The Awning

 


The rain came without warning, the way the best things do.

One moment the sky was the color of old pewter, heavy and considering, and the next it had made up its mind entirely. Mara had just stepped out of the bookshop — a paper bag pressed against her chest, a copy of Anaïs Nin tucked inside like a secret — when the sky opened and she made a run for it, ducking under the green-striped awning of the bakery three doors down.

She was not alone.

The girl was already there, laughing at herself, pulling a pair of rain-speckled glasses from her face and wiping them on the hem of her shirt with the unselfconscious efficiency of someone who'd been doing it since the fourth grade. She was tall and slender in the way of someone who moved a lot and ate when she remembered to — long-limbed, easy in her body, the kind of girl who probably looked elegant even doing something unglamorous. Her hair was dark blonde and thick, pulled back in a low knot at the base of her neck, but the rain had found the loose pieces and laid them against her throat and jaw in pale curling tendrils she didn't seem to notice or mind.

She wore a soft flannel shirt with the sleeves rolled to the elbow, open over a plain white tee, and boy shorts that hit mid-thigh, and leather sandals that had seen considerable mileage and been resoled at least once. Her legs were long and honey-brown — not the bronze of someone who'd chased the sun, but the deep settled warmth of someone who'd simply been outside all summer, working, moving through the world with their hands.

She looked, Mara thought, like a girl who knew how to be gentle with living things.

She put her glasses back on and turned, and found Mara looking at her, and her expression opened into something unhurried and good-natured. Behind the lenses her eyes were green — the complicated kind, with something older than her years living quietly inside them.

The awning was not quite wide enough for two people trying to maintain any reasonable sense of personal space.

"Sorry —" the girl said, shifting to make room, still smiling. She smelled like rain and clean skin and something faintly warm beneath it, the way sun-dried cotton smells when it finally comes in off the line.

"It's all right." Mara pressed back against the bakery window. "There's enough awning for two optimists."

The girl's smile shifted — became more deliberate, more curious. "Optimists?"

"Anyone standing under six inches of canvas waiting out a Kentucky downpour."

That laugh. Low and easy, coming from somewhere unhurried. It did something to the base of Mara's spine.

"Fair point." She pushed a loose strand of dark blonde hair from her jaw without thinking about it. "I'm Josie."

"Mara."

They shook hands, which was absurdly formal for two women pressed hip to shoulder in the rain, and Josie's grip was warm and unhurried. Her fingers were rough at the tips — callused, work-honest — but her hand was slender, fine-boned, the kind of hand that looked like it belonged to a painter until you felt what it had actually been doing all summer.

She noticed Mara's bag. Tilted her head slightly in that way people do when they're reading, like the angle helps. Her glasses caught a pale reflection of the wet street.

"I was just in there," Josie said. "Didn't buy anything. I always do that — spend an hour in a bookshop and leave with nothing like some kind of monster."

"What were you looking at?"

"Poetry, mostly. Then I got distracted by the display in the window." Her eyes dropped to Mara's bag with an expression that was not subtle and did not try to be. "The Anaïs Nin collection."

"Did you pick it up?"

"Picked it up. Put it down." A beat. "Picked it up again."

"Why'd you put it down?"

She considered that with what seemed like genuine seriousness, one thumb hooked in her front pocket, rain curtaining off the awning edge six inches from her shoulder. Thunder somewhere to the west, rolling toward them like a slow suggestion.

"Felt like something I'd want to read in private," she said finally, and the directness of it — no coyness, no performance, just a plain and honest answer — landed somewhere low in Mara's chest.

"Why did you buy it?" Josie asked.

"Because I've read it before and I wanted to read it again." She let that settle without apology. "Some books are worth returning to."

Josie looked at her fully then. Really looked, the way people rarely do, with her whole attention and no visible embarrassment about it. Close enough that Mara could see the rain caught in her lashes behind the lenses. Close enough to feel the warmth the girl carried on her skin the way people do when they've been outdoors and useful all day.

"How old are you?" she asked, and it wasn't rude. It was direct, and directness, Mara had always believed, was its own form of intimacy.

"Forty-five."

Josie nodded, slow and thoughtful, like that was an answer to a question she was still forming. Her eyes hadn't moved from Mara's face.

"Do you live nearby?"

The rain deepened around them, filling the street with its grey-white noise, the whole town going soft at the edges.

"About four blocks," Mara said.

"That's not very far."

"No," Mara agreed. "It isn't."

The air between them had become something neither of them was pretending not to notice — a specific and unhurried tension, like a long note held just past where it was expected to resolve.

"I have wine," Mara said, as though that were simply information and not an open door. "And I have that book, since you kept picking it up." She held Josie's gaze for one calm, deliberate moment. "And the rain doesn't look like it has any intention of stopping."

Josie looked out at the drowned street. The leather of her sandals was dark with water. A strand of hair had come loose again and she let it alone this time, let it lie against the warm column of her throat.

She looked back at Mara.

Her smile was slow, and sure, and lit with something that had very little to do with getting out of the rain.

"No," she said quietly. "It really doesn't."

They stepped out from under the canvas together without discussing it, without any formal agreement, the way you step into something that has already been decided by a quieter part of you.

The rain had softened to a steady pour rather than a downpour — still enough to soak through, still enough to justify almost anything. Mara turned up the collar of her jacket. Josie did nothing at all about the rain, just tipped her face slightly down against it and walked, hands loose at her sides, entirely unbothered by being wet in the way of someone who spent most of her time at the mercy of weather and had long since made her peace with it.

They walked close. Not touching. Almost touching.

The town had gone quiet around them, the rain emptying the sidewalks, muffling the street noise into something distant and soft. Their footsteps were the loudest thing. Mara was aware, with a precision that was almost architectural, of exactly how many inches existed between her shoulder and Josie's arm.

"Do you go to school here?" Mara asked. She wasn't sure why she asked. She knew she was asking to hear her talk.

"UK," Josie said. "Junior year. Environmental science." She paused. "I work on a farm outside of town the rest of the time. Semester breaks, summers. It's —" She glanced over, a small sideways look, rain on her glasses. "It probably explains a lot about me."

"It explains the hands," Mara said.

Josie looked down at them briefly, as if she'd forgotten she had them. "Yeah." A quiet laugh. "It explains the hands."

They turned a corner. Two more blocks. Mara was in no hurry and was also, at the same time, profoundly aware of every step.

"What do you do?" Josie asked.

"I teach literature. At the community college." She paused. "It probably explains a lot about me too."

"It explains the Anaïs Nin."

"Does it?"

"A woman who teaches literature and buys Anaïs Nin in the rain." Josie's voice was warm, considered, unhurried. "Yeah. It tracks."

Mara laughed despite herself. It had been a while since someone had made her do that — laugh from somewhere genuine, somewhere unguarded. She was forty-five years old and she was walking through the rain next to a twenty-one-year-old girl with callused hands and dark blonde hair coming loose from its knot, and she felt, with a clarity that was almost alarming, entirely awake.

"Here," she said.

The house was narrow and old, a craftsman with a deep porch and window boxes that had gone to seed for the season. Mara took her keys from her jacket pocket and had a brief, absurd moment of fumbling them, which she did not acknowledge and Josie politely did not notice. The door opened into warmth and lamplight and the particular smell of a house that was full of books — paper and dust and something faintly herbal, dried lavender somewhere, a candle burned down to nothing earlier in the week.

Josie stepped in behind her and stopped just inside the door, looking around with that same quality of attention she'd turned on Mara under the awning — unhurried, genuine, taking things in without performing the act of being impressed.

Books were everywhere. Shelves built into every available wall, stacks on the side tables, a pile on the bottom step of the stairs with a coffee cup ring on the top one. A worn velvet sofa in deep green. Lamps with warm bulbs. A large window looking out at the rain-grey garden, drops tracking down the glass in slow crooked lines.

"This is exactly what I thought your house would look like," Josie said softly.

Mara turned from where she was shrugging off her jacket. "You were thinking about my house?"

A beat. That small, certain smile. "I was thinking about you."

Mara hung her jacket and did not let her expression do everything it wanted to do.

"Wine," she said. "Sit down."


The kitchen was separated from the living room by nothing more than a low counter, open and visible, and Mara was aware the whole time she opened the cabinet and took down two glasses and pulled the cork from an already-open Malbec that Josie was watching her. Not restlessly. Not with impatience. Just — watching. The way you watch something you're not ready to stop looking at.

She brought the glasses over. Josie had settled on the sofa with one long leg tucked under her, her sandals left at the door without being asked, which Mara found she noticed and appreciated without knowing quite why. Her glasses were dry now, slightly smudged with rain, and she'd let her hair all the way down — unself-consciously, simply reaching back and pulling the elastic free, dark blonde waves falling past her shoulders, a little wild from being pinned up wet.

Mara sat. Not at the far end of the sofa. Not pressed against her. Somewhere in between — the honest distance, the distance that didn't pretend there was no pull while not yet surrendering to it.

She held out a glass. Josie took it and their fingers didn't quite touch and that almost-touch registered in Mara's chest like a struck note.

"Thank you," Josie said.

"For the wine or for the invitation?"

"Both." She looked at her over the rim of the glass as she drank, green eyes steady and warm. "They came together."

The rain moved against the window. The lamp on the end table cast everything in amber. Mara thought, not for the first time, that desire at forty-five was nothing like desire at twenty-five — it was quieter, more specific, more honest with itself about what it was. It didn't perform. It simply knew.

And what it knew right now was this girl beside her, warm and unhurried and smelling of rain and summer skin, turning the wine glass slowly between those careful, callused hands.

"Can I ask you something?" Josie said.

"You can ask me anything."

She turned her head on the sofa back to look at Mara directly. Her hair lay loose against the green velvet. Her feet were bare now, long-toed, the tops of them still honey-dark from the sun.

"Do you do this often?" she asked. Not accusatory. Genuinely curious, genuinely wanting to know. "Bring someone home."

Mara considered her for a long moment.

"No," she said. Simply, honestly. "I don't."

Josie held her gaze. Something in her face settled, softened, like a question that had gotten the answer it was hoping for.

She reached over and set her wine glass on the coffee table. Then she turned back, and drew one knee up onto the cushion between them, and looked at Mara with those complicated green eyes from a distance that was no longer quite the honest distance — that was, in fact, a different kind of distance entirely. The kind that is not really distance at all.

"Tell me about the book," she said softly. "Read me something."

And her voice had gone low and unhurried and full of everything neither of them had said yet.

Mara looked at her for a long, still moment.

Then she reached for the book.

The book lay open between them, its spine cracked from years of devotion, the pages thin as cigarette paper. Rain tapped against the dark windows, a rhythm that felt like permission. Mara's fingers traced the lines, her voice low and unhurried, each syllable measured out like a controlled substance.

She read: I am in a state of such longing... such deep hunger... The words settled into the space, heavy as smoke. Josie's wine glass hovered near her lips, forgotten. She watched Mara's mouth form each word — the way her tongue touched her teeth on the th, the slight parting of her lips on hunger. The professor's dark hair, still damp from the rain, clung to her neck; her silk blouse, unbuttoned one notch too many, revealed the shadow between her collarbones. Josie felt the couch beneath her thighs, the rough weave of it grounding her as the room seemed to tilt.

Mara's voice deepened. ...I want to be devoured. She closed the book but left her hand on the pages, a claim. When she looked up, her eyes held Josie's without mercy. The distance between them was maybe six inches, but it felt like a fault line.

Josie leaned in first — she had never been good at waiting — and Mara met her halfway. The kiss tasted of merlot and rain, and something else: the metallic tang of transgression. Mara's hand found Josie's jaw, thumb pressing beneath her chin, tilting her head just so. Her other hand slid up the girl's denim-clad thigh, fingers pressing into the muscle there — not gentle, not asking.

Josie gasped into Mara's mouth, a sound that seemed to surprise them both. Mara pulled back just enough to see her face, searching for hesitation, finding none. She stood, pulling Josie up with her — rougher than she intended, maybe, but the room was spinning now. They stumbled past the coffee table, the wine bottle tipping but not falling, and into the dark hallway where the only light was the amber glow from the living room behind them.

Mara's bedroom door was open.

Inside, the air was cooler, thick with the scent of old books and sandalwood. The professor pushed Josie against the doorframe, her body a solid line against the younger woman's, and this time when they kissed there was no pretense of tenderness — only teeth, tongue, the desperate friction of skin against silk against denim. Rain pounded the roof like a demand.

Josie's glasses were crooked. Mara straightened them with two fingers, a gesture so deliberate, so unhurried in the middle of all this want, that it stopped them both for just a moment — a held breath, a last look at the edge of something before going over.

Josie's hands found the hem of Mara's blouse.

Mara reached back and closed the bedroom door.

The rain did not stop. It had no reason to.

March Afternoon

 There is a house across the street that has been empty since the lady died.

I find myself looking at it. Not with morbidity exactly, but with that particular attention that grief teaches you — the way you start to see the outline of absence where a presence used to be. The windows hold nothing now. The porch holds nothing. Whatever she arranged and tended and moved through daily has been stilled, and the house has taken on that quality that empty houses get, that held-breath quality, as though it is waiting for instructions that will not come.

It makes me think about inhabiting. What it means to live inside a life — to fill rooms with your particular smell and your particular objects and the residue of your particular hungers. We do not think about this while we are doing it. We simply move through our days, touching things, leaving fingerprints on everything, trailing ourselves through our own lives like a thread we assume will never run out.

And then one day it does.

Not long ago I stood inside my father's house. I moved through his rooms slowly, the way you move through water, and I touched things he will never touch again — his cookware, his recipes written in his particular hand, the small ordinary objects of a kitchen that fed people for decades. His scent was still there. Peppermint and tobacco and something beneath those, something I could not name — the smell of cooked food and lived time, the smell that is just a person, irreducible, untranslatable, already beginning to fade. I stood in it like it was the last of something. Because it was.

What goes with us. What stays. What falls into other hands, is rearranged, is carried to thrift stores in cardboard boxes, is forgotten by everyone but the one person who would have known exactly what it meant. These are the questions an empty house asks if you let yourself stand still long enough to hear them.

I struggle with immortality. Not the religious kind — but the human kind, the hunger to leave something that says I was here and I was real and this is what I was. I feel it as urgency most days, and some days the urgency becomes its own kind of paralysis. The weight of the unlived moment, the unwritten poem, the uncaptured thing. The terrible awareness that time is the one currency that does not replenish and I am spending it, always spending it, sometimes foolishly.

I want to leave something tangible. Something that could sit in a room after I am gone and hold me in it the way my father's kitchen still holds him — not a monument, nothing grand, just the true record of a life actually lived. Proof that I absorbed this world rather than merely passing through it. That I was of some sustenance to someone. That the specific texture of my days meant something, added something, left some small mark on the fabric of things.

The house across the street watches me think all of this. Its empty windows neither confirm nor deny.

I turn back to the page. It is the only answer I have ever trusted. The page that holds the smell of the moment, the weight of the question, the proof that on this particular morning a woman sat with all of it and did not look away.

That will have to be enough. Some days it almost is.

March, Evening

 I am sitting outside.

That sentence still carries a kind of miracle in it, even now. Even after these few years of learning it back — the outside, the open, the willingness to simply be under the sky without walls between me and whatever the sky is saying.

The earth is cool beneath my bare feet. I press them down deliberately, the way you press a hand to something real when you need to remember what real feels like. Grounding, they call it, and the word is exactly right. I am being grounded. The earth is doing it, quietly and without ceremony, the way it does everything.

There is sun on my face. Wind moving through my hair like something that loves me without needing anything in return. I had forgotten that wind could feel like that. I had forgotten a great many things.

Trauma is a house you stop noticing you're trapped in. The walls become ordinary. The locked door becomes just a door. You learn to call it home and mean it, because it has been so long since you knew what else home could be — what it felt like to stand in a yard in bare feet, to let the grass speak its green language up through the soles of your feet, to lift your face and receive the sun like the uncomplicated gift it is.

I lost years to those walls. I won't number them here. They know what they were.

But the earth waited. That is what I keep returning to, sitting here in the last of the afternoon light with my journal open on my knee and my feet pressed into the ground like a signature, like a promise. The earth simply waited. It did not ask where I had been or why I stayed away so long. It just received me, the way it receives everything — the rain, the fallen leaf, the bare foot of a woman finding her way back to herself one slow season at a time.

I am still learning to stay out here. To resist the pull of the walls, the screen, the ceiling. Some evenings it is easy and some evenings I have to choose it, have to carry myself outside like something fragile and set myself down in the grass and wait for the remembering to come.

Tonight it came quickly. The first touch of bare earth and something in me exhaled that had been holding since morning.

The tending of living things tends something in return. My practice is simpler than a garden — just feet, just grass, just sky, just the willingness to be here in the body, in the evening, in the life that waited patiently behind all those locked years for me to come back to it.

I am back. I am learning, still, what that means.

The wind moves through my hair again. I let it.

Beneath the Night

 


The Night's Own Country

The moon lays down her silver on the grass
and something in the dark exhales its name.
The owl speaks first, then silence answers back,
and all the small night creatures do the same.

The stars are not so distant as they seem —
I've chased them down a hundred tangled roads,
found them caught in puddles, pinned to streams,
burning in the eyes of night's small toads.

This is the hour the world belongs to those
who know that dark is not the absence of light
but something older, softer, luminous —
a different kind of seeing. This is night.


artwork and poetry ©Stacy Stephens

Funeral Home (1980): A Vintage Film Review

 


There is a particular feeling that comes over you when a film reminds you of something you have always loved — not a specific memory exactly, but a whole atmosphere, a whole way of being inside a story. That is what Funeral Home did to me on a late night when I stumbled onto it without expectations and found myself completely unwilling to look away.

The film is technically a slasher. It is set in 1980 and it has the bones of that era. But what it actually is — what it feels like in your body while you are watching it — is a vintage gothic romance novel. The kind with the painted cover, a woman running toward or away from something in a nightgown, a house looming dark and full of secrets behind her. Victoria Holt. Phyllis Whitney. That specific atmosphere of dread and beauty and a mystery that lives in the walls.

One of my quiet pleasures in watching old films is the clothing. There is something deeply satisfying about seeing an era wear itself — the specific cut of a collar, the way a hem falls, the particular shade of a polyester blouse that could only exist in exactly that decade. Funeral Home is a small treasure in this regard. The late seventies and early eighties are all over it — Heather in her casual summer separates, Florie in her brassy going-out outfit, Maude in her stiff, buttoned-up dresses that say everything about who she is without a single line of dialogue. Clothing in old films is a kind of time capsule. It reminds you that these were real people living in a real moment, wearing what the world told them was fashionable, completely unaware they were being preserved forever in it.


The story is simple on its surface. Young Heather arrives in a small rural town to spend the summer with her grandmother, Maude Chalmers, helping convert the old family funeral home into a bed and breakfast. Maude is deeply religious, stern and particular, a woman who makes artificial flower arrangements to make ends meet and quotes scripture at guests she finds morally wanting. When a couple — the obnoxious Harry Browning and his mistress Florie — refuse to leave despite Maude's clear disapproval, they take a late night drive out to the local quarry and never come back. Their car is found at the bottom of the water. Other guests follow them into silence. Meanwhile Heather keeps hearing voices from the basement at night — Maude speaking, and then a man's voice answering. When she asks, Maude denies it entirely.

The slow burn is not a flaw. It is the whole point.

The characters are wonderfully, believably quirky in the way real people in small places actually are. Billy Hibbs, the sweet and simple-minded handyman who tends the grounds and the cemetery, is easy to love. Rick Yates, the local boy who gives Heather a ride into town and becomes her summer romance, begins quietly unsettling everything she thought she knew about her family — telling her that her grandfather James was not the upstanding man Maude described, but an abusive alcoholic who had an affair with a woman named Helena Davis while Maude was locked away in an institution. And then Mr. Davis himself arrives at the inn, Helena's husband, looking for answers about his missing wife — and ends up dead before morning.



But Maude herself is the great pleasure of this film. Kay Hawtrey plays her with extraordinary restraint — formidable and maternal and quietly terrifying, a woman riddled with contradictions, fiercely loving and deeply broken at the same time. You believe her entirely. You almost understand her. Which is its own kind of unsettling.

And then the ending comes, and it is extraordinary.

When Heather and Rick finally descend into the forbidden basement, they find Billy's body. And then Maude finds them — and she is no longer quite Maude. She has been speaking in her dead husband James's voice all along, carrying on full conversations with a man who has been gone for years, and now she turns that voice on Heather, scolding her for trespassing, swinging an axe. Heather flees deeper into the basement and stumbles into a hidden room — and there is James Chalmers, preserved and seated in a chair, surrounded by Maude's artificial flower arrangements, tended and kept like something sacred.

The truth comes out after, in the way all gothic truths eventually do. When Maude was released from the institution, she came home to find James with Helena Davis. She killed them both. She buried Helena. She kept James. And for years she has been talking to him in the basement, being him in the basement, carrying the whole unbearable weight of that secret in a locked room beneath the house she opened to strangers.

When the police finally arrive, Maude comes back to herself with no memory of what she has done. She asks, very politely, if she might make a cup of tea first.

That detail undoes me a little every time I think about it.



I loved this film the way I love a paperback gothic romance found at a thrift store, spine cracked, cover slightly worn — something made for a specific kind of reader in a specific era that somehow found me anyway across all these years. It is atmospheric and patient and deeply strange in the way only a story about grief pushed past its breaking point can be.

Some things are made for late nights and lamplight. Funeral Home is one of them.



***All images were obtained through a google image search, I do not claim any copyrights to any images shared in this blog, they are used for informative purposes only

Beautiful Flower Garden

 


What the Garden Keeps

I planted things I was not sure would survive me —
the way you do when the hands need something to tend,
when the heart requires an outside place to put its hoping.

The roses do not know about my winters.
They come back anyway, pink and unreasonable,
pushing through the same dark soil every April like a argument for continuing.

There is a language here I am still learning —
the marigold's particular insistence, the lavender's grey patience,
the way the garden receives whatever I bring to it without asking why.

I come here when the words run out.
The flowers do not need me to explain myself.
They only need the water and the showing up.


artwork and poetry ©Stacy Stephens

Nightmare Castle: A Classic Film Discovery


 

I have always been a creature of the gothic. Long before I understood why certain things called to me — the crumbling manor, the flickering candle, the woman in the corridor who knows too much and says too little — I was already reaching for them. My bookshelves are the evidence. Decades of vintage gothic romance novels, their spines cracked and their pages soft with rereading, their covers featuring the obligatory woman in a flowing gown fleeing a house with one lit window. I know that woman. I have always been that woman, in the literary sense at least.

So it surprises me that it took me this long to find the films.

It happened the way the best discoveries happen — by accident, on a restless evening, with a bowl of soup and nowhere particular to be. I put on something called Nightmare Castle, a 1965 Italian Gothic horror film, not knowing quite what I was walking into. Within the first ten minutes I understood that I had found something that spoke the exact same language as every gothic novel I have ever loved.



The Woman in the Frame

The first thing you notice is Barbara Steele.

It would be impossible not to notice Barbara Steele. She has one of those faces that the camera falls in love with immediately and completely — enormous dark eyes that seem to contain entire rooms of shadow, a quality of presence that is simultaneously vulnerable and dangerous, the face of a woman who knows things she probably shouldn't. In black and white she is extraordinary. The contrast of the photography finds something in her features that color would soften into something more ordinary, and ordinary is the one thing Barbara Steele has never been.

She plays the unfaithful wife, which in a 1965 Italian Gothic film is the role that sets everything terrible into motion. And terrible things do follow, in the way of these films — the castle having its opinions, the husband having his dungeons, the housekeeper knowing absolutely everything and choosing her moments with the patience of someone who has been waiting a very long time.



This Is My Bookshelf, But Moving

Here is what struck me as I watched, soup cooling on the coffee table and the Kentucky night pressing against the windows: this is exactly my vintage gothic novels. Every element is present and accounted for.

The brooding husband with his secrets and his lower levels. The beautiful woman trapped in the architecture of a marriage that has revealed its true nature too late. The castle itself as a character, stone and shadow and the specific cold of rooms that have held suffering. The housekeeper — there is always a housekeeper in these stories, always watching, always knowing, always positioned precisely at the intersection of loyalty and something darker.

My gothic novels taught me to read these elements like a language. The crumbling estate means the family is rotten at its foundation. The locked room means the past is not finished. The woman who looks too long at the portrait means the present is haunted by something the official history declined to record. The candle that goes out means pay attention, something is about to shift.

Nightmare Castle speaks this language fluently and without apology. It is not trying to be anything other than what it is — atmospheric, gorgeous in its black and white severity, committed to the Gothic tradition with the specific devotion of Italian cinema in the 1960s, which took its horror seriously and its shadows even more seriously.



The Nosy Housekeeper and Other Gothic Institutions

I want to say something about the housekeeper because she deserves her moment.

In gothic fiction — the novels and apparently the films — the housekeeper is never merely domestic staff. She is the castle's memory. She has been there through things that have not been recorded anywhere official, and she has made her own quiet decisions about what to do with what she knows. She moves through the corridors with the authority of someone who understood the house before its current inhabitants arrived and expects to understand it after they are gone.

The housekeeper in Nightmare Castle is magnificent in precisely this way. She knows. She has always known. And she is positioned in relation to the husband in a way that the gothic reader will recognize immediately as significant — the alliance between the keeper of secrets and the maker of them being one of the genre's oldest and most reliable sources of dread.

I watched her and I thought of a hundred housekeepers in a hundred gothic novels, all of them variations on this same essential figure, and I felt the specific pleasure of recognition, of finding a familiar face in an unfamiliar room.



Why Black and White Is the Gothic's Native Language

The novels I love deal in atmosphere the way other fiction deals in plot. The atmosphere is the point. The creeping dread, the light that falls wrong, the temperature that drops without meteorological explanation, the sense that the house is aware of you in ways that houses are not supposed to be aware of anything.

Black and white photography does for film what prose does for the gothic novel. It strips away the distraction of color and leaves only shadow and light, contrast and depth, the face in the darkness and the darkness around the face. It is the visual equivalent of the gothic prose style — spare where it needs to be spare, ornate where the ornament serves the mood, always in the service of atmosphere rather than mere decoration.

Nightmare Castle is beautiful in this way. The cinematography understands that the shadow is as important as what the shadow falls on, that the corridor half-lit is more frightening than the corridor fully revealed, that Barbara Steele's face in three-quarter darkness is worth more than any amount of explicit horror.



A New Section of My Shelves

I came to this film by accident and I am leaving it with a new direction for this blog and a new section, metaphorically speaking, of my shelves.

Classic cinema — particularly Italian Gothic horror of the 1960s, and the broader world of classic Hollywood that I have barely touched — turns out to be the visual equivalent of the books I have always loved. The same grammar. The same architecture of dread and beauty. The same woman in the corridor, the same lit window, the same castle with opinions.

Barbara Steele leads to Mario Bava. Mario Bava leads to an entire tradition of Italian Gothic cinema. And beyond that, the black and white Hollywood world — Bette Davis and Joan Crawford and Gene Tierney and all the extraordinary faces that the classic camera loved — is waiting with its entire catalog of shadows and drawing rooms and secrets behind closed doors.

My gothic novels taught me to love this language. The films are teaching me that the language was always visual as well as written, that it lives in the shadow on the wall and the face in the darkness as much as it lives in the sentence on the page.

I did not expect a restless evening and a bowl of soup to open this particular door.

But that is the thing about gothic doors, isn't it. They are always where you least expect them. And they always open onto something you were always going to find.



***All images were obtained through a google image search, I do not claim any copyrights to any images shared in this blog, they are used for informative purposes only