Dead, Not Sleeping

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A Nightmare in New Hope is a fairly intimate space.  The owner told us that the collection will change and grow, given that he’s still collecting.  Having a particular interest in Tim Burton’s Legend of Sleepy Hollow—having a book (ahem) on the subject coming out soon (cough)—I was particularly anxious to see what props they had.  To make sense of this it helps to have seen the movie, but you’ll catch on, even if you only know the Disney version of the story.  There were three main items from the movie that they have on display.  One is the wax seal used for the Van Garrett will, used as the movie opens.  The seal is quite large.  Of course, movies substitute props from time to time, blended by celluloid magic.  CGI doesn’t leave as many tracks.

The second artifact is one that wouldn’t have occurred to me to have even existed.  This was the animatronic horse’s head for Daredevil, the Headless Horseman’s mount.  There are a couple scenes in the film involving horse acting, and I’d just assumed that trained animals were used.  Being up close and personal with this artificial head, a couple thoughts came to mind.  One is that right next to it, it’s quite obvious that it’s artificial.  The second thought was just how much thought and effort goes into a big-budget movie.  For a few seconds of a close-up horse head, this model had to be constructed and used and then set aside.  I asked the owner about how such things were acquired, and he noted that production companies don’t keep everything.  He also noted that movie artifact prices have skyrocketed.  Both because horror is now popular and because CGI, as noted, doesn’t leave tracks.

The third, and most proudly displayed Sleepy Hollow piece is the Headless Horseman’s sword.  This appears in the movie far more often than either Daredevil’s head or the wax seal.  One of the aspects of Washington Irving’s story I discuss in Sleepy Hollow as American Myth is that the Horseman’s weaponry changes over time.  I won’t say more since, like museum owners, those who write books hope that they well sell a few copies.  I’ll be revisiting A Nightmare in New Hope from time to time.  For the items on display, I’d seen probably 90 percent of the movies, and a few of them I’d discussed in some detail in either Holy Horror or Nightmares with the Bible.  Of course, the Sleepy Hollow book is forthcoming (ahem).

Good Hearts

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If you’re looking for more religion-based horror, you might try the 1987 film Angel Heart.  As I’m discovering quite a bit lately, I could’ve used this one in Holy Horror as well.  The religious elements are pretty hard to miss, beginning with the protagonist’s name, Harold Angel.  (Hark the, any one?)  A private detective, Angel is hired to find a missing person for a Louis Cyphre.  His search takes him from New York (where a guy keeps a pistol in a Bible (there’s maybe an entire book in this trope), down to New Orleans.  First he meets Cyphre in the back room of a black church but soon he starts getting chased out when he starts to uncover any clues.  Time to head to the Big Easy.

In New Orleans he finds all kinds of occult practices taking place.  And the folks are none-too-friendly when he starts making mention of the guy he’s after.  He ends up witnessing a voodoo ritual and complains about the bad religion he encounters.  The big reveal indicates that there’s been a case of mistaken identity.  Louis Cyphre (Lucifer) has actually been setting an elaborate trap all along.  The portrayal of the Devil as a sophisticated gentleman isn’t new, of course.  There is a scene where Angel and the Devil are in a church and Angel, being a detective, uses inappropriate language.  Lucifer (not yet revealed as such) has to remind him a couple of times to watch his tongue while in a sacred place.  Satan is more pious than Angel.

The movie has multiple issues, but it has become a cult film over the years.  Like many others that I’ve discussed on this blog, the entire plot draws its horror from religion.  Angel has a difficult time with the non-Christian worship he witnesses.  But really, it is the Christian Devil that’s the antagonist here.  Quite often in movies like this, fear of other religions is based on the supposition that Christianity is correct.  That’s been a broad American trait for centuries, and it gives horror room to run.  The idea of a generic Christianity (which is probably what most Christians hold to) overlooks the doctrinal differences, often quite significant, between denominations.  This particular avenue isn’t much pursued in horror films, at least in my experience.  Interestingly, like Cat People (1982), it places this religion-based horror in New Orleans.  There’s plenty to explore in that connection as well.  Angel Heart is not a great movie, but it can lead in some interesting directions; a holy sequel may be necessary.

More Rats

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I’ve asked other survivors of the 1970s if they knew that the Michael Jackson hit “Ben” (his first solo number one recording) was written about a rat.  Most had no idea.  The song is the theme for the sequel to Willard, namely, Ben.  Now, I have a soft spot for seventies horror movies.  Before the days of streaming I repeatedly looked for Willard in DVD stores and never did find it.  I eventually found it on a streaming service and even wrote a Horror Homeroom piece on it.  One winter’s weekend with not much going on, I finally got around to seeing Ben.  Neither are great movies, but I’ll give them this—people in my small hometown knew about them.  Everyone I grew up around knew that “Ben” was a song from a horror movie.  In case you’re part of the majority, Ben is the chief of the intelligent rats who turns on Willard at the end of his movie.

An incompetent police department and other civil authorities can’t seem to figure out how to exterminate rats when they begin attacking people.  A little boy, Danny, has no friends.  He is apparently from an upper-middle class family, and he has a heart condition.  Ben finds him and the two become friends.  Danny tries to get Ben to lead his “millions” of rats away from a coming onslaught, but for some reason Ben decides to stick around and nearly get killed.  In the end, badly injured, Ben finds his way back to Danny.  Cue Michael Jackson.  It really isn’t that great of a movie—the number of scenes reused during the tedious combat scene alone belies the pacing of a good horror flick.  I felt that I should see it for the sake of completion.  Check that box off.

It’s a strange movie that ends up with viewers feeling bad for the rats.  They’re not evil, just hungry.  They do kill a few people (poor actors, mostly) but it’s often in self defense.  The best part is really the song, and the premise behind it—boy meets rat, boy falls in love with rat; you know how it goes.  Michael Jackson famously loved horror movies, and as many of us have come to realize there’s not much not to like.  This movie is pretty cheesy (with the rats attacking a cheese shop, but only after an unintentionally hilarious spa scene) but it has heart.  And it has a fair bit of nostalgia for those of us who grew up in the seventies.

Shivering Vampires

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When casting about on free movie streaming services, you occasionally stumble across something odd.  It doesn’t take a rocket scientist to figure out that I’ve been favoriting vampire movies the last few months.  I’d not really heard about The Shiver of the Vampires, perhaps because it was a French movie, or perhaps because there are just so many vampire films out there.  Well, it had the desired monster in the title, and it was free (costing only a few commercials).  As might be expected for a European movie, there’s a bit of nudity involved.  A fair amount of that is appropriate for vampire films, it seems.  This one involves a newly married couple going to visit her cousins who live in a castle in the country.  These cousins are groovy vampire hunters, but unbeknownst to her, have become vampires themselves.

The young couple arrives to be told that the cousins have died, but they are welcome to stay.  Soon, the vampire that turned them shows up and begins visiting the bride.  The groom is slow to catch on that there are vampires involved, although he fairly quickly finds out that something’s the matter with his wife.  Then the cousins show up alive.  Well, technically, undead.  They don’t reveal themselves as vampires, but their cousin, the bride, is being turned as well.  The poor groom sees odd rituals being enacted, and a couple of familiars decide to help him destroy the vampires in the hopes of rescuing his wife.  Stakes, crucifixes, and sunlight are all effective against these vampires, but they don’t seem especially evil.  In fact, there’s a kind of self-loathing among them.  The ending isn’t exactly cheering.  

A little shy on depth of story, the film does feature an impressive castle and some strong seventies vibes.  Interestingly, the Wikipedia article on the movie refers to the familiars as “renfields.”  This term, derived from Bram Stoker’s Dracula, was one I’d never come across before.  Renfield’s Syndrome now seems to be preferred to Clinical Vampirism, although neither has much scientific standing.  “Familiar” is, of course, a term adapted from the witch craze of Early Modern Europe.  Vampires need a living helper since they are vulnerable in the daytime.  The director of Shiver, Jean Rollin, was known mostly for his vampire movies.  They’re not easily found, at least at this point, on streaming services.  Shiver has an arthouse film feel to it and it makes me curious about how vampires cross cultures, even if the results are a little odd.  

Book Stages

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Books appear in stages.  All publishers are different.  These platitudes encapsulate my experience in finding a venue for my ideas.  Sleepy Hollow as American Myth has just appeared in McFarland’s spring and summer catalogue.  I haven’t seen the proofs yet, but I suspect I will before too long now.  What’s with the spring and summer catalogue?  Well, believe it or not, books are seasonal.  Publishers go by seasons.  For many academic publishers there are two seasons: Spring/Summer and Fall/Winter.  The timing of certain books may fall in a specific place within those seasons but many academic books are aimed at classroom adoptions so early spring and early autumn are the most popular times.  It’s no coincidence that academic conferences also cluster around the semester system, the big ones being either autumn or spring.  Academics have a migratory instinct.

Personally, I’m hoping Sleepy Hollow will be out in late summer.  I don’t have any control over that, but it’s about then that normal people’s thoughts start turning toward falling leaves, long nights, and monsters.  Every year there’s a day in August when I step outside and literally smell autumn in the air.  As a kid seasons seemed like something as rigid as a biblical law: spring was March through May, summer June through August, and so forth.  The older I get, the more I realize how negotiable seasons are.  The Celts celebrated the start of spring in February.  Yes, there are lots of cold days yet to come, but the early signs of spring have begun.  For early risers, we finally start to observe earlier sunrises.  (These technically start around January 10, but they’re slow getting out of bed.)

You might think the ideal season for a book on spooky stuff, like Sleepy Hollow, would be timed for release in the fall/winter cycle.  Not necessarily.  Both Holy Horror and Nightmares with the Bible hit the market after Halloween.  Normal people’s thoughts had shifted to Thanksgiving.  I’m pleased that Sleepy Hollow will be released a bit earlier.  Summer is ideal for Halloween-themed books.  And yes, I devote a chapter to Halloween and the Headless Horseman.  They are closely related.  So I was glad to receive McFarland’s spring/summer catalogue and find my book on page two.  I don’t have a publication date yet, but I’m looking forward to being part of the discussion about one of my favorite ghost stories of all time.  Speaking of which, it’s almost time to begin gathering firewood for next winter, or at least it will be in summer.  And it’s not that far away.

Still Sleepy

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One thing I quickly learned when beginning work on Sleepy Hollow as American Myth was that the story hadn’t really been studied too much by those with academic training.  There are some exceptions, of course.  Another thing I swiftly picked up is that many people who wanted to write on the legend chose the method of publishing the public domain story with a variety of annotations, essays, and other additions, to make a salable book.  Often these are self-published and not always immediately obvious to the researcher as to whether they contain anything important or not.  I had not run across Christopher Rondina’s Legends of Sleepy Hollow: The Lost History of the Headless Horseman until well after my manuscript was submitted.  I found it in the bibliography of a ghost-hunter version of Sleepy Hollow that wasn’t even published by the time I was going into production.  (It doesn’t even have an ISBN.)

I do have to say that Rondina’s variety of this composite genre isn’t bad.  He includes Washington Irving’s story and expands it with an introduction, and brief chapters considering any historical background that there may be.  He also adds a chapter on modern media of the story that includes one television adaption that I failed to find for my book.  Interestingly, after I’d written the manuscript I discovered Joe Nazare’s similarly annotated version, also with a number of the media I’d analyzed in it.  I’d actually corresponded with Nazare earlier, having discovered his website.  Not wanting to discuss what my book was about until after I sent it in (others have more time to write, perhaps, than I do) I didn’t mention our common interest and didn’t discover his annotated version until it was too late to include as a conversation partner.

Self-publication has perhaps become inevitable since standard publishing is difficult to break into.  And the internet gives anyone the ability to self-publish without too much effort.  It does, however, make doing research a bit more difficult.  I determined early on that I could not review every annotated version of Irving’s story.  I selected a few of the most promising and moved on.  Both Rondina and Nazare had interesting things to say about the tale, and it’s a pity that they weren’t discoverable until after the fact, at least to me.  I like to give credit where credit is due, but any ideas that seem similar to these two sources in my book will have to stand as examples of convergent thinking on the part of fans of the “Legend of Sleepy Hollow.”  I know there are many other fans out there and I hope they find the resources they need to understand the story just a bit better.

This Is Halloween

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He was probably trying to impress his wife with his wit.  I was in a department store—a rarity for me.  I was wearing a mask, because, well, Covid.  As this guy, older than me, walked by he said “Halloween’s over.  Take off your mask.”  It bothers me how politicized healthcare has become, but what bothered me more was that it was only October 20.  It wouldn’t even be Halloween for another 11 days.  What had happened to make someone think Halloween was over so early?  Yes, stores had switched over to Christmas stuff by then.  In fact, I wandered into another store where Christmas carols were playing.  Capitalism seems to have wrenched the calendar out of order.  We’re tired of All Hallows Eve before it starts.  In fact, just the day before we’d gone out to a pumpkin patch to get our goods and the carved pumpkins are now showing their age.

If that little exchange in the store had been in a movie, it would’ve been a cue for me to transform into some big, scary monster.  Of course, Halloween is what it is today because of relentless marketing.  And a handful of nostalgia from people my age with fond childhood memories of the day.  For some of us, however, it is a meaningful holiday in its own right.  It makes us feel good, even after we’ve grown out of our taste for candy.  It is significant.  Christmas is a bit different, I suppose, in that there is nothing bigger following, not until next Halloween.  Besides, Christmas is supposed to go for twelve days.  The fact that Halloween is a work day makes it all the more remarkable.  We have to work all of this out while still punching the clock.

I had really hoped to be able to get to Sleepy Hollow this Halloween.  Sleepy Hollow as American Myth tries to make the case of how that story and Halloween came of age together.  It is the iconic Halloween story, what with ghosts and pumpkins and all.  And the month of October is spent with scary movies for many people.  This month I’ve posted about horror movies every other day, pretty much, trying to connect with my audience.  If that is my audience.  I tend to think of Halloween as a community.  Those of us who, for whatever reason, think of this as our favorite time of year.  A time when perhaps we don’t feel so stigmatized for liking what we do.  A time that we’re not hoping will shortly end so we can get onto the next thing.  It may have been meant as a joke, but I wasn’t laughing.  Happy Halloween!

Ichabod’s Body

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Maybe you’ve noticed this.  When Halloween comes around, the Headless Horseman and the Legend of Sleepy Hollow reemerge.  There’s a reason for that, and I discuss it quite a bit in Sleepy Hollow as American Myth.  Right now there seems to be quite an interest, or maybe I’m just noticing it more.  For example, a local theater where we saw a Poe performance last year is offering a Headless Horseman show this year.  Articles have recently been appearing on Tim Burton’s Sleepy Hollow movie, given that it was released 25 years ago—online discussion, however, is often eclipsed by the Fox television show by the same name.  And before it switched over to Christmas decorations, Michaels had its share of Sleepy Hollow merchandise.  Halloween and the Headless Horseman go together.  (Read the book to find out why!)

One of the tchotchkes I picked up at Michaels was Ichabod Crane’s tombstone.  In the many renditions of Washington Irving’s legend, Ichabod is treated as the protagonist of the story.  Although Tim Burton’s movie wasn’t the first to have Crane survive, besting the Horseman, the old wives’ tales, according to Irving, had him spirited away by the Horseman.  That’s why I found his gravestone so interesting.  The dates on it (1787–1857) indicate, at least according to this recension, that he died at seventy, surely not the victim of the attack that took place around the turn of the century.  If you’re not familiar with the original story, Irving set it “some thirty years since” the 1820 in which the tale was published, putting the events around 1790.  Burton shifted this to 1799, partially, I suspect, because that was two centuries before the release of his movie.

I do wonder where the maker of the Michaels tombstone got their information.  According to their reckoning, Crane would’ve been but three years old in 1790.  Of course, the story never tells us his age.  Since it is intimated that he relocated and became a judge after dabbling in politics, all of which would seem to indicate that he was a somewhat young man at the time of the tale.  To make Sleepy Hollow scary, though, having Crane cut off in his youth would seem to be more in keeping with the spirit of the season.  Of course, Sleepy Hollow is a legend that has become mythic through its many retellings.  Enough of them that someone could write a book about it all (ahem).  And this is the time of year to ponder it.  

Seasonal Poe

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The more I read of and about Edgar Allan Poe, the more convinced I become that he wasn’t as associated with horror in his own mind as he has become.  As one of the earliest American writers, he has become the icon of those who wrote on the dark side.  His contemporaries—Washington Irving, Nathaniel Hawthorne, and Herman Melville—did as well, but it was Poe who became iconic.  On a recent trip to Michaels to take in the seasonal ambiance, Poe’s presence was difficult to ignore.  I wasn’t prepared to shoot a photo-essay (I’m not sure how they feel about such things in a store, in any case) so I didn’t photograph all the pieces.  “The Raven” is frequently referenced, with typewriters with the poem emerging and large, ominous black birds about, but Poe himself also appears.  There are, of course, painted busts of Poe.

But Halloween has grown more whimsical over the years.  Arguably for my entire life it has been primarily a children’s holiday, but many have noticed that those of us who grew up with Halloween have retained adult interest in it.  Part of this is no doubt commercial since the captains of industry have learned people will spend more on Halloween than any other holiday except Christmas (I do discuss this in my forthcoming book).  And indeed, the Headless Horseman appears quite a lot as well.  Irving, however, isn’t there on the ground.  Poe is.  The whimsical part comes through in showing the humor of the season.  For example, although Poe is shown in the noble bust format, he’s also portrayed (fully clothed) on the toilet.

Finally, there were figurines of a fanciful tombstone of Poe.  They even got the dates correct.  Now, there’s more to be said regarding the comparison with Irving.  You can find the Headless Horseman on the toilet as well (along with Dracula).  You can find the Horseman in bust format as well.  When it comes to tombstones, however, the fictional Ichabod Crane shows up alongside the nonfictional Poe.  That casts a certain light on Irving’s most famous story.  I’ll save that for another post, however, since authors are expected to repeatedly plug their books.  I left Michaels strangely reflective.  Poe-themed merchandise is fairly typical any given year, but since we’re having our first Halloween party in some years, and since I’ve been exploring Poe’s range as a writer, this clear abundance of Poe as an icon gave me pause.  As if I were coming within view of the melancholy house of Usher. 

Under Construction

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It’s fascinating, watching a book taking shape.  Just yesterday I noticed Sleepy Hollow as American Myth is now up on McFarland’s website.   And yes, it’s on Amazon too.  Go ahead and preorder!  (It hasn’t made it to Bookshop.org yet, though.)  I have to say the feed to Amazon was much quicker this time than it was with The Wicker Man.  That book took several weeks to appear, probably because it was with a UK publisher.  Yes, it does make a difference.  Now the trick is to try to get people interested in the Legend of Sleepy Hollow again.  I’m thinking I ought to join Historic Hudson Valley.  They might be interested in such a book.  It is, in a sense, right in their back yard.

The thing about writing a book is that you come to suppose other people are interested in your obsession.  I know that Sleepy Hollow is deeply embedded in American culture.  I also know that some of the fandom began to die down when Fox’s Sleepy Hollow went off the rails.  Most analysts suggest, with good reason, that the show failed when it began foregrounding white characters and writing Americans of color into the background.  A great part of the appeal was the melting-pot aspect of the cast, no doubt.  In the book, however, I suggest a somewhat different reason for the decline.  It’s one I’ve seen no one else suggest.  I’m hoping that we can both be right.  In any case, that was the fandom that got this book started.

You see, I had written my first popular culture article on the role of the Bible in Sleepy Hollow.  That article, published in the Journal of Religion and Popular Culture, led to the book Holy Horror.  I was already thinking about a project around Sleepy Hollow then, but I had a couple more books to finish first.  I’m excited about this one because it marks a move away from publishing primarily about religion to publishing primarily about a story.  There’s still religion there, of course.  We have the Old Dutch Church to pay mind to, but there’s even more about the Headless Horseman, and Ichabod Crane.  And so much more!  Sleepy Hollow as American Myth was a lot of fun to write.  I’m not sure when the book will be out, but I’m hoping next year.  Maybe if I can generate a little excitement around this Halloween—it is closely connected with the story, as I explore—there’ll be some interest next time.  Until then there are still plenty of steps to be taken. 

Summerween

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Okay, so why didn’t anybody tell me?  Well, I suppose it’s because few people know me.  But still, I had to find out about Summerween from the New York Times.  Folks, I don’t spend a lot of time online.  I work long days and I read books and mow the lawn.  I just don’t have time.  I wasn’t aware that Summerween was happening.  Interestingly, the idea got started from Gravity Falls, an animated television show based on Twin Peaks and The X-Files.  I actually watched this show because a couple of young friends, who spend a lot of time online, started showing it to me.  I didn’t remember, however, that in one episode the population of Gravity Falls decides to celebrate a second Halloween in the summer.  And now internet influencers (I’m more of an unfluencer) are popularizing the holiday.  

The need for spooky holidays is encouraging to me.  I’ve long been exploring the spirituality of the unexpected, and Summerween has the possibility of contributing to it.  According to the New York Times article there’s no set date for the celebration.  It’s more of a party aesthetic, but, the story notes, Michaels, the arts and crafts chain, has already caught on and is stocking scary summer decorations.  I have long opined (and fifteen years is a lot of daily posting—nearly five-and-a-half thousand of them) that people are afraid.  That’s why they run after unlikely political leaders and seek shelter beneath the wings of the Almighty.  Horror movies, and Halloween, simply bring this out into the open.  And what’s wrong with having a little fun with it along the way?

By the by, if you haven’t checked out Gravity Falls, you don’t know what you’re missing.  It’s a Disney production and it’s aimed at a younger crowd.  That’s one of the disconnects I experience here: Halloween is something younger people love.  At work I can’t count the number of people who’ve said (not to me directly, since few speak to me that way) that Halloween is their favorite holiday.  I guess you wouldn’t expect to find a kindred spirit among old guys who edit biblical studies, of all people.  I venture to guess that any of them would be surprised to learn that someone of my vintage even knows what Gravity Falls or Summerween is.  Well, they’d have been right about the latter, had it not been for an article yesterday in the Gray Lady.  And what a more adult way to find something out might there be?

Copyright: Disney. Summerween trickster, Gravity Falls

Out of Season

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Culture fascinates me.  And one of my favorite aspects of culture is holidays.  I realize that’s a privileged thing to say but were we living among the hunter-gatherers I’d probably have ended up a shaman.  In any case, I had my eye on Stanley Brandes’ Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond for some time now.  Like most observers of lugubrious culture, I’ve noticed the symbols of el Día de los Muertos creeping into Halloween displays in the United States for many years.  I knew that the Day (properly Days) of the Dead was connected in some way to All Saints and All Souls days.  I wanted to find out more, however.  Now, I know that one source doesn’t give you all the information, but time is limited and Brandes was recommended.

This book contains a lot of information.  I am, however, a worker in the publishing industry and that made me wonder a number of things.  The trim size (dimensions) and cover design suggest this is a textbook.  I suspect Blackwell (the publisher) wanted it so.  It is, however, written for ethnographers.  I’ve read enough anthropology over the years to have an idea of how this works, but inside the book it seemed that this was a toned-down academic monograph.  It doesn’t use a lot of technical terms, but the writing is geared toward other ethnographers, it seemed to me.  There is a bit of a dilemma here.  If you’re wanting an authoritative book you generally go to academic publishers, such as Blackwell.  On the other hand, sometimes you just want an overview that doesn’t get lost in the weeds.

The fault is entirely my own, I realize.  And I don’t mean to criticize since I learned an awful lot from this book.  Nothing is ever simple, not even holidays.  Especially holidays.  These are times we take from the ordinariness of daily living to find meaning, and often joy, in our lives.  A safe space where work can’t reach us and we can concentrate on celebrating the occasional, the unusual.  The Day of the Dead is, in the eyes of many, an unusual take on the late autumn holidays.  (Halloween is also unusual, but the two holidays are distinct.)  This book provides a lot of information on the culture of Mexico—information that derives from its most famous holiday.  You can tell a lot indeed from looking at what people celebrate.  There’s more going on than meets the eye.

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.

Evolving Holidays

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Holidays evolve.  I noticed this Thanksgiving that protests against the origins of the holiday have grown.  The same is true concerning the “Christmas Wars” every single year.  Some holidays (of which we have relatively few in this country) are disappearing altogether.  What seems to have been overlooked, or forgotten here, is that holidays change over time.  Public analysts and early holiday promoters encouraged government recognition of holidays as a means of bringing the nation together.  It’s easier to do this if we recognize that holidays evolve and the general trajectory is toward becoming more and more inclusive.  There will always be those who protest the “secularization” of holidays, but they share a large part of the Venn diagram with those that believe the Bible is a science book.  Things change.  Evolution is real.

I’m not just writing this because Thanksgiving and Christmas represent holidays from my tradition.  It’s true that they represent what was the majority religion (Christianity) at the time they were established here, but I would be glad for holidays from other traditions to be added as well.  Americans need more time to rest and recharge.  Anyone who’s studied the history of Christmas, say, realizes that its origins aren’t really Christian.  It’s a combination of a Christian alternative to Saturnalia, the recognition of St. Nicholas (December 6), Germanic Yule, and the festival of Roman Calends to start the new year.  Among other things.  Early Christians didn’t celebrate Jesus’ birthday.  Nobody had any idea when it was, but a tradition grew and as it grew from diverse roots it became more and more inclusive.  Why should we protest a day when we can acknowledge its troubled past and look for ways to make it better?  Something for everyone.

Holidays bring people together.  I’ve been researching them for years and I’m amazed to see how those that survive eventually catch on and bring people together for a common purpose.  Think of Halloween.  Masking disguises who we are.  It’s a day when everyone is welcome.  There are those who protest it, of course.  But holidays need not be seen as triumphal celebrations of some past misdeed.  (Here’s a hint from history: almost no historical event is seen as positive from everyone’s point of view.)  Instead, why not embrace those few red letter days that we have and use them to seek a common purpose?  Why not encourage those in positions to make decisions to consider the good of a few more holidays?  Trouble can always be found, but holidays, if done right, may help heal.  It’s the way of evolution.

All of Us

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All Souls is a democratic holiday.   Since Halloween is really the start of the holiday season, we really should keep it, together with All Saints and All Souls, as a time off work.  (If I had the vacation days to do it, I would.)  I realize these are holidays of Christian origin, and some object to even getting Christmas off because of that—hey, some of us think holidays are a great and necessary part of life!  Of course, I’d be happy having Jewish or Wiccan holidays off too.  Halloween and Christmas are generally secular holidays these days, but that makes them no less meaningful.  In any case, All Souls is the day we commemorate the dead who may not have been recognized as saints.  Like the Day of the Dead, it’s a time to reflect on those we’ve loved and lost.  I always find the naming of our departed especially moving.

Doris Ruth Miller

Among northern Europeans (they aren’t all bad guys) the steps into November were a liminal time.  The restless dead might attempt to return and the living should pay their respects.  The church tried to address this through All Saints Day with its exalted music and ceremony.  Like an afterthought, it seems, All Souls was a time to remember those who are the majority.  The unrecognized, the non-famous, but often very good folk without whom sainthood would be impossible.  You see, I truly believe that most people try to live the best way they know how.  They struggle, yes, and they may have made bad decisions based on what they knew at the moment.  They were, after all, human.  The church set aside November 2 to pause and consider that death comes to all of us.  Winter is on the way.

Winter, in many ways, defines life.  It’s a time in which disaster comes to those who fail to plan ahead.  Food must be stored in advance since it will be scarce.  Nights will be long.  Even keeping warm will be a challenge.  And it can come at any time now.  Some years snowstorms come on Halloween.  And even if no snow falls we enter that fallow time when we’re forced to sit and wait.  It is nature’s way of saying, “Stop.  Reflect.”  Those already departed on All Souls are missed by those of us who remain.  We put on another layer, or perhaps turn up the thermostat, trying to distance ourselves from the chill.  We look to Thanksgiving, and Christmas soon to follow.  And those who perceive subtleties know that hope of spring begins early in February.  The souls who’ve already gone on know more than we, and the least we can do is remember them once a year on the holiday meant for all.