Awesome timing from this week’s New Yorker, a review of a new biography of James Merrill by Langdon Hammer. Merrill’s a major influence to the point that I’ve often made mention of him in my Boneyards and Beautiful Zion playbills and many times here on my blog in reference to those shows. I got a good look at his homemade Ouija board when I was a Copeland Fellow at Amherst College back in 2001 (it’s in the college library’s archive) and I urge all poetry fans or supernatural fans to settle into his epic poem The Changing Light at Sandover sometime.
James Merrill’s Supernatural Epic
A trust fund, a Ouija board, and an unprecedented poem
by Dan Chiasson
“…And Ouija boards: Merrill made the most ambitious American poem of the past fifty years, seventeen thousand lines long, in consultation with one. The result, “The Changing Light at Sandover,” was a homemade cosmology as dense as Blake’s…” FULL ARTICLE HERE
The Friday 2/27/15 show marked the New York premiere of Boneyards after my performing it regularly in Philadelphia since its launch in the 2013 Philly Fringe. The concluding séance was my first one at the Morbid Anatomy Museum and the results are in: that sucker’s haunted.
My antique 1917 Ouija board with 1920 planchette was personed by audience volunteers Aaron and Chris while audience volunteer Josie stood aside and served as questioner. The rest of the audience stood in a circle watching the disturbing, heart-breaking events unfold.
They contacted a presence/spirit/demon/subconscious ideomotor impulse (depending on your beliefs) named R U S T Y who was 7and died In 2 0 1 0. Did he see the show? Y E S. What did he think of it? U 1 which I cheekily interpreted to mean “you’re number 1.”
Was he still in the cellar with us? N O. He was upstairs on the T O P F L O O R of the two-story museum. How did he die? G U N. By whom? D A D.
Later he told us he had wafted back down to us in the cellar and that he was hovering at the C E I L I N G. Previously I had told the audience that from past experiences speaking with children on a Ouija board they tend to indeed talk like children, giving brief answers and also misspelling words. This was borne out when we asked if he could see us he said Y E S, thanks to the M E A R (mirror).
A full-length mirror is part of my set and is used at various times during the show. I also point out just before every séance that it’s there to provide a window for the spirits to see us and the show as, according to James Merrill’s epic supernatural poem The Changing Light at Sandover, ghosts get the best views of the living via reflections. Continue reading “It’s Official: Brooklyn is Haunted”
Supernatural Skeptics Don’t Know What They’re Missing
by Jeffrey Stanley
I like Ouija boards. I’ve used them since I was a teenager. More recently I’ve messed around with electric spirit boxes, also known as Frank’s boxes after their inventor Frank Sumption. They’re radio receivers which allow you to listen to and record voices of the dead, also known as EVPs (Electronic Voice Phenomena) or Raudive voices, after one of their early discoverers. Over the past two years I have frequently used Ouija boards and spirit boxes in my performance art, attempting to conjure up the dead as my co-stars before a live audience. At one of the universities where I teach playwriting and screenwriting part-time I am also the faculty adviser for a student-led paranormal investigation club. Friends and fans assume I am a true believer but the truth is that I am not. I am a healthy skeptic. And that’s depressing for me because it means that on some level I feel certain there’s nothing out there. I try contacting the spirit world before live audiences to keep an element of hope simmering on the back burner of my mind. Continue reading “Supernatural Skeptics Don’t Know What They’re Missing”