Everyday Horrors: Nightmares

copyright 2008 by Gary L. Pullman

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alights, and grinning sits upon her breast.

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

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

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

Everyday Horrors: Skeletons

copyright 2008 by Gary L. Pullman

Be honest! Would you feel a bit squeamish touching a human skull or handling a human skeleton? If you’re normal (which is to say, like most people), you’d find such an experience creepy, not delightful. In fact, if you enjoyed handling the bones of a dead person, you’d definitely be more than a little creepy yourself.

Ed Gein, the Plainfield, Wisconsin serial killer upon whose antics the characters of Norman Bates (Psycho), Leatherface (The Texas Chainsaw Massacre), and Buffalo Bill (Silence of the Lambs) are based, collected human skulls. He’d upend them, cut them in half, and, using the lower jaw as a stand of sorts, employ them as soup bowls. (He also fashioned a belt of female nipples, wore a bodysuit made of women’s flesh, wore a mask of female skin, and maintained a collection of women’s noses, among other artifacts of the graveyard, but that’s another story).

Ray Bradbury wrote an interesting little chiller about a character who was obsessessed with the idea that a skeleton inside him was just dying to get out.

Most of us find skeletons horrific because they are mementos mori, reminders of death. However, Dream Moods, an online dream dictionary, suggests that skeletons can symbolize other things, too:

To see a skeleton in your dream, [sic] represents something that is not fully developed. You may still in be the planning stages of some situation or project.

Alternatively, it may suggest that you need to get to the bottom of some matter. You need to stand up for yourself and your rights. To see someone depicted as a skeleton, signifies that your relationship with them [sic] is long dead.

Forensic scientists often turn to skeletons, when corpses are no longer available, in their attempts to solve crimes. For example, they can use the bones to determine whether the person of whom they were once a part was male or female. The male skull has a more prominent bony ridge over its eye sockets, and the female skeleton has wider hips. No, Genesis notwithstanding, female skeletons do not have one fewer rib than their male counterparts. Each has the same dozen pairs. Although the sex chromosomes determine the basic model, male or female, that the skeleton will follow, hormones are also determinants in the size and shape of the skeleton.

Testosterone causes the male model to grow longer and thicker bones and a narrower set of hips. This hormone is almost absent in the female skeleton, so it is typically shorter, more delicate, and has wider hips that give the skeleton a knock-kneed appearance. Other differences are subtler: the male skeleton has wider shoulders, a longer ribcage, and a pelvic girdle that facilitates walking and running.

According to “Male and Female Skeletons,” male and female skulls also exhibit a few differences. The former tends to be rugged and square-shaped, with bony ridges over the eye sockets; a larger, broader nose; and a bigger jaw, with larger teeth, whereas the latter is more often of lighter construction, having an oval or triangular shape; minimal bony ridges over the eye sockets; a higher, more vertical forehead; a smaller nose; smaller teeth; and a pointed chin.

Skeletons are strange enough in themselves, when you think of it, but some are stranger than others. One, found in Concepción, Chile, has no upper limbs, but its lower legs show what appear to be talons. The wildest guess as to the identity of the creature? It was supposed to have been an extraterrestrial! As it turns out, scientists identified it as the skeleton of (drum roll, please) a cat! (crashing cymbals).

Some strange skeletons are man-made, such as the “Fiji mermaid’s” skeleton that showman P. T. Barnum pieced together. It was part monkey and part fish, but Barnum passed it off as a siren such as those who harassed and tempted poor Odysseus. Another such skeleton, Live Science’s “Scientists Build 'Frankenstein' Neanderthal Skeleton” article explains, is one that anthropologists are assembling as “the first and only full-body reconstruction” of the Neanderthal “species.” The fossilized skeletal remains of two actual Neanderthals donated most of the bones for the project, the few missing bits and pieces coming from a half-dozen of their peers and a few lucky modern humans' skeletons. As a result of assembling their bony Frankenstein’s skeleton, the scientists learned a thing or two about Neanderthals that they hadn’t known before:

The biggest surprise by all means is that they have a rib cage radically different than a modern human's rib cage. . . . As we stood back, we noticed one interesting thing was that these are kind of a short, squat people. These guys had no waist at all--they were compact, dwarfy-like beings.

The anthropologists also confirmed the scientific belief that modern humans couldn’t have descended from their Neanderthal cousins: “There is no way that modern humans. . . could have evolved from a species like Neanderthal. . . . They're certainly a cousin--they're human--but they're one of those strange little offshoots.

One other fact that the scientists learned is that the Neanderthals were amazingly strong, despite their Hobbit-like appearance: “"If you shook hands with one, he would turn your hand to pulp."

Scientists believe that the discovery of dinosaurs by the ancients resulted in many of the legendary and mythical tales of fabulous and fantastic creatures, as the post on "How to Create Monstrous Monsters" explains. Such beasts are studied by cryptozoologists, whom no one appears to take seriously.

Occasionally, skeletons appear as antagonists in short stories and novels, including Perceval Landon’s “Thurnley Abbey” (1908), George MacDonald’s Lilith (1985), and Ray Bradbury’s “Skeleton” (1943).

Skeletons have been featured in fantasy movies such as The Seventh Voyage of Sinbad [1958], Jason and the Argonauts [1963], and The Mummy [1999]. A few horror movies also feature skeletons (House on Haunted Hill [1959], The Horror of Party Beach [1964], Return of the Living Dead [1985], A Nightmare on Elm Street 3: Dream Warriors [1987], Army of Darkness [1993], Skeleton Warriors [1993], and Skeleton Man [2005].)

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

Everyday Horrors: Cornfields

copyright 2008 by Gary L. Pullman

Southeast Kansas crop circles captured by NASA satellite

Cornfields don’t seem all that menacing, do they? After all, green stalks standing tall against a high blue sky, tasseled husked cobs full of golden nuggets hanging amid large, elliptical leaves are, for many, one of the symbols of the heartland, right? We speak of wholesome corn-fed girls and boys (and--a note of the eerie enters--corn-fed livestock). However, quite a few movies (and some novels) are set, in part--usually, the terrifying and horrible parts--in cornfields, as is a disturbing scene in my own novel, A Whole World Full of Hurt.

Remember Stephen King’s Children of the Corn? Dan Simmons’ Summer of Night? Jonathan Maberry has also set part of the action of his novel Ghost Road Blues in cornfields. So has Norman Partridge, in Dark Harvest.

Television shows and movies sometimes use cornfields as settings, too, although not all are chillers or thrillers. Smallville is a case in point. I’m Not Scared is another movie set, at times, in cornfields. Others movies that include cornfields as places where the action is include:

High Tension
Freddy vs. Jason: A Match Made in Hell
Hallowed Ground
The Silence of the Lambs
Scarecrow
Jeepers Creepers II
The Corn Stalker
I Walked with a Zombie
The Stand
Night of the Scarecrow
Shallow Ground

Okay, if cornfields spring up as settings in so many horror stories, there must be something horrific about them that’s not obvious enough to present itself upon one’s first consideration of the crop. Ergo, let’s reconsider them.

• They’re vast, covering acres and acres, and the corn stalks are tall--sometimes ten or twelve feet high. When a character is inside one, it’s like being in a forest of regularly spaced trees that go on, seemingly, forever, in all directions, and getting lost isn’t merely easy, it’s almost guaranteed.
• If the good guys can get lost in a cornfield, the bad guys in the cornfield can run into them. Maybe they’re even lying in wait in the cornfield, in multiple places, even, waiting for the lost ones to come their way!
• Other things can be in the cornfield, too--unexpected, nameless, and unimaginable things that are furious at having their territory disturbed and that are ravenous.
• There could be landmines, ditches, craters, and other booby traps in store among the ranks of corn.
• Cornfields can be claustrophobic, because the stalks are close and evenly spaced and, well, just everywhere, like a trap or a vegetative cage.
• At night, cornfields are dark and foreboding. A full moon, especially one moving among dark clouds, isn’t reassuring; quite the contrary, it’s ominous and eerie. The ground is uneven, and the cornstalks are everywhere, always in one’s face, no matter what direction one may take, and, of course, one is bound to get lost and stay lost. If one’s adversary is human, he will be equipped with night-vision goggles. If the enemy is not human--if it’s an animal, an extraterrestrial creature, a monster, or worse--it will have vision like a cat’s or be able to sense the good guys through its radar sense, like a bat, or sniff them out with their heightened sense of smell, like a wolf.
• Cornfields attract aliens. (Remember Signs?)

What do those strange crop circles mean, anyway, that have popped up in pastures and, yes, cornfields, the world over?

Maybe we don’t want to know.


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

Alternative Explanations, Part IV: Vampires, Werewolves, and Zombies

copyright 2008 by Gary L. Pullman

In “Alternative Explanations, Part III: Telekinetic Characters,” we considered ways by which skeptics seek to debunk claims that some people make concerning their ability to move or affect objects simply by the use of mental powers, an act known as telekinesis. In the final part of this series, we’ll consider how your horror story’s skeptical character might challenge the belief that vampires, werewolves, and zombies actually exist.

Vampires are corpses that demons possess and animate, causing them to terrorize the living, upon whose blood they feed, sucking it from their victims’ jugular veins after piercing them with their vampire fangs. Anyone whom the vampire bites also becomes a vampire, an incident that has permitted a mathematician to deliver devastating proof that vampires do not and cannot exist.

According to “Math proves that the Buffy universe harbors no more than 512 vampires,” Costa Efthimiou and Sohang Gandi, authors of Ghosts, Vampires, and Goblins: Cinema Fiction vs. Physics Reality, vampires do not and cannot exist because, if they did, they would soon “depopulate the earth.” According to the authors, were a vampire to appear on the earth in the year 1600, when the world’s population numbered 536,870,911 people, and this vampire fed upon only one person per month, thereby transforming him or her into a vampire, each of which newly created vampire also fed upon one human per month, transforming him or her into another vampire, the whole human population of the planet would have been transformed into bloodsucking fiends in only thirty months, despite any offset that would be gained by the human birth rate. Therefore, Efthimiou and Gandi conclude:

. . . that vampires cannot exist, since their existence contradicts the existence of human beings. Incidentally, theological proof that we just presented is of a type known as reductio ad absurdum, that is, reduction to the absurd. Another philosophical principal related to our argument is the truism given the elaborate title, the anthropic principle. This states that if something is necessary for human existence, then it must be true since we do exist. In the present case, the nonexistence of vampires is necessary for human existence. Apparently, whomever devised the vampire legend had failed his college algebra and philosophy courses.

Sorry, Buffy Summers, but your career as a “vampire slayer” and the difficult sacrifices it entailed as you sought to defend the world against bloodsucking fiends were totally unnecessary and ridiculous, and you could have had the normal life that you so often claimed to crave. Apparently, you really were nothing more than the paranoid schizophrenic that you were diagnosed to be in one of your television series’ episodes.

Wait a minute! Buffy also fought other paranormal and supernatural threats, including demons, ghosts, werewolves, and zombies. If one or more of these monsters actually exist, maybe she wasn’t completely crazy, after all, and maybe she didn’t waste the best years of her life.

We’ve already dealt with demons, ghosts, and vampires. But what about werewolves and zombies? Might they exist? Somewhere? Somehow?

A werewolf is a animal (or a human) that can switch back and forth from being a human (or an animal) to being an animal (or a human) and is believed to devour humans. (It’s all rather complicated.) Unfortunately, as our spoilsport extraordinaire, The Skeptic’s Dictionary, points out, “there are no documented cases of any human turning into a wolf and back.” The best we can come up with is lycanthropy, a delusion in which its victim believes he’s a wolf, just as a person may believe that he is possessed by demons. Perhaps especially hirsute men have experienced this delusion, adding to the belief that men and wolves are--or, at times, can be--pretty much the same thing. Extreme hairiness does occur, in both men and women (ever heard of the “bearded lady”?), usually as a result of the genetic disorder known as hypertrichosis or such disorders as adrenal virilism, basophilic adenoma of the pituitary, masculinizing ovarian tumors, or Stein-Leventhal syndrome. At least, that’s what your horror story’s skeptical character can suggest to explain the misguided beliefs of others that werewolves are afoot. The Skeptic’s Dictionary article on “werewolves” links to photographs of people who are afflicted with these conditions.

We’re going to conclude our review of paranormal and supernatural phenomena and the explanations that a skeptical character may offer as alternatives to those that claim that these phenomena result from the existence and exercise of mysterious, occult powers by considering the zombie.

According to the drill, zombies are soulless bodies created by voodoo sorcerers. Scientists believe that zombies are actual people who are drugged, kidnapped, buried alive, disinterred, and kept as slave laborers:

The black magic of voodoo sorcerers allegedly consists of chemicals, various poisons (perhaps that of the puffer fish) which immobilize a person for days, as well as hallucinogens administered upon revival. The result is a complacent, paralyzed, or brain damaged creature used by the sorcerers as slaves, viz., the zombies.

The other kind of zombie--the corpse that is revived but without benefit of the soul it once had, seems unlikely (okay, downright impossible) to anyone beyond the age of nine or ten, so if it’s this kind that’s supposed to be running loose through your story’s setting, the skeptical character has every right to cast aspersions upon the view that the antagonists are really and truly revenants. Indeed, his or her failure to do so would be cause to transform this undoubting doubter into a zombie him- or herself.

Sources Cited in the “Alternative Explanations” series.

The Skeptic’s Dictionary
Live Science
Federation of American Scientists
NOVA Online
MythBusters
Ghosts, Vampires, and Goblins: Cinema Fiction vs. Physics Reality