Monday, June 8, 2020

4 O'Clock


by Sonia Greene



About two in the morning I knew it was coming. The great black silences of night's depth told me, and a monstrous cricket, chirping with a persistence too hideous to be unmeaning, made it certain. It is to be at four o'clock—at four in the dusk before dawn, just as he said it would be. I had not fully believed it previously, because the prophecies of vindictive madmen are seldom to be taken with seriousness. Besides, I was not justly to be blamed for what had befallen him at four o'clock on that other morning; that terrible morning whose memory will never leave me. And when, at length, he had died and was buried in the ancient cemetery just across the road from my east windows, I was certain that his curse could not harm me. Had I not seen his lifeless clay securely pinned down by huge shovelfuls of mold? Might I not feel assured that his crumbling bones would be powerless to bring me the doom at a day and an hour so precisely stated? Such, indeed, had been my thoughts until this shocking night itself; this night of incredible chaos, of shattered certainties, and of nameless portents. 
 
I had retired early, hoping fatuously to snatch a few hours of sleep despite the prophecy which haunted me. Now that the time was so close at hand, I found it harder and harder to dismiss the vague fears which had always lain beneath my conscious thoughts. As the cooling sheets soothed my fevered body, I could find nothing to soothe my still more fevered mind; but lay tossing and uneasily awake, trying first one position and then another in a desperate effort to banish with slumber that one damnably insistent notion—that it is to occur at four o'clock.


Was this frightful unrest due to my surroundings; to the fateful locality in which I was sojourning after so many years? Why, I now asked myself bitterly, had I permitted circumstance to place me on this night of all nights, in that well-remembered house and that well-remembered room whose east windows overlook the lonely road and the ancient country cemetery beyond? In my mind’s eye every detail of that unpretentious necropolis rose before meits white fence, its ghost-like granite shafts, and the hovering auras of those on whom the worms fed. Finally the force of the conception led my vision to depths more remote and more forbidden, and I saw under the neglected grass the silent shapes of the things from which the auras came - the calm sleepers, the rotting things, the things which had twisted frantically in their coffins before sleep came, and the peaceful bones in every stage of disintegration from the complete and coherent skeleton to the huddled handful of dust. Most of all I envied the dust. Then new terror came as my fancy encountered his grave. Into that sepulcher I dared not let my thought stray, and I should have screamed had not something forestalled the malign power that pulled my mental sight. That something was a sudden gust of wind, sprung from nowhere amidst the calm night, which unfastened the shutter of the nearest window, throwing it back with a shivery slam and uncovering to my actual waking glance the antique cemetery itself, brooding spectrally beneath an early morning moon. 
 
I speak of this gust as something merciful, yet know now that it was only transiently and mockingly so. For no sooner had my eyes compassed the moonlight scene than I became aware of a fresh omen, this time too unmistakable to be classed as an empty phantasm, which arose from among the gleaming tombs across the road. Having glanced with instinctive apprehension toward the spot where he lay moldering—a spot cut off from my gaze by the window-frame—I perceived with trepidation the approach of an indescribable something which flowed menacingly from that very direction; a vague, vaporous, formless mass of grayish- white substance or spirit, dull and tenuous as yet, but every moment increasing in awesome and cataclysmic potentiality. Try as I might to dismiss it as a natural meteorological phenomenon, its fearsomely portentous and deliberate character grew upon me amidst new thrills of horror and apprehension; so that I was scarcely unprepared for the definitely purposeful and malevolent culmination which soon occurred. That culmination, bringing with it a hideous symbolic foreshadowing of the end, was equally simple and threatening. The vapor each moment thickened and piled up, assuming at last a half tangible aspect; while the surface toward me gradually became circular in outline, and markedly concave; as it slowly ceased its advance and stood spectrally at the end of the road. And as it stood there, faintly quivering in the damp night air under that unwholesome moon, I saw that its aspect was that of the pallid and gigantic dial of a distorted clock. 
 
Hideous events now followed in demoniac succession. There took shape in the lower right-hand part of the vaporous dial a black and formidable creature, shapeless and only half seen, yet having four prominent claws which reached out greedily at meclaws redolent of noxious fatality in their very contour and location; since they formed too plainly the dreaded outlines, and filled too unmistakably the exact position, of the numeral IV on the quivering dial of doom. Presently the monstrosity stepped or wriggled out of the concave surface of the dial, and began to approach me by some unexplained kind of locomotion. The four talons, long, thin, and straight, were now seen to be tipped by disgusting, thread-like tentacles, each with a vile intelligence of its own, which groped about incessantly, slowly at first, but gradually increasing in velocity until I was nearly driven mad by the sheer dizziness of their motion. And as a crowning horror I began to hear all the subtle and cryptic noises that pierced the intensified night silence; a thousand-fold magnified, and in one voice reminding me of the abhorred hour of four. In vain I tried to pull up the coverlet to shut them out; in vain I tried to drown them with my screams. I was mute and paralyzed, yet agonizingly aware of every unnatural sight and sound in that devastating, moon-cursed stillness. Once I managed to get my head beneath the covers—once when the cricket's shrieking of that hideous phrase, four-o’clock, seemed about to shatter my brain—but that only aggravated the terror, making the roars of that detestable creature strike me like the blows of a titanic sledgehammer. 
 
And now, as I withdrew my tortured head from its fruitless protection, I found augmented diabolism to harass my eyes. Upon the newly painted wall of my apartment, as if called forth by the tentacled monster from the tomb, there danced mockingly before me a myriad company of beings, black, grey, and white, such as only the fancy of the god-stricken might visualize. Some were of infinitesimal smallness; others covered vast areas. In minor details each had a grotesque and horrible individuality, in general outlines they all conformed to the same nightmare pattern despite their vastly varied size. Again I tried to shut out the abnormalities of the night, but vainly as before. The dancing things on the wall waxed and waned in magnitude, approaching and receding as they trod their morbid and menacing measure. And the aspect of each was that of some demon clock-face with one sinister hour always figured thereon - the dreaded, the doom-delivering hour of four
 
Baffled in every attempt to shake off the circling and relentless delirium, I glanced once more toward the unshuttered window and beheld again the monster which had come from the grave. Horrible it had been before; indescribable it had now become. The creature, formerly of indeterminate substance, was now formed of red and malignant fire; and waved repulsively its four tentacled claws - unspeakable tongues of living flame. It stared and stared at me out of the blackness; sneeringly, mockingly; now advancing, now retiring. Then, in the tenebrous silence, those four writhing talons of fire beckoned invitingly to their demoniacally dancing counterparts on the walls, and seemed to beat time rhythmically to the shocking saraband till the world was one ghoulishly gyrating vortex of leaping, prancing, gliding, leering, taunting, threatening four o’clocks. 
 
Somewhere, beginning afar off and advancing slowly over the sphinx like sea and the febrile marshes, I heard the early morning wind come soughing; faintly at first, then louder and louder until its unceasing burden flowed as a deluge of whirring, buzzing cacophony bringing always the hideous threat, ‘four o’clock, four o’clock, FOUR O’CLOCK.’ Monotonously it grew from a whimper to a deafening roar, as of a giant cataract, but finally reached a climax and began to subside. As it receded into the distance it left upon my sensitive ears such a vibration as is left by the passing of a swift and ponderous railway train; this, and a stark dread whose intensity gave it something of the tranquility of resignation. 
 
The end is near. All sound and vision have become one vast chaotic maelstrom of lethal, clamorous menace, wherein are fused all the ghastly and unhallowed four o’clocks which have existed since immemorial time began, and all which will exist in eternities to come. The flaming monster is advancing closely now, its charnel tentacles brushing my face and its talons curving hungrily as they grope toward my throat. At last I can see its face through the churning and phosphorescent vapors of the graveyard air, and with devastating pangs I realize that it is in essence an awful, colossal, gargoyle-like caricature of his face—the face of him from whose uneasy grave it has issued. Now I know that my doom is indeed sealed; that the wild threats of the madman were in truth the demon maledictions of a potent fiend, and that my innocence will prove no protection against the malign volition which craves a causeless vengeance. He is determined to pay me with interest for what he suffered at that spectral hour; determined to drag me out of the world into realms which only the mad and the devil-ridden know. 
 
And as amidst the seething of hell’s flames and the tumult of the damned those fiery claws point murderously at my throat, I hear upon the mantel the faint whirring sound of a timepiece; the whirring which tells me that it is about to strike the hour whose name now flows incessantly from the death-like and cavernous throat of the rattling, jeering, croaking grave-monster before me—the accursed, the infernal hour of four o’clock


 

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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.

A bit of erotica (okay, okay, sex--are you satisfied?), often of the unusual variety. Sex sells, and, yes, sex whets my reader’s appetite. Bentley Little is the go-to guy for this spicy ingredient, although Koontz has done a bit of seasoning with this spice, too, in such novels as Lightning and Demon Seed (and, some say, Hung).

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.


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