Theme as the Springboard to a Story's Plot

Copyright 2011 by Gary L. Pullman

Dorothy Gale discovers she's not in Kansas anymore

I usually start my stories with an inciting moment, the point in the action that launches the rest of the narrative forward. (In The Wizard of Oz, the film version of L. Frank Baum’s novel, The Wonderful Wizard of Oz, for example, the story begins when the protagonist, Dorothy Gale, runs away from home, because, had she not done so, she’d have been with Aunt Em, Uncle Henry, and the farmhands in the storm cellar and would have avoided the cyclone that carried her off to her adventures in faraway Oz.)

A story’s inciting moment can be virtually anything. I once had a list of a couple hundred potential inciting moments. A few on this list might have been:

• The protagonist receives a strange package.
• The protagonist makes a spontaneous (and, as it turns out, a poor) decision.
• The protagonist is abducted by strangers.
• The protagonist buys his girlfriend a present different than the one he’d intended to buy for her birthday.
• The protagonist awakens in a strange place, not knowing how he or she got there.

In a previous post, I explain how Edgar Allan Poe wrote his famous narrative poem The Raven backward, by first determining the effect that he wanted to produce (horror) and then determining the details, of plot, tone, setting, and so forth, that would best help him to produce this predetermined effect. This morning, in the wee hours, as I lay half-asleep and half--awake, which is usually when the muse puts in her appearances--I hit upon another way to accomplish this same feat: One can write backward, so to speak, by first determining how the main character will change by the end of the story!

The change doesn’t have to be drastic, although it should be significant. The change may involve in alteration in the protagonist’s aspirations, attitude, beliefs, decisions, emotions, perceptions, reasoning, thoughts, understanding, or values. Whatever type of change occurs, however, it will derive from the experiences that he or she undergoes during the course of the story, and his or her change will constitute a lesson of sorts for him or her. In fact, I often think of the theme of a story as the lesson that the main character learns as a result of his or her experiences.

Looked at backward, so to speak, the story’s theme (the lesson learned, as reflected in the protagonist’s change of behavior) can be the springboard for the narrative’s entire action, a kind of inciting moment in reverse, as it were. In other words, by determining beforehand how the main character will change, a writer can then plot the story’s action in reverse, determining what will make him or her change and what lesson he or she will learn as the result of the experiences that he or she thus undergoes.

Job, in better days

Let’s take the Biblical story of Job (a horror story, if ever there was one) as an example. At the end of the story, Job’s understanding of God increases: Before the story, Job has a simple idea of God as One who rewards good behavior and punishes bad behavior; by the conclusion of the narrative, Job learns that God’s will is inscrutable, or unknowable, and that He must be trusted despite human beings’ ignorance of His ultimate character, or, as Job phrases his newfound knowledge (the story’s theme), “The just shall live by faith.”

Job has not learned the lesson that bad things sometime happen to good people and not just to the bad guys. Therefore, he is puzzled when things go from good to bad for him, and his faith (trust) in God is severely tested. By knowing in advance that Job’s understanding of the nature of God is what will change as he learns his lesson (“The just shall live by faith”), the writer would be able to select the incidents of the plot, including those of the exposition (God points out Job’s faithfulness to Satan during an assembly of the heavenly host which the devil also attends); the inciting moment (Satan is allowed to test Job’s faith); the rising action (the increasingly horrific torments that Job must endure during the testing of his faith); the turning point (Job’s refusal both to curse God and to himself accept blame for the catastrophes that befall his fortune, his family, and himself); the falling action (God’s interrogation of Job out of the whirlwind); and the denouement (Job’s confession of both his ignorance of, and his faith in, God and God’s restoration of Job’s fortune, Job’s family, and Job himself).

By plotting backward, so to speak, from the story’s theme and using it as a sort of reverse inciting moment, the narrative’s sequence of action, including the elements of its plot, can be determined in such a way that this sequence of action will result in the protagonist’s change of behavior and the learning of his or her lesson. In addition, this approach allows the writer to connect plot to character much more closely, perhaps, than he or she might have been able to do had his or her story begun not with the final outcome (the theme of the story, which accompanies or leads to the protagonist’s change in behavior), but with a simple change in the routine of the protagonist’s normal, everyday life. Moreover, this approach helps the writer to ensure that everything that happens in the story is related to the character’s development and change and to his or her recognition of a new truth (the lesson that he or she learns).

William Peter Blatty’s "Dimiter": The Creator and His Creation, or the Mind Beyond Nature

Copyright 2011 by Gary L. Pullman

The flyleaf to William Peter Blatty’s novel Dimiter (2010) gives a succinct and intriguing synopsis of the narrative’s basic plot:

Dimiter opens in the world’s most oppressive and isolated totalitarian state: Albania in the 1970s. A prisoner suspected of being an enemy agent is held by state security. An unsettling presence, he maintains an eerie silence though subjected to almost unimaginable torture. He escapes--and on the way to freedom, completes a mysterious mission. The prisoner is [Paul] Dimiter, the American “agent from Hell.”

The scene shifts to Jerusalem, focusing on Hadassah Hospital and a cast of engaging, colorful characters: the brooding Christian Arab police detective, Peter Meral; Dr. Moses Mayo, a troubled but humorous neurologist; Samia, an attractive, sharp-tongued nurse; and assorted American and Israeli functionaries and hospital staff. All become enmeshed in a series of baffling, inexplicable deaths, until events explode in a surprising climax.

The flyleaf also suggests Blatty’s purpose, the novel’s theme being associated with “the sacred search for faith and the truth of the human condition.” Published by Tom Doherty Associates, a Christian house, the book is unlike others of its genre (Christian suspense thrillers) in that it not only contains some profanities, but it also examines faith itself in both a reverential and a skeptical, sometimes ironic, manner.

Blatty, of course, is also the author of The Exorcist, a novel that still excites interest among members of the clergy, philosophers, and theologians and lay readers alike, the latter of whom are perhaps more intrigued by a good, suspenseful, even horrific, story than they are by the finer points of faith and thought.

The author’s theme is reinforced by what, at first, seems but a curious habit: his inclusion of phrases that describe spiritual or psychological qualities within passages which, otherwise objective, are devoted to depicting terrain, flora, and other details of a material environment. Indeed, these subjective notations, so to speak, draw attention to themselves because of their very incongruity as subjective phrases amid objective descriptions.

One such description appears early in the novel, when Blatty is depicting a character’s hunt for a fugitive; I indicate the subjective phrases in bold font, which is not used in Blatty’s novel:

One of the dogs, a ferocious mastiff of enormous muscle and bulk, had been loosed toward a crackling sound in a wood and was later discovered lying still among gold and orange leaves on the forest floor in autumnal light as if fallen asleep and turned away from all yearning. Its neck had been broken. The leader of the force, a young smith named Rako Bey, felt a shadow pass over him at the sight, for he could not grasp the power of a human capable of killing the dog in this way. His breath a white fire on the darkening air, he scanned the wood with narrowed eyes, sifting hawthorn and hazel in search of his fate and seeing nothing but the cloud that is before men’s eyes. The sun was descending. The forest was haunted. Bare branches were icy threats, evil thoughts (14).

Many other passages of the novel also mix subjective descriptions of characters’ psychological or spiritual nature with objective depictions of material existence; the effect, which is surely intentional, is to suggest that, unseen within the materialistic world of nature, the spirit of God, as Creator, is discernable as the vital essence that infuses the world and gives it no only its material existence but also its sacred purpose and its spiritual and supernatural significance. Again, I indicate the subjective phrases in bold font, which is not used in Blatty’s novel:

Vlora’s eyes flicked up. An eerie whipping wind had arisen behind him, softly moaning and thumping at the windowpanes. Uneasy, feeling watched, the Interrogator swiveled his chair around and looked through the windows to the flickering north where thick black clouds were scudding toward the city from the mountains like the angry belief of fanatical hordes, and in a moment they would darken the Square below and its anonymous granite government buildings, the broad streets drearily leading nowhere, and the rain-slick statue of Lenin commanding the empty storefront windows crammed with the ghosts of a million longings, dust, and the dim recollection of hope (46).

The corporal. . . . looked through a window at the rough stone cobbles outside the post where a gust-driven rain spattered back and forth in hesitant, indecisive sweeps like a wispy gray soul just arrived on the empty streets of some afterworld, lost and forlorn (118).

The presence of such subjective phrases among objective descriptions suggests the presence, in nature, of spirit, a theme that the novel expresses subtly, by both this technique of including the subjective, or spiritual, with the objective and material and Blatty’s allusions, through the testimony of peasants to authorities concerning various crimes or other events and the meditations, sermons, and thoughts of religious clerics (some genuine, others counterfeit). For example, in an interview with “Rako Bey, leader of the volunteer force to Quelleza, taken 10 October,” the atheistic inquisitor is offended by his respondent’s reference to “fate” and commands Bey to maintain “propriety”:

Q. And what led you to the house in the first place?
A. Nothing, sir. Grodd was related to the blind man who lived there, but then he is related to most of the village. Nothing led us there, Colonel. It was fate.
Q. Maintain propriety.
A. Sorry sir.
Q. Our fate is in our hands (18).

Later, the interrogator is equally offended by Ligeni Shirqi, during a deposition that is taken “at Quelleza” on “12 October” and, again, orders the respondent to “maintain the proprieties”:

Q. Your door was unlocked?
A. Yes, it was. I heard the knocking and I called out, “Come in, you are welcome.”
Q. You didn’t think it dangerous?
A. Danger is irrelevant. Things are different here. It’s not like below. Had he killed my own children, I had to make him welcome. “I live in the house,” goes the saying, “but the house belongs to the guest and to God.”
Q. There is no God.
A. No, not in the city, perhaps, Colonel Vlora, but right now we are in the mountains and our general impression here is that he exists.
Q. Do maintain the proprieties, Uncle.
A. Does that help?
Q. Only facing reality helps (24).

One might argue, without too much of a stretch, perhaps, that the mountains represent heaven, or faith in God, and that the city “below” represents hell, or unbelief. However, if Shirqi’s references to God are expressions of faith, they would seem to indicate that his faith is empty and mechanical, rather than authentic and zealous, for her tells his interrogator that such references are but “formulas of grace that we observe” (25).

Throughout the novel, Blatty juxtaposes evidence for faith with listeners’ (and speakers’) reactions to such evidence; usually, the reactions are skeptical or hostile, and behavior that seems truly to be inspired by genuine faith, such as Dimiter’s stoic resistance to his torture and the miracles that take place in Jerusalem and elsewhere, terrify, rather than edify, their witnesses. If God does exist, the characters of Dimiter seem to believe, he must be a Judge to be feared, rather than a loving Father to be adored.

However, officially, it is the contention of Colonel Vlora and his fellow atheistic authorities that “there is no God” and that human conduct is autonomous. It is perhaps because of their atheistic humanism that genuine religious faith, as seen in the stoic acceptance of his suffering on Dimiter’s part, terrify Vlora, causing him to insist that others “maintain the proprieties” of unbelief.

The miracles that occur in the instantaneous healings of several of the patients at Jerusalem’s Hadassah Hospital also mystify and unsettle the skeptical Jew, Dr. Moses Mayo. The neurologist questions Samia, a nurse, concerning her claim to have witnessed a patient, Mrs. Lakhme, “recently crippled by a fractured hip,” walking--and looking far younger than her advanced age--but he is unable, even in the face of such testimony, to believe that such a miracle implies the existence of God:

Mayo’s gaze fixed dubiously on the crimson Star of David stitched onto her oversized starched white cap. His quest for unwavering faith in her accounts had been less than heroically advanced by the fact that he knew her to be a neurotic as well as a courageously innovative tester of the outermost limits of paranoia (83).

Ironically, the novel’s theme (the presence of God, the Creator, is implied by his creation) is perhaps best expressed by a Muslim cleric who, hoping to secure intelligence from Dimiter, poses as a Christian priest who, himself a prisoner, shares Dimiter’s cell and, ostensibly, his own alleged faith in God, preaching a sermon of sorts based upon the teleological argument:

“Before the Big Bang,” he started preaching to the cell, “the entire universe was a point of zero size and infinite weight. Then the point exploded, creating space and, with it, time and its twin, disorder. And yet for our cosmos to come into existence the force of that primordial outward explosion needed to match the force of gravity with the accuracy you would need for a bullet to hit a one-inch target on the opposite side of the observable universe thirteen billion light-years away” (49).

Although it would seem that the counterfeit priest’s argument from design should be convincing enough to unbiased minds, it is, ironically enough, received with the same lack of enthusiasm as is evidenced by Colonel Vlora or, for that matter, Dr. Mayo: “A fist lashed out from the darkness, striking the priest on his cheekbone with the crunching sound of gristle and flesh. ‘I told you I wanted to sleep!’ snarled an angry, deep male voice” (49).

It is not Blatty’s mere use of personifications to indicate the presence of a Mind beyond nature and of a Creator transcendent to his creation that startles the reader, but the way that the author’s subjective descriptions appear in these passages of his novel, as if they are natural, normal, and expected parts of an otherwise objective depiction of a materialistic universe. One might expect such descriptions in the pantheistic or polytheistic writings of ancient storytellers, but they are more than surprising in the pages of a modern novelist’s novel; they are startling and astonishing, testifying of the omniscient narrator’s own apparent faith. For him, as, perhaps, for Blatty himself, there seems to be little doubt, despite all his characters’ doubts, that “the search for faith and the truths of the human condition” with which the novel is concerned will end triumphantly.

Setting and Plot

Copyright 2011 by Gary L. Pullman

Horror story settings often play upon the limits of human perception and the effects of such limitations upon human self-esteem, safety, and security.

Fog blinds, and blindness makes one helpless. A forest’s density of trees makes one feel trapped. An island or a space station is isolated, which cuts one off from others and the aid that they could provide. A cavern is dark; darkness blinds; blindness makes one helpless. A cavern’s passages are tight, which could make one feel trapped, and the passages are labyrinthine, suggesting that one may become lost and, therefore, cut off from others and the aid that they could provide. An unfamiliar place is unknown, and the unknown blinds one mentally, or cognitively, thereby making him or her vulnerable to potential injury or harm.

The antidotes, as it were, to the effects of such settings are, respectively, self-reliance; escape or rescue; being located; and knowledge (especially practical knowledge).

Therefore, some horror stories start at one of these extremes and end with the other extreme. For example, Edgar Allan Poe’s short story “The Pit and the Pendulum” starts with the sentencing to death of the protagonist and his imprisonment in his intended death chamber, the “pit” of the story’s title, and ends with the main character’s rescue by his enemy’s foes.

However, a horror story (or a thriller) might also start with the positive character trait--self-reliance, for example--and end with its destruction, as James Dickey’s novel Deliverance does. In this narrative, macho, self-reliant outdoorsmen are sodomized by a group of sadistic mountain men whom they encounter during a canoeing trip. Likewise, the adversary of William Peter Blatty’s novel The Exorcist seeks to destroy Father Damien Karras’ faith when he attempts to exorcize an alleged demoniac. Another of my posts, “A Descent into the Horrors of Extreme Feminism,” discusses at length the importance of the cavern setting of the movie Descent on both the film’s plot and characters.

Few contemporary horror stories succeed in exploiting a forest setting’s dark and foreboding character as well as The Blair Witch Project. As anyone who has ever gone camping overnight in a forest knows, campers are almost certain to hear furtive sounds, breaking twigs, and perhaps even snarls or growls. Unable to see what one hears, one can quite easily let his or her imagination run wild, and his or her imagination is able to picture horrors and terrors beyond anything reality is likely to offer. The forest, in this film, is a symbol of man’s helplessness before nature--especially a forest that, cutting the band of students off from the rest of humanity, leaves them not only to their own devices but also to their own wild imaginings.

Regardless of the setting an author may select, he or she should examine it carefully for its symbolic, metaphorical, or other rhetorical significance, for by playing upon these implications, the writer can enhance the depth and richness of his or her story. In analyzing the proposed setting, the author may, in fact, find that another setting than that which he or she originally envisioned works better for his or her story in part, perhaps, because the alternative setting is more symbolically, metaphorically, or otherwise rhetorically profound than the first location that he or she considered for the narrative’s milieu. (The same is true for the story’s props: Poe, for example, originally envisioned a parrot as the foil to The Raven’s narrator, rather than the raven he subsequently selected as the poem’s avian adversary.)

Cameo Characters Can Do More Than Advance Plots; They Can Be Compelling in Themselves

One of the more interesting (and creepiest) scenes I’ve read recently in a horror-suspense novel occurs in Douglas Preston and Lincoln Child’s novel Cemetery Dance, which features a cult of zombies who live in New York City’s Inwood Hill Park.

The scene of which I write doesn’t take place on the island or even in New York City, however; it occurs in a restaurant, while the character eats his breakfast. A creature of habit, the diner has been coming to the same eatery for some time, always ordering the same breakfast, which he routinely eats while he reads the morning newspaper.

Something in one of the newspaper’s headlines or stories and other perceptions he experiences convinces him that God wants him to board the next bus to New York City, where, once he arrives, a divine plan will be made known to him. His intuition that he has been called as a servant of God is confirmed when he finds that all the money he has left to his name, which he carries in his wallet and pocket, is the exact amount of the one-way fare to his destination.

Needless to say, he serves a further narrative purpose once he arrives in the city, advancing the plot as his dubious service to the Lord edges the plot toward its climax. Otherwise, he is of no importance to the story; he is a cameo character.

Preston and Child, like other successful writers of horror and other genres, demonstrate in this scene the effectiveness of introducing not just any character but a compelling character to support or advance their plots, even when this character him- or herself is otherwise of minor importance in the greater scheme of things. Such a technique costs only a little thought and work, but it pays dividends, making one’s writing intriguing rather than merely perfunctory.

"The Damned Thing": Commentary, Part 2

Copyright 2010 by Gary L. Pullman

As I indicated in my previous post, Ambrose Bierce’s short story “The Damned Thing” depends, for its effect, upon a fragmented and out-of-sequence timeline, the piecemeal exposition of facts that prevents the establishment of a context sufficiently clear to allow interpretation, the withholding of certain items of information, and the misdirection that results from Bierce’s incongruous, often tongue-in-cheek chapter titles, which have no bearing upon the chapters they introduce and, in fact, may suggest lines of thought that are themselves absurd and irrelevant.

However, Bierce accomplishes more than the generation of mystery and suspense through the use of these techniques. By employing these strategies, he also creates a metaphor by which he implies the theme of his story. The lack of context can be read as the vague, uncertain, and finite understanding of reality that derives from human perception that is itself limited to the phenomena that it perceives.

Bierce’s story’s reference to science is not accidental, for science is the primary and predominant means by which modern individuals ascertain knowledge, if not always truth, and it is science--the science of optics, to be precise--that allows Hugh Morgan to understand the nature of the Damned Thing as being of a color imperceptible to the human eye and thus invisible. However, since science is empirical, resting upon the senses and their perception of phenomena (including colors), it is itself limited to the perceptible world, and, in the final analysis, the nature of the Damned Thing must, therefore, remain essentially mysterious.

Bierce’s fragmented and vague narration, as it occurs in “The Damned Thing,” despite the presence of his omniscient narrator, is deliberate, symbolizing the limits of the scientific method’s reliance upon empirical data and emphasizing the finitude of human perception, cognition, and knowledge by underscoring his story’s victim’s inability to see the invisible adversary that ultimately slays him. Without a context, interpretation is difficult, if not impossible, and Morgan’s (and Harker’s) inability to see the Damned Thing prevents them from understanding it, just as it also prevents the pedestrian and unimaginative “farmers and woodsmen” who make up the inquest’s jury from accepting Harker’s account of the creature’s existence as true. They conclude, despite Harker’s eyewitness testimony, that Morgan was killed by a “mountain lion.” In short, they are unable to think outside the box, so to speak, that the accepted model of reality, based upon science, provides as the basis, or context, for interpreting perception and experience. Therefore, they conclude that Harker’s story demonstrates his madness.

Science tells us how to interpret the things that we perceive (see, hear, smell, taste, or touch), but limits upon human perception and the ignorance that results from such limits make certain knowledge problematic even under the best of circumstances and can (and has) resulted in erroneous and fantastic conclusions concerning even everyday matters. For example, before the invention of the microscope, bacteria and viruses existed, but, unaware of these germs or their functioning, human beings regarded demons, not microbes, as the causes of diseases and mental illnesses. Likewise, the Hubble space telescope has increased astronomers’ understanding of the universe exponentially since its launch in 1990.

Nevertheless, to some degree, we can (and do) hypothesize about experiences, even when knowledge about what we perceive (or do not perceive) is uncertain. For example, no one has seen an actual tyrannosaurus rex, but paleontologists claim to know quite a bit about this dinosaur (even if their “knowledge” is tentative and subject to change in the wake of new discoveries and conjectures). These gigantic animals are considered to have been carnivores with extremely powerful jaws, binocular vision, a bipedal posture, and a highly developed sense of smell. The young, some believe, possessed prototypical feathers, although more as insulation than for flight. In addition, they were believed, by some, to have been scavengers and even cannibals. Although they were once considered too slow-moving and “cold-blooded,” because of their massive size and weight, to be good hunters, scientists later revised this conception and suggested that the tyrannosaurus was more likely than not a fleet-footed predator.

One may argue that some features and abilities of the Damned Thing could likewise be determined by observing its effects on its environment. It is likely to be fast and physically powerful. It is obviously predatory. It is apt to be large, for Morgan’s diary reports that its passing momentarily blocked out the stars. Nevertheless, any ideas concerning the nature of the Damned Thing must remain as vague, uncertain, and finite as humanity’s understanding of reality that derives from perception that is itself limited to the phenomena that it perceives. Bierce’s fragmented and out-of-sequence timeline, his piecemeal exposition of facts that prevents the establishment of a context sufficiently clear to allow interpretation, his withholding of certain items of information, and the misdirection that results from Bierce’s incongruous, often tongue-in-cheek chapter titles, which have no bearing upon the chapters they introduce and, in fact, may suggest lines of thought that are themselves absurd and irrelevant all conspire, as it were, to symbolize and reinforce the epistemological limits of an intelligence that is informed by perceptions of phenomena that, as a rule, cannot be confirmed independently of the senses that detect them.

"The Damned Thing": Bierce's Exercise in Existential Absurdity

Copyright 2010 by Gary L. Pullman

The plot of Ambrose Bierce’s short story “The Damned Thing” is simple--so simple, in fact, that the author must rely upon a piecemeal presentation, in chopped chronological progression, of the narrative’s incidents. Bierce gives vague, and therefore intriguing, hints of something that has happened that is bigger, so to speak, than what is currently taking place, at the same time withholding details to keep the reader guessing as to what’s going on--and what has already gone on. The first paragraph introduces the reader to nine men, one of them a corpse, who have gathered in a small room. One of the men, seated at “a rough table,” reads from a book, by candlelight. There is an expectation, on the part of the men, other than “the dead man,” who is alone “without expectation.” The men, the reader learns, are locals, “farmers and woodsmen.”

By throwing together, as it were, a group of local men who seem to have nothing in common but their vocations, and informing the reader that something seems likely to happen, and soon, but otherwise withholding details that would create a context by which the action, such as it is at this point, could be interpreted, Bierce creates suspense. In addition, he characterizes the men as unimaginative and pedestrian, which will prove important, given the extraordinary incident that will soon be related by William Harker.

Only the man who reads from the book is unlike the others, a “worldly” man, a coroner, in fact, and the book he reads belonged to the dead man. It is, the reader will learn, the dead man’s diary, which was found in his cabin, which is the location in which “the inquest” concerning his death is “now taking place.” The casual manner in which Bierce presents the purpose of the local men’s gathering--an inquest into a man’s death--makes the revelation all the eerier.

Harker makes his appearance, his manner of dress marking him as a city dweller. The reader learns that he is a reporter; he arrives late to the inquest, he says, because he had “to post" to his newspaper "an account” of the incident concerning which he has been summoned to testify. Harker’s statement that he posted the account as fiction because it is too extraordinary for readers to accept as fact piques the reader’s interest, as does his declaration that he will, nevertheless, swear “under oath” as a witness at the inquest, that the story he tells is “true.” Again, Bierce provides just enough vague clues to keep the reader guessing--and reading.

As Harker begins his testimony, the reader learns that he had been visiting the deceased, Hugh Morgan, with whom he was hunting and fishing. In addition, Harker, admits, he was also observing Morgan, having found “his odd, solitary way of life” intriguing and supposing him to be “a good model for a character in fiction.”

In the second chapter of the story, Harker relates “the circumstances of” Morgan’s “death”: As they hunted quail, they heard “a noise as of some animal thrashing about in the bushes,” and saw that the vegetation was “violently agitated.” Morgan appeared frightened and immediately “cocked both barrels of his gun. . . holding it in readiness to aim.” As the men watch, “wild oats near the place of the disturbance” begin to move “in the most inexplicable way. . . . as if stirred by a streak of wind, which not only bent it, but pressed it down--crushed it so that it did not rise; and this movement was slowly prolonging itself directly toward” the two men. Morgan fires and flees, leaving Harker to fend for himself. Harker is “thrown violently to the ground by the impact of something unseen in the smoke,” and something knocks his own gun from his hands. As Harker looks on, Morgan seems to wrestle with an invisible creature. Before Harker can run to his friend’s aid, Morgan is killed, and the ripple and movement of the vegetation betrays the path of the invisible creature’s flight.

In the story’s third chapter, the condition of Morgan’s battered and bloody body is described as the coroner pulls the sheet that covers the corpse away; the dead man's clothing is “torn, and stiff with blood.” Despite the witness’ testimony, which the jury finds incredible, Morgan’s death is attributed to a mountain lion’s attack. Although Harker requests permission to peruse his dead friend’s diary, thinking that the public would be interested in Morgan’s writings, the coroner denies his request, claiming that it is irrelevant to its author’s demise, since “all the entries in it were made before the writer's death.”

Harker may not have been privy to the entries in Morgan’s diary, but the story’s omniscient narrator is, and he reveals to the reader that the journal contains “certain interesting entries having, possibly, a scientific value as suggestions.” Morgan had become convinced of “the presence” of an invisible intruder, and he had been terrified of the creature. However, he had resolved not to be chased away from his own home, believing, also, that God would consider his fleeing from the creature an act of cowardice. Thinking that he may be going insane, Morgan invites Harker to visit him for “several weeks,” to go hunting and fishing, thinking that, in Harker’s reactions to his own behavior, Morgan may find evidence to support either his own sanity or his own madness.

As if by “revelation,” Morgan discovers “the solution to the mystery” of the creature’s invisibility: just as there are sounds that the human ear cannot hear, there are colors that the human eye cannot see, and the invisible creature, or “the Damned Thing,” as Morgan has come to refer to the monster, “is of such a colour!”

A simple tale, “The Damned Thing” depends, for its effect, upon a fragmented and out-of-sequence timeline, the piecemeal exposition of facts that prevents the establishment of a context sufficiently clear to allow interpretation, the withholding of certain items of information, and the misdirection that results from Bierce’s incongruous, often tongue-in-cheek chapter titles, “Chapter I: One Does Not Always Eat What Is On The Table” (a corpse); “Chapter II: What May Happen In A Field Of Wild Oats” (an attack by an invisible creature!); “Chapter III: A Man Though Naked May Be In Rags” (an aphorism that suggests wisdom but introduces the final existential absurdity of death); and “Chapter IV: An Explanation From The Tomb” (the incongruity of the dead offering an elucidation of a text addressed to the living). Like the titles of Rene Magritte paintings, Bierce’s chapter titles have no bearing upon the chapters they introduce and, in fact, may suggest lines of thought that are themselves absurd and irrelevant.

Another way that Bierce withholds information, at least for a time, is to use synonymous phrases in lieu of characters' names or occupations.  For example, he refers to "a man [who] was reading," to "the man with the book"; to "the person reading," instead of to "the coroner"; he refers to "eight men," to "that company," to "farmers and woodsmen," rather than to the jurors of the death inquest; and to "a young man" instead of the inquest's witness.  In doing so, Bierce withholds, for a time, the nature of the enterprise in which the party is involved, thereby maintaining the mystery of the story and the tale's suspense.

Bierce’s reference to science is not accidental, for science is the primary and predominant means by which modern individuals ascertain knowledge, if not always truth, and it is science--the science of optics, to be precise--that allows Morgan to understand the nature of the Damned Thing as being of a color imperceptible to the human eye and thus invisible. However, since science, which is empirical, resting upon the senses and their perception of phenomena (including colors), is itself limited to the perceptible world, the nature of the Damned Thing must, in the final analysis, remain essentially mysterious.

"The Flowering of the Strange Orchid": A Cautionary Tale

Copyright 2010 by Gary L. Pullman

“The Flowering of the Strange Orchid” is a cautionary tale, the moral of which may not be so much that it’s not nice to fool with (or try to tame) Mother Nature as it is that Nature, despite her beauty, can be, and often is, treacherous, dangerous, and even deadly. The storyteller alludes to a study by Charles Darwin in which the naturalist discovered that “the whole structure of an ordinary orchid-flower was contrived in order that moths might carry the pollen from plant to plant.” The moth was important, in this scheme, as it were, only with regard to its role as a courier or, more accurately, a midwife. In the case of the strange orchid of H. G. Wells’ short story, the same seems to be true of human beings: the orchid collector Batten died that the orchid could live. The plant feeds upon blood, and it was Batten’s blood that it fed upon, killing him. The natives of the Andaman Islands preserved Batten’s collection of orchids, including the hemophiliac flower, until the dead collector’s colleague, an ornithologist, returned from a trip he had undertaken into the island’s interior to retrieve the flowers and bring them back to England.

Wells’ story is a slap in the face, so to speak, to those who believe that the universe is a product of divine design. Human beings, who fancy themselves the crown of God’s creation, are no more important or purposeful than the strange orchid that would survive by bleeding them to death, as it had Batten, whose death had been blamed on “jungle-leeches.” In fact, human beings are but a food source for the orchid, just as moths are midwives, so to speak, according to Darwin, to “an ordinary orchid-flower.” In themselves, human beings are often of little, if any, true value to the cosmos they inhabit, as the narrator’s description of the protagonist, Winter-Wedderburn, indicates:

He was a shy, lonely, rather ineffectual man, provided with just enough income to keep off the spur of necessity, and not enough nervous energy to make him seek any exacting employments.

Instead, Winter-Wedderburn busies himself with a hobby, the growing of orchids in his “one ambitious little hothouse,” a pastime no more significant or beneficial to humanity than any other such amusement as collecting “stamps or coins,” translating “Horace,” binding “books,” or inventing “new species of diatoms.” Everything that human beings do to pass their time is insignificant, Wells seems to imply, because human beings themselves are insignificant, just as are the orchids that the protagonist grows or any other life that the earth has spawned. The universe is absurd; therefore, everything in it, including life in general and human life in particular, is also meaningless and without value. As Winter-Wedderburn himself says, “Nothing ever does happen to me,” and the things that do happen to others are of no real significance; during the past week, Harvey, an acquaintance of Winter-Wedderburn, to whom things do happen, “picked up sixpence. . . his chicks had staggers. . . his cousin came home from Australia. . . and he broke his ankle.”

Nevertheless, plants, like human beings, struggle to survive, the strange orchid extracting blood from its hosts as “an nary orchid-flower” attracts moths to carry its pollen among itself and its neighboring plants. The functions of organisms, whether the collection of coins or stamps, the raising of orchids, the attraction of pollinating moths, or the bleeding of human hosts, are all without any more purpose than the absurd struggle of the species for its survival.

Ironically, believing that it was “jungle-leeches” that drained Batten’s blood, the protagonist tells his housekeeper, the strange orchid may have been “the very plant that cost him his life to obtain,” and, at the end of the story, it is his own death-struggle with the orchid that, giving him something to talk about, revitalizes his pathetic existence, saving his own life, as it were. His housekeeper rescues Winter-Wedderburn from the orchid, as it feeds upon his blood, allowing him to live to tell the tale:

The next morning the strange orchid still lay there, black now and putrescent. The door banged intermittingly in the morning breeze, and all the array of Wedderburn’s orchids was shriveled and prostrate. But Wedderburn himself was bright and garrulous upstairs in the story of his strange adventure.

As is often the case with Well’s shorter fiction, the true horror is beneath the surface of the story, not so much in the incidents as in what they suggest. In this case, the story’s action implies that human existence, which occurs in an absurd universe in which the struggle for existence is meaningless, is purposeless and pathetic. What would have been lost had the strange orchid’s flowering led to the death of the tale’s protagonist? Very little. His insignificance, like that of the story’s readers, is the true horror of “The Flowering of the Strange Orchid.”