Friday, October 26, 2012
31 Days of Halloween: GHOST STORIES LIVE!
On Monday, October 29th, the 7th edition of GHOST STORIES LIVE! is going down at Bar 82 in the East Village. GHOST STORIES LIVE! features one new, one true, and one classic ghost story at every event, plus a dazzling cavalcade of freaks, ghosts, puppets, dancers, and more! It will also our one-year anniversary, so rest assured a stellar lineup of bizarre thrills awaits you!
Blake Thompson and Russell Atwood will be reading CLASSIC ghost stories by Ambrose Bierce and Michael Arlen. NEW ghost stories will be provided by virtuoso author Cj Henderson and our Ghost Expert Andrea Janes (a.k.a. Spinster Aunt! a.k.a ME!)
I'll be reading the thrilling tale "A Fitting Tribute" from my book of short ghost stories, BOROUGHS OF THE DEAD. The collection features ten tales of terror all set in and around New York City; each story draws on pulp and Gothic horror traditions, giving the book the air of a classic, old-fashioned creeper. Fangoria Magazine gave it 3.5 skulls (out of 4) and said, “Like the best of the pulps, the narratives are creepy, darkly comical and elegantly composed, with lovingly detailed descriptions of place and an ample whiff of lurid decay.” Basically it's like sitting down to tea with E.A. Poe and Vincent Price.
Speaking of storytellers, we're also going to resurrect our OPEN MIC True Ghost Story segment, so if you've got a ghost story YOU want to tell, be on hand when we invite someone to step up to the mic.
BUT THERE'S MORE!!! a special appearance by Amazing Amy, Contortionist Dancer; viola musical accompaniment from Aya, a rescreening of SidMarty Lovecraft's puppet show, "The Ghost Who Forgot Halloween, and finally to end the evening with a bang! Musical guests WEIRD CHILDREN will rock us into midnite!
Doors open at 7 P.M. on Monday Oct. 29th in the backroom at Bar Eightytwo. Admission for the GSL! part of the show is $5, but if you show up after nine o'clock, the LIVE-BAND portion of the show is FREE!!! It's that time of the year, we're in October Country, and Ghost Stories Live! is doin' it right!
Thursday, October 25, 2012
31 Days of Halloween: A.M. Burrage
I love me a good, multi-initialed horror writer: M.R. James, E.A. Poe, H.P. Lovecraft. And I've been fond of A.M. Burrage ever since I read his short story "The Waxwork" as a child. While "The Waxwork" isn't his best story -- it's a bit shopworn and predictable from the get-go -- it's still briskly written in trademark Burrage style, and there are some insights into the mind of the struggling writer that make it well worth reading. But more on the critical appraisal in a moment. For now, let me begin by imploring you, if you haven't already read him, to pick up some A.M. Burrage stories today. I recently started re-reading his stuff and I've been thoroughly blown away by his strange tales.
The really interesting thing about Alfred McLelland Burrage, to me anyway, was that he was essentially an exclusive short-story writer. He hardly wrote any books at all, but poured out insane word counts in short stories over the course of his lifetime. The only really well-known book he ever wrote wasn't even fiction, but it was horror, in a sense: it was called War Is War and was a memoir of his experiences as a solider in WWI, written under the pseudonym "Ex Private X." Burrage indeed served for fourteen months and managed to churn out a short story every month, even in the trenches.
Economic considerations were definitely a factor in his prolificness -- the magazine market was thriving in the first quarter of the 20th century, and as a man who made his living by his pen, Burrage sought to maximize profits by writing more, and faster, and selling more. But he also seems to have been simply addicted to the short story. I love this idea, because I know firsthand how easy it is to become addicted -- especially in the horror genre. It's been said elsewhere, and probably better than I could say it here, how much more suited the short form is to the supernatural story, so I won't re-tread tired facts. But I will agree enthusiastically that there's something exhilarating about the swiftness and mysterious efficacy of the short tale that cuts right to the heart of things. If it were possible to make a living writing short stories, I'd probably try to do it too.
Though honestly, I'm going to have to credit economic factors with at least 90% of his decision to stick to the short form, since he also churned out cheap romances and adventure stories for magazines with names like Modern Boy. Another bit of evidence is this: though comfortably off as a lad, and raised mainly in exclusive British boarding schools, upon the death of his father when A.M. was only sixteen, he was yanked out of school and hit Fleet Street, pounding the pavement looking for publishing work. That he made a living of it is as incredible as the fact that he'd been publishing semi-professionally in boys' magazines throughout his high-school days. His first payday came when he'd won a short story contest at the age of fifteen, with a trifle called "Chums." He was a born hack, and good thing, because he had to support his mother and sister and serve as primary breadwinner well before the age of majority.
Another interesting, semi-tragic thing about Burrage is this: by the 1930s he found himself without a market. The Crash of 1929 absolutely destroyed the paying market for new short stories as magazines either folded or turned to cheaper reprints for content. The buying public wasn't keen on spending their precious little cash on storybooks either: his incredible 1931 short story collection Someone in the Room was remaindered.
The '30s were a dreadful time for Burrage. He barely eked out a living, and agonized over how to support his wife and son. He began writing for markets he had previously spurned as being too low-paying, and even churned out two pulp novels for the frankly insulting fee of 50 pounds each. But he kept on plugging away somehow, and continued writing and publishing short tales, weird and otherwise, until his death in 1956. His last collection, Between the Minute and the Hour, was published posthumously in 1967.
There is a brilliant scene in "The Waxwork," which appeared in 1931's Someone in the Room and was later reprinted in Alfred Hitchcock's 1962 anthology Ghostly Gallery and adapted for his television show, that describes hard-up writer Raymond Hewson looking desperately for work. It is an uncomfortably autobiographic scene:
His clothes, which had been good when new, and which were still carefully brushed and pressed, were beginning to show signs of their owner's losing battle with the world. He was a small, spare, pale man, with lank, errant brown hair, and although he spoke plausibly and even forcibly he had the defensive and somewhat furtive air of a man who was used to rebuffs.
Hewson pitches an article idea to the manager of the wax museum -- he will spend the night in the Murderers' Gallery and sell the story to an unspecified newspaper. He doesn't know which, exactly, as he's freelancing at present, but "no living editor could turn it down." Hewson doesn't want to do this bit of stunt journalism, but he must:
His soul sickened at the prospect, even when he smiled casually upon the manager. But he had a wife and family to keep, and for the past month he had been living on paragraphs, eked out by his rapidly dwindling store of savings. Here was a chance not to be missed -- the price of a special story in the Morning Echo, with a five pound note to add to it. It meant comparative wealth and luxury for a week, and freedom from the worst anxieties for a fortnight. Besides, if he wrote the story well, it might lead to an offer of regular employment.
Needless to say, things do not end well for Raymond in the wax museum.
Many would deem this story tame, but anyone who's experienced the anxieties of the freelance writer will be absolutely gripped by the chill horror of failure.
There are loads more stories I wanted to talk about, but this post has gone somewhat overlong. Instead of summarizing the tales for you, let me suggest instead you seek them out solo and immerse yourself in the eerie stories of this master of pacing and swift dispatcher of exposition. The briskness and clarity of Burrage's works are bracing, working to undercut the sentiment and reliance on tropes that are so often found in them. It's a great balancing act, and he pulls it off nine times out of ten.
If you'd like more biographical info, there is a wonderfully comprehensive blog post about Burrage on George Simmer's Great War Fiction blog, and the introductory essays by Jack Adrian in the Ash-Tree Press collections are extremely illuminating. But to truly appreciate Burrage, again, just read the damn stories. The Ash-Tree Press collections are reasonably priced, and many of his stories are even available online for free. If you like ghost stories and haven't read "Smee," you really must. Don't be fooled by how innocent it seems.
In a sense, Burrage is really the most modern of horror writers: a highly prolific man without a market. I think most of us have at one point felt the frustration of having only one or two viable publications in which to place our stories, many with lower acceptance rates (not to mention pay rates) than the New Yorker. But like Burrage, we must keep plugging on, for the love of the short story.
The really interesting thing about Alfred McLelland Burrage, to me anyway, was that he was essentially an exclusive short-story writer. He hardly wrote any books at all, but poured out insane word counts in short stories over the course of his lifetime. The only really well-known book he ever wrote wasn't even fiction, but it was horror, in a sense: it was called War Is War and was a memoir of his experiences as a solider in WWI, written under the pseudonym "Ex Private X." Burrage indeed served for fourteen months and managed to churn out a short story every month, even in the trenches.
Economic considerations were definitely a factor in his prolificness -- the magazine market was thriving in the first quarter of the 20th century, and as a man who made his living by his pen, Burrage sought to maximize profits by writing more, and faster, and selling more. But he also seems to have been simply addicted to the short story. I love this idea, because I know firsthand how easy it is to become addicted -- especially in the horror genre. It's been said elsewhere, and probably better than I could say it here, how much more suited the short form is to the supernatural story, so I won't re-tread tired facts. But I will agree enthusiastically that there's something exhilarating about the swiftness and mysterious efficacy of the short tale that cuts right to the heart of things. If it were possible to make a living writing short stories, I'd probably try to do it too.
Though honestly, I'm going to have to credit economic factors with at least 90% of his decision to stick to the short form, since he also churned out cheap romances and adventure stories for magazines with names like Modern Boy. Another bit of evidence is this: though comfortably off as a lad, and raised mainly in exclusive British boarding schools, upon the death of his father when A.M. was only sixteen, he was yanked out of school and hit Fleet Street, pounding the pavement looking for publishing work. That he made a living of it is as incredible as the fact that he'd been publishing semi-professionally in boys' magazines throughout his high-school days. His first payday came when he'd won a short story contest at the age of fifteen, with a trifle called "Chums." He was a born hack, and good thing, because he had to support his mother and sister and serve as primary breadwinner well before the age of majority.
Another interesting, semi-tragic thing about Burrage is this: by the 1930s he found himself without a market. The Crash of 1929 absolutely destroyed the paying market for new short stories as magazines either folded or turned to cheaper reprints for content. The buying public wasn't keen on spending their precious little cash on storybooks either: his incredible 1931 short story collection Someone in the Room was remaindered.
The '30s were a dreadful time for Burrage. He barely eked out a living, and agonized over how to support his wife and son. He began writing for markets he had previously spurned as being too low-paying, and even churned out two pulp novels for the frankly insulting fee of 50 pounds each. But he kept on plugging away somehow, and continued writing and publishing short tales, weird and otherwise, until his death in 1956. His last collection, Between the Minute and the Hour, was published posthumously in 1967.
There is a brilliant scene in "The Waxwork," which appeared in 1931's Someone in the Room and was later reprinted in Alfred Hitchcock's 1962 anthology Ghostly Gallery and adapted for his television show, that describes hard-up writer Raymond Hewson looking desperately for work. It is an uncomfortably autobiographic scene:
His clothes, which had been good when new, and which were still carefully brushed and pressed, were beginning to show signs of their owner's losing battle with the world. He was a small, spare, pale man, with lank, errant brown hair, and although he spoke plausibly and even forcibly he had the defensive and somewhat furtive air of a man who was used to rebuffs.
Hewson pitches an article idea to the manager of the wax museum -- he will spend the night in the Murderers' Gallery and sell the story to an unspecified newspaper. He doesn't know which, exactly, as he's freelancing at present, but "no living editor could turn it down." Hewson doesn't want to do this bit of stunt journalism, but he must:
His soul sickened at the prospect, even when he smiled casually upon the manager. But he had a wife and family to keep, and for the past month he had been living on paragraphs, eked out by his rapidly dwindling store of savings. Here was a chance not to be missed -- the price of a special story in the Morning Echo, with a five pound note to add to it. It meant comparative wealth and luxury for a week, and freedom from the worst anxieties for a fortnight. Besides, if he wrote the story well, it might lead to an offer of regular employment.
Needless to say, things do not end well for Raymond in the wax museum.
Many would deem this story tame, but anyone who's experienced the anxieties of the freelance writer will be absolutely gripped by the chill horror of failure.
There are loads more stories I wanted to talk about, but this post has gone somewhat overlong. Instead of summarizing the tales for you, let me suggest instead you seek them out solo and immerse yourself in the eerie stories of this master of pacing and swift dispatcher of exposition. The briskness and clarity of Burrage's works are bracing, working to undercut the sentiment and reliance on tropes that are so often found in them. It's a great balancing act, and he pulls it off nine times out of ten.
If you'd like more biographical info, there is a wonderfully comprehensive blog post about Burrage on George Simmer's Great War Fiction blog, and the introductory essays by Jack Adrian in the Ash-Tree Press collections are extremely illuminating. But to truly appreciate Burrage, again, just read the damn stories. The Ash-Tree Press collections are reasonably priced, and many of his stories are even available online for free. If you like ghost stories and haven't read "Smee," you really must. Don't be fooled by how innocent it seems.
In a sense, Burrage is really the most modern of horror writers: a highly prolific man without a market. I think most of us have at one point felt the frustration of having only one or two viable publications in which to place our stories, many with lower acceptance rates (not to mention pay rates) than the New Yorker. But like Burrage, we must keep plugging on, for the love of the short story.
Tuesday, October 23, 2012
31 Days of Halloween: The Links of Doom Live!
This summary is not available. Please
click here to view the post.
Friday, October 19, 2012
World Weaver Press Guest Post: Autmunal Spells
Today my contribution to the Haunted October Blog Tour is up at World Weaver Press. Reaching breathtaking new heights of pretentiousness, I talk about autumn, and my favorite poem. Really. The following piece appears on the World Weaver Press blog. Here's an excerpt:
![]() |
| The very edition I was reading! |
Autumn comes slowly in New York City. It is creeping and yellow, with little of the brilliance and ruddy vibrancy you find in colder climates. It is hard to tell precisely when it begins, especially as we are still contending with 70-degree days well into October. Some people still insist fall begins after Labor Day; others, more literal-minded, stick with the equinox. For most, it isn’t fall until it feels like fall.
But for me it isn’t fall
until I start hearing voices.
I know it’s autumn when certain lyrics
start whispering through my mind. Their annual return begins with the first
good, cold, gust of wind; when the first dry brown leaves scuttle behind me
like ghosts; when the slanted, blinding sunlight suddenly catches my eyes –
that’s when the poem bursts upon me and I know fall is here.
Especially when the October wind…
I remember the first time I read these
words. I was fifteen years old and sitting in the park with a paperback copy of
the Collected Poems of Dylan Thomas I’d found at my school library. I wasn’t
sure which poem to start with so, given that it was a warm, tawny, October
afternoon, I figured I’d start with something that seemed apt:
Especially when the October wind
With
frosty fingers punishes my hair
Caught
by the crabbing sun I walk on fire
And
cast a shadow crab upon the land…
My hair may have stood on end. I
remember it standing on end. And I remember that the leaves seem to shiver in the breeze
and the world was suddenly full of fiery shadows crab-walking to the horizon, the
park full of the “wordy shapes of women, walking like the trees” and “rows of star-gestured
children.”
Though the words were abstract, I knew
exactly what this poem meant. And I knew that whatever it was I had been
looking for, I had found it.
***
Want more? Then head over to the World Weaver Press blog, I say!
Thursday, October 18, 2012
A Fish Story

In honor of the 161st anniversary of the publication of Moby Dick, and as a little Halloween present to my readers, I am offering a free short story inspired by Herman Melville.
It's not strictly speaking a ghost story, more of a "cosmic underwater freakout" with ghostly overtones.
Hope you like it anyway.
Enjoy,
XO,
SA
**********************************************************************************
A Fish Story
Dedicated
to Herman Melville
Forty-four years ago… publishers sought
him, and editors considered themselves fortunate to secure his name as a
literary star. And to-day? Busy New York has no idea he is even alive, and one
of the best-informed literary men in this country laughed recently at my
statement that Herman Melville was his neighbor by only two city blocks.
"Nonsense," said he. "Why, Melville is dead these many
years!" Talk about literary fame? There's a sample of it!
—
Edward E. Bok, New York Publishers' Weekly, 15 November, 1890
The night we met I was meandering through the
watery alleys of Lower Manhattan, so absorbed in my own thoughts that had you
not called out my name I would not have stopped at all as I passed you.
Admittedly, your outward aspect singularly
perturbed me, as you were so extremely familiar of face, and still so strange.
Yet when you bade me stroll with you a while I acquiesced, for what else could
I do?
I suppose we made a cosy enough pair, you and I,
as we strolled through the lamplight. We were exactly alike in height and gait;
from a distance one would have supposed we were twins. We walked in silence
until I asked you “Shall we go north or south?” when we rounded the corner at
Pearl Street.
“Oh, south,” you murmured. “Wall Street is as
desolate as a ghost town at night, don’t you find?”
Of course I agreed.
Finally I could not help but ask you, “What is it
you want?”
“I want? I seek you not. It is you that seekest
me.”
“I?”
“I know what you were thinking as you walked the
streets tonight. You were thinking about our work.”
Yes, I had been.
“You were thinking how trifling it is.”
It was true. I had been.
“A monumental work must be written,” you said to
me. “We both know it must. There can be no more of these sailor’s romances. A
truer tale awaits us, a tale that must be told. A tale that speaks of your true
self.”
I heard myself say: “I seek but cannot find this
monumental tale. I feel I’ll have to dash my very brains against the rocks and
pull the story out of the all blood and wreckage.” My words poured forth as
though you had cast a veritable spell on me. “There are unknowable truths but I
know I can hunt them down.”
“Fame is fair game to anybody who can catch it.”
Fame! I should have known then, as I spoke of
truth and you of fame that we would never reconcile the two.
As we stood there in the darkening alleys, I saw
my future suddenly swim before me; its shadows and vague outlines were mere
skeletons, but there was a story sketched upon them.
You were the tell-tale, pointing me toward the
water and the direction in which I knew I had to go. You beckoned me to the end
of Coenties Slip. I followed you down, and soon we were at the edge of the
water.
Your face was the last thing I saw before I
submerged.
I plunged down into the blackness and saw in those
depths a tide of words, a sea of ideas, an unfathomable loneliness.
The current wanted to take me out to where the sea
and rivers mingled. If it wants me, I thought, let it have me. I was swept away
and the words that I saw swimming there were far too grand not to chase. Out in
the depths I was alone. All the eerie, gleaming creatures of the deep were far
away and there was nothing but empty silence. The water was murky; I could not
see. The waves were lapping at my throat. The loneliness was ungodly and the
current was very cold.
I began to feel I was no longer in the ocean. For
a moment my eyes stung too much to open, but presently I managed to squeeze my
lids apart. When I did, it became apparent to me that I was in an enormous
cavern filled with dull and sullen reddish light. I felt as though I were
waking from a deep sleep. As my eyes brought the darkness into focus, I
realized this stagnant abyss was no cavern – I was deep inside a veritable maze
of bones. Between the bones were soft tissues of flesh and, at my feet, a
shallow pool of fetid water with some tiny fish still jumping and swimming in
it. “It can’t be…” I whispered. “I must be dreaming.”
A small, rough axe materialized in my hand and
suddenly, uncannily, dreadfully, I knew that whatever had brought me here
ordained I should have to cut my way out. And so I hacked at the insides of the
poor beast’s belly. “I am sorry to have to cut through your guts so rudely,” I
thought as I tore into him, “but you know I can’t stay in here.”
Cutting through him was a massive undertaking and,
no matter how industriously I worked, there always seemed to be more and more
of him. The flesh, I found, wasn’t flesh at all but that strange substance
known as blubber. It was gelatinous and very pale, and its soft, unresisting
texture made it difficult to cut. If I tried to hack into it like one would a
rock in a cavern or tangled vines deep in a jungle, prodigious oozings of new
fat would appear immediately to take its place, though I could discern not from
whence they came. I was becoming frustrated until I realized it could be pulled
in strips. Once I figured that out I merely grabbed a good solid end of it and
ripped it upward, forming a sort of doorway.
Unsure of what lay beyond it, I moved with caution
but soon discovered it was just a matter of cutting my way through a bit more
skin – a wall, really, but only three inches thick (such a delicate covering
for the epidermis of this massive creature!) Because I had carefully made my
blubber-door between two of the great, curving, shining ribs, the vaulted
ceilings of which brought ecclesiastical thoughts to mind, all that barred me
from freedom was this thin skin which soon was breached.
I was out to sea again.
What was this new adventure? A dream within a
dream? It would seem so and yet I was beginning to have my doubts about the
oneiric nature of this journey. The water felt too cold and deep, produced a
chill in me too real to have come from the realm of sleep. Where will you take
me next, I wondered. Where will your seething breakers take me, where next will
your furious lashings fling me?
To my surprise I wasn’t pulled farther out to sea
but merely floated up to the surface of the water where I was borne upon a
wave. What message was this? What was I to do now? Perhaps a truer poet than I
would have thrown himself farther into the ocean but I fear the sober Dutch
blood in my veins prevailed. I did the commonplace thing: I swam toward home.
I went easily through the Narrows, for swimming in
salt-water is as riding in a spring-carriage to a practiced swimmer, but as I
came in through the bay I met with a staggering sight.
There, floating upon the surface of the calm
waters were dozens, literally dozens, of whale carcasses.
There wasn’t any other way to do it: if I wanted
to get home I would have to swim through them.
There is no name for the feeling this realization
produced in me. All around was horror and blood and an appalling hell of decay.
The waves were pointed triangles of water lapping like little teeth against the
dead fish awash with streaks of bloody foam like the effluvia of a rabid
animal. The whales themselves looked as though they had been sucked into and
spit out by a maelstrom; I could imagine them flying through the sky into a
collision of waves.
There are no words for the sensation swimming by
the animals produced in me, however vividly I can recall it. It filled me with
dread to slide between their corpses, my hands and arms brushing against the
gleaming, ghastly bodies of the great fishes, their masses of flesh all covered
in sticky slime. Each stroke evoked the indescribable sensation of moving
through the deepest death.
The bloody water was tinctured as though with
young claret. It is most disconcerting to see water that violent color – it isn’t meant to be, for water is supposed to
soothe the human spirit with its lulling shades of blues and greens. To see it
so was to witness an inversion of nature itself. Everywhere it was the
brightest vermillion and its brightness contrasted hideously with the dull-grey
of whale-skin.
The animals themselves lay so helpless and
prostrate on their backs, their bellies pointed helplessly upward to heaven all
heaped together, that sometimes there was only the slimmest channel to swim
through between two of their bodies. Some of them lay on their sides so that
their narrow lower jaws jutted out like useless flaps into the water. To see
their grandeur thus reduced shattered my spirit and I, I suppose to save myself
from going mad, let myself slip into a kind of trance. I thought not about the
vileness of the scene in which I found myself but rather let my thoughts launch
themselves into the ether, far above where I, so far from shore, so utterly
deserted by my fellow man, swam alone through the bloody harbor of dead whales.
These thoughts attached themselves to visions of life itself and death, and
what it means to be a solitary man alone upon the sea.
By the time I got to shore, I had the idea for my
book.
Sodden and quivering did I arrive upon the soggy
shores of Manhattan Island. I staggered to my home, and my wife gasped when she
saw me at the door.
“I know,” I said, holding out my hand to her,
“what I must look like – ”
She screamed and ran from me, ran right upstairs
to where you sat at our writing desk.
“Oh Mister Melville,” she said to you, wringing
her hands together.
“What is it, Beth?” you asked.
“I saw something just now on the stairs – it
looked like, Oh! the very image of you – but drowned! Oh, dead you were, and
drowned!”
And you petted her head and reassured her there
were no such things as ghosts, and we watched her as she walked away.
We wrote the book together, you and I, the book
that only an author from the dead could have written. Which of us was dead? I
know not. I go. You go. He goes. Ye go. Some mysteries are too vast for men to
comprehend, and to answer these riddles is to dive deeper than Melville can go.
If you liked this story, please take a look at my short story collection,
Wednesday, October 17, 2012
Lonesome Ghosts and Ordinary Witches: Interview with Lucy Wood
Lucy Wood kindly took the time to answer some of my curious questions about ghosts, books, and the connection between folklore and horror.
1. There is a great deal of absence, longing, and loss in your stories. What draws you to the darker side of folklore?
Cornwall’s
folklore is often seen as a little bit twee or clichéd, something just
for tourists. But it is full of very
human concerns and emotions, sometimes dark, sometimes funny, always
grounded in the real and the everyday. I was drawn to the way that the
magical elements of the folklore portrayed complex human situations and
feelings. I particularly liked the idea of mermaids
acting as a metaphor for absence, loss and longing.
2. Do you ever read or watch any horror books or films? If so (or even if not), do you see any connection between folk tales and horror?
I
don’t really read or watch any horror. I’m sure there are connections
to be made between them, but for me, folklore
is more about every day, routine life, whereas horror maybe plays on
people’s fears and desires for the out of the ordinary. I was really
interested in how down to earth and domestic Cornwall’s folklore was,
how the stories depicted events which were magical
but ordinary, where it was almost unremarkable for someone to turn into
stone or go to see a witch about something or other.
3. Water imagery pervades your book. Is this a personal obsession or just a by-product of the book's Cornwall setting? Do you find anything especially menacing or haunting about water?
It
is partly because of the setting – the sea is the focal point for a lot
of Cornwall’s folklore. I have always been
influenced and inspired by the sea and Cornwall’s coastline and wanted
the sea to be ever present in the stories, as a way of tying them
together. The sea can be menacing and haunting, but also very beautiful,
it can cover things over but also wash them up
from time to time.
4. What struck me most about "Notes from the House Spirits" was how sad and lonely the ghosts seemed. And both Maddy and the wrecker-ghost in "Lights from Other People's Houses" seem so lost and alone. What emotions do ghosts evoke in you? What do you hope a reader feels when they finish these stories?
Ghosts
can evoke a lot of different emotions – sadness, fear, nostalgia,
connection. Both ‘Notes from the House Spirits’ and ‘Lights in Other
People’s Houses’
are about moving house and change, and feeling uprooted, the desire to
belong. So I wanted the wrecker and the house spirits to embody those
kinds of feelings, particularly the wrecker. I hoped that these stories
might make people look at their houses, and
the places they live, from a slightly different perspective.
5. Do you have a favorite ghost story?
I
really enjoy reading M.R James’ ghost stories; one of my favourites is
‘Oh, Whistle, and I’ll Come to You, My Lad.’ I also really like The Woman In Black by Susan
Hill.
6. I've read that Halloween isn't quite as big in England as it is here in the States. Do you personally celebrate "the Halloween season" in any way? Do you even like the idea of Halloween?
I
do like the idea of Halloween. I like carving pumpkins and listening
to, watching, or reading ghost stories. The idea of a particular time of
year when the worlds’ of the
living and the dead overlap is a fascinating and inspiring one.
7. Finally, the requisite question all writers ask of one another: do you have any writing advice to share with authors just starting out?
Tuesday, October 16, 2012
Bride of the Links of Doom
Yet another installment in our series 31 Days of Halloween: Links of Doom!
First and foremost, let's take a moment to wish my main man Oscar Wilde a happy 158th birthday. From the time I read an illustrated edition of "The Happy Prince and Other Tales" as a wee child, to my miserable high school days spent with a fairly massive edition of your collected works, I have always loved you. I still admire The Picture of Dorian Gray as a deliciously melodramatic horror story, and you remain the patron saint of adorably pretentious people everywhere. We salute you. For those interested in boring things like fact, the Richard Ellmann biography remains the pre-eminent and definitive text. I think.
Birthday shout outs are also due to Angela Lansbury, who was amazing in the 1945 film version of Dorian Gray -- if you only know her as J.B. Fletcher, you should see her when she's young and doe-eyed; she has a great if small role in Gaslight, too, in which she is delightfully conniving. How awesome is it that she shares a birthday with Wilde?
Next we move on to an embarrassment of public domain riches, as people the world over mine Poe for Halloween content, and we all benefit. We've got a thrilling collection of old radio shows adapting Poe, and a number of Poe e-books, all also free. Fans of James Ensor's twisted little drawings will appreciate this article on the Getty's recent acquisition of Poe-inspired Ensor prints. The two aesthetics are a strangely perfect fit.
More skeletal art abounds over at the Art of Dying Exhibit at the Loreto in Prague. It seems worth heading over, should you find yourself there (and if not, who doesn't want a good excuse to travel?). A gloriously ghastly collection of "Baroque mural paintings depicting motifs of Death and Resurrection – allegories of Time, symbols of fragility and transience of human existence," these 1664 frescoes demonstrate the "inner grasp of the end of human existence as a gate to eternal life."
Finally, speaking of life lessons, here are some tips and takeaways on five scary novels and what they can teach you about writing, from James Duncan over at Writer's Digest. Every horror writer should check this out -- there's actually a bullet-pointed list with concrete advice like "Pace yourself and mete out the horror in small yet increasing doses." The advice reminds me a bit of what M.R. James said about how to write ghost stories, which I've discussed here before.
Oh, and this has nothing to do with Halloween or anything but I just found out it's Ada Lovelace Day, and I'm kind of obsessed with her, so here's to all the women science writers, programmers, nerds, sci-fi fans and writers, and other mavens of STEM. The real Ada Lovelace was a brilliant proto-programmer who is said to have written the world's first recognized algorithm. She was also Lord Byron's daughter. The do say code is poetry...
All in all, another awesome day in October.
First and foremost, let's take a moment to wish my main man Oscar Wilde a happy 158th birthday. From the time I read an illustrated edition of "The Happy Prince and Other Tales" as a wee child, to my miserable high school days spent with a fairly massive edition of your collected works, I have always loved you. I still admire The Picture of Dorian Gray as a deliciously melodramatic horror story, and you remain the patron saint of adorably pretentious people everywhere. We salute you. For those interested in boring things like fact, the Richard Ellmann biography remains the pre-eminent and definitive text. I think.
Birthday shout outs are also due to Angela Lansbury, who was amazing in the 1945 film version of Dorian Gray -- if you only know her as J.B. Fletcher, you should see her when she's young and doe-eyed; she has a great if small role in Gaslight, too, in which she is delightfully conniving. How awesome is it that she shares a birthday with Wilde?
Next we move on to an embarrassment of public domain riches, as people the world over mine Poe for Halloween content, and we all benefit. We've got a thrilling collection of old radio shows adapting Poe, and a number of Poe e-books, all also free. Fans of James Ensor's twisted little drawings will appreciate this article on the Getty's recent acquisition of Poe-inspired Ensor prints. The two aesthetics are a strangely perfect fit.
More skeletal art abounds over at the Art of Dying Exhibit at the Loreto in Prague. It seems worth heading over, should you find yourself there (and if not, who doesn't want a good excuse to travel?). A gloriously ghastly collection of "Baroque mural paintings depicting motifs of Death and Resurrection – allegories of Time, symbols of fragility and transience of human existence," these 1664 frescoes demonstrate the "inner grasp of the end of human existence as a gate to eternal life."
Finally, speaking of life lessons, here are some tips and takeaways on five scary novels and what they can teach you about writing, from James Duncan over at Writer's Digest. Every horror writer should check this out -- there's actually a bullet-pointed list with concrete advice like "Pace yourself and mete out the horror in small yet increasing doses." The advice reminds me a bit of what M.R. James said about how to write ghost stories, which I've discussed here before.
Oh, and this has nothing to do with Halloween or anything but I just found out it's Ada Lovelace Day, and I'm kind of obsessed with her, so here's to all the women science writers, programmers, nerds, sci-fi fans and writers, and other mavens of STEM. The real Ada Lovelace was a brilliant proto-programmer who is said to have written the world's first recognized algorithm. She was also Lord Byron's daughter. The do say code is poetry...
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| Ada Lovelace |
Monday, October 15, 2012
Edgar Allan Poe's Gaslight Greenwich Village
Edgar Allen Poe. How many times have I seen this typo? Enough to drive me mad? Possibly. Sure it's not the most egregious thing in the world (certainly not as bad as the time I saw "Edgar Allen Pie," though that at least was sort of hilarious) but it's frequent enough to get on my nerves.
"Edgar Allan Poe lived at 47 Bond Street in 1845." Have I heard tour guides say that with a straight face in front of a crowd of people? Yes, yes I have.
Have I visited the so-called "Poe Room" in NYU's law school and only to leave sad and disappointed? Indeed.
Did I actually sit through the movie The Raven, and did it drive me slightly mad? Yes.
And did I seek out a factual literary and historical Poe tour of the West Village that would not only focus on the author's creatively significant time in the city but also redress these many, many wrongs? And did I find when I searched nothing but a vague, generic Greenwich Village tour that offered to illuminate the works of Dylan Thomas, Allen Ginsberg, Thomas Paine, and Edgar "Allen" Poe in one feel swoop? Yup.
So I sat down and I cracked open my books and I wrote a script for my own tour. A tour that would combine the true facts in the case of Monsieur Poe while also providing a historical account of the Village in the mid 19th century.
And here's what I came up with.
“Edgar Allan Poe’s Gaslight Greenwich Village" is a 90-minute walking tour that focuses specifically on the writer’s time in New York in the 1840s. On this literary and historical walking tour, guests will visit the site of three of his former homes, trace a path into the past to gaslight-era Washington Square Park, learn of his contemporary rivals and admirers, and see where he wrote some of his most famous works. They'll discover the places that inspired Poe, find out where he read "The Raven" for the first time in public, and even see where he was once treated for a head cold! Interweaving some of his most famous tales with Greenwich Village's macabre secret histories, this tour is guaranteed to delight fans of Poe's literary grotesques and arabesques!
The tours run on Sunday October 21st and Sunday October 28th from 2-3:30 pm. Tickets are $25 per person (or $20 if you book in advance online) and the tour departs from 85 West Third Street, one block south of Washington Square Park between Thompson and Sullivan Streets, in Manhattan. Visit Ghosts of New York for schedule and ticket info.
If you're in NYC on either of these dates, I hope to see you on my tour!
Friday, October 12, 2012
31 Days of Halloween: Revenge of the Links of Doom
So many exiting developments today!
First and foremost, one of the single best things about autumn in New York City is almost here: the Bowery Boys' annual Halloween podcast airs next Friday! The Boys select and retell all the best Gotham ghosts in their inimitable witty style. An absolute must for anyone interested in the ghost stories of this city, from well-known classics to stories so obscure and surprising even I had to look them up!
Triumph for my own countryman abounds in Too Much Horror Fiction, which Books of the Dead called "the best horror fiction blog on the net." This awesome Canadian blog will show you things like French-language covers of Stephen King novels, and help you find that cheesy-but-impossible-to-forget cover art from your 1987 paperback edition of "Witch Child."
Speaking of cover art, I have to take a moment to recommend Scarlett Rugers Book Cover Design. If you're an indie writer, you'll have heard this advice before but let me add my voice here: do not skimp on paying a pro designer. Scarlett's redesign made my book look 100% more awesome:
This next link isn't really scary, unless you consider the fearsome specter of gentrification scary... which I do, so what the hell, here's a list of NYC's best lost bars, including Mars Bar and Bill's Gay Nineties. The city recently lost Kenny's Castaways, which was basically history in a glass. Oh well, more room for places like Wicked Willy's pirate-themed bar.
Moving on to more cheerful topics, here's an array of photos of the dead. The supernatural photos of William Hope, who made a living superimposing "spirit" photos of departed love ones on top of regular portraits, exploited people's grief and put many a shilling in his pocket. Florence Cathcart would not have been amused.
Finally, a few suggestions for Friday night amusement. The BFI presents tales of Gothic horror and romance, to "electrify you with the pleasures and terrors of the irrational" (which most readers of this blog know I try to do at least on a daily basis) while Armand Rosamilla offers up free scary stories that should hopefully make everyone's Friday night frightening and uncomfortable. Which is something else I enjoy doing.
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| Photo Credit: New York Public Library, via Bowery Boys |
Triumph for my own countryman abounds in Too Much Horror Fiction, which Books of the Dead called "the best horror fiction blog on the net." This awesome Canadian blog will show you things like French-language covers of Stephen King novels, and help you find that cheesy-but-impossible-to-forget cover art from your 1987 paperback edition of "Witch Child."
Speaking of cover art, I have to take a moment to recommend Scarlett Rugers Book Cover Design. If you're an indie writer, you'll have heard this advice before but let me add my voice here: do not skimp on paying a pro designer. Scarlett's redesign made my book look 100% more awesome:
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| Copyright Scarlett Rugers 2012 |
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| William Hope/National Media Museum |
Finally, a few suggestions for Friday night amusement. The BFI presents tales of Gothic horror and romance, to "electrify you with the pleasures and terrors of the irrational" (which most readers of this blog know I try to do at least on a daily basis) while Armand Rosamilla offers up free scary stories that should hopefully make everyone's Friday night frightening and uncomfortable. Which is something else I enjoy doing.
Thursday, October 11, 2012
31 Days of Halloween: Nethermead
For today's 31 Days of Halloween I'm going to shamelessly plug a spooky little horror movie adapted from my very own short story, "Nethermead."
I'm tremendously excited to announce that Nethermead has been adapted into a short film by Soren Bailey and will screen at Indie Screen in New York City this Saturday, October 13th.
Nethermead, which was featured in my horror collection Boroughs of the Dead, tells the eerie tale of a woman who gets lost while walking in Prospect Park at dusk. Is she mad? Is she dreaming? Is she dead?
You can read the story in full, for free, over here Flashes In The Dark.
It's a creepy, ambiguous little tale and I can't wait to watch the film. It'll be my first viewing of the finished production, and it should be a lot of fun to see how the director interpreted my personal brand of insanity. Soren and I worked together previously on Postures, a comedy short about a yoga cult.
If you aren't in NYC, the film should be up on Vimeo soon enough, and I'll be sure to link to it when it's up. In the meantime, here's a clip of it on YouTube.
If you are in the city and want to attend the screening, please RSVP on the film's Facebook page... and be careful walking in the park after dark....
Wednesday, October 10, 2012
31 Days of Halloween, Day 10: Lights in Other People's Houses
Need a ghost story be frightening? How do you define the spectral tale? In my view, if it gives you shivers or conjures up spirits in your mind, it counts as a ghost story. If it lingers long after the telling, and makes you feel as though you were being followed, it counts. If it changes the atmosphere and temperature in the room, it counts. Oh, and if it happens to contain a ghost... why, yes, that counts too.
Lucy Wood's short story, "Lights in Other People's Houses" certainly conjures and lingers. The standout tale in her collection Diving Belles and Other Stories relates the yearning of a woman for the sea, and the unintended consequences of waiting too long to unpack old boxes.
The story begins with a lonely woman, Maddy, who lives in a town where she knows no one, save her boyfriend, Russel. Maddy grew up by the sea and feels completely stranded living inland. An epic heatwave only makes her crave the water even more. But she can't go home again -- her parents have moved out of the ancestral home, and suddenly she finds herself tasked with the unpacking of a lifetime of detritus now cluttering her new house. Quite unexpectedly, as she goes to sort through the boxes, she find a "pale gaunt man" sitting on the floor rifling through them.
The pale gaunt man is the ghost of a wrecker, those beachcombing salvagers who lured boats into shallow waters to crash on the rocks and spill their treasures. Some wreckers merely waited for ships to crash and seems the ghost was one of these, though actually it's never quite clear. Either way, it's an aptly creepy and dramatic occupation for a ghost (it made me think of the villains in Daphne du Maurier's Jamaica Inn).
The wrecker refuses to leave. He stands in a bathtub full of water for hours at a time and takes over the guest bedroom; by day he goes through the boxes. The wrecker's presence begins to fill the house with water, to warp the building like a damp piece of cardboard, the walls and ceilings dripping. Salt and sand begin to drift over the carpets. Smooth pebbles appear underfoot; tiny shells run out of the taps.
In the midst of all this, the heatwave continues. The wrecker mutters to himself about the weather, nattering on about full moons, high tides, and low pressure. Maddy's mind eventually becomes befogged and her reality takes on a somnolent confusion that mirrors the stranded spirit's. The story has that same lingering, oneric quality, a deep and unsettling dream.
As in much Wood's writing, maritime metaphors abound. The wrecker-ghost brings "a restlessness and clamoring [into the room], as if he had just disturbed a colony of nesting seabirds." When the wrecker wanders around the house murmuring, "Where's all the sea mist? Where's all the water?" we know, of course, exactly what's going on with lonely, parched, transplanted Maddy. Wood handles this perfectly, making it evident without making it obvious.
The cumulative effect of Lucy Wood's writing is incredibly impressive: reading this story I could feel the damp sea mist curling into the corners with a faintly oily quality; I could see the dim heat of the lamplight in a hot summer night. The whole story was the literary equivalent of dragging sand from the beach into the bedsheets. (You thought you brushed it all off but there it goes, trickling out from your shirt-seams...)
Ghosts are just some of the strange and mythical creatures populating Wood's universe; fairies, mermaids and giants also roam the landscape, and I highly recommend the whole collection. The other standout for me was "Of Mothers and Little People," which I loved so much my mom might just unwrap a copy of Diving Belles in some colorful Christmas paper soon enough.
Lucy Wood's short story, "Lights in Other People's Houses" certainly conjures and lingers. The standout tale in her collection Diving Belles and Other Stories relates the yearning of a woman for the sea, and the unintended consequences of waiting too long to unpack old boxes.
The pale gaunt man is the ghost of a wrecker, those beachcombing salvagers who lured boats into shallow waters to crash on the rocks and spill their treasures. Some wreckers merely waited for ships to crash and seems the ghost was one of these, though actually it's never quite clear. Either way, it's an aptly creepy and dramatic occupation for a ghost (it made me think of the villains in Daphne du Maurier's Jamaica Inn).
The wrecker refuses to leave. He stands in a bathtub full of water for hours at a time and takes over the guest bedroom; by day he goes through the boxes. The wrecker's presence begins to fill the house with water, to warp the building like a damp piece of cardboard, the walls and ceilings dripping. Salt and sand begin to drift over the carpets. Smooth pebbles appear underfoot; tiny shells run out of the taps.
In the midst of all this, the heatwave continues. The wrecker mutters to himself about the weather, nattering on about full moons, high tides, and low pressure. Maddy's mind eventually becomes befogged and her reality takes on a somnolent confusion that mirrors the stranded spirit's. The story has that same lingering, oneric quality, a deep and unsettling dream.
As in much Wood's writing, maritime metaphors abound. The wrecker-ghost brings "a restlessness and clamoring [into the room], as if he had just disturbed a colony of nesting seabirds." When the wrecker wanders around the house murmuring, "Where's all the sea mist? Where's all the water?" we know, of course, exactly what's going on with lonely, parched, transplanted Maddy. Wood handles this perfectly, making it evident without making it obvious.
The cumulative effect of Lucy Wood's writing is incredibly impressive: reading this story I could feel the damp sea mist curling into the corners with a faintly oily quality; I could see the dim heat of the lamplight in a hot summer night. The whole story was the literary equivalent of dragging sand from the beach into the bedsheets. (You thought you brushed it all off but there it goes, trickling out from your shirt-seams...)
Ghosts are just some of the strange and mythical creatures populating Wood's universe; fairies, mermaids and giants also roam the landscape, and I highly recommend the whole collection. The other standout for me was "Of Mothers and Little People," which I loved so much my mom might just unwrap a copy of Diving Belles in some colorful Christmas paper soon enough.
Monday, October 08, 2012
The Murderer in My Backyard
31 Days of Halloween continues with the thrilling and sensational tale of How I Found a Murderer in my own Backyard!
As I alluded to yesterday in my post on Poe sites in New York City, I happened to find a pretty incredible grave while walking in Green-Wood Cemetery. Now I walk in Green-Wood a lot, since I live across the street from it, and I thought I knew it pretty well.
This discovery was doubly exciting because, while I knew of the existence of this grave, I hadn't yet gotten around to hunting for it, and I actually wasn't looking for it at all yesterday. So I was amazed when suddenly, as I turned the corner on Oak Avenue, there it was! I didn't even see it -- my keen-eyed companion did.
"That's a cool gravestone," he said.
In response I gasped and exclaimed, "Oh my god do you know who that is!?! It's Harvey Burdell!"
Now that's not a name you come across every day. But for NYC history buffs, especially those like myself who value sensational thrills above nearly everything else, it's kind of awesome. Because Harvey Burdell was one of the city's most famous Victorian-era murder victims.
And his murderer rests in the same cemetery!
See!? Chills! Thrills!
It's all here!
Here's the story... picture it, New York, 1857:
Harvey Burdell was a dentist who lived in a town house at 31 Bond Street when his landlady, a gold-digging widow named Emma Cunningham, decided she was going to marry him. He was, at least financially, a stable, secure guy -- who wouldn't want that? The fact that Budell was a total womanizer and reputedly traded dental work for sex didn't faze her. She wanted a husband and made her intentions known. But Burdell wasn't about to buy the cow. From all accounts he liked his life just fine the way it was.
Well -- on January 30th, 1857, screams were heard coming from Burdell's office. No one bothered to investigate and the next morning his hired boy arrived at work to find the dentist dead in his own chair, strangled and stabbed and covered in blood.
A sensational trial ensued, naturally. Evidence piled up against Cunningham -- forensics suggested the killer was left-handed, for instance, and she was also left-handed -- but her lawyers used the "weaker-sex" defense and said no woman ever could've committed such a horrible, bloody crime.
It looked like Cunningham was going to get away with it. She was even able to produce a phony marriage certificate proven she and Burdell had secretly been married before his death, and it looked like she'd be able to cash in some insurance money with it. Though she spent some time in the Tombs while awaiting trial, she was ultimately acquitted.
But she got greedy.
After getting out of jail, Cunningham tried to fake a pregnancy to get even more cash out of the settlement and even went so far as to approach a doctor and ask for a baby she could pretend was hers. In a soap-worthy set up, she even staged a fake delivery, screaming behind a closed door for the benefit of the neighbors. But the doctor sold her out. He "delivered" her ... right into the hands of the police!
Cunningham was charged with fraud, her marriage claim to Burdell was invalidated, and she died in poverty and alone. And now? Now she is buried in the cheap seats in Green-Wood, in an impossible-to-find grave in a public lot, next to a bus station.
As I alluded to yesterday in my post on Poe sites in New York City, I happened to find a pretty incredible grave while walking in Green-Wood Cemetery. Now I walk in Green-Wood a lot, since I live across the street from it, and I thought I knew it pretty well.
This discovery was doubly exciting because, while I knew of the existence of this grave, I hadn't yet gotten around to hunting for it, and I actually wasn't looking for it at all yesterday. So I was amazed when suddenly, as I turned the corner on Oak Avenue, there it was! I didn't even see it -- my keen-eyed companion did.
"That's a cool gravestone," he said.
In response I gasped and exclaimed, "Oh my god do you know who that is!?! It's Harvey Burdell!"
Now that's not a name you come across every day. But for NYC history buffs, especially those like myself who value sensational thrills above nearly everything else, it's kind of awesome. Because Harvey Burdell was one of the city's most famous Victorian-era murder victims.
And his murderer rests in the same cemetery!
See!? Chills! Thrills!
It's all here!
Here's the story... picture it, New York, 1857:
Harvey Burdell was a dentist who lived in a town house at 31 Bond Street when his landlady, a gold-digging widow named Emma Cunningham, decided she was going to marry him. He was, at least financially, a stable, secure guy -- who wouldn't want that? The fact that Budell was a total womanizer and reputedly traded dental work for sex didn't faze her. She wanted a husband and made her intentions known. But Burdell wasn't about to buy the cow. From all accounts he liked his life just fine the way it was.
Well -- on January 30th, 1857, screams were heard coming from Burdell's office. No one bothered to investigate and the next morning his hired boy arrived at work to find the dentist dead in his own chair, strangled and stabbed and covered in blood.
A sensational trial ensued, naturally. Evidence piled up against Cunningham -- forensics suggested the killer was left-handed, for instance, and she was also left-handed -- but her lawyers used the "weaker-sex" defense and said no woman ever could've committed such a horrible, bloody crime.
It looked like Cunningham was going to get away with it. She was even able to produce a phony marriage certificate proven she and Burdell had secretly been married before his death, and it looked like she'd be able to cash in some insurance money with it. Though she spent some time in the Tombs while awaiting trial, she was ultimately acquitted. But she got greedy.
After getting out of jail, Cunningham tried to fake a pregnancy to get even more cash out of the settlement and even went so far as to approach a doctor and ask for a baby she could pretend was hers. In a soap-worthy set up, she even staged a fake delivery, screaming behind a closed door for the benefit of the neighbors. But the doctor sold her out. He "delivered" her ... right into the hands of the police!
Cunningham was charged with fraud, her marriage claim to Burdell was invalidated, and she died in poverty and alone. And now? Now she is buried in the cheap seats in Green-Wood, in an impossible-to-find grave in a public lot, next to a bus station.
Sunday, October 07, 2012
Spinster Travelogue: Poe in New York
The only extant Poe dwelling in New York City is located in the Fordham section of the Bronx. It wasn't considered New York when Poe lived there (from mid-1846 to 1849) but rather a small village 13 miles out of town. Poe would instruct people to address letters to him at "New York City, because there is no post office at Fordham."
He liked the little cottage, and enjoyed the neighborhood. He made friends with professors at St. John's University (now Fordham University) and took long, rambling walks over High Bridge, which must've been fairly breathtaking at the time.
But all was not well, of course. Virginia's health worsened again during this period and she spent a miserable winter shivering in the drafty cottage. A visitor to the house was appalled to find her on a straw mattress with Poe's overcoat as her only warm covering; the family cat was sitting on her chest and seemed almost aware of its all-important body heat, and Poe rubbed Virginia's hands while Mrs. Clemm (her mother) rubbed her feet.
This kind visitor, a Mrs. Grove, took up a subscription when she got back home to the city and succeeded in procuring a feather-bed, warm blankets, and the aid of another well-off and kind-hearted lady, Mrs. Shew. Mrs. Shew was also a nurse by training, and she tended to the sick Virginia as best she could. Alas, on January 30th, 1837, Virginia died in this room:
It was rather incredible to see the cottage first-hand. The whole place isn't larger than my 400-square foot apartment, but one could imagine it being cosy and comfortable with a fire flickering cheerfully in the fireplace, and the warmth and comforts a little money could've provided to the family. But there weren't a lot of Sunday chicken dinners in this household. And there wasn't any fuel for the fire. The bareness of the house brings home the fact of Poe's poverty in a way that I think is very representative of what his reality would have been: there is no squalor here, merely a lack of the simplest necessities.
In any case, though the entire visit to the house took about ten minutes, it was worth it to get a first-hand sense of Poe's environs. I highly recommend a visit to any Poe fan who finds themselves in New York.
Two other Poe-related sites I just had to visit this weekend were the graves of Elizabeth Ellet and Rufus W. Griswold. These two flies in Poe's ointment now reside permanently in Green-Wood Cemetery, which is across the street from my home in Brooklyn.
Ellet was one of the "literary ladies" who caused Poe so much trouble in New York. There was some business about amorous letters she claimed Poe wrote to her that, frankly, I find too trivial to recount, but essentially she sent nasty anonymous notes to Poe's sick and dying wife and Virginia on her deathbed claimed that Ellet had been "her murderer." This jackanape has a fairly nice grave in Green-Wood, though I didn't get a great picture of it (it was raining, my iPhone camera sucks, and, well, I'm a crappy photographer).
Finally, the grave site of Rufus Griswold I found in an unmarked plot, so here's a rather unimpressive photo of a tree:
Nonetheless, an interesting little bit of Poeania, right here in my backyard.
Oh, and on an related note, I found one of the most exciting graves ever, simply by accident. It's such a great grave and such a great story that I'm actually going to save it for another post. So stay tuned for that, and in the meantime, in honor of the day, here is an interesting contemporary obituary over at World of Poe.
Friday, October 05, 2012
Return of the Links of Doom
More creepy goodness from around the web....
An article from the scare-mongers at The Atlantic on why you should let you children watch scary movies: "fear makes up a big part of entertainment for young people—and when done right, can be empowering."
If you're in NYC this weekend, why not take the kids down to Green-Wood Cemetery's Open House? They'll be opening up never-before-seen historic tombs, including that of Charles Feltman, inventor of the hot dog! And then I think they lead you out back where they dump you into a giant sausage grinder and you're never seen again! Or educate you about history or something. I don't know, it's one or the other.
In the leave-the-kids-the-hell-at-home category, we have a screening of Room 237, the new documentary about The Shining, playing at the New York Film Festival on Monday. If you can't make it or don't live in the city, IFC Midnight has picked it up so you should soon be able to stream it from the comfort of your own home or abandoned hotel.
A spooky tale of an encounter with a ghost librarian at the Sweetwater County Library, in Wyoming. I'm sort of obsessed with librarian ghosts. As Borges said, "I have always imagined that Paradise will be a kind of library." I'm always trying to cram a few ghostly libraries on to my walking tours, so this story thrills me, of course, since it backs up my claim that ghosts love libraries. (I'm convinced they do. Theaters, too.)
Finally, the good folks at Spooky Isles have convinced me that I need to move to the UK to truly make a living as a ghost tour guide. The whole place is just one great Isle of the Dead. They've got articles on Peterborough Ghosts, Five Haunted Places to visit in Dublin, and a story on the Desecration of Clophill Church, which sounds like something straight out of an M.R. James tale...
Even the poster for Room 237 is scary
An article from the scare-mongers at The Atlantic on why you should let you children watch scary movies: "fear makes up a big part of entertainment for young people—and when done right, can be empowering."
If you're in NYC this weekend, why not take the kids down to Green-Wood Cemetery's Open House? They'll be opening up never-before-seen historic tombs, including that of Charles Feltman, inventor of the hot dog! And then I think they lead you out back where they dump you into a giant sausage grinder and you're never seen again! Or educate you about history or something. I don't know, it's one or the other.
In the leave-the-kids-the-hell-at-home category, we have a screening of Room 237, the new documentary about The Shining, playing at the New York Film Festival on Monday. If you can't make it or don't live in the city, IFC Midnight has picked it up so you should soon be able to stream it from the comfort of your own home or abandoned hotel.
A spooky tale of an encounter with a ghost librarian at the Sweetwater County Library, in Wyoming. I'm sort of obsessed with librarian ghosts. As Borges said, "I have always imagined that Paradise will be a kind of library." I'm always trying to cram a few ghostly libraries on to my walking tours, so this story thrills me, of course, since it backs up my claim that ghosts love libraries. (I'm convinced they do. Theaters, too.)
Finally, the good folks at Spooky Isles have convinced me that I need to move to the UK to truly make a living as a ghost tour guide. The whole place is just one great Isle of the Dead. They've got articles on Peterborough Ghosts, Five Haunted Places to visit in Dublin, and a story on the Desecration of Clophill Church, which sounds like something straight out of an M.R. James tale...
Thursday, October 04, 2012
Haunted Hell's Kitchen: The Landmark Tavern
Today's going to be a beery day: I'm going to a tasting to kick off Oktoberfest, and frankly look forward to starting this weekend a little early. In honor of this momentous occasion, I offer up a piece on the little gem known as The Landmark Tavern, one of NYC's oldest -- and hauntedest -- bars.
There are many reportedly haunted bars and taverns in New York City, and many of their stories are well-known by now: The White Horse Tavern, The Bridge Cafe, McSorley's, and the Ear Inn all have their share of ghosts. But not too many people know about the Landmark Tavern.
Situated in the farthest reaches of Hell's Kitchen, all the way over at 11th Avenue and 46th Street, the Landmark is an out-of-the-way place with an incredible history.
The bar dates back to 1868, when it was opened as a saloon. After the requisite stint as a speakeasy during Prohibition, it continued in the vein of an old-time bar and restaurant complete with authentic, British-style pub food. A grown-up sort of bar, unpretentious, and redolent with the cool, musty, beery, cellar-like air particular to such establishments. Perhaps, though, that cool air has another source.
There are, according to legend, two ghosts of old still lingering in the Landmark. The first is a young Irish girl who perished of typhoid fever in the 19th century. The fact of subsequent centuries appears to have evaded her, for she still believes she is at home, living out her days on the third floor of 626 11th Avenue. There she is, they say, and there she remains, wandering forlornly up and down the halls.
While the wisp of a girl is slightly tragic and affecting, the boisterous spirit of a murdered Confederate solider is far more active – and entertaining. The solider was either knifed or shot in a bar fight (depending on your sources) and continues to be rowdy to this day. He apparently knocks over books on the shelf in the second-floor party room, startling more than a few staffers and guests.
Even more exciting, the actual bathtub in which he died still remains… in that very room! They say he staggered up to it and sat in it to die... perhaps he mistook it for a coffin. You can still see it now, that selfsame bath. Though the looks of it may dissuade you from ever wanting to bathe again.
Last but not least, some say the ghost of Hollywood star George Raft, who patronized the Landmark in life, also haunts the place. But we at Ghosts of New York take that with just a touch of salt. People are always claiming to be haunted by the very famous. It strikes us as just a touch too coincidental. You can’t believe everything you hear, can you?
A haunted bathtub!
There are many reportedly haunted bars and taverns in New York City, and many of their stories are well-known by now: The White Horse Tavern, The Bridge Cafe, McSorley's, and the Ear Inn all have their share of ghosts. But not too many people know about the Landmark Tavern.
Situated in the farthest reaches of Hell's Kitchen, all the way over at 11th Avenue and 46th Street, the Landmark is an out-of-the-way place with an incredible history.
The bar dates back to 1868, when it was opened as a saloon. After the requisite stint as a speakeasy during Prohibition, it continued in the vein of an old-time bar and restaurant complete with authentic, British-style pub food. A grown-up sort of bar, unpretentious, and redolent with the cool, musty, beery, cellar-like air particular to such establishments. Perhaps, though, that cool air has another source.
There are, according to legend, two ghosts of old still lingering in the Landmark. The first is a young Irish girl who perished of typhoid fever in the 19th century. The fact of subsequent centuries appears to have evaded her, for she still believes she is at home, living out her days on the third floor of 626 11th Avenue. There she is, they say, and there she remains, wandering forlornly up and down the halls.
While the wisp of a girl is slightly tragic and affecting, the boisterous spirit of a murdered Confederate solider is far more active – and entertaining. The solider was either knifed or shot in a bar fight (depending on your sources) and continues to be rowdy to this day. He apparently knocks over books on the shelf in the second-floor party room, startling more than a few staffers and guests.
Even more exciting, the actual bathtub in which he died still remains… in that very room! They say he staggered up to it and sat in it to die... perhaps he mistook it for a coffin. You can still see it now, that selfsame bath. Though the looks of it may dissuade you from ever wanting to bathe again.
Last but not least, some say the ghost of Hollywood star George Raft, who patronized the Landmark in life, also haunts the place. But we at Ghosts of New York take that with just a touch of salt. People are always claiming to be haunted by the very famous. It strikes us as just a touch too coincidental. You can’t believe everything you hear, can you?
Wednesday, October 03, 2012
Creature From the Black Lagoon (1954)
In today's installment of 31 Days of Halloween, we turn to monsters.
Canonical monster movie Creature From the Black Lagoon (1954) was re-released on Blu-Ray yesterday as part of Universal's Classic Monsters box set, which includes Dracula, Frankenstein, The Mummy, The Invisible Man, Bride of Frankenstein, The Wolf Man, and Phantom of the Opera. (Creature is also available on this set in a 3D version, should your television be so equipped.) It sounds like a pretty indispensable box set for any movie geek, and so far reviews are good.
I'm excited about it not only for obvious reasons but also because Creature From the Black Lagoon is one of my favorite monster movies ever. When I first saw it, I was struck by its eerie gorgeousness; some of the film's underwater sequences are strikingly graceful and dreamy. And I found a wonderful through-line connecting this 1950s B movie to a classic European folktale. All told, the whole thing was rather transcendent -- and I didn't even watch it in 3D.
Those who know me know that I am obsessed with water. I'm weirdly obsessed with being a sea captain, Moby-Dick is my favorite book, and I am generally happiest in a pool, ocean, or lake. I think you're either a water person or you're not and that, like witches, true water-people recognize each another.
There are two water-people in Creature: the first is, naturally, the lagoon-dwelling Gill Man. The second is scientist and monster-love-interest Kay Lawrence (Julie Adams). Kay proves her aquatic bent after the team of scientists sails into the remote and dangerous lagoon in their search for prehistoric fossils and she jumps right into the water for a swim -- something no right-minded person would do. While the men talk amongst themselves on the boat, Kay wriggles and frolics in the silvery water, the sheer joy of movement illuminating her face, a sense of total freedom animating her lovely limbs as they glide through liquid.
Then comes the iconic scene that catapults Creature... into the realm of the sublime.
The creature takes notice of her. Like the viewer, he is captivated by the beautiful motion of the swimming girl. He swims closer to her. As she glides around oblivious on the surface, he mirrors her in the depths below, matching his movement to her's. His ungainly monster's body looks almost graceful as they dance together in the water.
It is a gorgeous, heartbreaking scene; poor lonesome monster. This love affair will not end well, my prehistoric holdover. There will be strapping 1950s scientists who will come in with spears and nets and they will try to take you. We know this; but I can tell you that every single person in the audience is rooting for you, mister monster.
Sigh....
Here we can see the similarities between the film and the European folk tales I referenced above. It is tempting to categorize this tale as "Beauty and the Beast in water" (or "King Kong in the Pond") but I think it hearkens back to a different and much more specific tradition.
Growing up I heard many version of the traditional Czechoslovakian cautionary tale of the Water Man or VodnĂk. The Water Man lived in rivers, lakes and ponds, and would pull either naughty little children or beautiful ladies down into the depths below for company, depending on which version you were told. The Water Man was green and scary, ancient and sometimes evil, so you'd better not lean too far over into the water.
Nearly every culture contains stories of mermen and maids, and none of them are without danger. Hans Andersen wrote a sorrowful version of the tale; the ancient Greeks lusty and threatening ones. One can obviously see the preventative purposes behind such narratives -- they all warn of what can happen when you let yourself enter the mysterious, landless, realms of the deep.
Psychologically, these stories are also fairly obvious but none the less effective. If water represents the unconscious, then the monster is the thing we know least but suspect most about ourselves. And of course, water is supposed to symbolize sexuality as well as oblivion and death. Hence the Water Man and the Creature personify not only our fears but our darkest desires. Naturally Kay cannot admit she's bored by both her misogynist boss and her dull-macho boyfriend and that she'd much prefer to chuck them both and go off into deeper waters.
So there you have it. I thought Creature From the Black Lagoon was a moving, beautiful romance. Then again, I thought Dead Ringers was a touching tale of brotherly love.
Canonical monster movie Creature From the Black Lagoon (1954) was re-released on Blu-Ray yesterday as part of Universal's Classic Monsters box set, which includes Dracula, Frankenstein, The Mummy, The Invisible Man, Bride of Frankenstein, The Wolf Man, and Phantom of the Opera. (Creature is also available on this set in a 3D version, should your television be so equipped.) It sounds like a pretty indispensable box set for any movie geek, and so far reviews are good.
I'm excited about it not only for obvious reasons but also because Creature From the Black Lagoon is one of my favorite monster movies ever. When I first saw it, I was struck by its eerie gorgeousness; some of the film's underwater sequences are strikingly graceful and dreamy. And I found a wonderful through-line connecting this 1950s B movie to a classic European folktale. All told, the whole thing was rather transcendent -- and I didn't even watch it in 3D.
Those who know me know that I am obsessed with water. I'm weirdly obsessed with being a sea captain, Moby-Dick is my favorite book, and I am generally happiest in a pool, ocean, or lake. I think you're either a water person or you're not and that, like witches, true water-people recognize each another.
There are two water-people in Creature: the first is, naturally, the lagoon-dwelling Gill Man. The second is scientist and monster-love-interest Kay Lawrence (Julie Adams). Kay proves her aquatic bent after the team of scientists sails into the remote and dangerous lagoon in their search for prehistoric fossils and she jumps right into the water for a swim -- something no right-minded person would do. While the men talk amongst themselves on the boat, Kay wriggles and frolics in the silvery water, the sheer joy of movement illuminating her face, a sense of total freedom animating her lovely limbs as they glide through liquid.
Then comes the iconic scene that catapults Creature... into the realm of the sublime.
The creature takes notice of her. Like the viewer, he is captivated by the beautiful motion of the swimming girl. He swims closer to her. As she glides around oblivious on the surface, he mirrors her in the depths below, matching his movement to her's. His ungainly monster's body looks almost graceful as they dance together in the water.
It is a gorgeous, heartbreaking scene; poor lonesome monster. This love affair will not end well, my prehistoric holdover. There will be strapping 1950s scientists who will come in with spears and nets and they will try to take you. We know this; but I can tell you that every single person in the audience is rooting for you, mister monster.
Sigh....
Here we can see the similarities between the film and the European folk tales I referenced above. It is tempting to categorize this tale as "Beauty and the Beast in water" (or "King Kong in the Pond") but I think it hearkens back to a different and much more specific tradition.
Growing up I heard many version of the traditional Czechoslovakian cautionary tale of the Water Man or VodnĂk. The Water Man lived in rivers, lakes and ponds, and would pull either naughty little children or beautiful ladies down into the depths below for company, depending on which version you were told. The Water Man was green and scary, ancient and sometimes evil, so you'd better not lean too far over into the water.
Nearly every culture contains stories of mermen and maids, and none of them are without danger. Hans Andersen wrote a sorrowful version of the tale; the ancient Greeks lusty and threatening ones. One can obviously see the preventative purposes behind such narratives -- they all warn of what can happen when you let yourself enter the mysterious, landless, realms of the deep.
Psychologically, these stories are also fairly obvious but none the less effective. If water represents the unconscious, then the monster is the thing we know least but suspect most about ourselves. And of course, water is supposed to symbolize sexuality as well as oblivion and death. Hence the Water Man and the Creature personify not only our fears but our darkest desires. Naturally Kay cannot admit she's bored by both her misogynist boss and her dull-macho boyfriend and that she'd much prefer to chuck them both and go off into deeper waters.
So there you have it. I thought Creature From the Black Lagoon was a moving, beautiful romance. Then again, I thought Dead Ringers was a touching tale of brotherly love.
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