What the gods are supposed to be, what the priests are commissioned to say, is not a sensational secret like what those running messengers of the Gospel had to say. Nobody else except those messengers has any Gospel; nobody else has any good news; for the simple reason that nobody else has any news.Those runners gather impetus as they run. Ages afterwards they still speak as if something had just happened. Theyhave not lost the speed and momentum of messengers; they have hardly lost, as it were, the wild eyes of witnesses. In the Catholic Church, which is the cohort of the message, there are still those headlong acts of holiness that speak of something rapid and recent; a self-sacrifice that startles the world like a suicide. But it is not a suicide; it is not pessimistic; it is still as optimistic as St. Francis of the flowers and birds. It is newer in spirit than the newest schools of thought; and it is almost certainly on the eve of new triumphs. For these men serve a mother who seems to grow more beautiful as new generations rise up and call her blessed. We might sometimes fancy that the Church grows younger as the world grows old.

Two other highly vocal FMSF Advisory Board members are Dr Elizabeth Loftus and Professor Richard Ofshe. Loftus is a respected academic psychologist whose much quoted laboratory experiment of successfully implanting a fictitious childhood memory of being lost in a shopping mall is frequently used to defend the false memory syndrome argument. In the experiment, older family members persuaded younger ones of the (supposedly) never real event. However, Loftus herself says that being lost, which almost everyone has experienced, is in no way similar to being abused. Jennifer Freyd comments on the shopping mall experiment in Betrayal Trauma (1996): “If this demonstration proves to hold up under replication it suggests both that therapists can induce false memories and, even more directly, that older family members play a powerful role in defining reality for dependent younger family members." (p. 104). Elizabeth Loftus herself was sexually abused as a child by a male babysitter and admits to blacking the perpetrator out of her memory, although she never forgot the incident. In her autobiography, Witness for the Defence, she talks of experiencing flashbacks of this abusive incident on occasion in court in 1985 (Loftus &Ketcham, 1991, p.149)In her teens, having been told by an uncle that she had found her mother's drowned body, she then started to visualize the scene. Her brother later told her that she had not found the body. Dr Loftus's successful academic career has run parallel to her even more high profile career as an expert witness in court, for the defence of those accused of rape, murder, and child abuse. She is described in her own book as the expert who puts memory on trial, sometimes with frightening implications.She used her theories on the unreliability of memory to cast doubt, in 1975, on the testimony of the only eyewitness left alive who could identify Ted Bundy, the all American boy who was one of America's worst serial rapists and killers (Loftus & Ketcham, 1991, pp. 61-91). Not withstanding Dr Loftus's arguments, the judge kept Bundy in prison. Bundy was eventually tried, convicted and executed.

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality.Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

In the beginning was the Word'. I have taken as my text this evening the almighty Word itself. Now get this: 'There was a man sent from God, whose name was John. The same came for a witness, to bear witness of the Light, that all men through him might believe.' Amen, brothers and sisters, Amen. And the riddle of the Word, 'In the beginning was the Word....' Now what do you suppose old John meant by that? That cat was a preacher, and, well, you know how it is with preachers; he had something big on his mind. Oh my, it was big; it was the Truth, and it was heavy, and old John hurried to set it down. And in his hurry he said too much. 'In the beginning was the Word, and the Word was with God, and the Word was God.' It was the Truth, all right, but it was more than the Truth. The Truth was overgrown with fat, and the fat was God. The fat was John's God, and God stood between John and the Truth. Old John, see, he got up one morning and caught sight of the Truth. It must have been like a bolt of lightning, and the sight of it made him blind. And for a moment the vision burned on the back of his eyes, and he knew what it was. In that instant he saw something he had never seen before and would never see again. That was the instant of revelation, inspiration, Truth. And old John, he must have fallen down on his knees. Man, he must have been shaking and laughing and crying and yelling and praying - all at the same time - and he must have been drunk and delirious with the Truth. You see, he had lived all his life waiting for that one moment, and it came, and it took him by surprise, and it was gone. And he said, 'In the beginning was the Word....' And man, right then and there he should have stopped. There was nothing more to say, but he went on. He had said all there was to say, everything, but he went on. 'In the beginning was the Word....' Brothers and sisters, that was the Truth, the whole of it, the essential and eternal Truth, the bone and blood and muscle of the Truth. But he went on, old John, because he was a preacher. The perfect vision faded from his mind, and he went on. The instant passed, and then he had nothing but a memory. He was desperate and confused, and in his confusion he stumbled and went on. 'In the beginning was the Word, and the Word was with God, and the Word was God.' He went on to talk about Jews and Jerusalem, Levites and Pharisees, Moses and Philip and Andrew and Peter. Don't you see? Old John had to go on. That cat had a whole lot at stake. He couldn't let the Truth alone. He couldn't see that he had come to the end of the Truth, and he went on. He tried to make it bigger and better than it was, but instead he only demeaned and encumbered it. He made it soft and big with fat. He was a preacher, and he made a complex sentence of the Truth, two sentences, three, a paragraph. He made a sermon and theology of the Truth. He imposed his idea of God upon the everlasting Truth. 'In the beginning was the Word....' And that is all there was, and it was enough.

My sister Emily first declined. The details of her illness are deep-branded in my memory, but to dwell on them, either in thought or narrative, is not in my power. Never in all her life had she lingered over any task that lay before her, and she did not linger now. She sank rapidly. She made haste to leave us. Yet, while physically she perished, mentally, she grew stronger than we had yet known her. Day by day, when I saw with what a front she met suffering, I looked on her with anguish of wonder and love. I have seen nothing like it; but, indeed, I have never seen her parallel in anything. Stronger than a man, simpler than a child, her nature stood alone. The awful point was, that, while full of ruth for others, on herself she had no pity; the spirit inexorable to the flesh; from the trembling hand, the unnerved limbs, the faded eyes, the same service exacted as they had rendered in health. To stand by and witness this, and not dare to remonstrate, was pain no words can render.

The people had come to witness a sensational case, to see celebrities, to get material for conversation, to be seen, to kill time. They would return to unwanted jobs, unloved families, unchosen friends, to drawing rooms, evening clothes, cocktail glasses and movies, to unadmitted pain, murdered hope, desire left unreached, left hanging silently over a path on which no step was taken, to days of effort not to think, not to say, to forget and give in and give up. But each of them had known some unforgotten moment-a morning when nothing had happened, a piece of music heard suddenly and never heard in the same way again, a stranger's face seen in a bus-a moment when each had known a different sense of living. And each remembered other moments, on a sleepless night, on an afternoon of steady rain, in a church, in an empty street at sunset, when each had wondered why there was so much suffering and ugliness in the world. They had not tried to find the answer and they had gone on living as if no answer was necessary. But each had known a moment when, in lonely, naked honesty, he had felt the need of an answer.

As Sandy and his wife warmed to the tale, one tripping up another in their eagerness to tell everything, it gradually developed as distinct a superstition as I ever heard, and not without poetry and pathos. How long it was since the voice had been heard first, nobody could tell with certainty. Jarvis's opinion was that his father, who had been coachman at Brentwood before him, had never heard anything about it, and that the whole thing had arisen within the last ten years, since the complete dismantling of the old house: which was a wonderfully modern date for a tale so well authenticated. According to these witnesses, and to several whom I questioned afterwards, and who were all in perfect agreement, it was only in the months of November and December that "the visitation" occurred. During these months, the darkest of the year, scarcely a night passed without the recurrence of these inexplicable cries. Nothing, it was said, had ever been seen - at least nothing that could be identified. Some people, bolder or more imaginative than the others, had seen the darkness moving, Mrs Jarvis said with unconscious poetry. ("The Open Door")

Gerbert, by the window, shuddered; his mouth contorted. The witch began to twist faster and faster while her twin was talking to Gisela, mumbling to her, marching old holy words straight through the child’s ear into her skull, where they entered the bloodstream and looked for the enemy. The monk’s fingers twitched in the same rhythm and he found himself falling into a trance. He knew it would be dangerous to witness the witches brewing and dancing but there was an energy in it that he’d missed badly since he’d been asked to educate the young princess. Gerbert didn’t even notice when the hags stopped, tucked the girl in, rubbed the concoction on her lips and left for the unseen place from which they had come. Gisela healed quickly thereafter: The fever fell that same night and she asked for solid food the next morning. She had no memory of what had happened, but when she bounced on one leg across the meadow in the castle yard, she chanted a little melody that had not been heard in church, an odd melody that made Gerbert’s ears prick up because he sensed the uncanny in it.

I thought I was in love with Leola, by which I meant that if I could have found her in a quiet corner, and if I had been certain that no one would ever find out, and if I could have summoned up the courage at the right moment, I would have kissed her. But, looking back on it now, I know that I was in love with Mrs Dempster. Not as some boys are in love with grown-up women, adoring them from afar and enjoying a fantasy life in which the older woman figures in an idealized form, but in a painful and immediate fashion; I saw her every day, I did menial tasks in her house, and I was charged to watch her and keep her from doing foolish things. Furthermore, I felt myself tied to her by the certainty that I was responsible for her straying wits, the disorder of her marriage, and the frail body of the child who was her great delight in life. I had made her what she was, and in such circumstances I must hate her or love her. In a mode that was far too demanding for my age or experience, I loved her.

You haven’t fed for several days. And you refuse to drink from me…so go…and come back soon.”He shook his head, his dark eyes bleak as he gazed upon his wife. “I can’t leave you,” he whispered. “Last time I left you alone…” he couldn’t even finish…totally devastated. He knew he needed to feed, but how could he leave her unprotected?Jenera moved close and took his hands in hers, peering up into his face. “Shall I come with you?” She smiled impishly, threading his hands with hers—palm to palm, relishing their skin-to-skin contact. Would she ever feel enough? Want enough? No…never she realized.He paled and snorted a small laugh, “God no! It’s not something for my wife to witness.”Still smiling, she lifted a brow over her branding tattoo, “Why? Is it gruesome? Carnal? Sexually explicit?”Darién’s mouth dropped open in shock, “Uh…none of the above, kelis. It’s impersonal like eating a hamburger would be for you.