A familiar
trope in many horror entertainments is that of prolonged contact or proximity
with dead people. Sometimes it is just a
scene or two in a larger work, or it can be the focus of a single story. Aside from the religious, civil and forensic
procedures needed for managing the deceased, their physical nearness to us activates
primordial fears and taboos—which is why we surround them with virtually
antiseptic rituals and distance. And
write horror stories about the experience.
It
seems inherently challenging to write fiction about a live human being
encountering a dead one. Dialogue and
characterization are quite limited for the dead character, and because of that,
so are the options for conflict, resolution, and a narrative plot involving the
two. The dead character in these stories
is often at risk of becoming simply a prop, a convenient way to increase the
Primal Yuck Factor, (PYF) of the story. (See 1.
Calculating the Primal Yuck Factor (PYF) in Ho...) What are the options for a vignette that includes
two people, one of them dead?
Robert
E. Howard’s The Touch of Death (1930)
is an example of one of these stories. A
man named Falred is asked by a departing physician to spend the night with Old Adam
Farrel, who won’t be getting any older, having just died. “Rather a useless and primitive custom,
sitting up with the dead,” says the doctor, but Falred agrees to abide with
tradition, and remains with the corpse.
Howard
sets the tone by describing the old man as a harmless but disagreeable recluse,
without friends or close family.
Although the corpse remains unmoving throughout the story, he becomes a
kind of screen on which Falred projects his own terrors of death, towards his
own undoing at the end.
The Touch of Death is not one of Howard’s
best. It is quite short and seems more
of a sketch for what could have been a more elaborate story. However, there are some genuinely creepy
moments as Falred nervously studies his host throughout the evening.
Later
that same year, Weird Tales published
another short story in a similar vein, Paul Ernst’s The Tree of Life, which was discussed in an earlier post, (see 3. A
Rodent Resurrection ). A teen-aged boy volunteers to remain with a
recently deceased neighbor. As in Howard’s
story, some characterization of the dead woman is offered through biographical
detail remembered by the narrator—she is thereby humanized for the reader. This story is marred by a bizarre and
unsuccessful attempt to revive the dead woman, which is thwarted by the probable
intervention of another ghost. While Howard’s
story is a bit more believable because of its realism and psychological focus, The Tree of Life lacks credibility and
coherency.
Finally,
an earlier and better known story of this type comes from a contemporary of
these two authors. H.P. Lovecraft’s In
The Vault was originally published in The
Tryout in 1925, but has shown up in dozens of anthologies ever since—and with
good reason, because it is one of his best.
(See also 2.
Applying the PYF to a Story by H.P. Lovecraft)
In The Vault is unencumbered by antiquarian scholarship, 18th century
grammar and vocabulary, or the paraphernalia of the Cthulhu Mythos. In this story Lovecraft builds suspense and
mood through deft use of non-visual detail
and even throws in a bit of black humor. It is unadulterated, gruesome horror involving
“justice from beyond the grave”.
S.T.
Joshi did not like this tale, dismissing it as “a commonplace tit-for-tat
supernatural vengeance story.” Given
Joshi’s enthusiastic atheism, it seems likely the story did not appeal to him
simply because it contained a spiritually animated cadaver. One could ask whether a true atheist can
really appreciate, much less write, really good horror stories—he or she is likely
devoid of the supernatural assumptions that underlie much of weird fiction. (More about this matter in a future post.)
To
Lovecraft’s credit, In the Vault
contains one of the archetypal roots of our discomfort and fear of the dead—an unresolved
injustice. If the dead should ever become
animate again, would they not deliver to us exactly what we deserve?
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