Dinner Parties

Copyright 2010 by Gary L. Pullman

One way to devise plots is to picture people sharing a meal at a restaurant. The diners could be a man and a woman, two men, or two women. Something as simple as the sex of the diners may suggest storylines. A man and a woman could be involved in a romance; two men could be business rivals; two women could be lifelong friends. Any number of other diners is fair game, too, of course. In fiction, what binds a relationship together, whether the nature of the relationship is, for example, one of romance, rivalry, or friendship, is conflict. As Cleanth Brooks and Robert Penn Warren point out in Understanding Fiction, “no conflict, no story.”

More than two can dine together at the same table. The addition of a third diner complicates the plot. The number of combinations of characters increases from three (two men, a man and a woman, two men, or two women) to six: a man and two women, a woman and two men, two men and a woman, two women and a man, three men, or three women. What’s on the menu? As always, conflict. Once again, in some cases, the combination of diners itself may suggest the nature of the conflict itself in which the diners are involved.

For example, let’s say that our combination of diners consists of one man and two women. I intend the dining scenario to be an analogy. The restaurant = the setting; the diners = the characters. The menu = the conflict. What the diners say and do during their meal = the dialogue and the action, respectively. The whole dining experience = the story. However, in this example, involving one man and two women, the setting could be an actual restaurant and the characters actual diners.

Imagine that the story starts with just two of the characters, Alex and Beth, present. However, three places have been set, because, as Beth informs Alex, she has invited someone else to join them. Perhaps she is vague about the other person’s identity, referring to him or her as “an old friend” or “a mutual acquaintance.” The occasion of the meal might be the celebration of Alex’s and Beth’s anniversary. They might recall the times that they have shared as a married couple--those that were amusing, challenging, enjoyable, adventurous, and romantic. Their reminiscences might include the times they have shared with their children over the years of their marriage.

Toward the end of their meal, Alex might profess his deep and abiding love for Beth, just before the couple is joined by the mysterious third party whom Beth has invited to join them--Alex’s second wife, Cynthia. Alex is a bigamist, and both Beth and Cynthia, having discovered their mutual husband’s secret, have agreed to confront him together concerning his matrimonial betrayals.

The idea for this story is based on the life of Charles Kuralt (1934-1997). A television journalist, Kuralt is best known, perhaps, for his distinguished career with CBS, and especially for his series On the Road with Charles Kuralt, which aired as segments of The CBS Evening News with Walter Cronkite. He traveled the nation, filming sentimental and nostalgic interviews with everyday Americans, offering viewers a sort of Norman Rockwell vision of the country and its citizens that proved immensely popular with viewers and earned him two Peabody Awards. After he died, however, it came to light that Kuralt had, in effect, had two marriages, one legitimate and the other the result of common law, and had had children by both wives:

But two years after his death, Kuralt's personal reputation came under scrutiny when a decades-long companionship with a Montana woman named Pat Baker was made public. Kuralt apparently had a second, "shadow" family with Baker while his wife lived in New York City and his daughters from a previous marriage lived on the eastern seaboard. Baker asserted that the house in Montana had been willed to her, a position upheld by the Montana Supreme Court (“Charles Kuralt,” Wikipedia).

The journalist’s actual life, it was clear, had been at odds with the homespun, morally upright subject matter of his series, and his reputation never recovered from the bigamist lifestyle that he had led.

Kuralt’s victims--his two wives--never met over dinner, with or without him, but the possibility of their having done so could inspire a story such as the one that I envision here. Again, such characters need not meet in a restaurant. The confrontation might take place in a less hospitable and far more dangerous environment, the two women having conspired to kill their two-timing husband after confronting him about his years-long infidelities. The analogy of dinner as a story is intended as a way of setting the stage, not the table.

In using this technique, a writer should also assign a vocation to each of his or her characters. Giving those who attend the dinner party different vocations could, in and of itself, suggest interesting possibilities for plot, character, and conflict. There are quite a few possible combinations even when three characters share the same general vocation. For example, three business rivals might each be the chief executive officer, or CEO, of his or her respective company, with one attempting a hostile takeover of his rivals’ businesses; the three may wish to establish an illegal monopoly by secretly fixing prices for the goods or services that they provide; the trio may be conspiring to “steal” the natural resources of an emerging nation; the threesome may be in cahoots against a foreign government’s attempts to control their market through tariffs or even military means. . . . the list goes on and on.

Once a writer has worked out the appetizer, the entrée, and the desserts of the story’s menu, the story itself can begin, possibly in media res, as, say, an army of mercenaries attacks a South American nation guarding the rain forest habitat of the rare species of plant that a pharmaceutical company needs (and can obtain nowhere else) for a new drug that cures the disease of the writer’s choice. At first, the mercenaries, wearing the uniforms of an adjacent nation, might be taken for actual troops of the neighboring state. As a result, war could loom between the two countries. Perhaps this was the real goal of the mercenaries’ attack. The companies financing their paramilitary operation might have wanted to instigate a protracted war against the two countries so that their own collection of the plant they need could proceed apace as the nation whose resources they are plundering is occupied with the war it is waging with its “aggressor.” The story would progress from this point, perhaps after another “dinner” among the business executives or other parties to stimulate ideas for further plot development.

The same process (a dinner between a couple or among a group of parties) can work as well for horror as for any other genre of fiction. Grave robbery was once big business. Fresh corpses were in high demand among medical schools whose professors wanted to use actual cadavers for dissection in anatomy classes despite religious and sociopolitical prohibitions upon such uses of the dead. There was a demand for dead bodies, both male and female, but no supply--until enterprising grave robbers stepped forward, pickaxe and shovel in hand to fill in--or, I should say, to uncover--the gap. Now that such sanctions have ended and men and women donate their bodies to medical school students to slice and dice--posthumously, of course--grave robbery has gone out of fashion, pretty much, even among desperadoes.

There are a few exceptions, though. Imagine Ed Gein, Jack Hughes and “Big Jim” Kennally, and Molly and Clayton Daniels having g dinner together. Entrepreneurial madmen that they were, they might find some reasons for digging up the dead even when there isn’t a large demand for their, uh, services. In fact, they actually did find reasons for doing so. Gein robbed graves so he could skin female corpses and wear their flesh as masks, vests, and leggings. After Molly came up with the idea, Clayton dug up a woman’s body to use as a stand-in for his own, and they set the corpse afire inside his car in an ill-fated attempt to fake Clayton’s own death. Hughes and Kennally conspired to steal the body of President Abraham Lincoln and hold it for ransom. Even when a market doesn’t exist for one’s goods or services, the enterprising individual can create one, even if the market consists of only him- or herself or an aggrieved nation.

Dinner parties needn’t be moribund affairs. In fact, imaginary ones can suggest endless ideas for stories that, once conceived, can be developed in numerous ways that have nothing to do with appetizers, entrees, and desserts and everything to do with characters, conflict, and suspense.

A Dictionary of the Paranormal, the Supernatural, and the Otherworldly (J - L)

copyright 2008 by Gary L. Pullman

Note: Unless otherwise noted, definitions are courtesy of dictionary.die.net, an Internet dictionary in the public domain.

J

Joan of Arc (or, possibly, Leelee Sobrieski)

Joan of Arc--a Roman Catholic saint, formerly burned by the church as a heretic, who successfully led the French army against the English invaders and the Burgundian rebels to enthrone King Charles IV (the author).

Juggernaut--originally, an embodiment of the Hindu god Vishnu; now, any unstoppable force (the author).

Jung, Carl--a psychoanalyst and a one-time follower of Sigmund Freud; Jung developed the theory of a racial, or “collective unconscious” in which archetypes are stored (the author).

K

Kabbalah--A body of mystical teachings of rabbinical origin, often based on an esoteric interpretation of the Hebrew Scriptures (American Heritage Dictionary).

Karma--in Hinduism and Buddhism, Hinduism and Buddhism, the effects of a person's actions that determine his destiny in his next incarnation.

Ketamine

Ketamine anesthetic--a dissociative anesthetic that may cause so-called near-death experiences (the author).

King, Stephen--a contemporary best-selling author of short stories, novels, and screenplays in the horror genre. He has also written non-fiction articles and books.

Kirlian photography--the photographing of objects which exhibit a halo, or aura, effect as a result of the images created on a photographic plate due to high-voltage electric fields, pressures, moisture, and other natural conditions (the author; The Skeptic’s Dictionary).

L

Lamarckian evolution--“A theory of biological evolution holding that species evolve by the inheritance of traits acquired or modified through the use or disuse of body parts” (“Lamarckism: Definition and Much More from Answers.com”).

Lamia--a monster capable of assuming a woman's form, who was said to devour human beings or suck their blood; a vampire; a sorceress; a witch.

Ley lines--“alignments of a number of places of geography interest, such as ancient megaliths” (Wikipedia).

Lie detector--a device that, by monitoring various physiological processes and conditions, such as blood pressure, heart rate, and muscle contractions, is said to be able to detect whether a person is telling the truth or lying; its results are not admissible as evidence in court proceedings and are controversial among scientists and other experts (the author).

Life after death (afterlife)--existence is some state that extends beyond the death of the physical body, as is a matter of faith in many religions (the author).

Abraham Lincoln

Lincoln, Abraham--16th president of the United States, whose term occurred during the American Civil War; Lincoln had a prophetic dream in which he foresaw his assassination, which followed several days later (the author)

Loch Ness monster--a sea-serpent-like animal, perhaps a plesiosaur, said to inhabit Scotland’s Loch Ness (the author).

Logical positivism--“a 20th century philosophical movement that holds characteristically that all meaningful statements are either analytic or conclusively verifiable or at least confirmable by observation and experiment and that metaphysical theories are therefore strictly meaningless —called also logical empiricism” (Merriam-Webster Online Dictionary).

Lucid dreaming--a dream during which the dreamer recognizes that he or she is asleep and dreaming and in which he or she may consciously interact with the dream images (the author).

Lycanthropy--in folklore, the magical ability of a person to assume the characteristics of a wolf; in medicine, a kind of erratic melancholy, in which the patient imagines himself a wolf, and imitates the actions of that animal.

Everyday Horrors: Castles and Hotels

copyright 2008 by Gary L. Pullman

Gothic romance is a product of the European imagination and of the European landscape. Horace Walpole’s Castle of Otranto (1764) was one of the earliest novels to combine elements of horror with elements of literary romance. (The novel may be downloaded free from Project Gutenberg.) Other important Gothic romances include The History of the Caliph Vathek (1786) by William Beckford, The Mysteries of Udolpho (1794) by Ann Radcliffe, The Monk (1796) by Gregory Lewis, Wieland (1798) by Charles Brockden Brown, Frankenstein (1818) by Mary Shelley, Melmouth the Wanderer (1820) by Charles Robert Maturin, Carmilla (1872) by Sheridan le Fanu, Dracula (1897) by Bram Stoker, and Gormenghast (1946-1959) by Mervyn Peake. Many of these books are set in gloomy castles in which supernatural incidents occur.

Occasionally, the castles in such novels are modeled upon, in part, at least, actual castles, and the one in Peake’s novels, Gormenghast, is comprised of a mixture of features from various actual castles as well as cities, mansions, and universities: its walls are like those of Normal castles and those of ancient Chinese cities, while the buildings resemble those of Gothic and Regency mansions and English country houses. The professors’ living quarters and the courtyards within Gormenghast are similar to those at Oxford and Cambridge.

Bran Castle (Dracula's Castle)

In other instances, the castles are based upon a single actual fortress. Frankenstein’s castle is modeled upon eighteenth-century Lord Konrad Dippel Von Frankenstein’s residence near the small village of Muhltal, not far from Darmstadt, Germany, and Dracula’s residence, is derived from Bran Castle (now a museum), which stands near Bran, Romania, on the Transylvania-Wallachia border.

Castle Frankenstein

Because of their antiquity, the privileged lives of the nobles who dwelled within their walls, the horrible punishments endured in their dungeons, their remote locations, and their vast, dark and dank interiors, many castles are said to be haunted, including, in England alone, Arundle Castle (Sussex), Bamburgh Castle (Northumberland), Berkeley Castle (Berkeley Gloucestershire), Berry Pomeroy Castle (Berry Pomeroy Devon), Bramber Castle (West Sussex), Castle Rising (Castle Rising, Norfolk), Chillingham Castle (Northumberland), Corby Castle (Cumbria), Corfe Castle (Wareham Dorset), Dacre Castle (Cumbria), Dunstanburgh Castle (Northumberland), Dunster Castle (Somerset), Featherstone Castle (Northumberland), Hever Castle (Kent), Lowther Castle (Cumbria), Morton Corbet Castle (Shropshire), Muncaster Castle (Cumbria), Okehampton Castle (Devon), Pevensey Castle (Sussex), Pontefract Castle (West Yorkshire), Raby Castle (County Durham), Tamworth Castle (Tamworth, Staffordshire), Tintagel Castle (Tintagel Cornwall), Tower of London, Warkworth Castle (Northumberland), and Windsor Castle (Berkshire). Castles in Ireland, Scotland, Wales, and mainland Europe are also said to be haunted. For example, Windsor Castle, built by William the Conqueror to “guard the western approaches to the capital,” is believed to be haunted by several ghosts, among them Queen Elizabeth I, who favors the library and a boy’s ghost, who favors the chapel. The grounds and nearby forest are also rumored to be haunted, the former by a band of interlopers, the latter by King Richard II’s favorite huntsman, Herne the Hunter. Likewise, the Tower of London, which was also built by William the Conqueror, as were many other English castles, is reportedly haunted by the ghosts of Saint Thomas a Becket, the murdered sons of King Edward IV, Anne Boleyn, one of King Henry XIII’s wives, Catherine Howard, Sir Walter Raleigh, and many commoners who were tortured and executed in the Tower’s dungeons and torture chambers.

Oddly, the castles in the United States (yes, there are several, in addition to the Hearst Castle in San Simeon, California) seem quiet and restful in comparison to their European counterparts.

1600 Pennsylvania Avenue

The White House is said to be haunted, though, by no less illustrious a ghost than that of its former occupant, President Abraham Lincoln. In yet another example of our tax dollars at work, the official White House website shares videos in which staff members relate stories of their encounters with Lincoln’s ghost.

Stanley Hotel, Estes Park, Colorado

Despite the availability of American castles, Stephen King has preferred to locate some of his more contemporary ghost stories in hotels. The action of The Shining takes place in the Overlook Hotel, which is based upon the Stanley Hotel in Estes Park, Colorado. The movie 1408, based upon King’s short story of the same title, which appeared in Everything’s Eventual (2002) used exterior shots of the Roosevelt Hotel in New York City to depict the exterior of the film’s Dolphin Hotel and shots of a London hotel’s lobby to depict the Dolphin Hotel‘s lobby, but the short story was inspired by stories of parapsychologist Christopher Chacon’s investigation of a supposedly haunted room in the famous San Diego, California, inn, Hotel Del Coronado. In America, where everyone’s a king or queen, hotels seem the logical--or, at least, the democratic--alternative to castles and manor houses for traveling or long-term guests of the ghostly variety.

“Everyday Horrors: Castles and Hotels” is part of a series of “everyday horrors” that will be featured on Chillers and Thrillers: The Fiction of Fear. These “everyday horrors” continue, in many cases, to appear in horror fiction, literary, cinematographic, and otherwise.

Everyday Horrors: Nightmares

copyright 2008 by Gary L. Pullman

We’re not sure why we dream or what, if anything, dreams mean. Some believe that they are nothing more than a venting of mental, or psychic, steam, so to speak. Others believe that they are attempts by a clumsy, rather inarticulate subconscious mind to communicate with the conscious mind, or ego, through such devices as figures of speech, symbolism, and puns. Still others believe that dreams are--or can be, at times--messages from God.

Dreams can be inspirational. The benzene molecule’s unusual structure came to a German chemist, Friedrich August Kekulé, in a dream in which he envisioned a snake forming a ring by biting its own tail. The dream showed him the circular structure of the molecule he’d long sought to decipher. The poet Samuel Taylor Coleridge claims that the poem--or fragment of the poem--Kubla Khan came to him, fully complete, in a dream--one of which, it seems, was induced by opium.

Sometimes, dreams prove prophetic. During a journey by steamboat, Mark Twain and his younger brother Henry paused in their journey to stay at their sister’s house for the night. Twain dreamed that Henry had died. He saw him lying in his casket, which rested upon two chairs. The coffin was topped by a bouquet of white roses, a single red rose at its center. Rushing downstairs, Twain saw that his dream had been just that--a nightmare--as Henry was fine.

A week later, Twain, a riverboat pilot was transferred from the Pennsylvania, which he‘d shared with Henry until now, while Henry continued his trip aboard the other riverboat. Three days later, word reached Twain that the Pennsylvania’s boilers had exploded, just after the steamboat had passed Memphis, injuring or killing 150 people. Henry had been among those injured.

Twain made it to Memphis in time to sit by his dying brother’s side. The next morning, Twain went to the room in which the caskets of the dead awaited burial, and saw Henry’s coffin, resting upon two chairs, only the bouquet missing. However, as the grief-stricken Twain watched, a volunteer nurse approached Henry’s casket and set a bouquet of roses atop the casket. At its center was a single red rose.

In “Recollections of Abraham Lincoln,” Ward Hill Lamon describes a horrific prophetic dream that the president had:

About ten days ago, I retired very late. I had been up waiting for important dispatches from the front. I could not have been long in bed when I fell into a slumber, for I was weary. I soon began to dream. There seemed to be a death-like stillness about me. Then I heard subdued sobs, as if a number of people were weeping. I thought I left my bed and wandered downstairs. There the silence was broken by the same pitiful sobbing, but the mourners were invisible.

I went from room to room; no living person was in sight, but the same mournful sounds of distress met me as I passed along. It was light in all the rooms; every object was familiar to me; but where were all the people who were grieving as if their hearts would break?

I was puzzled and alarmed. What could be the meaning of all this? Determined to find the cause of a state of things so mysterious and so shocking, I kept on until I arrived at the East Room, which I entered.

There I met with a sickening surprise. Before me was a catafalque, on which rested a corpse wrapped in funeral vestments. Around it were stationed soldiers who were acting as guards; and there was a throng of people, some gazing mournfully upon the corpse, whose face was covered, others weeping pitifully. 'Who is dead in the White House?' I demanded of one of the soldiers 'The President' was his answer; 'he was killed by an assassin!' Then came a loud burst of grief from the crowd, which awoke me from my dream.

Soon thereafter, Lincoln, attending a production of the comedy Our American Cousin at the Ford’s Theater with his wife, Mary, was shot in the back of the head by the actor John Wilkes Booth. He was carried across the street to a private residence, where he died. His body, placed inside a casket, was placed upon a platform in the East Room of the White House and guarded by soldiers, just as Lincoln had dreamed.

Both the Old and the New Testaments of the Bible records dreams which it declares to have been heaven-sent. One of the more memorable is Joseph’s dream, which came to him while he and his family were living in Egypt, under the rule of the pharaoh. He said that he was “binding sheaves of grain out in the field” with his brothers “when suddenly my sheaf rose and stood upright, while your sheaves gathered around mine and bowed down to it.” His brothers were jealous and angry, because they interpreted the dream to mean that Joseph would rule over them.

Joseph later had a second dream, in which “the sun and moon and eleven stars were bowing down” to him. This time, Joseph’s dream aggravated his father, for he interpreted the dream to indicate that both Joseph’s brothers as well as his parents would be subjects to Joseph’s reign.

At the age of thirty, the pharaoh made Joseph his second in command. Another memorable dream is that of Mary, Jesus’ mother, which was brought to her by the angel Gabriel. The angel informed her that the baby to whom she would give birth would be the Son of God. When Mary said that she was a virgin, and, as such, could not have conceived a child, the angel told her that the birth would be the result of a miracle. “With God, nothing is impossible,” the angel declared, and then told Mary that her elderly relative, Elizabeth, was pregnant with the baby who would be Jesus’ herald, John the Baptist. Gabriel, before visiting Mary, had already informed Elizabeth’s husband, Zacharias, that he would be the father of a boy named John.

Darker dreams--the dreams of terror and horror--are called nightmares, and they have inspired great literary art as well as adrenaline rushes and heart palpitations. Mary Shelley, the author of Frankenstein, dreamed the idea for her novel’s plot. After reading Phantasmagoria, a book of ghost stories, to divert themselves on a holiday to Lake Geneva, Switzerland, during rainy weather, it was suggested that their party participate in a contest to see which of their number could devise the most frightening horror story. Of those present--Mary, her husband Percy Bysshe Shelley, Lord Byron, and Byron’s personal physician, John Polidon--only Mary completed her story, which she published in 1831 as Frankenstein, or The Modern Prometheus. Perhaps as a result of having read of Luigi Galvani’s use of electricity to animate dead frogs’ legs, Mary had a nightmare in which she dreamed of a young scientist’s use of electricity to bring life to a body composed of parts of human cadavers he’d sewn together. She’d reasoned that her nightmare had frightened her; therefore, it was likely to frighten others as well.

Stephen King likewise cites nightmares as the muses that have inspired some of his fiction, one of which was the novel Misery:

The inspiration for Misery was a short story by Evelyn Waugh called “The Man Who Loved Dickens.” It came to me as I dozed off while on a New York-to-London Concorde flight. Waugh's short story was about a man in South America held prisoner by a chief who falls in love with the stories of Charles Dickens and makes the man read them to him. I wondered what it would be like if Dickens himself was held captive.

One wonders what sort of novel King might have written had he read O. Henry’s short story “The Ransom of Red Chief” before nodding off.

Not only have literary artists received inspiration from nightmares, but visual artists have also been inspired by these dark dreams. An oil painting by Henry Fuseli, The Nightmare, features a sleeping woman dressed in a white nightgown, her head and arms dangling over the edge of her bed, dreaming of a horse (the nightmare) and an incubus (a demon in male guise who has sex with sleeping women) seated upon the woman’s breast. Copies sold with the accompanying inscription, by Erasmus Darwin, which he later expanded and included in a long poem, The Loves of the Plants:

So on his Nightmare through the evening fog
Flits the squab Fiend o'er fen, and lake, and bog;

Seeks some love-wilder'd maid with sleep oppress'd,

Alights, and grinning sits upon her breast.

Kathleen Russo believes that the painting may have been inspired by the painter’s own nightmares, which he related to folktales that claimed demons possessed lone sleepers, visiting them as hags on horseback, although the origin of the term “nightmare” is unrelated to horses, whether mares or stallions, having referred, originally, the Online Etymology Dictionary asserts, to “‘an evil female spirit afflicting sleepers with a feeling of suffocation,’ compounded from night + mare ‘goblin that causes nightmares, incubus,’ from O.E. mare ‘incubus.’”

One may agree or disagree with Freudians and neo-Freudians as to whether dreams have any actual significance. Perhaps they are nothing more than the effects of an undigested bit of potato, as Ebenezer Scrooge tried to claim, early on, at least. Maybe they are communications from the deeper self. Maybe they are divine messages, borne by angels. Maybe we will never know, for certain, what they are, but, it seems safe to say, whatever they are, we will be likely to remain fascinated by them and to find them inspirational to art if not to life.

“Everyday Horrors: Nightmares” is part of a series of “everyday horrors” that will be featured in Chillers and Thrillers: The Fiction of Fear. These “everyday horrors” continue, in many cases, to appear in horror fiction, literary, cinematographic, and otherwise.

Everyday Horrors: Coffins

copyright 2008 by Gary L. Pullman

Replica of Abraham Lincoln's Coffin

There’s no pleasant way to get rid of a dead body. Cremation, burial at sea, exposure to the elements and wild animals, burial in the earth, mummification--all these methods and others have been tried, but they all leave something, more or less, to be desired. If one opts for burial in the soil, rather than at sea, he or she will need a coffin, whether of pine or solid gold. Since most people do opt for burial in the soil, coffins are likely to remain everyday horrors. As such, they’re worthy of a post in this series.

Originally, the coffin was simply a simple pine box. Its purpose was simple, too: contain the corpse. Once buried, the coffin, if not the corpse, was soon forgotten. Now, it would be considered gauche, to say the very least, to bury a dearly departed in so simple (and cheap) a box. Nothing less than the finest mahogany, or even bronze, lined with satin or silk, will do. After all, the more expensive the coffin, the more its quality indicates the degree to which the loved one was loved.

Haraldskaer Woman's Coffin

Although many coffins are plain, some are fanciful, shaped like fish, bottles, or guitars, whereas others bear a glass cover that allows a glimpse of the body inside, such as that of the Haraldskaer woman on display in the Church of St. Nicolai in Vejle, Denmark or of S. P. Dinsmoor, the Civil War veteran who built a concrete Garden of Eden in Lucas, Kansas to showcase his political and religious beliefs.

S. P. Dinsmoor's Garden of Eden, where his glass-covered cement coffin is displayed, Dinsmoor, inside, looking a bit mouldy

In the nineteenth century, Americans and others were terrified of being buried alive, as Edgar Allan Poe’s short story, “The Premature Burial” suggests, and coffins were equipped with alarms that could be sounded by the coffin’s occupant, in the event that he or she had been mistakenly buried alive. Modern coffins (often called “caskets”) are frequently equipped with features that are supposed to protect the body from bacteria, insects, temperature changes, and other threats, but none do so indefinitely and caskets with air-tight seals actually promote the decay of the body rather than retarding or preventing it. An airtight casket expedites the decomposition of the corpse by bacteria that thrive in an oxygen-free environment.

Among models offered by most casket manufacturers are the 20-gauge steel coffin with or without an airtight gasket; a 16-gauge steel coffin; a stainless-steel coffin; a solid copper coffin, which may or may not attract grave robbers bent upon collecting the metal for resale; a solid bronze coffin ; and hardwood coffins of poplar, oak, maple, cherry, mahogany, and pine. There are also extra-large caskets and Jewish caskets, the male versions of which, presumably, are circumcised. The best value among one supplier’s metal coffins is the Hamilton DCM01, regularly selling at $1,395, but discounted for who-knows-how-long, at a mere $795. It’s a 20-gauge steel coffin, without the airtight seal (what does one expect for a paltry $795?), of sliver color, and has a white crepe interior. The company’s best value in wood coffins is the Montgomery DCTH50, which normally costs $2,195 but is discounted to $1,395. It has a hardwood mahogany finish on the outside and a white crepe interior. The supplier offers a quick course on how to select a coffin, Caskets 101. The course begins with some basic (one might say self-evident) information, and, in bold font, states the disclaimer, “No caskets or vaults protect human remains from decomposition, no matter how much you spend.” Instead, the purpose of the coffin is to serve as “a vehicle to place a loved one in for a ceremony and an interment.” The decomposition of the corpse, Caskets 101 stresses, is “inevitable,” no matter how much or how little one spends on the body's “vehicle.” The course also offers this interesting tidbit, in case student-customers are wondering: “Besides steel caskets, there are copper and bronze caskets. These caskets are measured by the ounce, meaning a 32 Oz. Bronze casket contains 32 ounces of bronze for every square foot of casket.” The purpose of the sealer is to prevent air and water from disturbing the loved one’s eternal rest, but “there is no guarantee that this won’t ever happen.” The course concludes by suggesting the economy of buying directly from a wholesaler: “funeral homes tend to triple the cost of their caskets and sometimes a lot more, we just mark ours up one time. . . . funeral homes can succeed with high markups because most people still buy their caskets from them.”

Many vampire stories, including Stephen King’s ’Salem’s Lot and Joss Whedon‘s Buffy the Vampire Slayer, feature coffins, as do stories populated with zombies. In The Amityville Horror, George Lutz graciously, if rather oddly, builds coffins for the members of his family. In Homecoming, the war dead rise from their flag-draped coffins to vote. The movie Ed Gein starts with the title character robbing a grave, and, real-life ghoul that he was, Gein actually did rob quite a few graves, both in Plainfield, Wisconsin and in Spirit Land Cemetery, a few miles to the north of his hometown.

As Homecoming suggests, the Veterans Administration will supply an American flag to the next-of-kin of any honorably discharged serviceman or woman, and, incidentally, now allows the Wicca symbol on military headstones. (Other approved emblems include a large variety of Christian crosses, the Buddhist wheel of righteousness, the Jewish Star of David, the angel Moroni, the arrow-and-teepee emblem of the Native American Church of North America, the atheist atom, the Muslim crescent and star, the Hindu religious emblem, and various others.)

At a recent trade show, China introduced the world to a paper coffin, which resembles hardwood, and can be decorated with paintings. It can be easily cremated or buried, and has been used in China for years.

Coffins are also available for pet animals. Some are rectangular pine boxes; others are hardwood miniature versions of adult humans’ coffins, complete with handles on either ides for pallbearers’ use.

“Everyday Horrors: Coffins” is part of a series of “everyday horrors” that will be featured in Chillers and Thrillers: The Fiction of Fear. These “everyday horrors” continue, in many cases, to appear in horror fiction, literary, cinematographic, and otherwise.

The Horror of the Wax Museum

copyright 2008 by Gary L. Pullman

What’s horrible about wax? When it takes the form of a human being, it, like other statues, whether of marble, plastic, or some other material, becomes a stand-in for a body--but it is still. It is stationary. It does not move. It neither smiles nor frowns, laughs nor cries. It utters not a word. It doesn’t so much as breathe.

Were its lungs to move, at least, one might suppose the figure represented by the wax or clay or stone or plastic were merely paralyzed. Without breath, however, there seems no question but that it must be dead. Therefore, we must surmise that the wax figure, like other statues, suggests the dead rather than the living. A wax museum is a mausoleum, a house of death.

However, the figures, we also feel, may be only pretending to be dead. They may breathe when our attention is focused elsewhere. Their hearts may beat in secret. They may grimace, or even gibber, when we are, for the moment, absent, or otherwise occupied. They might even be revenants, returned from the dead, disguising themselves as mere effigies of the quick. Even if they do not move, they may be alive. They may be watching our every move. They may be thinking. They may be communicating with one another by some secret, silent means. They may mean us harm, and, when the moment is right, they may strike, hurting or even destroying us, before we’ve realized what’s afoot.

Wax figures of human form are mirror images of ourselves, but they are silent and still. They seem to mock us with their waxen visages. There’s something unreal about them; at the same time, there is something all too real about them. They are not quite right. They invite our study and our thought. They bid us to consider them, and, in meditating upon their smooth features and their too-bright eyes, to consider ourselves, too, for, in studying them, we study ourselves.

Who was this Winston Churchill, this Joan of Arc, this Abraham Lincoln? Are the stories we’ve heard of them true? Could this man have led England through the blood, sweat, toil, and tears of its World War II years? Did this slip of a girl really defeat the armies both of England and of Burgundy? Was she truly burned alive at the stake before being hailed as a saint? Surely not? How could such cruelty have been possible against a mere girl? Did this tall and gangly man in top hat and tails hold together a nation rent by a terrible civil war which pit brother against brother and North against South, and was a simple bullet in the head enough to bring his craggy, noble features to the ruin of the grave? Looking at their wax effigies, it all seems unlikely. It seems impossible. If the true-life counterparts of these figures could do such amazing feats, perhaps we, who are yet made of flesh and blood, might do likewise, we hope.

But there are horrible figures in wax museums, too, some real, others imaginary, and they also ask us to think of them and of ourselves, reflected off and projected from them. Consider this one, Adolph Hitler. Did this absurd little man with the odd mustache really kill six million Jews and nearly defeat the combined military might of the world? It seems preposterous. Or what about that one, Ted Bundy? Could such a handsome, clean-cut young man really have killed nearly thirty women, one as young as fifteen, without remorse, taking pleasure, in fact, in such monstrous deeds? Perhaps, if so, then such creatures as the vampire, the witch, the werewolf, and the mummy, also depicted in wax and set up in their niches and alcoves, upon pedestals, might also creep in the night or even stalk the corridors and chambers of this very house of wax!

Shadows may precede their footfalls, so we should keep careful watch.

We fear the wax museum for much the same reason that we fear the funhouse, wherein we can see little in the dark until a burst of flame reveals a leering face or a snarling mouth full of fangs. When such sights as these, or a headless corpse, a skeleton, or a dagger in a bleeding heart, are revealed to us, amid the flaring fire or the flashing lightning, we are shocked and frightened, but only because, in our imaginations, we have envisioned monsters much more terrible, much more horrible, much more dreadful. We have, in short, scared ourselves. Half to death, perhaps.

That’s why the house of wax--or, for that matter, a haunted house, a subterranean cave, a remote resort, an abandoned church, a deep forest, a scientific laboratory, or the attics or basements or closets of our childhood homes--frightens us half out of our wits. We create the monsters. We are they.

How To Rob A Grave

copyright 2008 by Gary L. Pullman

Verisimilitude means "true to life," and it's a quality that enhances any story, those of horror included, as it helps in the suspension of disbelief if a fantastic tale is believable in its mundane circumstances. Therefore, should an author of such fiction assay to write a story about grave robbers, he or she ought to be familiar with the extraction methods of such ghouls.

Resurrectionists, as they were known in merry old England. supplied the vast majority of the corpses that medical schools needed for their anatomy courses, the dissection of dead bodies being outlawed except when capital punishment furnished the bodies. There were never enough executions, so the schools were in a constant need of fresh corpses. Body snatchers supplied this need. They used two methods to do so.

In one, a small opening was created, above the coffin. A manhole-size opening was then made in the casket, a rope was secured around the corpse, and the body was pulled free of the grave.
Since family members often mounted a watch upon the graves of their dearly departed and placed various obstacles in their way, such as criss-crossed iron bars, the resurrectionists adopted the strategy of opening the earth some distance from the targeted corpse, dug a narrow tunnel to the coffin, and withdrew the body from the end of the casket, pulling it through the tunnel. The disturbed earth was several yards from the violated coffin and, being of relatively small size, was difficult to spot.

Ed Gein, the Plainfield, Wisconsin serial killer upon whom such fictional killers as Norman Bates, Leatherface, and Buffalo Bill are based, collected bodies and body parts from the graves he robbed in the Plainfield Cemetery and the Spirit Land Cemetery a few miles north of Plainfield. To collect just the heads, as he sometimes did, he simply twisted the neck back and forth until it snapped. He never sawed off the head, he said, because he never took a knife, a hatchet, or a saw with him on his after-hours forays into the local cities of the dead.

According to "Stealing Lincoln's Body," by Thomas J. Craugwell, a pair of would-be grave robbers, commissioned by Jim Kennally, tried to rob the grave of Abraham Lincoln, but they made the mistake of including two police informants as assistants, and the undertaking was botched when one of the detectives who were lying in wait for the robbers accidentally discharged his firearm. Kennally's men fled, only to be arrested a short time later at their hideout.

As a result of the attempted robbery, Lincoln's body was exhumed and reburied inside "a steel cage, lowered into a vault, and covered with cement."

According to "The 1876 Attempt to Steal Lincoln's Body!", therobbers, Terrence Mullen and John Hugehs, were actually counterfeiters, but their "chief engraver," Ben Boyd, had bee arrested; the theft of the president's body was to have provided a means of liberating Boyd and of generating a recovery fee of $200,000.