House of Leaves Series Recap 2/5: And These Shadows Keep On Changing: 96

In which Carla recaps the second episode (Ergodic) in the series on the universe of the horror novel House of Leaves, so that we may go deeper. Further down and further in, cupcakes. This is the only map we have.

The House of Leaves universe:

• House of Leaves by Mark Z. Danielewski
• The Whalestoe Letters: From House of Leaves
• Poe’s album “Haunted”: Apple, Spotify, Amazon

Referenced:
The Griffin and Sabine Series by Nick Bantock:
1. Griffin and Sabine
2. Sabine’s Notebook
3. The Golden Mean
4. The Pharos Gate
Night Film by Marisha Pessl 
Pale Fire by Vladimir Nabokov 
The Annotated Lolita by Vladimir Nabokov 
Ada, or Ardor: A Family Chronicle by Vladimir Nabokov 

Some of Ellen Hopkins’ prose poetry books:
Tricks and Traffick
Burned and Smoke
Perfect
Impulse
Crank, Glass, and Fallout

The Last House on the Left
Grave Encounters
In the Mouth of Madness
Joel-Peter Witkin: An Objective Eye

Sources:
https://religionpopculture.home.blog/2019/04/21/exploring-labyrinths-and-voids-in-house-of-leaves/
https://www.theguardian.com/books/2020/apr/02/house-of-leaves-changed-my-life-the-cult-novel-at-20
https://en.wikipedia.org/wiki/House_of_Leaves
https://parapedia.fandom.com/wiki/House_of_Leaves
Cybertext: Perspectives on Ergodic Literature by Espen J. Aarspeth
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Episode Transcript

Speaker 1 (00:25):
And all I need now is intellectual intercourse, a soul
to dig the hole much deeper. I have no concept
of time other than it's flying Alanis Morrissett all I
really want. I chose this quote because it's something I'd
read in the Guardian article written on the twentieth anniversary
of the novel's publication last year linked in the show notes.

(00:50):
It's one of those strange young in serendipities that travels
with this dark book. As soon as I'd finished taking
notes on that article, I turned on Alanis while organized
my thoughts on it, and there you go. The quote
is from Dreeves Thornhill, a moderator from a Facebook group
dedicated to discussing House of Leaves, and they said, House

(01:11):
of Leaves is a living, breathing thing. It's one of
those things you can't relax with until you've discussed it
with someone else. And here we are, and there Johnny
Truant was being dragged in the middle of the night
into Zupano's apartment by his friend Lude. And going back
to that dank, thought haunted apartment, I wanted to briefly

(01:32):
re explore some phrases and thoughts from the introduction. Before
we move on, I reread my notes, and I've left
some intriguing things behind. One is a fun reference to
a horror movie, which there are many throughout the novel,
direct ann oblique. This one was the direction to the
Zupano's apartment. It was the last door on the left,

(01:54):
which my scream queen mind saw as a reference to
Wes Craven's infamous nineteen seventy one move Be the Last
House on the Left, a movie about getting lost by
getting hooked up with the wrong people and about a
proper white suburban nuclear family actually being dangerous. This is
a signposted later, as you'll see. The next is just

(02:15):
a phrase I liked that Johnny used to describe Zupono's
apartment the scent of human history as delicious, so evocative,
and in that apartment he saw the deracinated details of
Supano's life. Not a word I was familiar with, so
I looked it up. It means uprooted from one's natural environment,

(02:36):
appropriate to this novel, as you will see when we
talk about the Navids and family, and also a lovely
word to use to describe Zupano's nest of an apartment,
which he'd filled with books, papers, and information from elsewhere,
wall to wall obsession. As Johnny Trant said, there were
even books in refrigerator. Another phrase Johnny used, this time

(02:57):
to describe the Navidsen Record as he found it, the
apartment quote lost in the twist of so many dangerous sentences,
the first labyrinth in this novel. Finally, two more things
were mentioned in the introduction that sent me down a
rabbit hole. The first was a reference to the Magano Line.
It's a metaphor for expensive efforts that offer a false

(03:19):
sense of security. The actual Magano Line was a huge
barrier of concrete fortifications and obstacles, plus weapons installations that
were set up by France in the nineteen thirties on
their side of the borders of Germany, Luxembourg, Italy and
Switzerland to deter Germany from invading. It was based upon
France's experience with trench warfare in World War One, so

(03:43):
it did not extend to the English channel, so it
had a big old hole in it, basically in my
limited understanding of warfare, whoops. The other was Johnny Truant's
reference to Joel Peter Wicken Joel Peters hyphenated. He was
a controversial American photographer who focused on disturbing themes. He

(04:03):
claimed that he witnessed a car accident as a child,
the result of which decapitated a child, and that trauma
informed his adult work. He focused on death, corpses, and
outsiders of his time, intersects, individuals, Dwarfism, and the disabled
and deformed. He also liked to photograph his subjects in
religiously inspired tableaus, you know, like the Last Supper. There's

(04:26):
a documentary about him and his work called Joel Peter
Witkin An Objective Eye. I'll link to it in the
show notes. Both of these references are definitely intriguing given
these this novel's themes. Untrustworthy, safety, spending a lot of
money and effort to find yourself back where you started
thinking you're safe because you're white, picket fence barrier, disturbing

(04:49):
images of the outsider, and things maybe we would rather
not see. And this will make sense in a moment
with regard to Will Navidson, Can we trust images? What
is to upsetting to witness? Photograph film quote? Zippano writes
constantly about seeing what we see, how we see, and

(05:10):
one in turn we can't see over and over in
one form or another. He returns to the subject of light, space, shape, line, color, focus, tone, contrast, movement, rhythm, perspective,
and composition, none of which is surprising considering Zuppano's Peace

(05:30):
centers on a documentary film called The Navidsen Record, made
by a Pulitzer Prize winning photojournalist who must somehow capture
the most difficult subject of all, the sight of darkness itself.
Now we delve into the unique structure of the novel,
which is often what puts people off from reading it.
I've heard it called everything up and down the spectrum, intimidating, precious, fascinating,

(05:55):
self indulgent, obnoxious. The technical name for it is ergodic
e R goodic. Here's why you allow me to get
a little quote unquote precious or self indulgent and dive
into this concept. It's defined by epsyn g R Seth,
which is a great name in his book Cybertext Perspectives

(06:18):
on Ergotic Literature. Quote in our Godic literature, non trivial
effort is required to allow the reader to transverse the text.
If our Godic literature is to make sense as a concept,
there must also be non ergodic literature, where the effort
to transverse the text is trivial, with no extra nomadic

(06:38):
responsibilities placed upon the reader, except for example, I movement
and the periodic or arbitrary turning of pages unquote. Extra
nomadic being an awesome word meaning occurring outside the confines
of human thought, which perfectly describes the Navidsen's House and
the Navidsen Record to a great extent. Any document that

(06:59):
makes the reader lose touch with reality could be described
as extra nomadic. Yes, and it's not my accent. It's
not nomadic like a nomad. It's n oe. So it's
e X T R A noo E M A T
I C. I know sometimes I tend to slur words
because of fatigue and because of my Southern accent, So

(07:22):
I want to make sure I got that one right.
The word ergotic is from the Greek ergon, which means work,
and hodos, which means path. The path requires work from
the walker. I love words. The third word of note
in RSS's work is cybertext, that originated with Bruce Boston,
a speculative fiction poet. In reading cybertext, each reader obtains

(07:47):
a different outcome based upon the choices they make while
reading it, so think of those. Choose your own adventures book.
You know. If you want to pull a sword, turn
to page twenty six. If you want to sheathe your sword,
turned to page twenty cybertext has navigation options and a
feedback loop between the reader and the book. Here's how
House of Leafs qualifies. You can choose to read the

(08:09):
subtitles later at the end of the section, then go
back and read that section subtitles, or you can read
each subtitle in each subtitle's subtitle in order as you go.
They're layered. You can explore the frontispiece image and the
small images on the spine in great detail before you
read the book as you read, or you can avoid
them until after you read the novel, after which you

(08:29):
can go then explore them and the internet's theories on them,
and so on and so on. To quote Johnny Truant
describing A. Zupano's documentation of the Navidsen Record, endless snarls
of words, sometimes twisting into meaning, sometimes into nothing at all,
frequently breaking apart, always branching off into other pieces that

(08:52):
come across later. On old napkins, the tattered edges of
an envelope once even on the back of a postage stamp.
Everything in anything but empty, each fragment completely covered with
the creep of years and years of ink, pronouncements, layered,
crossed out, amended, handwritten, typed, legible, illegible, impenetrable, lucid, torn, stained, scotch, taped,

(09:18):
Some bits crisp and clean, others faded, burnt, or folded
and refolded, so many times the creases it obliterated, whole
passages of God knows what sense, truth, deceit, a legacy
of prophecy or lunacy, or nothing of the kind, and
in the end achieving, designated, describing, recreating, find your own words.

(09:40):
I have no more or plenty more, but why and
ought to tell what. A great example of cybertext is
the poetry prose of Alan Hopkins. She writes really thick
novels in poetry form about the experiences a teenagers struggling
with addiction, family strife, and mental illness. Some of her

(10:00):
poems can be read in two different ways, left to right,
up to down, as you usually read text written in English,
and also by only reading the text isolated on the
right hand side of the page or by only reading
the first word of each line. The poem thus becomes
two different poems. You can choose to read both then
and there, or come back to the second one later,

(10:22):
or neglect the second one altogether. The book becomes different
books depending upon the reader's actions. I will link to
her thoughtful and beautiful books in the show notes and
the website entry for this episode. So House of Leaves
is rogthic, an extra nomadic supertext because of the nature
of its texts and the text format and typography, and

(10:43):
I'll post pictures online As we deal deeper, there are
footnotes and footnotes of the footnotes, there are blank pages
with purpose. There are pages with only one or two
words designed to draw you in further as moments of silence.
There are pages where the text is written in a square,
and so on. The cover itself is Argothic, as I

(11:03):
described in the first episode. There's a labyrinth printed on
it that can only be seen in certain light or
if the book is tilted a certain way. Also, the
presumed slipcover is cut in such a way so that
it's too short for the book itself. It folds inside
the cover, but if you try to fit it the
way a slipcover normally does. It folds the book completely

(11:24):
out of true. The front cover and slipcover are also
shorter than the book itself. It seems nothing fits too
true in the Navidsen Record or the Navidsen House. The
book literally has the design of a labyrinth. You get
lost inside it, and many readers wander back and forth,
flipping to references in footnotes to previous and further chapters.

(11:45):
The book is its own maze. The typography is part
of the ergotic design as well. As you begin reading
the Navisen Record itself, you'll see a footnote from the
quote unquote editors that notes and footnotes from Zappano are
in Times font, and footnotes and notes added by Johnny
Truant are in the same typewriter font courier as the

(12:07):
introduction is. Other examples of ergotic and extra nomadic literature
the Griffin and Sabine series by Nick Bangkok, which involves,
amongst other things, a collection of physical letters and envelopes
between the two characters that the reader must physically handle
and read. And Marisha I hope I'm pronouncing her name correctly,

(12:27):
Pestl's outstanding novel night film about an underground film that
supposedly makes the viewers insane and the search for its
missing filmmaker, and Vladimir Nabakov's Pale Fire. One could argue,
giving all the French used and deeply layered literary references.
The Nabokov's Lolita and his Aida or ardor a Family

(12:49):
Chronicle are on the ergotic Continuum continuum because they require
work from the reader. I have linked all these books
in the show notes. As usual, there's list on good
Reads of hero godic literature that you can vote upon
an add to I've linked to Wit the show notes
as well. I have not read the Griffin and Sabine series,
but it's always been on my TBR list. I have

(13:12):
not read Pale Fire either, but it's on my bucket list.
Lolita is one of my favorite novels because the language
astounds me and it's taught me a great deal about
writing and psychology. I recently read Ada are Arder and
learned the proper pronunciation of the title to properly enjoy
all the word praying puns. It's Ada, not Ada as

(13:35):
it looks. You rhyme it with ardor it along all
with all of Nabokov is on my bucket list, and
it blew my mind. It did require a great deal
of work, and I'm not done with it. I'm not
done with going through all the cultural references I didn't
quite get and the appendix written as Nabukov's alter Ego,

(13:56):
which explains all of the French and Russian expressions and
the multi layered puns in the text. It's incredible, but
it's not for everyone because it's a very peculiar novel
but a rather disturbed family, and it contains heavy themes
of suicide and incests. So just a heads up anyway,
meandering back to the Navidsen house and the Navidsen family,

(14:19):
and just a note, I'm not sure if I'm pronouncing
that right, but I'm going to continue to say Navidsen
because there's a note that in one of the films,
Karen refers to Will Navidsen by the nickname Navy, So
I'm not sure if it's Navy Sin, but that just
feels really awkward in my mouth, so I'm just saying Navidsen.
I apologize to rabid fans if I'm pronouncing it wrong.

(14:42):
The social impact of this novel when it was first published.
Was unbelievable. I was on live journal then, back in
those days, and LJ exploded with this book. Suddenly everyone
was obsessed with the book and pose companion album. On
live Journal, you could add what you were listening to
each post, and everyone's post had some track from the

(15:03):
Haunted Out album. Suddenly someone learned how to make words
different colors, which was high technology back then on humble
OLJ and passed it along, and every post about House
of Leaves had the word house in bright blue obsession.
The post are probably all still there from everyone who
left their LJ up in public. So you can have

(15:24):
funs are searching LiveJournal, dot com or searching the wayback
machine for the other popular blocking sites back then, which
were Blogger, text pattern and typepad. As I said in
the first episode, the book begins with the quote this
is not for you, and the Internet took that challenge
of ran with it. Never tell a young blogger not

(15:46):
to touch something. This is a quote from the Guardian
article that explored the impact of the novel twenty years
on last Spring and the links in the show notes
quote two decades on, Daniel Elski sees his relationship with
his book as that of a slightly distant parent. Look
at it this way, he says, House of Leaves is
a kid. I'm not kid's dad, but now that kid

(16:09):
has made a lot of friends, forged close ties, has
a multitude of personal relationships I know nothing about now.
And then my kid's friends thinks it's think it's cool
to meet the dad, but they don't want the dad
hanging around for too long. They're not friends with the dad,
the friends with my kid. I find this fascinating, especially
given the Facebook groups moderators quote about the book being

(16:31):
a living, breathing thing. It's also a different take than
most authors. It's really like he berthed it out of
his head and his grief, and now it's free and
sentient and separate from him. He did revisit his work
on the twentieth anniversary and reread it cover to cover.
The article described it as quote re entering the maze,

(16:52):
he said, quote I was proud, humbled, astonished, unsettled. At
the end, I sobbed. Remember this novel and post companion
album were birthed, so to speak, because of the death.
The death of their father. That humbles me frankly to
be allowed to share in their creative feelings. Thank you

(17:13):
to you both. To swing back around to that quote
I read describing Zapana's massive documents about the Navidson record
that Johnny and lud found in Zupona's department, It describes
a fascinating psychological symptom that hides in the dark corners
of this novel, hypergraphia. At the heart of the labyrinth
of this story is the obsession with documentation Zupano's writings,

(17:37):
Johnny's writings, and Navidson's videotapings. You see hypergraphia and horror movies.
The most recognizable and terrifying depiction is John Doe in
the movie Seven. You see his writing in his you
discover hundreds of notebooks in the during the gorgeously awful
main credits. His writing is cramped and voluminous and fills

(17:59):
page up to page after notebook with his obsessive thoughts
that can't be stopped. Other horror movies like twenty eleven's
Grave Encounters and nineteen ninety four's In the Mouth of
Madness directed by John Carpenter, do you read Sutter Kane
show it as a psychiatric hospital patient's compulsion as they

(18:19):
are doomed to write on the walls and floor of
their own hospital room. The drive to write is connected
with the limpic system in the frontal lobe, the emotion
and communication center of the brain, and its failure to
properly communicate with the temporal lobe is the problem in hypergraphia.
Hypergrapha is considered a psychological symptom rather than a disorder.

(18:39):
As with most things to do with mental health, it's
the amount to which the symptom is interfering with the
activities of daily life that determine whether or not it's disordered.
Thank you for allowing me to use my psychology and
counseling degrees. Today, hypergraphia is often seen as a symptom
of temporal lobe epilepsy, as well as bipolar disorder and
other manic disorder. Schizophrenia and dementia's certain injuries to the

(19:04):
brain can also cause the overwhelming arch to write. The
blog Bipolar one oh one, linked to the show notes,
talks about their own experiences of bipolar disorder and hypographia
and wonders about the age old question of the relations
between creativity and madness and its relations to hypergraphia, which
is a fascinating question for this novel. Would one need

(19:26):
to be mad to go down this rabbit hole and
chronicle the Navidson record and writing with such hypergraphia drive one, Matt?
Can you come back from such a journey? Think about it,
and think about Johnny Truant's descriptions of it. The months
and months of writing UPONO had to have done in
that spooky, cramped apartment alone. The only sound the scramblings

(19:47):
of the primitive spiders, the distant LA traffic, and the
frantic scratchings of his pen against his notebook paper, his napkins,
his match book covers. He was not only chasing a mystery,
his brain was literally chemically obsessed with the activity of
doing so. Who knows if the ater slept, and the
mystery itself, as we will discuss, was so disturbing that

(20:09):
it was a waking nightmare. That hole doesn't have handholds
to climb back up from my friends, and Johnny Trunt
falls right in after him. As you will see when
we begin reading the record, he cannot help himself for
manning his own long and rambling footnotes. There was one
more word I didn't recognize the introduction, and it fits perfectly.

(20:30):
Prolix p R O l I X used by Johnny
it means tediously prolonged wordy, tending to speak or write,
and excessive length quote. I could not stop, and it
sucked me away from family and friends. Sensations outside of language,
dried up. Music became irritating discord, the visual world grew faint.

(20:54):
Alice w flatterly, the midnight disease, the drive to write,
writer's block, and the creative blank brain. Flaherty got hurt.
The title of her memoir, interestingly enough for this podcast
from another sufferer of hypergraphia, It's how he described his obsession,
and that would be Edgar Allan Poe. Everything is connected,

(21:16):
as I always say, especially it seems when it comes
to this eerie novel, another young Ian House of Leaf's
connection is not only hypergraphia, but hypergraphy, which is the
combination combining of texts with visual material. This novel, about
a hypergraphic character, is a study in ergotic hypergraphy. I

(21:37):
love serendipity and I love word pray. But y'all know this.
I'm having such fun. So with all this high strangeness
of mine, we begin reading the Navidsen Record itself, which
the book has told us not to do. This is
not for you. Now. There may be some confusion the

(21:58):
title of the Navidsen Record to both Sopano's and Johnny
Truant's collections of writings on the subject of Will Navidsen's film,
and to the film itself. I will try to be
precise as I can as we go along as to
which I'm referring. This universe gets willfully blurry. So for
this episode, I'm talking about the first three sections through

(22:21):
page eighteen. I will definitely speed up as we go along,
but this first part explains what the film is, and
it's placed in time and space and who the Navidsen
family is, so I felt it was good to linger here.
As always, I'm not going to spoil everything, and I'm
leaving lots of items for you to discover more serendipity.

(22:42):
Will Navidson when the films that make up the records
were shot, and I'll explain that in a minute. Was
my age He's forty eight or the footnote says they
determined him to be forty eight, which I found interesting
language I'm forty nine. Also their demented domicile, which, as
you know is my personal term for any house that
is not right on Ashtree Lane is in Virginia, which

(23:06):
is where I live. So the Nadson family is Will,
a photojournalist who won the Pulitzer Prize for a disturbing
wartime photograph. He was often away for work trips that
became extended. His longtime partner is Karen Green thirty seven,
a successful model. They've chosen to move to the small
Virginia town and this house to start over and get

(23:28):
away from the city. They have both promised to stay home.
He has grants to make a documentary about starting over
in small town life, a nuclear family nesting in their
new home, and he places cameras all over the house
like an a paranormal activity movie. Note this was written
decades before one of those movies. I'm just making the

(23:49):
visual reference. They have two children, Daisy five and Chad eight.
The other people seen an or heard in the videos
are Will's brother Tom and Will's friend Bill Billy Preston.
Will and Karen also agree to do FaceTime video diaries
for the documentaries with their own cameras. All of this
footage plus the oddities to come, become the movie. The

(24:11):
Navidson record. The date is approximately April nineteen ninety, so
that would be one month before I graduated from high school,
which is apropos if nothing except more serendipity. So much
of this novel is prescient. One of the first quotes
worries about what would become deep fakes. For those of
you who don't know what a deep fake is, a

(24:31):
skilled editor can now insert someone into someone else's place
in a movie. Look up Jim Carrey in The Shining.
His face has replaced Jack Nicholson's in a scene, and
to me, the implications of this technology are deeply disturbing.
This is the quote from page three. This leading obsession
validate or invalidate the reels and tapes invariably bring up

(24:54):
a collateral and more general concern whether or not with
the advent of digital technology, image has forsaken its one
impeachable hold on the truth. Will Navidsen, of course, did
not care what the many many pundits and critics said
and remained afraid of the house on ashcheen Lean quote.
Will Navidsen, however, remained stalwart in his assistance that the

(25:17):
documentary should be taken literally, as he himself says all this.
Don't take it as anything else but this. And if
one day you find yourself passing by that house, don't stop,
don't slow down, just keep going. There's nothing there, beware.
I am really interested in Will's use of the word nothing.

(25:39):
I think it's positive with meaning, as in a nothing.
The first the public hears of the Navidsen family and
what becomes of the film The Navidsen Record are two
VHS tapes. The first is the five and a half
minute Hallway. The second, which the public learns about about
a year later, is It's called Exploration number four, keeping

(26:03):
up with post companion album. The first has a directly
related song which has intriguing lyrics given the family dynamic
and the horror of the novel both so I'll include
them here. Quote I live at the end of a
five and a half minute hallway, but as far as
I can see, you are still miles from me in
your doorway. And oh, by the way, when the landlord

(26:27):
came today, he measured everything. I knew he'd get it wrong,
but I just played along because I was hoping that
would fix it all. But there's only so far I
can go when you're living in a hallway that keeps growing.
I think to myself, five more minutes and I'll be
there inside your door. But there's more to this story

(26:50):
than I've exposed. There are words made of letters unwritten,
and yes, I forgive you for leading me on. You
can think of it like this when you can't resist.
I'm in your hallway, standing on a cliff, and just
when I think I can find the trick, I'm tumbling
like an echo. I will very briefly summarize the two videos,

(27:13):
leaving you to discover the creepy details. The first is
the demonstration by Will, who's holding the camera, that his
house is bigger on the inside than the outside. His
friend Billy and his brother Tom are present, as well
as Karen. There is a door that should not be
there on the inside of an outside wall, and when
Will opens it, there is a long, dark hallway. The

(27:37):
second tape is disjointed and introduces someone else who names
himself as if he's afraid he won't be found, and
talks of being lost Holloway Roberts a Minomi, Wisconsin. You
can hear Will talking about wanting to burn the house down,
and you see blood and Daisy crying This tape is

(27:57):
quite creepy and has a found footage hormone feel to it.
I was curious, so I checked. The Blair Witch Project
came out in nineteen ninety nine. Pantheon published this book
in April two thousand, but it had been circulating for
longer before that. This may have just been something else
serendipitous about the novel, or something else Daniel Elski foresaw,

(28:18):
or both, or it may have been inspiration. I don't know.
So people passed around dubbs of these movies, and the
crappier the dubs of dubbs became, the creepier it got.
For those of you who weren't around for VHS tapes
or haven't seen the Ring. The more you watch the tape,
the more you wear it out naturally, and it gets
little glitches and such in the viewing, and then you

(28:40):
copy it. The copy is bad version of the original.
So people were copying copies, and the worst quality they
were watching the creepier the five and a half minute
Hallway and Exploration four looked. Three years later, Merrimax compiled
and edited these two tapes and all the tapes from
Will's documentary project and put out the movie the Navidson Record,

(29:02):
So that's the movie version as opposed to the paper
version written and compiled by Zapano and Johnny Truant. Note
on the guy on expiration four doing their argotic work.
I looked up Minomi, Wisconsin because Minomi sounded like the
word monomic, and I'm not pronouncing it right. I thought
it was a play on words, but it's not. It's

(29:22):
a lovely little town of about sixteen thousand people. So
the two tapes were an underground obsession, just like the
original edition of this novel were amongst Daniel Alski's friends
and friends of friends. It's chief of papers, echoing Zupano
Sheibo obsession documentary became an international obsession, everyone becoming an

(29:43):
expert overnight on whether it was real or not. Was
Will Navidson proving the existence of the paranormal with a
real haunted house or was this a professional photographer trying
to trick the world for money and fame. One more
rabbit hole before I end this episode, the nav In
record begins with an appropriate quote, the line from the

(30:03):
Beatles song A Day in the Life. I saw a
film today, old boy. This song I found out was
in part inspired by John Lennon's reading a story in
the newspaper about the heir to the Guinness fortune, Tara Brown,
dying when he crashed his car into a parked van.
He changed that up and two blew his mind out
in a car. But that explains the lyrics. I read

(30:26):
the news today, old boy. So the quote that begins
then Abson record refers to a fatal accident. There are
no coincidences in this novel. I hope you've enjoyed the
second episode in the series. The third is coming shortly because,
like all parties involved, I'm obsessed. I promise not to
go down to any new hallways that appear, but I

(30:47):
leave you with this question. If you, like Will and Karen,
found an impossible doorway in your home, would you open it?
Would you enter it? Until part three that I am
uploading all scripts and a free free and add free
feed to Patreon for all episodes will eventually be uploaded.

(31:10):
Thank you for all your continued support in this my
fifth year. Also remember that I love you and stay safe. Quote.
If finally categorized as a Gothic tale, contemporary urban folk myth,
or merely a ghost story, as some is called Some
have called it the documentary will still sooner or later
slip the limits of any one of those genres. Too

(31:32):
many important things in the Navidson record jut out past
the borders where one might expect horror, the supernatural, or
traditional paroxyms of dread and fear, one discovers disturbing sadness,
a sequence on radioactive isotopes, or even laughter over a
Simpson's episode