The Saturday Night Special: “The Boarded Window” by Ambrose Bierce (1891)

In 1830, only a few miles away from what is now the great city of Cincinnati, lay an immense and almost unbroken forest. The whole region was sparsely settled by people of the frontier–restless souls who no sooner had hewn fairly habitable homes out of the wilderness and attained to that degree of prosperity which today we should call indigence, than, impelled by some mysterious impulse of their nature, they abandoned all and pushed farther westward, to encounter new perils and privations in the effort to regain the meager comforts which they had voluntarily renounced. Many of them had already forsaken that region for the remoter settlements, but among those remaining was one who had been of those first arriving. He lived alone in a house of logs surrounded on all sides by the great forest, of whose gloom and silence he seemed a part, for no one had ever known him to smile nor speak a needless word. His simple wants were supplied by the sale or barter of skins of wild animals in the river town, for not a thing did he grow upon the land which, if needful, he might have claimed by right of undisturbed possession. There were evidences of “improvement”–a few acres of ground immediately about the house had once been cleared of its trees, the decayed stumps of which were half concealed by the new growth that had been suffered to repair the ravage wrought by the ax. Apparently the man’s zeal for agriculture had burned with a failing flame, expiring in penitential ashes.

The little log house, with its chimney of sticks, its roof of warping clapboards weighted with traversing poles and its “chinking” of clay, had a single door and, directly opposite, a window. The latter, however, was boarded up–nobody could remember a time when it was not. And none knew why it was so closed; certainly not because of the occupant’s dislike of light and air, for on those rare occasions when a hunter had passed that lonely spot the recluse had commonly been seen sunning himself on his doorstep if heaven had provided sunshine for his need. I fancy there are few persons living today who ever knew the secret of that window, but I am one, as you shall see.

Ambrose Bierce October 7, 1892
Ambrose Bierce
October 7, 1892

The man’s name was said to be Murlock. He was apparently seventy years old, actually about fifty. Something besides years had had a hand in his aging. His hair and long, full beard were white, his gray, lusterless eyes sunken, his face singularly seamed with wrinkles which appeared to belong to two intersecting systems. In figure he was tall and spare, with a stoop of the shoulders–a burden bearer. I never saw him; these particulars I learned from my grandfather, from whom also I got the man’s story when I was a lad. He had known him when living near by in that early day.

One day Murlock was found in his cabin, dead. It was not a time and place for coroners and newspapers, and I suppose it was agreed that he had died from natural causes or I should have been told, and should remember. I know only that with what was probably a sense of the fitness of things the body was buried near the cabin, alongside the grave of his wife, who had preceded him by so many years that local tradition had retained hardly a hint of her existence. That closes the final chapter of this true story–excepting, indeed, the circumstance that many years afterward, in company with an equally intrepid spirit, I penetrated to the place and ventured near enough to the ruined cabin to throw a stone against it, and ran away to avoid the ghost which every well-informed boy thereabout knew haunted the spot. But there is an earlier chapter–that supplied by my grandfather.

When Murlock built his cabin and began laying sturdily about with his ax to hew out a farm–the rifle, meanwhile, his means of support–he was young, strong and full of hope. In that eastern country whence he came he had married, as was the fashion, a young woman in all ways worthy of his honest devotion, who shared the dangers and privations of his lot with a willing spirit and light heart. There is no known record of her name; of her charms of mind and person tradition is silent and the doubter is at liberty to entertain his doubt; but God forbid that I should share it! Of their affection and happiness there is abundant assurance in every added day of the man’s widowed life; for what but the magnetism of a blessed memory could have chained that venturesome spirit to a lot like that?

One day Murlock returned from gunning in a distant part of the forest to find his wife prostrate with fever, and delirious. There was no physician within miles, no neighbor; nor was she in a condition to be left, to summon help. So he set about the task of nursing her back to health, but at the end of the third day she fell into unconsciousness and so passed away, apparently, with never a gleam of returning reason.

From what we know of a nature like his we may venture to sketch in some of the details of the outline picture drawn by my grandfather. When convinced that she was dead, Murlock had sense enough to remember that the dead must be prepared for burial. In performance of this sacred duty he blundered now and again, did certain things incorrectly, and others which he did correctly were done over and over. His occasional failures to accomplish some simple and ordinary act filled him with astonishment, like that of a drunken man who wonders at the suspension of familiar natural laws. He was surprised, too, that he did not weep–surprised and a little ashamed; surely it is unkind not to weep for the dead. “Tomorrow,” he said aloud, “I shall have to make the coffin and dig the grave; and then I shall miss her, when she is no longer in sight; but now–she is dead, of course, but it is all right–it must be all right, somehow. Things cannot be so bad as they seem.”

He stood over the body in the fading light, adjusting the hair and putting the finishing touches to the simple toilet, doing all mechanically, with soulless care. And still through his consciousness ran an undersense of conviction that all was right–that he should have her again as before, and everything explained. He had had no experience in grief; his capacity had not been enlarged by use. His heart could not contain it all, nor his imagination rightly conceive it. He did not know he was so hard struck; that knowledge would come later, and never go. Grief is an artist of powers as various as the instruments upon which he plays his dirges for the dead, evoking from some the sharpest, shrillest notes, from others the low, grave chords that throb recurrent like the slow beating of a distant drum. Some natures it startles; some it stupefies. To one it comes like the stroke of an arrow, stinging all the sensibilities to a keener life; to another as the blow of a bludgeon, which in crushing benumbs. We may conceive Murlock to have been that way affected, for and here we are upon surer ground than that of conjecture no sooner had he finished his pious work than, sinking into a chair by the side of the table upon which the body lay, and noting how white the profile showed in the deepening gloom, he laid his arms upon the table’s edge, and dropped his face into them, tearless yet and unutterably weary. At that moment came in through the open window a long, wailing sound like the cry of a lost child in the far deeps of the darkening woods! But the man did not move. Again, and nearer than before, sounded that unearthly cry upon his failing sense. Perhaps it was a wild beast; perhaps it was a dream. For Murlock was asleep.

Some hours later, as it afterward appeared, this unfaithful watcher awoke and lifting his head from his arms intently listened–he knew not why. There in the black darkness by the side of the dead, recalling all without a shock, he strained his eyes to see–he knew not what. His senses were all alert, his breath was suspended, his blood had stilled its tides as if to assist the silence. Who–what had waked him, and where was it?

Suddenly the table shook beneath his arms, and at the same moment he heard, or fancied that he heard, a light, soft step–another–sounds as of bare feet upon the floor!

He was terrified beyond the power to cry out or move. Perforce he waited–waited there in the darkness through seeming centuries of such dread as one may know, yet live to tell. He tried vainly to speak the dead woman’s name, vainly to stretch forth his hand across the table to learn if she were there. His throat was powerless, his arms and hands were like lead. Then occurred something most frightful. Some heavy body seemed hurled against the table with an impetus that pushed it against his breast so sharply as nearly to overthrow him, and at the same instant he heard and felt the fall of something upon the floor with so violent a thump that the whole house was shaken by the impact. A scuffling ensued, and a confusion of sounds impossible to describe. Murlock had risen to his feet. Fear had by excess forfeited control of his faculties. He flung his hands upon the table. Nothing was there!

There is a point at which terror may turn to madness; and madness incites to action. With no definite intent, from no motive but the wayward impulse of a madman, Murlock sprang to the wall, with a little groping seized his loaded rifle, and without aim discharged it. By the flash which lit up the room with a vivid illumination, he saw an enormous panther dragging the dead woman toward the window, its teeth fixed in her throat! Then there were darkness blacker than before, and silence; and when he returned to consciousness the sun was high and the wood vocal with songs of birds.

The body lay near the window, where the beast had left it when frightened away by the flash and report of the rifle. The clothing was deranged, the long hair in disorder, the limbs lay anyhow. From the throat, dreadfully lacerated, had issued a pool of blood not yet entirely coagulated. The ribbon with which he had bound the wrists was broken; the hands were tightly clenched. Between the teeth was a fragment of the animal’s ear

The Saturday Night Special: “The Boarded Window” by Ambrose Bierce (1891)

In 1830, only a few miles away from what is now the great city of Cincinnati, lay an immense and almost unbroken forest. The whole region was sparsely settled by people of the frontier–restless souls who no sooner had hewn fairly habitable homes out of the wilderness and attained to that degree of prosperity which today we should call indigence, than, impelled by some mysterious impulse of their nature, they abandoned all and pushed farther westward, to encounter new perils and privations in the effort to regain the meager comforts which they had voluntarily renounced. Many of them had already forsaken that region for the remoter settlements, but among those remaining was one who had been of those first arriving. He lived alone in a house of logs surrounded on all sides by the great forest, of whose gloom and silence he seemed a part, for no one had ever known him to smile nor speak a needless word. His simple wants were supplied by the sale or barter of skins of wild animals in the river town, for not a thing did he grow upon the land which, if needful, he might have claimed by right of undisturbed possession. There were evidences of “improvement”–a few acres of ground immediately about the house had once been cleared of its trees, the decayed stumps of which were half concealed by the new growth that had been suffered to repair the ravage wrought by the ax. Apparently the man’s zeal for agriculture had burned with a failing flame, expiring in penitential ashes.

The little log house, with its chimney of sticks, its roof of warping clapboards weighted with traversing poles and its “chinking” of clay, had a single door and, directly opposite, a window. The latter, however, was boarded up–nobody could remember a time when it was not. And none knew why it was so closed; certainly not because of the occupant’s dislike of light and air, for on those rare occasions when a hunter had passed that lonely spot the recluse had commonly been seen sunning himself on his doorstep if heaven had provided sunshine for his need. I fancy there are few persons living today who ever knew the secret of that window, but I am one, as you shall see.

Ambrose Bierce October 7, 1892
Ambrose Bierce
October 7, 1892

The man’s name was said to be Murlock. He was apparently seventy years old, actually about fifty. Something besides years had had a hand in his aging. His hair and long, full beard were white, his gray, lusterless eyes sunken, his face singularly seamed with wrinkles which appeared to belong to two intersecting systems. In figure he was tall and spare, with a stoop of the shoulders–a burden bearer. I never saw him; these particulars I learned from my grandfather, from whom also I got the man’s story when I was a lad. He had known him when living near by in that early day.

One day Murlock was found in his cabin, dead. It was not a time and place for coroners and newspapers, and I suppose it was agreed that he had died from natural causes or I should have been told, and should remember. I know only that with what was probably a sense of the fitness of things the body was buried near the cabin, alongside the grave of his wife, who had preceded him by so many years that local tradition had retained hardly a hint of her existence. That closes the final chapter of this true story–excepting, indeed, the circumstance that many years afterward, in company with an equally intrepid spirit, I penetrated to the place and ventured near enough to the ruined cabin to throw a stone against it, and ran away to avoid the ghost which every well-informed boy thereabout knew haunted the spot. But there is an earlier chapter–that supplied by my grandfather.

When Murlock built his cabin and began laying sturdily about with his ax to hew out a farm–the rifle, meanwhile, his means of support–he was young, strong and full of hope. In that eastern country whence he came he had married, as was the fashion, a young woman in all ways worthy of his honest devotion, who shared the dangers and privations of his lot with a willing spirit and light heart. There is no known record of her name; of her charms of mind and person tradition is silent and the doubter is at liberty to entertain his doubt; but God forbid that I should share it! Of their affection and happiness there is abundant assurance in every added day of the man’s widowed life; for what but the magnetism of a blessed memory could have chained that venturesome spirit to a lot like that?

One day Murlock returned from gunning in a distant part of the forest to find his wife prostrate with fever, and delirious. There was no physician within miles, no neighbor; nor was she in a condition to be left, to summon help. So he set about the task of nursing her back to health, but at the end of the third day she fell into unconsciousness and so passed away, apparently, with never a gleam of returning reason.

From what we know of a nature like his we may venture to sketch in some of the details of the outline picture drawn by my grandfather. When convinced that she was dead, Murlock had sense enough to remember that the dead must be prepared for burial. In performance of this sacred duty he blundered now and again, did certain things incorrectly, and others which he did correctly were done over and over. His occasional failures to accomplish some simple and ordinary act filled him with astonishment, like that of a drunken man who wonders at the suspension of familiar natural laws. He was surprised, too, that he did not weep–surprised and a little ashamed; surely it is unkind not to weep for the dead. “Tomorrow,” he said aloud, “I shall have to make the coffin and dig the grave; and then I shall miss her, when she is no longer in sight; but now–she is dead, of course, but it is all right–it must be all right, somehow. Things cannot be so bad as they seem.”

He stood over the body in the fading light, adjusting the hair and putting the finishing touches to the simple toilet, doing all mechanically, with soulless care. And still through his consciousness ran an undersense of conviction that all was right–that he should have her again as before, and everything explained. He had had no experience in grief; his capacity had not been enlarged by use. His heart could not contain it all, nor his imagination rightly conceive it. He did not know he was so hard struck; that knowledge would come later, and never go. Grief is an artist of powers as various as the instruments upon which he plays his dirges for the dead, evoking from some the sharpest, shrillest notes, from others the low, grave chords that throb recurrent like the slow beating of a distant drum. Some natures it startles; some it stupefies. To one it comes like the stroke of an arrow, stinging all the sensibilities to a keener life; to another as the blow of a bludgeon, which in crushing benumbs. We may conceive Murlock to have been that way affected, for and here we are upon surer ground than that of conjecture no sooner had he finished his pious work than, sinking into a chair by the side of the table upon which the body lay, and noting how white the profile showed in the deepening gloom, he laid his arms upon the table’s edge, and dropped his face into them, tearless yet and unutterably weary. At that moment came in through the open window a long, wailing sound like the cry of a lost child in the far deeps of the darkening woods! But the man did not move. Again, and nearer than before, sounded that unearthly cry upon his failing sense. Perhaps it was a wild beast; perhaps it was a dream. For Murlock was asleep.

Some hours later, as it afterward appeared, this unfaithful watcher awoke and lifting his head from his arms intently listened–he knew not why. There in the black darkness by the side of the dead, recalling all without a shock, he strained his eyes to see–he knew not what. His senses were all alert, his breath was suspended, his blood had stilled its tides as if to assist the silence. Who–what had waked him, and where was it?

Suddenly the table shook beneath his arms, and at the same moment he heard, or fancied that he heard, a light, soft step–another–sounds as of bare feet upon the floor!

He was terrified beyond the power to cry out or move. Perforce he waited–waited there in the darkness through seeming centuries of such dread as one may know, yet live to tell. He tried vainly to speak the dead woman’s name, vainly to stretch forth his hand across the table to learn if she were there. His throat was powerless, his arms and hands were like lead. Then occurred something most frightful. Some heavy body seemed hurled against the table with an impetus that pushed it against his breast so sharply as nearly to overthrow him, and at the same instant he heard and felt the fall of something upon the floor with so violent a thump that the whole house was shaken by the impact. A scuffling ensued, and a confusion of sounds impossible to describe. Murlock had risen to his feet. Fear had by excess forfeited control of his faculties. He flung his hands upon the table. Nothing was there!

There is a point at which terror may turn to madness; and madness incites to action. With no definite intent, from no motive but the wayward impulse of a madman, Murlock sprang to the wall, with a little groping seized his loaded rifle, and without aim discharged it. By the flash which lit up the room with a vivid illumination, he saw an enormous panther dragging the dead woman toward the window, its teeth fixed in her throat! Then there were darkness blacker than before, and silence; and when he returned to consciousness the sun was high and the wood vocal with songs of birds.

The body lay near the window, where the beast had left it when frightened away by the flash and report of the rifle. The clothing was deranged, the long hair in disorder, the limbs lay anyhow. From the throat, dreadfully lacerated, had issued a pool of blood not yet entirely coagulated. The ribbon with which he had bound the wrists was broken; the hands were tightly clenched. Between the teeth was a fragment of the animal’s ear

“Dark Fairytales” from Horroraddicts.net

Source: November: Dark Fairytales

Follow the link to Horroraddicts.net for an interesting perspective on the dark side of fairytales and how they continue to exist in today’s dark literature, using Japan’s Hell Girl as a prime example.

I find this a fascinating article with a lot of excellent points, however there is one point that seems a bit superficial:

“Stories like this have taught us how to treat each other for centuries, but they have also taught us some very dangerous ideas:

  1. The evil always get their comeuppance.
  2.  Wait long enough (or suffer bad enough) and your prince will come.
  3. There are secret pots of gold or riches granted you when you out-smart evil beings.

Well…as we know living in the real world is not so easy…”

While these are the obvious lessons that fairy tales instill in children, and we, as adults, know the world is not so easy, it is important to look at their origins in history.   Fairy tales arose a few centuries ago when survival was much more difficult than today.  Medicine was primitive.  Laws were essentially the will of the emperor/king/local despot or the accepted religion (e.g. the Inquisition) enforced by his soldiers or officials.  No professional organizations or entities existed to investigate even the most mundane crimes, or if they did, the investigators were rank amateurs or hobbyists by today’s standards.   No organizations existed to ensure the quality of food  or of water or the safe disposal of wastes.  Duels and violent, personal retribution for offenses were not uncommon.   Life was often, as someone once said, “brutal, nasty, and short”.

In this type of environment, fairy tales gave hope to children and adults alike that they could survive the trials, tribulations, and horrors that existed beyond their doorstep and that some form of justice was woven into the ethereal fabric of the universe, that would right the wrongs they experienced or saw being done to others.

Today, the need to believe in fairy tales no longer exists, though it, no doubt, does among the very young and, by our modern standards, the very desperate.    The ancient fairy tales have not changed, though the times and environment have.   New ones have arisen reflecting the mentality, for better or worse, of our modern world.

Thoughts?  Comments?

 

The Lexicon of Horror has been updated.

Death Calls the Tune (original work by Phil Slattery)
Death Calls the Tune
(original work by Phil Slattery)

Tonight I updated my page “The Lexicon of Horror” with ghoul, goblin, horror, Malleus Maleficarum, and oppression.

Visit “The Works of Edgar Allan Poe, Volume 1” but not for the obvious reason.

Edgar Allan Poe, 1848
Edgar Allan Poe, 1848

The Works of Edgar Allan Poe, Volume 1.  Yes, this link takes you to a collection of Poe’s works, but the reason I am mentioning it here is because the preface to this particular volume includes fascinating biographical notes and insight into the character of this master of horror that may help you understand the roots of his creative genius and how art sometimes came close to imitating life for Mr. Poe.

When you open the page, you may find yourself a little distance from the top of the article at the beginning of a section entitled “The Death of Edgar Allan Poe”.  While this section is fascinating in its own right, scroll to the top for the entire preface.  The works of Poe, beginning with the story of Hans Pfall, begin a bit down from “The Death…”

What music inspires you to horror?

Poster from Johannascheezburger.com via Halloween Mike's Horror Everyday on Facebook.
Poster from Johannascheezburger.com via Halloween Mike’s Horror Everyday on Facebook.

For the first time in a long time, I was listening to CDs on the car stereo as I drove back from Farmington (New Mexico) on the 14th, when I started feeling once again the latent but powerful emotions I associate with certain songs.  The songs in question were Puddle of Mudd’s “Spaceship” from Songs in the Key of Love and Hate and “Would?” from Alice in Chains’s Dirt.  When I was not that much younger than I am now, I used to listen to a broad range of music (from classical to hard rock to New Age and more) almost constantly.  Therefore it will not be surprising if I state that others that stir me range from ACDC’s “Back in Black” and Nirvana’s “Smells Like Teen Spirit” to  Mussorgsky’s “Night on Bald Mountain” and Beethoven’s Ninth Symphony, and, for a complete change of pace, to Enya’s “Orinoco Flow” and Michael Gettel’s San Juan Suite, both of which seem to stir not a tumult of emotions, but instead have the opposite effect and cause me to almost drift away on a sea of tranquility.

As I am sure is the case with most people, I find all my favorite songs enjoyable, but there were, and still are, some that stir me deeply and can even now resurrect feelings of intense excitement and passion as if I were reliving my “Glory Days” (which, by the way, is an excellent Springsteen tune that really hits home these days).

Out of those that stir my emotions the most, are a select group that have a certain je ne sais quois, a combination of primal rhythm, deep-toned vocalization, and soul-stirring guitar riffs,  that do not stimulate the intellect as much as they instigate remote, subconscious parts of the mind to coalesce into a riot of images shaping themselves into the essential kernel of some grim tale that I know I can nurture, expand, and carefully, painstakingly mold into a narrative that would enthrall Dante or Milton–had I the time or unswerving diligence to concentrate on its writing.

“Enter Sandman” by Metallica is an excellent example of this.  Even though the song is about the destruction of a family (according to Wikipedia), something about it compels me to write an intricate novel of espionage, assassination, betrayal, deception, and the inner horrors of the human psyche that paces back and forth in the recesses of my mind like a tiger in a cage, watching for an opportunity to spring forth into the light of day upon an unsuspecting yet willing audience.   I have probably  20,000-30,000 or more words in the current draft of this story and I will probably trash most of these the next time I sit down to tackle this task.    One day I will have to dedicate myself to finishing the story, because this is the only way I know I will be able to rid myself of the tiger’s pacing and of his relentless stare that bores into the back of my neocortex.  As my life stands now, between chores at home and working 50-60 hours per week at my day job, I can find little time during an average week to work on the various short stories, novelettes, and novellas I have started over the past year.

Sad to say, I have two or three good novels that have been waiting over a decade or more for their genesis.  Probably with each of them I associate some tune from my more turbulent past, if not with the entire work, then with at least some scene that plays over and over in my head like a teaser clip from a movie trailer.

For me, this is one of the delicious agonies of being a writer.  I have so many fascinating concepts whirling through my head that I just know instinctively can be great works and that I enjoy revisiting whenever I have a few seconds to daydream but the lack of time in my daily life stymies their creation.

My question to you tonight, is are there musical works that inspire you to create works of horror and terror?

Algernon Blackwood

Blackwood by Ianus

Algernon Blackwood

Illustration by Ianus

Algernon Blackwood (1869-1951) was a prolific writer and is probably one of the forgotten masters of the horror genre.  He was a favorite of H.P. Lovecraft as the three quotes below (from www.hplovecraft.com) illustrate:

“Aside from Poe, I think Algernon Blackwood touches me most closely—& this in spite of the oceans of unrelieved puerility which he so frequently pours forth. I am dogmatic enough to call The Willows the finest weird story I have ever read, & I find in the Incredible Adventures & John Silence material a serious & sympathetic understanding of the human illusion-weaving process which makes Blackwood rate far higher as a creative artist than many another craftsman of mountainously superior word-mastery & general technical ability…” (to Vincent Starrett, 6 December 1927)

“He actually analyses and reproduces faithfully the details of the persistent human illusion of—and out-reaching toward—a misty world of vari-coloured wonders, transcended natural laws, limitless possibilities, delighted discoveries, and ceaseless adventurous expentancy…. Of all Blackwood’s voluminous output, only a golden minimum represents him at his best—but that is such a marvellous best that we can well forgive him all his slush and prattle. It is my firm opinion that his longish short story The Willows is the greatest weird tale ever written. (with Machen’s The White People as a good second.) Little is said—everything is suggested!” (to Fritz Leiber, 9 November 1936)

“It is safe to say that Blackwood is the greatest living weirdist despite unevenness and a poor prose style.” (to Willis Conover, 10 January 1937)

Blackwood pursued a variety of jobs and careers during his lifetime, but based on the current Wikipedia article about him, his two main passions seem to have been writing and mysticism.  According to this article, Blackwood once wrote to Peter Penzoldt:

“My fundamental interest, I suppose, is signs and proofs of other powers that lie hidden in us all; the extension, in other words, of human faculty. So many of my stories, therefore, deal with extension of consciousness; speculative and imaginative treatment of possibilities outside our normal range of consciousness. … Also, all that happens in our universe is natural; under Law; but an extension of our so limited normal consciousness can reveal new, extra-ordinary powers etc., and the word “supernatural” seems the best word for treating these in fiction. I believe it possible for our consciousness to change and grow, and that with this change we may become aware of a new universe. A “change” in consciousness, in its type, I mean, is something more than a mere extension of what we already possess and know.”

His two best known stories are The Willows and The Wendigo.  I have not read The Wendigo yet, but I started The Willows two days ago and am into Chapter II currently.  So far, it is very well written with a beautiful description of a canoe trip down the Danube.  Towards the end of Chapter I, Blackwood begins to slowly bring out some eerie aspects of an island on which the narrator and his Swedish traveling companion have pitched camp for the night.  With the beginning of Chapter II, the supernatural element begins to build ominously in a way that somehow reminds me of Mussorgsky’s symphony “Night on Bald Mountain”.  If you are familiar with Mussorgsky’s opus, you know how I suspect the story will develop.    I look forward to finishing The Willows as soon as possible and beginning The Wendigo shortly thereafter.

Thoughts?  Comments?

Balance

Writing horror is a grim pastime.   One spends many hours delving into the darkest aspects of the human soul.    One’s mind is filled with murder, torture, violence, hatred, as well as characters, places, and situations that belong in the deepest pits of Dante’s Inferno.   Granted, out of these depths often arise heroes who triumph over the evil surrounding them and thus bring out the highest and noblest aspects of the human spirit, which may provide psychological comfort and spiritual salvation to the author, but journeying into darkness periodically will take its toll on anyone to some degree.    I have to ask myself how many authors of horror fall victim to depression and other maladies of the spirit.

But now, let us take this scenario and turn it about into something positive, something uplifting.   Let me pose this question to you, my readership, in hopes that the answers I receive will benefit not only myself, but everyone else who reads them:   how do you, writers of horror, find relief from the psychological toll encountered during your sojourns into darkness?  How do you balance out your lives so that you continue to see the beauty of the world around you and do no not stay imprisoned in the worlds of evil you create?  Do you watch comedies at the movies?  Do you take long walks along a tranquil coast?   Do you cuddle with your children and pets?  Do you collect the artworks of Thomas Kinkade or someone else who paints idyllic scenes of light and earthly paradise?   Please let me and my readers know so that we can find new avenues out of our horror-filled ruts and blood-stained dungeons.