all other factors seem equal, the quality of thought differs.  Sometimes it depends on whether I’m writing fiction or non.  As I transition into my reading time, that can make a difference in the reading experience.  I suppose that’s one reason I value good writing.

We don’t understand consciousness.  Identity is also somewhat negotiable at times.  We’ve all known a family member or friend to act “not like themselves.”  More to the point, to think not like themselves.  We have no real way of understanding thinking itself.  I think about thinking quite a bit, and I marvel at how intensely personal it is.  We may, at our will, keep our thoughts to ourselves (and that’s a good thing, in many circumstances).  Thought, it seems to me, ought to be a very high priority in our academic pursuits.  It’s a powerful thing, capable of more than we’re even presently able to imagine.  And it can differ from day to day.  Do you suppose I wrote this after writing fiction or non?

Learning to Write

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It’s a reciprocal relationship.  Ideally a symbiosis.  The publisher has a reach, and know-how, that an author lacks.  An author provides content the publisher needs.  Yet publishing is a business in a capitalistic world and has to (unless subsidized) turn a profit.  As an author who works in publishing I’m skewered on the horns of this dilemma.  It’s heartbreaking to see the lengths some authors go to only to find out their book is priced the same as a week’s worth of groceries.  Or three tanks full of gas.  Who buys a $100 book?  Libraries.  Well, some libraries.  Occasionally a publisher will run sales, if you order direct, but by then interest in your book (which may be timely) has passed on.  You become just another name on the shelf in the Library of Congress.

I’m looking for a publisher for my sixth book.  This has to be someone who understands that even $45 is beyond the reach of most intelligent readers.  “What the market will bear” feels like the death sentence to the years of your life you’ve put into writing the thing.  A friend once asked me, “Why do you do it?”  For authors the real question is “How can you not do it?”  The need for the validation through publication runs very deeply in some people.  More deeply than our national love for Taylor Swift.  It has to do with meaning.  Purpose.  A sense of what we’re put on earth to do.  

Image credit: Codex Manesse, public domain via Wikimedia Commons

The standard “wisdom,” and practice, is to publish in hardcover, priced for the library market, and if it sells well at $100, perhaps offer a paperback.  Hopefully priced lower than $45, but don’t hold your breath.  “What the market will bear,” should be your mantra.  It’s a wonder that civilized people ever got educated.  I grew up on cheap books from Goodwill, which is all I could afford.  College, on borrowed money, taught me the price of reading seriously.  It was a lesson I never forgot.  I’d begun my faltering steps to writing books while in high school.  I started writing short stories even earlier than that.  It has been a life of writing.  Even series books, I’ve come to see, are too easily exploited in this way.  My shortest book is priced at $40.  At least I know that I’ve written some collectors’ items.  Take heart, my fellow writers trying to emerge from academe.  There are other ways of being in the world.  And some of them may even be symbiotic.

Lying Beneath

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If you wait long enough you can find successful films for free on Amazon Prime.  What Lies Beneath had big-name star power and still retains a “horror” classification, although “thriller” is used about as often.  I actually enjoyed it and found some parts as scary as I am comfortable getting.  Although I guessed who the killer was well before the climax, I wasn’t sure how this would end.  This made the last fifteen minutes or so very tense.  There may be some spoilers as I ponder this a bit, so be warned.  Of course, the movie is nearly a quarter-century old, so you may already have an idea of what happens.  I’m a purveyor of older culture, it seems.

Claire Spencer, and her new husband Norman, live in an isolated spot in Vermont.  Norman is a genetic engineer and Claire used to be a musician, but the death of her first husband and adjusting to being an empty nester lead to her neglect of playing.  She starts seeing a ghost in the house Norman inherited from his father.  She comes to believe the ghost is of a missing young woman from the area, and she begins to find clues that link her husband to this unsolved case.  At first you think it’s going to be like Rear Window, but it turns into something very different.  The sense of unease is quite effective—you know something’s wrong but you’re not sure exactly what it is.

This is another of those movies where the genre feels up for grabs.  There’s an actual ghost and there are stingers.  Yet it’s directed by Robert Zemeckis, not really known as a horror director.  It’s stylish and has Michelle Pfeiffer and Harrison Ford in the leads.  It’s not really gritty at all.  There is blood and fear, though.  The more movies I watch the more I realize that genre is a tenuous thing.  Stories are forms of expression and sometimes they come in the varieties that explore some of the darker parts of life.  Norman’s tragic flaw is that he values his career above all else.  He tries hard to outshine his father’s accomplishments—he lives in his childhood home but refurbishes it.  He can’t get out from under that shadow and that drives him to extremes.  The movie received mixed reviews, but I found it gripping.  It’s well acted, as you’d expect, and hey, there’s a ghost.  It’s close enough to horror to work for me.

Easter Fools

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One of the most interesting aspects of Easter is its peripatetic nature.  It wanders around the calendar awaiting the first Sunday after the first full moon after the vernal equinox.  By definition it’s always in spring, but it can range widely as to when it actually falls.  This year it meets up with another unusual holiday—one with very uncertain origins.  April Fools’ Day is poorly documented and understudied.  This is one of the reasons I find holidays so fascinating.  Scholars seldom take them seriously and, well, April fools.  Who’s going to look into that?  When working on The Wicker Man (which is about holiday horror), I found there was little to find about April Fools’ Day.  There’s no agreement as to why it’s called that or how it started.  I have a pet theory, but no evidence to back it up.

Image credit: Heinrich Vogtherr the Younger, public domain via Wikimedia Commons

We tend to think of April Fools’ as a day for practical jokes.  Indeed, the horror movie based on it is a big, long practical joke.  I wonder, however, if it goes back to my other old avocation, the weather.  The weather led me to write a book as well, of course.  For those in the northern hemisphere—particularly up in the more temperate parts of that hemisphere—April can indeed fool.  Around here it’s been decidedly cool for spring after a real warm spell a couple weeks back.  One year while living in Wisconsin we took a family trip for my wife’s mid-April birthday only to end up playing mini-golf in the snow.  April fools, you see.  We’re not out of the woods yet, regarding winter.  This understanding of seasons makes me think April Fools’ Day evolved from a statement about the weather.

Irish Celts believed spring began at Imbolc, at the start of February.  In that viewpoint, summer begins on May Day (Beltane), just a month away.  Now that Easter has fallen on the last day of March we’re left with an April bereft of official holidays, other than April Fools’ Day.  In fact, work-wise it’s a barren period from Presidents Day, in mid February, through Memorial Day at the end of May.  Just as the weather’s warming up to make the occasional long walk through the woods a magical journey of discovery, we’re confined to our offices—virtual or physical—gazing longingly out the window as nature invites us out to play.  Well, April fools, does it not?

What Would Ostara Say?

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Easter is an uneven holiday.  In Britain it leads to days off work.  In the US, which prides itself on being religious, it’s business as usual.  Nobody closes for any days surrounding the holiest day of the Christian year.  That irony has always struck me about this season.  Of course, going to college there were breaks in the spring, and at a Christian school, special observances for sacred times.  In seminary it goes without saying.  In my case, working on a doctorate in the UK (an activity with few true breaks), we experienced the British sense of holidays surrounding Easter.  At Nashotah House you simply couldn’t miss it.  In fact, the Triduum was a contest of endurance with late night services and hours and hours in chapel.  Once I was forced into secular life, the shift was blinding.

Capitalism rolls right over Easter without even slowing down.  Who brakes for a Sunday holiday?  I am a believer in significant days.  I write about holiday horror, and holidays in general, because I’m certain of their importance.  The relentless pursuit of gain that is the American way is wearying.  Most everyone I know who isn’t retired is just plain tired.  Tired all the time.  We’re given few pauses and fed many worries.  So much so that resurrection from the dead can feel like something scary indeed.  Will work in the afterlife be as unrelenting as it is in this one?  All of this becomes especially evident to me on years like this one where Easter creeps up on me.  Not a fixed day in the calendar, sometimes you don’t even look up until you’re practically on top of it.

I remember in high school spending practically all day on Good Friday in church.  When working at Ritz Camera (after seminary, trying to stay ahead of student loan payments), managers looked at you funny if you asked for it off.  You see, I need spiritual time to recover from the onslaught of work.  Easter, however, is just another Sunday.  Watched on Zoom, with maybe special music.  If you’re able to be there in person there may be lilies with their distinctive Pascal scent.  Then the next day it’s back to work as usual.  Thinking about Easter always make me think about hearts being where the treasure is located.  When we take treasure too literally, it leads to too much work.  My mind, I fear, is that of a professor, with built in spring break.  And semester breaks.  Not exactly holidays, but unstructured time to catch up on work.  Holy days.

Movie Prophet

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Is there such a thing as a movie so bad that it can distort reality itself?  If so, I nominate A Haunting in Salem.  A little explanation.  I am trying to develop an aesthetic for bad movies.  I’m finding it not too difficult for movies that are so bad they’re good.  Usually such movies are fun—whether intentionally or not.  But there is a class of movie that is poorly written, poorly acted, poorly lighted, poorly set, poorly premised, poorly directed, poorly paced, and all without a hint of humor.  That’s this movie.  I watch bad movies because of my expensive habit.  I stream movies.  Since I work 9-2-5 and I’m tired by 5, I do this on weekends.  I’m not paid enough to afford renting movies every single weekend, so I look for what I can find on the services I can access—Hulu, Netflix, and, mostly, Amazon Prime.  I try to find something that grabs me.

I watched A Haunting in Connecticut and A Haunting in Georgia, as well as their remakes.  The Salem in the title made me think this might have something to say about the Witch Trials.  Perhaps it did but I was so busy groaning that I couldn’t hear it.  Although set in Salem it was filmed in Pasadena (who would notice?).  They used a 200-year-old house as a 400-year-old house, as if there’s no difference.  There’s a scene where the daughter asks her mother about her father’s PTSD.  She says something like, “He shot that man in the war.  He thought he was a bad guy, but he was a good guy.”  It’s difficult to write this badly, even if intentional.  Sorry, I’m getting away from Salem.  Well, it turns out that the witches were buried on the property of Judge Corwin’s house and they kill every sheriff and all their families, when they move in.  This has been going on for four centuries but nobody has caught on?  Even a scene where the mayor is shown raising the flag outside his office had me scratching myself bald.  Is that one of the mayor’s duties?

Most of the time the actors act like there was no direction—showing the wrong emotions and not even remembering what was said just a minute ago.  And you can’t really feel for anyone other than the deputy who seems to be trying to be a nice guy.  Maybe this is my calling in life—to serve as a prophet warning my small band of readers what movies not to watch.  I can’t recall the last time I couldn’t wait for a movie to end so that I could wash my eyes out with soap.  Avoid A Haunting in Salem.  Don’t even consider it.

Tracing Writers

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Ratiocination.  Detection.  There’s something compelling about that clear, crystalline logic that leads to solid conclusions.  I was floored by Don Foster’s Author Unknown: Tales of a Literary Detective.  I found the book by following up a reference to “A Visit from St. Nicholas,” aka “’Twas the Night before Christmas.”  Like most Americans I credited the poem to Clement Clarke Moore, but he did not, in fact, write it.  If you trust anyone with literary detection, it should be Don Foster.  Although this cleverly written book is not an apologia for the author’s personal accomplishments, it nevertheless builds trust in his methods and his sense.  It begins as he discovers an unacknowledged text was written by Shakespeare.  The evidence is carefully laid out, and is convincing.  Then others began to ask him to “prove” who wrote other pieces.  It’s quite a ride.

While Foster takes great care not to claim the ideas as his own, he’s nevertheless drawn into the case of the Unabomber, and Monica Lewinsky, and Thomas Pynchon.  His methods of ratiocination demonstrate repeatedly what he explains in his excellent introduction—our writing is every bit as indicative as our DNA.  With an adequate writing sample size, a piece with an unknown or disputed author can, with a great degree of probability, be attributed to the correct author.  You don’t even need to know of the cases to find the outcomes fascinating.  And those who disagree, being human, are simply not convinced by his conclusions.  They’ve already made up their minds.  In this regard the case of Wanda Tinasky (I’d never heard of her) is utterly compelling.

The Santa Claus chapter, the final one in the book, is a real pay-off.  Henry Livingston Jr., of Poughkeepsie, wrote the famous poem that defined Santa Claus as we know him.  Considering Christmas’ importance in our capitalistic society, this attribution is an important one.  Clement Clarke Moore was a very wealthy professor of Bible at the newly formed General Seminary.  Foster demonstrates probable cause in his claiming, and keeping alive, the mythology that he wrote the famous poem.  The way that this chapter is laid out and presented is especially witty.  Those interested in getting at the truth behind who wrote what will find this a page-turner.  Although he wasn’t seeking out the attention that came (most of us, as academics, are surprised when anyone show any interest at all in what we write) Foster has given the world a real gift in this book.  It reminded me once again why research is the most intriguing thing on earth.  And learning can be like reading a good mystery.

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It’s one of those polarizing movies.  Well, maybe middling-polarizing.  For certain kinds of people.  I didn’t see The Changeling when it came out, but I watched it about a decade ago.  It struck me as lackluster then, but I decided to give it another try.  One of the reasons is that I’d read a couple of things about it recently and thought that maybe I’d misjudged it.  There are those who say it’s a very good haunted house movie—one of the most influential Canadian films of all time.  Hyperbole aside, it’s one of those vengeful ghost movies and the most affecting scene, to me, is when George C. Scott is crying in his bed about the death of his wife and daughter.  There are a couple startles, but nothing really that scary overall.  It is slowly paced and sophisticated, but not terribly so.  It still strikes me as lackluster.

I’ve seen many movies since that feature a child murdered seeking to have their story told.  The end result is, however, a feeling of “so what?”  The boy’s father got away with the murder and the beneficiary—who may or may not know all or part of the story—dies in revenge.  There are just too many questions left unanswered.  The haunted house tropes are fairly conventional, and the wheelchair chase scene is a bit strange.  I wondered if there might’ve been something I was missing.  There are critics with a “meh” response, but others rate it highly.  I did learn that, although the film makes no such claim, it is purportedly based on actual events.  That I’d like to know more about.

Playwright Russell Hunter (who lends his name to Scott’s character), alleged that these kinds of things happened to him while living in the Henry Treat Rogers mansion (in Denver).  A local, Katie Rudolph, has done some fact-checking that casts doubt on the story.  Hunter claims to have found human remains (as in the film) and this would seem to be something that could be checked out as well.  In all, there’s not a ton online about the story and its supposed authenticity.  The house was torn down some time ago.  It would seem that any author (Hunter co-wrote the movie) would see the benefits of claiming actual events.  Even if the film doesn’t play that card.  Was there a murder in the mansion?  From what I’ve been able to find, there are about as many unanswered questions as there are in the movie itself.  Although next time I’m in Denver, that’s not to say I won’t be tempted.