‘The Face,’ a Horror Short Story

Stella, a pretty young brunette, looked around at the other university students surrounding the campfire with her that night and asked, “So, does anybody know any good ghost stories?”

Cory, a blond, clean-shaven young man in a T-shirt and jean shorts, said, “Well, I once heard a claim some of the people living near here insist is true.”

“And what claim is that?” she asked.

“That a witch lives in the woods surrounding this camp,” he said.

Everyone other than him let out a big “Ooh!”

One of them said, imitating Burt Ward, “Holy Blair Witch Project, Batman!”

The others laughed.

“Allegedly, a witch has haunted these woods for many decades,” he went on. “She pulls her victims into a deathtrap slowly, insidiously, the victims being people who have come here for camping.”

His listeners let out another “Ooh!”

“If this story is true,” Stella asked, “then why hasn’t anybody heard any reports of missing persons leading to this camp, with police investigating? If people have spoken about a witch here, why haven’t any of us, or anyone else, for all we know, heard about it?”

“Because,” he said, “the witch uses her magic to throw off the scent anyone trying to find the missing people, so no one suspects that there’s any evil in these woods. Police and anyone else investigating are led to believe the victims went missing somewhere else, and only the locals here know about the witch.”

“Oh, what a cheap cop-out!” one of the listeners said, amid a chorus of boos and groans from the others. 

“I suppose so, but that’s the story I heard,” Cory went on. “Anyway, they say that the witch gets you, actually, right when you hear a story about another group going missing here. The listeners get sucked right up into the story and join its victims in the same fate.”

The listeners let out a third “Ooh!”

“If that’s so,” Stella asked, “then how did you come to know this story about a group of the witch’s victims?”

“How do you know I’m about to tell such a story?” Cory asked.

“I just assumed you were about to,” she said.

“Look, I just told you a fact that the locals here believe in,” he said. “I wasn’t about to tell an actual ghost story. Anyway, do you all remember the Daltons? That family, all of them blonds, remember? They went on vacation in Europe three years ago.”

“Oh, yeah, I remember them,” Manny said, a man with short black hair. All the other listeners nodded, having remembered the Dalton family. “What happened to them? I haven’t heard from them since they left.”

“Well,” Cory began, “they were going in their car on the way to the airport, and their car broke down on the highway not too far from here.”

“Not too far from here?” Manny said with a sneer.

“Well, yeah,” Cory said. “As you’ll recall, we’re all not too far from here, in our hometown just a mile or so from this forest, as the Daltons were, and as the airport is, too, so it shouldn’t come as too much of a surprise to you.”

“Very well,” Stella said. “Go on.”

“Anyway, they tried calling someone for help, but they must have had a bad connection, so they eventually gave up trying. Looking around there on the side of the road, Mr. Dalton found the trees and the scenery really beautiful, really charming, and since the family had packed tents and stuff like that, and it was getting late, he thought they could pitch their tents for the night and try to get help the next morning.”

“Why?” Manny asked, sneering again in disbelief. “They’d have missed their flight by then, wouldn’t they have?”

“Wasn’t anybody else driving up that road at the time, someone who could have helped them?” Stella asked. “Surely there was somebody driving around there.”

“Apparently, next to nobody else was driving around at the time, or else they would have simply gotten the help, gone to the airport on time, flown off to Europe, and come back to tell us all what happened to them.”

“Why aren’t they back home?” Manny asked. “Since they’d disappeared, how do you know what happened to them?”

“I met someone recently who found out, and she told me the whole story,” Cory said. “Don’t worry. I’ll get back to who she was later. Anyway, the Daltons felt really enamoured of the beauty of the place, so they went in among the trees, pitched their tents, and went to sleep.”

“And what happened the next morning?” Stella asked.

“Oh, we haven’t finished with what happened that night,” he said.

“We all know,” she said with a sneer of her own. “The witch got them, right?”

Everyone laughed, even Cory.

“Yeah, and the witch is gonna get us, too, for hearing this story here,” Manny said. “Ooh!”

Everyone, including Cory, laughed even louder.

“C’mon, no,” he said with continued laughing. “This isn’t that kind of story, really. This is a normal one, nothing supernatural, but still interesting—just what really happened to them, according to what this woman told me a little while back.”

“I’m guessing they made it to Europe, found they liked it there, and decided to stay there,” she said.

“And they were such jerks, they never said goodbye to any of their neighbours in town,” Manny said.

More laughs.

“Well, anyway, let me carry on with what happened that night,” Cory said. “They were all lying there in their tents—Mr. and Mrs. Dalton, and their three kids, two boys and a girl around their pre-teen years—just dozing off, and the grating, rasping noise of some bird just outside was heard, rousing all five of them.”

“Oh, how annoying,” Anna, a woman with long, wavy red hair, said.

“Yeah,” Cory went on. “Mr. Dalton was really angry. All of the family got out of their tents to see what was making the noise. It was pitch black out, but they got out their flashlights, and Mr. Dalton had a baseball bat to swat at the bird with.”

“Silly thing to do,” Trevor, a man with long, dark brown hair, said.

“Oww!” Stella grunted. Everybody looked at her. “Some horsefly or something bit me.”

“Will you be OK?” Anna asked.

“Yeah, I’ll be fine,” Stella said. “Carry one with your story, Cory.”

“Anyway, yeah, sure, Mr. Dalton was being silly, but he was mad, and angry people do foolish things, don’t they? The family pointed their flashlights at the animal to get a decent look at it, which was hard, since it was flying about and dodging the light. Mr. Dalton was swinging his bat in a fury. What they did see of the bird, though, was that it was one they couldn’t recognize as being one they, or anyone else, had ever seen before.”

“What did it look like?” Anna asked. 

Stella looked over at her and saw blonde hair in the flickering light of the campfire. Her eyes widened. Isn’t she a redhead? she asked herself.

“Oww!” Anna groaned. “That horsefly just got me.” Like Stella, she was rubbing the bite mark. The other listeners looked around, but couldn’t see any insect.

“The bird was brightly feathered, a bit like a toucan,” Cory went on. “A lot of blue, purple, and yellow feathers. It had a long, sharp beak. It flew around really fast, darting here and there, back and forth, up and down. Mr. Dalton was getting really frustrated, and his family was telling him to stop swinging the bat, because of course what he was doing was pointless. Still, he wouldn’t stop trying to hit the bird; he was getting obsessive about it, like a madman.”

“Wow, you seem to know this story in the most minute detail,” Trevor said. Anna looked over at him and saw short blond hair on him. 

Surprised, she thought, Blond now? When did he get a haircut?

“Yeah, I really know a lot of detail,” Cory said with a chuckle. “The woman who told me the story remembered all the details so well, and I found the story so compelling that I managed to remember all of them. Anyway, at one point, after Mr. Dalton had been swinging that bat for a while, I guess the bird got tired of dodging it, and it swooped down and pecked him hard on the head. He groaned in pain, dropped the bat, and fell on the ground. His wife and kids went over to see if he was OK. He had blood coming out of his head. Mrs. Dalton put a flashlight to it to see it better, and she saw a mix of red and green pouring out of the wound.”

Now his listeners gave an “Ooh” that was serious. Stella and Anna also noticed something strange about Cory: no longer in a T-shirt and jean shorts, he was now wearing a dark brown robe, like that of a monk. The women shook their heads and looked again: yes, a robe was on him.

He continued: “As the family was looking with alarm at the red and green liquid, assuming the bird put the green there, it swooped down and pecked the wife and kids on the head, too, in one fell swoop. They all screamed in pain and fell to the ground beside Mr. Dalton.”

“I’m guessing they all had a mix of blood and green coming out of their heads, too,” Manny said. Stella looked at him and saw blond hair; her eyes and mouth widened at the sight.

“Yeah, presumably,” Cory said, “because I’ll tell you another thing: all of the family started to feel woozy. It was as if that green stuff was a drug injected into their bloodstreams, for the five of them were now getting up and staggering about, bumping into each other and into trees. They’d dropped all their flashlights, and they were wandering into the forest aimlessly.”

“Oww!” Manny said, then rubbed his neck.

“That horsefly seems to be getting us all,” Trevor said. “Oww! I got that right.”

Everyone except Cory looked around to try to find the ‘horsefly,’ but instead they saw a little glowing ball of changing colours—yellow, blue, and purple. 

“Strange colours for a firefly,”Manny said. “Is that what bit us?”

“I don’t see anything,” Cory said, looking away and frowning in annoyance at all these interruptions. “Shall I continue with my story? You don’t want to miss the ending.”

“Sure, of course,” Trevor said in a slurred voice. “Carry on.”

“As I was saying,” Cory said, “the Daltons were stumbling about in the dark, bumping into each other and into trees, falling down, getting back up, and stumbling about further into the forest.”

“Am I high?” Stella asked, looking about and seeing a blur.

“I feel stoned, too,” Manny slurred.

“My head is swimming,” Anna said.

All three of them, as well as Trevor, looked at Cory, who not only looked even more annoyed at their continued interrupting of his story, but who also had brown hair and a mustache and goatee connected in a circle around his mouth. Everything was getting blurrier and blurrier for them after that moment. The flames of the campfire were moving like ocean waves.

The four bitten listeners looked around at each other, straining to see detail. Instead of seeing, apart from Cory, the original people they’d come to camp with, they saw what seemed to be a blond family: a father, a mother, and three pre-teen kids—two boys, and a girl. Yes, one campfire member, a bald man, had been there but said nothing the whole time…or had he been there? Were the four hallucinating him before? None of them could remember for sure. In any case, he, if he’d been there originally, was one of this new family now…or a family member just appeared out of thin air.

“I’ll continue,” Cory said after a sigh of annoyance. “The Daltons continued blundering their way through the woods until they came close to a cliff.”

Stella looked up to her right and saw what looked like two black holes in the sky, just above the forest trees behind the campers’ tents. The holes seemed vaguely like eyes. 

“The Daltons all looked out of a clearing in the woods, past the cliff and out into the night sky,” Cory went on. “They looked out at the glowing stars. They were all mesmerized by the glow, staring stupidly at it.”

His listeners could hear the raspy squawking of some bird flying in circles over their heads. They felt compelled to stand up, watching the brightly coloured bird. It started flying away from the campfire, and they all followed it mindlessly.

“All right,” Cory said with a scowl. “I guess I’ll just have to get up and go along with all of you, if this is the only way I’ll be able to finish telling this story.” He got up and walked behind them.

As they were walking, following the bird and heading towards the trees behind their tents, Stella looked up and noticed those eye-like black holes following them, too, hovering up high in the air, darker than the shadows all around them.

She and the other listeners also looked at each other at one point, finding each other’s inexplicable change of appearance the oddest of blond. There was something vaguely familiar about how all five of them looked, but they at first couldn’t put their fingers on it.

They had come into the woods by now, going up a hill. They could hear Cory behind them, continuing to tell his story.

“Anyway,” he said, “as the family continued staring up at the stars in their state of rapt hypnotism, they began to see, in the blackness between the stars, what looked like the eyes, nostrils, and mouth of a face. These were all just holes, though each a distinct, darker black than that of the night sky.”

Stella looked down at herself and saw what she was wearing. What? she thought. I wasn’t wearing this! How and when did I change my clothes? Then she looked out at the blond others. The ‘father’ of the group…she remembered his face from somewhere. Is that Mr. Dalton? No, it couldn’t be!

That bird could still be heard making that grating call from up above them, obscured among the leaves in the trees. None of them could see its blue, yellow, and purple feathers at all.

“The face in the night sky began to talk to the Daltons,” Cory said from behind the group. He could have stopped talking, though, for his would-be listeners were too disoriented from the bites they’d gotten to be paying attention. They just kept walking up the incline in the woods, following the squawking of the hiding bird. He continued his story, all the same, though: “The face said, in the scratchy voice of an old crone, ‘You are mine. Come into my mouth.’”

Stella, feeling as if she were on a bad drug trip, got a mirror out of her purse as well as a flashlight. She turned it on with a shaky hand, and with her other shaky hand, she put the mirror up to her face. 

She didn’t see herself.

She saw Mrs. Dalton.

She looked to her right and saw Mr. Dalton.

The would-be listeners stopped walking, for they’d come to a clearing in the forest, and a cliff looking down to a lake. They weren’t interested in it, though: they looked instead up at the starry sky.

Stella was the first to notice those black hole eyes among the stars. A mouth-like hole was beginning to form below the eyes, as she could make out with her own eyes squinted. She looked around at all the others: all Daltons, the father, herself as the mother, and the two sons and daughter instead of her adult friends.

Cory, in his dark robe and looking more like a sorcerer’s apprentice than a monk, concluded his story with these words: “And so, the Daltons fell, not off the cliff and into the lake below, but into the mouth in the sky, which flew right at them and ate them up.”

“And that’s the end of the story?” Stella asked him in a trembling, slurred voice. 

She looked back at him and saw him nodding with a malevolent smirk. 

“And who is the woman who told you this story?” she asked.

“She is my master,” he said. “Look in front of you, if you’d like to meet her.”

Stella turned her head back to her front with the slowest of reluctance. Her eyes turned away from Cory, then past the three kids, then past Mr. Dalton, and finally up to the night sky, dreading what was there. 

There she saw the blackest of eyes, nostrils, and a mouth. The other Daltons were staring at the face, too, but in a euphoric daze.

The face was moving at them all faster and faster.

“You are mine,” it said in that scratchy voice. “Come into my MOUTH!!!”

Before they knew it, they were already inside.

Analysis of ‘The Brood’

The Brood is a 1979 Canadian horror film written and directed by David Cronenberg. It stars Oliver Reed, Art Hindle, and Samantha Eggar, with Henry Beckman, Nuala Fitzgerald, Susan Hogan, Cindy Hinds, Gary McKeehan, and Nicholas Campbell.

It was a profitable film, grossing over five million dollars. Positively received by critics, The Brood became a cult film in later decades. Academics have shown a scholarly interest in the film for such themes as mental illness and parenthood.

The Chicago Film Critics Association named it the 88th scariest film of all time in 2006.

Here‘s a link to quotes from the film, and here‘s a link to the complete film.

Cronenberg’s inspiration for The Brood was his own acrimonious divorce and bitter child custody battle over his and his ex-wife’s daughter. In fact, Hindle and Eggar were cast as Frank and Nola Carveth because of their physical resemblances to Cronenberg and his ex-wife.

Another inspiration for the film was Kramer vs. Kramer, though The Brood is meant to be a correction of the optimistic ending of a marriage in the American drama that came out the same year. In spite of the science fiction element (“psychoplasmics”) of The Brood, Cronenberg described it as “more realistic” than Kramer vs. Kramer, and he called it “the most classic horror film [he’d] done” in retrospect.

Of course, divorce causes serious emotional trauma in the children caught in the middle of their parents’ fighting, and the link between The Brood‘s themes of mental illness, parenthood, and separation lead to another key theme in the film: child abuse–not just physical, but also emotional. I’m reminded of that poem by Philip Larkin, for in many ways, that’s what The Brood is all about.

Parental abuse, however, isn’t the only kind of abuse to be explored in this film. The ways in which psychotherapy can be abusive, intentionally or not, are also an issue here. And when one considers the ramifications of transference, an abusive psychiatrist, psychologist, or psychoanalyst can be just like an abusive parent, as we see in the film’s opening scene.

Dr. Hal Raglan (Reed), a psychotherapist, is demonstrating to a group of people something he calls “psychoplasmics,” a form of therapy he’s devised to get his patients to release suppressed emotional trauma by making it appear as physiological changes to their bodies. His audience watches him facilitate a father transference in a patient, Mike (McKeehan), who has abandonment issues with his biological father.

Raglan speaks cruelly to him, like an authoritarian father, calling Mike weak and feminine for not looking him in the eyes. His harsh words are meant to bring out Mike’s psychological pain, as part of the therapy, but it just looks as though Raglan is retraumatizing him. Indeed, the last thing that those spots seen all over Mike’s chest and face look like are signs of healing.

Nonetheless, at least one of the members of the audience is amazed at the results of psychoplasmics, and thinks Raglan is a genius. Frank Carveth is less impressed, and he’ll be furious when he sees marks all over the body of his daughter, Candice (Hinds), concluding that Raglan is a fraud and that his ex-wife, Nola, has physically abused their daughter.

That demonstration, with the lights turned down low and Raglan and Mike on a stage embracing at the end, looks more like a theatre performance than real therapy. The doctor switching from abusive words to hugging Mike, in fact, looks like traumatic bonding.

In these contradictions, we see the anti-psychiatric critique in The Brood. Psychotherapy is supposed to help the mentally ill, not make them worse. One could consider this film to be an allegory on religion, too, with Raglan’s therapeutic innovations as the beginnings of a new cult, conning people into following him and paying him for a salvation that is nothing of the sort.

Indeed, Nola has been receiving Raglan’s therapy for her own mental health issues, and she’s getting worse rather than better. Frank wants to stop his ex from seeing their little girl, to protect her from further physical abuse, but Raglan won’t have it, since he feels that Nola’s seeing Candice regularly is crucial to her recovery. Frank threatens to sue Raglan.

Now, what is “psychoplasmics” as a form of therapy, really, in its essence? Symbolically speaking, it’s projection, and projective identification. The patient tries to push his or her pain outward, to get it out of him- or herself, hence the markings on the patient’s body.

The problem is that through projection and projective identification, the pain that is pushed out tends to be put into other people, and this is what is personified by the brood of deformed, killer kids that Nola parthenogenetically produces. “They fill you with the faults they had/And add some extra, just for you,” as Larkin says in his poem.

The thing about projection and projective identification is that, as ego defence mechanisms, they act as a kind of amateurish therapy for the self, a self-soothing. If people have hurt you, by projecting that pain onto others (often not the ones who initially hurt you), you can relieve yourself of it, then carry on your life in a reasonably functional way. You kid yourself into thinking you’ve removed the pain from yourself and passed it on to somebody else (“Man hands on misery to man”), though that pain is still rooted in the unconscious.

This passing on of pain is what Nola is doing by creating the brood and having them kill for her. First, we see Raglan do a therapy session with her, in which he takes on the role of Candice to bring out the source of the abuse the little girl suffered. At first, Nola naturally denies it, even going to the point of claiming that “Mummies don’t hurt their own children.”

This, of course, is utter nonsense coming from Nola’s mouth. The ideal mother would never hurt her own child, certainly not intentionally…”They may not mean to, but they do.” Many mothers and fathers out there at least don’t deliberately hurt their children…but some do. Nola’s certainly aware of the knowingly hurtful ones, for as Raglan carries on with his therapy with her, the repressed pain comes to the surface, and she admits that “bad mummies…fucked-up mummies” sometimes hurt their kids (“But they were fucked up in their turn”).

Raglan gets her to admit that her own mother physically abused her. He now takes on the role of her mother, repeating her denials of mothers ever committing abuse in order to provoke more of a surfacing of Nola’s pain. And just as with Mike, he has her physically manifest her pain…but it doesn’t appear as mere marks on her skin. It comes out as the brood.

The fact is that Nola’s trauma is far more severe than Mike’s ever was. He suffers abandonment issues, which are surely terrible, but she as a child was beaten, scratched, and thrown down the stairs. Her alcoholic mother, Juliana Kelly (Fitzgerald), is as much in denial of what she did to little Nola as Nola is of what she did to Candice…through the brood, mind you, as we will learn.

These parental denials add a new dimension to the abuse, a psychological dimension called gaslighting. The victim’s refusal to acknowledge the pain she’s been through–as we see initially in Nola and in Candice’s quiet non-reactions to any violence–is a coping mechanism: an attempt to remove the pain by pretending it isn’t there.

But Nola, having felt the pain resurface, can find only one way to get rid of it now, and that’s through projecting it into the brood, one of whom goes over to Juliana’s house, where Candice also is. The evil, deformed child attacks and kills Candice’s grandma, and Candice, seeing the bloody corpse in the kitchen, gives no emotional response, but just goes up to her room to sleep, and forgets about the whole thing.

And just as Juliana would deny any knowledge of how little Nola got all those bumps on her body, Candice seems to know nothing of how Juliana got her injuries. The police psychologist, Dr. Birkin (played by Reiner Schwarz), has examined Candice, and he can tell that she has repressed trauma that must be dealt with. Taking Birkin’s advice, Frank tries to get his daughter to talk about what happened, but she stays quiet.

In another therapy session with Raglan, Nola has a father transference with him, complaining of her fears that Frank is taking Candice away from her. Raglan, taking on the father role, defends Frank’s actions as protective of their daughter; he claims that in a similar way, Nola’s father did his best to protect her, which provokes her into denying that protection, which truly never happened. As a codependent, alcoholic ex-husband to Juliana, Barton Kelly (Beckman), sat back and allowed Juliana’s abuse of Nola to happen.

When parents look away and ignore abuse, pretending it never happened, just as the abuser denies it, and even the victim pretends it never happened, all of this denial enables the abuse. When the victim does this, it’s wrongheaded but understandable, as confronting and trying to process the pain feels almost impossible; but when abusers, flying monkeys, and codependent enablers let the abuse slip by without judgement, they are in many ways as guilty as the abuser is.

Interestingly, as Nola is tearfully telling Raglan (as her father transference) that he looked away and never protected her from Juliana, he turns his back on her and looks the other way. At one point in the scene, he, in the role of ‘loving father,’ kisses her on the cheek and calls her ‘sweetheart.’ He, as a psychiatrist, is being as emotionally abusive to her as her father was, in however indirect that way Barton was (and Raglan is). In fact, that kiss also suggests he has a sexual interest in Nola, who is an attractive woman.

Frank takes photos of Candice’s bruised back as evidence to be used in a court case against Raglan and Nola. He also receives a visit from Barton, who’s happy to see his granddaughter, but saddened to know the cycle of intergenerational family abuse has resurfaced.

To get more evidence against Raglan, Frank sees Jan Hartog (played by Robert A. Silverman), who has also received psychoplasmics therapy and has lymphosarcoma on the front of his neck. Hartog knows he can’t prove in court that Raglan’s methods caused his cancerous condition, but he hopes that even a losing court case will hurt Raglan’s business by giving him bad publicity. Frank’s hoping for more convincing evidence for the court case.

Barton drives over to see Raglan about telling Nola of her mother’s murder, but Raglan doesn’t want her father to contact her, claiming that her isolation is key to her therapy. Isolating someone is, of course, a kind of emotional abuse, reminding us that therapists can be as bad as abusers, especially ones with Raglan’s narcissistic tendencies, i.e., his apparent god complex, which is something I’ll elaborate on later.

Barton is infuriated with Raglan’s refusal to let him see Nola, so he gets drunk that night in his old house with Juliana. Meanwhile, Frank is having dinner with Candice’s teacher, Ruth Mayer (Hogan), and there’s a potential romantic interest between the two, since she could be a new mother to the little girl. Nola will find out, though, and her rage against her non-protective father, and her jealousy of Ruth, will get both objects of Nola’s rage killed by the brood.

Now, before Barton is killed by one of the brood, as I said above, he gets drunk and ruminates sadly over his failed family in his old house, the one he lived in with Juliana. He talks on the phone with Frank, and he’s on the verge of tears.

The word brood has two significant meanings as far as this film is concerned. As a noun, brood refers, of course, to the group of deformed killer children that Nola produces out of her rage. As a verb, to brood is to ruminate sulkily about whatever is making you unhappy, as Barton does before he’s killed, and as Nola does in her rages that produce the brood.

While Frank is gone to get Barton before he does something foolish in his drunken depression, leaving his dinner date, Ruth, in his home, Nola phones Frank, with Ruth receiving the call and inflaming Nola’s jealousy…and causing her to brood in her own right. Just before Barton is beaten to death, he looks at his brood-killer and sees Nola’s face on it. Of course he does: the brood are all her projections.

When Frank arrives at Juliana’s house and finds Barton dead, the killer child tries to kill him, too, but it soon ‘runs out of gas,’ so to speak, and dies. The child’s body is examined, and we learn that it is sexless, having no genitals. It also has no navel, and therefore wasn’t born the natural, human way. It’s toothless and colourblind, too.

One should consider the implications, from a psychoanalytic viewpoint, of it apparently seeing only in black and white. Since these brood children are fueled by a murderous rage, and are projections of Nola’s mental instability, we can understand their black-and-white vision as representative of black-and-white thinking, or psychological splitting.

The brood’s murderous rage comes from seeing the world as either all white (i.e., all good, as in Nola and Candice) or as all black (as all bad, or those to be killed). There is no grey in-between for them. Such is the mental state of what Melanie Klein called the paranoid-schizoid position (PS): paranoid, because of the paranoid fear that comes from contemplating a retaliation from the hated object; schizoid, because of the splitting of objects into absolute good and bad ones. All babies experience PS at first, but soon enough will acknowledge people as a grey mixture of good and bad, resulting in the mental state called the depressive position (D). The brood can never integrate the black with the white, so instead of experiencing D, they’re always in PS.

In this permanently split state, the brood can never be fully human, hence their lack of teeth, genitals, and retinas in their eyes; their physical deformity (including cleft lips) is symbolic of this human incompleteness. Furthermore, their tongues are too thick and inflexible for proper speech; all they can do to communicate is to grunt and scream without any articulation.

This inability to form words means that the brood cannot participate in society and culture–they have no sense of what Lacan called the Symbolic. Their violent world is that of the Real, an undifferentiated, traumatic, inexpressible world.

Nola’s mental instability is at such a severe state that she splits off and projects her hostility in personified forms that are symbolically comparable to what Bion called bizarre objects, projections that take on a life of their own.

When Raglan learns of the killing of Barton, and that the killer was obviously one of the brood, he realizes that, through psychoplasmics, he’s created a monster…or many monsters. In spite of his narcissistic tendencies, he isn’t all bad, for he’s feeling a pang of conscience.

That pang, nonetheless, isn’t inspiring him to make the best of moral choices, for he tells Chris (Campbell) to have all of his patients, save Nola, removed from his institute. This will feel like he’s abandoning these patients, especially Mike, as Chris tells Raglan. And while it’s true that Nola’s care needs special focus, Raglan’s form of therapy is the last thing she needs; the fact is, he still wants her for himself, so his narcissism wins out.

Frank learns through Hartog about Mike being sent out of Raglan’s institute, and that Nola, “the queen bee,” is the only one Raglan is interested in. She doesn’t even have to pay for the therapy, because Raglan can use her to prove how ‘effective’ psychoplasmics is at projecting pain outward. He, of course, isn’t really going to cure her: the creation of the brood is feeding his god complex.

Mike is now desperate for a father substitute, having been abandoned by his real father and now by Raglan. Mike wants Frank to be his new ‘daddy,’ and he’ll do anything for Frank in exchange for that. Mike will spy on and try to find out what Raglan’s doing with Nola.

To get an idea of how ‘effective’ the projections are in removing pain from oneself, we see after the killing of Ruth how at peace Nola is from waking from a restful sleep. The removing of that pain, however, is only temporary, for she’ll continue to be raging, jealous, and possessive of Candice, who’s been taken, by the pair of brood-children who killed Ruth, back to her.

Frank learns from Mike that Raglan has the brood under Nola’s care in a work shed at the institute, and he surmises that Candice, who’s been missing since the killing of Ruth, must be with Nola. So he rushes over in his car to the institute. He confronts Raglan in front of the work shed, the latter having a gun, and he learns that she is the brood’s mother, and that it was the brood that beat Candice at the beginning of the movie.

And here is where Raglan’s god complex comes in. Even though he can be implicated in the killings of Juliana, Barton, and Ruth, since it’s his psychoplasmics that created the brood in the first place, he won’t use his gun to shoot the killer kids, except in self-defence, as he does to some of them at the film’s climax. Deep down, he loves the brood, because he’s their father, if indirectly. He’s proud of his creations.

Raglan, in this sense, is like God the Father, though he’s more like the inferior Demiurge, creator of what’s physical (i.e., the skin markings, the brood). He’s an evil god, or at least an inferior one, and Nola is an evil Mary, giving virgin births to evil Jesuses, as it were, who kill rather than give life, then die themselves soon afterwards.

So in this sense, The Brood is not just a statement against failed parenting and bad psychiatry; it’s also symbolically a critique of religion’s failed attempts at healing and guiding people. “They fuck you up, your mum and dad”: this includes therapists as parental transferences, priests (the Fathers in church), the Mother of God, and God the Father…whether they mean to, or not.

Interestingly, the first verse of Larkin’s poem was recited by a judge during an acrimonious divorce/child custody case in 2009, reminding us of that of Cronenberg and his ex-wife, which in turn inspired this film. The misery man hands down to man, incidentally, reminds me of Exodus 20:5, in its relation to a wrathful, jealous father-God.

Raglan, in an attempt at redeeming himself somewhat, offers to fetch Candice from the room where she is to sleep with the brood, as long as Frank can go in the work shed and speak to Nola in a conciliatory way, to keep her calm so the brood won’t be enraged and attack Raglan and Candice. The plan works at first, until Nola reveals her external womb, created through psychoplasmics, which produces brood-babies. Frank cannot hide his shock and disgust at her ripping open the womb, taking a bloody baby out of it, and licking the blood off of it.

Offended at Frank’s disgust, Nola is enraged, and the brood attacks Raglan, who uses his gun to shoot a few of them before the rest kill him. In her jealous possessiveness of their daughter, Nola tells Frank she’ll kill Candice before letting him take her from Nola. This forces Frank to choke Nola to death, since he knows otherwise that the brood will kill Candice through Nola’s rage; but with her death, the brood dies, too.

In Frank’s killing of Nola, since the two characters represent, and the actors even resembled, Cronenberg and his ex-wife, we can see just how much bitterness the writer/director must have felt toward her, enough to include a scene that is, in effect, a wish-fulfillment. I’m reminded of Phil Collins’s “In the Air Tonight,” a song about the drummer/singer’s own bitter divorce–these lines in particular: “if you told me you were drowning, I would not lend a hand.”

Frank fetches Candice, takes her to his car, and drives away. The movie ends with a shot of her arm, which has two of the kind of lesions Nola had as a child, which her mom noticed on her. Now, whether Juliana was telling the truth about Nola’s lesions as being there irrespective of the mother’s abuse of her daughter, or if she was lying and in denial about having caused the lesions, they are certainly at least symbolic of the passing on of intergenerational abuse.

The sins of Juliana’s and Barton’s generation are being punished in not only Nola’s but also Candice’s generation. “Man hands on misery to man.” Even outside the realm of family abuse, the sins of the baby boomers and those before them are being punished in generations X, Y, and Z. The brood, in their deformities, incompleteness, and violence, are surely personifications of this problem.

Analysis of ‘Messiah of Evil’

Messiah of Evil, or Dead People, is a 1974 supernatural horror film written, produced, and directed by Willard Huyck and Gloria Katz. It stars Marianna Hill and Michael Greer, with Anitra Ford, Royal Dano, Elisha Cook Jr., and Joy Bang.

Though a lesser-known film, Messiah of Evil has been generally well-received. It’s wonderfully atmospheric, with beautiful, vividly colourful visuals. It’s been described as “unsettling” by Nick Spacek of Starburst Magazine, having given the film a score of ten out of ten. It was ranked #95 on IndieWire‘s 200 Best Horror Movies of All-Time; they said, “it’s full of  iconic and memorable scenes that recall to mind some of George A. Romero’s best work.”

Here‘s a link to quotes from the film, and here‘s a link to the full movie.

As with The Texas Chain Saw Massacre, Messiah of Evil does a subtle critique of capitalism. We see a satirical commentary on consumerism in the supermarket scene, with the ghouls eating all the meat in the meat section, then feeding off of Laura (Ford). We’re reminded of a similar satire on consumerism in Dawn of the Dead, with the zombies haunting the shopping mall.

Recall that this film came out in 1974, when the same manifestations of political upheaval happened that inspired much of The Texas Chain Saw Massacre, which came out the same year and also dealt with cannibalism. Early on in Messiah of Evil, we see Arletty (Hill) drive her car to a Mobil gas station, giving us an association with oil in the early 70s, when the oil crisis happened, an issue I discussed in my analysis of The Texas Chain Saw Massacre.

Note the tension of the Mobil gas station attendant (played by Charles Dierkop), who is first seen shooting at someone (or some animal, as he seems to claim to have been shooting at). Then, when the creepy albino truck driver arrives (played by Bennie Robinson), the attendant, knowing how dangerous this albino is (with the dead victims in his truck, one of whom has a slit throat and was the chased victim seen at the beginning of the film), urgently presses Arletty to drive away without need of paying for her gas with her credit card. Finally, the attendant is killed by the ghouls of Point Dume (an obvious pun on doom), where she is headed to find her father.

My point is that the 1973 oil crisis marked the end of the post-war economic expansion era, which included welfare capitalism, strong unions, Keynesian government intervention to smooth over economic crises, and a strong push for progressive social reforms. The end of this era also meant the beginning of a reactionary, neoliberal push to the right; these trends have continued unswervingly over the past forty to fifty years, leading to the extreme income inequality and endless imperialist wars we’ve been suffering these years.

The evil spreading from Point Dume to the rest of the world, as is understood to be happening by the end of the film, can be seen to allegorize how neoliberalism has engulfed the world by now. The “messiah of evil,” that is, the antichrist, or as he’s called in the film, “the dark stranger,” appeared a hundred years before the events of this movie, when he returns; so he first appeared around 1873-1874, and has returned around 1973-1974. His first appearance would have been around the beginning of the Gilded Age, a time of terrible income inequality (the “gilding” being a gold covering of a far less valuable material, symbolizing wealth masking poverty); and his second appearance coincides with the beginnings of neoliberalism and our new Gilded Age.

Note how the gas station attendant tells Arletty that Point Dume is a “piss-poor” little town. Contrast this poverty with evidently rich Thom (Greer), in his nice suits and his hedonist mini-harem of women, Laura and Toni (Bang), soon to be replaced, it might seem, with Arletty.

One critic of the film, Glenn Kay, complained that the lead characters’ motivations are never explained in a satisfactory way, especially those of Thom; Kay also said that the titular Messiah is never properly identified. What Kay seems to have missed, though, is what is amply implied, but deliberately not explicitly revealed: Thom is the Messiah of Evil. In the flashback sequences, Greer plays the “dark stranger”; if one looks carefully at him in those shadowy scenes, one can recognize Greer’s tall, thin build, with the broad shoulders, in the black coat and hat. In an interview (<<bottom page), Greer even said he was soon to play “the devil’s son” in this movie.

So the hell that is brought to this town, and from thence to the rest of the world, is the evil of the rich, taking from the poor (Thom is wealthy, coming to the “piss-poor” town of Point Dume.). Recall 1 Timothy 6:10. Also note that the Beast came out of the sea (Revelation 13:1), just as the dark stranger comes out of the sea on a night with a blood-red moon.

In her search for her father, Arletty comes to a motel room and meets Thom, Laura, and Toni. Thom is listening to a dirty, poor old drunk named Charlie (Cook Jr.) tell the history of his birth, and of Point Dume. A hint as to Thom’s unsavoury character is how, instead of answering Arletty’s questions about her father, he rudely tells her to close the door, so he can continue to listen to Charlie’s story without any interrupting noise. Thom is fascinated to learn about Point Dume’s legendary history of the “blood moon” and “dark stranger” because he is intimately connected to them.

Arletty discovers a diary her father has written about his disturbing experiences in the town. His art, often black and white images of men in suits (suggestive of businessmen, or capitalists), reflects the change in his mental state, and like the diary, seems to be an attempt, ultimately failing, at therapy through expressing his pain. There seems to be estrangement between him and his daughter; he’s warned her never to come to Point Dume.

Thom, Laura, and Toni come to stay in her father’s home, where she is, for the three have not only been kicked out of their original motel for their questionable behaviour (we learn that Charlie has been killed), but no other hotel or motel will take them in. Since Thom is the antichrist, the refusal to him and his ‘groupie’ friends of accommodations seems like a Satanic version of the Christmas story, when pregnant Mary and Joseph couldn’t find an inn to stay in for the night, and had to make do in a manger.

Since I am linking Thomas with not only the devil, but also class conflict (he’s a Portuguese-American aristocrat), it might seem odd that he would have difficulty finding accommodations. Similarly, towards the end of the movie, he is fending off the ghouls with Arletty. I think the point is that Thom is hiding his true identity from her, because he has special uses for her…so they don’t kill her in the end. Part of the power of evil is how we have difficulty identifying it.

To give explanatory context to the seeming contradictions discussed in the previous paragraph, consider a few quotes by Baudelaire and Ken Ammi about the Devil either supposedly not existing or being the good guy. Similarly, 2 Corinthians 11:14 says that “Satan himself is transformed into an angel of light.” Indeed, in dialectical contrast to the black clothes of the dark stranger, Thom is always wearing light-coloured suits.

Furthermore, while wealthy Thom is largely presented as if he were one of the sympathetic protagonists of the film, many billionaires in today’s world have postured as if they’re friends of the common people: Trump, Soros, Musk, etc., and many of the common people are fooled by this charade. Just as we shouldn’t be fooled by these narcissists in real life, though, neither should we be taken in by Thom, as the mindless ghouls are. Arletty is right, towards the climax of the film, to trust her initial instincts and stab Thom in the arm.

Another example of Thom’s unsavoury character comes out when it’s obvious to Toni and especially Laura that he aims to seduce Arletty. One of the key problems plaguing all human relationships is the jealous competition over who one loves the most…me, or my rival(s)? The prototype of this problem is discovered in the Oedipal conflict over whether the desired parent loves the child, his or her other parent, or his or her siblings. Laura is so disgusted with Thom that she leaves…for this, there will be fatal consequences.

She foolishly chooses to go to town that night by foot. On the way, the albino truck driver drives by and offers her a ride, which she foolishly accepts. He’s playing the music of Wagner (specifically, the Prelude to Act III of Lohengrin), whose name he incorrectly pronounces the English way (actually, an innocent goof made by actor Robinson, but one allowed by Huyck, who found it amusing), instead of the proper German way. Allowing the error in turn allows me to indulge in an interpretation of it: I see in the albino’s mispronunciation his limited, working-class education.

Some interesting associations can be made about the driver and his odd choice to play Wagner’s music in his truck (as opposed to listening to, say, pop music, or R and B). He’s an albino African-American, playing the music of a composer who was an old Nazi favourite. The linking of a ‘white’ black man with music associated with Nazism might make one think of Dr. Josef Mengele, who did such things as alter his patients’ eye colour to make them ‘more acceptable Aryans.’ Recall also that fascism exists to protect the interests of the capitalist class against socialism in part by turning the working class (people like the albino trucker) against the left and towards the right, as Trump did with his followers.

Beyond these political implications are other creepy things about the truck driver. His albino whiteness reminds us of that of Moby-Dick, especially in the chapter, “The Whiteness of the Whale,” in which it’s discussed how frighteningly unnatural the colour white can be. Finally, the disgusting fellow likes to eat living rats!

Laura naturally doesn’t want to stay in the truck of this freak, so she gets out and continues on foot to the town. She ends up in a Ralph’s supermarket, where she sees ghouls in the meat section eating all the meat like a bunch of gluttons. A number of the men among them, in suits and ties, remind us of the black-and-white men in the paintings of Arletty’s father, which gives us a clue as to what he, in his physically and mentally deteriorating condition, has been obsessed with.

The feasting ghouls all look over at Laura, and deciding that her flesh must be much tastier than what they’re currently eating, get up and run after her. Terrified, she runs, but can’t get out in time to save herself.

A key to understanding how this film is a critique, however subtle, of capitalism is seeing how the ghouls eating the meat in the supermarket, then eating Laura, is symbolic of consumerism. Note that in this feeding, we have a pun on consumer, as both eater and as excessive buyer of goods and services.

One way the capitalist class retains its power over us is by keeping us mindlessly buying things–rather like zombies–so we fill their wallets with money, instead of thinking about how to change the system. Volume One of Das Kapital begins with a discussion of the commodity, the basic unit of our economic system, seen as either a use-value or an exchange value, traded in for money. When our buying and selling focuses on only the things involved in the transactions (money and commodities), rather than the people involved, what results is what Marx called the fetishism of the commodity, which exacerbates alienation.

We get a sense, during the supermarket scene, of this excessive preoccupation with things, with products, over people when we see the greedy eating of not only the meat in the meat section, but of Laura, too, who is thus reduced to meat, a commodification of her body, as will later happen to Toni in the movie theatre scene.

Feminists have often written and spoken of how women’s bodies are commodified and exploited through such things as prostitution, stripping, and pornography. The cannibalistic eating of Laura, whom Thom has described as a model (Ford herself was a model), and later of Toni, can thus be seen as symbolic rapes.

Violence against women, as seen in the cannibalistic eating of Laura and Toni, as well as violence against the poor, as with the killing of Charlie, is an example of what I’ve described elsewhere as “punching down.” The capitalist class wouldn’t be able to keep its power over us if we “punched up” instead. We buy the capitalists’ products (we consume them), and we hurt each other (consuming each other, metaphorically speaking), instead of rising up in revolution.

This punching down connects the black albino listening to Wagner with the zombie-like ghouls eating meat, then eating Laura. Fascism is about punching down–that is, attacking foreigners, people of colour, leftists, homosexuals, etc.–to ingratiate oneself with the ruling class, or in a symbolic sense, making oneself ‘whiter,’ more class collaborationist, more pro-capitalist.

Another example of this film pushing the marginalized into the mainstream, that is, making them conform, is the choice of Greer to play Thom. Greer was known not only as one of the first openly gay actors to appear in major Hollywood movies, but also to act in early films that dealt with gay themes, like The Gay Deceivers and Fortune and Men’s Eyes. So in Messiah of Evil, we have in Greer a publicly-known gay actor not only playing a straight man in Thom, but also playing a womanizer.

On a comparable note, Thom as the antichrist is portrayed throughout the film as a normal man–that is, his evil is normalized. We wouldn’t know he was the dark stranger, a descendant of him, or his reincarnation–whichever–if we weren’t paying close attention. The same can be said about how neoliberalism has been insinuated into our lives over the past forty years without most of us even noticing this insidious evil–it has also been normalized for us. The bogus promise of economic prosperity that the “free market” is supposed to provide is an evil that’s been presented as a messianic cure to the ills of “big government” by such demagogic economists has Milton Friedman.

As for Toni, we can sense that her days, if not her hours, are numbered when she sings the famous first verse of “Amazing Grace,” but stops singing conspicuously at “I once was lost, but now…” once Thom enters the area. Like Laura, Toni is getting sick of Point Dume and wants to leave. She can’t even get entertainment from the radio, since it isn’t receiving any stations. Thom suggests that the bored girl go see a movie (he’ll have Arletty to himself that way).

Her in the movie theatre is yet another example of the film doing a social commentary on consumerism, our tendency to pay for pleasure instead of dealing with our relationship problems, such as her jealousy over his preference of beautiful Arletty. Thus we see in both Toni’s jealousy and her retreat to the movies a reinforcement of social alienation.

She watches a Western called Gone With the West, an indulgently violent parody of the genre. The zombie-like ghouls enter later in a large group; their mindless watching of the film is a social commentary on how so many of us do the same thing–pay to be dazzled by the media, which is part of the superstructure influenced by (and influencing) the base of society, or its means and relations of production.

It doesn’t take long for her to realize she has unwelcome company in the theatre, right from the sight of a ghoul staring at her just before the lights go out and the cowboy film starts. She snaps out of the lull the movie experience has put her in, and the ghouls notice her awakening. Then they, including the albino, go after her and indulge in more cannibalism. It’s as though they were punishing her for having woken up and begun thinking for herself.

Another way the capitalist class keeps us under their control is through that superstructure described above–in this particular instance, the media (movies, TV, the radio, the news,…and in today’s world, social media). The superstructure’s media wasn’t nearly as bad back in the early 70s as it is now–with 90% of American media controlled by only six corporations, who thus have control over most of our access to information (which is now extended to a global network)–but it was bad enough back then to deserve a social critique in Messiah of Evil.

I consider this film to be quite prophetic–whether intentionally so or not–through its symbolism and allegory, it being a film that came out during the huge political upheavals of the early 1970s (the Watergate cover-up, defeat in Vietnam, racial conflict, and economic convulsions), these being upheavals some of whose repercussions are being felt in full flower today; I discussed such prophetic, if you will, filmmaking in The Texas Chain Saw Massacre (link above).

The sickness that takes over the people of Point Dume, each with a bleeding eye, can be seen in the context of my capitalist allegory to symbolize how the mindset needed to keep us all subjugated to the new neoliberal order has negatively affected our mental health. We see the world in pain, for we ourselves are in pain–we weep blood instead of tears.

Along with this growing sickness, the ghouls all act as an undifferentiated group, with no sense of individuality. They go to the beach at night, looking up at the moon (waiting for it to turn blood-red) in collective expectation of the return of the dark stranger, an act called “The Waiting.” Similarly, working class people today, far from experiencing the liberation promised after the disastrous dissolution of the Soviet Union, find themselves passively accepting worse and worse jobs, with low pay, reduced benefits, etc. They feel like mere cogs in a machine, pressured to work harder and harder, alienated from their work. The limited range of opinions allowed in the media result in conformist thinking among the masses, just like those ghouls watching the cowboy movie with blank faces.

There are moments when the film is outright surreal, such as when insects come out of Arletty’s mouth. This sense of the surreal adds to the disturbing atmosphere of the movie, and it can explain certain aspects of the plot that don’t seem to be properly developed or explained.

An example of such an unexplained moment, one that seems contradictory to my presentation of Thom as the real villain of the film, is when he, walking the streets of downtown Point Dume alone at night, is briefly chased and attacked by ghouls. The shots of the chase and attack are presented in a choppy way, as jump cuts, suggesting a dream-like quality, as if Thom has merely imagined the attack.

No bad person believes he’s evil; the villains of history have always imagined that their atrocities were meant ultimately for the greater good. These bad people also narcissistically imagine themselves to be the victim, rather than the victimizer…so why would Thom be any different, in wanting to associate himself with the real victims of the story? Recall in this connection what I said above about how the powerful and wealthy like to be associated with the common people, sympathizing with their interests. Thom’s imagining of himself being attacked can be understood in this light.

After Thom gets away from his attackers (imagined, as I see them, for surely they’d still be giving him chase if they were real), he stops to catch his breath, and a poor woman appears, begging him for help from the ghouls. He turns away, especially when he sees her eye bleeding. Of course he won’t help her: he’s the messiah of evil who is bringing on these evils, and he wants her to complete her transformation into another ghoul.

Arletty’s eye is bleeding, too, and like her father in his deteriorating condition, she’s beginning to cut herself. It’s around this time that she sees herself in the mirror, with a bug on her tongue, and she vomits out a host of insects.

Two police arrive on the streets, where Thom is wandering, to deal with the ghouls. One of the cops is bleeding from an eye, and the other shoots him in the neck and tries to run away. The ghoul cop then shoots him dead. In the context of my capitalist allegory, it’s easy to see how a cop could be spontaneously bleeding from an eye and becoming a ghoul: cops have historically existed to serve the ruling class; even if a small minority of cops, like the non-ghoul cop, are good people at heart, it’s the whole system of law enforcement that they work for that is the problem.

Something needs to be said about the origin of the “dark stranger.” He was a former minister (hence, his status as “messiah”) and a member of the Donner Party, who were a group of American pioneers migrating to California in a wagon train from the Midwest. During the winter of 1846-1847, they were snowbound in the Sierra Nevada mountains; some of the migrants resorted to cannibalism to survive, and two Native American guides were deliberately killed to eat the bodies. Our dark stranger seems to have derived his taste for human flesh from this grisly episode, and in Point Dume, he’s been spreading his “religion” with cannibalism as, if you will, a new form of the Eucharist.

It’s interesting to consider the murder and cannibalistic eating of the Native Americans in the light of not only the film but also of the migration of the pioneers out west. The migration is an example of settler-colonialism, associated with the genocide of the natives. It’s also related to imperialism, the theft of others’ land to exploit it and thus enrich oneself with it. Settler-colonialism and imperialism in the modern world are also manifestations of capitalism, which further solidifies the connection of Messiah of Evil with capitalism.

Arletty has been told that her father’s body was found on the beach, him having been building a huge sculpture there, but the tide, it seems, collapsed it on top of him. She doesn’t believe it was really his body on the beach, though, because the coarse hands of the body weren’t the same as those of her father’s. It’s later confirmed that her father is still alive, for he returns to his home to face Arletty. His transformation into ghoul is also just about complete.

He tells her the history of the dark stranger, of how he attacked and ate some of the flesh of a hunter who, as he lay dying, tried to warn others of his killer. They thought him delirious, just as many are thought crazy who try to warn people today of the evils of neoliberalism, which has come “to a world tired and disillusioned, a world looking back to old gods and old dark ways, our world.”

Remembering Charlie’s warning, she has to set her ghoul father on fire to destroy him. In his wild mania, he spreads blue paint all over his face and hands; it’s as if he’s making a desperate attempt to be at one with his art to treat his growing mental illness. Her being forced to commit such a violent, fiery patricide can be seen, in the context of my capitalist allegory, to represent how neoliberalism has exacerbated modern alienation, in this case, alienation in the family.

Thom returns to the house the next morning. His frown at seeing her father’s charred corpse can easily be seen as his sadness at the sight of one of his ghouls–his children–killed. Other ghouls are waiting on the glass roof to attack; for all we know, he’s summoned them there. She, screaming in her traumatized state, attacks him with the shears she used on her father before burning him, cutting a big gash in Thom’s arm.

After he lies in bed, resting a while and recovering from his wound, the ghouls on the glass roof break in, fall into the room, and attack him and Arletty. He helps her fight them off, though in a minimal way, and they run out to the beach. Again, all of this would seem to make him look like a sympathetic character, but I suspect his intention is really just to lure her out to the beach, and his disappearance in the water is to lead to an at least implied plot twist, in which he later reappears from the water as the dark stranger with the appearance of the blood red moon.

As he and Arletty are running together along the shore, we hear Phillan Bishop’s eerie synthesizer ostinato in 17/8 time (subdivided 4+4+4+5). The two briefly embrace like lovers: after all, this is part of Thom’s attempt at a physical and spiritual seduction of her.

The ghouls start to congregate at the beach, staring out into the ocean as they’ve done every night, waiting for the blood moon and the dark stranger. Thom and Arletty go out into the water in an attempt to escape the ghouls by boat. He seems weakened from his arm wound, making it hard for him to swim.

According to the Wikipedia article on the film, Thom drowns; but I don’t think that’s what’s really happened to him, though Arletty seems led to believe this was his fate. As I said above, he merely disappears to get ready for his return as the dark stranger, the Beast, the antichrist (Revelation 13:3-4).

The ghouls get her out of the water at night, but they don’t kill her. They dress her in a pretty gown to offer her to the returning dark stranger at night, under the blood moon and among the ghouls’ bonfires. She’s too horrified, I’d say, to say Thom’s name upon recognizing him. Instead, we get a loud, hysterical scream from her.

She’s taken to an insane asylum, and like her father, she takes up painting, presumably as a kind of art therapy to soothe her madness. Trying to warn the world about the coming evil causes one to think she’s insane. Indeed, this evil is so traumatizing, so crazy-making, that all she can do is scream…yet no one will listen.

The film ends as it began, with a return to a shot in a hall in the insane asylum, with light in the middle, where Arletty can be seen wandering, and dark shadows around the edges of the shot. Just as the dark stranger has returned, so has this shot from the beginning returned, a coming full circle…just as the Gilded Age has returned to us today.

We hear her distraught narration, her trying to warn people of the spreading sickness that makes one a ghoul. Similarly today, some of us try to warn people of the growing sickness caused by neoliberalism and imperialism–the alienation and its attendant mental illness, its pressure to conform to today’s ways, as the ghouls all conform to the grisly ways of the messiah of evil. Yet, just as no one will hear Arletty’s screams, no one will listen to our cries of help.

“No one will hear you SCREAM!!!”

Analysis of ‘Child’s Play’

Child’s Play is a 1988 horror film directed by Tom Holland, written by him, Don Mancini (whose story the film is based on), and John Lafia. It stars Catherine Hicks, Chris Sarandon, and Brad Dourif, with Alex Vincent, Dinah Manoff, and Jack Colvin.

Child’s Play gained a cult following, and its commercial success spawned a media franchise including seven sequels (with a TV series), comic books, and a 2019 reboot. It won a Saturn Award for Best Actress (Hicks), and was nominated for three–Best Horror Film, Best Performance by a Younger Actor (Vincent), and Best Writing (Holland, Lafia, and Mancini).

Here is a link to quotes from the film.

There is a subtle critique of capitalism in Child’s Play. We see a stark contrast between the haves and the have-nots, that is, people like Karen Barclay (Hicks) and her son, six-year-old Andy (Vincent), on the one hand, living in their nice apartment, and the homeless, one of whom (played by Juan Ramirez) has sold her a Good Guy doll.

The doll itself is a commodity sold to “bring…a lot of joy” to the child who plays with it. The Good Guy doll, especially when the soul of Charles Lee Ray, or “Chucky” (Dourif), is in the doll, is a literally fetishized commodity. One buys the commodity as a complete, finished product, without any sense of the workers who made it, just as one might worship an idol, believing in the god inhabiting the carved wood or sculpted statue, without any thought as to who made the idol. Chucky is thus like a pagan idol, with a spirit animating it, adored by Andy the idolater, because the lonely, alienated boy has no real, living friend to play with. In commodity fetishism, there’s a preoccupation between things (money and merchandise), not between people, hence its relationship with alienation.

As far as the opposition of those with shelter and the homeless is concerned, that opposition is in potential danger of being erased, in Karen’s case, as a consequence of her walking out on the job during her shift to buy the doll from the homeless peddler. Her manager, Walter Criswell (played by Alan Wilder), pesters her about walking off on the job, and implies a threat of firing her if she won’t agree to covering a sick worker’s shift…on Andy’s birthday. In this conflict, we see an example of worker alienation, which is adding to the Barclay family’s alienation as already discussed in lonely little Andy (whose father died).

Another thing should be mentioned about the homeless, as seen in the peddler in particular: they aren’t portrayed sympathetically. The peddler tries to suck as much money as he can out of Karen (but isn’t that what capitalists do?), on two occasions: his selling her the doll, and his exploiting her need to get information about where he found the doll, even to the point of wanting a sexual favour from the pretty woman in exchange for that information.

This associating of the homeless with criminals can be interpreted in two ways: either it’s a 1980s Reaganite lack of sympathy for the poor, or it links the peddler’s desperation with that of Charles Lee Ray. The frustrations of being poor often have a way of making people mean; they either try to get as much money out of better-off people, like Karen, as they can, or sexual frustration can make them act like creeps, as the peddler does to her; or the detrimental effect of capitalism on one’s mental health can drive one to commit violent crimes, as it drives Charles Lee Ray to become a sociopathic serial killer.

His passing of his soul into a doll represents a classic case of projective identification, a Kleinian concept that goes beyond the ordinary projection of imagining one’s own traits in others, but instead one succeeds in putting those traits into someone else (or in the case of the doll, something else). What’s more, the bad guy puts himself into a Good Guy, in the form of a voodoo incantation.

There is a lot of duality in this film. In particular, there are many pairings: Charles Lee Ray and Chucky, Andy and Chucky, Karen and her friend, Maggie Peterson (Manoff), Charles Lee Ray and his double-crossing partner-in-crime, Eddie Caputo (played by Neil Giuntoli), Detective Mick Norris (Sarandon) and his partner, Detective Jack Santos (played by Tommy Swerdlow), and Chucky with the voodoo doll of John “Dr. Death” Bishop (played by Raymond Oliver).

These pairings are generally parallels and/or opposites of each other, in some way: a bad guy in a Good Guy doll, a sweet little boy who physically resembles (sometimes even dresses like) his doll with the killer’s soul in it, his nice mother and his cranky baby-sitting substitute mom, two criminals, two cops, and a victimizer doll vs a victim’s doll. These parallels/opposites remind us of dialectical realities.

Because Karen has to cover the sick worker’s shift on her son’s birthday, her friend Maggie will babysit the boy that night. She’s rather cranky about Andy getting to bed without letting Chucky watch the news to know the latest about the police’s manhunt for Eddie Caputo, the partner of the presumed-dead Charles Lee Ray, and someone he wants to kill for having driven away and abandoned him when Norris was chasing them at the beginning of the film.

Maggie’s perceived crankiness as Karen’s substitute puts her in the role of what Melanie Klein called the bad mother, as opposed to Karen as the good mother. Maggie not letting the ‘boys’ stay up is frustrating to them, whereas Karen going all out to buy the doll for Andy makes her the good mother, who strives never to fail in pleasing her son. These women are thus like the “bad breast” that won’t give the baby milk, versus the “good breast” that will feed the baby.

This splitting of the women into two moms is a defence mechanism that Andy also does, in a symbolic way, on himself, with his understanding that Chucky is alive. Just as there is a good mom and a bad one, so is there a good boy and a bad ‘boy.’ Splitting as a defence mechanism is thus aided by another defence mechanism, projection. Andy is projecting his bad, hateful side into Chucky (in a symbolic sense), just as Charles Lee Ray has literally done.

It’s interesting that much of the doll’s violence and terrorizing happen in the apartment, with Maggie or Karen as the victims. We’re reminded of the last, and best, episode of Trilogy of Terror, “Amelia,” in which the Zuni doll terrorizes Amelia (played by Karen Black) in her apartment. In my analysis of Trilogy of Terror, I explored the projection and splitting-away of the bad character traits of the characters Black plays in all three episodes, leaving the remaining ‘good’ characters as timid and sexually repressed. Andy’s sweetness, as opposed to Chucky’s viciousness, can also be seen in this light. Maggie‘s falling out of the window and crashing through a car roof, incidentally, reminds me of the fate of Katherine Thorn (played by Lee Remick) in The Omen, another film about an evil boy.

When the police investigate Maggie’s death, Norris notices that the soles of Andy’s Good Guy shoes match the footprints leading up to the attack on her, so he deems Andy to be a suspect. Of course, Karen is too upset even to consider such suspicions.

Later that night, she’s talking to her son, who says that Chucky told him that he was sent to Andy by his dead father in heaven. I’m curious to know how Chucky learned of Andy’s father’s death in so short a time to be able to make up such a story. One wonders how much of the boy’s conversation with Chucky is real, and how much of it is just the boy’s imagination.

Andy also tells his mother that “Aunt Maggie was a real bitch and got what she deserved.” He insists that Chucky is the one who said it, which is of course perfectly plausible, given the killer’s personality…but technically, we never hear those words come out of the doll’s mouth. For all we know, Andy said and thought it himself, however unlikely that may be, given the context.

Even if all of this did come out of Chucky’s mouth, though, which is of course more than probably true, it’s true only on the literal level. On a symbolic level, we can still see the living doll as a case of projection and splitting-away of Andy’s bad side onto the doll.

His father’s death would have caused emotional trauma for the boy, who would have imagined the death as a kind of abandonment of him, thus making Andy’s father the bad father, in the Kleinian sense. The good father in heaven may have given him the doll as a gift; but the bad father gave Andy a Bad Guy in a Good Guy doll.

The police see Andy as a suspect, even though it’s hardly much more plausible that a little six-year-old boy could have had the strength to make a woman fly out of a window than a ‘living doll’ could have. Andy’s insistence that the doll is alive sounds like a manifestation of mental illness in him, even though Chucky really has the killer’s soul animating it, so it’s not surprising that he’s taken to a psychiatric hospital to be treated by Dr. Ardmore (Colvin).

As I said above, on both literal and symbolic levels, little Andy really does have issues. His father died, the death of Maggie is a shock to him even if he isn’t the perpetrator of the killing, and he’s so lonely, he needs a talking doll for a friend. His physical similarity to the doll, including their clothes, sometimes suggests a potential merging of identities, in spite of the splitting and projection.

Andy’s experience of what Klein called the paranoid-schizoid position–a schizoid splitting of his mom into absolute good (Karen) and bad (Maggie, the mom substitute), as well as a paranoid fear that the bad projection will come back to get him (i.e., Chucky coming to the mental hospital to get him–actually, not to kill him, but to put the killer’s soul into the boy’s body…still, Andy doesn’t know that)–is a projection of the splitting of the good and bad sides of Andy himself. His splitting of his dead father into good and bad versions is also such a projection, as is his projection of his bad side into Chucky.

This splitting of people into good and bad, as well as the projection of this splitting onto people in the outside world, is symptomatic of the alienation we all feel in a society ruled by the profit motive, which splits people into rich and poor, then idolizes the rich while looking down on the poor. The capitalist class exploits this splitting and projection by selling us the commodities representing idealized people (Good Guy dolls, films and TV shows glorifying our objects of hero worship), and the war on the poor that results from chasing profits in turn results in desperate people we denigrate, the lumpenproletariat (criminals and the homeless).

Note how the story takes place in winter, with the homeless huddling together around outdoor fires to keep warm. One homeless man, the peddler of the doll, turns nasty and tries to get as much out of Karen as he can, even her body, in exchange for information about where he got the doll (never mind all the greedy capitalists who try to squeeze out as much profit as they can through the extraction of surplus value, some of whom exploit the bodies of females far younger than Karen!); but when Norris rescues her from the peddler and his meat-hook hands, he also points his gun at all the other homeless in the area, as if they were just as bad as the peddler, making them run away from their one source of heat, their outdoor fire, on that cold, bitter night.

Norris may be a good guy in his helping of Karen, but as a cop pointing his gun at freezing cold homeless people who never laid a hand on her, he is working to protect the class interests of the wealthy. By speaking of an area where the homeless hang out as a rough part of town that she shouldn’t be in alone at night, Norris is lumping the homeless together with criminals. This lack of sympathy for the poor and desperate makes Chucky’s revenge attack on him in his car not exactly surprising.

Now, Chucky learns from John “Dr. Death” Bishop, his former voodoo instructor, that in order for his soul to escape the doll (which is becoming increasingly human), he must put it in Andy’s body (he being the first person to know that Chucky’s alive). This putting of Charles Lee Ray’s soul into the boy’s body, a merging of bad Chucky with good Andy, should be understood, symbolically speaking, in terms of the paranoid-schizoid position, which is a splitting into absolute good vs bad, and the depressive position, an integrating of the split-off good and bad.

Though a child perceives the split-off good vs bad as being in his good vs bad parents, we must remember that the splitting is happening in the child’s mind, and it is thus a projection of a splitting that isn’t really in his parents, but rather in himself. Chucky, back in Karen’s apartment with Andy and having knocked the boy out, begins the incantation to put his soul in Andy’s body, a merging that represents the integration of the good and bad sides. He doesn’t complete the ritual, though, because Karen and Norris arrive just in time to stop him.

Just as the merging of Andy and Chucky isn’t complete, so is the integration of the good and bad mother, or the good and bad father, a child’s reparation with them, never complete. Throughout one’s life, one tends to shift back and forth between the paranoid-schizoid position (PS) and the depressive position (D), an oscillation Wilfred Bion expressed in this shorthand form: PS <-> D (e.g., in Bion, page 67).

Accordingly, Chucky as the bad Andy fights with Karen and Norris (who could be seen as a substitute father). When Karen, having put Chucky in the fireplace, screams to Andy to get the matches so she can burn the doll, the boy sits in hesitation at first–partly out of fear, no doubt, but also partly out of an unconscious wish to remove Karen the bad mother by letting Chucky kill her. Nonetheless, the good Andy wins out in his conflict, and gets the matches.

Chucky attacking Karen with, for example, him stabbing the knife through the door with her holding it closed on the other side, can be seen to symbolize how Andy, in unconscious phantasy, is attacking his mother through a projection of his bad self. He unconsciously wants to attack her because he feels she’s frustrated him in certain ways (not buying the doll at the beginning of the movie, not being with him at night for his birthday, but having cranky “Aunt Maggie,” Karen’s substitute and therefore split-off bad mother, instead to babysit him, etc.).

Later, when he sees Karen and Norris trying to protect him from Chucky, he can see the good mother in her, and he can understand that both the good and the bad mother are the same person. Now, instead of wanting to attack her in unconscious phantasy, Andy wants to keep her. In fact, even Chucky, wanting to merge with Andy, says he’ll let Karen live if she gives him the boy (a pretty weak promise coming from a serial killer, but still symbolic of an unconscious train of thought). So the bad side in Andy, Chucky, is still vicious, but thanks to his help in getting the matches, as well as his recognition that his bad side is really bad (“This is the end, friend.”), Andy can weaken his bad side and integrate it with his good side, a switch from PS to D.

With the final destruction of Chucky, through not only gunshots breaking off his limbs and head, but also that bullet in his now fully-formed heart, Andy no longer needs to project his bad side. He can now switch from paranoid anxiety to depressive anxiety, from the fear of being persecuted by the projected bad mother to the urge to hang on to his mom with all of her faults, her mixture of good and bad.

The film ends with a frozen shot of Andy leaving the room and looking at burned, mutilated, and dead Chucky. The boy’s frown isn’t only from his trauma: it’s also from his enduring sense of connection to his other, bad, projected self. The movement between splitting and integration doesn’t end in infancy or childhood: PS <-> D is a lifelong oscillation.

‘Mama,’ a Psychological Horror Novel, Chapter Fourteen (Final Chapter)

I see three large pins leaning against the wall opposite me, the sharp ends pointing up, the white ball handles resting on the ground. They’re all the size and length of spears.

They look just like the pins I used on the voodoo doll for Mama, except of course for their huge size. Since that’s what they look like, and there’s a window on that wall they’re resting against, I probably ought to stand up and take a look at my reflection in it.

Yep, just as I thought: instead of seeing myself as I actually look, I see a giant voodoo doll version of myself. Another of my vivid hallucinations, for sure.

…and check this out. Those pins are now rising up from the ground, floating horizontally, with their sharp ends pointed directly at me. I suppose they’re going to fly right at me, like thrown spears, and stab into my chest and guts. If only this wasn’t a hallucination–I’d love to die.

In the window reflection, I still look like a giant voodoo doll. I’m surely fantasizing that Mama’s ghost is taking her revenge on me for sticking pins into that voodoo doll of mine that I’d made of her. That’s the logical explanation for this hallucination I’m seeing here.

It’s funny how, even though I finally realize what my mind is doing, I’m still hallucinating. Though I’ve brought my unconscious fears and desires up into my consciousness, I am by no means cured of my propensity to see and hear things. My eyes and ears continue to deceive me because I want to continue deceiving myself.

Oh, here they come. Those pins are flying right at me.

I’ll stick my chest and guts out to receive them better, even though I know I won’t be…

“Unghhhh!!!”

This is…the most intense,…the most vivid…hallucination…I’ve ever had.

I really feel…three stab wounds…one just above…my heart…towards my shoulder…one towards…my left side…under my nipple…and one in…my gut…just over…and to the…right of my…belly button.

I’m coughing blood…It really feels…like I am…The pain is sharp…and intense…My whole torso…is drowning…in blood…I’m lying…flat on my back…on the ground.

The pain…is still here…I’ve never hallucinated…this intensely…before…I’ve seen things…I’ve heard things…but I’ve never felt things…not this badly, anyway.

This is no hallucination…this is really happening!

I saw no attacker, though…I saw no one…running into…this alley,…sticking a knife…into me…three times…then running off…If I hallucinate…I’ll at least…see a distortion…of what…really happened…there will be…a hallucinatory substitution…of the actual event.

The three pins…could have represented…three stab wounds..but I should have…seen someone…or something…to represent my killer…Besides, who would have…come in here…randomly wanting…to kill me?

Who’s this…coming up to me now?

Here he is,” a man among them says. “Ooh! He’s been stabbed! Who did this? I saw nobody else come in this alley.”

“Neither did I,” a woman beside him says. “There’s no murder weapon lying around anywhere, either. No knife, no…He’s already lost a lot of blood. I’m amazed he’s still conscious. It’s a good thing another ambulance got here. We’ve gotta rush him to the hospital!”

As they’re…putting me…on a stretcher, I’m thinking…Don’t bother…I’m gonna die…I want to die…I hate my life…My life is…Hell…

Wait a minute…I can’t explain…what reality…this hallucination…corresponds to…These people…are putting me…into an ambulance…All of this…looks normal…They’ve put…an oxygen mask…on my face.

Could it be…that I didn’t hallucinate…that last time?

Did Mama’s ghost…really do that…to me?

None of those people…saw a killer…run in and…stab me…then run out…They do see my stab wounds, though….They’ve bandaged them.

Very clever, Mama.

You wiped out…Aunt Jane…and that man…because you didn’t…need them anymore…They served their purpose…and you removed them…In making me…doubt myself,…you reinforced…my feelings of worthlessness…so I’d stop trying…to resist you…Now that you…have killed me,…you can torture me…in the deeper, darker regions…of Hell,…while you…destroy the world…without my ability…to stop you.

There is no escape for me.

My no longer believing…in the supernatural…was a wish fulfillment…I could hope…for a quick death…and nothingness afterwards…a nothingness…of peace…no Hell.

Now,…with her spirit…on the loose…since she no longer…has a body…to limit her magical powers…she can do anything…and with me dead,…I can’t use…what magic I know…to stop her.

Wait a minute…

With my death…I’ll be free…from the limitations…of my body, too…As pure spirit,…I’ll be able…to gain access…to all kinds…of magical formulas…just like her…I can still stop her!

The hospital staff…are taking me…out of the ambulance.

A mushroom cloud…just blew up…in the distant sky…The ground is shaking.

The staff…were startled by it…They reacted to it.

I didn’t just…imagine it…The explosion…was real.

Mama’s ghost…is destroying the world…I must die quickly,…free my soul…from my body…and fight her…with my own magic.

But her power…is so much…greater than mine…I’ll have to learn…a lot of magic,…and quickly…to stop her.

How can I…grow in power…quickly enough…to stop her?

Transcending my ego,…uniting my spirit…with that of…the world spirit…should give me…the power I need.

In my dying moments,…I must meditate…my fading…consciousness…should make it…easier for me…

And with no me…no Roger…separate from the world…no ego…for Mama…to target,…she won’t…be able…to stop me.

I…must…concentrate…

There isno Roger…I’m merging…with Brahman…

My blood…is spreading…out everywhere…as is…my soul…It’s uniting…with the world…

My union…with the world spirit…will defeat…her ghost…

My…inner peace…will destroy…her hate…and wickedness…

Mama,…I’m gonna…kill…you…again…

THE END

‘Mama,’ a Psychological Horror Novel, Chapter Thirteen

Whoa! Look at that huge mushroom cloud in the sky, far off in the distance. No one, other than myself, has even noticed it, much less reacted to it. Now that Mama’s ghost is having me put away, where I can’t do anything to stop her, she can go ahead with her plans to destroy the world and bring us all to Hell, to join her. The people on the streets aren’t reacting to the nuclear blast because her magic is restraining them, hypnotizing them into a state of total apathy!

No one cares. No one will help me. Aunt Jane and…that man everyone says is my father…are just working for Mama’s ghost, to keep me under her control so she can be free to unleash her mayhem on the world. I’m powerless to save everyone from her.

I wanna kill myself so badly, but I can’t, because: I can’t escape from the clutches of the staff taking me back to the mental hospital; I’m too chicken to endure the pain of slashing my wrists, or jumping off of a building, or any other violent form of suicide; I have no pills to OD on; and besides, killing myself will only bring myself further into Hell and under Mama’s control.

There’s nothing I can do to relieve my pain. No…

Oof! What…the…? Did one of those boats on this surreal road just collide with the elephant I’m riding on? Oh! It’s losing balance…I’m falling off!

Aah! I just hit the road on my left side, hurting my upper arm and hip. Now I’m in pain on both sides of my body, after that motorcycle crash I had before.

Hey, I see Aunt Jane and…that man…lying on the road, too. They’re all bloody and unconscious. Are they dead? I’ll check for her pulse: oh, my God, she is dead. She was working for Mama’s ghost, though, helping to ensure that I stay locked away in the mental hospital, so I couldn’t stop Mama from using her magic to make a Hell here on Earth. Why would Mama kill my aunt all of a sudden?

What’s that? Coughing coming from…that man. I’ll go over to him, in spite of my revulsion from him. What does he want from me now?

“Roger…Roger,” he’s saying between gasps and coughs. “I…am your…father. Why…can’t you…just accept me?” More coughing from him–it’s revolting to watch and hear.

Again, though, I must ask myself: why would Mama’s ghost kill off the people who were helping her? I see the hospital worker, the one who was steering the elephant we were on, lying next to ‘Dad,’ dead and covered in his own blood, too.

“I…love…you, Roger,” says ‘Dad,’ then his head falls to the side, and he’s lying there dead, with his eyes wide open. I’m checking his pulse. No, he’s definitely dead.

I don’t understand any of this. Why is Mama doing this?

None of it makes any sense, unless…

…unless it’s all just been figments of my imagination the whole time.

Is that why no one responded to the nuclear blast I saw a few minutes ago? Because there was no nuclear blast?

My seeing boats on the road instead of cars, celery sticks instead of lampposts, animal heads on people’s bodies, mushrooms instead of skyscrapers, fire in the background, blue elephants instead of ambulances to take me back to the mental hospital,…none of these are Mama’s magic, but just my hallucinations going to such an extreme?

All because I can’t accept that this man was my father?

Hey…as I look all around me, I see that the surreal imagery I’d seen before is all gone. Now, everything looks normal: cars and buses on the road, lampposts, tall buildings, pedestrians with human heads, no fire to be seen anywhere at all, not even on the horizon. All there is before me is that car crash–my ambulance lying on its side, with the back door wide open so I could crawl out and look around outside, and my aunt and…my…father…lying here, dead.

The world is just an ordinary place.

And I am just an ordinary man.

I’m no hero. My life isn’t the great melodrama that I imagined it to be, with a demonic mother persecuting me. I probably didn’t even kill her; as everybody else told me, she just died of a heart attack, and I was just a fool sticking pins into a doll that had no effect on her at all. I’m nothing special; I’m just a deluded idiot.

And because of my resistance from them, I just lost the only two people in the whole world who actually cared about me. I’m mediocre, and alone.

This existence is worse than any fiery Hell I could imagine…and it’s all of my own creation.

People are crowding around the ambulance. I’ve got to get away from them, or else I’ll be put in that mental institution for the rest of my life, and I don’t want the rest of my life to be a long one.

Since there’s no mother-demon trying to get me, suicide is still a viable option for me. I’m getting out of here, now, before another ambulance arrives!

Umph! Oh, getting this crowd of onlookers to open up a path for me is annoyingly difficult!

“C’mon, you people! Out of my way!” I shout.

“Hey, don’t be so pushy!” a man says.

“You’re injured,” a woman says. “You need to go to the hospital, Sir.”

“Mind your own business!” I shout, then get free.

I’m running away from the crash scene and down the street. I see an alley between two tall buildings, and I’m running towards it.

A voice whispers in my ear, “Yes, Roger, go in there.”

That was another hallucination, of course, the voice of ‘Mama.’ I don’t believe any of that’s real anymore, but I’m still going into the alley. Piles of garbage bags and boxes are lying against the walls on both sides. Is this where I was before, when I crashed the bike? It smells just as bad.

Looking back, I can see a few people running after me. I’d better hide.

Behind these boxes here will be good. Yeah, those people just ran past. I can hear them running farther and farther away, their footsteps getting softer and softer. I hear nothing at all now.

Good. I’m all alone now. No one to bother me. Absolute peace.

…except for the war going on in my heart.

I hate my life. I never amounted to anything. The only way I could make my life have any meaning was to make up a melodramatic, hallucinatory story about my mother being a witch and a demon from Hell bent on destroying the world, so I could fancy myself a hero about to save everyone. What a load of ridiculous nonsense, all fabricated to hide the truth from myself, that I’m just a pathetic loser! I couldn’t have an average man as a father, because I’m below average.

If only I could have just accepted that man as my father! I could have grown to love him, to receive his love, and then finally learn to love myself! And now he’s dead.

Now I have nobody to value me in any way.

I hate myself, and I want to die. But I’m too scared to kill myself, as much as I hate living.

If only I could kill myself quickly and painlessly. I have no sleeping pills or other drugs to OD on. I have no access to a bathtub and razors so I can do it the old Roman way. And I don’t have the guts to jump off of a tall building.

What am I going to do? I don’t want to be in a mental institution for the rest of my worthless life.

I want to die…now…but I can’t do it.

If only there were somebody out there who could do it for me. Any murderers out there?

Is there anything in these boxes or garbage bags that I could use? Any bottles I could break, and use the jagged edge to cut myself? Let me take a look…

Hey, what’s that over there, by the opposite wall? Another hallucination? Very well–bring it on. Nothing else is helping.

‘Mama,’ a Psychological Horror Novel, Chapter Twelve

Now, let’s see if I can remember any of those ancient verses, the ones I used to put a circle of protection around myself, to keep Mama’s ghost out.

Bide larma…No, that doesn’t sound right.

Bide lirma oda kaitan…Was that it? No.

How about Bidi lirma oda kaitan…? I think that’s closer to it, but how does the rest of the verse go?

The fact that I don’t have the materials to make the circle–the chalk to draw it, the ruler to draw straight lines for the pentacle, and the candles to light up–isn’t exactly helping me here.

I’ll try again: Bidi lirma ota kaitan

Wait a minute: was that even from the right verse?

No! That was from the verses meant to send Mama to Hell and lock her up there. I’ve already done that, and she’s brought me here with her, too. By saying that verse, if I’m even saying it right, I’m only reinforcing my problem!

I need to remember the verse I used to say to create a zone of protection that she can’t enter. What I said when I went to the store to buy the amulet and sachet. What was it? She’s making me forget, that’s for sure.

Still, I have to try to remember it. It’s my only hope.

Oh, God, it’s so dark here. Endlessly black, all around me.

I can still hear the thumping of the elephants’ feet. Aunt Jane, that man, and the staff from the mental hospital are still trying to find me in this stinky rectum of a hiding place. It’s only a matter of time before they find me and take me back to the nut house.

Oh, what are those words I have to chant?

Wana…bagga…waiko? Is that how it begins?

Wana bagga waiko, Inan suchi zdago…I think.

Kala bodi gana, Sibako wuli…zulu? No, at least one or two of the words are wrong, because I don’t feel any safer. I’m still in the smelly black pit. But which words am I saying wrong?

I can’t give up. I’ve got to keep trying–not just for myself, but for the sake of the world, which I have to save from Mama’s magic! Now, what were those words?

Maybe if I try different combinations of vowels and consonants, I’ll eventually luck out and say the right combination, like monkeys typing forever and ever until they finally compose a novel. It’s a ridiculous thing to do, but I’m so desperate here, I can’t think of any other way to get the words right. Here goes:

Wana baka waigo,
Inan kushi zdega,
Kala bodi gana.
Sibako woli zulu.

No, still no circle of protection. I’m still trapped in infinite black. But I think I’m coming closer to saying the right words. As I do this, altering the words little by little, I think I’m beginning to remember them better.

But maybe I’m not. Maybe I’m wrong.

Still, I’ve got to keep trying.

Wana baka waigo,
Imam kuchi zdega
Kalu bodi gana.
Sibako woli zulu.

Still not right! Every word has to be perfect, or else I get nothing! Oh, how am I going to get this right? Still, I have to try:

Wana baka waigo,
Iman kuchi zdega
Kalu bodi gana.
Sibako woli…zulu.

Still wrong! I have a feeling that this time, I almost got it right. Still, it cannot be even the slightest bit wrong, or else this effort is all in vain. I’ll bet Mama’s ghost is tampering with my memory, making me forget a verse I had committed to memory not so long ago.

Oh, which part am I getting wrong?

This black void enveloping me, with that shitty garbage stink, is driving me crazy!

I’ve got to keep trying, though…every possible combination must be considered!

I’ve got to get protection from Mama…and fast!

AAAAAAAHHHHHHH!!!…

WabawakabaigoImankuchizdegaKalubodiganaSibakowolizuku…
WanwakabaigoImankuchizdegaKalubodiganaSibakowolizulu…
WanabakawaigoInankuchizdegaKalubodiganaSibakowolizuku…
WakabakawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WadabakawaigoImankuchizdegaKalubodiganaSibakowolizulu…
WafabakawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WagabakawaigoImankuchizdegaKalubodiganaSibakowolizulu…
WajabakawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WalaBakawaigoImankuchizdegaKalubodiganaSibakowolizulu…
WamabakawaigoInankuchizdegaKalubodiganaSibakowolizuku…
WanabakawaigoImankuchizdegaKanubodiganaSibakowolizulu…
WapawakabaigoImankuchizdegaKalubodiganaSibakowolizuku…
WarabakawaigoImankuchizdegaKalubodigala Sibakowolizulu…
WasabakawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WatabakawaigoImankuchizdegaKalubodiganaSibakowolizulu…
WavabakawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WawabakawaigoImankuchizdegaKalubodiganaSibakowolizulu…
WayabakowaigoImankuchizdegaKalubodiganaSibakowolizuku…
WazabakawaigoImankuchizdegaKalubodiganaSibakowolizuzu…
WanababawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WanabakawaigoImankuchizdegoKalubodiganaSibakowolizulu…
WanabalawaigoImankuchizdegaKalubodiganaSibakowolizuku…
WanabamawaigoImankuchizdegaKalubodiganaSibakowolizulu…

Oh, my God, I’m never going to get this right!

Surely, Mama’s ghost is making me mispronounce at least one word at a time, to drive me crazy!

My face is soaked in my tears. I’m shaking and sobbing so loudly, surely those elephants will hear me over their thumping feet!

What can I do to save myself from her?

Could I try finding Jesus? No, I tried that years ago. Didn’t work. There’s no Heaven to save me from this Hell.

If only I could kill myself…but that would just plunge my soul–if I even have one–straight into Hell all the more, where she could really torment me…forever.

What if I attempted…a dissolving of my ego? A transcending of my ego…ego death! The merging of my Atman, as it were, with Brahman? What if I adopted selflessness, in the Buddhist sense of the word? She cannot harm me if there’s no me to harm.

Through intense meditation, I can achieve ego death, nirvana. It’s worth a try, at least.

I’ll start by focusing on my breathing…slow, deep breaths…in…and out…I don’t need to close my eyes, because there’s nothing to see but absolute black everywhere.

Oh!…That awful smell! The shit of the asshole I’m trapped in!

No, I don’t want to inhale that so intensely. Bad idea.

I’ll have to try concentrating on something else.

The present moment, and my oneness with my surroundings.

Yes,…I must think about every second that passes by, and think about there being no distinction between myself and everything out there that isn’t me.

Oh, my mind keeps wandering. Roger, concentrate!

Mama, like Mara the tempter, is trying to thwart this Buddha.

I’m at one with everything…I’m aware of every passing second…

My body feels as if it’s beginning to dissolve, to merge with my surroundings…good…

Wait…am I dissolving, or am I…being pulled apart, in all directions?

I still can’t see anything in this black, smelly void, but it feels as though my arms are being pulled to their far left and far right, and it’s like I’m rising from the ground. All of me feels…pulled outwards, everywhere.

Is this a merging, or is it a…melting?

Maybe this is how becoming at one with everything is supposed to feel. I don’t know.

What’s that up ahead? A tiny dot of white light, gradually getting bigger. I feel as though I’m floating towards it. The light at the end of the tunnel? My salvation?

Wait a minute: instead of a growing ball of white light, I’m seeing the city I was riding that motorcycle through the streets of. I’m at the tight sphincter now, coming out like a turd squeezing through…POP!

I’m back out in the city now. Oh, thank God I don’t smell that fecal stink anymore. It’s as surreal out here as it was before: giant mushrooms for buildings, tall celery stalks for lampposts, boats on the roads instead of cars, a glowing basketball for a sun shining in a brown sky, and pedestrians with animals’ heads.

Yes, the magic of Mama’s ghost is as strong as ever.

Hey, wait! What am I riding on? This isn’t that motorbike I stole: I’m riding on a blue elephant! Other blue elephants are walking beside, in front of, and behind mine. I know what they represent: Aunt Jane, the staff of the mental hospital, and…that man.

They’re taking me back to the nut house…that prison!

I have to stop this from happening, but how?

I’ll try jumping off of this elephant…what? There’s some kind of invisible wall, or a force field of some kind, keeping me on the elephant! I can’t get away! Mama’s magic is keeping me here!

“Let me go!” I scream. “I don’t wanna go back to that horrible hospital!”

“Sorry, Roger,” I can hear Aunt Jane’s voice saying from farther off. “But we trusted you the last time, and you violated that trust. Now, I’m afraid we have no choice but to take you back there and keep you there for as long as it takes. Judging by the way you’ve been acting, I’d say you’ll probably have to stay locked up there for the rest of your life. I hate to say it, but it’s true.”

“NOOOO!!!”

“And don’t try that act of sanity again, Roger,” one of the hospital staff says. “We’re wise to your tricks now.”

Mama has won.

She has me locked away forever.

And she’ll be able to destroy the world without me able to stop her.

It was better in that giant asshole. At least I could meditate there, have a hope of dissolving my ego, and end my suffering…of course, I could meditate in the padded cell they’ll most likely incarcerate me in, wearing that straitjacket again. It will be uncomfortable, but I should be able to do it.

No, I can’t! Not with all those people there! I have to be alone. How can I dissolve my ego through meditation if I’m constantly being disturbed by shrinks and nurses determined to make me believe that that man is my father?

I really am in an eternal Hell of other people.

There is no exit for me.

‘Mama,’ a Psychological Horror Novel, Chapter Eleven

What a bizarre cityscape I’m seeing all around me!

As I race down the road on this motorcycle I stole, I’m seeing boats moving on the road instead of cars. The buildings are still giant, polka-dotted mushrooms. Instead of street lamps, I’m seeing giant celery sticks of the same height!

Whoa! I just looked up at the sky, which is a light brown instead of blue. And instead of seeing a bright ball of fiery light for the sun, I’m seeing a glowing…basketball.

The pedestrians all have animals’ heads: dogs, cats, elephants, horses, etc., but all in proportionate size to their human bodies. As I wait at this traffic light, the colours of which are pink (go), orange (slow), and brown (go), I can hear the pedestrians’ conversations as they walk by me: barking, meowing, roaring, neighing, etc. A man with a dog’s head is passing in front of me right now, walking his dog, which is actually speaking: “Who’s this ugly guy on the motorbike?”

Thanks a lot, dog.

The pedestrians have all crossed the street, and the light has turned brown. I can resume my getaway from Aunt Jane, my ‘father,’ and the staff of the mental hospital, who are presumably pursuing me. Off I go!

Anyone else knowing what I’m seeing and hearing would naturally assume that it’s all just a series of hallucinations that I’m having. But I know better. All of these surreal images and sounds are just the magical art of Mama’s ghost. She’d have me believe that I’m delusional.

The real delusion, however, so cleverly set up to look as though it’s normal, was my ‘recovery’ in that hospital, imagining that man to be my father. The peacefulness of that whole situation was staged by Mama, set up to distract me from her real plan, which is to escalate the world’s problems, exacerbating the bad economy and the ecological crisis, and of course, to bring to a head the political tensions between the US and NATO on one side, and Russia and China on the other, to bring about a nuclear World War III and annihilate all life here on the Earth!

Such is the scheming of Mama’s mischievous mind.

This is why I must do what I must do, to save the Earth! I can see now that it’s my destiny to be a hero, and a hero cannot be the son of a mediocre man like that one I left with Aunt Jane. I must be someone better than that, the son of a great man murdered by Mama’s treachery!

She’d have me doubt my senses, memory, and perception. That’s why she’s putting all these bizarre images in front of me and all around me. It’s all an attempt to control me! If I’m under her control, she’ll be free to do whatever she wants to do, to destroy the world. I must stop her!

All my life, from when I was a little kid, right up to her death–her manipulating me into killing her with the voodoo doll–she was making me believe that I never perceived anything correctly, that I was always seeing and hearing things. I now know why. She always knew–secretly, of course!–that I have special, magical gifts, inherited from her. (These gifts of mine were clearly seen when I so quickly learned how to block her magical powers.) She had to trick me into having no confidence in my own abilities, so I wouldn’t be able to stop her in her grand plan to become an all-powerful, disembodied spirit, and destroy the world!

I’ve got to stop her…but how can I do that?

I have to stay away from Aunt Jane and that man, because apart from how repellent I already find both of them, they’ll have the hospital staff drag me back into the nut house, to be imprisoned there indefinitely. Staying away from the two of them means staying away from my apartment, my laptop, and my protective circle and witch bottle.

That means I’m homeless.

I can’t make any more money because Aunt Jane is running the Pet Valu store.

I’m unemployed.

I can see towering columns of flame all around me, in the background, behind the surreal cityscape of giant mushrooms, celery stick street lamps, boats on the road, and animal-headed pedestrians. Everyone is going about his or her business, as if the fiery background wasn’t even there, as if there was nothing strange about boats for cars, mushrooms for apartment buildings, and animal heads instead of human ones.

I, however, continuing my racing about on this stolen motorcycle, know that I cannot find any reference books on magic if the library is now either a mushroom or is on fire. I cannot gain access to my mother’s inheritance money if the local bank is either a mushroom or burned to the ground.

I have no home, no job, no money, and no access to sources that can protect me from Mama’s magic.

What the hell am I going to do?

Aunt Jane, that man, and the hospital staff must be pursuing me…I’ll look behind and see if…oh, no!

A herd of stampeding elephants is right behind me!

Instead of elephants’ roars, I’m hearing the voice of that man: “Roger, come back! We only want to help you!”

I’m giving the bike some more gas.

Mama is really giving it everything she’s got to make me lose my mind and defeat me. I can’t let her do that!

I must keep my head. If I succumb to her surreal tricks, if she succeeds in disorienting me, or in having me caught or killed, there will be no one to stop her from destroying the world!

I can’t believe how well I’ve been able to dodge this traffic of boats, the celery street lamps, the giant mushrooms, and the animal-headed pedestrians so far. I’m flying down the street like a professional motorcycle racer…and I’ve never ridden a motorcycle before in my life…and normally, I’m totally spastic, totally without the most basic coordination.

Could my racing away like this really be happening, or is this one of Mama’s tricks, to give me a false sense of confidence, before she springs her inevitable trap on me? Probably. We’ll see.

What’s that up ahead? I’m seeing eyes and fanged teeth forming on the celery stick street lamps! They’re looking at me with threatening faces, like in a bizarre cartoon. Arms are growing out of their sides, arms that are grabbing at me!

The gripping green hands are missing me, so far. I’ve been able to dodge them. Where did my cycling skill come from so suddenly?

Bumps in the road are popping up like bubbles. I’m managing to dodge them, too…so far.

Those bumps are coming up in the most surprising place…oops!

I just hit a big, bubbling bump, and I’m flying off the bike and into the air. In front of me is a huge, giant, brown, swirling vortex with a black hole in the middle. It looks like a giant…asshole?

…and I’m flying right into it.

…screaming as I go in at top speed.

Inside now, I’ve landed with a painful thud that’s hurt my right elbow and hip. Instead of smelling shit, I smell…garbage, everywhere.

It’s pitch black in this smelly place. I can’t see a thing.

I can hear the elephants trampling their way in here.

The voice of ‘my father’ is saying, “He fell off the bike and landed somewhere in this garbage dump. He can’t have gone far.”

“He found a good hiding place,” my aunt just said, as I’m feeling their thunderous elephant thuds shaking the ground. “This place is like a labyrinth. We’ll never find him.”

That’s encouraging to hear. I can stay where I am, at least for the moment, rub my injuries, which aren’t that bad, and think about all of these crazy things that I’ve seen.

What I’ve been seeing must be much more than mere hallucinations. While it’s true that I’ve seen and heard things my whole life, they’ve never reached a level of surreal intensity anywhere near this! Oh, all these nonsensical images and sounds are Mama’s doing, I’m sure of it. This is all her magic, far more powerful than the magic she’d used when physically alive, since now she’s freed of the limitations of the body and the senses.

As bizarre as the sights and sounds have been, they are explicable, in terms of deliberate choices Mama’s ghost has made, her knowing I’d find them disturbing.

The brown sky is the colour of shit, reminding me of a time when, in PE class in high school, I was playing basketball in the outside basketball court. The ball went out on the grass at one point, and it fell on a lump of dog turds. One of the school bullies found the ball, picked it up, and threw it at my head, calling out my name as it flew in the air so I’d get hit in the face with the shit-smeared part. Everyone laughed at me, of course.

I went home crying about it. I told Mama what happened: she laughed, too, saying I should have worked harder at improving my basketball playing. She obviously had me see a brown sky and a basketball sun to remind me about that day. Her cruelty knows no bounds.

I hate eating celery, and as a kid, I was made by her to eat celery sticks one afternoon. I choked on one because of her continued pressure to finish them: I was six, and I thought I was going to choke to death. Again, street lamps made to look like giant celery sticks, with malevolent faces, was another attempt by Mama to re-traumatize me.

When I was ten, on a summer camping trip, I was in a small boat on a huge lake, deep in the middle of the water. A bully pushed me off, and I, not a good swimmer, almost drowned. Back home, I told Mama about it. She laughed again, blaming me for not working hard enough to improve my swimming. This explains the boats I saw on the road.

I’ve generally been afraid of animals, having been bitten by dogs and scratched by cats as a kid. They seem little different to me from people, who all seem like bullies to me. Hence, pedestrians with animal heads and talking dogs and elephants.

Oh, don’t get me started on elephants!

As a kid, I used to have nightmares about being trampled on by stampeding herds of elephants or horses. I’d feel crushed by the idea of…that man…being my father, hence her associating him with elephants.

…and what about that giant asshole vortex I just flew into?

Well, I don’t want to go into too much detail about this, the reasons of which should become obvious soon enough, but when I was about twelve and in summer camp again, one of the counsellors took an interest in me, and he…

I’ve already said too much.

Again, when I tearfully told Mama about it on my return home, she laughed at me and called me gay.

Are you starting to understand why I wanted her dead?

This darkness everywhere is really enveloping me. I feel like I’m floating in endless, starless space.

This is the hell Mama’s ghost is trapping me in.

Without the library’s or any other magical resources, I’ll have to rely on my faulty memory to think of any of the other magical ideas I researched before. I hope I can use it to put up a decent fight against her.

The odds are not in my favour.

‘Mama,’ a Psychological Horror Novel, Chapter Ten

Several weeks have gone by with me in this…mental hospital, and I have been cooperating with Dr. Sweeney, Aunt Jane, and…my…father, in the hopes that they’ll let me out of here soon enough. Even in my private thoughts, I’m trying to approximate the perception of reality they’re all imposing on me, all of them working for a certain…spirit, in the hopes that she, too, will be fooled. Then I can be freed of all of them.

My subterfuge seems to be working. Sweeney and the staff are pleased with my cooperation and lack of belligerence. I haven’t worn the straitjacket since it had been taken off me; I’m not even in the padded cell anymore. I’m in quite a pleasant-looking, well-furnished room.

They’re letting me take walks outside, where there are trees, there’s grass, and even a pond with ducks I can feed, as long as my…father…accompanies me and I chat with him. I’m going along with all of it; I’m being patient about it. I even smile and call him…Dad…without wincing. I actually entertain the thought of him being my dad in my thoughts, not only to fool that…spirit, but also to test the waters, as it were–to see if I like it.

Not really.

Dad is so lame.

I want a heroic father, not this loser.

Still, I must keep up appearances, even in my thoughts.

After all, it’s quite possible that I’m succeeding in keeping…her…at bay. I haven’t seen anything blatantly surreal over these past few weeks, and I see flames only in the distant horizon when I go outside with…Dad. The…ghost…isn’t fucking with my head as a reward, I surmise, for cooperating with the others.

Still, something’s going to happen, some fresh trap to be sprung on me while I’m here, so I have to be careful and hope I get discharged as soon as possible.

Then I can find my chance to break free and run from them all.

Oh, here he comes–Dr. Sweeney. Time to act like a good little patient. Cue my fake smile.

“Good morning, Roger,” he says with a fake smile of his own.

“Good morning,” I say.

“How are you feeling today?” he asks.

“Oh, fine,” I say. “I had a really good sleep last night.”

“Good. I trust you’re still enjoying your walks with your father, then? You’ve fully accepted that he is your father, haven’t you?”

“Fully.” My acting is so good, I’d fool myself.

“I’m happy to hear that, Roger. In fact, I have some good news for you.”

“Oh?” I’m trying hard to suppress my anticipation of what he’s about to say. If I overreact to what I think he’ll say, I might be exposed as faking my recovery.

“I think you’re well enough to be released from here.”

“Really? Are you sure I’m well enough? This could be premature. I might have a relapse.”

“Well, if so, you know where you’ll return,” he says while writing something down on his notepad. “In any case, I’m confident that you’ve made sufficient progress, to the point where you can be put under the care of your aunt and father. They’ll report back to me on your continuing progress, or any problems you have, and we’ll react accordingly here.”

“Oh, very well, then, Doctor,” I’m still restraining my enthusiasm. “When will I be released?”

“Tomorrow afternoon.”

“Oh, OK.”

****************

Now, it’s the early afternoon of the next day, just after lunch, and I’m getting ready to be taken out of here. I’m bracing myself, taking deep breaths, and trying to stay calm. I’m thinking over how I can find an opportunity to break free of my aunt and…father, how to know when it will be safe to do so.

I don’t want to wait until I get home, whether that home is mine, my aunt’s, or…his. Firstly, will either of them be watching me, or having someone watch me, 24/7, so I can’t get away any better than here in this nut house? Secondly, I’m so eager to get away from them that I simply can’t wait any longer. It’s a foolish risk I’ll be taking, but I’ve run out of patience.

Ah, there’s my door being opened!

There they are, the shrink, my aunt, and…him.

“OK, Roger,” Sweeney says. “You’re all set to go.”

“Come on home, Son,” says my…dad, smiling.

“All the paperwork’s been signed, so we can just go,” Aunt Jane says, also smiling.

“OK,” I say, getting up with a sincere smile of my own, and I leave the room with them.

As we’re walking through the front doors, and I can see the streets and buildings out there (as well as the blazing fires all along the city’s horizon), Dr. Sweeney stops me for a moment.

“Now, remember, Roger,” he says in a kind, avuncular attitude. “Your father may not be the great hero you’d always fantasized of him as being, but he’s a good man, and that’s enough. You, too, are good enough, and that’s all you and he need to be, OK?”

“OK,” I say. “And thank you, Doctor, for all your help.”

We all say goodbye to him and walk out of the hospital and on the sidewalk surrounding it, my aunt to my left, and my ‘dad’ to my right. There’s a nearby parking lot, on the other side of the street, that we’re approaching.

My mind is racing, and my eyes are darting all over the place, looking for an opportunity to escape.

I find just such an opportunity.

I see a man parking and getting off of his motorcycle. His keys are still in it, and he’s a short run from where I am. My aunt and…he…are looking away, distracted. Lucky for me.

I suddenly break into a sprint for that bike.

“Roger!” Aunt Jane shouts.

“What are you doing?” he shouts.

I reach the bike, shove the rider to the pavement, and get on it. The keys are still in the ignition switch. I kickstart the bike.

“Hey!” he shouts. “What the fuck you doin’?”

“What does it look like?” I say, then ride off.

“Asshole!” he shouts. “Stop! Thief!”

“Roger!” my aunt and ‘dad’ shout several times.

As I’m distancing myself from them, surprising myself at how well I’m riding the motorcycle without any crashes or much of any obstacles on the road slowing me down, I see the flames quickly return all around me, burning every building in sight. I’m also seeing those giant, brightly-coloured, polka-dotted mushrooms again.

Yes, Mama’s back to her old tricks. But that’s no matter: I’m now free to go back to trying to stop her from destroying the world. My chance to be a hero has returned.

‘Mama,’ a Psychological Horror Novel, Chapter Nine

I feel myself coming out of a daze, a waking-up from what has felt like a dark sleep, the darkness slowly beginning a glow into brighter and brighter light. I’m looking around, my eyes focusing.

What is this place I’ve been taken to? I’m still surrounded in fire, but the fire has become so bright, it’s almost white. I’m still not burning, though it’s very warm all around me. I see walls of near-white fire surrounding me…imprisoning me.

Because I was resisting my persecutors–that man and my aunt, who’s still possessed by Mama’s ghost, no doubt–resisting them with all of my strength, they found me so violent that I can see they’ve put me in a straitjacket. What I don’t have on my person anymore are my amulet and sachet!

My resistance was at its most violent when they were taking those things from me. The last thing I remember was someone sticking a needle in my arm as I saw them take away my amulet and sachet, and I was screaming…then everything slowly faded to black as my struggles grew weaker and weaker.

No longer at home with my magic circle or witch bottle to protect me, I feel completely naked, as it were, totally exposed to Mama’s magic! What am I going to do without any protection?

What were those magical formulas that I used to chant, to ward off her evil spells and apparitions? I’ve gone and forgotten them; in my stress and disorientation from the drug they put in my arm, I find myself unable to utter even one syllable of the ancient, mystical languages. Mama can do anything she wants to me, and I can’t stop her! She schemed to put me in this position, and now she has me right where she wants me. I’m as good as dead.

After I die, after she kills me, I’ll be in hell with her (I already am in hell here, but I’ll be even closer to her when I’m dead in body), and then she can really torture me…forever!

Let’s face it: I’ve already passed the entrance where the sign says, “Abandon all hope, ye who enter here.”

What’s this? Somebody’s coming into the room…if that’s what this fiery-walled, white room can be called, this prison cell of mine.

Oh, God! It’s that man, the one who calls himself my father, in the long white coat of a doctor. He thinks he’s going to treat me?

“Good afternoon, Roger,” he says to me with a phony smile. “How are you feeling now?”

“How do you think, Father?” I growl sarcastically at him.

“You think I’m your father?” he asks with an incredulous look.

“Isn’t that what you’ve been claiming you are?” I ask. “I assure you–you aren’t my father, and never will be.”

“I know that, Roger,” he says. “I’m your therapist. Your father and aunt are outside. They are hoping I can help you. You’ve been under sedation for several hours now. Now that the drugs are wearing off, they could be still affecting your hallucinations. I guess that’s why you’re seeing your father’s face instead of mine.”

I blink a few times and look at his face again. No, he isn’t that man. He looks quite similar, but he isn’t him.

“My name is Doctor Sweeney,” he says. “Feel free to talk to me about anything you like. Don’t censor yourself.”

“I’d rather not talk to you at all,” I say, still frowning at him.

“Why is that, Roger?”

I look around at the fiery, white walls, which look rather soft now–cushiony, even. This ‘doctor’ is no doubt part of Mama’s plan to get inside my head.

“Let’s just say that I don’t trust shrinks.”

“You’ve been mistreated by psychiatrists before?”

“I know who my aunt and that man are working for.”

He’s writing something down on a notepad. “And who is that, I’m curious to know?” he asks with a self-satisfied smirk.

“You know who,” I say with a scowl.

“Um, no, I’m afraid I don’t,” he says, still writing.

“Oh, yes, you do. You’re working for her, too, obviously.”

“For her?

“Don’t play dumb with me, shrink.”

“I’m sorry, Roger, but I guess I am dumb. I have no idea what you’re talking about. Why don’t you just tell me, then we can bring it out into the open and fully explore what’s troubling you?”

“Oh, right. Then you can call me crazy, lock me up in this inferno of a prison, and then Mama will get what she wants!”

“Mama? Is she who we’re working for?” he asks, still writing.

“Of course it’s her! Don’t you condescend me!”

“Didn’t your mother die a little while back?” he asks, writing really fast now. “Your aunt and father said she died…”

“HE’S NOT MY FATHER!!!”

“If you insist, though I do see a facial resemblance between you two.”

“You’re working for my mother, that’s why you say I look like him.”

“She is dead, though, isn’t she?” He’s still writing away.

“Of course she’d dead…in body, anyway.”

“So is she still alive in spirit? Is she a ghost?”

“Obviously!”

“Has her ghost appeared to you, telling you her plots against you?”

“I’ve seen her ghost, though she tells me little.”

“And why do you think she’s trying to persecute you?”

“Revenge.”

“For what?”

“Because I k…!” Oops. I’m quite silent now.

“Do you believe you…killed her?”

I’m still silent, looking down at my shoes.

“Your aunt and…that man say she died of a heart attack. You aren’t guilty of her murder, Roger. This guilt complex must be the basis of your delusions.”

“If I’m so non-violent, then can you please remove this straitjacket?”

“I’m afraid you might hurt yourself, and me.”

“Then I am of a violent nature, aren’t I? Violent enough to have killed her.”

“You have the potential to be, but you never killed…”

“We all have the potential to be violent, Doctor.”

“Am I being violent to you?”

“You’re depriving me of my freedom of movement, caging me in walls of white fire, binding my…”

“Walls of white fire?” Oh, he’s writing really fast now!

“Of course! Look around you! Are you blind?”

“No, but I must be having delusions myself, for all I see around us is a padded cell.”

“A padded cell? How cute.” Condescending bastard!

“Did your mother’s ghost surround us in white fire?”

“Of course she did! She’s a witch!”

That pen of his is moving like…crazy…now.

“Is that why you killed her? Did you use magic yourself to give her a heart attack?”

No courtroom would believe I killed her with magic, so I felt safe nodding at the shrink’s question.

“And now that she’s a spirit, I suppose she’s much freer to use her magic in a much more malignant way?”

“The fact that you can predict her freer use of magic on me proves that you are working for her,” I hiss at him. “But I can promise you this, shrink: I’ll find a way out of this prison. You’ll see!”

“M-hmm,” the shrink says in his usual smug manner. “What do you think your mother’s ghost is going to do to you, and to the world in general?”

“She’s destroying the global economy, she’s worsening global warming, as you can see all around us,…”

“Oh, yes, the burning padded cell.” He’s writing this all down, of course.

“…and the worsening of tensions between the West and China and Russia, leading to World War Three and nuclear annihilation.”

“Your mother’s ghost is causing all that? She must be one powerful witch.”

“Is condescension your preferred form of therapy, shrink?”

“No, getting all your thoughts out in the open, analyzing them, and learning where you got them from is my preferred method.”

“And where do you think I got my ideas from, Doctor? My tinfoil hat?”

“We’ll figure that out in time, Roger. For now, though, I’d like to observe you talking with your aunt and your f…, excuse me, that man.”

“Oh, God, no! Not him!”

“If he isn’t your father, why does he upset you so?”

“Because you all want me to believe he is!”

“How will believing he’s your father harm you?”

“It’s a lie of Mama’s, intended to lead me into a world of illusions!”

“Your hallucinations and delusions have already done that, Roger. I think you’re far more afraid of realizing that he really is your father. There’s something about him really being your father that you’d find devastating. We must explore this possibility, nonetheless, to get to the root of what is troubling you. I’ll be right back with him and your aunt.”

The shrink is getting up and walking towards the fiery white walls. I’m trembling in this straitjacket, rocking back and forth, trying desperately to hang on.

Oh, God, they’re coming in, emerging from the white fire!

Maybe I can incinerate myself by ramming into one of the fiery walls. Unh! I feel no burns from it, only a cushion pushing me back into the middle of the area. Mama won’t let me kill myself! She wants to torture me by forcing me to face this man!

He’s standing in front of me, looking at me with a fake look of concern for me. That shrink says he resembles me…wait! His face is being reshaped…to look exactly like mine! This is another of Mama’s tricks, for sure!

“Roger, please accept that I’m your father,” the impostor says. “Here’s a photo of your mom and me when we were dating. I had all my hair back then, but you should be able to see that it’s my face. Look!”

I’m looking at it, then looking back at him. His face is changing again: I’m seeing five eyes on it, three noses, and two mouths. Definitely not the face in the photo. Granted, the monstrous face I see on him is not his real face–something Mama is making me see–but it doesn’t prove he’s the man who dated Mama and got her pregnant.

All I can do is laugh at him. “It’s not you, old man.”

“Yes, it is,” he insists. “Deny it all you want, I am your old man. I’ll prove it further.”

He’s fumbling in his pockets for something. I’m sighing in exasperation. “My father died years ago!

“No, he didn’t. He’s standing right here in front of you, Roger.” He takes out some paper and presents it to my reluctant eyes. “Here’s a document from a paternity test I did. Look at it! See my photo, and your name, and your mother’s name.” He’s pointing everything out for me.

“Forgeries!” I shout.

I get groans of frustration from him, my aunt, and the shrink.

“Roger, why is it so awful to you to believe that I’m your father?” that man asks. “Can’t you see how hurtful it is to me to be rejected by my own son? I know I left you before you were born, and I remained uninvolved in your life, and I’m sorry about that, truly sorry! But I want to make it up to you now. I wanna take care of you. I wanna help you get well. I can see now that the lack of a father in your life is, to a great extent at least, the cause of your sickness. I left your mother because I could see that there was something wrong with her, some kind of narcissism or psychopathy in her. It was a cowardly move on my part to have left you, and I’m sorry. Can’t your father get a second chance?”

“No,” I say with an icy look.

“Why not?” he screams.

“My father can’t get a second chance because my mother killed him. You’re right about her probably being narcissistic or psychopathic; but you left out one thing.”

“What’s that?” my aunt and the shrink ask together.

“My mother was a witch.”

More groans from all three of them. I’m unmoved.

“Look, Dr. Sweeney, could you at least remove the straitjacket?” the man asks. “Let’s give him some dignity. He isn’t normally violent. I’m sure we’ll be safe.”

With a sigh, the shrink says, “All right. I have orderlies just outside, who’ll come in at the drop of a hat the very second he begins acting up.”

“I’m sure he’ll be OK,” my aunt says. “He only got combative when we took those two silly things off of him, that necklace and sachet.”

“My only means of protection from Mama’s magic,” I growl as the shrink is taking off the straitjacket.

“Ridiculous,” my aunt says.

My arms are free at last. I’m still calm.

“See?” I tell the shrink. “I’m in control.”

“Please, Roger,” the man says with teary eyes. “Stop pushing me away. Let me be your father.”

“His ‘proof’ is faked,” I grunt through clenched teeth.

“Oh, you’re a fine one to judge the falsity of anything,” she says. “Will you ever acknowledge the falsity of your own delusions and hallucinations? You can’t see what’s wrong with what your eyes see and your ears hear, yet you’re so sure his photos and documentation are faked? He’s a nice man. OK, he left you and your mom, but he wants to make amends. Why can’t you just forgive him?”

My head is bent down, looking at my shoes again. I’m fighting back sobs. Tears are forming in my eyes.

“Your own mother told you he left you and her,” my aunt says. “Where’d you get this weird idea that she killed your father with witchcraft?”

“She lied to me,” I’m sobbing. “That witch was a liar!

“Your very thoughts are lying to you,” my aunt says. “As soon as you come to accept that, you’ll begin to heal.”

“I abandoned you, Roger,” that man says. “I left you with a sick, disordered woman. I should never have done that. I was weak, irresponsible, and cowardly for doing that to you, and for that I am deeply sorry. I hope you’ll let me make it up to you.”

Now, I am bawling like a baby.

“Roger,…” he begins to say.

“No,” my aunt says, taking his arm. “Let’s leave him. Let him explore his thoughts a while, search his feelings. Maybe he’ll come to his senses.”

The two of them leave the room with the doctor. I’m no longer seeing white flames surrounding me. I really do see a padded cell, all white cushions for walls and the floor.

I’m still bawling my eyes out. Could it be true? Could that man really be my father? Did he abandon me, and leave me to the mercy of that horrible woman? Could he, my father, have been so unloving, so selfish, and so cruel? Could my father really have been so weak, so cowardly, so irresponsible, so contemptible?

My face is drowning in tears. My sobbing must be audible all over this…mental hospital. How embarrassing.

The idea I’ve had in my mind, that my father was a great man, murdered by my treacherous mother…is it just me kidding myself? Am I really so worthless as to be the offspring of such a feckless coward and a scheming bitch? Oh, that’s even worse, much worse!

No! This whole thing is a lie! That man is not my father! Surely, I come from better stock than that! Mama’s ghost tried to trick me there, to provoke my tears, but that was just a temporary weakness in me! This was all part of her plan to deceive me further!

I see that the white flames have returned. Mama is using them to trick me into thinking I’m deceiving myself again.

Still, I’ll go along with her plan. I’ll pretend I’ve accepted that man, even in my private thoughts. Then my conspirators will relax their hold on me, and I can figure out a way to escape this fiery prison.

And then, maybe, I’ll learn some more magic to stop Mama, and to save the world from the fiery hell of war she wants to impose on it.