Saturday, October 4, 2008

Mystic Mansion: A Sequel to Saturday's Child



copyright 2008 by Gary L. Pullman

Synopsis

Mystic Mansion: A Sequel to Saturday’s Child

Crystal Fall and her friends discover that the horrors of Nazi Germany didn't end with Adolph Hitler. An ancient artifact, which he believed empowered him and his Third Reich, has been discovered, and its awesome power has been unleashed in a mysterious mystic mansion. Can Crystal Fall and her friends save the world. . . again. . . even if, as Fran Newell believes, God is not on their side? For readers who have graduated from R. L. Stine but aren't quite ready for Stephen King, this novel and its prequel, Saturday's Child, are perfect reads!

Support independent publishing: buy this book on Lulu.

Sample

Prologue

The blonde-haired woman sat hunched against the concrete wall of the underground bunker.

The bunker was one of many in the two-story complex fifty feet below the Chancellery Building. She had the run of the complex, but she preferred to be wherever her soul mate led. At the moment, he was here, planning the army’s defenses.

Now thirty-three years old, she was considered a handsome woman. Only ten years ago, she had been strikingly beautiful, but the last decade had been expensive. It had cost her not only her beauty, but also her youthful lust for life and, very nearly, her sanity.

Now, as she sat in the dank subterranean shelter, she studied her life’s companion, the odd-looking man with the odd-looking mustache who sat hunkered over a table, surrounded by Army officers and staring at maps.

How different life had seemed when, at twenty, she’d met him at Heinrich Hoffman’s photographic studio! He’d struck her, even then, as somewhat odd-looking. She’d mentioned to her sister Isle that he wore a “funny mustache and carried a big felt hat.” At the same time, though, she’d been struck with the air of authority that virtually radiated from him. Even then, he had carried himself with an arrogant pride. He had seemed a man of destiny.

When he’d asked her to become his domestic partner, she’d left Heinrich’s employ. Over the years, she’d gone from living in an apartment in Munich to a villa in the same city, and her lover had provided her a chauffeur-driven Mercedes. Life for the former photographer’s assistant was good. Her perception, it appeared, had been correct. Her paramour seemed to be a man destined for greatness, indeed.

Nevertheless, during the next decade, although her material existence continually improved, her emotional and spiritual health declined. She read cheap novels, watched romantic films, and alternated between exercise and brooding inactivity. Her appearance became increasingly a concern to her, and she assured and reassured her mate that she would stand by him, even unto death.

To her, he would confide his most intimate fears and concerns. One was that he would lose the source of his power, the Spear of Destiny, as he called it.
As a youth, long before he had come to power, he’d stood in the Hofburg Treasure House, where the holy relic was on display, staring intently at the wondrous weapon—the spear that the Roman soldier Longinus had used to pierce the side of the crucified Christ.

According to the lore associated with this spear, it was imbued with Jesus Christ’s passion. It was steeped in the very agony and ecstasy that Christ had experienced while hanging on the cross. Consequently, the spear was said to equip its possessor with enormous power to do good or evil.

Now, it was 1945, and their enemies had surrounded them, forcing them to retreat to this last refuge.

Leaving the conference at the table, he came to her. “It is still not too late,” he said, passionately. “You can save yourself, my darling. I have yet within my hands the power to secure your life, your future. I have ordered you to go. Now, I beg you.”

“Have you accepted your advisors’ counsel that you should flee to the mountains around Berchtesgaden?” she asked.

Without hesitation, he replied, “My place is here.”

“As is mine,” she declared.

“No, you must save yourself!”

Eva Braun smiled at his thoughtfulness, at his love. “It is better that ten thousand die,” she replied, “than that you be lost to Germany!”

She had said this when she’d heard that millions of Jews were being tortured and exterminated and that millions more were scheduled for such a fate. It was necessary, he had explained to her, to feed the demons with which he was in allegiance. They thrived on misery and human suffering. Under his regime, the demons had fattened and had rewarded him accordingly. His rise to power had been meteoric.

He averted his gaze, not wishing for her to see the emotion that her words had engendered within him. Her fierce devotion was moving.

“Then you will not go?”

She shook her head. “My place is at your side.”

“This is no game,” he told her bluntly. “This is the end. We will die.”

“Then,” she said defiantly, holding his gaze with hers, “we will die together.”

He kissed her hand before returning to his generals.

Eva thought of the sacrifices that he had made in leading his country to its glorious destiny as the Third Reich.

The First Reich had lasted for well over two hundred years, from 700 to 936, from the time of the Merovingian kings to the time that the Vikings threatened to tear the empire apart. The First Reich had blossomed under Charlemagne, who had also possessed the Spear of Destiny. It was not until long after his death that the First Reich was divided into the five duchies of Franconia, Swabia, Bavaria, Saxony, and Lorraine and a long period of weak kings ruined the glory that had been the First Reich.

By 1860, Germany had been divided into the German Confederation of thirty-nine states. The Second Reich began when Kaiser Wilheim I was crowned. Thereafter, through warfare and political machinations, a succession of leaders established the Weimar Republic at the end of World War I, and the Second Reich came to its end.
Some time between or during the first empires, the Spear of Destiny passed into the hands of the Hapsburg family, who displayed it in a kind of museum, the Hofburg Treasure House, in Vienna, along with their other regalia.

In 1933, the German Reichstag burned down, and the communists were blamed, giving the Nazis the opportunity to capitalize on the German people’s fears and limit their rights under the Weimar Constitution. Wondrously, Hitler then secured the authority to enact laws without parliamentary action, and the beginnings of his rise to power began as the Nazi Party became the only legal political organization in the state and the rights of other groups were methodically repressed through the Gestapo’s brutal tactics. Now, Hitler was able to pursue his dream of a Master Race exercising world dominance.

Behind the scenes at every turn, Hitler had wielded the Spear of Destiny. Always, the miraculous weapon had inspired visions in which Hitler had seen his dreams unfold. Even as a youth, he’d visited the Hofburg Treasure House to see the wonderful artifact, standing for hours before the ancient weapon, spellbound by it.
As soon as he’d risen to power, Hitler had taken the spear as his own, and it had both guided and empowered him ever since.
Now, however, something was wrong.

The enchantments were failing.

Hitler himself had lost faith in his glorious dream of the worldwide rule a pure Master Race.

Eva Braun shook her head in disbelief. Despite Der Führer’s words, she could not believe that the end had come. She could not believe that they would die.

How could their dream end this way?

The Spear of Destiny assured her paramour’s success, had it not? For years, the spear had led him to victory after victory until his dominion over the entire world seemed inevitable.

Nevertheless, the Russian army had done the unthinkable, forcing them to retreat to this subterranean bunker.

She looked at the spear, which Hitler had set against the wall near his seat at the head of the table. Its point glowed blood-red, as bright and glorious as ever.
They would not be defeated—not now, not ever!

Had not the Reich created an elite force of commandos, the Werewolves, to disrupt the enemy? No less a personage than Goebbels had vouchsafed the sanctity of the
Werewolves’ mission, asserting in his radio messages that “Satan has taken command."
He had sworn, further, that “"We Werewolves consider it our supreme duty to kill, to kill, and to kill, employing every cunning and wile in the darkness of the night, crawling, groping through towns and villages, like wolves, noiselessly, mysteriously” to wreck vengeance on the Reich’s would-be conquerors.”

The bunker shook. The bare light bulb in the suspended fixture swung madly back and forth as a thick cloud of earth and concrete dust billowed within the close confines of the chamber that, Eva believed now, for the first time, might actually become their tomb.

“My Führer, you have received a telegram,” an aide announced, presenting the message to Hitler.

Hitler slit open the sealed communiqué and read the text:



My Führer!

In view of your decision to remain in the fortress of Berlin, do you agree that I take over at once the total leadership of the Reich, with full freedom of action at home and abroad as your deputy, in accordance with your decree of June 29, 1941? If no reply is received by 10 o'clock tonight, I shall take it for granted that you have lost your freedom of action, and shall consider the conditions of your decree as fulfilled, and shall act for the best interests of our country and our people. You know what I feel for you in this gravest hour of my life. Words fail me to express myself. May God protect you, and speed you quickly here in spite of all.

Your loyal
Hermann Göring



Hitler flung the telegram aside, color rising through his neck and reddening his face. His countenance was transformed. Where moments before had appeared the features of a man, there was now something indubitably demonic about the twisted visage. He pounded the table with his fist, glaring at the officers surrounding him.
“This is treason!” he cried. “This outrage will not be brooked!”

The officers looked fearfully at one another or averted their gaze altogether, glancing at the tabletop or the floor.

Eva also averted her gaze.

She hated to see him like this, during one of what she had come to regard as his “fits.” Lately, it seemed, he was having more and more of these fits.

During such moments, he was transformed, and the inner, hidden beast within came to
the fore in all its savagery.

He turned to his top aide. “Borrman, send a reply at once! I want Göring to understand that I regard his message as an act of treason for which he deserves no less than death. However, in deference to his previous long-term loyalty and service to the Reich, I will spare his life, provided that he resign immediately.”
Martin Bormann nodded. “It will be done, Führer.”

As the aide started to turn, Hitler stopped him. “I want him arrested at once! See to it that the S S receive the order.”

“Yes, my Führer.”

Another artillery shell struck near the Chancellery Garden. The bunker filled with
a thick, choking dust.

The point of the spear seemed just as bright and luminous, Eva thought.

They could weather the Russians’ assault.

Their elite Werewolves would prevail.

The Spear of Destiny, after all, was still in the hands of the Reich.
She consoled herself with the thought that the spearhead still shone as brightly as ever.

Didn’t it?

Then why, she wondered, had Hitler earlier allowed all but essential personnel to leave the bunker complex?



A few days later, Eva and her beloved took time to marry.

“I wish that I could be a proper bride for you,” she apologized.

Hitler held her face in his hands. “I wish that I could have given you the world.”
The officiating officer awaited Der Führer’s command. There was little time to waste on pleasantries. More and more of the Russian’s artillery had been striking closer and closer to the Chancellery.

Without taking his eyes off his bride, Hitler gave the official permission to begin, and he and Eva were wed. In death, if not in life, they would be married, at least.

“I regret that we cannot have a proper honeymoon,” the groom said.

“My entire life with you has been a honeymoon.” She replied.

“I am sorry, my darling, but I must return my attention to—“

“There is no need to apologize,” she said, shushing him.

Yesterday, he had sent for Luftwaffe General Ritter von Greim, who had arrived through a barrage of Russian ground fire, landing his plane in the street near the bunker complex. In the process, the general’s foot had been injured, but he was here, now, and that was all that mattered for, today, Hitler would name Greim as Göring's successor, and the general would become the field marshal in command of the Luftwaffe.

Yesterday, Hitler had performed a more unpleasant duty. Word had reached him that S S Reichsführer Heinrich Himmler had resorted to treason as well, attempting to negotiate with the accursed Allies. Himmler had even offered to surrender some of the Reich’s western armies to the American general, Eisenhower!

Hitler’s rage had frightened even Eva. He’d ordered Himmler’s immediate arrest and, to make an example of what would befall such traitors, he’d had S S Lt. Gen. Hermann Fegelein, Himmler’s personal assistant in the bunker, taken to the Chancellery Garden and summarily executed. When she’d heard that her brother-in-law had been shot on Hitler’s command, Eva supported her paramour, repeating what had become almost a mantra. “It is better that ten thousand die,” she had sworn, “than that he be lost to Germany!” It was, perhaps, this expression of her uttermost devotion to him that had persuaded Hitler to marry her.

Hitler, however, had not been the same since the disastrous defections of Göring and Himmler. The latter’s treason affected Hitler more than anything in his late career. Himmler had been a trusted confidant from the beginning. “Faithful Heinrich,” Hitler had dubbed him. Next to Eva, there was no one in whom Hitler trusted as much. He had allowed himself to put his faith in this one man above all others, and Himmler had sought to betray that trust in the end, when he perceived his own life to be endangered. Hitler had meant nothing to the coward! The Reich had meant nothing. Only the worthless life of Heinrich Himmler had counted in the end.

It was Himmler’s betrayal that made Hitler understand that, Spear of Destiny or no Spear of Destiny, the Reich would fall and he would die.
All that remained within his power was to determine the manner of his death. It was unthinkable to allow his enemies to execute him.

If die he must, it would be by his own hand.

“Bring me Blondi,” he ordered.

“Yes, Führer,” Borrman replied, fetching Hitler’s favorite dog. Hitler commanded that Blondi be administered a lethal dose of poison. When the animal died a few minutes later, Hitler and the others in the bunker knew that the toxin was effective, and he handed capsules to each of his female secretaries. “I wish that I had better parting gifts,” he said. “At least these will allow you to die with dignity, rather than at the hands of our accursed enemies.”

By now, it was common knowledge that the Russians were only blocks away from the Chancellery. Their artillery fire had begun to score direct hits.
To her horror, Eva had seen that, at last, the bright spearhead was dimmer—much dimmer than it had been even days before.

Along with her groom, she had come to accept the inevitability of the loss of the war and the failure of the Reich. She did not wish to live in this world any longer if her husband could not rule it absolutely. She was prepared to die. Taking her husband’s hand, she walked with him through the gloomy bunker, into their private chamber, having bid farewell to Bormann, Goebbels, Generals Krebs and Burgdorf, and the other staff.

Soon afterward, those outside the couple’s chamber heard a gunshot.

Bormann and Goebbels entered their room.

Hitler’s body lay sprawled upon the couch. He had shot himself in the right temple. Blood ran from the wound, streaking his cheek with its crimson stain.

His bride was also dead, but she had died from having swallowed the same poison that had killed Blondi.

Outside, Russian artillery rounds continued to rain down upon the Chancellery Garden.
Bormann and Goebbels ordered the bodies of Hitler and Eva carried to the Garden, saying “Douse them with gasoline.”

Nazi soldiers poured the fuel on their bodies, and the corpses were ignited. The fire raged, dancing furiously. The roasting corpses blackened in the blazing inferno. The air filled with the sickening stench of burning flesh.

Bormann and Goebbels presented stiff-armed Nazi salutes.

From time to time, the soldiers poured more gasoline onto the fire. The blackened bodies crackled and sizzled in the flames.

“I think they’re done,” one of the officers observed dryly.

The soldiers removed the blackened corpses, wrapped them in a tarpaulin, and buried them in a shallow grave.

The Third Reich had fallen to the combined might of the Allied forces.

In the subterranean bunker, the Spear of Destiny rested against the wall. Its head no longer glowed. It had the dull, lackluster appearance of flint.



Fran Newell tossed and turned.

A full moon was high in the star-studded heavens, peering through the tangle of twisted limbs that the mimosa tree outside her bedroom window stretched into the sky.

Fran’s heart beat fast, and she panted for breath. Her arms flailed.

Shadows shifted in her bedroom as the night breeze gently lifted and tossed the mimosa branches. The soft fragrance of the pink powder-puff blossoms wafted through Fran’s open window.

Fran opened her mouth to scream—but, then, she saw him—the white-robed figure stood before her. A dazzling white light emanated from within him; he was its source.

Fran slunk backward, frightened.

She heard his voice. It was gentle, peaceful, full of love. Fear not.

What frightened Fran even more was that she hadn’t seen his lips move. The light
was so bright that she could not see his face clearly; it was like a sun—so brilliant that it hurt her eyes to look at it directly. Somehow, she knew that his lips hadn’t moved—yet he’d spoken to her; she’d heard his voice.

“W-who are you?” she stammered.

I am Alpha and Omega, he said, the Beginning and the End.

Wasn’t that a verse from the Bible? Fran thought. Wasn’t that something that Jesus was supposed to have said? What would Jesus want with an atheist like me?

Your time has not yet come, the voice informed her. You shall live to serve me. Your eyes shall be opened, and you shall see.

Fran frowned. What was that supposed to mean? She wondered. There was nothing wrong with her vision. I see just fine, she thought.

You shall see visions; you shall prophecy in my name.

Okay, Fran thought, this is all too weird. I’m going to wake up now!

Abruptly, the dazzling figure was gone, and Fran felt an enormous pain in her head.

She heard another voice. We have a pulse!

Fran gasped, sitting upright in her bed, the disheveled counterpane in tangled mounds. The moonlight shone through her window. Her teddy bear lay beside her, and she clutched it to her chest. “It was a dream” she told the plush animal, “just a dream.”

It was a dream inspired by a reality, though. Unknown to her best friends, Crystal Fall, Dee Dee Dawkins, and David Lewis, Fran hadn’t merely suffered a concussion during their battle with Dr. Trask and his hypnotized servants in their bid to take control of Edgar Allan Poe High School and its students’ minds. When Randy Sheffield had shoved her headfirst into that bank of lockers, Fran had sustained injuries that had actually killed her—if only for a few moments. At first, she’d attributed her strange dream about the brilliant figure in white to a “near-death experience,” but research showed that, whatever had happened to her, she hadn’t had such an experience, even if she had been clinically dead.

No, her research showed that, other than seeing a shining figure in white, she’d experienced few of the common characteristics associated with a near-death experience. Fran had felt no calmness (she’d been frightened). She had heard no buzzing sound, and she had felt no tingling sensation. There’d been no awareness before the dream that her soul had separated from her body (Fran believed, in fact, that there was no soul). She’d fallen through no dark tunnel. She’d felt no ecstasy. She hadn’t met bewildered spirits. She hadn’t seen a beautiful garden.
She hadn’t watched a filmstrip of her life that highlighted missed opportunities to lend others a hand. She’d met no deceased friends or family members. There’d been no sightings of celestial cities of light.

Yes, she had encountered a Being of Light and, yes, she had been sent back to this world with a mission—but, to her mind, two out of more than a dozen possible characteristics did not constitute a near death experience.

It had been only a dream, induced by the powerful sedatives she’d been administered in the emergency room.

It had been just a dream.

Then, the emergency room team had revived her.

Thereafter, she’d lain in the hospital for a week, recovering.

Except that she hadn’t recovered—at least, not completely.

The dream or vision or whatever she’d had while she’d been clinically dead continued to haunt her.

There was no God.

Jesus had been only a great teacher and a superior moral leader. Certainly, if there were no God, Jesus couldn’t have been the Son of God. That was just a myth.

So how did she explain the figure that had said, I am Alpha and Omega?

Obviously, it had been a hallucination, the effect of chemicals in her brain, or misfiring synapses, or something. There was no reason to think that it was actually Jesus Christ who’d appeared to her in another realm somewhere beyond this world.
Ockcam’s razor, she reminded herself, was the sensible position to take with regard to such a dubious hypothesis as her being visited by God in the flesh: “Never needlessly multiply hypotheses.” The simplest explanation was to be preferred.
There was no need to bring in the supernatural to explain something for which natural causes could account.

Sure, she’d been dead—for a few minutes—and she’d seen a brilliant, shining man in a white robe that had quoted the Bible, but it had been her own mind creating the imagery and the words, just as her mind created dreams during sleep.

Again, Fran frowned. Why should I, an atheist, dream about Jesus Christ? The question was unsettling, and Fran shivered. Perhaps, she thought, she wasn’t as immune to superstition as she’d supposed. Maybe part of her—a deep part beyond logic and emotion—believed despite her disbelief. What was it that Blaise Pascal had said? “The heart has reasons that reason does not know?”

Even if hallucination could explain the figure in white, what about the other visions—those that she’d had while she’d been wide awake—those that had been of future events—those that had come to pass?

She had tried to repress the memory of these visions, had tried to deny them, but she couldn’t.

The little boy who’d fallen from the tree house in his back yard—he had fallen, just as she’d foreseen. It had been in the newspaper. Wasn’t she responsible for his injuries, his paralysis? After all, she had known—or had seen, at least—and she had done nothing to report the impending catastrophe. Now, the boy had lost the use of his legs forever.

A week later, she’d had a vision of the hornets’ nest in the woods near Eureka Creek—and of the girl taking a shortcut home being stung by the hornets—stung and stung and stung. How many times had the newspaper article said? “Over a hundred.” Luckily, the girl had lived but, again, couldn’t Fran have prevented the calamity? Hadn’t the shining, white-robed figure told her as much?

Your eyes shall be opened, and you shall see.

Fran’s denial had resulted in a boy being paralyzed and a girl being stung nearly to death.

That was absurd!

There was no God.

She was sure of it.

God couldn’t exist—not in a world of suffering and pain, not if God was, as Crystal Fall had assured her, omniscient, omnipotent, and benevolent. How could a loving God countenance starving babies and famine and pestilence and railroad accidents and tornadoes and disease and insanity and paralyzed boys and hornets stinging girls and teenage girls dying because they’d been shoved by a brainwashed, hypnotized zombie into a bank of high school lockers? If God existed, he’d have to be a sadist, not a loving God.

On the other hand, what if there is a God? she asked herself.

What if Job had been right in his answer? What if, despite evil, pain, and suffering, God is good and all-powerful and has reasons for allowing bad things to happen to good people? To a cat, it may seem evil that its master won’t let it out, but its owner may know that this apparent evil could save the pet from being squashed to death beneath a car’s tires or from being torn apart by a pack of wild dogs. Maybe God, being all-knowing, knows a thing or two that people don’t. Maybe people should trust him, as Job had argued, saying, “The just shall live by faith.”

Fran thought of the latest vision she’d had. The vision had involved Crystal’s discovery of a dead body in the park they called “The Swamp.”

What if that happened, too?

“It won’t,” she told her teddy bear. “There is no God.”

She recalled her visions of the paralyzed boy and the bee-stung girl.

Coincidence, Fran decided.

The high, full moon seemed to grin at her from its vantage point among the stars.

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Thursday, October 2, 2008

Saturday’s Child: A Prequel to Mystic Mansion


Synopsis

Edgar Allan Poe High School, Home of the Ravens, was a normal academic institution, populated by normal teenagers--or was it? Once the new principal took over, things quickly went from normal to bizarre, and Crystal Fall’s and her friends’ lives were in danger. But the teens had a secret ally: God was on their side! For readers who've graduated from R. L. Stine but aren't quite ready for Stephen King, this novel and its sequel, Mystic Mansion, are perfect reads!

For more, visit Saturday's Child

Support independent publishing: buy this book on Lulu.

Sample
Prologue

Amy Black nodded. Her head dropped, and she woke with a start. Mr. O’Brien was droning on, something about a bare body or a bear named Bodkin or some other such Shakespearean nonsense. Why couldn’t Shakespeare have written his plays in English? she thought drowsily.

She closed her eyes.

Her head fell forward again, and she saw the gun--

It was there, in her locker, under her gym bag.

She reached in, took the cold hard steel in her hand.

Him! That jerk!

She watched him enter the boys’ rest room. Her legs carried her down the hallway, and she pushed the door open.

He was at one of the sinks, washing his hands. He turned, saw her, his mouth and eyes wide with surprise.

“What are you doing in here?” he demanded.

He was always demanding something.

“Can’t you let me have even a moment’s privacy? Do you have to--”

There was a sound of thunder, a flash of lightning, and the gun kicked hard in her hand.

Somewhere, someone was screaming.

She sat bolt upright in her chair, barely able to distinguish her dream from the commotion around her and the ringing bell.

The other kids were gathering their books. They left their seats and hastened toward the door, toward a few minutes of freedom, toward a five-minute rendezvous with their friends. Mr. O’Brien called after them, reminding them of their homework. Amy grabbed her book, too, stuffed it into her book bag, and strode from the classroom, the deafening sound of the gunshot still in her ears.

In the hallway, outside Mr. O’Brien’s English Lit class, Amy paused to lean against the wall. She was breathing fast. She was shaking, and she felt faint. The dream, the vision, the hallucination, whatever it was--it had been so vivid, so real! And this was the third time in two weeks that she had had the nightmarish vision.

Why did she keep seeing herself shooting Ed Warner?

She may not love him, exactly, not anymore. But she still had some feelings for him. Certainly, she didn’t hate him. And, most definitely, she did not want to hurt him, least of all to see him dead. After all, he was her boyfriend, for the time being, anyway.

Sure, sometimes Ed could be a little too pushy--all right, a lot too pushy, demanding even, but, hey, that wasn’t any reason to have such violent fantasies.

Maybe I need help, Amy thought. Maybe I’m going crazy.

The thought frightened her. What would Ms. Martin, the counselor, do if Amy dared to confide in her about her “dreams”? Call the cops? Have her arrested? Or put her into a mental institution? Amy shuddered, feeling even weaker. She couldn’t bear being torn from her home, from school, from her parents and friends, and she didn’t think that the understanding Ms. Martin would, in fact, be all that understanding. Maybe no one would, not doctors or her mom and dad or even her friends. She didn’t understand it herself. How could anyone else?

No, Amy decided, she couldn’t risk telling anybody about these strange hallucinations. She would just endure them and maybe, eventually, they would no longer plague her.

She bent over the water fountain and drank deeply of the ice-cold water. Her head hurt. There was a dull ache behind her eyes that threatened to explode at any moment.

“Hi, Amy!”

She straightened, forcing a tight smile.

Her friend, Dee Dee Dawkins, looked at her, an expression of concern on her face. “Are you all right?” Dee Dee inquired.

“Not bad for a Monday,” Amy lied. “Just a little headache.”

“Yeah,” Dee Dee replied, with a giggle. “A headache by the name of Ed Warner.”

Amy gasped.

Dee Dee’s eyebrows lifted. “You sure you’re okay?”

“Sure,” Amy said.

She didn’t sound too convincing, Dee Dee thought. Then Dee Dee said, “Duh!” and smacked herself on the forehead with the heel of her hand. “It’s because you’re breaking up with him today, right?”

Amy smiled. This time, the smile looked more genuine. “Well, maybe not today, not with this headache,” she said, “but soon.”

“I’m glad,” Dee Dee said.

Amy arched an eyebrow, looking pointedly at her friend.

“Well, I am,” Dee Dee insisted. “He’s become such a jerk!”

The girls came to a junction in the hallway. “See you at lunch,” Dee Dee said.

“See you at lunch,” Amy repeated mechanically, her thoughts elsewhere.

Dee Dee, looking at her friend as Amy walked slowly down the other hall, shook her head. “Boys!” she said, exasperated.

Amy thought about lunch, about Dee Dee, about the test coming up in Biology, about what a mess her room was and how she’d promised her mom she’d clean it up after school, about the new teen club that she and her friends were considering visiting tonight--about anything and everything she could think about to keep her mind off Ed Warner and the awful visions she had had of the smoking gun in her hand and his lifeless body on the bloody rest room floor.

For more, visit Saturday's Child

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Monday, September 29, 2008

Hell on Earth

Copyright 2008 by Gary L. Pullman

In previous posts, we argued that horror fiction is about the survival of loss and that the monsters it features are often metaphors for various real (i. e., existential) threats. We also suggested that, for many contemporary horror writers, the evils which threaten us today are apathy and indifference, whether personal, social, or cosmic in nature. Evil, these writers seem to agree, flourishes when good men do nothing. Stephen King seems to be the odd man out in suggesting that modern evil should be considered more a threat against one’s community, on whatever scale, than apathy or indifference per se.


Writers--especially horror writers--are always Dante, creating hells, with or without various levels of iniquity and torment. The modern hell results from the evils of apathy and indifference, from the loss, in other words, of altruism and self-sacrifice. We are the waylaid traveler in a world in which there are few, if any, good Samaritans.


In past times, the threats of loss with which society was faced--the monsters of the moment, as it were--were different. After World War II, Japan, with good reason, feared the atomic bomb, and Godzilla arose, a towering monster born of underwater nuclear waste, to terrorize Tokyo as Fat Man and Little Boy had terrorized Hiroshima and Nagasaki. The monster represented the annihilation of the Japanese people, a sort of genocidal doom imposed by strangers from afar.


King Kong, if we are to believe Carl Denham, seems to represent the bestial component not of humanity as such, but of the male of the species, whom only female Beauty can tame. What is the giant ape but the uncivilized and the undomesticated, and, therefore, the hyper-masculine, male? He is masculinity unrestrained, a rampage of testosterone that has not, as yet, met its match in the humanizing effects of estrogen. Too large, to be sure, to be a rapist, Kong is nevertheless an abductor who, quite literally, carries Ann Darrow back to nature, a primitive world in which there is no law other than that of the survival of the fittest. It is only when, tempted, as it were, by Ann, that Kong is captured (emasculated) and taken to the concrete jungle that he is subdued, however temporarily, and, at last, killed. As Denham laments, “’Tis Beauty killed the Beast.” The lesson of this masterful cautionary tale is as simple as it is profound: The undomesticated male is a threat not only to the female but to society--indeed, to civilization--itself, and, if it cannot be tamed, it must be destroyed by the tribe.


Beowulf’s monster, Grendel, was an outcast. A descendent of Cain, who was sent into exile by God himself, Grendel envied the fellowship displayed by the Danish warriors who met over mead in their great hall, Heorot, for which reason he attacked and killed as many of their number as he could, until, at last, he himself was dispatched by the Geatish hero. Critics see him as representing the feuding principle which, like that among today’s street gangs, requires that an outrage, real or perceived, by one tribe against another, be avenged. The act of vengeance itself, of course, requires, in turn, another act of vengeance, ad infinitum, thereby threatening the social order that is the foundation of civilization. By defeating this principle, Beowulf introduced social stability and ended the threat to the status quo that continuous intertribal warfare, in the guise of the monster, represented.

In The Epic of Gilgamesh, the Babylonian hero overcomes the monster of his own--and of the rest of humanity’s--mortality. He does not defeat death itself, but the fear of it that immobilized his will and made life seem hardly worth the living. In other words, he learns to live with death, establishing the pagan alternative to Christian immortality: the name of the man of accomplishment, if not the man himself, will be remembered forever. To be forgotten is to be annihilated. However, the man of great accomplishment is apt to be memorialized both in stone monuments and in such poems as The Epic of Gilgamesh and Beowulf, so his memory is assured, and he need not fear being forgotten; in this sense, he will live forever.

Epic narratives, by definition, deal with civilizations, nations, or societies. Other types of fiction may, also, but they need not do so. Often, other genres do not. Sometimes, the focus is finer. The group is more select, and the context is more contracted. For example, according to its creator, Joss Whedon, the television series Buffy the Vampire Slayer is based upon the simple premise that high school is hell. It is a place that one is compelled to attend. The day progresses according to a predetermined structure that is imposed upon one by others. The setting is a more-or-less self-contained, self-sufficient environment--in sociological terms, a total institution. One is forced to participate in activities, such as physical education and geometry and English class assignments, that are abhorrent and painful, emotionally if not always physically. One is made to keep company with others whose presence one finds undesirable or even repulsive. Certain behaviors that one enjoys, whether chewing gum or making out with a member of the opposite sex, are discouraged or even forbidden, and the manner in which one would dress may be restricted or dictated by adults with no fashion sense. Pretty much everything one does is controlled by one’s keepers--the teachers and administrators--and even a visit to the rest room must be approved by someone else. High school students suffer not only a loss of freedom, but they also experience losses of autonomy, dignity, and individuality. Moreover, attempts are made to “socialize” them and to make them think in certain ways about certain things--in a sense, to brainwash them. Maybe, in many ways, high school is hell, as Whedon and others (Carrie’s director, Brian De Palma, for example) have suggested.

Buffy offers a convenient way of examining hell on earth, because it confines itself pretty much (for the first three of its seasons, anyway) to the microcosm of high school (and thereafter to the microcosm of college); because it ran for seven seasons before its demise; and because it frequently features a monster of the week, which supplies quite a bestiary of monsters, beastly, demonic, and otherwise, which suggests how horror writers are always Dante, creating hells, with or without various levels of iniquity and torment.


In “The Witch,” the third episode of season one, a high school cheerleader’s mother, who is also a witch, uses her magic to eliminate her daughter’s rivals so that she, the mother, can relive her glory days as a head cheerleader through her daughter, once the latter gains a spot on the squad. Although this plot may seem ludicrous, it has a real-life precedent in which a woman murdered the rivals of her daughter to ensure her win. The hell of high school, it seems, is home to abusive parents who, seeking to live vicariously through their children, represent real dangers to their offspring’s health and welfare.


“The Pack,” the sixth episode of the same season, examines the threats of peer pressure and mindless conformity to individuals’ personal integrity. Buffy Summers’ friend, Xander Harris, bitten by a hyena, becomes more and more feral and predatory, both socially and sexually, turning against his best friend Willow Rosenberg and his romantic interest, the Slayer herself. High school’s hell includes the demons of groupthink and the lockstep behavior that attends it.

The eighth episode of this season, “I Robot, You Jane,” takes on the dangers of the anonymous predators of Internet chat rooms: Willow meets a seemingly sweet suitor who is actually a demon that was released from the book in which its spirit was magically bound when the school’s librarian, Rupert Giles, orders the text to be scanned into the library’s electronic database and the demon escapes into cyberspace.

“Out of Sight, Out of Mind” shows the psychologically destructive effects of cliques who ignore all others but their own members: a girl who is ignored by students and teachers alike gradually becomes invisible and seeks to avenge herself upon her passive-aggressive tormentors before, defeated by Buffy, she finds a home, of sorts, with a covert government organization (most likely the Central Intelligence Agency) that performs espionage activities.
Other episodes in this and other seasons of the show provide plenty of other examples of the types of loss that high school students face and the types of monsters that threaten them with these losses. Many have to do with matters of identity, multiculturalism and cultural assimilation, sexism and chauvinism, attempts to avoid personal responsibility and duty, the effects of past deeds upon one’s present life, the consequences of refusing or being unable to repress instincts and primitive impulses, the emotional manipulation of others, unrestrained passion, child abuse, unresolved guilt, misogyny, adolescent behavior, social ostracism, service to others, and autonomy. In other words, high school hell, as it is depicted in this series for teens and young adults, is layered with personal, social, and political strata, much like the world of adults. The difference is that many of the concerns are adolescent. Adults, for the most part, have survived the losses associated with adolescence and have moved on to face other dragons. The new monsters are not necessarily bigger and more terrible (although some may be), but they’re different, for different ages, whether with respect to the individual or his or her society, nation, or culture, differ over time. In every age, however, the rejected and the exiled, the repressed and the banished, become the condemned, or the damned, and new hells are created, with or without various levels of iniquity and torment. The demons are the threats of loss; the effects that follow such losses make up the atmosphere of hell. In the hell that is high school, the blessed are the ones who, surviving these losses, ascend to new levels of knowledge and wisdom.

Of course, that’s just the hell of high school. Once writers realized that there is not one world, but worlds within worlds, the numbers and kinds of hell, like the number and types of demons, multiplied significantly. There is the hell of school, of the workplace, of the home, of the place of worship, of places of leisure, and some hells are not places at all, but states of existence, such as illness, or situations, such as a loveless marriage, or events, such as the death of a loved one. Truly, as Edgar Allan Poe observed, “misery is manifold.” Hell is on earth because, as Jean Paul Sartre points out, in No Exit, hell is other people. It is also ourselves. As John Milton observes, Satan carries hell within himself, for it is a state of mind in which he has alienated himself from God. The same is true of us as well.

One might say of this post what some critics said of Milton’s poem. Much has been said of hell, but little of heaven. That’s because, too often, we count our curses, so to speak, rather than our blessings, seeing the bad and ignoring the good. By identifying the hellish, we have, by implication, also identified its opposite, the heavenly, which is why, as we have argued in a previous post, horror fiction is a guide to the good life as well as a body of cautionary tales. Whatever we fear to lose, we value, and heaven is the realm wherein we have stored up the things we deem to be valuable beyond all else, very little of which, as it turns out, is comprised of physical or material objects.

Friday, September 26, 2008

The Form and Function of the Alien Menace

copyright 2008 by Gary L. Pullman
 
Everything has a past, but not everything has a history. To have a history, something must have occurred within the scope of people’s self-conscious awareness of themselves and their world and must have been of sufficient interest for the historians among them to record and interpret these events.
Strangely enough, UFO’s and extraterrestrial creatures, often called aliens, have a history. In fiction (mostly science fiction, but some horror fiction as well), aliens have made appearances, usually as the enemy of humanity (but sometimes as its friend and would-be guru) as early as the seventeenth century. The idea that the moon might be inhabited was introduced in John Milton’s Paradise Lost (1667) when an angel implies that the lunar satellite may be inhabited by lunatics similar to Adam and Eve, and Bernard le Bovier de Fontenelle made a case for alien civilizations in his Conversations on the Plurality of Worlds (1686). Aliens appear in H. G. Wells’ The War of the Worlds (1898) as villains who meet their match in their encounter with Earth’s lowly bacteria. The recent discovery of rather large quantities of water on Mars makes the idea of life’s reality or possibility on other planets more feasible to many scientists than it seemed before this discovery. Like Wells and other nineteenth-century novelists, many contemporary writers have featured aliens as characters in their novels. Stephen King (Dreamcatcher, The Tommyknockers) and Dean Koontz (The Taking) are examples. However, Hollywood loves aliens even more than novelists, and many films, both of the science fiction and the horror variety, have featured extraterrestrials. This post is concerned not so much with the appearance of extraterrestrials in science fiction and horror stories but with the means by which such creatures seek to accomplish their goals or missions. Form is limited by what nature exhibits. Therefore, as one might suspect, most aliens are either bipedal or humanoid in form, if not function, because it is difficult to imagine a creature that is otherwise, unless a writer takes (as some have done) one of our four-legged animal friends, one of our six-legged insect friends, or one of our eight-legged arachnid friends as his or her model. A few writers have looked to supernatural entities for their inspiration. Star Trek: The Next Generation’s allasomorph, in its true form, for instance, resembles nothing so much as it does a ghost. Although no such inspiration has been confirmed, it seems that George Lucas’ muse for his many extraterrestrial creatures could have been the demons with which Hieronymus Bosch populated the canvases of his Garden of Earthly Delights triptych. One of the more interesting aliens is The Blob, a gelatinous mass similar to an ameba that has been magnified several millions of times. Although a giant jelly-like mass may seem silly, it seems less so if one imagines what it would be like to be engulfed by such a blob. One would no doubt twist and thrash about, kicking (if not screaming), panicked and terrified, as he or she began to suffocate within the gelatinous mass. If mere suffocation is not enough to frighten and annoy the victim, one is not to worry: the creature also digests its prey, dissolving him or her into a nutritious protein stew. Meanwhile, the terrified face of the struggling victim is visible through the blob’s membranous, gelatinous form. King’s Dreamcatcher aliens resemble legless red weasels. Spawned by the ingestion of an infectious mold called a byrus, the aliens, known as byrum, incubate within their hosts’ abdomens and exit through their rectums. The byrum is linked telepathically with the byrus, with which the alien creatures maintain a symbiotic relationship that is hazardous to human health. King said that his aliens symbolize cancer, which is the title that he’d originally given his work in progress before deciding upon Dreamcatchers instead. The aliens of King’s Tommyknockers are more human in their appearance, although with a bit of crab and dog thrown in, for good measure. Unusually tall, they have claws instead of feet and canine countenances. Gray of skin, they are milky-eyed and have apparently foregone sex and gender in favor of sexless androgyny. They have also given up spoken and written language, it seems, preferring to communicate telepathically. (In King’s novels, the ability to use telepathy is one of the necessary attributes, it seems, for aliens.) In other ways, however, the aliens are severely limited, if not actually mentally handicapped. Unable to reproduce sexually, the aliens resort to transforming humans into semblances of themselves in an apparent attempt (King is never too clear on this point) at colonizing the Earth. Many critics see these aliens as representing the effects of substance abuse, from which King was allegedly suffering at the time that he wrote this novel. Koontz’s aliens are so much like spaceships that the human characters mistake the extraterrestrials for such. (In fact, though, the creatures aren’t aliens at all, as it turns out; they’re fallen angels, led by Satan). When they pass overhead, one feels as if he or she is mentally radiated, as it were, and known, completely and instantly. To facilitate their conquest of the Earth, an advance team of the extraterrestrials is undertaking a reverse-terraforming of the planet to create an atmosphere that is hazardous to humans but agreeable to the extraterrestrials. It is only toward the end of the novel that the protagonist learns that the aliens are actually an army of demons who have come to destroy the planet. In this novel, Koontz inverts the old idea that the demons of myth and legend were inspired by aliens who visited the Earth in days long past, making the belief in aliens a consequence of the actual existence of demons. This plot ploy allows Koontz’s novel an unusual theological significance that King matches in his own demon-haunted novel Desperation. Form is one of the limits that nature imposes upon writers who want to write about alien creatures, for people, writers included, are limited by nature as to what they can know and, consequently, about what they can write. Nature, although varied, is finite, and, sooner or later, minerals, plants, insects, and animals are going to run out of characteristics and abilities that can be imposed, in more or less disguised fashion, upon supposedly extraterrestrial creatures. This is a given. Therefore, writers are well advised, if they want their monster to be an alien, to take a leaf from King and Koontz and give them a non-human (and possibly an inhuman) means of carrying out their (more or less human) motives for visiting Earth to begin with and for whatever mission or endeavor they undertake after they get here. Despite some problems with his plots, King’s Dreamcatcher and Tommyknockers do impart more-or-less alien means of accomplishing his extraterrestrials’ more-or-less human purposes, although he uses a biological concept (symbiosis), a paranormal cliché (telepathy), and a centuries-old political purpose (colonization) to do so: his aliens are here to invade the Earth (Dreamcatcher) and to colonize our planet (The Tommyknockers); the way they go about doing so--spreading a disease in which they are symbiots and transforming humans into themselves with a gas--are more-or- less alien methods. Koontz’s motive for his aliens’ presence is even more intriguing: they are merely wearing disguises; the aliens are actually demons who wear their extraterrestrial appearances as fleshly costumes. Affecting a disguise isn’t all that unusual, especially for humans, but the means by which the demons in his novel accomplish their purpose--taking upon themselves an extraterrestrial likeness--is beyond the scope of anything that human beings can accomplish--at least this side of hell. If a writer can’t get past the restrictions of form in creating aliens, he or she should at least try to imagine a way to bypass function, giving his or her aliens a non-human method by which to accomplish their purposes. As in so many other matters relating to horror fiction, King and Koontz have shown the way by which writers can do so.

Paranormal vs. Supernatural: What’s the Diff?

Copyright 2009 by Gary L. Pullman

Sometimes, in demonstrating how to brainstorm about an essay topic, selecting horror movies, I ask students to name the titles of as many such movies as spring to mind (seldom a difficult feat for them, as the genre remains quite popular among young adults). Then, I ask them to identify the monster, or threat--the antagonist, to use the proper terminology--that appears in each of the films they have named. Again, this is usually a quick and easy task. Finally, I ask them to group the films’ adversaries into one of three possible categories: natural, paranormal, or supernatural. This is where the fun begins.

It’s a simple enough matter, usually, to identify the threats which fall under the “natural” label, especially after I supply my students with the scientific definition of “nature”: everything that exists as either matter or energy (which are, of course, the same thing, in different forms--in other words, the universe itself. The supernatural is anything which falls outside, or is beyond, the universe: God, angels, demons, and the like, if they exist. Mad scientists, mutant cannibals (and just plain cannibals), serial killers, and such are examples of natural threats. So far, so simple.

What about borderline creatures, though? Are vampires, werewolves, and zombies, for example, natural or supernatural? And what about Freddy Krueger? In fact, what does the word “paranormal” mean, anyway? If the universe is nature and anything outside or beyond the universe is supernatural, where does the paranormal fit into the scheme of things?

According to the Online Etymology Dictionary, the word “paranormal,” formed of the prefix “para,” meaning alongside, and “normal,” meaning “conforming to common standards, usual,” was coined in 1920. The American Heritage Dictionary defines “paranormal” to mean “beyond the range of normal experience or scientific explanation.” In other words, the paranormal is not supernatural--it is not outside or beyond the universe; it is natural, but, at the present, at least, inexplicable, which is to say that science cannot yet explain its nature. The same dictionary offers, as examples of paranormal phenomena, telepathy and “a medium’s paranormal powers.”

Wikipedia offers a few other examples of such phenomena or of paranormal sciences, including the percentages of the American population which, according to a Gallup poll, believes in each phenomenon, shown here in parentheses: psychic or spiritual healing (54), extrasensory perception (ESP) (50), ghosts (42), demons (41), extraterrestrials (33), clairvoyance and prophecy (32), communication with the dead (28), astrology (28), witchcraft (26), reincarnation (25), and channeling (15); 36 percent believe in telepathy.

As can be seen from this list, which includes demons, ghosts, and witches along with psychics and extraterrestrials, there is a confusion as to which phenomena and which individuals belong to the paranormal and which belong to the supernatural categories. This confusion, I believe, results from the scientism of our age, which makes it fashionable for people who fancy themselves intelligent and educated to dismiss whatever cannot be explained scientifically or, if such phenomena cannot be entirely rejected, to classify them as as-yet inexplicable natural phenomena. That way, the existence of a supernatural realm need not be admitted or even entertained. Scientists tend to be materialists, believing that the real consists only of the twofold unity of matter and energy, not dualists who believe that there is both the material (matter and energy) and the spiritual, or supernatural. If so, everything that was once regarded as having been supernatural will be regarded (if it cannot be dismissed) as paranormal and, maybe, if and when it is explained by science, as natural. Indeed, Sigmund Freud sought to explain even God as but a natural--and in Freud’s opinion, an obsolete--phenomenon.

Meanwhile, among skeptics, there is an ongoing campaign to eliminate the paranormal by explaining them as products of ignorance, misunderstanding, or deceit. Ridicule is also a tactic that skeptics sometimes employ in this campaign. For example, The Skeptics’ Dictionary contends that the perception of some “events” as being of a paranormal nature may be attributed to “ignorance or magical thinking.” The dictionary is equally suspicious of each individual phenomenon or “paranormal science” as well. Concerning psychics’ alleged ability to discern future events, for example, The Skeptic’s Dictionary quotes Jay Leno (“How come you never see a headline like 'Psychic Wins Lottery'?”), following with a number of similar observations:

Psychics don't rely on psychics to warn them of impending disasters. Psychics don't predict their own deaths or diseases. They go to the dentist like the rest of us. They're as surprised and disturbed as the rest of us when they have to call a plumber or an electrician to fix some defect at home. Their planes are delayed without their being able to anticipate the delays. If they want to know something about Abraham Lincoln, they go to the library; they don't try to talk to Abe's spirit. In short, psychics live by the known laws of nature except when they are playing the psychic game with people.
In An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural, James Randi, a magician who exercises a skeptical attitude toward all things alleged to be paranormal or supernatural, takes issue with the notion of such phenomena as well, often employing the same arguments and rhetorical strategies as The Skeptic’s Dictionary.

In short, the difference between the paranormal and the supernatural lies in whether one is a materialist, believing in only the existence of matter and energy, or a dualist, believing in the existence of both matter and energy and spirit. If one maintains a belief in the reality of the spiritual, he or she will classify such entities as angels, demons, ghosts, gods, vampires, and other threats of a spiritual nature as supernatural, rather than paranormal, phenomena. He or she may also include witches (because, although they are human, they are empowered by the devil, who is himself a supernatural entity) and other natural threats that are energized, so to speak, by a power that transcends nature and is, as such, outside or beyond the universe. Otherwise, one is likely to reject the supernatural as a category altogether, identifying every inexplicable phenomenon as paranormal, whether it is dark matter or a teenage werewolf. Indeed, some scientists dedicate at least part of their time to debunking allegedly paranormal phenomena, explaining what natural conditions or processes may explain them, as the author of The Serpent and the Rainbow explains the creation of zombies by voodoo priests.

Based upon my recent reading of Tzvetan Todorov's The Fantastic: A Structural Approach to the Fantastic, I add the following addendum to this essay.

According to Todorov:

The fantastic. . . lasts only as long as a certain hesitation [in deciding] whether or not what they [the reader and the protagonist] perceive derives from "reality" as it exists in the common opinion. . . . If he [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we can say that the work belongs to the another genre [than the fantastic]: the uncanny. If, on the contrary, he decides that new laws of nature must be entertained to account for the phenomena, we enter the genre of the marvelous (The Fantastic: A Structural Approach to a Literary Genre, 41).
Todorov further differentiates these two categories by characterizing the uncanny as “the supernatural explained” and the marvelous as “the supernatural accepted” (41-42).

Interestingly, the prejudice against even the possibility of the supernatural’s existence which is implicit in the designation of natural versus paranormal phenomena, which excludes any consideration of the supernatural, suggests that there are no marvelous phenomena; instead, there can be only the uncanny. Consequently, for those who subscribe to this view, the fantastic itself no longer exists in this scheme, for the fantastic depends, as Todorov points out, upon the tension of indecision concerning to which category an incident belongs, the natural or the supernatural. The paranormal is understood, by those who posit it, in lieu of the supernatural, as the natural as yet unexplained.

And now, back to a fate worse than death: grading students’ papers.

My Cup of Blood

Anyone who becomes an aficionado of anything tends, eventually, to develop criteria for elements or features of the person, place, or thing of whom or which he or she has become enamored. Horror fiction--admittedly not everyone’s cuppa blood--is no different (okay, maybe it’s a little different): it, too, appeals to different fans, each for reasons of his or her own. Of course, in general, book reviews, the flyleaves of novels, and movie trailers suggest what many, maybe even most, readers of a particular type of fiction enjoy, but, right here, right now, I’m talking more specifically--one might say, even more eccentrically. In other words, I’m talking what I happen to like, without assuming (assuming makes an “ass” of “u” and “me”) that you also like the same. It’s entirely possible that you will; on the other hand, it’s entirely likely that you won’t.

Anyway, this is what I happen to like in horror fiction:

Small-town settings in which I get to know the townspeople, both the good, the bad, and the ugly. For this reason alone, I’m a sucker for most of Stephen King’s novels. Most of them, from 'Salem's Lot to Under the Dome, are set in small towns that are peopled by the good, the bad, and the ugly. Part of the appeal here, granted, is the sense of community that such settings entail.

Isolated settings, such as caves, desert wastelands, islands, mountaintops, space, swamps, where characters are cut off from civilization and culture and must survive and thrive or die on their own, without assistance, by their wits and other personal resources. Many are the examples of such novels and screenplays, but Alien, The Shining, The Descent, Desperation, and The Island of Dr. Moreau, are some of the ones that come readily to mind.

Total institutions as settings. Camps, hospitals, military installations, nursing homes, prisons, resorts, spaceships, and other worlds unto themselves are examples of such settings, and Sleepaway Camp, Coma, The Green Mile, and Aliens are some of the novels or films that take place in such settings.

Anecdotal scenes--in other words, short scenes that showcase a character--usually, an unusual, even eccentric, character. Both Dean Koontz and the dynamic duo, Douglas Preston and Lincoln Child, excel at this, so I keep reading their series (although Koontz’s canine companions frequently--indeed, almost always--annoy, as does his relentless optimism).

Atmosphere, mood, and tone. Here, King is king, but so is Bentley Little. In the use of description to terrorize and horrify, both are masters of the craft.

Believable characters. Stephen King, Douglas Preston and Lincoln Child, and Dan Simmons are great at creating characters that stick to readers’ ribs.

Innovation. Bram Stoker demonstrates it, especially in his short story “Dracula’s Guest,” as does H. P. Lovecraft, Edgar Allan Poe, Shirley Jackson, and a host of other, mostly classical, horror novelists and short story writers. For an example, check out my post on Stoker’s story, which is a real stoker, to be sure. Stephen King shows innovation, too, in ‘Salem’s Lot, The Shining, It, and other novels. One might even argue that Dean Koontz’s something-for-everyone, cross-genre writing is innovative; he seems to have been one of the first, if not the first, to pen such tales.

Technique. Check out Frank Peretti’s use of maps and his allusions to the senses in Monster; my post on this very topic is worth a look, if I do say so myself, which, of course, I do. Opening chapters that accomplish a multitude of narrative purposes (not usually all at once, but successively) are attractive, too, and Douglas Preston and Lincoln Child are as good as anyone, and better than many, at this art.

A connective universe--a mythos, if you will, such as both H. P. Lovecraft and Stephen King, and, to a lesser extent, Dean Koontz, Bentley Little, and even Douglas Preston and Lincoln Child have created through the use of recurring settings, characters, themes, and other elements of fiction.

A lack of pretentiousness. Dean Koontz has it, as do Douglas Preston and Lincoln Child, Bentley Little, and (to some extent, although he has become condescending and self-indulgent of late, Stephen King); unfortunately, both Dan Simmons and Robert McCammon have become too self-important in their later works, Simmons almost to the point of becoming unreadable. Come on, people, you’re writing about monsters--you should be humble.

Longevity. Writers who have been around for a while usually get better, Stephen King, Dan Simmons, and Robert McCammon excepted.

Pacing. Neither too fast nor too slow. Dean Koontz is good, maybe the best, here, of contemporary horror writers.