Sherlock Holmes and the Detective-Story Formula: A Mini-Essay

   Originally published in monthly installments between 1901 and 1902 within The Strand Magazine, The Hound of the Baskervilles is one of Sherlock Holmes’ most famous cases.[1] The narrative is reminiscent of a Gothic tale, akin to Edgar Allan Poe’s “The Fall of the House of Usher,” in which the protagonist is summoned from the safe confines of civilized society to a backwards realm where fear, superstition, and the supernatural rule.[2] While there, Holmes encounters brooding servants, a tormented family heir, and whispered rumors of a spectral dog terrorizing the countryside. In fact, Sir Arthur Conan Doyle based the deadly hound and the curse it brings to the Baskervilles on the legend of the yeth hound of North Devonshire.[3] As the events of the novel unfold, the famous sleuth deciphers the truth behind the paranormal occurrences and, in doing so, the story establishes a mystery framework which has become a mainstay in the genre, inspiring numerous imitations as well as a bevy of spoofs (Scooby-Doo, for example, relies heavily on the formula created in The Hound of the Baskervilles).

Works Referenced

Allies, Jabez. The British, Roman, and Saxon Antiquities and Folk-Lore of Worcestershire. 2nd ed. London: John Russell Smith, 1856.

Leggett, Paul. Terence Fisher: Horror, Myth and Religion. Jefferson, NC: McFarland and Company, 2002.

Pound, Reginald. The Strand Magazine, 1891-1950. London: A.S. Barnes and Company, 1966.
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[1] Pound, 74.
[2] Leggett, 77-101.
[3] Allies, 256.

Hanging Witch Specimens

$15 - $20 (based on 2018 prices)

Makes two portraits

For the witch den, which was part of my office’s annual decorating competition, I covered the walls in an assortment of framed specimens. To give the illusion of an eclectic collection, I created small groups of props with varying designs. For this version, I used animal skeletons and frames decoupaged with Latin script. You can, of course, cater the props to your specific needs by altering the size (a subtle statement with a small, cheap frame or a dramatic impression with something more massive and ornate) or specimens (an eerie mixture of rat skulls or a bizarre cluster of bat wings).

• Two 8” x 10” frames
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black
• Four pieces of 8” x 11.5” copy paper with Latin script printed on them (two for each frame)
• Two pieces of 8” x 11.5” blank copy paper (one for each frame)
• At least four tablespoons of black tea (e.g. Darjeeling, Earl Gary, English Breakfast, etc.)
• One pan large enough to soak the copy paper
• One 4 oz. bottle of decoupage medium
• One 2 oz. bottle of acrylic paint in flat black*
• One 2 oz. bottle of acrylic paint in cherry cobbler*
• One 8 oz. can of oil-based interior wood stain in red chestnut*
• Two plastic animal skeletons
• One 4 oz. bottle of all-purpose tacky glue*

1. Remove the backings and any glass from the frames and, on a newspaper-lined surface in a well-ventilated area, apply an even coat of black spray paint. Although I only used one coat, you may want more depending on your desired coverage. Keep in mind, though, that this is the base coat and much of the black paint will be covered up by the decoupaged paper.

2. Boil enough water to completely submerge the copy paper and pour it into the pan. Add the tea. The longer you allow the tea to brew, the darker the stain will become. Likewise, greater amounts of tea will produce a richer stain. I found that a combination of English and Irish Breakfast brewed for over ten minutes produces a nice, deep brown. Submerge the paper into the tea mixture and soak it until it reaches the color you desire. I soaked mine for eight hours and scattered the loose-leaf tea over the top of the paper to add spots. Remove the paper from the water and allow it to dry. Although it can be time consuming, this process works best if you stain each sheet of paper individually.

3. Cut or tear apart the copy paper with the Latin script and cover the entire surface of the frames with the pieces. This process works best if you move in stages: apply a layer of decoupage medium to one section, press the paper down until it sticks, and repeat the process.

4. Water down black acrylic paint and brush it over the frames, ensuring the liquid settles into all the wrinkles (you can also use a spray bottle for the application). Allow the mixture to sit for a minute and then wipe it clean. You may want to experiment with the consistency prior to doing this: the more water you add, the fainter/lighter the wash; the less water you add, the deeper/darker the wash.

5. Use cherry cobbler paint to draw Celtic knots onto the two blank sheets of copy paper. You can add the markings randomly or put them in strategic places. While I elected to use Celtic knots, you could modify the prop by writing spells across the surfaces or using patterns of your own design.

6. Glue the paper to the cardboard backings. To make it appear even more decrepit, crinkle the paper and create holes.

7. On a newspaper-lined surface in a well-ventilated area, stain the animal skeletons. I began by giving each one a light, even coat with a foam brush. After that, I applied heavy amounts of stain to the ends and patted away the excess with paper towels. You want the color to build up in the cracks and fissures. Although you may use whatever color of stain you desire, I chose red chestnut because it gives the bones a fresh, meaty appearance. Once you have achieved your intended look, allow the skeletons to dry. I let mine sit outside in the sun for three days.

8. Center the skeletons on the backings and glue them in place. For a sturdier hold, consider using superglue.

9. Attach the frames to the backings. For added support, glue the backings in place, particularly if you plan to display these in windy conditions. If the frames did not come with hanging hooks, you can add store-bought items to the back or fashion your own with steel wire.

*You will not use the entire bottle’s content for this project.

“Free Candy” Banner

$5 - $10 (based on 2017 prices)

Makes one banner

Zombies and clowns are the two themes, in my opinion, which have been overdone in yard haunts and professional attractions. Because of this, I was a little leery when my office selected a demented circus theme for 2017. To tackle the challenge, I decided to focus on the twisted carnival idea and draw inspiration from turn-of-the-century travelling shows. I wanted something that looked vintage and did not relying too heavily on clowns.

• One deck of large playing cards (roughly 3.5” x 6” in size)
• One sheet of forty- to sixty-grit sandpaper
• At least four tablespoons of dark roasted coffee grounds
• One pan large enough to soak the cards
• One 2 oz. bottle of acrylic paint in cherry cobbler*
• One hole punch
• Three to four yards of brown twine
• One 4 oz. bottle of all-purpose tacky glue*
  

1. Begin the distressing process for the cards by roughening their surfaces and removing parts of the print with sandpaper. Once this is done, boil enough water to completely submerge them and pour it into the pan. Add the coffee. The longer you allow the coffee to brew, the darker the stain will become. Likewise, greater amounts of coffee will produce a richer stain. Submerge the cards in the coffee mixture and soak them until they reach the color you desire. I soaked mine for one day and scattered the coffee grounds over the tops to add spots. You may have to work in small batches if you cannot find a container large enough to hold all of the cards at once.

2. Once the cards have dried, use cherry cobbler paint to write “free candy” onto their surfaces. You want the wording to be haphazard. To achieve this, exaggerate curves, create sharp points, and elongate certain aspects. You could also write letters backwards and deliberately misspell words. Keep in mind, though, that the banner need to be readable, so try not to overdo your artistic flairs.

3. Punch holes into both sides of the cards. If you want the banner to have a haphazard look, stagger the holes’ placement; otherwise, keep them relatively uniform.

4. Tie the cards together with twine, knot the ends, trim the excess, and glue the knots for reinforcement. To make hanging easier, leave about a foot of twine on both ends of the banner.

5. You can embellish the banner with additional details, such as aged bones or severed fingers.

*You will not use the entire bottle’s content for this project.

"A Dream" (A Poem)

Published in 1877 within Songs, Ballads, and Stories, William Allingham’s “A Dream” details the narrator’s vision – be it through a dream or actual sight – of a dead procession, including his own mother, during a moonlit night. As Alan Warner explains, the haunting, dreamlike mood of the poem has been echoed countless times by other poets, including William Butler Yeats during his earlier works.[1]

I heard the dogs howl in the moonlight night;
I went to the window to see the sight;
All the Dead that ever I knew
Going one by one and two by two.

On they pass'd, and on they pass'd;
Townsfellows all, from first to last;
Born in the moonlight of the lane,
Quench'd in the heavy shadow again.

Schoolmates, marching as when they play'd
At soldiers once – but now more staid;
Those were the strangest sight to me
Who were drown'd, I knew, in the awful sea.

Straight and handsome folk; bent and weak too;
Some that I loved, and gasp'd to speak to;
Some but a day in their churchyard bed;
Some that I had not known were dead.

A long, long crowd – where each seem'd lonely,
Yet of them all there was one, one only,
Raised a head or look'd my way:
She linger'd a moment, – she might not stay.

How long since I saw that fair pale face!
Ah! Mother dear! might I only place
My head on thy breast, a moment to rest,
While thy hand on my tearful cheek were prest!

On, on, a moving bridge they made
Across the moon-stream, from shade to shade,
Young and old, women and men;
Many long-forgot, but remembered then,

And first there came a bitter laughter;
A sound of tears a moment after;
And then a music so lofty and gay,
That every morning, day by day,
I strive to recall it if I may.[2]

Works Referenced

Allingham, William. “A Dream.” Songs, Ballads, and Stories: Including Many Now First Collected, the Rest Revised and Rearranged. London: George Bell and Sons, 1877. 14-16.

Warner, Alan. William Allingham. Lewisburg, PA: Bucknell University Press, 1975.
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[1] Warner, 25.
[2] Allingham, 14-16.

Ghost Photographs

$5 - $10 (based on 2018 prices)

Makes fifty photographs

For the ghost theme, which was part of my office’s annual decorating competition, I incorporated dozens of old photographs with cryptic numbers into the décor. Like the alchemy banner, these props were meant to decorate the hallways, so I needed fifty to cover the long expanses. Your final product, though, does not need to be this excessive. You can par it down to a few images. Hence, adjust the quantities in this instruction to match your desired goals.

• Twenty-five sheets of cream-colored copy paper
• Twenty-five sheets of brown cardstock
• One 4 oz. bottle of all-purpose tacky glue
• At least four tablespoons of dark roasted coffee grounds
• One pan large enough to soak the photographs
• One 2 oz. bottle of acrylic paint in cherry cobbler*
  

1. Gather a collection of fifty vintage daguerreotype photographs from the internet, print them on the cream-colored paper, and cut them out. For visual interest, I selected an assortment of men, women, and children; however, you can cater this variety to fit your haunt’s needs. Also, I printed two images per page, which saved paper and provided the photographic scale I desired.

2. Cut backings for the photographs from the brown cardstock and adhere the two elements together. For aesthetic purposes, I fashioned a quarter-inch border and rounded the corners.

3. Boil roughly twelve cups of water and add the coffee. The longer you allow the coffee to brew, the darker the stain will become. Likewise, greater amounts of coffee will produce a richer stain. Since I wanted uneven spots rather than a unified discoloration, I placed about six photographs at a time on a baking sheet, splashed coffee and grounds onto their surfaces, allowed the liquid to sit for a few minutes, and then moved the photographs to a large space to dry. Although this process took a while, it provided an interesting aging effect that greatly enhanced the prop.

4. Once the photographs have fully dried, use red paint to draw numbers onto them. You can add the markings randomly or put them in strategic places. While I elected to use numbers, you could modify the prop by writing spells across the surfaces or using patterns of your own design.

5. For additional creepiness, use a thumbtack to punch out the eyes or glue personal artifacts (locks of artificial hair or aged acrylic nails) to each item.

*You will not use the entire bottle’s content for this project.

Questioning the Validity of Aztec Sacrifices: A Mini-Essay

     In December of 2007, historian Ocelocoatl Ramírez conducted a lecture titled El mito del sacrificio humano at the Center for Training and Careers in San José.[1] In his presentation, Ramírez, building on the theories of Fernández Gatica, Meza Gutiérrez, and Lira Montes de Oca, proposes the human sacrifices related by Hernán Cortés and other Spanish conquistadors were merely fabricated propaganda used to vilify the Mexica and encourage government-sanctioned enslavement and eradication of these people.[2] Although the concept of Ramírez and his fellow scholars provide an intriguing stance on human sacrifices among the Mexica (and hold parallels to Roman preoccupation with Celtic sacrifices), surviving Mexica art and literature, coupled with archeological evidence, attest to sacrifices done daily to Huitzilopochtli, the god of the sun and warfare, to protect the civilization from darkness and famine.[3] Typically war captives, victims were either drugged on peyote or intoxicated with pulque at dawn on the day of their execution. Dragged up the steps of the Tenochtitlán temples, including the two-hundred-foot-tall Pyramid of the Sun, those meant for sacrifice were stretched across a stone block, held down by four priests, and had their still-beating hearts ripped out of their chests by a fifth priest yielding an obsidian blade.[4] After the heart, which the priests referred to as a cactus flower, was offered to keep the darkness away, it was ceremoniously burned, the body was dismantled (the torso was fed to dogs and the appendages were ritualistically eaten with chili and maize), and the blood was sprinkled throughout the city to ward off evil entities.[5]

Works Referenced

Colín, Ernesto. Indigenous Education through Dance and Ceremony: A Mexica Palimpsest. London: Palgrave Macmillan, 2014.

Cummins, Joseph. The World’s Bloodiest History: Massacre, Genocide, and the Scars They Left on Civilization. New York: Crestline, 2013.
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[1] Colín, 206-217.
[2] Colín, 206-217.
[3] Cummins, 27.
[4] Cummins, 27.
[5] Cummins, 27.

Christmas Votive

$5 - $10 (based on 2018 prices)

Makes one votive

In 2018, I participated in my office’s secret pal gift exchange, where we anonymously sent monthly gifts to a colleague. For December’s present, (see November’s present here), I decided to attempt a decoupage votive. Although I used a snowflake theme, you can substitute the imagery and ornament for other winter-related elements, such as a Santa Claus or snowman.

• One twelve-inch glass vase
• Two or three single-ply Christmas-themed napkins
• One 4 oz. bottle of decoupage medium
• One 2 oz. bottle of acrylic paint in metallic silver*
• One small Christmas-themed ornament
• Hot glue gun and glue sticks
  

1. Thoroughly wash and dry the vase. If there is any sticker residue, use rubbing alcohol to remove it (soak a paper towel in the solution, let it sit over the area for a few minutes, and wipe away the remaining glue). After cleaning the vase, roughen its surface with coarse sandpaper to help the decoupage medium adhere.

2. Cut or tear apart the napkins. For the best translucency, you want single-ply paper. If you cannot find one-ply paper napkins, simply separate the plies of multi-ply sheets. You can either isolate distinct images (as I did) or use random sections.

3. Cover the entire exterior surface of the vase with the cuttings. This process works best if you move in stages: apply a layer of decoupage medium to one section, press the paper down until it sticks, and repeat the process. For the best translucency, try not to overlap the sections too much (the thicker your layers, the less candlelight will show through). 

4. Once the decoupage medium has dried, apply an additional coat or two to serve as a sealer. As with step three, ensure your coverage is even and thin to achieve the best translucency. 

5. Use hot glue to create a dripping effect along the rim of the vase. You want it to resemble icicles, so vary the length and thickness of each strand. Also, depending on your chosen appearance for the prop, you can cluster the embellishment towards the top of the vase or drag it down all the way to the base.

6. Apply two or three even coats of metallic silver paint to the drippings and, if you desire, seal the paint with a coat or two of the decoupage medium. Although I selected silver, you can use whichever color complements the color scheme of your napkins. 

7. Center a snowflake ornament at the front of the votive and, using the hanging loop, attach it to the vase with a few drops of glue. For a sturdier hold, use superglue. Here, too, you may utilize whichever decoration matches the theme of your napkins’ imagery. 

8. While you are free to embellish the item with additional details, try to keep these to a minimum. The more elements you add, the more the candlelight is blocked.

*You will not use the entire bottle’s content for this project.