Writer of things that go bump in the night

Tag: New York (Page 2 of 2)

Dreaming Dreams and Seeing Apparitions: On Writing Horror and Fighting Climate Change

It certainly occurred to me, ahead of last month’s post, that the blog’s left turn into environmentalism might’ve whiplashed those expecting the customary deep dive into craft or culture.  As part of our training as Climate Reality Leaders, we’re asked to reflect on our personal climate stories—the origins of our interest in the movement—something I’ve invested no small amount of time doing this past month.  To that end, it dawned on me that the very same formative circumstances inspired both my passion for horror fiction and climate activism; they are not unrelated callings but very much part and parcel.

It was at the confluence of the Harlem and Hudson Rivers, my old stomping ground, where many of my first boyhood adventures were undertaken.  My friends and I would scale the towering steel foundational girders of the Henry Hudson Bridge as high as we could climb.  We’d cross Spuyten Duyvil Creek by way of the century-old railroad swing bridge to explore the Indian caves in the vast, lush expanse of Inwood Hill Park at the northernmost tip of Manhattan.  (Incidentally, those caves feature prominently in the 2003 historical fantasy Forever, Pete Hamill’s centuries-spanning ode to Gotham.  Great novel.)

On weekends, my parents would drive us up the Hudson Valley—to Sleepy Hollow or Nyack or Bear Mountain—which was a particularly spellbinding delight this time of year.  It’s a truly magical region that in many respects looks just the same as it did to the Dutch explorers who first arrived in the early seventeenth century—and, more to the point, the Lenape Indians who called the valley their home for a dozen millennia before that.  For the conservation of this land, you can thank—and I can’t believe I’m saying this—J. P. Morgan.

And not just him—George Walbridge Perkins and John D. Rockefeller, too.  Owed in part to the efforts of these forward-thinking businessmen-philanthropists at the turn of the twentieth century, much of the woodlands on the banks of the Hudson was spared from development, as were the Palisades, the magnificent cliffs along the west side of the river.  Consider it:  These capitalists preserved the natural harmony of the Lower Hudson Valley from the ravages of capitalism itself; on account of their preemptive actions, much of it remains to this day virgin forest to be (re)discovered by successive generations.

The woodlands just blocks from where I grew up in the Bronx (photo credit: Sean Carlin, 29 December 2012)

As a writer of supernatural fiction who continues to draw inspiration from this region—virtually all my stories are set there—I walk in the footsteps of literary giants.  Two of the first American authors—horror authors, no less—lived in the area and wrote about it:  Washington Irving and Edgar Allen Poe.  Savor the way Irving lets this “region of shadows,” pregnant with manes, cast a spell over his receptive imagination in the Halloween classic “The Legend of Sleepy Hollow”: Continue reading

Counter Culture: Over the past Quarter Century, a Small Specialty Shop Became a Bronx Institution

Before the geek underground went mainstream—before the Internet exposed its numbers as legion; before corporations fully understood that superheroes were woefully underexploited billion-dollar assets—there was no better place to both talk and learn about pop culture than the neighborhood comic shop.

When it opened in 1991, Magnum Comics & Cards wasn’t the first direct-market specialty store in the northwest sector of the Bronx where I grew up, but it was inarguably the liveliest, the one with the most personality.  That was owed, in no small part, to its colorful proprietor, Neil Shatzoff.

A photo of the shop I snapped on December 30, 2010

Holding court from behind the register, Neil would speak with juvenile exuberance and encyclopedic authority on pop esoterica:  why Brian Dennehy would’ve made for a better Commissioner Gordon than Pat Hingle (I agree, but, hey—at least we eventually got Gary Oldman); why Joel Schumacher’s track record for dark-skewing commercial cinema (The Lost Boys, Falling Down) made him a promising candidate to take over the Batman franchise from Tim Burton (well, it seemed like a good fit on paper…); why Kevin Smith’s unproduced Superman Lives script was budgetarily impractical and narratively quixotic (turns out, it was twenty years ahead of its time).  His disquisitions were all the more entertaining for his impish, whip-fast wit; reflecting on the Academy’s arbitrary predilection to honor films over movies, he once noted:  “Gandhi won an Oscar for Best Costume Design, and all they did was throw a couple of towels over him.”

 

COMIC ESCAPADES

All throughout high school, I’d pop by the shop every Wednesday to get my weekly fix of superhero soap opera—the now-classic Death of Superman and Batman:  Knightfall storylines were unfolding at the time—and, more to the point, to listen to Neil wax pop-cultural.  A decade my senior, he supplemented my cinematic education—the way an older sibling’s musical tastes might rub off on you—by introducing me to genre essentials that were just a little before my time:  The Thing and An American Werewolf in London and Thief (the feature-film debut of Michael Mann and spiritual precursor to Heat) and the Dirty Harry series.  (Though I can’t say for certain, it’s possible the first Dirty Harry sequel, Magnum Force, influenced the name of the shop itself).

It was by way of the file cabinet–mounted TV behind the counter that I first became aware of things like aspect ratios and audio commentaries and director’s cuts; Neil was an early adopter of LaserDisc, and would dub them onto VHS and play them in the store.  Imagine my surprise to learn there was a “secret” longer version of Aliens (by seventeen minutes!), or a definitive two-hour documentary on the making of Jaws.  In the days before such things were standard-issue features on DVDs, there was only one guy I knew who had access to all that amazing arcana, and he delighted in sharing his zeal for it with his customers.

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State of Grace: How a Movie No One Saw Heralded the Last Days of Old New York, Old Hollywood—and Even My Own Innocence

Last month, we talked about the subject of creative inspiration:  that an artist’s many influences affect his worldview and sensibilities in ways totally unique to him, and that they, along with his particular life experiences, constitute his voice.  In time, those influences become so embedded in his subconscious that he is no longer necessarily aware of the sway they hold over the art he produces, and as his confidence in his craft intensifies, his intellectual capacity to identify them in his work diminishes in kind.

As it happens, a week or two after posting the treatise, I received an object lesson in its very proposition.  The experience was an acutely emotional one for me, though not at all unpleasant or unwelcome, and a reminder of what storytelling at its best can do:  A story can comment on its times while reflecting timeless truths.  It can depict a very specific world that is nonetheless universally relatable.  It has the power to preserve a moment or an episode in all its emotional complexity, serving as a time capsule that can continue to yield new insight with age.  A good story changes the course of history, in some unquantifiable measure, influencing subsequent real-world events and artistic works in ways that, I think, go mostly unconsidered.

Here’s how one movie no one’s ever heard of exerted appreciably more impact on my personal and creative evolution—and even on my forthcoming novel—than I’d heretofore considered, and how it had something profoundly meaningful to say to me, both then and now.


Two years ago, I published a post with recommendations for Irish-themed movies to help celebrate St. Patrick’s Day; among them, a long-forgotten crime drama from 1990 about the Irish Mob in Hell’s Kitchen called State of Grace, which had the cosmic misfortune of opening the very same week as Martin Scorsese’s GoodFellas.  The latter, as I’m sure you know, was a box-office hit that deservedly claimed an immortal place in the cultural consciousness, while the former—starring no less than heavyweights Sean Penn, Ed Harris, Gary Oldman, Robin Wright, John Turturro, John C. Reilly, and Burgess Meredith—quietly disappeared from theaters within two weeks of release and promptly faded into obscurity.  No one really saw it, and the bankruptcy of its studio, Orion Pictures, soon thereafter assured that it mostly remained unseen in the years to follow.

Sean Penn (as Terry Noonan) and Gary Oldman (as Jackie Flannery) in Phil Joanou’s “State of Grace”

My cousin’s husband owned a video store out in Jersey at that time, and he was always bringing by screener copies—sometimes even bootlegs—of current films, which was how I first experienced both State of Grace and GoodFellas when I was fourteen.  For a kid that had up till that point subsisted on a cinematic diet of almost exclusively Spielbergian fantasy, the comedies of John Hughes and Eddie Murphy, and the action extravaganzas of Stallone and Schwarzenegger, those two movies—‘cause I hadn’t yet seen The Godfather—were nothing short of revelatory.

State of Grace was a particular favorite, and I even managed to score a copy of the promotional one-sheet from my local video shop in the Bronx when they were done with it, which hung in my bedroom throughout high school.  The movie was my introduction to newly minted Oscar-winner Gary Oldman, and he delivers a searing, unsettling, heartbreaking performance that made me a fan for life.  But by the mid-nineties, my secondhand VHS of Grace had gotten misplaced, and given the scarcity of the film’s availability, I haven’t had occasion—despite trying in 2016 for that best–of–St. Patty’s post—to see it since.

Until this month, when I found a wonderful Blu-ray reissue, limited to 3,000 units, and, like the story’s troubled protagonist, I ventured back into Hell’s Kitchen to reunite with some very old faces…

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