pjthompson: quotes (quotei)
Random quote of the day:

“No one who has seen or felt the full force of an apparition demands proof. If they feel compelled to try and prove it to others, it is only because they feel obliged to, by the scientific tenor of the times.”

—Patrick Harper, Daimonic Reality




Disclaimer: The views expressed in this random quote of the day do not necessarily reflect the views of the poster, her immediate family, Bert and Ernie, Celine Dion, or the Band of the Coldstream Guards. They do, however, sometimes reflect the views of the Cottingley Fairies.

Apparitions

Jul. 6th, 2022 02:34 pm
pjthompson: quotes (quotei)
Random quote of the day:

“Apparitions…compel us to ask ourselves what we mean by reality, a very old and knotty philosophical problem. In particular, they ask us to decide whether our encounters with apparitions are subjective or objective—that is, whether a UFO, for example, is somehow a product of our minds or whether it actually exists out there in the world. If it is objectively real, then we have to decide further whether it is physically real or only apparently so; whether, that is, it is material or immaterial (though visible).”

—Patrick Harpur, Daimonic Reality




Disclaimer: The views expressed in this random quote of the day do not necessarily reflect the views of the poster, her immediate family, Desus and Mero, Beyoncé, or the Marine Corps Marching Band. They do, however, sometimes reflect the views of the Cottingley Fairies.
pjthompson: spooky moon (spooky moon)
House

Each splinter of this house knows his name;
every mote of sunlight shimmers with his skin.
The bricks are mortared with his sweat, windows
glazed with his breath, and the mirrors forlorn
because his reflection comes no more.
He walks the boundaries of his place, boots
crunching at the gravel of the drive and
thumping the wood of the welcoming porch,
whose planks of arms reach out to him with love.

Fingernails scrape along the door, a hand
impotently turns the knob, and he wonders
why he gains no entrance to this place
which contains him, blood and bone.
I push the door wide, invite the dark inside
to sit by the fire, which longingly breathes his name.

I cannot tell you, love, that I want you here,
not this wraith seeking wisdom from stone. 
Do not torment this house, moaning at your touch,
yearning for the one who loved it into shape.
Do not torment me with questioning eyes,
and lips which cannot remember my name.
Earth has you now, fit into her house of clay.
There is no returning through that narrow door,
no matter, my heart, how great the love before.

—PJ Thompson
pjthompson: (Default)
I was just thinking about how murky the messages we get from the Otherside are. I’m not sure if the murk is on their side—because they don’t have the energy, or whatever, for full and clear disclosure—or if the murk is on our side and our inability to interpret correctly.

I was thinking in particular of the TV show, Celebrity Ghosts Stories. I didn’t watch it regularly when it was still being broadcast because I thought it was pretty dumb, but I noticed one evening not long after the death of David Carradine that there was a new episode featuring him. My morbid curiosity got the better of me, so I watched.

His segment was preceded by a message that said he’d filmed this story four months before he died. The segment was all about how he had married Annie, a widow with three young children. Annie’s husband, Dana, had died tragically at a young age of cancer (I believe). David moved into her house and talked about how much he loved her and the children.

But weird things kept happening. The closet door in their bedroom kept opening and closing and an unnatural cold seeped out of it. When he’d go in the closet, it would be much colder than the bedroom. David got the sense that it was the spirit of Annie’s husband. In particular, one of Dana’s ties was still in the closet, and it kept flipping over to reveal a logo that said, “Grateful Dead.”

David’s interpretation: “It was obviously a joke, that the dead were grateful . . . it was the only way he could communicate [that] he now felt like everything was settled, the kids were taken care of and I was gonna be there for them. And I will be.”

Do you remember how David died? Of autoerotic asphyxiation. Hanging naked in the closet of his hotel room in Thailand.

Could be a horrible coincidence, of course. But in hindsight, it appears Dana had a different message for David. Because we’re human, we tend to interpret things the way we want to, to rationalize and project our needs and desires. I don’t know why the dead are not “allowed” to just come right out with pronouncements like, “Dude, don’t try the whole autoerotic thing. My kids are depending on you.” Like I said, maybe they haven’t got enough energy for clear-cut messages, or maybe that whole free will thing comes into play and they can’t interfere with our own choices that directly.

I don’t know, but it’s creepy as hell.

Ghosts

Jan. 23rd, 2019 11:47 am
pjthompson: quotes (quotei)

Random quote of the day:

“What else is a poem made of? Well, yes, ghosts.
But ghosts are only what accidents give birth to
once you have learned how to make accidents happen
purposefully enough to beget ghosts.”

—John Ciardi, “No White Bird Sings”

Disclaimer: The views expressed in this random quote of the day do not necessarily reflect the views of the poster, her immediate family, Laurel and Hardy, Ariana Grande, or the Salvation Army Band. They do, however, sometimes reflect the views of the Cottingley Fairies.

Mirrored from Better Than Dead.

pjthompson: (mysteries)

I’ve been thinking about blogging this for weeks, but I’ve been so busy at both work and home that many things fall through the cracks. Then yesterday, lizziebelle posted an eery story that prompted me to get on with it.

This all started months ago. I was driving home from work southbound on Pacific Avenue in Venice. It’s the last major north-south street before the beach. Past Venice Blvd. there’s a long stretch with no cross streets, just alley entrances on the western (beach) side, all bearing names like “28th Place.” Pedestrians on this western side have to walk on the actual street because the houses and apartments crowd right up to the street edge, and parking is tight. Usually the traffic moves swiftly, people rushing to the Marina Peninsula or Washington Blvd. Sometimes when there’s good beach weather, the traffic slows to a crawl, but even then it usually keeps moving. However, one night some months back it got seriously backed up, so much so that I actually had to come to a stop and sat there for several minutes.

Now, there is one piece of property along the western side which doesn’t have structures at street’s edge. One place is recessed back from the street with a dirt lot for parking cars along Pacific. The lot is also crowded on the southern side by old trees. As it happens, this odd-man-out piece of property is the one I stopped beside. I did what one does when sitting in traffic, looked around and registered things I usually speed by, and as I turned my head west I saw that I was aligned with a walkway running behind a series of linked cottages. It was as clear as day back there, though it was evening. A woman sat on the small stoop behind the first cottage, her legs stretched in front of her, elbows resting on knees, head down and staring at the ground between her feet. Such an aura of despondency hovered about her that I kept looking, fascinated. She had dark, wavy hair worn down past her shoulders and a dark, rather shapeless dress. It hit her mid-calf and I saw that her feet and legs were bare. The dress could have belonged to any era from 1920 onward, even further back in time if it actually went to the ground and she’d hitched it up to air our her calves.

As I stared and wondered why she was so sad, I guess she sensed me looking. Her head came up suddenly. Our eyes met. I was embarrassed to be caught, but such a look came over her face… The sorrow remained, but a spark had been added of something like defiance or anger or… I don’t know. Something old and negative and about me…but I thought not strictly about me, either. I just happened to be there to receive it.

Well, then I was really embarrassed. She had every right to be angry with me for staring and intruding upon her despondency, so I hunkered my head between my shoulder blades and quickly shifted my eyes back to the road. Thankfully, the traffic moved not long after. I stole another look before passing the property. She still stared my way with…whatever that negative surge was. I thought about her for the rest of the drive home, but—as these things go—promptly forgot about it when I got home and had chores and what all to do. Occasionally as I whizzed by that property each night, I’d think about her fleetingly, getting embarrassed all over again, or puzzled and wondering what had been up with her. I might even have stolen a glance that way, but usually couldn’t make anything out. It was quick, you know? I usually passed that place in seconds, in a hurry to get home.

Then one night several weeks back, I was maybe not driving as fast, or the traffic slowed (but didn’t stop), or—I’m not sure. This time as I drove by I took a good look towards that walkway. And I realized I couldn’t see it. Not just that it was too dark or that a car stood in the way (there were no cars in the dirt lot), I mean I couldn’t see it. Something blocked it. I had passed the property by the time that registered, and that part of Pacific isn’t friendly to people stopping and backing up. Too much traffic, not enough parking to pull over, and besides, I wanted to get home. I decided that I’d try to remember to give it a better look the next night.

I’m easily distracted these days and it was actually several days before I looked again. There was definitely a gate blocking the view of the walkway, but it didn’t look like a new gate. I thought, “Well, it must have been open when I stopped here that time.” I hadn’t remembered seeing a gate, but you know, it had to have been there. So the next time I remembered, I slowed down, risking irate honks from the cars behind me, when I got to the place where I’d been stopped before in direct alignment with the walkway. I recognized quite well the angle I’d been looking from.

The thing is, there were no linked cottages there, just a single house. And remember those trees on the south side of the dirt lot I mentioned? That night I realized that I not only could not have seen a walkway from that position, I couldn’t even see the gate. To see the gate I had to be ten, fifteen, twenty feet north of there and looking at an angle. There was no visibility of the gate or a possible walkway when looking dead on.

Dead on. Dead on. I looked dead on that night, but I still have no idea how I saw. Or who. Or what.

Mirrored from Better Than Dead.

pjthompson: (Default)
Some months back, I was ranting about a development going up in the last remaining wetlands along this part of the Southern California coast.  A few months later, I had to retract retract my rant because I'd discovered my basic premise was, well, in a word, wrong. Ahem. 

Anyway, I was oh-so-innocently scanning Yahoo! news [broken link] the other day when I came across an article about the very development project I'd been ranting and retracting about.  It seems that during their excavation for the project, they've uncovered an...Indian burial ground.

My golly, that's almost proverbial.  What's really bad is that they've put these bones in a shed until they decide what to do with them.  Even if I had been interested in buying one of these gracious living joints at Playa Vista (even if I could afford one), this would probably queer the deal for me.  I do not need any disturbed spirits taking out their anger on me.  It's like Mark Twain said, "I do not believe in ghosts, but I am afraid of them."

Except on alternating Mondays and Sat-Sun matinees, I think I kind of do believe in ghosts.  Sometimes.  But maybe not.  But that's a whole other journal entry.  In fact, one of my first.

p.s.  On a writing note:  I know I owe a ton of crits, and I feel really guilty about that, but between crashing to get my rewrite done by the end of September (when I expect a serious disruption of my writing schedule) and being busy at work, I don't seem to have much left over except for the occasional irrelevant journal entry.  I keep setting deadlines for myself that I fail to meet and it’s really torquing my mind into uncomfortable positions—but there isn’t much I can do about that now.  I’m feeling rather forsworn, to use an old-fashioned term.  Sorry.  I'm downloading everything posted  and hope to get to everything eventually either online of through email.  But I am not setting any more deadlines for the time being.

Dead Man

Jun. 19th, 2004 05:26 pm
pjthompson: (Default)
So I forced myself away from the computer because I was going all green and moldy. I went out to my favorite cafe where "everybody knows my name" to have linner—late lunch, early dinner. I brought with me The Philosopher's Secret Fire by Patrick Harpur, a brilliant essayist specializing in the difference between reality, nonreality, and the boundary between, the boundary given force and substance by imagination.

I read the passage talking about the way traditional societies view death—which as you can imagine is quite different from our Western rational ideas. In traditional societies there is no separation between life and death; they are not opposites. Birth is the opposite of death, but life is a continuum. In fact, in those societies when people see what we'd call a ghost, the traditional term is usually just "dead man."

"Death," says Harpur, "merely signifies a change in the individual; it is only the last in the series of initiatory 'deaths' which have accompanied him or her through life."

This immediately brought to my mind the Jim Jarmusch film, Dead Man. This is a little wonder starring the ineffable Johnny Depp and I dearly love it. Many critics had problems with it, though, and it occurred to me today that it may be because of what Harpur is talking about. The critics viewed the film with their Western vision when the movie was really from the traditional point of view. Dead Man is an initiatory experience, a transition from one form of life to another.

It's a deeply strange movie and quite often hilarious. The story revolves around one long, tragic irony that just gets worse and worse, draws Our Johnny farther and farther from Western ways and deeper and deeper into traditional ways. The Western tradition doggedly pursues the Native tradition throughout the movie and I don't think either point of view wins out completely. I find I like its ambivalence.

Don't read this last bit if you don't want to know how it ends.

The final scene to me is perfectly explained by what Harpur was talking about. The Western tradition and the Native tradition have a full-on confrontation on the beach to a stalemate, but it's too late to stop Johnny's character from floating into his final transition. We never see him die because he never does. He just floats from life into a new life. Nobody really dies in the traditional world. We just don't see them anymore in this world—except as dead men.
pjthompson: (Default)
I've been reading a book for the last couple of months: _Ghost_ by Katherine Ramsland. One reason it's taking me so long to get through it is because, well, it's not much of a book. Just interesting enough to pick it up now and again to read a few more sections, but not so compelling that I'm ripping right through it. It purports to be "nonfiction," relaying how Ms. Ramsland got drawn into the world of ghost-hunting and her explorations of that world. That sounds like an interesting premise, right? Unfortunately, she manages to repeat the same information over and over without ever heading anywhere in particular. It wanders, meanders, drifts, wearing out plenty of shoe leather but never arriving at a destination. And she's always declaiming about wanting to keep her scientific objectivity--but there isn't a hell of a lot of objectivity in evidence. She hypes up the drama promising thunderous revelations...which never quite come off as advertised. Many times, though, there are moments of unintentional humor; instances when Ms. Ramsland comes off as something of a dim bulb with a Ph.D. It mystifies me how some books get into print.

So what's the point of all this besides sour grapes? Well, I have a confession to make. (Isn't that what blogs are for?) Another reason it's taking me so long to read this book is because I'm highly suggestible when it comes to this ghost cr!p. I can't read this book past late afternoon, when dusk starts gathering, because my imagination starts to do a hoodoo dance with me. I expect whangdoodles to slither out of the closet; haints to materialize from out of the gloaming; bogles to go bump in the night with extreme attitude.

Which is not to say I believe in ghosts. Some days I most definitely do not. Like Mark Twain said, "I do not believe in ghosts, but I am afraid of them." I've had just enough creepy, unexplained things happen to me that I've got the notion something's going on, but I don't want to have that notion confirmed--no sirree. I've always been more comfortable with oracles that leave me room for doubt. I don't want absolute confirmation or confrontation. I don't want to *see* anything or hear anything that might rip aside that safe little curtain of rationality. I'm content with the afterimage of presence, the fading smell of manifestation. I reserve a part of my brain for doubt and rational explanations. I need to maintain the ability to retreat there, even if another big part of me gets caught up in the airy-fairyhood, even if another big part of me loves that frisson and seek out things which make my spine rattle with it. But only at a safe remove.

Having a good imagination can be a powerful tool for both good and evil. And I have a brain that is perfectly comfortable with holding irreconcilable ideas within the same skull. Who needs to have a devil on one shoulder, an angel on the other? I've got that pitched battle going on daily in my own twee brain (matinees Sat-Sun). This believer/skeptic thing is just one of my many dichotomies.

It comes down to this: if the universe is stranger than we can imagine, it must be very strange indeed. And if that's the case, anything is possible. And if _that's_ the case, I'd rather not have that confirmed--if it's all the same to you.

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