The Opening Chapter of The Haunts of Violence

Chapter Zero

When he heard the sound of raindrops tapping against the living room window he knew it wasn’t rain but rather the clicking and scraping of fingernails, torn and bloody, arching from fingers that should have seen the grave long ago. He rolled off the couch where he had been sleeping and stumbled into his tiny kitchen, careful to keep his throbbing eyes trained to the floor. The clicking against the window ceased.

He picked up a tumbler from the cluttered sink and rinsed it out with tap water, then filled it half way. The water tasted flat and lifeless and he spit it into the sink, the steel wool feeling in his mouth unabated. He opened a cupboard and cracked the seal on a fresh bottle of Scotch. The amber liquid splashed into the tumbler and paused at one finger, then settled at two. He held the drink under his nose, inhaling from habit into olfactory senses deadened long ago by alcohol. The Scotch burned his tongue with familiar fire.

The weight of the bottle felt promising in his hand as he carried it toward his perch on the couch. He stopped abruptly when he saw the figure sitting there, first appearing as his ex-wife, then becoming a former colleague and, finally, transforming into an ape of comic proportions before disappearing. The space remained empty. He made his way to the other side of the couch and sat down heavily, drops of Scotch fleeing the glass and spattering unnoticed across the front of his soiled t-shirt.

He was not dead yet, and he wondered why not. He had been alone for a year and his drunken slide toward death remained at bay. He thought he had shut himself off from all that had come before, all that had been lost, the disasters that had driven him to this place, but the memories returned, rehearsing and re-enacting the comic nightmare that was the story of his life. He drained his glass and poured again.

Something shifted in the bedroom. He listened as a body fell from the bed and crumpled to the floor. It crawled—no, lurched—toward the door but he refused to look. He squeezed his eyes shut and gritted his teeth, raggedly whispering stop, stop, stop. The thing reached the doorway and then made no more sounds. He opened his eyes and turned to see nothing.

The drink burned again, his stomach tightening at the fresh introduction of alcohol. He wished again for dreamless sleep, but instead the video began its replay in his head. He closed his eyes, sat back, and let the story roll.

Where Will God Go?

Years ago a woman approached me after our weekly church service. Since I was her pastor, she wanted to tell me something she had experienced in order to hear my perspective.

She said that, as a young teenager, she had experienced various forms of abuse, both within her family and at church. One day she made a firm decision about her life, a decision she carefully explained to God.

“God,” she said, “I want you to know that I am going to start drinking and partying and doing all kinds of things that I don’t think you’re going to like.”

She told me that she heard words in her head—tender words that she believed were from God—saying, “All right. I’ll go with you.”

During her years of self-destructive behavior—right up through her time in rehab—she never doubted that God had been with her all the time. She had no illusions about God’s approval or endorsement of her behavior. She believed that she had broken God’s heart, but that he still remained quietly with her.

I had to really think about this one. It was an important question: In our worst circumstances, when we have chosen paths of pain and dehumanization, does God abandon us or wait patiently alongside us, grieving over our self-inflicted choices?

I think that the biblical history of Israel has something to say about this. What do you think?

[My most recent novel, The Haunts of Violence, was inspired by the conversation I had with that woman]

On Faith and Horror

People sometimes ask how a religious guy like me can be interested in writing horror stories (“He seemed so nice and normal, although he kept to himself. We never imagined that he . . .”). So I share my “Author’s Note” that I wrote a year ago for my novel A Body Given (part 2 in a three-part series):


While I’ve been a fan of vampire stories since I was a kid, I didn’t start writing about the undead until my grandchildren attempted to convince me that these soulless monsters were just a race of unfortunate and misunderstood beings. Seeking to correct their misperceptions, I set out to write a short story that became my novel This Side of Death, which continues to remain largely undiscovered and, at least by my grandchildren’s reckoning, largely underappreciated.

Nevertheless, the story still wants to tell itself, as these things often do. I’ve discovered along the way that a vampire story is a great vehicle for exploring the depths of evil that plague the human race. My vampires try to be true to the traditional legends, so they are unkind and unmerciful along with being undead. They also expose the darkness that often lies dormant (and too often not dormant) in the hearts of living, breathing, human beings.

The vampire genre also allows for explorations of faith. Since the legends themselves are a reversal of the Christian Eucharist (the blood of the many for the one versus the blood of the One for the many), there are numerous parallels and metaphors that allow a writer to move between the horrors of death and the mysteries of faith.

There is a third book in the making that will probably end this series of vampiric journeys. It too wrestles with horror and faith, moving the story to a new location through the lives of both new and familiar characters.

Stories never emerge in a vacuum, but are an accumulation of experiences, imaginings, influences, and relationships. I am indebted to writers whose wonderfully chilling books have offered me inspiration and pleasure, especially Bram Stoker, Ray Bradbury, Stephen King, Dean Koontz, Anne Rice, and Elizabeth Kostova. Their stories continue to creep at the margins of my imagination.

I am also indebted to those who have been my helpers along the way, those whose input and correction kept me from going too far off the rails in my storytelling. I am grateful for the excellent editing job done by the skilled hands and eyes of my daughter, Laurelin Varieur, who is not shy about correcting my errors but also seems to know how my mind works. I was given hope that my story might hook readers when an early manuscript was read by my friend Lydia Van Hoff, who likes a creepy story as much as I do, and may have actually met a vampire or two in Northern Ireland. And I was expertly guided through the description of the effects of type-1 diabetes by my fine grandson Jacob Karnofel, who made sure I got all the highs and lows right and, like his siblings and cousins, did not hesitate to set his grandfather straight.

And I am thankful that you are about to read this book. I hope you enjoy reading it as much as I enjoyed writing it.

A Reflection for Good Friday, March 29, 2013

Then the high priest questioned Jesus about his disciples and about his teaching. Jesus answered, “I have spoken openly to the world; I have always taught in synagogues and in the temple, where all the Jews come together. I have said nothing in secret. Why do you ask me? Ask those who heard what I said to them; they know what I said.” When he had said this, one of the police standing nearby struck Jesus on the face . . .

Then Pilate took Jesus and had him flogged. And the soldiers wove a crown of thorns and put it on his head, and they dressed him in a purple robe. They kept coming up to him, saying, “Hail, King of the Jews!” and striking him on the face.

Then he handed him over to them to be crucified. So they took Jesus; and carrying the cross by himself, he went out to what is called The Place of the Skull, which in Hebrew is called Golgotha. There they crucified him, and with him two others, one on either side, with Jesus between them. (John 18:19-22, 19:1-2, 16-18)


There are many stories that deal with horror. But horror is not really a literary genre—it is a response to something horrific, an emotion that reflects the terror being encountered, whether in depiction or in experience.

It’s easy to revisit the story of Jesus’ arrest, abuse, suffering, and death abstractly, even theologically. But it’s a horror story of the first degree, a story of torture, humiliation, and a slow, painful death. While all the gospel accounts are relatively brief on this part of the narrative, they don’t skip it. Maybe this sort of thing happened often enough in first century Palestine that the story didn’t need an overabundance of detail. Nevertheless, they speak of it. And it’s a horror show.

Imagine this happening to someone you know, someone you care deeply about who is in your life right now—a friend, a brother, a son, a father, a husband. Imagine him being arrested on a false charge, cruelly beaten by soldiers and they nailed up on a cross of wood to die in the public square. And there is absolutely nothing you can do about it. There is no authority to stop the horror. The authorities are the authors of it all.

Jesus allows himself to be taken to this end. In his willingness to die, the power of evil ramps up to a fever pitch and has its way with him. If what we believe about Jesus is true—that he is the Word made flesh, that the fullness of God dwells in him—then that rabid force of evil has its way with God on that bleak Friday afternoon.

The most disturbing part of this horror story is that it didn’t come about by monsters or serial killers or phantoms. It came about in a way that was familiar to the people. The Romans were good at this sort of thing, and they plied their trade on Jesus with a well-rehearsed skill. It had happened before and it would happen again. But it was still an experience of horror for everyone.

It is an odd thing that our story of salvation could be classified as a horror story. But if it doesn’t invoke an emotion of horror at some point, then perhaps we have insulated ourselves against its gritty reality. Our story is not one divorced from the terrors of human history, but one that is grounded in a specific time and place, yet for all people in all times and places. And that one place, like all places, is a place where horror dwells.

It’s no wonder that the lights go out on Good Friday. Horror loves the dark.

A Writer's Confession

Here’s the deal: I love to write about God, Christian faith, theology, ministry. I love exploring ideas that have caused people like me to question and wrestle and struggle with God. I hope that my own reflections and investigations will help others along the journey of faith in Jesus.

But I also like to write scary, thrillerish, fictional stuff. I write about ghosts and vampires and zombies, and I do that for two reasons:

Reason One: Supernatural monsters offer a great context for exploring theological themes related to good and evil, heaven and hell, life and death (for example, one of my novels is actually asking about the nature of evil and hell; its sequel deals with human trafficking). The monsters always symbolize something and the characters in the story are given the space to navigate the drama while engaging with deeper issues.

Reason Two: I just like scary stuff. Ever since I was a little kid, I’ve loved spooky stories and, especially, scary movies. There was an L.A. based series in the 1950s and 60s called “The Million Dollar Movie.” It would run for a week at 7:00 in the evening, showing the same movie each night, Monday through Friday. When our TV guide would arrive, I’d scour it to see what was playing. When I spotted Frankenstein, Dracula, The Mummy, The Wolfman, or Invaders from Mars (I didn’t care that the Martians all had zippers down their backs), I’d plan to watch every single night until my eyeballs exploded.

But if you write about monsters (and even the human, serial-killer type monsters), then you have to write some gory stuff or people won’t stay in the story. Let’s face it: Vampires bite necks and drink blood, and then get impaled through the heart with a wooden stake. Werewolves stalk people, tear them apart, and then get killed by a silver bullet before they have time to turn back into an accountant or a hedge fund manager. You get the idea.

I recently read a couple of fresh chapters from one of my novels-in-process to two women I know, each at a separate reading. When I was finished, each gave me the same startled look that suggested they were thinking, in the imaginary bubbles over their heads, “What in the world is wrong with you?” It’s probably a legitimate question, which I hope will go unanswered.

There is an important precedent for this kind of thing, however. Here are some hideous, gory examples:

A woman gives shelter to a high-profile refugee, and then pounds a tent stake through his head and into the ground while he sleeps.

A woman is gang-raped, and then her body is dismembered and the butchered pieces sent around to leaders in the community.

A national leader’s duplicity is revealed, and he is impaled alive on a tall, wooden beam and left to die a slow, painful death while the people of the community watch.

These rather graphic, bloody examples, are found in the Bible (in order: Jael and Sisera, Judges chapter 4; the Levite’s Concubine, Judges chapter 19; the execution of Haman, Esther chapter 7).

I fear that Christian fiction can be overly sanitized because publishers worry that graphic scenes or language will cause Christian consumers to close their pocketbooks. Maybe Christian novelists even fear that they are crossing a moral line by engaging in such writing. One thing is for sure: Religious editors for centuries have certainly overlooked the graphic nature of the Bible. And yet I hear it’s a pretty big seller.

This is not an argument for gratuitous violence and rough language. But if we who love stories don’t allow the characters to act true to their character—even if that character is dark and dangerous—then we’re not telling our stories well.

Having said all that, the second book in my vampire trilogy—A Body Given—is now in publication (Kindle and Nook to follow soon). If you like that sort of thing, see for yourself if the creep factor serves the story well. It’s too late for me to change it anyway.

Theology and Vampires

Later this month—May 17-19, to be precise—my collection of short stories, Dark Ocean, will be available as a free download through Amazon. A special bonus at the back of the book offers a few chapters from a previous novel, This Side of Death.

This Side of Death is a horror story. It involves vampires. I should probably explain why I like to write theological-type things and also creepy, spooky stories. Both my mother and my wife have their own explanations for my behavior, but I don’t buy into the whole demonic possession thing.

I started writing This Side of Death a few years ago because my grandchildren were reading the Twilight series and trying to convince me that vampires were not evil, but were actually a misunderstood and marginalized race of beings. I set out to show my descendants the truth about the undead.

But the story sort of got away from me and I discovered that it was fertile ground for exploring questions of faith. In This Side of Death, a family has suffered the loss of their husband and father, a good man who died a horrible and violent death. The son, Jay, drifts from anger to disillusionment to a deep sense of responsibility. His sister, Vickie, mostly stays in the anger mode.

They are drawn into a story of violence and horror, seeking to answer the question, What is hell? For them, hell has come to visit them on earth. Vickie declares that God himself should be banished there after what he allowed to happen to their father. A local priest, who keeps appearing at the margins of the family’s life, speaks pastorally to them and offers a way of thinking about life and God that they have not yet considered.

This story will end up being a trilogy. The second book, Morana, should be out this year (if my copyeditor will quit having a life of her own and do what I demand!) and the third is in process. Anglican priests keep popping up in the story, sometimes as key characters. They provide the theological and ethical voices of the stories. In This Side of Death, they offer a perspective on the nature of evil; in Morana they actively confront social injustice that appears in the form of human trafficking, a horror that is orchestrated by—you guessed it—another vampire.

Fiction—especially creepy fiction—is a great way, I believe, to hash out theological ideas. Characters get to wrestle with their doubts and fears in ways that are not always permitted in Christian non-fiction (nevermind that most Christian publishers won’t publish the kind of fictional trash that I write).

The one who used fiction as a theological vehicle better than anyone in the world was Jesus. His parables tell stories that offer characters that walk out the implications of his teachings. The characters don’t always fare well, and sometimes suffer great pain. But the stories make the point, don’t they?