An apparition causes havoc by menacing two people in their kitchen. From the London Stereoscopic Company Comic Series, 1865/Getty Images
Show Hide image

I was a die-hard sceptic, but then I saw a poltergeist

I was too stunned to be scared, but I remember the sense of conviction; surely, it was a poltergeist. Why had a supernatural being decided to show itself to me, a Marxist, who does not believe in ghosts?

One dim afternoon, I was doing the washing up, when I heard an insistent ticking noise. I looked to my right, and a just-washed wineglass, set aside to dry, was shaking slightly on the kitchen counter. Unthinkingly, I laid a finger on the base of the upended glass, silencing it.

I continued my washing; my brain finally caught up, and I wondered what the ticking noise had been. Then it started up again. I stared at the glass in horror, worrying that it signalled the return of the massive, brown rat that had occupied my kitchen for weeks, and that he was again chewing away at the wood of my cupboards. But no, only the one glass was shaking.

I was too stunned to be scared, but I remember the sense of conviction; surely, it was a poltergeist. Why, I thought, had a supernatural being decided to show itself to me, a Marxist, who does not believe in ghosts?

The ticking and rattling continued. In my mind’s eye I saw the home page of a YouTube channel with thousands of hits, and an increasing bank balance. I grabbed my phone and started filming. Then the fear came, and feeling like a brave reporter, sacrificing her own well being to capture historic footage, I held the phone out in front of me like the exorcist’s crucifix. I imagined myself on the red couch of The One Show, with perfectly coiffed hair, describing my encounter to a rapt audience, obscured by the blazing lights. Fixed to the floor, I watched the rattling glass through the tiny screen, as if its sense of remove could protect me from being ripped limb from limb by a spirit with inhuman strength.

My fiancé returned home from the store. I felt like Eve showing the apple to Adam. “David,” I said, “there’s a supernatural event!” As he watched from over my shoulder, he explained; I had put the glass down so quickly that a vacuum had formed, and as air seeped in under the nearly perfect seal between wet glass rim and counter, the glass shook and rattled. I stopped recording; he switched on a light, and I saw the tell tale foam on the upturned glass’s rim. My encounter with the supernatural had ended.

I was stunned by my credulity, and by how it had affected my thoughts and choices. Where was my sense of scientific inquiry? In my ego and my belief, I had stayed with the poltergeist, filming, afraid of scaring it away; if I had stopped for a moment to turn on the light, I would have seen the foam.

Humans flock to the supernatural. Psychologists, philosophers and anthropologists have long wondered why. Perhaps neuroscience will give us an answer, when the brain is finally mapped and understood. The world has always been an inexplicable place; even as humans mastered their environment, they wove stories of gods and spirits, imbuing them with human and animal personalities. By connecting the monstrous, unpredictable world with the smaller unknown of another being’s mind, those gods and spirits kept us from going mad with fear. We can pray to a god, or sacrifice for one; a spirit can be appeased. And, in the two months since I saw the poltergeist, I have realised that despite all of my education and understanding, as soon as there is a gap in my knowledge, the ghosts and spirits will enter.

I must admit that, now, I hunger for this experience. I seek out a sense of the numinous, and I find it, richly and wonderfully, in all elements of human experience. Consider the regular, deep gashes on this washed up log, found beached on the banks of the Tamar River. Was it gouged by the claws of an eldritch sea-beast, or gnawed by fat, writhing caterpillars the size of a duckling? I pause and enjoy these moments. Sometimes my curiosity wins, and I must sleuth out the answer, but sometimes I let my imagination run and find the most creative explanation.

Unfortunately, the world is still a horror. In some senses it is even worse than it was at humanity’s birth. We may know what causes an earthquake, but global poverty means that too many die when their buildings crumble into dust. We may understand climate change, but we still pour greenhouse gases into the air, ignoring our treaties and ensuring that floods and tsunamis will drown and beggar entire peoples. The elites who control us give us ghosts to believe in. They tell us to trust the free market to find solutions to our crises. It is a powerful spirit. In speaking of it, we even refer to market forces; to an invisible hand.

When we contemplate Stonehenge or Uluru, we may believe in ghosts, but we must renounce them when we contemplate our future as a species and a world. It is easy to throw together a few observables and come up with an explanation, but, even today, at the pinnacle of human civilisation, for each penetrating analysis there are many more ghosts. They are UKIP’s stock in trade. Immigrants and Europe did not cause recession, austerity and unemployment; selling our legacy to the bankers did that.

I feel smug here, until I remember that I, too, am susceptible. When I take stock of the horror, death and oppression across the world, I grasp for solutions as fervently as a medieval fisherman might have prayed as he watched the wave engulfing his house, from his vantage point on a high hill. Many ghosts hide within my Marxism, like belief in the infallible and mighty Leninist tradition, belief that building the vanguard party is the only way to save humanity and the planet. Unfortunately, those traditions are gone; I can mourn them, but I must never worship them.

My fiancé David, a counsellor, tells me that a belief is mutable and superficial, but a person’s values are deeper. When I chase away my ghosts, I find my values. I still know that justice exists, and that the workers and poor around the world hold the immense power to change the world in their hands. They are kept quiescent, or divided, or betrayed, by ghosts. And it is not my job to sit here and belittle them for their ghosts. It is my duty to do battle with the ghost-makers, who are, unfortunately, all too real.

 

Margaret Corvid is a writer, activist and professional dominatrix living in the south west.

Show Hide image

Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.