So, because I am a huge weirdo sometimes I really like listening to jazz singer Blossom Dearie, who is wonderful. However, I wondered why her song “Rhode Island Is Famous for You” never got a Lovecraft tribute, and for my birthday, a friend of mine decided to make my idle fancies a reality.
So: I am 23 now. Yesterday was my birthday. I bought some spark plugs for my car!
I am going downstate for the weekend with a twofold purpose: to attend a wedding of some college friends and to look at apartments for grad school.
The takeaway here is that I am busy, and I have little to blog about at the moment, or at least the right mindset for it. So nothing particularly clever or entertaining today, I am afraid! But speaking of afraid, how about some ghost stories?
If you’re a regular reader you know my affinity for ghost stories, and you may also know I read The Awl, also known as “The New Yorker for Millennials” (note: I don’t think anyone has ever actually said that?). Why don’t you mosey on over there and read some True Life ghost stories they posted yesterday. There are some good ones!
- On the day my brother and I were to meet our wives I found the aluminum crutches in the attic over the library, and thus was cast backward into memories of our childhood.
- “Ouch!” cried the man in front of the firing squad. “Ouch, ouch, ouch!” Then he fell to the ground, dead.
- “Is this your first time in the UK?” asked the magician, which was always the question people here asked Sharpe after they’d talked to him long enough to pick up on his accent.
- Ginger Sparkleshine’s eye is three hundred feet wide.
- “Gentlemen,” said the scientist, “we have a situation: Google is haunted.”
- Time is a strange thing — it makes all the difference between a mass murderer and a serial killer.
- Sarah was on her way home from the library when she first realized there was a clown following her.
- Ralph Dutch was born on a sunny summer’s day at the age of eight. The affair was a mess for all involved, particularly Mrs. Dutch, who refused to have children again.
- We were just across the Vermont-Massachusetts border when my sanity began to crumble and these huge lobster-bugs came swooping out of the hills and flying around the car. “Holy hell!” I shouted. “What the fuck are these goddamn things?”
- Rosemarie Ashfield lay in her bed and watched the dust motes back-flip in the blades of light that filtered through the lace curtains. She was not entirely sure what year it was, but she knew that outside on the lawn it had to be 1948.
- Hello my Friend I am writing you about your account in the Auxiliary Christian Bank of Nigeria.
- One morning Martin woke to discover that, much to his dismay, the entirety of his iTunes library had been converted to black metal.
- Elizabeth’s first instinct, when she realized her family’s new apartment was alive, was to let her parents discover and deal with the fact on their own time. But then it ate their cocker spaniel.
- My wife emitted a high, thin whistle much like a tea kettle, and also like a tea kettle, continued to do so until I took her off the stove.
The Tragedy of Arthur is a book by Arthur Phillips.
Arthur Phillips, incidentally, is a writer who has hovered at the periphery of my awareness for a while, mostly for his novel Angelica (which I have yet to read but now certainly plan to), and here he demonstrates a level of playfulness, imagination, and earnest workmanship that is pretty refreshing, and redeems what could have easily been a heartless postmodern endeavor.
The plot of the novel is something like this: Arthur Phillips (the writer/narrator) is the son of Arthur Phillips (a many-times convicted forger), who upon his death bequeaths Arthur the younger a lost Shakespeare quarto, The Tragedy of Arthur — this third Arthur being the king. Arthur the writer/narrator believes the quarto to be fake (eventually) but due to a legal fuckarow is contractually obligated to write the introduction to the play (which everyone else thinks is real) when it is published by Random House. The first two-thirds of the novel are this introduction, in which Phillips delves into semifantastical memoir describing his childhood, his relationship with his twin sister Dana, his con man father, and the whole family’s complicated relationship to Shakespeare. The last third of the novel is the play itself.
(Now, despite Angelica — a ghost story — being what brought AP to my attention, you may see why I went for Tragedy as soon as it hit shelves, right?)
This novel’s been well reviewed, to understate it a little. I mean, this isn’t early Jonathan Safran Foer effusive praise, of course, but everyone is pretty set on this being a good novel, especially people who “count” like Michiko Kakutani and Shakespeareans Greenblatt and Shapiro. And they are right, it is a good novel! So if you need to hear it from someone more than “a dude on the internet” then there you go. Now, we can delve into the gritty of what I think about this thing.
I’ll be up front about my big gripe here, which is that the actual play The Tragedy of Arthur is kind of a slog. My precise feelings about this are complicated, for reasons I’ll get to in a second, but I’ll stage it first in terms of technicality. You have a 360 page book, the last 100 pages of which are a (fake[?]) Shakespeare play written as such, while the preceding bulk of the tome was a flighty author enormously screwing up his life. It should not take a rocket scientist to see why an abrupt transition in styles, tone, and language can potentially shut down a reader, or throw off the groove, or whatever. My point is that it’s difficult to make the transition from one part of the narrative to the next.
This makes me wonder what it would be like if the book were just the introduction. That would be too much of a tease, wouldn’t it? To go on and on about this play, and then not print it? It occurred to me at one point that the traditional (really?) postmodern thing to do in this regard would be to have the manuscript of the play be destroyed, thus making the introduction the only thing left to print, and the name of the rose is all that remains and so on. A plot point of the introduction would be Phillips, say, destroying the quarto or allowing it to be destroyed, which makes life seem nice and inoffensive and hollow and saves him the trouble of actually faking some Shakespeare. So in one way the warmth of the novel is attributable to the fact that, despite all his games, Arthur Phillips sat the fuck down and wrote a play in blank verse, complete with act and scene breaks, vocabulary glosses, and contextual notes.
Except it’s kind of intentionally a bad play. Kakuktani’s remarks regarding it (“lumpy”) and Greenblatt’s thought that it is a gifted imitator lacking the genius pretty much hit the mark. This makes me wonder.
Is the effort enough? That Phillips actually sat down and wrote this damn thing, and there’s some value in that? Hell, if I’m completely honest it even has a few good bits of dialogue I wish Shakespeare had written.
The best parts of the play itself by far are the Nabokovian footnotes, where Arthur Phillips argues with Random House’s hired Bardolator over the play’s authenticity, but after the genuinely intriguing and moving introduction it all seems a little rushed, truncated, tacked on. Suffice it to say I’m intensely ambivalent about that, then, but the novel is still definitely worth a read. Shapiro, I think, says it best when he calls this a work of literary criticism disguised as fiction: it does this neat thing where all of the themes of seeming, of authenticity and art and the stage and life, in Shakespeare’s plays get flipped around and turned on the man himself (if he ever existed).
The novel raises the possibility — one I’m partial to — that our idea of Shakespeare is more important than the mundane reality of him, and I don’t mean that in an exactly rapturous Bloomian sense. It recalls the authorship debate, and at least some parts of Phillips’s novel suggest that it’s unimportant whether a man from Stratford wrote these plays, or if Bacon or Oxford or Arthur Phillips or his dad did, because if there is some nebulous, numinous cloud that envelops all these people which we in aggregate recognize as Shakespeare, then that might be all that matters.
Here is a bonus review of DFW’s The Pale King, which I read just before I read Tragedy:
The Pale King is unfinished. This does not stop it from being better than Infinite Jest. I will not be one of those reviews who says “Maybe it was intentionally unfinished, huh” because though I am something of a formalist I am not that committed to deifying DFW. What we have is observably unfinished, assembled by an editor, and we have notes to hint at what might have been more. Still, in its broken state, The Pale King is better than IJ. IJ had me and lost me several times, but TPK kept me for the whole way through, could have kept me for more, had there been more. It is a number of adjectives. It is beautiful, it is funny, it is sad, it is infuriating, it is perhaps the most terrifying (literally frightening, scary) thing I have read in the past five years. I do not know if something can be so unfinished and still count as a masterpiece but in my head it most definitely can.
Howdy friends and neighbors! I’ve spent the last week in Seattle, with today being when I am in transit home. I missed last week, I know, but to make up for it try this on for size: a review of a nine-year-old made-for-cable movie! It’s King of Texas, starring the one and only Patrick Stewart. The review itself is not entirely concerned with how good or bad the film is (it’s not very good) but investigating a strange intersection of Shakespeare, the genre history of the Western, and critiques of American expansion. Hooray!
The opening shots of the 2002 made-for-TV film King of Texas are in a sense misleading. A wide (as wide as you can get with full frame, anyway) view of the arid desert; a focus on the harsh, almost phantasmagoric inhospitality of the landscape, complete with corpses hanging from a gothic skeleton tree; suddenly, there emerges an actual human being — a close-up on the sweating, scowling face of a nameless man. You might think you’re watching a film in the style of Sergio Leone, who made shots like this his trademark, or you may at least think Texas is going to be simply a Leone imitation: a faux-Spaghetti Western, a tale set in a strange world where the American frontier is recast as an amoral comic book, with larger-than-life characters doing larger-than-life deeds.
But as I have said, these opening shots are misleading. King of Texas is not a Spaghetti Western, imitation or otherwise, but in fact falls in line with the Spaghetti Western’s antecedent, the Revisionist Western. Added to this is the fact that Texas is not just some made-for-TV Western conforming to a particular subgenre; it’s all of that and it’s a reimagining of Shakespeare’s King Lear. Keeping these things in mind can unlock a lot of the film’s more interesting aspects.
In a wholly personal judgment, I think Lear as Shakespeare wrote it is more suited (if anything) to a Spaghetti Western; it’s really a jumbled kaleidoscope of increasingly fractured and bizarre occurrences. There’s a staggering amount of major and minor characters, a winding and at times surprising plot, a quasi-supernatural storm, faked (and real) madness, the recitation of the names of a few dozen demons, a set of villains who, in the Spaghetti Western tradition, are wholly evil bastards seemingly just because they can be, and they are opposed by a group of good (really, less morally bankrupt but still highly flawed) people, all inhabiting a world that seems to have no particular moral plan or order. Lear could be adapted rather faithfully into this context.
The fact that King of Texas is not a Spaghetti Western, then, means that some work on the part of the writers and director has gone toward tailoring the original play until it fits rather snugly into the Revisionist Western mold. This, I think, is the cleverest aspect of the film’s production: it takes a story that can be (and often is) interpreted as amoral or nihilistic and, with what seems to be a minimum of jiggering given the re-setting, fashions from it a social and political point. Not that Revisionist Westerns are all about social activism, but they’re more closely attuned to what we think of as social activism. In the original Western, bad guys wear black hats and good guys wear white hats; Native Americans are savages and Mexicans are crooks; good always triumphs over evil; the sheriff marries the schoolteacher and they ride off together into the sunset as the United States of America brings order and civilization to lawless wilderness.
The Revisionist Western, as the name implies, casts a more critical eye toward the starkly black-and-white issues presented by its predecessor: ‘good guy’ and ‘bad guy’ aren’t really helpful terms, but ‘antihero’ is; sex, if present, is blunt and unromantic, swapping out the schoolteacher for the prostitute; the Indian and Mexican are victims of systematic oppression, theft, and violence; good and evil don’t really seem to exist, much less have an opportunity to go head-to-head, and if the protagonist (usually an outlaw of some stripe) doesn’t die at the end, then he probably only survives to see the end credits by selling someone else out.
King of Texas falls into the realm of the Revisionist Western, then, for multiple reasons, one of them being its decisions in regard to the actual Lear character. There are, broadly speaking, two ways to read Lear: a comically capricious blowhard, a mad king who spends a significant amount of the play naked, or a once-great man who is losing his dignity and sanity as he ages. In the former reading Lear is merely an object of spectacle; in the latter his actions and selfish desires provoke dislike, but his situation inspires sympathy — he is an antihero. Texas chooses this latter route, and Patrick Stewart plays the analogue John Lear with stuffy dignity and moments of grandfatherly warmth in between bouts of childish, impetuous shouting.
But impetuousness is not, in fact, John Lear’s greatest failing, and though it is an important character flaw, it is not the one the film brings to our immediate attention. I’ve already described the opening scenes and its corpses hanging from trees; this is our introduction into the film’s world, but Lear is nowhere to be seen. Instead we meet a silent but obviously angry man who shows up a few scenes later at a party Lear is throwing — the man, it turns out, is a Mexican landowner named Menchaca and the hanged men from earlier are in fact his men. He berates Lear for having them killed, but Lear insists the men were trespassing on his land and he had the right, a claim with which Menchaca takes issue. It’s made abundantly clear that the majority of Lear’s land was seized from Menchaca’s father and other members of the Mexican gentry prior to the Alamo, and though Menchaca still owns a hacienda to the south of Lear’s ranch the property lines are more than a bit muddy. The only thing keeping true conflict at bay is a treaty Lear and Menchaca’s father agreed to following their altercations, and the fragility of the bond demonstrated here does not bode well for Lear’s choice to cede responsibility of his holdings to his daughters.
But he does, and in predictable King Lear fashion things spin out of control pretty quickly. His oldest daughter Susannah and her brother-in-law Highsmith (the ciphers for Goneril and Cornwall) make it known early on that they desire more than the land Lear has bequeathed them — Menchaca’s remaining property is sitting idle to the south, ripe for the taking. This is where Texas most clearly diverges from the Lear formula (other than, of course, being set in post-Alamo Texas) and, I think, where as an adaptation or re-staging it is at its most intriguing. In Shakespeare’s play, after Lear divides the throne between Regan and Goneril, the strife is mostly isolated — Britain bears the brunt of the old king’s mistake as the new rulers squabble and vie for power. To set things right, help must come from outside: the exiled daughter Cordelia and her husband the King of France must invade.
In King of Texas, this is situation reversed: Lear’s successors are still squabbling and scheming, but they are the ones who stage an invasion, in this case of the land owned by Menchaca, the France analogue. In other words, military action is not a solution to the chaos but rather an effect of it — a very powerful shift, because John Lear has made himself an important figure through wars with Mexican landowners and finally, as the movie hints, during a harrowing but victorious stand at the Alamo. Violence — specifically warfare and violence for personal gain — is John Lear’s great sin.
Comparatively, Shakespeare gives his own Lear little to work with. He is certainly not opposed to violence — he kills Cordelia’s executioners before his own death and rather offhandedly claims, “I have seen the day, with my good biting falchion, / I would have made them skip” (V.iii.333-334). The point here isn’t that violence is bad, but rather that Lear used to be badass. The discovery of Poor Tom in the storm does more to underline how he has failed morally: “I have ta’en / Too little care of this. Take physic, pomp. / Expose thyself to feel what wretched feel, / That thou may shake the superflux to them / And show the heavens more just” (III.v.37-41).
So Lear realizes that while he’s been living the good life as a king, he’s let a lot of people go on suffering. That’s interesting, but it’s not the overarching interest of the play; what we get from this exchange is not “Lear should have taken care of the poor” but “Lear has realized that without his status he isn’t much different than a beggar.” There may be another past mistake — Goneril and Regan hate Lear, and maybe they have a reason, but given their personalities and actions it doesn’t seem likely they resent him for not combating poverty. Nevertheless, other than pride, being an uncaring ruler is the only concrete fault attributed to Lear in the text.
In King of Texas, Susannah’s land-grab acts as a parallel for John Lear’s own faults — he’s reared a child who is willing to treat others (including Lear himself) as ruthlessly as he has. Likewise, Lear’s epiphany comes not during the storm — he spends most of that time simply being crazy — but during the actual siege of Mechaca’s hacienda, when Claudia/Cordelia is killed by a stray bullet. He finally sees warfare — the thing that has made him great — as something horrible and pointless; the grotesquerie of fighting over land hits home. This is why King of Texas is a Revisionist Western: it exposes the traditional ideas of the Old West and early Western films, revealing that expansion and Manifest Destiny are ultimately a brutal, immoral, and absurd business.
as if it had never been.
I graduated from college last Saturday. I’m the first person in my family to do so — the first person to get a bachelor’s degree, the first person to go on to graduate school.
I’m still reeling from it, to be honest. I met a lot of people in those four years that I consider my friends, and the fact of the matter is that I’m probably not going to see them much anymore. We’ll meet up, yes, but those friendships cannot persist in the patterns they’ve held. That time is over.
There are a few things I have to do now. I have to get a new car, one that will last me a while and get me across the state for graduate school, and I have to locate a house or an apartment that will allow me to live within the means provided by my fellowship. I’ve spent the majority of today running between car dealers and banks trying to work out specifics on a loan, which is something a generous financial aid package in undergrad never prepared me for. It is all quite harrowing, but added to that I’m going to a research conference in Seattle next week, and that will eat some of my time.
What I am saying is that I’ve become a rather terrible blogger, who very rarely posts anymore and when he does post things are all sorts of uninteresting. This is partly because I tend to have to react to something to actually write a post — I mean, there has to be some article or video for me to respond to. This hasn’t been happening lately, and my fallback in those cases in essays, but then I haven’t had much time to write silly extra essays for this blog, and I haven’t had an opportunity to clean up some older undergrad essays for observance.
I hope to remedy this soon.
In the meantime, let’s talk about what we always talk about, Macbeth. I finally got around to watching the Great Performances Patrick Stewart thing that aired last fall, and you can watch it here! And I gotta tell you, this is actually really excellent.
Let’s keep this brief, starting with the good things. First of all, Stewart rocks the shit out of this role. He plays Macbeth with the sort of terrifying insecurity that I find most interesting in the character, and his take on Lady Macbeth’s death was unlike any way I’d seen it played. Rather than making Macbeth an inhuman monster (the old school take) or making him a sad crazy human dude (the more contemporary take) this production manages to mix both approaches, creating a Macbeth who is a monster because he is human. Lady Macbeth is suitably terrifying, as well, and though I don’t quite like the “crazy bitch” line of thought on her, it works here reasonably well. The generational difference between the Macbeths, furthermore, underscores the play’s issues of childrearing and legacy, again, in a way I’ve never seen before.
The presentation of the witches was mostly cool. There’s also a contemporary tendency to make the witch scenes rather metaphysical and subdued, which I think is a shame because this is theater and we want to see blood splattering and Black Masses and so on. My only issues with the witches here, really, are how they are apparently also ghosts (?) and the fact that they rap. Yes, they rap the “Double Double” scenes, because the they are witches who look like war nurses in what appears to be Stalinist Russia and that totally makes sense. (It doesn’t.) Other than the rapping, though, I thought that scene was actually really well done. This production also had the least teeth-grindy rendition of Lady Macduff’s scenes, and it was pretty damn effective. Actually the whole thing, I think, did a pretty good job with the “world has gone to hell” thing that shows up in the misrule tragedies.
That said, here are some things (aside from rapping) that weren’t so great: the scene where Macduff confronts Malcolm in England was a drag, as so often is, and the Stalinist Russia setting, while cool, never coalesces into anything meaningful. The porter was played as creepy, which is sort of good I guess, except I prefer a seriocomic portrayal and they tried to make this dude actually scary? And by scary I mean just sort of over-the-top and grating. Also, he was the character of Seyton, which is a neat double I guess but I didn’t like how they were playing him anyway so it was just more grating.
All in all I think this is a really good Macbeth and one worth seeing, though it might not overturn your conceptions about the play. It’s based on a production from a few years ago that was runaway successful, and I know at least three people who saw it at the time. One was the father of a friend, a cross-cultural psychologist who specializes in US-Russia exchange, and from what I can tell he loved it to bits. The other two people were Shakespeare professors — one being my longstanding pal and former instructor Brainworm, who was basically incredulous w/r/t rapping witches, while according to Brian, my Shakespeare professor when I was in London, the staging was an absolute mess, Stewart kept forgetting his lines (???), and Lady Macbeth was wandering around with a babydoll strapped to her or something.
So, going in knowing it was a version of that staging definitely led to a few surprises in that it was actually a pretty solid thing, with the rapping being the only standout moment of “what are they thinking, what is happening.” If you’ve got three hours to spend, there are far worse ways to spend them — it’s a competent production, and by far the good choices made during its shooting outweigh the bad ones.
I’m still not sure what will be in this space next week. As I said, I’ll be in Seattle at a conference and probably won’t have time to write something original, so I’ll comb through my essay backlog and see what shakes loose.
I graduate in two weeks.
REMINDER: you can buy Arcane #1 in print or for your ereader of choice right now, and it has a story by me!
But today I’ve gone through my archives and found this essay on Shakespeare, Stephen King, and Bret Easton Ellis, because certainly those things all belong in an essay together! Anyway, if you’ve ever wondered how I can reconcile my love of Shakespeare with being a huge horror geek and pop culture nerd, this is probably the best example. Please note that this essay will discuss the plots of all three texts in depth, so if for some reason you are wary of “spoilers” for old books, beware!
Read, enjoy, comment if you like, and so on.
Tables of Memory:
Fathers, Sons, and Ghosts in Ellis, King, and Shakespeare
–What is a ghost? Stephen said with tingling energy. One who has faded into impalpability through death, through absence, through change of manners. … Who is the ghost from limbo patrum, returning to the world that has forgotten him? Who is King Hamlet?
- Joyce, Ulysses
Bret Easton Ellis’s Lunar Park is unquestionably connected to Hamlet — one of the novel’s epigraphs is Hamlet’s vow after the ghost of his father tells him to seek revenge in I.v: “From the table of my memory / I’ll wipe away all trivial fond records, / All saws of books, all forms, all pressures past / That youth and observation copied there.” The bulk of its action also takes place on Elsinore Lane, near Ophelia Boulevard and within spitting distance of Fortinbras Mall and Horatio Park. Thematically, Ellis seems to concern himself with the relationships between fathers and sons — and how the son remembers the father who has passed on, as with Hamlet’s vow after meeting with Old Hamlet’s ghost. And yet in addition to Shakespeare, another writer looms large over Ellis’s novel. Following an incident where Bret-the-Narrator storms into his family’s house, drunk and high, wielding a handgun in order to fend off the serial killer he thinks is hiding out on the second floor, his wife Jayne refuses to let him sleep in her bed. Bret brings up an earlier conversation they had about starting over, about “new beginnings,” to which Jayne replies, “You screwed that up sometime last night …. You screwed that up with your big Jack Torrance routine” (219).
Jack Torrance is the protagonist of The Shining, a 1977 horror novel by Stephen King, dealing with substance abuse, familial disintegration, and — a concern it shares with Hamlet and by extension Lunar Park – the relationships between fathers and sons. I suggest, however, that Jayne’s seemingly offhand comment is a single explicit reference to the text from which Ellis draws most of King’s themes, giving them center-stage in a book that simultaneously rewrites Hamlet and The Shining, bringing to light elements of the former that are more obscure in the latter and raising the possibility that The Shining is itself another rewriting of Hamlet. What this means is that Ellis’s novel, being the most recent text, does not simply include conscious references to Shakespeare and King, but embarks on what might be termed a renovation of both works, a very direct campaign to dismantle, remodel, and improve Shakespeare’s play and King’s novel so that the end result (to carry the house metaphor) has different molding, flashier wallpaper, new windows, more rooms, but still rests on what is essentially the same foundation.
This foundation, the key element that unites all three of these texts, is the way they dramatize the relationships between fathers and sons, and the mechanism of this dramatization is the supernatural — specifically the concepts of haunting and ghosts. A ghost in fiction, speaking in very broad terms, is simply an indicator of trauma, of the past exerting some sort of malign or at least upsetting influence on the present. In other words, the ghost in fiction can be a very powerful tool for presenting the way in which a character’s memory influences his actions — the past has an effect on the present because the living are constantly beset by their memories of the dead. This is most concisely encapsulated in Hamlet’s meeting with Old Hamlet’s ghost: Hamlet’s dead father, or some demon taking that form, is speaking to him, calling him to action.
But Hamlet, no matter what he vows, is placed in a situation where he is uncertain of his father figures; Old Hamlet, a headstrong and commanding warrior, has been replaced on the throne by the physically weak but wordy and cunning Claudius, and while Hamlet admires his namesake more he wonders why his mother should marry his “father’s brother, but no more like my father / Than I to Hercules” (I.ii.157-158). Hamlet’s concern here is primarily why his mother should have remarried so quickly – “within a month.” Yet as Hamlet contemplates the situation, he remarks: “O, most wicked speed, to post / With such dexterity to incestuous sheets! / It is not, nor it cannot come to good. / But break, my heart, for I must hold my tongue” (161-164).
To hold one’s tongue means to stop speaking, which of course makes sense as other characters have just entered the room, but it also suggest Hamlet must not say something in particular. What could he possible feel so strongly about? Voicing his dismay the marriage? Everyone seems to know he’s upset. Rather, I believe has made a realization, and the reason for his mother’s quick marriage has become very clear: if Gertrude did not in fact love Old Hamlet as she seemed, she may have been having an affair with Claudius for years, thus explaining the speedy marriage; and if this is the case, then there is a strong chance that Claudius is Hamlet’s biological father. After all, Old Hamlet was a fearsome warrior, like Hercules, and Claudius is a talky intellectual; Hamlet knows he is nothing like Hercules, but in this scene he suddenly understands that he is a young man who likes to read books and hear himself speak — he’s more like Claudius than the man he’s believed to be his father.
Hamlet, perhaps unaware of what he is doing, even acts like Claudius for most of the play: we know that when Old Hamlet wanted something done (eg annexing part of Norway) he simply challenged the rival king to single combat; when Claudius wants something done (eg, the king dead and the throne and queen all to himself) he sets up an elaborate plot involving ear poison and a lie about a serpent in an orchard. Hamlet seems to take after Claudius, in that when he wants to exact his revenge on his uncle he must first feign madness and put on a play in order to determine Claudius’s guilt. If Hamlet is Claudius’s son, the implication might be that he naturally acts as his father does.
Yet Hamlet also has a moment of self-realization: while being escorted to England, he is struck by the similarity between Fortinbras’s self-motivation and Old Hamlet’s escapades, and wonders: “Why yet I live to say ‘This thing’s to do,’ / Sith I have cause, and strength, and means, and will / To do ’t” (IV.iv.47-49). Hamlet’s epiphany here is that — regardless of who his biological father is — he still has the power to act and to choose how he acts; if Fortinbras can be so forceful despite his own father falling to Old Hamlet, then so can young Hamlet, even if he might be Claudius’s son. And from this point on in the play Hamlet does away with scheming, boldly doing battle with pirates, escaping back to Denmark, and calmly and confidently accepting the invitation to duel to Laertes.
Old Hamlet is distanced from his son by death; Claudius (if the usurper is indeed his father) has been absent for most of Hamlet’s life, and is furthermore estranged from Hamlet by his crime. One possible point of Hamlet is that the young prince must make the choice of whether to heed the call of not one father, but two possible fathers; to choose not only to heed the call but to also choose which call to heed: will Hamlet do as the ghost of the old king or the nature of the new king bids him? To choose one father over the other means to choose one way of acting over another; for Hamlet, for the son, it means choosing what sort of life he wants to live. This is not only the crux of Shakespeare’s play, but the crux of the two rewritings of it I will discuss, and while Hamlet contains only one ghost in a minor role, the supernatural is unleashed with a vengeance in the other texts.
Of the three texts, King’s The Shining comes the closest to embodying the typical modern conception of a ghost or haunted house tale. It is the story of the Torrance family (Jack, Wendy, and six-year-old son Danny) who are hired as the winter caretakers of the haunted Overlook Hotel, an establishment with a sordid history of illegal gambling, mob connections, suicide, and murder. When the snow piles high, trapping the family inside the hotel, the Overlook’s past begins to seep out of the woodwork; it becomes apparent that the hotel itself has been bestowed with some sort of sentience by the aggregate emotional trauma experienced within it, and it desires to add Danny, who is a powerful psychic and telepath, to its menagerie of specters. This is all suitably pulpy, the kind of supernatural melodrama that King is most well known for, and if the hotel simply used its collection of ghostly mobsters and turn-of-the-century business moguls to accomplish its goals the novel wouldn’t be much more than that. However, it takes on a deceptive complexity in the way the Overlook chooses to attack the Torrance family: from the inside out, using Jack as its agent in the attempted murder of Danny.
The Overlook’s ghosts are unconnected to the Torrances, but when the hotel goes to work on Jack its methods become deeply personal. He is a recovering alcoholic when the story begins, a point made clear in the early chapters. As the novel develops, we learn two important details: first, that Jack has trouble controlling his temper (he broke Danny’s arm a few years before and was recently fired from his teaching job for assaulting a student) and Jack’s father was similarly violent and alcoholic, implying that his present behavior is tied to his father’s abuse. During one of Jack’s more lengthy flashback sequences, we learn that he idolized his father, completely innocent as to the nature of his dad’s alcoholism. However,“[l]ove began to curdle at nine, when his father put his mother into the hospital with his cane” during an irrational, drunken dispute at the dinner table:
[Jack’s father was] up out of his chair and around to where she lay dazed on the carpet, … [his] jowls quivering as he spoke to her just as he had always spoken to his children during such outbursts. “Now. Now by Christ. I guess you’ll take your medicine now. Goddam puppy. Whelp. Come and take your medicine.” The cane had gone up and down on her seven more times before [Jack’s brothers] got hold of him, dragged him away, wrestled the cane out of his hand. Jack … knew exactly how many blows it had been because each soft whump against his mother’s body had been engraved on his memory like the irrational swipe of a chisel on stone. (224-225)
The hotel, which appears to be psychic in its own right, uses Jack’s memories of his father to manipulate him; it conjures alcohol for him to drink, it speaks in his father’s voice through the Overlook’s emergency radio; his father’s bludgeoning of his mother is reminiscent of Jack’s eventual assault on his wife and son with a roque mallet, and the hotel (speaking to Jack through the person of Delbert Grady, the last caretaker to murder his family in the Overlook) casts the necessity of murder in terms of patriarchal punishment and discipline: “[Your son] needs to be corrected, if you don’t mind me saying so. He needs a good talking-to, and perhaps a bit more” (352).
Jack has a choice to do as the spirit(s) of the Overlook command him or to protect his family; his wife Wendy understanding the crossroads her husband stands at, and casts it in very telling terms: “[Jack] looked to her like an absurd twentieth-century Hamlet, an indecisive figure so mesmerized by onrushing tragedy that he was helpless to divert its course or alter it in any way” (297). The hotel, like the demon Hamlet initially supposes the apparition of the old king to be, is a monster in the form of Jack’s father, calling him to terrible action, and Jack, unfortunately, answers. This culminates in him echoing his dad’s drunken cries while he stalks Wendy and Danny through the hotel corridors: “You’ll take your goddam medicine for this, I promise you!” (383). In a way, by making this decision, by siding with the Overlook, Jack becomes his father.
This raises an interesting problem for King: if the nature of trauma is somehow recursive, if the sort of abusive father-son relationships The Shining explores are actually a self-replicating phenomenon, then what does the future hold for Danny? This is remedied by Danny’s own unique nature; the manifestation of his psychic abilities is a ghostly young man he calls Tony, a figure the adults around him believe to be some sort of imaginary friend. But Tony shows Danny the future, gives him hints as to what will come, and before Danny’s final confrontation with Jack at the end of the novel he sees Tony more closely than ever before:
And now Tony stood directly in front of him, and looking at Tony was like looking into a magic mirror and seeing himself in ten years …. The hair was light blond like his mother’s, and yet the stamp on his features was that of his father, as if Tony — as if the Daniel Anthony Torrance that would someday be — was a halfling caught between father and son, a ghost of both, a fusion. (420-421)
Danny is saved by this vision, by the implicit realization that while he may resemble his father he is not and does not have to be a copy of him; Danny cannot fully shed Jack’s influence and legacy of abuse, perhaps, but he still is (and will be) his own person, and is not doomed to imitate his father’s (or his father’s father’s) mistakes. This sort of generational tension, the eventual self-realization of the son, and the personal nature of haunting are all Hamlet-esque elements of The Shining that Bret Ellis draws to the fore of Lunar Park, which he admitted in a Today Show interview to be his “homage to Stephen King.”
In the first chapter of Lunar Park Bret-the-Narrator gives an extensive overview of his early home life and his rise to fame as a young novelist in the 80s, with special attention paid to his troubled relationship with his father: “[M]y father had always been a problem — careless, abusive, alcoholic, vain, angry, paranoid — and even after my parents divorced … his power and control continued to loom over my family” (6). He repeatedly mentions that leaving California for college in New England was a type of “escape,” and his unexpected success as a writer granted him a financial independence from his father that allowed the man to be cut from his life almost entirely. When Bret’s father died, Bret explains, he stored the ashes in a California bank vault rather than scatter them in the ocean, and he let himself forget about them.
Yet despite his attempts to distance himself from his father, Bret falls into many of his dad’s bad habits; though he’s not physically abusive, he’s careless, alcoholic, and vain: “And soon I became very adept at giving the impression I was listening to you when in fact I was dreaming about myself: my career, all the money I had made, the way my life had blossomed and definde me, how recklessly the world allowed me to behave” (12). The real meat of the novel lies outside the first chapter; Bret settles down with movie star Jayne Dennis and her two children: Sarah, from one of Jayne’s previous relationships, and most importantly Robby, who is actually Bret’s biological son, born after a tryst between Bret and Jayne a dozen years before their marriage (and, notably, conceived in the aftermath of Bret’s father’s death — Robby is named after the deceased). Bret is “thrust into the role of husband and father” (38) and takes up teaching at a New England college. However, the situation is fragile; Bret wants to continue the self-centered drug-abusing lifestyle he’s used to, while his new position as part of a family demands some measure of responsibility.
The tension between Bret’s old life and the requirements of his new one would make satisfactory fodder for a normal dramatic novel or perhaps a second-chance romantic comedy but, like The Shining, Lunar Park uses the supernatural as a vocabulary for (self)destructive behavior, the resulting disintegration of the family unit, and the ability of the past to encroach on the present. Bret-the-Narrator (who is to some degree based on Bret Ellis the writer) wrote a novel called American Psycho about the serial killer Patrick Bateman who was, he confesses, inspired by his father: a rich, successful, vain man with a propensity toward staggering and horrific violence. Bret is a little ashamed and afraid of the novel; he likens the experience of writing it to having been possessed. And when Patrick Bateman (who for all intents and purposes is the conglomeration of all of Bret’s negative feelings about his father) shows up at a Halloween party, driving the vintage car Bret’s father drove, he becomes understandably upset.
The idyllic existence Bret has managed to construct for himself becomes more and more uncanny: he receives apparently blank emails from the bank where his father’s ashes are, a series of murders mimicking those perpetrated by Bateman in American Psycho occur in the surrounding area, Sarah’s toy bird takes on a life of its own and begins eviscerating stray animals, and boys Robby’s age are disappearing all over the county. Throughout the ordeal Bret is the only character who suspects that something supernatural is at the root of what is happening — only he seems to see Bateman, or a college student named Clay who resembles both the narrator of Ellis’s first novel and Bret himself and perhaps even a younger version of his father. Bret grows intensely paranoid and afraid, confused about what is happening around him but unwilling to explain it to anyone. This stress only makes his drinking and drug use worse, and when he acts rashly (such as the episode recounted at the beginning of this essay, where Jayne compares him to Jack Torrance) the people around him assume drug use is finally taking its toll. Much as in The Shining then, the supernatural is a mechanism by which 1) substance abuse is worsened, and 2) the family is forced apart. Though Bret doesn’t attempt to murder anyone, the supernatural forces at work intensify the weaknesses already present in his relationships with his family, and they are particularly harsh for him because they are in some way related to his dad.
This is especially troubling for Bret because he finds that Robby treats him with much the same distaste that he treated his own father: after ignoring his son for twelve years Robby is a resentful stranger, and Bret’s inability to understand his son leads him to believe that the disappearing boys are actually running away from home, working together in some sort of conspiracy to escape their parents, and that Robby will soon join them. Bret’s distrust of his son is also one of the key facets of the way in which Ellis works with Hamlet, in this case actually restaging an aspect of Shakespeare’s play while maintaining the notion of recursive or generational trauma found in The Shining. Bret takes on the role of Claudius, the scheming usurper of the throne who is doing his best to guess the mind and motives of his petulant stepson, Hamlet/Robby. But Bret hasn’t always been Claudius — he was once, in his own way, Hamlet His father, he tells us, “had no faith in my talent as a writer … [and] demanded that I attend business school at USC,” and despite this, Bret chooses to go to college in New Hampshire: “My father, typically enraged, refused to pay tuition. However my grandfather — who at the time was being sued by his son over a money matter so circuitous and complicated that I’m still not sure how or why it began — footed the bill” (8).
The relationship between Brett and his father here mirrors — though not exactly — that between Hamlet and Claudius in I.ii, when Claudius orders his stepson not to leave Elsinore to return to school at Wittenberg. Ellis switches things up by doing the opposite of what would happen in a Hamlet adaptation with closer analogues: he lets Bret, the Hamlet character in this scenario, go off to college against the wishes of the father. However, Bret escapes to college only because of his grandfather, who in turn has a soured relationship with his own son. Bret’s grandfather sends Bret to school just to spite Bret’s father, who in the meanwhile is carrying out a bitter legal battle against him. This is an important move on Ellis’s part because it shows us that this Hamlet-like estrangement between fathers and sons is not some one-off event, but like King’s conception: a generational phenomenon, something that happens over and over again. There is not just one scheming Claudius and one avenging Hamlet, but an interlocking history of them, and they move in and out of their roles when appropriate, as they age and father their own children.
Ellis is notable in his handling of the self-realization or self-determination of the son, the attempt to break out of the shadow of the father — because unlike Shakespeare and King, he shows that it may go wrong. Bret ran away to college and essentially disowned his father, demonizing him in American Psycho, all in an attempt to free himself. However, as Bret admits early on: “As much as I wanted to escape his influence, I couldn’t. It had soaked into me, shaped me into the man I was becoming” (7). So the escape was not entirely successful; we know this because we’ve seen Bret become a sort of lo-fi version of his vain, alcoholic father, though it doesn’t become obvious to Bret himself until he sees that Patrick Bateman (along with all the other monsters he created out of fear of his father) has come back.
“…[S]pirits who show themselves between night and dawn want something,” a paranormal investigator explains to Bret, bringing to mind Old Hamlet’s ghost walking at night and returning to the fires of purgatory at dawn. He goes on: “It means they want to frighten you …. It means they want you to realize something” (340). Like the Overlook Hotel masquerading as Jack Torrance’s father, or Old Hamlet appearing before his son, the appearance of Patrick Bateman, the mysterious emails, and every other supernatural facet of the novel is also, in a way, Bret’s father calling him to action — in this case, though, not murder or revenge per se, but to right old wrongs.
What the wrong seems to be, in the end, is that fact that Bret did his best to wipe his father from his memory, to forget him entirely, to leave his ashes locked in a bank vault in California, and only call upon him should he need fodder for a despicable character in a novel. And Bret’s father probably was vindictive and abusive — though Bret is unreliable we have no real reason to doubt that, he probably doesn’t hate his father without reason. But it seems that at some point, without Bret realizing it, his father changed. When he finds an email video attachment showing his father’s death, Bret sees his father as he truly was at the end of his life: the product of a selfish, abusive existence, a weak old man who died alone and unloved and knew that was how he was dying. And because he has copied the worst traits of his father despite himself, Bret is in danger of meeting the same end, of losing his son and everyone close to him and dying alone, pathetic, and reviled.
At the end of the novel, we discover that Bret had one opportunity to change this course of events. The last time he met with his father in person was for dinner in LA; the older man was “fat and drunk” and Bret wonders to himself, “What if I had done something that day?” (394). He elaborates:
The decision was: should you disarm him? That was the word I remember: disarm. Should you tell him something that might not be the truth but would get the desired reaction? And what was I going to convince him of, even though it was a lie? Did it matter? Whatever it was, it would constitute a new beginning. The immediate line: You’re my father and I love you. I remember staring at the white tablecloth and contemplating this. Could I actually do it? I didn’t believe it, and it wasn’t true, but I wanted it to be. … I realized it could actually happen, and that by saying this I would save him. I suddenly saw a future with my father. But the check came … and I simply stood up and walked away …[,] thinking I could just let go of the damage that a father can do to a son. (394-395)
Bret’s attempts to escape, to determine his own life, result only in tragedy. His father is fractured, both in Bret’s memory and in his manifestations in the outside world: the human part of his father, the part that deserved pity and forgiveness, has been overtaken by Bret’s fear and hate for the man. Added to that, Bret becomes a copy of his father, a repetition, and when he confirms that Robby is indeed part of a conspiracy of sons attempting to escape their parents, he finds himself in a situation analogous to that of his dad years before, when a young Bret insisted on going to college in New England and, once he achieved independent success, attempted to sever all ties.
Also like his father, Bret is unsuccessful in maintaining a connection with his son; by the end of the novel Robby has left him, just as Bret left his father, heading off “to the land where every boy forced into bravery and quickness retreats: a new life” (397). Their final meeting in person, many years after the main events of the novel, mirrors that of Bret and his father: they have lunch together, and Bret is depressed and high on heroin. But Robby doesn’t sit passively by, waiting for the check; he speaks, he tells his father that everything is okay, that he is “not lost anymore,” and when Bret tells his son he is sorry, Robby says he understands (396). As Bret, after much denial and hardship, heeds the call of his father and forgives him for his wrongs, so does Robby forgive Bret, preemptively ending the father-son cycle of trauma and haunting – should we choose to believe Bret is writing the truth, and not a wish.
Hamlet puts forth that a son has a choice about which of his fathers (or father-figures) to listen to, whether they are estranged from the son by the son’s hate or by the father’s death. The Shining holds that a son must not be his father, must contain the part of him that resembles his forebear, for not doing so means repeating his father’s mistakes and destroying himself. Lunar Park also shows that a son must make a decision, must determine what sort of person he will be, and choose his own life; yet in fleeing his father’s influence, in containing that aspect of his being, he runs the risk of not actually escaping, but only continuing a cycle of resentment and fear with his own sons.
Every Hamlet, fearful and suspicious of his father, may grow up to be a Claudius, fearful and suspicious of his sons; every guilty Claudius may end up a wronged Old Hamlet, tortured in the fires of a purgatory real or imagined and begging to be set free. To really make peace with his father and the past, a son must be forgiving; he must recognize that his father probably faced many of the same decisions he faces (or will face) and perhaps did not choose wisely; every father was a son once. This is how the cycle is broken; this is how to make peace with the past and one’s memory of it. This, Ellis seems to say, this is how ghosts are finally laid to rest.
Ellis, Bret Easton. Lunar Park. 2005. New York: Vintage, 2006.
“Easton Ellis on Lunar Park book.” The Today Show. Prod. NBC Studios, 8/15/2005.
King, Stephen. “Before the Play.” Whispers Magazine, 1982.
King, Stephen. The Shining. New York: Doubleday, 1977.
Shakespeare, William and Barbara A. Mowat, Paul Werstine (eds). Folger Shakespeare Library: Hamlet. 1992. New York: Washington Square Press, 2002.
 This bit is hammered home quite soundly in an earlier draft of the manuscript, in a prologue King excised. Eventually released as a standalone story called “Before the Play” and now extremely difficult to find, the prologue gives a lengthy history of the Overlook and includes a short vignette from Jack’s childhood: “In that long hot summer of 1953, the summer Jacky Torrance turned six, his father came home drunk one night from the hospital and broke Jacky’s arm. He almost killed the boy. He was drunk.” Not only does this parallel Jack’s breaking of Danny’s arm, the vignette ends with young Jack passing out from the pain, thinking feverishly to himself, “What you see is what you’ll be.”
Hey dudes — do you like stories I write??? Do you like spooky Lovecraftian monsters? Do you like Southern Gothic? Then you will probably LOVE my short story “In the Place Where the Tree Falleth”, available in the first issue of Arcane magazine and on sale now!
For the low price of $3 you get an eBook featuring my story as well as several other entertaining weird tales of various tenors and tones, and $8 will net you a hard copy. This is around 40,000 words of material — that’s half a long novel! Or all of a short one! So please, head on over to Arcane and check it out.
Ah, spring! The temperatures are in the balmy mid-60s, we’re being sprinkled with warm thunderstorms every few days, the cuckoo is singing loudly, the ewe bleats after the lamb,and there’s a new Roland Emmerich movie on the horizon.
A new Roland Emmerich movie about Shakespeare.
Yes, so the director of Independence Day is making a movie about Shakespeare, and I can die happy.
But wait, you may ask, what the holy hell is this movie actually about? Other than, I guess, Shakespeare wasn’t Shakespeare and also late 1500s London looks a lot like Middle Earth when it is an aerial CG shot?
Wikipedia tells me it is about the Oxfordian theory of Shakespearean authorship, but not just the boring old “A noble decided to write some plays under a pseudonym which was actually the name of another, real dude and for some reason everyone just went along with it” theory! That is not exciting enough for cinema, not exciting enough for Roland Emmerich, and not exciting enough for you or me — so instead we get the Prince Tudor theory, aka the unorthodox Oxfordian theory. Why is it called unorthodox version when it is in fact a heterodoxy of a heterodoxy? BECAUSE OF ALL THE SEXINGS, MAN.
Specifically the movie is paying attention to the version of the theory where the Earl of Oxford was 1) the illegitimate son of Elizabeth, and 2) the lover of Elizabeth, resulting in 3) their incest-baby, Henry Wriothesley, Earl of Southampton, and supposed Fair Youth of the Shakespearean sonnet cycle. As a friend of mine remarked, this sounds like the setup for an awesome Greek tragedy.
Wait: why in the holy hell is Roland Emmerich making this movie? Again, Wikipedia has the answer.
[F]or me there was an incredible script that I bought eight years ago. It was [initially] called Soul of the Age which pretty much is the heart of the movie still. It’s three characters. It’s like Ben Jonson, who was a playwright then. William Shakespeare who was an actor. It’s like the 17th Earl of Oxford who is the true author of all these plays. We see how, through these three people, it happens that all of these plays get credited to Shakespeare. I kind of found it as too much like Amadeus to me. It was about jealousy, about genius against end, so I proposed to make this a movie about political things, which is about succession. Succession, the monarchy, was absolute monarchy, and the most important political thing was who would be the next King. Then we incorporated that idea into that story line. It has all the elements of a Shakespeare play. It’s about Kings, Queens, and Princes. It’s about illegitimate children, it’s about incest, it’s about all of these elements which Shakespeare plays have. And it’s overall a tragedy. That was the way and I’m really excited to make this movie.
So wait, this started out as a taut conspiracy thriller centering on the jealousy of Ben Jonson (who was absolutely baller), Shakespeare, and Oxford, and it is all like Amadeus but with old theater dudes? This movie sounds completely awesome. Unfortunately Emmerich doesn’t seem to realize that!
Now we have to throw in the Queen, too, and also the Essex rebellion, and the question of succession, because the audience won’t be happy without explosions and beheadings.
Incidentally, if you poke around enough about these Shakespearean authorship debates, you’ll find a lot of people quoting Supreme Court justices about what they think. This is because people like to stage mock trials to determine Shakespeare’s identity, and these justices make rulings. Other than the fact that this is all vapid pageantry, it… wait, nope, it’s pretty much all vapid pageantry. Why the fact that Justice Sandra Day O’Connor thinks Oxford wrote Shakespeare’s plays should have any sort of weight is completely beyond me, when someone like, oh, I dunno, BEN JONSON (baller) KNEW SHAKESPEARE AND NEVER DOUBTED HIS AUTHORSHIP?
Incidentally, this is one thing the movie seems to take care of — by implicating Jonson in the conspiracy. I am so excited, guys, you do not even understand.