Welcome, January! I don’t do resolutions because I can never keep any promises. Life simply gets in the way sometimes and adapting is name of the game. That’s not to say I don’t make changes. Truth is, I’ve been thinking of quitting this blog for some time, but later this spring will mark my blog’s 5th anniversary and I’m proud of my little creations. So, I’m going to stick it out another year and see where the road leads.
Blogging hasn’t always been easy. Last year was a dismal time. I have not been able find the balance in work-to-home life after the pandemic. The first two years of blogging seemed promising. Then, I realized there was another Halloween Haiku writer who returned from a long hiatus and insisted in creating a competition. It was awkward and weird. Totally killed my inspiration. I ignore that person and exist in my own space because my haiku are original. I never claimed to do anything first, especially where a 3,000 year-old art form is concerned.
My real enemy is social media. I added “horror” to my blog name to differentiate between any other halloween haikus, no matter when they started. I thought I would gain more followers doing that. The unpleasant reality is my blog is a little too niche, even for fans of Halloween, horror, or haiku. Thus, I’ve failed to make any kind of mark. I don’t have the time to keep up Halloween trends, nor the skills to run entertaining or informative social media accounts. If you’ve noticed, I stepped back from Meta (Facebook) and Twitter altogether. While I’m happy to be part of The Samhain Society, it seems my lot in life is to always be the square in a circle. But, hey, this is no pity party. I am GenX. Being alone ain’t nothing new.
So, here I am, giving blogging in 2023 a chance. This year I’m going back to basics, just writing haiku. Halloween and horror haiku to be specific. Trying something new though, all my haiku will connect to tell a story that fits a monthly theme. Actually, I did it in December 2022. Every Monthly Haiku Corner, I will announce the theme and give readers a little background blurb. From there, a tale will unfold week after week and by the end of the year, I should have 12 different micro stories, told in haiku format. Occasionally, I’ll post some other stuff too, a horror movie list for those looking for recommendations, a Friday Fright Nightcap here, a Wicked Art Wednesday showcase there, but mostly, it will be all about the Halloween and horror haiku.
I wish everyone all the best this year. May 2023 be good to you. Be safe and have fun. May you find love and inspiration this year, and of course, good health, joy, happiness, and prosperity.
After giving it some thought, I changed this month’s theme to Haunted Holidays. I realized I was creating two different themed plans in December and I wanted to take a little bit more time to plan out my approach to writing haiku next year, so…Blood and Ice will be next month’s theme.
This December is all about the haunted holidays! Back in the day, people told ghost stories during Christmastime and I would love to bring that tradition back. I encourage everyone to create, write, or find a short ghost tale to tell on Christmas eve, and if you’re having trouble, might I recommend simply retelling the classic timeless tale from Charles Dickens, A Christmas Carol. Scrooge is the hero we need right now!
Here’s a look at some of the shenanigans I have planned this month:
Haunted holidays haiku every Monday
Brand new gift-giving guides for Halloween and horror fans
New recipes for christmassy cocktails
Haunted Holidays Photo Challenge
Christmas gift-giving countdown (Details TBA)
I’m kicking off the celebrations with a daily photo challenge. You may post both traditional or haunted photos or artwork. Jump in any time, even if you skip a day, or 5, but, if you can post all 25 days in December, I’ll enter your name into the cauldron for a drawing to win a haunted holidays prize pack.
No purchase is necessary for any of the upcoming contests, but you must be following my blog and be friends with me on at least one of my social media pages (listed below) for a chance to win! Please see official contest rules for more details.
I wish you a season filled with amusement, inspiration, love, and joy. Please be safe and stay healthy. Remember to take some time for yourself, relax and recharge, so you don’t burn out or lose your damn mind by January.
Will apple bobbing be a Halloween tradition that survives the apocalypse?
Apple bobbing dates back to antiquity and is commonly associated with the Celtic festival Samhain, where apples were a sign of abundance, fertility, and good harvest. The game goes like this, several apples are placed into a tub filled with water, then, children or adults, with hands bound behind their backs, try to catch apples with their teeth. There were several variations of the game, including one called Snap Apple where the apple hangs from a string tied to the ceiling. Eventually, apple bobbing became a fun courting act between young ladies and potential suitors, particularly in regions of the United Kingdom. A young lady would drop her apple, representing the man she most desired, into a barrel and attempt to bite the apple by dunking her head into or near the water. Catching the apple in one try meant the romance was destined to succeed, while more than three tries meant the relationship was doomed. Hard to believe that’s how many a marriage started before the 1900s, but there you have it. Young women even put their apples under their pillows the night before for extra luck.
Health and safety concerns pretty much keep bobbing for apples a thing in the past. The fear of catching Covid, Influenza, or some other illness from contaminated water is high and parents of small children especially fear drowning, not to mention the high possibility of eye injuries from accidental scratches or infections. This game is more dangerous nowadays than it ever was in the past. Most instances of apple bobbing events happen during private parties or fall festivals and more often than not, involve schoolchildren. No young lads want to mess up their coiffeurs and any ladies looking for a soulmate will find that match.com is a far easier and safer way to attract a good man.
Whether due to the radioactive contamination from the fallout of a nuclear war or worldwide freshwater shortages due to climate change, it’s hard to imagine the earth will be fertile enough in the future to grow orchards full of apple trees needed for apple bobbing. Soil and water would both be irradiated in the event of a nuclear explosion, so, growing any crops at all will be a challenge. Given the high chance of scarcity of food during the apocalypse, I don’t anticipate apple bobbing to be a Halloween tradition that survives. Still, only one apple is truly needed to play, so, all hope is not completely lost. Let me know your thoughts in the comments or hit me up on social media.
Happy October! After starting late this Halloween season, I’m now ready to post the schedule of this year’s 31 Days of Halloween Celebration. The theme this October is dystopian Halloween. With the doomsday clock ticking down, due to savages like Russian dictator Vladamir Putin and gun-crazed trump-loving jesus-freaks, it’s probably way past time to think about how humankind plans to survive the apocalypse, in particular, how we’ll preserve our traditions and holidays, like Halloween.
Part of the month, we’ll have some fun with the dystopian Halloween-horror theme, but I have decided to mix in some good old-fashion Halloween traditional themes as well, cuz, I just love talking about those Halloween memories.
Have a safe and happy Halloween season!
31 Days of Halloween Schedule
Monday Macabre Mondays are always dedicated to Haiku, but every Monday in October we’ll explore a dystopian Halloween.
Tuesday Terror Every Tuesday, I’ll share my favorite scary movies that I believe make great Halloween season viewing.
Wicked Art Wednesdays Every Wednesday, I’ll share some spooktacular Halloween art with an apocalyptic twist. I might even post some my own original Halloween pencil stencil art.
Throwback Thursdays Preservation of Halloween traditions is important for several reasons. Every Thursday, let’s explore the origins of some Halloween traditions and muse over whether these traditions might survive the apocalypse.
Friday Fright Nightcaps Ghosts aren’t the only ones who like to get sheet-faced on Halloween. Check back every Friday for Halloween season-inspired cocktails.
Sinister Saturdays In the past few years, Sinister Saturdays have always been dedicated to food and Halloween recipes. The problem was, besides my being the worst cook in America, people are simply reluctant to let you share their recipes online, even if you give them complete credit and link back to their website. So, in the true spirit of Sinister Saturdays, we’re just going to let the demons loose that day and see what they come up with.
Poe Sundays This year’s tribute to the master of macabre, Edgar Allan Poe, will feature my thoughts on the best Poe adaptations on film.
On Sundays, we celebrate the Master of Macabre, Edgar Allan Poe
Fun Fact: Readers of the day were so horrified by the story’s violence, they complained to the editor of the Messenger, the first magazine to publish Berenice. Poe himself later removed 4 paragraphs of text, thus, many early publishings are missing the detailed heinous act of Poe’s story.
Poe was angry at being forced to self-censor his own work, believing a story should be judged solely by how many copies it sold.
The Fall of the House of Usher by Edgar Allan Poe (1839)
Poe Sundays are all about honoring the works of Edgar Allan Poe. The Fall of the House of Usher is considered by many critics to be Poe’s gothic masterpiece. Despite never learning the name of the story’s narrator, we come to quickly trust his well-observed eye and candor about the events experienced during his journey to visit Roderick Usher, a boyhood friend, of whom he has not seen in quite some time. It begins with an epigraph from French poet Jean Pierre de Beranger, which translates to “His heart is a tightened lute; as soon as one touches it, it echoes.” The narrator wastes no time in suggesting to his audience that Usher and the crumbling mansion share the same doomed fate.
Son cœur est un luth suspendu; Sitôt qu’on le touche il résonne. De Béranger.
DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows.
Nevertheless, in this mansion of gloom I now proposed to myself a sojourn of some weeks. Its proprietor, Roderick Usher, had been one of my boon companions in boyhood; but many years had elapsed since our last meeting. A letter, however, had lately reached me in a distant part of the country—a letter from him—which, in its wildly importunate nature, had admitted of no other than a personal reply. The MS. gave evidence of nervous agitation. The writer spoke of acute bodily illness—of a mental disorder which oppressed him—and of an earnest desire to see me, as his best and indeed his only personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady. It was the manner in which all this, and much more, was said—it was the apparent heart that went with his request—which allowed me no room for hesitation; and I accordingly obeyed forthwith what I still considered a very singular summons.
Although, as boys, we had been even intimate associates, yet I really knew little of my friend. His reserve had been always excessive and habitual. I was aware, however, that his very ancient family had been noted, time out of mind, for a peculiar sensibility of temperament, displaying itself, through long ages, in many works of exalted art, and manifested, of late, in repeated deeds of munificent yet unobtrusive charity, as well as in a passionate devotion to the intricacies, perhaps even more than to the orthodox and easily recognizable beauties, of musical science. I had learned, too, the very remarkable fact, that the stem of the Usher race, all time-honored as it was, had put forth, at no period, any enduring branch; in other words, that the entire family lay in the direct line of descent, and had always, with very trifling and very temporary variation, so lain. It was this deficiency, I considered, while running over in thought the perfect keeping of the character of the premises with the accredited character of the people, and while speculating upon the possible influence which the one, in the long lapse of centuries, might have exercised upon the other—it was this deficiency, perhaps, of collateral issue, and the consequent undeviating transmission, from sire to son, of the patrimony with the name, which had, at length, so identified the two as to merge the original title of the estate in the quaint and equivocal appellation of the “House of Usher”—an appellation which seemed to include, in the minds of the peasantry who used it, both the family and the family mansion.
I have said that the sole effect of my somewhat childish experiment—that of looking down within the tarn—had been to deepen the first singular impression. There can be no doubt that the consciousness of the rapid increase of my superstition—for why should I not so term it?—served mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis. And it might have been for this reason only, that, when I again uplifted my eyes to the house itself, from its image in the pool, there grew in my mind a strange fancy—a fancy so ridiculous, indeed, that I but mention it to show the vivid force of the sensations which oppressed me. I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity—an atmosphere which had no affinity with the air of heaven, but which had reeked up from the decayed trees, and the gray wall, and the silent tarn—a pestilent and mystic vapor, dull, sluggish, faintly discernible, and leaden-hued.
Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of the individual stones. In this there was much that reminded me of the specious totality of old wood-work which has rotted for long years in some neglected vault, with no disturbance from the breath of the external air. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn.
Noticing these things, I rode over a short causeway to the house. A servant in waiting took my horse, and I entered the Gothic archway of the hall. A valet, of stealthy step, thence conducted me, in silence, through many dark and intricate passages in my progress to the studio of his master. Much that I encountered on the way contributed, I know not how, to heighten the vague sentiments of which I have already spoken. While the objects around me—while the carvings of the ceilings, the sombre tapestries of the walls, the ebony blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters to which, or to such as which, I had been accustomed from my infancy—while I hesitated not to acknowledge how familiar was all this—I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up. On one of the staircases, I met the physician of the family. His countenance, I thought, wore a mingled expression of low cunning and perplexity. He accosted me with trepidation and passed on. The valet now threw open a door and ushered me into the presence of his master.
The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber, or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all.
Upon my entrance, Usher rose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality—of the constrained effort of the ennuyé man of the world. A glance, however, at his countenance convinced me of his perfect sincerity. We sat down; and for some moments, while he spoke not, I gazed upon him with a feeling half of pity, half of awe. Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the man being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity;—these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eye, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity.
January’s full moon is nicknamed the ‘Wolf Moon.’ It’s believed the howling of wolves could be heard more during the time. Today’s Wolf Moon marks the first full moon of 2020, which coincides with the lunar eclipse.
This is a sign.
Earlier this week, I rebooted the Monthly Haiku Corner. After spreading myself too thin in 2019, and failing to accomplish my goals, I’ve decided not to write weekly haiku. This year, I’m choosing quality over quantity. Although I’m a sucker for monthly holidays and pop culture, I am dedicated to writing darker, more, haunting haiku than before.
I’ve found that writing haiku is a learning process. I’m not the most talented or skilled writer but this is all my heart really wants to do. I love horror and over the years, I’ve started several novels and abandoned them. This year, we answer the call. Only courage can navigate the dangerous waves of fear.
Make no mistake, I am still committed to sharing the love for Halloween, movies, entertainment, and creating cool, spooky original content for this blog. That won’t change. Besides, April marks the second anniversary of Halloween Haiku and I have big plans to celebrate! Plus, I’m already drawing up a game plan for this year’s Halloween. Halloween 2020 falls on a Saturday this year, under a full moon, a blue moon, no less.
Author, illustrator, storyteller, and filmmaker Steven Soenksen a.k.a. Gris Grimly grew up inspired by classic horror films, comics, art, and all the great horror writers like Edgar Allan Poe, Edward Gorey, and H.P. Lovecraft. After college, he moved to Los Angeles and fell into illustrating children’s books and built a successful reputation for his dark yet whimsical characters. Grimly was hired to draw illustrations for retellings of classic stories, such as, The Legend of Sleepy Hollow, The Halloween Tree, Wicked Nursery Rhymes, Pinocchio and Frankenstein, a story which holds personal meaning to him.
In 2005, Grimly wrote, produced and directed a horror short called Cannibal Flesh Riot! with his good friends, which received good reviews and toured the festival circuit that year. The film’s success led to other opportunities, making other short films and music videos, including a video for Texas psychobilly fiends, Ghoultown, starring the Mistress of the Dark herself, Elvira.
Why we love them: Handsome, rock-a-billy, tattoed and super talented, what’s not to love? I’ve met Gris Grimly a couple of times at horror conventions and he’s incredibly nice. He recently moved his family back to the home state of Nebraska and looks like, he’s already working on a new book. I can’t wait to read it.
People have been carving vegetables into lanterns since the dawn of time. The Maori people used gourds for lights, over 700 years ago. It’s believed the making of jack-o’-lanterns began in Ireland in 1600s, when they used turnips and gourds to hollow out to use for lantern during Halloween in Ireland and Scotland, sometimes carving out grotesque faces to frighten people.
The lanterns represented spirits and were used to ward off evil or lost spirits. Sometimes people put them on the windowsills to keep harmful spirits away from the home. Once Christianity took firm hold in the region and Halloween combined with the Christian observances of All Saints’ Day on November 1 and All Souls’ Day on November 2, jack-o’-lanterns were lit in remembrance of Christian souls in purgatory.
The term Jack-o’-Lantern began showing up in print in the early 1800s, when Irish newspapers began printing stories telling of carved gourd lanterns and information on local gourd carving competitions. But it wasn’t until 1866, that the first recorded association between a carved pumpkin and Halloween would show up in an edition of The Daily News in Kingston, Ontario.
Today’s jack-o’-lanterns have evolved into works of art. No longer content with simple faces, pumpkin carving has become big business with the sale of tools and artistic guides to help amateurs and home haunters create their own elaborately designed pumpkins, to televised competitions and special appearances by professional carvers, who enjoy D-List celebrity status.
Jack-o’-Lanterns were once associated with the term ‘will-o’-the-wisp’ or ‘ignis fatuus’, the Medieval Latin for “fool’s fire”. A will-o’-the-wisp was thought to be a ghostly light or orb seen by travelers during the night, particularly near bogs, swamps, or marshes. The phenomenon was said be supernatural, brought on by ghosts, fairies, or other elemental spirits.
A tale behind the term refers to a wicked blacksmith who was turned away at the pearly gates by St. Peter. He was given a second chance to redeem himself but the blacksmith failed to change his evil ways and was then cursed to wander the earth for eternity. The Devil was impressed by the blacksmith’s antics and decided to give him a single burning coal to keep him warm, which he used to lure foolish travelers into the marshes instead.
The Story of Stingy Jack
In addition to the will-o’-the-wisp myth, no folklore associated with jack-o’-lanterns are quite as memorable as the story of Stingy Jack, a devilish man, so evil, the real Satan paid him a visit to see what all the hoopla was about. The witty Jack was a shrewd deceiver, a master manipulator and a nasty drunkard, who managed to trick Satan, not once but twice. The first time, he convinced the devil to go drinking with him. Afterward, being too stingy to pay, Jack told the Devil to turn into a coin so he can pay the bill. Once the Devil did so, Jack put the coin in his pocket along with a silver cross, trapping Satan until he agreed to spare Jack’s soul for ten years. The Devil agree and off Jack went.
by surrounding the devil with crosses to trap him until he agreed to spare Jack’s soul. Once Jack finally died from drink, he was refused entrance into heaven for his lifetime of sin and denied entrance into hell per his previous agreement with Satan. Satan cast the doomed soul out to wander the world for eternity, with only a single ember, which Jack inserted into a hollowed turnip to light his way. He became known as Jack of the Lantern, and eventually, Jack-o’-Lantern.