The Season

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I learned about the Horror Writers Association years ago, shortly after I started publishing horror stories in 2009.  I couldn’t join because you had to have earned at least $30 from a publication.  I took this to mean a fictional one and I never made it beyond that benchmark until this year.  (It’s possible I misunderstood and could’ve joined for Holy Horror and beyond.  I think the point is they want to know you’re serious.)  In any case, these folks may be my tribe.  During the month of October the website has a set of free blog posts available to the public.  Mine—located here—dropped yesterday.  It deals with nonfiction, of course, since I’m still not finding much traction in getting novels published.  One of the weird things about book publishing is that you don’t know, unless you’re already successful, how well your sales are going until after about six months or so.  Sleepy Hollow as American Myth may be flopping for all I know. 

I’ve tried to promote this one as much as I can.  I contacted bookstores and libraries in Sleepy Hollow itself.  I had bookmarks printed and put them in local libraries and bookstores.  I arranged a discussion at the upcoming Easton Book Festival.  I told my local writers’ group about it.  Posted on a Halloween Facebook group.  All of this is tricky rather than treaty when a book is priced near $40.  That’s quite a trick, I know.  As Halloween approaches I keep seeing memes and posts about the Headless Horseman.  But I’m not sure if anyone’s finding my book or not.  It’s an anxious period when you write.

Working in publishing for nearly two decades now, I’m starting to realize that there are two ways to relevancy.  One is to be hired by an institution with name recognition—that automatically makes you an expert and everyone want to know what you think.  They’ll even pay you for it.  The second way is to write a book that sells well.  That one’s a bit of a catch-22, however.  To get published these days you need to already have a following.  I suppose that’s what the internet is for.  The best forums at the moment seem to be YouTube and TikTok, but there’s more much traffic there than on a Los Angeles freeway during rush hour.  I’m not sure if many people read the Horror Writers Association Halloween Haunts blog posts.  These folks, however, seem to look at this from a similar perspective.  Maybe a few of them will buy Sleepy Hollow as American Myth.  ’Tis the season.

Famous Cemeteries

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I have to confess that I really didn’t know about Père-Lachaise Cemetery before this book.  I knew that Jim Morrison was buried in Paris, but I’d never really paid attention to where.  My wife picked up Benoît Gallot’s The Secret Life of a Cemetery: The Wild Nature and Enchanting Lore of Père-Lachaise and we decided to read it together.  It seems likely that Père-Lachaise is the world’s most famous cemetery.  This little memoir by the current curator of the cemetery is a delightful read.  It is reflective and sensitive (and spawned by the attention the author’s social media was getting, so hey, help me recruit some fans!).  Gallot began posting pictures of wild animals that he snapped in the course of his work and Parisians, and others, were fascinated to learn about wild animals at home in the capital of France.  This book reflects on the animals, plants, and people of the graveyard.

I enjoyed this book, but one aspect gave me pause.  Gallot notes that the cemetery doesn’t permit jogging.  Perhaps this is a cultural thing, but cemeteries have been some of my favorite jogging spots.  I mean no disrespect by it.  Cemeteries are peaceful and have very little traffic (one of a jogger’s concerns).  I’ve never found people walking their dogs (another jogger issue) in cemeteries.  I can see how mourners might not want to see someone taking their exercise near the grave of a departed family member, but a jog is simply a fast walk.  And we are, as a species, part of nature.

Many famous people are buried in Père-Lachaise.  I visit cemeteries to find famous people’s burial places.  Indeed, that’s what I tended to post on my Instagram site, but I found no followers.  We had visited Highgate Cemetery in London—another famous burial ground—and discovered many familiar names there.  Perhaps to Anglophones, Highgate is more famous than Père-Lachaise.  But even Highgate would’ve been off my radar had it not been for the Highgate Vampire incident that I’ve written about before.  Gallot, who lives in the cemetery, is skeptical of ghosts in Père-Lachaise, although he’s well aware that the stories are told.  This brief book is contemplative autumnal reading.  There are several black-and-white photos of animals among the graves.  They are the living among the dead, and an appropriate symbol that life goes on.  If you’re looking for a place to reflect on mortality and you want to learn about cemetery life, this may be the book for you.

Ancient Asherah

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It seems like ancient history.  Actually, it is ancient history.  Ancient history with a new angle.  A Reassessment of Asherah is finally available in paperback.  Although my research has moved in a different direction, an author cares for all of their books and Asherah is my firstborn.  My doctoral dissertation originally, what separates it from many proposals I now see as an editor, is that it has a broad topic and some native sense of writing.  I have always eschewed technical jargon.  Academese obfuscates.  And is boring to read.  In any case, being young and naive, at the instruction of one of my doctoral supervisors, I sent it to the distinguished series AOAT (Alter Orient und Altes Testament), published in Germany.  It came out as an expensive hardcover and sold through its only print run.

Years later, evicted from academia, I found a foothold in publishing at Gorgias Press.  The owner of the press did something that even Eisenbrauns couldn’t, he talked what was then Ugarit Verlag into granting Gorgias the rights to republish my out-of-print book.  But he decided to do it in hardcover, so it was still too expensive for most potential readers.  Also, to make this a proper second edition, I added all of the articles I’d written about Asherah as well as the original text of the AOAT version.  If I recall correctly, it sold pretty well for Gorgias.  I moved on to other things.  Weathering the Psalms had been written before my career malfunction, but publishing that made me realize I could still write expensive books with low sales.

Four books further along, all on aspects of horror, a friend did the impossible.  He talked Gorgias Press into publishing a paperback of A Reassessment of Asherah, without my prompting.  For the first time in the thirty-plus years that the book has been available, it is now “individually priced.”  Please keep in mind, though, before emptying out your bank account, that “individually priced” here is still in the academic realm.  It seems the minimum price for books in this category is around $40, which is a bit steep for most of us.  But still, it is a new thing in the academic world.  I do hope that someone more persuasive than me might talk to Bloomsbury about a paperback of Nightmares with the Bible.  That has been, as far as I can tell, the poorest performing of all my expensive books.  It’s also the one that, I suspect, would have some individual readers.

Brutal Boys

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Some time back I posted about Steffanie Holmes’ Pretty Girls Make Graves.  It was a first book in a duology and since I’d been trying to keep up with dark academia, it was a recommended exemplar.  As I mentioned in that post, the book ends with a cliffhanger, so I got to Brutal Boys Cry Blood as quickly as I could.  Holmes is a prolific self-publishing author and I found Pretty Girls much better written than the majority of self-published material I’ve read.  Brutal Boys picks up right where the previous novel left off, freeing George Fisher from her predicament and moving her into new ones.  At Blackfriars University, George is investigating the death of her former roommate.  The Orpheus Society, consisting of old money blue bloods, seems to be involved in more than wanton destruction of property and orgies.

Much of the first half of Brutal Boys sets the scene for a relatively happy period in George’s life.  She establishes a polyamorous relationship with the uberwealthy student William Windsor-Forsyth and Father Sebastian Pearce, a teacher and college chaplain.  The three of them are mutually in love, but even as George is admitted the Orpheus Society, a deeper part of the sect emerges.  This group is even more insidious and has designs on human sacrifice.  But I’ve already said too much.

Reading is, of course, a subjective exercise.  My personal experience of this duology is that the first book is better than the second.  It’s not that I feel Brutal Boys is a bad story—it keeps your interest pretty much the whole way through—it just seems to be far more improbable than the first novel.  It is fiction, of course, and there is nothing speculative here.  There are no ghosts or monsters or divine intervention.  Speaking strictly for me, it might’ve helped with believability if there were a little of this.  I was not one of those swept away by Donna Tartt’s inaugural dark academia novel The Secret History, but she did include just a little of a speculative element that allows for a reader to perhaps convince him or herself that this might just possibly happen.  Some writers and readers prefer not to use that escape hatch.  I’ve read good dark academia both with and without speculative aspects to the story, but to me, such mystery adds a little depth to what might be happening.  And I admire self-publishing authors who write well enough to draw you into a second book, which can be a rare thing.

Discovering Witches

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On a number of best of dark academia novel lists, A Discovery of Witches was a book I knew I had to read.  Frightened by the size of the tome, I put it off.  Although it says it on the cover (by which I don’t buy a book) that it’s part of a trilogy, I was hoping it’d be self-contained.  Of course, it ends without resolving what happens to the main characters, more or less coercing the reader into the remaining two volumes.  Now, this is not unique.  Many authors do it.  Publishers especially like books with series potential—assured sales.  My eight novels (none published) are stand-alone.  One is over 200,000 words, but the rest are reasonably svelte.  Big books take a large commitment of time and, well, at my age you have to make some choices.  This one took me nearly a solid month of daily reading, sometimes multiple hours at a stretch, to finish.  I have some decisions to make.

Set initially in Oxford, this world created by Deborah Harkness contains three kinds of humanoid creatures besides humans: witches, vampires, and daemons.  The daemons aren’t really defined, but they don’t seem to be the kind that possess girls like Regan McNeil.  The witches seem pretty traditional and the protagonist/narrator is one.  The vampires are quite different than the Hollywood version, as well as the traditional sort.  Vampires can be out in the sunlight, they aren’t affected by crucifixes, and, indeed, can be quite religious and Christian.  They can eat things other than than blood.  The protagonist, Diana Bishop, is a witch who doesn’t use her powers.  A professor, she’s doing research at Oxford where she meets, and eventually falls in love with Matthew Clairmont, a vampire.  An ancient pact between witches, vampires, and daemons forbids them from consorting closely, and herein lies the tale.

The dark academia aspect comes in a couple of guises.  One is that much of the first part of the novel takes place at Oxford University, and even in the Bodleian Library.  Also, vampires seem to be quite compatible with dark academia as a whole.  The dark aspect comes not only from the creatures, but their situation.  There is ancient animosity and tension that results in murders.  The novel ends with a war starting and Diana and Matthew taking a risky journey.  I may be content to let this state of affairs stand.  From the look of things, the sequel is also a long book and I am content to let my imagination fill in the blanks.  I’m glad to have read it, but I’m going to look for a novel with a little less time-commitment next.

Covid Books

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There’s a fairly new phenomenon called “Covid books.”  No, I don’t mean books about Covid-19, but books affected by the virus.  (Not infected.)  Let me explain.  Many publishers, unaware of the menace, continued scheduling books through what became the pandemic.  You see, books take a long time to put together, and, interestingly, much of the work can be done remotely.  That meant that even as we locked down, books still published.  But in 2020, few people were interested in books on other subjects.  Children’s books and others intended for young readers did really well.  Online ordering made this possible.  Fiction for adults didn’t fare too badly.  What suffered was nonfiction on topics unrelated to the pandemic.  This is so much so that publishers designate as “covid books” those that underperformed and appeared in the early twenty-twenties.

To put a more personal spin on it, I published a covid book.  Nightmares with the Bible came out late in 2020.  Granted, the topic didn’t appeal to everyone, and the price was about $100 when people were wondering if their jobs would be there after this was all over.  (Is it over yet?  I still wear a mask in crowded places.)  The reason that I consider it a covid book is that although it has received more reviews than any of my other books, it has sold the worst of them all.  Less than its dollar amount.  The publisher, which was bought by another publisher, has no inclination to do it in paperback, so it will remain an obscure curiosity.  Interestingly, I found a Pinterest page that was a listing of unusual book titles and mine was there.  But it was a Covid book.

In the wider world, even in 2025 publishers discuss Covid books.  A promising author whose book appeared in the height of the pandemic may have sold down at my levels.  What with the gutting of government programs and agencies since January, it’s difficult to tell if we’ll ever get a pronouncement that the pandemic has ended.  Where two or three are gathered, I’ll be wearing a mask.  And I’ll likely be thinking of books of that lost generation.  Information that will never be processed.  Book publishing survived, despite being a nonessential business.  People still buy and read books.  Some day some bibliophile might write a book for other readers about the year that robbed us of interesting but ultimately irrelevant books.  There’ll be too many to list, of course.  But we have been given a lesson.  Let’s hope we continue to do our homework.

King and the Rest

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Stephen King is an author I admire, although I haven’t read all of his books.  Not even close.  Still, his cultural cachet is high, as it has been pretty much since the seventies when horror literature was first being recognized.  I’ve been fascinated by his outlook on religion, or, in broader terms, the supernatural.  Rebecca Frost approaches things from a different angle, but her Surviving Stephen King: Reactions to the Supernatural in the Works by the Master of Horror is a volume worth pondering.  Quite often, as was the case with Douglas Cowan’s America’s Dark Theologian, I haven’t read all of the books and short stories the author discusses.  Frost gives good summaries, however, which help frame the discussion.  One of the reasons I enjoy King is that he allows the supernatural in, but something I hadn’t really realized until reading this book was that the supernatural is generally a threat.

Now, knowing King as a horror writer, it’s obvious that there has to be a threat, but in what Frost explores, standard Christianity doesn’t always work well against the supernatural.  One of the points I made in my expensively-priced Nightmares with the Bible is that physically fighting a demon crosses ontological lines if demons are spiritual beings.  Frost discusses how quite often “success” in a King story involves destroying the physical aspect of the supernatural threat.  It doesn’t always work permanently, but for the protagonists, at the time, it tends to be sufficient for them to get on with their lives, sans supernatural.  Having studied religion through three degrees, this made me stop and think.  The impetus to start on that career track was the idea that the supernatural tends to be good.  Enter King.

I only started reading King after my doctorate, and I haven’t read as much as true fans, I suppose.  Still, I tend to try to analyze what I read—thus the many posts about books on this blog—and it helps to have the guidance of someone more familiar with his oeuvre than myself.  Reading books like Surviving Stephen King also gives me an idea of which of his books I should pick up, and also which I might safely avoid.  Frost is an able guide, considering the various appropriations, or Christian solutions to the supernatural, in King’s imagination, and whether they work or not.  The ideal reader for Frost has probably read King a bit more widely than me, but I still found this study enlightening.  And it added some novels to my to read list.

Then Again…

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C. S. Lewis wrote somewhere (I can’t recall, but it was probably in Surprised by Joy) that when reading autobiographies, he found the youngest years the most informative.  I found that true for So, Anyway… , John Cleese’s memoir of his life up until the founding of Monty Python.  My wife and I read this book together—I tend not to gravitate towards autobiographies of living persons unless it’s someone I’m utterly fascinated by, but since we both enjoy Monty Python, why not?  It gave me quite a bit to think about.  Some parts are very funny, others more mundane, but mainly it was the path to a writer’s life that interested me.  I typecast Cleese in my mind as an actor, specifically a comedic one.  Of course, comics often write their own material.  Or at least some of it.  What became clear is that Cleese thinks of himself primarily as a writer.  That helps me understand.

It struck me that becoming a writer might’ve been easier had I started trying to get published when I was younger.  Of course, I didn’t have the advantage of attending Cambridge, or any other university where connections might’ve paid off.  Or having my writing encouraged after high school.  Already by college I’d been writing both fiction and non for many years.  In any case, Cleese found a teaching job because he’d attended the school himself, and then studied for a career in law.  Performing, however, and the attendant writing, soon came to be his self-identified career.  Anyone interested in Monty Python would find this an interesting account.  It only goes up to that point in the author’s life, which was, of course, only until he was still a fairly young man.  These days it’s difficult to be taken seriously as a writer without a degree in English or journalism.  The rest of us founder.

Monty Python was a group effort.  My wife and I read Eric Idle’s memoirs a couple years back (for some reason I didn’t post about it).  So, Anyway… was, however, a find at a used book sale, and we’re not actively looking for Michael Palin, Terry Jones, or Terry Gilliam’s reflections.  (Graham Chapman died young, of course.)  Mental typecasting is probably a crime against a fellow creative but the space someone moves into in our consciousness tends to be the same room they will always rent there.  It’s difficult to make a living as a writer and many who declare that as their identity work other jobs to make it possible.  Sometimes, such as the case of the famous, that other job may be the one where all the recognition lies.  Such is the creative life.

Talking Sleepy Hollow

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After writing a book comes talking about it.  I very aware that this blog has quite a limited reach, which is why I’m very grateful for friends who are willing to chat about my books.  John Morehead’s TheoFantastique is a blog I’ve known about, and appreciated, since I began this blog sixteen years ago.  John has always been very gracious and generous with his time and has interviewed me about each book since Holy Horror on.  Yesterday we had a chance to talk about Sleepy Hollow as American Myth.  The blog post with the recording is located here.  Please give it a watch if you have any interest.  To those of us not inclined to inflate opinions of ourselves, doing self-promotion feels awkward, and so it’s always good to have a friend willing to help us over the hurdle.  John has written and edited many books himself, and we’ve both published with McFarland. You might enjoy some time on his blog.

Writing a book on a subject may not automatically make you and expert, but it does give you a voice in the conversation.  Talking about a book helps you to think of aspects you might’ve missed or things that you really need other eyes to see.  Those fortunate enough to have academic posts sometimes have colleagues willing to read their nascent books and discuss them.  I never had colleagues who wanted to read what I was working on, but then, I was never really in a position where people paid much attention.  As a result, I work on my books alone.  This one had a peer reviewer when an agent took a temporary interest in it, and I received some feedback then, but otherwise it was me wondering what others might think of it once it was available.  The strange thing is, after writing a book you often feel like you could write another on the same subject, looking at different angles.

Since I’m trying to break into that rare sphere of getting a supplemental income from my books (free advice: academic writing really isn’t the way to do this), getting even a little buzz is immensely helpful.  I have contacted bookstore owners and museum shop holders in the Hudson Valley to tell them about my book.  I’m trying to arrange for a local book festival slot to talk about it.  But, of course, I have a 9-2-5 that doesn’t really make an allowance for time off to support your sideline job.  So I’m very grateful for John Morehead’s willingness to talk about my work.  If you’ve got some time, and interest, you can hear a bit more here.

Dark Romance

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My study of genre leads me to believe that there really may be no such thing.  Or at least many aspects of genre are open to question.  In the case of Steffanie Holmes’ Pretty Girls Make Graves, there’s no doubt that one genre is dark academia.  Indeed, this is book one of a duology titled “Dark Academia.”  Although self-published it is quite well done.  There’s a lot of backstory, and George (Georgina) Fisher, the protagonist and narrator, is a character from a previous series by Holmes.  Another genre that fits here is romance, although this novel is more than that.  Maybe a bit of the story will help.  George is a new student at Blackfriars University in England.  From California, she has trouble fitting in among the blue bloods that are the usual make-up of the student body.  She soon learns about the Orpheus Society, the secretive organization that pulls the strings on campus.  Then her roommate, the girlfriend of a prominent Orpheus Society member, goes missing.  George decides to investigate. 

Consciously aware of dark academia, Holmes aims directly at the heart of it and offers a compelling story that keeps readers interested from cover to cover.  I was never quite sure what was going to happen, and I do have to add a warning—this first book does end on a cliffhanger, so be ready to commit yourself to book two.  George is so well drawn that it’s not hard to care for her and start rooting for her against the secret society types who can buy themselves out of anything, including murder.  (I have to say, that part is a little too close to reality in the current US of A, so it may be a trigger for some.)

My regular readers (if any) know that I’m on a dark academia kick at the moment.  There’s so much to like in the genre.  Holmes makes clear the close ties between dark academia and horror; they share a common ancestor in the form of gothic literature.  The sheer variety in the novels classified this way means that not all of the books will contain every element associated with the genre, but Pretty Girls Make Graves comes close.  Holmes also effectively writes the ostracism of the outsider into the tale.  Anyone who’s had trouble fitting in (or may still have trouble fitting in) will recognize the scenario and its fallout.  Let’s hope, though, that they don’t end up like George at the end of volume one, even when they enjoy reading the book.

Dark Introduction

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Since I’ve discovered that I live in dark academia, I’ve grown curious.  Kara Muller has put together The Little Book of Dark Academia as a kind of first step in the discussion.  I have learned that some academic articles on dark academia are starting to appear, but this is pitched more toward those who maybe need some tips on how to get started.  By the way, this is a full-color, heavily illustrated book.  In practical terms, that means it doesn’t take too long to read it.  It’s also self-published, so less expensive than many books, but without editorial shaping.  It begins with history and definitions.  The term came into use in 2015 but the concept had been around much longer than that.  Sometimes a label is necessary to bring together thought on something that’s been floating around for a while.  As Muller points out, it tends to revolve around books.

My imagination isn’t so constrained as to believe that ebooks have no place in dark academia; they have their own special kind of darkness.  Still, the setting for these stories often takes place in real life, in studies and libraries full of books.  This is not a Star Wars paperless universe.  Muller gives a list of acclaimed dark academia titles with a brief paragraph or two about them.  In other words, a reading list.  And also a movie viewing list.  She also includes some television series that fit the aesthetic.  If you’re in the mood for dark academia, you’ll find plenty of places to indulge your hunger here.  The lists aren’t comprehensive, of course.  A bit of searching online indicates that many such lists exist, not all of them in full agreement.

Muller then presents a section on style and design.  Dark academia is, in many ways, like cosplay.  There’s a look and feel to it that can be emulated.  And I can’t help but say it’s backward looking.  A longing for classical education, the way that it used to be.  To me, this seems to be behind much of the current fascination with it.  This lifestyle is rapidly disappearing.  Even professors are now using AI instead of getting their hands dirty in the library.  And publishing online rather than in print form.  Showing up to class in tee-shirts and jeans.  Some of us, and I count myself in their midst, miss the feel of armloads of books and professors that wore tweed and could read arcane languages.  And nobody was trying to cut their funds because, well, the world was smarter then.  And everyone knew education was important.

Dark Poetry

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Playful.  Serious. Weird.  Very intelligent.  These are the words that come to mind.  Adrienne Raphel’s Our Dark Academia is a poetry book unlike any other I’ve read.  The poems take many forms from impressionistic reflections on life to a crossword puzzle.  From cutout paper-doll clothes to a faux Wikipedia article on dark academia.  It’s quite difficult to summarize since it’s more of an experience than anything else.  It’s the kind of book that makes you want to get to know the author.  Economy of language and an ability to manipulate words are required for poetry, and although I still dabble in it now and again, my tortured mind finds long-form prose a bit easier to produce.  I do try to keep these blog posts short, but I write a lot of other stuff as well.  In any case, Raphel’s keen intellect is obvious throughout this collection.  And she holds a doctorate from Harvard.

I’ve been exploring what is now being called dark academia pretty much my entire life.  And it has an articulate spokesperson here.  The academic life, although I love it, isn’t always the cushy existence it’s thought to be.  It requires a lot of work and long hours.  Those jealous of the lifestyle probably know it by fantasy.  It has taken a hard turn towards the political since about the seventies, something I didn’t know as I enrolled in a doctoral program in the next decade.  You learn by experience, and it’s clear Raphel has that.  The life of the adjunct instructor, which I tried to live for two years, demonstrates the inhumane things educated people can do to one another.  Of course it’s because of money.  In a late capitalist society, what else really matters?

One thing I know about myself is that I tend to take on the characteristics of authors I read, while I’m reading them, if they have distinctive voices.  Thought processes carry on in the mind even after a book is put down.  I find reading endlessly fascinating and wish I could share this enthusiasm with everyone.  I have to stop and remind myself, however, that our society only works with those who are doers as well as thinkers.  It works best, it seems to me, when those who are thinkers are in charge.  But not all thinkers are good.  My solution, at the moment, would be to have them read Our Dark Academia.

Club Frankenstein

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Reading YA novels once in a while reveals that younger folk have quite a good selection of literature from which to choose.  Goldy Moldavsky’s The Mary Shelley Club is a good pick for horror fans as it takes several cues from horror movies and mixes them with the anxieties of high school.  Rachel Chavez is a new student at Manchester Prep in New York City.  Her mother moved her there after a break-in and attack at their old home on Long Island.  With really only one friend at her new school, she finds out about the secretive Mary Shelley Club which meets to watch horror movies—or so she thinks.  Rachel then learns that the club’s real raison d’être is to play a game called Fear Test in which a targeted student is frightened, sometimes to death.  Rachel settles in the the club, being a horror fan, but grows increasingly uncomfortable with the game.

I won’t say much more than that about the plot, but I will say it is compellingly written and a page turner.  I didn’t quite buy the resolution, but that’s often true of horror movies.  It captures well the anxiety of high school, and of moving to a new location.  And Moldavsky certainly knows her horror movies.  I sometimes ponder what makes a novel YA.  I suppose it’s the focus on high school/college kids and a restrained vocabulary, shall we say.  While there’s no explicit sex scenes, there is some making out with intent here (this isn’t a romance), and there are a few f-bombs dropped.  And there is a body count.  Still, for horror, it doesn’t feel as gristly as “adult novels.”  Young people seem to lack the more developed evil of their elders.

My motive for reading it, apart from the horror aspect, was that The Mary Shelley Club is occasionally cited as an example of dark academia.  It’s easy enough to see why.  An exclusive school, wealthy families, and a dark subtext involving a secret society.  These are often hallmarks of the genre.  Dark academia may blend with horror, as it does here, or other genres.  That’s part of its appeal.  In this case the school, Manchester Prep (the name borrowed, it seems, from Cruel Intentions) may not be the center of the story, but it is what brings the main characters together, even if the horror is extra-curricular.  It was a fairly quick read, despite its size, and it bodes well for other good reading while exploring this particular aesthetic.

Scientific Monsters

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The rule is simple.  If you buy something in the gift shop, you can get into A Nightmare in New Hope for free.  So I naturally gravitated towards the books.  I picked up Meg Hafdahl and Kelly Florence’s The Science of Monsters: The Truth about Zombies, Witches, Werewolves, Vampires, and Other Legendary Creatures.  I noticed that the authors weren’t scientists, so I wasn’t expecting anything hard core.  In fact, I mostly wanted it for fun.  And also, I’m fascinated by anyone who can manage to get published by a trade press, the kind that publish books for under twenty bucks.  (Lest you think that’s a random amount, I’ve been invited to events where I was told $22—the then price of Weathering the Psalms, my least expensive book—was too much for most of the audience.)  The science in this particular book is akin to the science of various ghost hunters—the use of science as a framework, but not really being actual science.

Still, it’s a fun read.  Divided into ten sections of three chapters each, it covers a range of horror movies and asks various questions about aspects of “could it happen?”  Of course, in the sections featuring serial killers, we already know the answer.  Sometimes the authors shift to the “why” question when something obviously does happen in real life.  Now, I bought this book as a horror consumer and I have to say that it made me feel a sense of accomplishment that of the thirty chapters I’d seen all but one of the featured films.  The one I haven’t seen is Cujo, but I’ve read the book.  What I’ve noticed about other horror aficionados is that seldom have we all seen all the same movies.  Since the advent of VHS and watching movies at home, and the various technologies that came after, those of us with an appetite can be starved for choice.

While I wouldn’t turn to this book for any actual science, I did get a few ideas for horror stories from reading it.  One of them I’ve been working on since the chapter on The Tingler.  Both for fiction and non, I often think about publishers and how to break into that below twenty market.  This book is classified, in its BISAC code (the topic on the back of a book that tells you its genre) as science.  The publisher doesn’t publish in pop culture, which is what horror movies are.  There must be a science to getting publishers to buy into a good book idea like this.  Maybe there’s a science to it.

A Glimmer

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You just never know.  A few months back I emailed Liverpool University Press because my book, The Wicker Man, has apparently not sold any copies.  I had never received (have still never received) a royalty statement or any payment.  Now, I’m willing to accept that no copies have sold.  I’m not a recognized name and a bigger book came out in 2023, the fiftieth anniversary of the film.  I moved on.  Then, the day before my Sleepy Hollow as American Myth copies were scheduled to arrive, a friend sent me a text that made my day.  He’d seen on the MIT bookstore staff picks shelf, a copy of my humble little book.  I was floored.  Someone had read it and liked it.  And MIT!  I mean, that’s worth celebrating.  It also made me curious.

Image credit: a friend

I checked a website that tracks classroom adoptions.  The Wicker Man had been adopted for a class at Kennesaw State University in Georgia.  Ironically, just the day before my friend’s text arrived, a colleague at a nearby seminary asked if I’d come and give a talk about Weathering the Psalms.  This is all very dizzying to me.  I am an obscure private intellectual because no schools will open resident scholar or any other such non-tenure positions to me.  I can’t even verify myself on Google Scholar.  But a few people, it seems, have found my books.  In case you might think otherwise, I’m very well aware that the scholarly world is small (and the current administration would like to make it smaller by the day).  But I tend to think of myself as lost in that small world.

The Wicker Man was a departure for me, as is Sleepy Hollow as American Myth.  In these two books I moved away from my identity as a scholar of religion.  Don’t get me wrong, I’ve used my background and experience, and even latent knowledge of religious studies in both books, but they aren’t fronting religion.  It remains to be seen if the just curious will pick them up.  I know many people don’t default to, “I find this interesting, I’ll buy a book on it,” as I do.  And I’m more than willing to suppose that others aren’t interested in what I have to say.  Still, just when I’m starting to feel down on all my efforts, a little ray of hope shines through.  Someone in a bookstore somewhere has recommended one of my books.  And it feels good.