Horror Stories

  The first guy I dated gave me this book when he saw on my myspace page that I liked horror stories. Despite it's dreadfully cliche cover art, many of the shorts it contained were quite creepy and interesting.

   I later lent the book to a friend who, apparently, lost it in the abyss that was her bedroom, or rather, her mother threw it out as she was allegedly prone to doing with things her daughter put in the closet (???).
   
  Anyway these were the short stories the book contained:

The Kit-Bag by Algernon Blackwood.

Here There be Tygers by Stephen King.

The Room in the Tower by E.F. Benson.

Beyond Lies the Wub by Philip K. Dick. 

Feeding the Dog by Susan Price.

Teddies Rule, OK? by Nicholas Fisk

Grendel the Monster by Eleanor Farjeon

A Grave Misunderstanding by Leon Garfield

Captain Murderer by Charles Dickens (from The Uncommercial Traveler)  

Something by Joan Aiken

The Hand by Guy de Maupassant

The Boy Next Door by Ellen Emerson White

The Murder Hole from a Scottish Folktale

The Famous Five Go Pillaging by Terry Jones and Michael Pillaging.

The Affair at 7 Rue De M by John Steinbeck

A Change of Aunts by Vivien Alcock

The Cask of Amontillado by Edgar Allan Poe

The Pear-Drum from an English folktale

The Dog Got Them by Philippa Pearce

Gabriel-Ernest by H.H. Munro

Nule by Jan Mark

The Dancing Partner by Jerome K. Jerome

The Ring by Margaret Bingley

The Troll by T. H. White.

Richey Edwards: For Real

Richey Edwards was a Welsh musician who wrote lyrics and played rhythm guitar for the alt-rock band, Manic Street Preachers. 

 

    Edwards suffered severe bouts of depression in his adult life, and was open about it in interviews: “If you’re hopelessly depressed like I was, then dressing up is just the ultimate escape. When I was young I just wanted to be noticed. Nothing could excite me except attention so I’d dress up as much as I could. Outrage and boredom just go hand in hand.”

    He also self-harmed mainly through stubbing cigarettes on his body and cutting himself. His problems with drugs and alcohol were well documented.

    In 1991, following questioning from an NME journalist who doubted the band’s authenticity/values and Edwards’ seriousness towards his music, Edwards responded by carving the words ‘4 Real’ into his forearm with a razor blade. The injury required eighteen stitches.

    Edwards disappeared on February 1, 1995, on the day when he and fellow band mate James Dean Bradfield were due to fly to the US on a promotional tour. Despite many alleged sightings, he was never found. His status remained open as a missing person, until November 23, 2008, when he became officially ‘presumed dead’.

    A writer for The Times newspaper said Edwards was, “. . . a cause celebre among depressives, alcoholics, anorexics and self-mutilators, because he was the first person in the public eye to talk openly about these subjects, not with swaggering bravado and a subtext of ‘look how tortured and cool I am’, but with humility, sense and - often - bleak humor.”

Ectoplasm: Psychic Phenomenon or Parlour Trick?

Ectoplasm comes from the Greek ektos, meaning 'outside', and plasma, meaning 'something formed or molded'. The term was coined by Charles Richet to denote a substance or spiritual energy 'exteriorized' by physical mediums. It's said to be associated with the formation of spirits; however since World War II reports of ectoplasmic phenomena have declined and many psychical researchers are doubtful genuine cases ever existed in the first place.

  

 Ectoplasm is said to be formed by physical mediums when in a trance state, and is excreted as a gauze-like substance from orifices on the medium's body. Spiritual entities are said to drape this substance over their nonphysical body, enabling them to interact in the physical/'real' universe. According to mediums, the ectoplasm can not occur in well-lit conditions as the ectoplasmic substance would disintegrate.

 Arthur Conan Doyle described ectoplasm as 'a viscous, gelatinous substance which appeared to differ from every known form of matter in that it could solidify and be used for material purposes'.

The psychical researcher Gustave Geley wrote: "[Ectoplasm] exudes specially from the natural orifices and the extremities: from the top of the head, the nipples and the ends of the fingers . . . though it is the most easily observed from the mouth. It has varying attributes; sometimes (and most characteristically), it appears as a plastic paste, a true protoplasmic mass. Sometimes it appears as a number of fine threads, sometimes as strings of different thickness in narrow/rigid lines, sometimes as a wide band, sometimes as a fine tissue of ill-defined and irregular shape. The substance is essentially amorphous, or rather, polymorphous.”

    Of it's quantity, Geley said this was also very variable, sometimes very little appeared and at other times it seemed to cover the medium completely, like a cloak.  It's color most frequently appeared to be white, but was occasionally black or gray.

    “Sometimes it evolves slowly, rising and falling, and moving over the medium’s shoulders, breast and/or lap with a crawling, reptilian movement. Sometimes its motion is abrupt and rapid, it appears and disappears like a flash.  It's extremely sensitive, and its sensitivity is closely connected with that of the hyperaesthetised medium. The substance is sensitive to light rays; light (especially if sudden and unexpected) produces a painful start in the medium. However, in some cases the substance can stand even full light. The magnesium flashlight (flash camera) causes a violent start in the medium . . . it shrinks from all contact and is always ready to be reabsorbed."

 Although the term is widespread in popular culture, the physical existence of ectoplasm is not accepted by science. Alleged examples of ectoplasm, when tested, have been found to be various non-paranormal substances. Other researchers have duplicated (with non-supernatural materials) the photographic effects sometimes said to prove the existence of ectoplasm.

The idea of ectoplasm was merged into the theory of an 'ectenic force' by some early psychical researchers who were seeking a physical explanation for reports of psychokinesis in séances. Its existence was initially hypothesized by Count Agenor de Gasparin, to explain the phenomena of table turning and tapping during séances. Ectenic force was named by de Gasparin's colleague M. Thury, a professor of Natural History at the Academy of Geneva. 

Between them, de Gasparin and Thury conducted a number of experiments in ectenic force, and claimed they had made some success. However, their work was not verified.

 Other psychical researchers who studied mediumship speculated that within the human body an unidentified fluid termed the 'psychode', 'psychic force' or 'ecteneic force' existed and was capable of being released to influence matter. This view was held by Camille Flammarion and William Crookes, however a later psychical researcher Hereward Carrington pointed out that the fluid was hypothetical and has never been discovered.

The psychical investigator W. J. Crawford claimed that a fluid substance was responsible for the levitation of objects. After witnessing a number of medium Kathleen Goligher's séances, Crawford claimed to have obtained flashlight photographs of the substance, which he later described as 'plasma'. He claimed the substance was not visible to the naked eye but can be felt by the body.

 Goligher, photographed by Crawford.

But Dr. Edmund Fournier d'Albe later investigated Goligher at many sittings and arrived at conclusions opposite to those of Crawford. According to D'Albe, no paranormal phenomena such as levitation had occurred with Goligher, in addition he stated that he had found evidence of fraud. D'Albe claimed that the substance in Crawford's photographs was nothing more than ordinary muslin fabric.

 On many - if not most - occasions, ectoplasm has been proven to be based on fraud. John Ryan Haule wrote: Because ectoplasm was believed to be susceptible to destruction by light, the possibility that ectoplasm might appear became a reason for making sure that Victorian séances took place in almost total darkness. As such, poor lighting conditions also became an opportunity for fraud, particularly as faux ectoplasm was easy to make with a mixture of soap, gelatin and egg whites, or perhaps merely well-placed muslin.

 Helen Duncan's 'ectoplasm'. Whoa, this shit is fake?!?! I never would have guessed.

Psychical researcher Harry Price exposed medium Helen Duncan's fraud by proving, through analysis of a sample of ectoplasm produced by Duncan, that it was just cheesecloth that she had swallowed and regurgitated. Duncan would also use dolls' heads and masks as ectoplasm. 

Eva Carrière's spirit collage channeling 'work'.

The ectoplasm of 'medium' Eva Carrière  was made of cut-out faces from newspapers and magazines on which fold marks were sometimes visible in photographs.

 

Apparently that thing on the table was supposed to be a hand?

Mina Crandon was a medium in the 1920s known for producing ectoplasm during her séance sittings. Apparently she could produce a small ectoplasmic hand from her stomach which would wave about in the darkness. Her career ended when biologists who examined the 'hand' realized it was carved out of animal liver.

This ectoplasm photograph taken by Thomas Hamilton was nothing more than tissue paper and magazine cut-outs.

As much as I'd love to believe, I think it's pretty safe to say ectoplasm is bullshit. But here's something funny:

I suffer from the same kind of kneecaps, which I've always referred to as 'the baby faces'. If only they could be blamed on spirits.

Judy Garland: The Ugly Duckling

Judy Garland came into the world as Frances Ethel Gumm, the youngest child of Frank and Ethel Gumm. Her parents ran a movie theater that featured vaudeville acts.

   Judy shared her family’s flair for song and dance. Her first appearance occurred at the age of two-and-a-half when she joined her two older sisters, Mary Jane aka ‘Suzy’ and Dorothy Virginia ‘Jimmie’ on the stage of their father’s movie theater during a Christmas show to sing a chorus of Jingle Bells. Accompanied by their mother on piano, The Gumm Sisters performed there for the next few years.

  

 The family relocated to California after rumors circulated that Frank had made sexual advances toward male ushers. Once there, Frank purchased and operated another theater in Lancaster, and Ethel, acting as the girls’ manager, began working to get her daughters into motion pictures.

   In 1928, The Gumm Sisters enrolled in a dance school run by a Ethel Meglin, who was also the proprietress of the Meglin Kiddies dance troupe. They appeared with the troupe at its annual Christmas show, and it was through the Meglin Kiddies that they made their film debut, in a 1929 short called The Big Revue. The Gumm Sisters appeared in four more films together and continued touring as an act. They changed over to the surname ‘Garland’ when a critic laughed at the name ‘Gumm’, but only toured as the Garland Sisters for a year before they were split up (Suzy married and moved to Nevada).

   In 1935, Garland was signed to a contract with Metro-Goldwyn-Mayer, who had no clue what to do with her. At age 13 she was older than the traditional ‘child star’ but too young for adult roles - on top of that, her physical appearance didn’t really appeal to MGM. At 4’11.5 inches, her ‘nice’ or ‘girl next door’ looks didn’t exemplify the more glamorous persona required of leading ladies at that present time, making Judy self-conscious and anxious about her appearance.

 Charles Walter, who directed her in a number of films, is quoted as saying, “Judy went to school at Metro with Ava Gardner, Lana Turner, Elizabeth Taylor - real beauties. Judy was the big money-maker at the time, a big success, but she was an ugly duckling. I think it had a very damaging effect on her emotionally for a long time. I think it lasted forever, really.” And her insecurities were only exacerbated by the attitude of studio chief Louis B. Mayer, who referred to her as his ‘little hunchback’.

 

  

 During her early years at the studio, she was photographed and dressed in plain garments or frilly juvenile gowns/costumes to match the girl next door image that had been created for her. She was also forced to wear removable caps on her teeth and rubberized disks to reshape her nose.

   They were constantly filming and to keep up with the frantic pace, Garland and other young performers were constantly given amphetamines and barbiturates to take before going to bed. The regular dose of these drugs lead to Garland’s addiction, which would be a lifelong struggle and eventually contribute to her demise.

 She later resented her hectic schedule and felt that her youth had been stolen from her by MGM. And despite a successful film and recording career, her life was plagued with self-doubt and she required constant reassurance that she was both talented and attractive.

   

At age 16, she was cast as Dorothy Gale in The Wizard of Oz (1939), which was highly successful and made her into one of MGM’s most bankable stars.

   At age 17 she played her first adult role in Little Nelly Kelly, where she acted out a dual role of both mother and daughter. The role was a challenge for her, as it required the use of an accent, her first adult kiss and the only death scene of her career.

   It was around this time that Garland experienced her first serious adult romances, beginning with her band leader Artie Shaw. She was deeply devoted to him and was devastated when wound up eloping with Lana Turner.

   Garland later began a relationship with a musician, David Rose, who presented her with an engagement ring on her 18th birthday. But they had to wait until his current marriage to singer Martha Raye was finished, and a divorce was finalized. Rose and Garland married, but split soon after.

   At the age of 21, she was given the ‘glamor treatment’ in Presenting Lily Mars. The studio had her hair lightened, styled, and began outfitting her in more ‘grown-up’ gowns. However, no matter how glamorous or beautiful she appeared on screen or in photographs, she remained insecure about her appearance, never escaping the girl next door image that had been created for her.