Why Write Then?

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People far smarter and more prominent than yours truly have pointed this out, generally in vain: academic writing is driving itself extinct.  And some of us will not mourn it, if it does.  You see, academics are taught to write with an erudition and pomposity that satisfies dissertation committees made up of people who had to do the same.  This academic hazing generally obscures otherwise interesting observations.  Now thoroughly indoctrinated, academics go on to write their next book, and their articles, in this same turgid prose that obfuscates mightily.  To what purpose?  So that those critics higher on the food chain won’t be tempted to take on this morsel, preferring instead some “popularizer” who actually knows the craft of writing?

Poor writing is poor writing.  Those of us who’ve graded undergraduate papers have spent many red pens (I used to use green, so as not to be so negative) correcting bad stuff.  Why then do we give in to writing even worse ourselves?  I’m not proud.  I’ll admit that I’ve read academic books I really didn’t understand.  And it wasn’t because I’m not properly trained.  It’s because the writing was so full of jargon and “scholar X said but scholar Y rebutted”s that I get lost in the jungle.  One of the things repeatedly said about my teaching, back in the day, was that it was effective because I could explain complicated things in ways people could understand.  Isn’t that the purpose of publication in general?  Too many scholars write only for other scholars.  Not that there’s anything wrong with that, but if they wrote clearly maybe some of the rest of us could get in on the conversation.

I’m sure I’m not the only one to get really excited about a book.  The topic doesn’t matter.  Shivering with anticipation you order it and await its arrival, staring out the window awaiting the postie or the Amazon van.  It arrives and you caress it a little before opening it.  Then you find it’s written in academese.  You struggle to get through it, uncertain that you’ve really learned anything at all.  Except how not to write.  Those in higher education lament that the system is crumbling.  One of the reasons, I contend, is that nobody can understand what they’re saying.  What’s wrong with writing for the average, educated person?  Do you need sixteen five-syllable words in one sentence?  Look, I bought your book because I already believed in you.  If you make me regret my spending you can be sure that I’ll be purchasing someone else’s books from now on.

Brain Exercise

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Why do we read, if not to expand our minds?  I’ve read all of Diana Walsh Pasulka’s previous books but Encounters is mind-blowing.  I feel particularly honored that a scholar of religion has been able to put together so many pieces of a very strange puzzle.  Pasulka’s first book was about Purgatory.  Having grown up Catholic that seems a natural enough choice.  Her second book, American Cosmic, focused on a topic that academics were just starting to address at the time—UFOs.  That book justly earned her acclaim.  Encounters takes a few steps further into the mysteries of being human.  Those who experience UFOs have much in common with people who have other extraordinary encounters.  The profiles in this book will give you pause time and again.

Many of us have felt that the unfortunately successful government strategy of ridicule toward experiencers has been a blanket covering up the truth for too long.  I was interested in UFOs as a child and was unmercifully teased for it.  One of the reasons I was interested was that I learned, when I was about eleven, that my grandfather had been interested as well.  I was only two when he died, so there was no way to learn this personally.  It came through discovering a couple of his books that my mother had kept.  Since she was one of five siblings, it’s difficult to say if he’d had any other books on the subject, but being a reasonable kid, I wondered why this was a forbidden topic.  You could talk about ghosts (at least a little bit) and be considered “normal.”  Mention UFO’s and you’re insane.

When the Navy’s video recordings of UFOs—renamed UAPs—were released in 2019, there was silence in the room for about half an hour.  Serious people began to realize there might be something to this.  Of course, those who’d internalized the ridicule response continued to fall back on it, perhaps as a defense mechanism.  That revelation has allowed, however, serious consideration of what is a very weird phenomenon.  I’ve deliberately avoided saying too much about what Pasulka covers in her book.  As I generally intend when I do this, what I’m hinting is that you should read this book.  You should do so with an open mind.  If you do, you might find yourself thinking in some new ways.  Of course, some will ridicule.  Others, however, may walk away with an expanded perception of reality.

Don’t You Sleep

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Sleep is pleasant but it’s such a vulnerable time.  Something deep in our animal DNA tells us to find a sheltered place to do it.  That vulnerability is compounded by demons.  So claims Slumber.  While not the most original story, it’s pretty effective for a while, but then holes begin to appear in the plot and you find it difficult not to keep asking why the problems weren’t addressed.  Let’s take a step back.  Doctor Alice Arnolds lost her younger brother to a demon when they were children.  This demon, called Mare, causes, well, nightmares.  These nightmares lead to sleepwalking and ultimately death.  As a doctor specializing in sleep disorders, Arnolds helps others scientifically.  She’s come to believe that her brother’s death was because of natural causes—the supernatural doesn’t exist.

Okay, so sleepwalking is creepy, and the idea isn’t a bad hook.  Then Arnolds meets a family of four, all of whom sleepwalk with nightmares.  The demon’s target here is their young son, who reminds Arnolds of her lost brother.  At the sleep clinic the monitors show something odd, but circumstantial evidence points to the father as the guilty party.  But here’s where the big hole appears.  Once Arnolds becomes convinced something supernatural is happening, she decides to handle it herself, at the family’s home.  Even when it’s clear they’re out of their league, nobody calls the police or even an ambulance, let alone a priest.  Instead they rely on a janitor’s father whom they’ve just met.  They try to keep the boy awake until they’re endangering his life, then they fight the demon in their dreams.  There is a kind of twist ending, and the production values are good.  

The demon, which Arnolds researches on Wikipedia, is a notsnitsa.  Why this Slavic demon targeted both her brother and the family under distress isn’t explored.  The connection is made with “the night hag”—a folkloric demon that attacks in your sleep and is generally explained as sleep paralysis.  This is not a possessing demon.  In the film it’s said to be parasitic, and the sleeping victim acts out what the demon tells it to do.  The lack of any religious tension hurts this movie.  As does that lingering question—why not call in some kind of expert?  Either sacred or secular will do!  I won’t ruin the ending of the movie, but I’ll warn those tempted to watch to come armed with a great deal of suspension of disbelief.  You’re gonna need it.

Dark House

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Last year I completed an odyssey that began over a decade and a half ago.  I finished reading the Dark Shadows serial novels by Marilyn Ross.  Not because they were great literature, but because they were an important part of my childhood.  Slowly, over the years, I regathered the books and read them until the whole series was done.  One of the used book sellers was offering a collection of the books, and although the collection had some duplicates of what I’d already found, it contained some of the more difficult to locate titles.  When it arrived, I found it also included House of Dark Shadows.  This novelization wasn’t part of the series, and like most things in my life, I can’t claim to know everything about Dark Shadows.  As a child I didn’t know there had been a movie, let alone a novelization.  (I bought the books as I happened to find them, at Goodwill and watched the TV show.)

In the present, I’d just finished Octavia Butler’s Parable of the Talents and felt that I needed something lighter for my next fictional project.  House of Dark Shadows proved a better read than most of the series books, perhaps because it was based on a movie script written by the screenwriters.  Marilyn Ross was actually William Edward Daniel (W. E. D.) Ross, and he wrote more than 300 novels.  His Dark Shadows oeuvre became repetitious in its dialogue, across the series.  His characters always seem to say “at once” instead of “immediately” or “right now.”  I’m pretty sure the word “mocking” appears in each of them—certainly the latter ones—multiple times.  Having the script must’ve really helped keep those trademarks to a minimum.

Of course, now that I’ve read the novelization I need to go back and watch the movie again.  It’s been almost two years and some of the details escape me.  It’s largely because the movie goes “off script” from the long-running daily show (and the other novels).  I also realized that Tim Burton’s Dark Shadows movie was really a kind of reboot of House of Dark Shadows, unfortunately screen written by Seth Grahame-Smith as a comedy.  I’m no expert on Dark Shadows, just a reasonably enthusiastic fan in search of a lost childhood.  The movie makes the premise of the series untenable—both can’t exist in the same world, so it’s kind of a Dark Shadows multiverse, rather than a simple universe.  And it’s very complex.  I’d need to start again at childhood to become an expert in it, but at least now I’ve read all the books.

Sequel Pondering

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Of course I’m working on another book.  I can’t say what it is at the moment, but one of the projects I’ve long been contemplating is a kind of sequel to Holy Horror.  The problem is that if the first book didn’t sell very well (the premise is perhaps too academic), a sequel couldn’t be expected to do any better.  I’m still working on sloughing that academy skin.  But I keep watching what we insist on calling “horror” and the more I do, the more I find the Bible in it.  Others have taken up the gauntlet—mostly academics who have jobs that encourage such behavior—of connecting horror and religion.  The Bible’s role, while a subset of the larger field, has its own particular parameters.  In one of my notebooks I have a list of 23 movies to add to my analysis.  I know that there is a twenty-fourth, but it’s only streaming on an exclusive service and still costs a bit too much for something that doesn’t come with a plastic case.

In any case, Holy Horror just scratched the surface.  One of the factors I’ve mentioned before is that there is no database of the Bible’s appearances in film.  It would be an extensive list altogether, and a substantial number of horror films would be on it.  In general, it seems, people really aren’t too interested or intrigued by this fact.  I certainly am.  Our society is a curious mix of sweet and salty.  We want to think we’re too sophisticated for religion, but religion undergirds just about everything we do.  Otherwise it’s pretty difficult to explain how the Bible keeps showing up in horror.  Usually as a mysterious artifact.

I recently saw myself referred to as a biblical scholar.  There’s no doubt that I taught biblical studies for many years.  I even wrote a book interpreting one aspect of the Good Book.  My degree, and my interest, however, has always been historical.  I follow this history of ideas.  Although many people don’t understand my current horror fascination, it’s clear this is another jog down a trail of history.  How did we get to the point that a totemic (the scholarly phrase is “iconic”) Bible became a stand-in for God in movies?  I’m not sure I’ll ever be able to write Holy Sequel, although, if my profession ever permitted it, I’d certainly have the interest in doing so.  There’s a lot to be learned from such explorations.  That’s true even if the books containing the information only appear on a few dusty library shelves.

Through the Woods

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The thing about appreciating bad movies is that it’s difficult to be disappointed.  On a recent weekend I’d watched a horror film that didn’t sit well with me (or maybe it was the last night’s supper), and I decided I needed to see something else.  Something that was free on my streaming service.  I’d read about Transylvania 6-5000 someplace, but I couldn’t remember where.  The list of stars won me over: Jeff Goldblum, Ed Begley Jr., Jeffrey Jones, Geena Davis, Michael Richards—why don’t more people talk about it?  Because even for a comedy it has trouble working.  Well, a horror comedy, to be precise.  Emphasis on the comedy, which tries too hard.  I couldn’t get over the fact that this was a tall guy movie—Goldblum, Begley, Jones, and Richards are all over six feet tall.  Usually other actors literally have to look up to them.

Even though it’s a groaner, it’s not without worth.  It was filmed in what used to be Yugoslavia when it was rare for anything to come from behind the Iron Curtain.  Set in Transylvania, it wasn’t too far off.  (Transylvania is located in Romania, of course.)  Some of the performances aren’t bad, Davis’ vampire nods to Frank-N-Furter in Rocky Horror, and Carol Kane is fun to watch as Lupi.  The male roles are generally the problem.  In case you’re wondering, the plot is that two reporters—Goldblum and Begley—are sent to Transylvania to find a story.  The locals laugh at them, insisting Transylvania’s a modern country with no monsters.

When the classic monsters do appear, they all have rational explanations.  There are riffs off vampires, werewolves, Frankenstein’s monster, swamp monsters, and the mummy.  There’s even a mad scientist.  The problem is the movie really doesn’t give itself over to either comedy or horror.  There are ways to make that combination work.  And, as with C.H.U.D., the title put me off.  I didn’t know until reading about it later that it was also a riff, but from the Glenn Miller song “Pennsylvania 6-5000.”  I’d never heard the song before and was unfamiliar with its title.  Rudy De Luca, the director, had worked with Mel Brooks and perhaps if they’d collaborated on this one the results might’ve been better.  So, it’s a bad movie.  That doesn’t mean it isn’t worth watching.  Movies like this sometimes serve as an homage to the monsters with whom we grew up, and who even met Abbott and Costello in their own lifetimes.  Just be prepared not to take it too seriously and not to laugh too much.

Worthy of Note

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I admit it.  I use Wikipedia quite a lot.  When I was teaching I wasn’t one of those professors who said “Don’t use Wikipedia,” but I did say that if students used it they should look up the references and make sure they were legitimate.  Wikipedia is quite an achievement—a place to go to find out about many things, but not everything.  This leads me to an observation that I hope isn’t uncharitable: there are a lot of underwhelming pages on the website.  Anyone can edit it, of course, but I see quite a few pages of academics that have no more than a short paragraph of an (often) unremarkable bio, followed by fewer books than I’ve written.  And they have an encyclopedia entry.  It makes me wonder what it takes to be noteworthy.

I know quite a few Wikipedia page subjects.  Most of them are nice people.  Their greatest accomplishment is having landed a university post—maybe that’s enough to make someone noteworthy these days.  I haven’t managed to do it.  But many have.  And most of them don’t have their own pages.  I’m a realist about things like this.  My books don’t sell enough copies for anyone beyond you, dear reader, to recognize me.  This blog hasn’t had a million hits yet (it’s halfway there, in any case) and I can’t seem to retain followers on Twitter, or X, of whatever it is this week.  But then again, I don’t expect to be on Wikipedia.  Some people that I think should be aren’t.  Popularity shouldn’t be the measure of importance.  (That works both ways.)

It used to be that I’d run across Wiki pages with a header saying that a subject didn’t seem noteworthy enough.  Sometimes such warnings were even for publishers—those of us who write need to find outside information about publishers, no matter how small.  I don’t see those warnings much any more.  I suspect Wikipedia is so large (over six-and-a-half million pages) that constant policing would be necessary.  And how would it feel to have someone put a page together for you only to discover later that you’d been removed for just being too ordinary?  That’s gotta hurt!  Everyone, it seems to me, is notable.  All people should be paid attention to.  I suppose the rank and file of all of us would clutter Wikipedia endlessly, but I still do wonder how it is that surviving in academia is enough to make a person essential to know about, beyond their faculty webpage.

Sinful Thoughts

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The driving force behind Holy Horror is the fact that the Bible appears in lots of horror movies.  More than might be expected.  Although I’ve moved on to other projects, I still keep an eye out.  There may not be time or opportunity in my life to write a sequel, but you can’t unnotice the Bible in The Sinners.  The title drew me in, as did its free status on Amazon Prime.  It’s a Bible-based flick, for sure, but even the basic description gets religion wrong.  I generally like movies by female directors, and this one was a project of Courtney Paige whose name, for some reason, sounds strangely familiar.  In any case, one of the biggest blunders movies like this make is that the religion doesn’t hang together.  Of course, it doesn’t say what variety of Christianity it is, but it’s of the literalist stripe.

Seven alpha females at a Christian school in a Christian community form a clique in which they’re each characterized by one of the seven deadly sins.  They’re lead by the pastor’s daughter, of course.  One of the girls keeps a journal in which she confides that she confessed their activities to the pastor.  The betrayed girls decide to scare the offender but she escapes when they’re intimidating her.  She’s found dead but then the other sinners start being murdered.  The police aren’t really effective and the girls try to figure out who’s behind this.  I won’t say who but I will say that it doesn’t really make much sense.  Scenes jump around and characters appear with little or no introduction—it’s disorienting.  But that religion…

I know enough PKs (preacher’s kids) to know they often aren’t as innocent as dad thinks (and it’s generally dad).  I also know that forced conformity of religion builds resentment and resistance.  But there’s something wrong here.  The pastor drinks wine.  Even the truly religious girls drop f-bombs.  One even attends a Satanist meeting with no explanation.  The pastor’s wife is having an affair.  The school librarian has sex with her husband at the school between classes.  They can all quote scripture, and often do.  What religion is this?  I couldn’t really engage with the movie because there were too many distracting religious gaffs.  Hey, I don’t mind when movies show the problems with religions—they’re fair game for commentary, after all.  But if you’re going to do it, try to understand the mindset of the religion you’re criticizing.  There’s a lot to think about in this movie, and it really isn’t that bad.  But for those who know religion there’ll be some question of which it is that’s under fire.  If I ever get back to Holy Horror I’ll say more.

Playing Authors

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My family looked at me funnily, but not for the first time.  With a holiday gift card I’d ordered a book on the card game Authors that I’d blogged about recently.  You see, there’s not a ton of information on it on the web, and it was a formative influence in my life and I wanted to know more.  I suppose it’s typical for someone raised as a fundamentalist not to immediately think of evolution, but Authors has evolved over the years.  And quite a lot.  For one thing, you can’t copyright an idea and other game-producing companies made their own versions of the original game.  And what I’d assumed had been the original (since it was the one I had as a child) was only one of many versions.  The book even documents the Bible Authors game I’d mentioned.  My real interests included that age-old question—did it ever include Edgar Allan Poe?

Today is Poe’s birthday.  It’s fair to say that he’s one of the most recognizable authors in the world now.  He also had a tough time being accepted.  This book, which I haven’t read through—it’s more of a reference book, in any case—points out that Poe was indeed included in more than one edition of the game.  He isn’t one of the strongly recurring authors (which include several of whom I’d never heard).  This is the fate of writers.  Reading about Dickens lately, I came to realize that even after several best-selling novels (at numbers that would make any modern publisher gloat), he was effectively living off debt until well into his forties.  And he died at 58.  He was famous, but until his final years not what you could consider wealthy.  

Another realization dawned.  Writing for a wider readership means getting away from academic publishers.  I had an agent interested in my current book project for a couple of months before he decided it wasn’t for him.  I’ve also come to see that several authors I respect, and whose books are priced below $20, have published with presses that aren’t part of the Big Five.  And they earn some profit from their efforts (unlike academic publishing).  In other words, becoming an author of either fiction or non, often involves book sense that I’ve been slow to gain.  At the Easton Book Festival a few years back I met several local writers who were putting additions onto their houses with the royalties they earned.  I’d published three books at that point and was turning my pockets inside out hoping for forgotten spare change.  Authors is a game.  Those who are included are those who figured out how it’s played.

Spider Thoughts

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Spiders know.  Spiders are aware of when they’ve been seen.  I’ve been noticing this for some time now.  You can verify this yourself, but it may take some resolve, depending on your level of arachnophobia.  You walk into a room first thing in the morning and see a spider placidly hanging from its web.  If you intentionally look at it, it knows.  Leave the room for at least ten minutes and then come back.  The spider will be gone.  When you first stare at it, it won’t move.  Nature’s flight, fight, or freeze response has a clear winner here.  Spiders play it cool.  This happened recently on a weekend.  I had my wife verify this for me.  I pointed out the spider (I’d already stared at it) and told her I was doing an experiment.  She’s been married to me for thirty-five years, and such things no longer come as a surprise.

I told her my thesis and suggested we both just get breakfast ready as normal.  The spider didn’t move, even with clatter of bowls and spoons.  When my wife went to take her bowl to the sink several minutes later, the spider had vanished.   (This doesn’t seem to apply to spiders actively descending on a web in front of your face, I’ve noticed.  They’re too busy with their spider thoughts.)  Animals are smarter than we give them credit for being.  Who ranks spiders on their list of smart critters?  But they are.  And I wonder what they think of me.  If a spider crawls on me, I run away.  Like a spider I won’t return to the same place where it happened, at least not for some time.  All of this brings Rupert Sheldrake to mind.

Sheldrake has been summarily wiped off the table by other scientists, in part because he has explored the sense of being stared at.  Materialistic science tells us there can be no such thing since being seen is passive and we have no sense organs to detect it.  We have all, however, had the experience of turning around to find that someone has indeed been staring at us.  As so often happens with materialism, we’re told simply to discard it as fantasy.  But that’s not the way it feels.  So I look at my most recent spider—I know there will always be more—and know that s/he knows they’re being stared at.  When you’re small running may not get you away swiftly enough.  Freezing makes more sense.  Freezing and waiting.  The thing you fear (for a spider it’s me) will generally go away on its own, looking for something more material, I suspect.

Demonic Night

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There’s a type of film—I don’t have the vocabulary for it—where the action is loud, brash, and in-your-face.  Colors are often lurid and, in horror, gross sounds are emphasized.  I’m not sure what it’s called, but it’s the style used with Night of the Demons.  I didn’t realize until after I’d seen it that it was a remake of an earlier film by the same name.  The one I saw was the 2009 version.  I’d just finished a book about demons, and I was looking over Amazon Prime and what I could watch without spending any more money.  Well, I did learn something.  But first, a little plot reveal: a group of friends are going to a Halloween party in a haunted mansion.  Mainly they’re looking for controlled substances and uninhibited sex.  The party hostess has rented said haunted mansion for the night.

Once they get there the final girl, Maddie (and you can tell from the beginning that she’ll be the final girl) starts to realize that there seem to be supernatural forces at play.  The cops show up and break up the rave, but seven kids remain behind since they’ve been locked in.  They find a hidden room where the bodies of six previous victims have decomposed.  This leads to the possession of the woman hosting the group and these demons are transferred either by bite or sex—they are sexually transmitted demons.  So, naturally, all the friends except the final girl fall victim.  These demons dissolve in the sunlight unless they get seven victims, so when Maddie makes it through Halloween night, the demons are defeated.

What makes this moving interesting is the type of demons on show.  These seven demons are so bad that they’ve been kicked out of Hell—they don’t follow the rules.  This made me think.  Logically, no demons in Hell follow the rules.  The root of the word “pandemonium” means “all demons.”  If none of them obey rules, how can any be kicked out for breaking rules?  Laws and rules are what preserve any civilization.  Those who use their money and power to flaunt the law are, in their own way, demonic.  These demons are kept at bay by spells written on the walls of one room in the house.  Those rules they must obey.  Is this a parable about free will?  It doesn’t seem sophisticated enough for that.  Night of the Demons is one of those fast, loud, lurid movies that need a monster.  Demons, which have no basic form, seem to be purpose made to fill such gaps.

Unusual Places

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I don’t recall how I first learned about Mitch Horowitz’s work.  I read Occult America as soon as I found out about it—it helped as I was transitioning to writing about religious culture (largely through horror films) since there’s a healthy dose of occult in horror.  While still in publishing Mitch agreed to look at Holy Horror before it landed with McFarland.  The thing about my life is that it’s too busy (9-2-5 isn’t a size that fits all) to keep up with writers I find fascinating.  I hadn’t been aware of Horowitz’s continued, and continuing, book writing.  As soon as I saw Uncertain Places: Essays on Occult and Outsider Experiences I ordered a copy.  It brought back to mind the semester break at Nashotah House when I realized that to get anywhere near the truth you need to question and question boldly.  I told my students that if they didn’t challenge their perceptions with reading during semester breaks they were wasting them.

I met Mitch (although we’ve never seen each other in person) through our mutual friend Jeff Kripal.  They both have the courage to question apparent reality and to not stop at the line that the wall of materialism throws up around the pursuit of knowledge.  Uncertain Places is well titled.  Like almost all collections of essays some speak to the reader more than others, but I found myself pausing frequently to consider what I’d just read here.  One thought that keeps recurring is how even someone with a terminal degree can constantly feel like there’s so much more to explore.    Horowitz is a seeker unashamed.  And that also took me back to my past.

Growing up poor, I didn’t have many resources other than my mind to help draw some preliminary conclusions about reality.  Like many red-neck families of the time we had a CB radio and we were each instructed to come up with a “handle.”  I believe it was my mother who suggested “Searcher” to me.  She knew that I would never stop looking.  Uncertain Places is the work of another searcher—one who’s less fearful than I tend to be.  (I’m working on it.)  Reality, it seems clear to me, is far more subtle than most of higher education has taught me that it should be.  We try to make occult scary and demonic but Horowitz is, like yours truly, an historian.  Those of us who explore the history of religion can find ourselves in some pretty unusual, one might say uncertain, places.  And rather than dismiss what we see there, we take a closer look.

Life Learning

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One thing a recovering academic must learn is that the vast majority of people don’t really care what drives the academy.  They aren’t too worried about larger issues as systemic racism, or various groups’ feelings of unequal treatment.  In fact, most people are just looking to get by, keeping depression and hopelessness at bay.  There are few avenues to break out of the middle class, and even fewer to move up from the lower.  And going to school hasn’t been presented to most people as an opportunity, but as a chore that must be done until work can be secured and they can pursue surviving on their own.  This truth comes to me time and again when I’m reminded that deep thinking doesn’t sell books (not unless you’ve already established a reputation) and that if you try to bring the concerns of the academy to the public, they’ll look the other way.

The real trick, it seems to me, is educating people without them knowing they’re being taught.  People don’t like being talked down to.  Understandably.  When I listen to people without college educations, I learn a ton.  This is my matrix as well—it’s where I grew up.  Higher education changes the way you think, but it shouldn’t prevent you from communicating with those who are the vast majority of people in the world.  Anything can seem to be normal when it happens long enough, even living in ivory towers and discussing things almost nobody else cares about.  You see, I’m a realist.  And I still have a lot to learn.

When I write my books, my style is accessible but my topics are academic.  It has taken me years to realize this simple fact.  Anyone can read my books from Holy Horror on and understand them, but why would they want to?  The questions raised are those of the academy, and those in the academy know you by your specialization (ancient West Asian religions, historically declined, thank you).  A glance at how my Academia.edu page is viewed tells the story.  Nobody who visits there is interested in horror films or this blog.  They want the resource that can’t be renewed—my work on ancient history of religions.  I’ve moved to horror because I find lots of very intelligent people here.  Like those with whom I grew up, they are generally ignored by the academy.  They are also very accepting of outsiders.  You have to unlearn being an academic.  And it might just lead somewhere productive.

Truthful Fiction

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Octavia E. Butler is a name I’ve known for some time.  Various people, most of whom I don’t know, had recommended her books, particularly Parable of the Talents.  It turns out to have been one of the scariest novels I’ve ever read.  It’s not horror—it’s science fiction.  It’s scary because it’s just too plausible.  The first inkling I had that something was amiss was when I read how Andrew Steele Jarret ran for president to “make America great again.”  Jarret pretends to be Christian to get the vote and America suffers terribly when he’s elected.  I flipped back to the copyright page.  1998.  I read on anyway.  It’s not too often you find a sci-fi book about someone starting a religion.  And named after a biblical story, as well.  I was doing fine until Jarret’s supporters destroyed Olamina’s peaceful community and enslaved the survivors.

It’s all just too plausible.  Of course, there’s a lot going on here.  Butler was an African-American whose ancestors had been slaves.  The religions presented in the book are a bit too black-and-white, but the followers of Christian America behave like many followers of Trump.  Butler saw this two decades before it happened.  The slavery part of the book was difficult to read.  There was so much pathos here, so much deep memory.  Although Olamina is a flawed character, she is a visionary with the best interest of the human race at heart.  This dystopia is perhaps a little too close to reality.  Those who recommend the book say that it’s hopeful, so I kept on reading.  And yes, there is a hopeful ending.  Getting to it left me floored.

Religion defines us.  In the growing materialism—false, as anyone who feels deeply knows—the idea that a story could be built around religion seems unlikely.  Butler has done that, and done it in spades.  I was surprised to learn that she’d studied at the Clarion Workshop, not far from where I grew up.  Being from an uneducated family I never heard of the Workshop until I was an adult.  And besides, it left Clarion, Pennsylvania for Michigan before I even got to high school.  Still, it gives me a sense of connection with a woman who saw more than many did.  Although Parable of the Sower is earlier, I’m not sure that I have it in me to pick it up.  At least not right away.  I’m still trembling a bit from Butler’s second parable.

Tall and Slender

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At first I thought she was mistaken.  A friend mentioned, in a litany of horror films, The Tall Man.  I thought she meant The Slender Man.  Then I saw an online post that referenced The Tall Man and I grew curious.  That curiosity almost cost me my lunch.  Not for the reasons you might assume, but because The Tall Man’s one of those movies that seems to think the camera has to be in constant motion.  I have an inner ear condition that makes me extremely susceptible to motion sickness.  It happens even if I watch train cars passing (which is, indeed, one of the images with which the movie starts).  I kept telling myself, give it a few more minutes, maybe they’ll buy a tripod.  I’m glad I stayed with it because it was inspired by the Slender Man urban legend.  Later, The Slender Man was made into a movie, perhaps inspired by The Tall Man.

Although horror, this probably isn’t what you think.  The reason I was glad that I stuck with it is that, although confusing, it has a good message and everything becomes clear at the very end.  Director misdirection is very common, of course, but this one worked on me.  There’ll be spoilers here—so you’re warned.  The common thread behind both Tall and Slender is missing children.  Some mythical or folkloristic creature snatches them away.  There’s no supernatural in this movie.  It revolves around a widowed nurse in a dying town, Cold Rock, Washington.  The children are suffering and the nurse wants them to live a better life.  Here’s a spoiler—read no further unless you want the ending ruined.  I’m serious.  The next paragraph will spill the beans!

Her husband isn’t really dead.  Working together they kidnap working class children and get them to loving, caring, affluent families.  There’s a ton of social commentary in this film.  As the nurse explains, the system is broken.  Too many children are left to suffer and the only way to break the cycle is to break the rules.  The appearance of William B. Davis made me think X-Files, but his role here is a straight-up sheriff.  There is no “Tall Man,” just like there is no Slender Man, but legends do take on lives of their own.  This isn’t one of my favorite movies, but it is better than I was led to believe.  And having a social conscience, while not rare, is always a good thing to see in a horror movie.  If only they could keep the camera still.