The news and indeed sometimes our own everyday lives provide plenty of stories of sorrow and horror and True Crime, which is–oddly enough–precisely why I like a good fictional tale of dread, doom and destruction. It’s such a relief to remember how to detach from dark and grotesque and terrifying things and even to laugh at them. But I’m mighty squeamish, when it comes to the real thing or even a too-good simulation of it, so slasher movies just don’t do the trick for me. I do need the remove and control that reading or visibly stylized and artificial images provide.

Something is amiss in the conservatory . . .

It’s why when it does come to film I love the Alfred Hitchcock classics of suspense, or the genteel Gothicism of movies like Bunny Lake is Missing, Hush, Hush, Sweet Charlotte, and Gaslight. I avidly read the yarns of Roald Dahl and Edgar Allan Poe and Saki and their ilk, and bask in a good Henry James or Robertson Davies ghost story. I thrive on the dark-tinged fantasy of Edmund Dulac and the witty weirdness of Edward-too-good-to-be-true-named-Gorey.

Oh, yes, I’ll happily digest the terrors of a good contemporary thriller novel or the occasional modern fright-night movie, but I’m a sucker for old-school drama, it seems. Even in music, I can find lots of vicarious thrills and scare tactics in a great modern film or TV score and there are some current composers that excel in this (Danny Elfman, are your ears burning?), but my heart never ceases to lean back toward the bejeweled darkness of Mussorgsky’s Night on Bald Mountain and Saint-Saëns’ Danse Macabre and, if I’m in the mood for cinematic music, perhaps one of Miklós Rózsa‘s classic romantic scores.

I am haunted enough by my own spooky imaginings . . .

It’s a fine thing to have the worlds of imagination in which to safely plumb and defeat all horrors and terrors. So I do like to indulge the urge myself with stories and poems and artworks of the brooding and twisted or the cheerily perverse and demented sort whenever I need reassurance–or just want to share the twinges a little.

Be Not Afraid of Me,

Unless You have a Good Reason

I buried the various body parts

in secret locations around the state,

reserving the heart of him I hate

to pin on the board for a game of darts,

and when it was thoroughly pierced and minced

I put on my favorite dress and heels

and danced a couple Virginia reels

before I washed up the room and rinsed,

then took the mincemeat left of the rat,

put it in the kiln for a nice hot burn,

where it made a fine glaze for a lovely urn,

and filled it with daisies, and that was that.

You might think I’m a teeny bit callous, cold,

rejoicing in vicious destructive acts,

but perhaps you’d relent if you knew the facts

and the rat’s true story at last were told–

but worry you needlessly? I? A shame,

when it’s highly unlikely by any stretch

of imagination you’d be a wretch

of such magnitude and incur the same . . .

now let us sit down for a cup of tea,

our own snug little tête-à-tête;

don’t worry about what you have just et,

unless you have reason to fear from me . . .

So what's the score on horror? Do we close the book on beastliness? Oh, no, there's ALWAYS so much more . . .

Smile and be

What looks like a smile

From this distance might

Be the bared fangs

Of monstrous threat

Or then again might be

The hateful grin

Of rigid death

So much to read

Out of a single smile

But all I need to know

Is, do I keep on

Going toward it