In recurrent dreams, I dream of a perfect town, a town, in fiction, I call, now, Hartog, both its Rhineland version, and its Wisconsin counterpart. When I was watching “Six Degrees of Separation the Manson Murders” this house struck me as the domestic equivalent of that perfect place,
This was because it was nestled in the hills, in the trees, with a deeply sloping roof, and a tower and fachwerk, it had a European look, it was owned by Jay Sebrings parents, and Sharon Tate stayed there for a bit before she went to London. It has nice stonework steps,
A lovely arrangement of roofs
And a nice wing, all of which looks like a roofing over of the stilted walkways over a lake that I see in my dream town
And it’s got gargoyles.
What is its appeal? why would Sharon have seen a ghost of herself as a bloodied bride at the bottom of the main staircase? Again, I have conjectured that the dream town is an architecturalization of the process of falling asleep, through stages of hypnagogy, to unconsciousness. This seems to be the same thing, the way it sits in the valley in the hills sinks it in the unconsciousness. As such, if you are attuned to it, you can let go of your conscious life worries, and just live unconsciously in it, comfortably, deeply comfortably. If this is so, then it represents adult life, and, residents that are allowed to be children. That is after all the greatest wonder of a good childhood, and the worst part of emerging adulthood for children from unbroken homes, suddenly, the world above them does not happen magically anymore, they have to go out and get work, be an adult, do things, express themselves, have agency, and this is tough for the shy and introverted, or for the somehow dislocated, as I believe ST was.
As a result, when she was in the house, she was in a state of childlike unconsciousness, and very, very comfortable, as a result of which whenever she was aroused by nervousness about going back out in the world, it manifest to her as a haunting. It may be that she was thinking of what she would be like as a vampire queen fed to the midnight ball vampires in the movie, Fearless Vampire Killers (1968), she was about to start, and saw that figure at the bottom of the stairs. The fact that, oddly, Polanski reproduced a phantom figure, in the shot in which Ferdy Mayne introduces her, succulent, to the midnight crowd, perhaps references this out of body experience, full of fear. The phantom figure is on the right, robed in red
And, why, after all, are the snowbound nudes of Tate in the publicity shots of Fearless Vampire Killers so enchanting, better than her bathtub bound displays in the movie? because this is not adult sexual nudity, but a remembrance in that of the innocence of youthful nudity, edenic, helpless, a nudity that makes you want to put a coat around her shoulders, not take it off,
And in another shot, she even plays with a snowman, like a little girl, which she is not, but is, inside,
The house, then, is childhood-in-adulthood, the fear-of-the-world, not protesting contramundaism, but a kind of fear of life, and wanting to sleep and dream, because in falling asleep each night we return to childhood, and to being children, because in dreams, which flow over us effortlessly self-created, our inner mind just watching, we surrender our agency, and, in doing so, return to a childlike state. So, this is my analysis of why I think this house is of interest, and is important as the site of a Tate vision or premonition of trouble to come.
In the VH mythology
In the VH mythology, according to DNastic thinking, the Hollywood Hills, or Laurel Canyon, is a later translation of the bluffs of the shores of Lake Michigan, the cliffs of Cornwall, featured in British horror so often, the castles of the Rhine, and, to the original, the cliffs overlooking the sacred site of Deir el Bhariah, in Egypt, on the banks of the Nile.
The novel, Love to a Mandragore (2008) is situated in the house of Von, another VohHohenheim uncle, who is implicated, through this association with Man Ray and Marcel Duchamp, in the Black Dahlia and other murders.
In King of the Wood (2010), Tod Sunden, in his dilletante career as a sometimes b-movie star, modelled on the career of X, mortified and enraged by reediting of the movie Evil Weekend, so that it includes, not minutes after he is on screen, closeup shots of intimate female anatomy, goes on strike, leaves the set, and holes up in by then empty Von mansion, or adjunct cottage, modelled on the Chinoiserie cottage in The Big Sleep, and all the crew one by one must scale the mountain to get him back on set, so that they can finish the movie.
The mythology is deeply interested in theories about the Black Dahlia murders, especially those promulgated by those who link them to a doctor with association with Man Ray. It is also intrigued by the style of the houses built by Frank Lloyd Wright’s son in the area, also implicated in the murder.
For this reason, the lore of the Manson murders, in particular the sinister use put to the Beatles White Album in Manson’s mad conceptualization if as prophesying the helter skelter race war at the end of time, is prodded, but overridden by another theory, in the novel Heavy (2013), a current work, the sequel to The Deadly Bees (2013) again exploring, the eaerly biography of Jack “Dracula,” as he came to be called when he worked as henchman and gofer for ‘High” Highsmith in The Pillar of the Moon (2012), the chronic undeadness in the Highsmith branch of the VonHohenheim family. Again, the Highsmiths are director descendants of The Thing who, in The Thing in London (2006), made his way to London, eventually haunting or marrying into a noble family, with a large country house, visited in several scenes by the painter Turner, in the context of which these Germanically-named aristos Anglicized their name to High Smith.
In this context, Sharon Tate is a kind of vodun saint in the mythology, the child-woman of beauty and innocence, exploited by the world, a girl of the carpets, a “sleeper,” that is, an adult who sleeps against the responsibilities of adulthood, always desiring to remain a child. The concept of the sleeper is raised in Heavy (2013), and the definition of “heavy” in the mythology is sinking to sleep, a fixed image of the lattice stage of falling asleep, where the soul is locked in a sleep, that is not quite full with dream, and suspended. In Heavy (2013), Emmerich von Hohenheim in his old age is found to be exploring ‘sleeper’ solutions to immortality (TBW).
All of these ideas are based upon the experience of propofol-induced sleep, which I described as “like sleeping on the bottom of the ocean” meaning that it is not a natural, deep sleep, but a forced-deep light sleep, so that you feel your body as you sleep in it, and feel the weight of all the activity going on around you as you are out, and feel the heaviness of your body lying ‘on top’ of you as you remain out, but cannot move, you are suspended in a forced-deep but an inauthentic drug-induced sleep characterized by partial awareness. The association of propofol and Michael Jackson in the mythology raises the possibility that he is another ‘sleeper,’ with obvious implications for reincarnation. However, the concept of the ‘sleeper’ was not included in the one volume of the mythology about that saint, The Winter King (2010).
The concept of the “sleeper” in the mythology is based on historical mythology of the seven sleepers. More to come.