Hardly anybody likes H.P. Lovecraft’s short story The Dreams in the Witch House. Even H.P. Lovecraft didn’t like it, and subsequent readers have generally considered it one of his worst.

And, by pretty much any objective measure, it’s  a bad story. For one thing, there’s no surprise or subtlety to it—Lovecraft beats the reader over the head with the legend of Keziah Mason, and her rat-like familiar, Brown Jenkin. I think he was trying for ambiguity, but he was failing spectacularly at it. Walter Gilman, the doomed protagonist of the tale, should be able to see what’s coming a mile away; the reader certainly can. 

In a good weird tale, there should be some question as to whether the supernatural doings are real, or simply a hallucination by the protagonist. Lovecraft was trying to do this, but he didn’t. The evidence favoring the supernatural explanation is simply overwhelming. And needlessly drawn out. When an author tells you on page one that a witch and a rat-like monster are up to no good, the final page should contain a bigger pay-off than “a witch and a rat-like monster were up to no good.”

Lovecraft, I’ve come to realize, had no idea how to hint or imply something. This is a problem when writing horror, because it is a genre that depends heavily on subtle hinting. And Lovecraft kind of knew this, but he couldn’t do it. So what he would do instead is write this:

“Eventually there had been a hint of vast, leaping shadows, of a monstrous, half-acoustic pulsing, and of the thin, monotonous piping of an unseen flute—but that was all. Gilman decided he had picked up that last conception from what he had read in the Necronomicon about the mindless entity Azathoth, which rules all time and space from a black throne at the centre of Chaos.”

He seems to have believed that by prefacing an outright statement with “A hint of…” that it would count as an actual hint.

Also, there are a number of lines that just sound downright silly. Like:

“What made the students shake their heads was his sober theory that a man might—given mathematical knowledge admittedly beyond all likelihood of human acquirement—step deliberately from the earth to any other celestial body which might lie at one of an infinity of specific points in the cosmic pattern.

Such a step, he said, would require only two stages; first, a passage out of the three-dimensional sphere we know, and second, a passage back to the three-dimensional sphere at another point, perhaps one of infinite remoteness.”

It sounds so easy! And then we have this masterful bit of understatement:

“May Eve was Walpurgis Night, when hell’s blackest evil roamed the earth and all the slaves of Satan gathered for nameless rites and deeds. It was always a very bad time in Arkham…”

In addition to these technical flaws, Witch House is one of Lovecraft’s nastiest tales. The sacrifice scene at the end is grotesque, and of course, it wouldn’t be Lovecraft without casual racial bigotry. What’s truly odd is that Lovecraft creates a story in which the poor, un-educated, and superstitious immigrants are clearly right in their beliefs, and the WASP upper-class is demonstrably wrong, and yet Lovecraft likes the WASPs better anyway.

It’s a badly-constructed, badly-written, and badly-paced tale, with a heavy emphasis on gore and none of the subtlety that Lovecraft at his best was capable of. And it comes with a side-serving of class arrogance and racial hatred. (BTW, I am a descendant of Eastern-European immigrants to the northeast United States, rather like the ones Lovecraft treats with utter contempt in this tale. Who are you calling “clod-like,” HPL?)

So, why do I re-read this horrible little tale every April?

Part of it is, I read it for the first time as a college student during spring term, and so I had some instant sympathy for poor Walter Gilman. Studying for exams is stressful enough without being abducted by long-dead witches and taken into other dimensions.

Also, Gilman is, in his own way, kind of heroic. He does ultimately fight back against the evil cosmic forces, and to some extent succeeds in thwarting them—even if it doesn’t work out well for him. Unusually for a Lovecraft character, he doesn’t just observe the horror and go mad, but takes some sort of corrective action. I kind of like that, even though the scene itself is six different kinds of ugly. (Also: why does the witch recoil from the crucifix? Oops, did someone have to undercut his entire atheistic literary philosophy in order to make his plot resolve itself?) 

And finally, this book introduced me to Walpurgis Night, which is a great way for a Halloween-obsessed lunatic such as myself to get a mid-year fix. It’s not the really strong stuff, but it can keep me going for those long six months.

In his essay Good Bad Books, George Orwell defined same as “The kind of book that has no literary pretensions but which remains readable when more serious productions have perished… They form pleasant patches in one’s memory, quiet corners where the mind can browse at odd moments, but they hardly pretend to have anything to do with real life.”

This is what Lovecraft and a lot of the “pulp” writers of the era were doing. There aren’t any pretensions about these kinds of stories. (Indeed, since Lovecraft never intended to publish Witch House, he had no reason to be pretentious.) 

That’s probably why stories like Witch House, that suck by standard measures, still have this quality of being re-readable. They’re authentic—when you read Lovecraft, you’re not getting what editors and publishers thought was a good book. You’re getting undiluted “Yog-Sothothery,” as Lovecraft called his peculiar style, straight from the bottle. 

It’s almost like Lovecraft, in spite of his prejudices and unwillingness to curb his own bad writing habits, was able to tap in to some core principles that make for a good horror story.

Describing Keziah Mason, Lovecraft wrote:

[S]ome circumstance had more or less suddenly given a mediocre old woman of the Seventeenth Century an insight into mathematical depths perhaps beyond the utmost modern delvings of Planck, Heisenberg, Einstein, and de Sitter.

Similarly, it seems as if some circumstance gave a mediocre man of the 20th century an insight into writing horror that is perhaps beyond many modern practitioners of the genre.

This is just a video of a bonfire I had on April 30 a couple years ago. Not really related, but do you know how hard it is to find free images associated with Walpurgis Night?

I’ve talked before about the story that first made me love horror–the “Wishbone” children’s adaptation of Sheridan le Fanu’s Green Tea.  But there was another book I got for Halloween that same year that was probably just as important: Bunnicula, by Deborah and James Howe.

Bunnicula is the first in a series of children’s books. All the books are narrated by “Harold,” a pet dog whose owners find a small rabbit at a cinema showing of the original Dracula film–hence the name. Harold sees Bunnicula as simply a sweet little bunny, but the family cat, Chester, begins to suspect there is more to the little creature when he finds vegetables lying around the house, strangely drained of their juices.

Chester comes to believe that Bunnicula is a vampire, sustaining himself by draining the vegetables. Harold believes his friend simply has an over-active imagination. Throughout the series, the major conflict is between the practical Harold trying to keep the peace, and Chester, who sees, or thinks he sees, supernatural danger lurking everywhere.

Yes, these are books for children, and they’re not even meant as “scary” books for children–they’re just humorous tales that reference classic horror tropes. But even though it’s a children’s series, it has some concepts that I love. The opening of the first book: a showing of Dracula, in an old movie theater on a rainy evening, is a perfect beginning for a scary story. And it was never settled whether Bunnicula really was a supernatural being, or if it was all in Chester’s imagination. Even when the conflict gets resolved, there are differing explanations as to why. Chester always has his own idiosyncratic reasons for ceasing to threaten Bunnicula.

Oh, and there’s also a dachshund who might be part werewolf later in the series. That in itself is a brilliant concept.

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Look at this–it’s almost like a Hammer Horror film poster!

But I think the illustrations by Alan Daniel are the biggest part of what makes the series so good. They are done in a realistic, sketch-like style that feels grittier than the tone of the writing–in a good way. The whimsical prose works well with the serious sketches. (Admittedly, it might also be due to my personal memories as well–when I see those drawings, I turn back into a nine-year-old boy reading by himself at the library on a gloomy autumn night. Nostalgia is a powerful thing.)

While looking up the relevant facts about Bunnicula for this post, I discovered that it has been adapted into a series on the Cartoon Network. I have to say, I don’t care for the style of those drawings. Not that they’re bad, and indeed the series may be fine on its merits, but to me, a key thing about Bunnicula is how normal, even mundane, the basic setting feels. The inherent weirdness of a vampire rabbit has to be balanced by ordinary and unremarkable circumstance.

I vividly remember when the family dentist asked nine-year-old-me what I was reading and I answered: “A book about a vampire rabbit.” “That’s sounds weird!” he exclaimed in reply. He was a nice guy, but pretty conventionally-minded, and I think the idea of a vampire rabbit was just too crazy for him. I think I recall this so clearly because it was the first time in my life that someone wrinkled their nose at me and said, with a mix of incredulity and suspicion, “Why are you reading such weird stuff?” (Unsurprisingly, it was not the last.)

I hadn’t thought about it in twenty years, but I’ll bet you Bunnicula was where my love of weird fiction started.

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[As is my wont, I’ll be spoiling everything. Although as you will see, I’m not the only one doing that…]

The Wind is a psychological horror western. The opening scene tells you that this is not going to be a light movie: Elizabeth Macklin (Caitlin Gerard) emerges from her remote cabin, covered in blood and carrying a stillborn baby, while two men stand solemnly outside. The scene then cuts to the men burying the baby and its mother, who is missing a portion of her head. 

There is no dialogue in this scene; just three grim-faced people and two corpses, and the howling wind in a harsh and desolate landscape. The first lines don’t come until the next scene, when one of the men—Elizabeth’s husband Isaac (Ashley Zukerman)—tells her that he and the widower Gideon (Dylan McTee) will be gone for a few days, leaving her alone in her cabin. Elizabeth hardly responds to this, instead simply repeating “How did she get my gun?”

Elizabeth tries to go about her daily routine, but is constantly on edge. As she’s hanging laundry, she is attacked by wolves, forcing her to retreat into the house and shoot the wolves through the door. Or are they merely wolves? The scratches on the door seem awfully high, and strangely fit the shape of a human hand. Later, she finds a goat carcass with its side ripped out—and then encounters it again; seemingly healed and oddly threatening.

The film soon turns into something like a montage of flashbacks and flash-forwards, explaining how Elizabeth found herself in this situation. It moves around so much that I’m not going to try to summarize everything in the order the film shows it. I’ve seen some reviews that complained the flashbacks were confusing, but I didn’t have too much trouble following which scenes related to which. And even when I did, the disordered structure sometimes—with a big exception I’ll address later–makes the gradual revelations more interesting and powerful. It does, however, make the film hard to summarize.

Briefly, what seems to have transpired is this: Elizabeth and Isaac lived alone in their remote cabin. At some point, Elizabeth gave birth to a son, but he was stillborn. They make a grave marker for him with an “S” for “Samuel” carved in a stone. Later, Gideon and his wife Emma (Julia Goldani Telles) showed up, and although Isaac thinks them a bit “funny,” he and Elizabeth invite them over for dinner, where it quickly becomes clear that Gideon and Emma don’t really get along very well.

Emma has some strange ideas about the plains, which eventually become a superstitious fear of them.  She also has a great deal of admiration for Elizabeth and Isaac, both for their toughness and their kindness towards her and Gideon. 

Emma soon falls “ill”—meaning pregnant—and begins to behave strangely. At one point, she’s in such a state of fear over some unseen threat that Elizabeth advises Gideon to tie her to the bed. Emma reads from a mysterious little pamphlet about demons of the prairie, which includes the names of various such spirits. She also hints, ominously, to Elizabeth about her expected baby’s name, asking her to guess it. Elizabeth guesses “Gideon” and then “Samuel,” but neither is correct. After she guesses “Samuel,” Emma says “I’m not a monster.” This is probably the most significant point where the non-linear structure works in the film’s favor—we find out after this scene that Elizabeth’s stillborn was named Samuel. (The name Emma has in mind is, of course, Isaac.)

More strange things happen; both in the present and in the past. Emma believed there was “something out there” at night, and in the present, alone in her cabin, Elizabeth feels the same. An old preacher (Miles Anderson) arrives briefly, and Elizabeth hosts him for breakfast and then allows him to stay in the opposite cabin, telling him not to answer the door for anyone after dark.

Naturally, he arrives back at Elizabeth’s door in a panic that night, screaming that there is “something out there.” Elizabeth, despite her own advice, lets him in, and he asks her why she stays here, since she knows of the evil presence that haunts the land. He then says “Surely Emma would have…” and this horrifies Elizabeth, since she never mentioned the existence of Emma to him. At this point, the man turns into a glassy-eyed monster, and Elizabeth flees the cabin in terror, finding the preacher’s body on the ground the next day.

Elizabeth is increasingly haunted by visions of Emma, or rather, Emma’s corpse-like ghost, appearing to her and saying, “Lizzy, where’s your gun?” She is further disturbed when, on finding Emma’s diary, the entries seem to hint that her child was fathered by Isaac.

Finally, Isaac returns, finding Elizabeth on the verge of a breakdown and contemplating suicide. He tries to comfort her, but soon begins to argue as she insists on the existence of an evil presence. He finds the same pamphlet about demons that he had previously burned, and becomes infuriated with Elizabeth, ultimately tying her to the bed just as she advised Gideon to do to his wife.

As Isaac and Elizabeth fight, she cuts herself free of the ties with a shard of glass and…

Okay, folks, here’s the Big Spoiler! At least, I think it is. I pretty much figured it out five minutes in, when it was clear just how dark this movie was, but anyway…

In a flashback, we see that the pregnant Emma was behaving strangely one night, screaming wildly in the rain, and Elizabeth shot her after wrestling her gun away from her. In the present, as Isaac realizes this, Elizabeth struggles free of her bonds and stabs Isaac in the throat, killing him.

She stumbles out of the cabin, and into the field, and here we get the flashback that made the least sense to me—the reverend, back in his kindly preacher persona, handing Elizabeth the pamphlet about demons. I have no idea when or where in the timeline this was supposed to have occurred. In any case, the film ends with Elizabeth lying wounded on the empty plains.

So, that’s the bare-bones outline, but I’m not sure how useful it is. I said at the beginning the disordered narrative didn’t confuse me too much, but as I wrote this, I realize maybe that isn’t completely true. There were actually a couple scenes where I didn’t know the chronology. That is, I thought I did when I watched it, but thinking about it some more, I’m now not sure they occurred when I thought they did.

There is clearly supposed to be a strong unreliable narrator component to this story. Is Elizabeth just making all this up because she’s paranoid? Does she kill Emma because she’s jealous that she is having a child, and hers died? Or because she suspects Emma is having an affair with Isaac? And if the latter, is she right, or is she imagining all of it? Are any of the supernatural elements real, or are they all just in Elizabeth’s head? Isaac seems to think so, although it seems very hard to account for most of Emma’s behavior by chalking it all up to Elizabeth being crazy.

At one point, Elizabeth is shown reading to the pregnant Emma from The Mysteries of Udolpho, the classic Gothic novel by Ann Radcliffe. I suspect this is actually a sort of double-reference: it’s both a nod to the tale itself, and also to Northanger Abbey, Jane Austen’s satire of Gothic fiction, whose protagonist imagines herself to be in such supernatural tales as Udolpho, though in fact she is not. I think something similar is supposed to be going on in The Wind. 

There were definitely moments when I was worried it was going to turn into It Comes At Night all over again. (Spoiler Alert: In It Comes At Night, nothing, in fact, comes at night.) But ultimately it wasn’t that; not quite. It’s much closer to The Haunting, where it’s truly ambiguous whether there are supernatural beings or if the heroine is just suffering from some combination of grief and serious psychosexual disorder. You could make a case either way, really.

I happened to stumble across this movie completely by chance while checking for some other film at my local theater. I saw the combination of horror and western and was immediately intrigued. Then I started reading the reviews, which described it as a revisionist western with a female lead, a spare, tight script, lots of long silences that say a lot, and gorgeously desolate landscapes that give an overall feeling of isolation. Some also alluded to the way the story is gradually (some complained too gradually) revealed through flashbacks.

All of this could also describe Jane Got a Gun, which is one of my favorite films ever. I absolutely love movies in remote desert settings, and female protagonists are also a plus. The element that differentiates this from Jane, of course, is that it’s a psychological horror flick rather than a romantic thriller. And psychological horror with unreliable narrators is very much my cup of tea.

I know not many of my readers are gamers, but there’s a term from gaming lingo that fits almost perfectly here: modding. At its most extreme, modding is when people build essentially a new game using the underlying assets—physics engines, graphics, music, etc.–from some existing game, often completely changing the plot and tone. The Wind is about what you would get if you did a horror mod of Jane Got a Gun.

And, like most video game mods, it’s kind of rough in places. In particular, the acting here is pretty uneven: Gerard is fairly good, Zukerman (who reminded me a little of Humphrey Bogart) is good, Telles is decent if a little wooden, and McTee…

Well, I’m not going to say he’s a bad actor. Maybe he was following his directions, or maybe the scenes were shot in a hurry, but the upshot is that his line readings are really flat. At first, I wondered if maybe this was deliberate, but I don’t think it is. However, he’s not in it that much.

Wind+Demon+cardThe cinematography, on the other hand, was great. I know some reviewers, who apparently have the attention spans of espresso-drinking hummingbirds, thought it was “boring” and “slow,” but I personally can’t get enough B-roll of the wind howling over desert hills or shutters creaking in the twilight. The film’s only 86 minutes long, for heaven’s sake. And this demon pamphlet! This may sound silly, but seeing it in the trailer was what ultimately convinced me I had to watch this movie. I haven’t seen such creepy drawings in cinema since the sketches at the beginning of The Mothman Prophecies.

Also, there’s a bit of a behind-the-scenes mystery here, in that some people claim this is a remake of a 1928 silent film, also called The Wind, based on a 1925 novel of the same name. I haven’t seen the 1928 film, nor read the book, but seemingly they are also about a woman in a relationship that goes disastrously wrong, and who is driven mad by the howling wind on remote prairies. The demonic element, however, is not mentioned in the synopses of the earlier works. If anyone has seen/read either of these, I’d be interested to know what you think.

Now then, let’s get to the heart of the matter: Did I like this thing or not?

I love unreliable narrators and ambiguity in horror. It’s one of the coolest tricks in storytelling, in my opinion.

But, having seen and written quite a lot of deliberately ambiguous stories by now, I’ve come to realize there’s a dark side to this technique. And no, I don’t mean the dark side that unreliable narrators usually turn out to be bad people.

It is very easy for ambiguity and unreliable narration to become the last refuge of a bad storyteller. Does your plot not make a whole lot of sense? Are your characters’ motivations maybe not so clearly defined, even in your own mind? Hey presto! You can just introduce ambiguity and unreliable narration and suddenly, these flaws disappear. It was supposed to be like that all along! It’s not that your plot doesn’t make sense; it’s that it’s “ambiguous” and “raises questions.” 

I know this because I myself have been guilty of it in some of my short stories. I thought I was so clever for doing it; but I think in reality this can easily become a subconscious crutch a writer leans on to avoid having to actually flesh out the characters, or iron out problems with the story.

And don’t get me wrong: when it’s done well, there’s nothing more satisfying than the feeling of realizing you’ve been reading or watching a different story than you thought you were. The gold standard for me is The Repairer of Reputations, but there are plenty of other examples. 

But like anything that’s so effective, it’s really hard to do it well. Put a single foot wrong, and you make a mess of the whole thing. The Wind does a lot of things right, but it makes a few mistakes—the big one being that it seems so weird from the outset that you’re already primed to be on edge and question what you’re seeing. It walks up and kicks you in the gut and says “All right; maggots! This is a dark and terrifying movie you’re about to watch!”

The best horror doesn’t do that. It seduces you at first. It presents itself as a normal, even borderline cliché story that you’ve seen a thousand times before. And only then, once you think you know what you’re dealing with, does it start to mess with your mind.

I think this is the unarticulated problem at the root of all the complaints about the non-linearity of the plot. The problem isn’t that it’s out of order as such, but that it starts off with a scene that is gruesome, unsettling, and ambiguous. The audience immediately starts asking questions, and—the film not being willing to provide any easy answers—starts speculating about what exactly happened here. And they know, given how grim the tone is, that anything, however horrible, is a possibility.

If you’re planning to pull some twist on the audience, you don’t want them asking questions at the beginning. You want them thinking they’ve got it all figured out, and then you start to slowly make them realize that they don’t.

All that said, this isn’t a bad movie. It’s bold and different, and many of the individual scare scenes are quite well done. There was one jump scare that got me; and I’m pretty hardened against such things. 

And the atmosphere! I know I went on about it already, but these bleak deserts just never get old for me. If anything, I wish the filmmakers had given us more of these windswept plains, let us hear more wolves baying in the distance, until we can’t help but believe that yes, of course there is something evil out there—how could there not be? An extra ten minutes of that at the outset might have made the whole thing work better.

I guess I’d say I was disappointed with the film, but that’s only because I think there’s potential here for something really awesome, and this only scratched the surface. It’s so rare to get a film that even tries to do some of these things, though.

The Wind is not a film for everybody. There’s violence, one (totally unnecessary) sex scene, a childbirth scene that’s gut-wrenching to watch, and a ton of disturbing images. (It’s not exactly shown onscreen, but the film strongly implies how Elizabeth removed Emma’s infant from her after her death.) I have a very strong aversion to films with violence against women, which made some scenes tough to watch.

But if you can stomach all of that, and you like creepy, unsettling psychological horror in harsh, barren settings, it’s worth a watch.

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I got the idea for this story not too long ago, and once I had the outline down, I raced to get it all finished as fast as I could. This tale, which I’m calling a “long short story” (hat tip to Mark Paxson for that idea) is the result.

As I think most readers know, I love conspiracy stories with weird and mysterious elements–Deus Ex, The X-Files, The Mothman Prophecies etc. fascinate me. I’ve tried writing something in this vein before, but that novella left some readers (understandably) unsatisfied. I think I was much more successful with this story–it’s way shorter than Majestic World, but I think it packs just as much conspiracy weirdness into a much tighter package. But that’s ultimately your call to make.

Some other notes:

  • It’s approximately 15,734 words. I say “approximately” because I made a few edits after converting it from a Word document, and I don’t know how to see word count in the Kindle file format.
  • There is some bad language and violence, but nothing too horrible. I think it would probably be rated PG-13 if it were a movie, but these days, who knows?
  • This is easily the fastest turnaround time I’ve ever had between thinking up an idea for a story and actually completing it. Whether that is good or bad is, again, up to you to determine.

That’s all the relevant info I can think of. It’s available on Kindle for 99 cents, and free on Kindle Unlimited.

 

jgsThis is a delightful collection of ghostly tales set on the island of Jersey. Most of them follow classic ghost story archetypes—haunted houses, buried secrets, and wandering female specters, among other things. But each story is well-written, with carefully fleshed-out characters, so they always feel fresh, even if many of them hearken back to ghostly legends of the sort that can be found all across the globe.

I read a lot of ghost story collections like this when I was around 12 or 13 years old, and this one certainly ranks with the best of them. None of the tales are too gory, at least not by today’s standard, but they are certainly quite disturbing—with glimpses of horror that evoke more than is written on the page, just as a good horror story should.

“The Haunting of Longueville Manor” and “The House of Screams” were particular favorites of mine, but every story is creepy and effective. And it was nice to read stories set in a place that I was unfamiliar with—I learned something of the island’s history, in addition to getting some memorable scares.

This is a terrific Halloween read for anyone who enjoys good scary stories. It’s probably too disturbing for young children, but anyone 12 or older is bound to enjoy this collection.

[Many thanks to Twitter user @ESXIII for recommending this book to me.]

51KJSpI02SLEarlier in the year I read Audrey Driscoll’s terrific re-imagining of H.P. Lovecraft’s Herbert West–Reanimator short story, The Friendship of Mortals. So I was eager to read this second book in the series, which sees West changing his name, his home, and most of all, his personality.

The book begins by retelling certain parts of Friendship of Mortals from the point of view of West’s servant, Andre Boudreau, whom West restored to life after he was killed in  World War I. Andre of how he and West flee Arkham, and embark on a wild journey that takes them to various locales across America, with West–now living under the name Francis Dexter–showing unusual flashes of irrationality, romanticism, and guilt that were completely foreign to him in his old life.

Eventually, with West fearing that the law will catch up to him, the pair board a ship bound for Alaska, helmed by an eccentric Russian who, in addition to employing them in his kitchen, holds forth on his vaguely Fortean philosophies that suggest he knows more than he says. Eventually, after a series of adventures including a thwarted mutiny, West and Andre arrive at Bellefleur island in British Columbia. There, Andre finds employment at the local lighthouse and the narration shifts to the perspective of Margaret Bellgarde, a widow whose husband Richard encountered West during the war–though she does not know that the new island doctor Francis Dexter is the same man her late husband wrote to her about.

On Bellefleur Island (as everywhere he goes) West acquires a reputation for his miraculous healing powers, and this despite the fact that he has sworn off the revivifying techniques he used during his time in Arkham. He gradually becomes popular among the denizens of the island, and begins to form close relationships with the inhabitants of the region. It is these relationships that form the central drama that drives the latter half of the book, but I won’t spoil them here. Let it suffice to say that the book ends on a cliffhanger that promises far more will be revealed in the subsequent volume.

The alert reader will have noticed that I didn’t mention much of anything about Lovecraftian horrors, or the Necronomicon, or even of reanimation, in the above synopsis. And indeed, the horror element is greatly reduced here compared with The Friendship of Mortals. The Journey contains elements of many genres–from mystery to seafaring adventure to romance, and even a dash of courtroom drama towards the end; but Lovecraftian elements are at a premium.

In a way, I can see how this might bother some readers. When one reads a book about a character created by Lovecraft, one might reasonably expect a good deal of the old Lovecraftian staples. And when they fail to appear, one might feel cheated.

However, it didn’t bother me much. Here’s why: I felt the whole concept of “Herbert West: He Revivifies The Dead” had been explored about as thoroughly as possible in Friendship of Mortals. To have him simply doing it again in a different place would have been dull. I liked that Driscoll chose instead to transform the character into a man haunted by what he did.

Friendship of Mortals was impressive to me because it reminded me so strongly of Lovecraft. The Journey is a very different beast; and indeed, there is little in it that evoked Lovecraft at all. At times, I almost forgot the origin of the character altogether, and would actually be surprised when I saw a Lovecraft word like “Arkham” or “Miskatonic” on the page. There were a few dashes of horror here and there; and perhaps their very scarcity made them more effective. It made me think of M.R. James’s way of putting flashes of unspeakable horror into what at first appeared to be a mere comedy of manners.

But the author The Journey most strongly reminded me of was Steinbeck. Specifically, East of Eden. That was also a sprawling, sometimes downright meandering tale, which would wander so far afield of the core story that I would forget what the plot was, and sometimes find myself pausing to remember just how I’d come to be reading about these characters, who seemed to have nothing to do with ones I’d started reading about at the beginning.

And yet Driscoll, like Steinbeck was, is such a keen observer and has such a gift for storytelling that I never lost interest. I may not have known how the narrative got where it was, but I always wanted to know where it was going. The Journey is many things, but it was never tiresome or dull. It’s more firmly planted in the “literary novel” camp, as opposed to flirting with the “genre” one like Friendship did, but it’s still an awfully good piece of storytelling, which is the ultimate test of any novel.

There were a few weak points: the courtroom drama I referenced earlier seemed forced to me, and the suddenness with which Andrew Boudreau abandons West to work at the lighthouse seemed unbelievable to me, after all the time he’d served him. There were one or two other plot points that rang false to me as well, but I won’t spoil them here. None of them were so significant as to ruin the overall effect of the book; especially the latter half–I especially enjoyed the characters of Margaret and Captain Bellgarde.

Lastly, there was something that may be of interest only to me, but which I mention because it struck me so: at one point, Margaret develops a migraine headache, which is preceded by a visual disturbance that makes it impossible for her to read. The description of this was amazing to me, because I have had this, but never encountered anyone else who did. The first time it happened to me, I thought I must be having a stroke. It turns out to be a harmless thing called an “aura”, but it’s extremely strange when you don’t know what it is. Naturally, I felt a lot of sympathy for poor Margaret!

The Journey might not be what you expect. It’s so many different things, it’s hard to see how anyone could expect it, frankly. But while it may have its share of rough spots, it also has an incredible way of compelling the reader to keep going, to see what strange development is coming next. It’s an odd and sometimes puzzling book. I think that it might suffer a bit because the people most likely to enjoy it–literary fiction fans–are unlikely to read it because of the association with Lovecraftian horror. But don’t fall into that trap–it’s well worth a read.

printed musical note page
Photo by Pixabay on Pexels.com

I was inspired to write this after reading Audrey Driscoll’s post on the same subject. Audrey lists the music that influenced her writing, some of which she worked into her books, and some of which, as she puts it, “lurk[s] unseen, despite its huge influence”. It’s a good post, and I encourage you to read it.

I don’t usually listen to music with lyrics while I am in the act of writing. That would just distract me. Sometimes I’ll put on a little atmospheric instrumental music that suits the mood, but that’s about it.

But as any author knows, writing a book is more than just the time spent hitting the keyboard. You spend most of the time “writing” a book thinking about it, mulling over plot intricacies and character motivations in your head. And then is when what you’re listening to really plays a role.

I didn’t listen to much music for The Start of the Majestic World, but I did listen to quite a bit of the radio show Coast to Coast AM while I was planning it. That definitely influenced the story. A few times while writing, I did cue up the soundtrack to Deus Ex, because that game was just the right vibe of weirdness I was trying to get in Majestic World.

The Directorate also has relatively few musical influences. I listened to “The Captain” by Leonard Cohen almost daily while I was writing it, as well as assorted military songs and marches, including “Heart of Oak” and “The British Grenadiers”, which probably influenced the militaristic tone of the novel.

For my current work-in-progress, I’ve been listening to Western music and soundtracks from Western films. Also, the folk song “The Bonnie Earl of Morey”, which I currently have referenced in the book itself, though I may yet cut that.

For the most part, in all my work, music is a minor influence. I’m not sure why. Maybe because I’m not very knowledgeable about music, and so don’t think about it that much. I couldn’t write about it the way Audrey does, for example.

But there is one other story I wrote that was much, much more influenced by music than any of the rest. It’s the super-dark tale I alluded to in this post. 

First of all, during the process of writing that one, I was listening over and over again to Kay Starr’s performance of “The Headless Horseman” song. It’s a children’s song, so it’s more cutesy than scary, but for some reason it was running through my head constantly when I wrote this book. I don’t know how to explain, but the light-hearted handling of a rather frightening subject somehow fit very well with my mood.

Then, while I was writing the story, a friend played Blue Öyster Cult’s “(Don’t Fear) The Reaper” for me. I thought the unnerving blend of romance and death was exactly the sort of eerie dissonance I was going for in my book, so I included a reference to the song.

Coincidentally, on the same album that includes “(Don’t Fear) The Reaper”, there is also a song called “E.T.I. (Extra Terrestrial Intelligence)” that references The King in Yellow, which was a major influence on my book as well.

But the weirdest part of what was already a surreal writing experience didn’t become apparent until nearly a year after I had already finished writing the story, when I heard the song “The End” by The Doors.

I had heard the beginning before, in the film Apocalypse Now. But when I heard the full, uncensored version, I was immediately stunned by how well the disturbing imagery Morrison used in his lyrics matched the tone of my book. Images and motifs in each fit together eerily well, as did the song’s general feeling of a slow descent into madness. I felt like Carl Jung or Joseph Campbell could have had a field day with it.

What about you? When you write something do you listen to music, or otherwise let it influence your writing process? Any examples of a song that really fit your work?

Now that I have iMovie back for the first time in a decade, I can do a lot more with videos. So I’ve updated some of the ones I previously put on YouTube. No major changes, so if you have already watched the originals it probably won’t add much, but I like them a lot better, and it’s a fun way to learn more about iMovie’s capabilities.

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If I were George Lucas, I suppose I’d call this a “special edition trilogy” or something.

 

Walpurgis

Blazing torches, starry night,
Walpurgian moon, shining bright–
Walking through the forest, ancient map in hand,
A traveler passes through this cursèd land,
Beset by never-ending blight.

Wind in branches, making moan,
Trees above him list and groan,
A frightful sight he’d be, if any saw him now,
A-coming to fulfill the long-forgotten vow–
But no one sees–he is alone.

Creatures stir upon the hill,
Birds are shrieking, long and shrill,
And yet the lonely traveler presses ever on
Seeking that which is forever gone
But which Time shall never kill.

Works of virtue, works of sin,
All works merge together in
The inkiness of sprawling space above
That covers all on this disturbing evening of
Long-worshiped Hallowmass’s twin.

Blazing torches, starry night,
Walpurgian moon, shining bright–
Within a forest clearing, the unnerving figures stand,
Gazing up at Via Lactea‘s shimmery band,
As if praying to its light.