Ghost Stories

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Those of us who confess to watching horror are fond of noting that the Christmas season has long been associated with ghost stories.  Charles Dickens wasn’t the first to make use of the trope and certainly won’t be the last.  After reading about elevated horror movies, I decided to watch A Ghost Story (David Lowery, 2017).  Many wouldn’t classify the film as horror at all.  It is quiet, slow paced, and has no gore.  It is nevertheless a haunting film.  I suspect its poignancy comes from a situation we can all imagine and which many people face in life—being left alone after the death of a loved one.  The idea that the dead never really leave us can be both comforting and unnerving at the same time.  The film plays to those strengths.

The premise of the film is simple: the ghost of one of a couple finds his way home and tries to reconnect with his widow.  He ends up staying there until, many owners later, the house is demolished and a high-rise is built in its place.  It’s essentially a story from the point-of-view of the ghost.  There isn’t too much dialogue included, but one significant monologue comes when a party is being held.  One of the party goers, or perhaps the current owner of the house, explains that because of what we know of physics everything on our planet will eventually be destroyed.  His beer-fueled lament is that whatever we do is therefore in vain.  He brings God into the discussion.  The ghost listens intently, but seems to disagree with his conclusions.  For someone like me the introduction of religion into the story is a Venus fly-trap, since religion and horror can’t seem to keep away from each other.

Death is a dilemma, a point that I made in a recent Horror Homeroom article on Pet Sematary.  Horror, like religion demands that we confront it.  Science can only offer cold comfort regarding the cessation of life.  Religion (and horror) open the dialog into the unknown, the realm into which mere human instruments cannot reach.  Sad and reflective, A Ghost Story hits on an essential question in the nexus of religion and science.  If a spiritual world exists, there may be some survival even of the earth’s eventual heat death.  As time passes, the titular ghost continues to learn.  Life is a learning experience, and although many modern forms of religion join in the cultural denial of death, horror is always ready to remind us that confronting it may be the wisest course of action.  Ask the ghost.  He knows.

Remaking King

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Pet Sematary is (or was), according to Stephen King, his most bleak book.  The first movie made from it (Mary Lambert, 1989) never reached the iconic status of The Shining or Carrie, but it nevertheless conveyed the dread of resurrection.  It also followed the novel pretty closely.  The new movie version, which came out last year, uses the more slick, modern horror style that just doesn’t have the same feel as the slow pace of dread.  The whole thing feels rushed to fit too much in.  It does add some nice touches, however.  Borrowing the creepy animal masks of The Wicker Man, it adds a religious procession of children to the eponymous cemetery right at the start and uses a mask to add menace at the end.  There will be spoilers here, so if you’re even slower than me at getting to movies, be warned.

The main source of fear, which is only shown a couple of times before the accident, is the speeding Orinco trucks along the road that kill people and pets.  Since horror is an “intertextual” genre there are several knowing nods toward the 1989 film, sometimes lulling the viewer into a false sense of security.  (Can you have security watching horror?)  King’s novel, and the original movie, point to the impending death of Gage, the young son of the family.  Faking out the viewer, the new film has the truck killing Ellie, Gage’s older sister, instead.  While this must’ve made Jeté Laurence’s role fun to play (for the dead child comes back—and when the monster is a fragile little boy of four or five it’s hard to believe) but it interferes with the explanation of death to her that makes up so much of the story.

Why the wendigo is brought in only to be dropped is a mystery.  The wendigo would make for a great movie monster, but trying to squeeze mention of it into an already crowded plot doesn’t really help.  The ending of the new movie is well set up, and the realization that she’s living dead on the part of Ellie is well played out.  Otherwise the film assumes the watcher already knows how it goes.  I suppose that’s a perennial problem with remakes.  The source of horror in the novel and in both films is the idea that the dead can come back.  It’s an ancient fear and one with which all of us eventually deal.  Now that the nights and early mornings are turning cooler and darker, movies like Pet Sematary come readily to mind and we know the horror season has begun.

The Power of Literature

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Among the uber-wealthy families that America has produced were the Dukes. Most famous for the university that bears the family name, they made their money in tobacco and then electricity. And what a lot of money it was! Although many people can point to North Carolina as the home of Duke University, many don’t realize that they liked to vacation in New Jersey. A large property, regally landscaped, rests just outside the unlikely town of Hillsborough. When the last Duke heir died, the foundation opened the property to the public, taking Green initiatives to heart. It’s good to see money with a conscience once in a while. Since we’re not far from Hillsborough, when cabin fever sets in and there’s actually sunshine on a late winter weekend, Duke Farms is a convenient getaway for a few hours.

Surrounded by a rock wall, the main property once housed luxury that most people will never experience. Ancient sycamores line one avenue that leads to a coach barn far nicer than the houses hoi polloi live in. Although we’ve visited the grounds many times, we haven’t seen all of it by a long stretch. Over the weekend we came across a gravel trail we’d never taken. The main avenues are wide, blacktop, pedestrianized boulevards that lead past aging structures, fountains, ponds, statues, and quaint bridges. The gravel trail meanders back and forth through small hills and glens, and it’s easy to believe you’re in the middle of the woods from time to time. At the top of one of these hills we came to the pet cemetery, amid the leafless trees.

We can all understand the emotional attachment to pets. Even the wealthy feel it. The cemetery was large for non-humans, with stones going back to 1953. Even a pair of camels were buried there. I can’t visit a pet cemetery, however, without thinking of Stephen King. It was a blustery, chilly day. We were alone on this remote trail we’d just discovered, and thoughts of resurrection didn’t seem that far fetched. The rich, after all, can do anything they please. Nevertheless, there was a pathos here. We were being given a glimpse into private lives. The names of other people’s pets, and sometimes their species. The things that had touched the monied class deeply. I’ve buried a few pets in my time, and it is always a solemn activity. One from which not even wealth can protect anyone. And here was another testament to the power of literature. Groping for a way to understand this place, a favorite horror novel seemed just about right.

Come Forth

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the_lazarus_effect_2015_film_posterHorror movies provide a strange consolation at times such as this. When evil has overtaken democracy, it’s almost like strategy, watching how fictional characters deal with things that are wrong, things that are too close to real life. The Lazarus Effect has been on my watch list since the last sane presidential administration, but need finally dictated that I watch it. The premise is clear from the title—Lazarus is universally known as the dead man who came back to life. A group of medical researchers at a university in California find a way, through direct stimulation of the brain, to bring dead animals back to life. The idea is that they will give surgeons more time to resuscitate critical patients if they can get the formula right so that it works on people. An evil corporation steals their discovery and they have just a few hours to replicate the experiment to prove they are the ones who perfected it. Predictably one of them (Zoe) dies and her fiancé brings her back to life. Mayhem ensues.

Those who’ve seen Pet Sematary will find many similar ideas covered here. Those who come back from the dead are somehow distorted versions of their former selves. Those who do the resurrecting end up dead at the hands of the modern-day Lazaruses. There’s not much unexpected here except that Zoe, a Catholic, ends up in Hell. There’s quite a bit of talk about religion versus science—what really happens when you die. Zoe, despite being a practicing Catholic, has never been forgiven for her childhood sin of setting a fire that killed some neighbors in the apartment building. Religion and horror sharing the screen is something fairly common, but it is seldom as forthright as it is here.

Resurrection—necessarily a religious concept—is a frightening prospect. Horror films have shown many times that this is a miracle that just shouldn’t happen. At least not on this plane. (Those who’ve watched Re-animator know how bad the consequences could be.) Scientists, generally unbelievers in the cinematic world, just can’t accept either an afterlife or death. Using technology to challenge a godless fate, they inevitably end up losing. So it is in The Lazarus Effect. Some biblical scholars have suggested John’s rendition of the story is a kind of biblical horror tale. I mean, Lazarus had been dead four days in the warm climes of the Holy Land. His resurrection seems to have ended up well, however. Then again, there is an inherent difference between science and religion. Neither one, however, is now really in charge.

Dead of Winter

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WinterPeopleOne of the commonalities of all religions, I used to tell my students, is the concern with death. Not that all religions react to it in nearly the same way, but the fact is no religion ignores it. For people, obviously, our awareness of our own mortality marks us as indelibly as our birth does. Once we become aware of death, we will never be able to forget it. This inevitability fuels many horror stories, whether literary or cinematic. When I saw Jennifer McMahon’s The Winter People, I knew that I would read it. Like most book consumers, I had to wait for the paperback edition, and once it was on offer I got a copy and waited for winter. Well, this year I’m still waiting for winter, but I began reading the story once the nights were long enough to qualify. It is an appropriate story for the season and it introduces what might be considered a kind of monster as well. Like most monsters, however, sleepers are not evil. The undead, however, have to find a way, ironically, to live.

The Winter People is a sad story, and tangled in the way that makes for successful novels. The main issue at play, however, is that with which all religions are concerned. Death is perhaps the most noble of literary subjects. Since we all have to face it, it is universal and yet somehow frightening. Fear of the unknown. The dead, unlike in the stories, don’t really come back to tell us what it’s like. Even those who do, in fiction, give us a distorted view. Theirs is a world inverted from our experience of it. It lacks finality. It is a place between. There is a macabre logic to it.

The living have never been comfortable with the dead. Memory reminds of who they were. McMahon is clear, in her vision, that memory is not who they are. We put them underground, but theologically we can’t let them go. Heaven, Nirvana, Purgatory, reincarnation, or even Hell—we feel that we need to give our dead a sense of place in a life after life. McMahon builds a sober mystery into her non-final afterlife. There are some, I’m sure, who will be kept up at night by her imagination. For me, I now have something to ponder. Many are the stories, like Stephen King’s Pet Sematary, that warn of resurrection. We can’t keep the departed with us, and winter, when it comes, is a season of harsh reality.

Skullduggery

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Perhaps it’s just what I deserve for reading Stephen King’s Pet Sematary, or maybe it is just one of the perks of living in New Jersey. On the front page of today’s New Jersey Star-Ledger is a story of grave robbery. Two recent graves, one eerily reminiscent of King’s novel, have been plundered for what officials are calling a “non-traditional religious practice.” If the locally popular magazine Weird NJ is to be believed, the state hosts many religious groups that fall into the non-traditional category. This is a predictable by-product of religious freedom; some people find religious fulfillment in idiosyncratic rituals. And all religions are concerned about death.

“Some religious sects use human remains in ceremonies,” the journalists state matter-of-factly. The concept has an ancient pedigree, even in orthodox varieties of religion. The macabre practice of keeping a bone, or occasionally a whole body, of a saint for veneration is cut from the same cloth. In King’s novel, the darker side of resurrection is explored. We miss our dead, but do we really want them back here with us? The use of human bones is disturbing because it suggests the rest and sanctity of the dead has been violated. Perhaps a Halloweenish horde of restless deceased will be unbound among us. We prefer our dead to be left in peace.

Perhaps it is that lives filled with the turmoil of our frenetic scramble to stay ahead of tragedy look forward to death’s eternal slumber. Anything that suggests the dead have been disturbed sends ripples through the psyche of the living. While visiting an ancestral plot some years ago, I discovered that vandals had tipped over the tombstone where my great-grandfather and several great uncles rested. No caretaker was on duty at the remote cemetery, so I found the address and mailed a request to have the stone set back in place. The image of that fallen stone distressed me for several days. Those who rob graves likely do not take the distress of family into account – their religion requires human remains and we attach great significance to the inert matter that used to be one of us. It is an impasse. Religions make demands and those who get in the way, either living or dead, often end up violated.

Even the dead mourn