#wow my first real post and its jon centric do NOT get used to this

[ghostinharrenhal]

He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful and highborn and her eyes were kind. - Jon III, A Game of Thrones

The boy absorbed that all in silence. He had the Stark face, if not the name: long, solemn, guarded, a face that gave nothing away. Whoever his mother had been, she left little of herself in her son. - Tyrion II, A Game of Thrones

[haunthouse]

welcome to a meta that, in retrospect, seems glaringly obvious, but that has hit me like a freight train this morning. we’re talking about the lonely as a ghost story.

ghosts as an entity are inherently about disconnect. but kaylee, i hear you say, ghosts are dead people, wouldn’t that make them in the end’s domain? but when it comes down to it, death is a good framing device for ghosts (and yeah, it’s necessary to make ghosts), but people don’t tell ghost stories just because they’re afraid of death. ghost stories are told because ghosts are irrevocably disconnected from the living in a way that terrifies us — sometimes they’re intentionally scary, knocking shit around or yelling boo!, but a lot of the time they’re just... there. and that’s the terrifying part. something that’s there and shouldn’t be; something that can’t interact with the world around it and is completely, utterly, terrifyingly alone.

ghost stories are about isolation, about being a person without any of the framework that being a person requires, without society or connection or love. being unseen and unheard and unknown to all around you — and trying so hard to reverse all those un-words, to be seen, heard, known. that’s exactly the domain of the lonely!

and onto the meat of this meta: all nine lonely-centric statements (and the journey of one martin blackwood) through the lens of ghost stories.

(spoilers for mag170 at the end, but each episode section is clearly marked, so feel free to skip it if you haven’t gotten that far yet!)

MAG013: ALONE

the first lonely statement we get (and also the first in-person statement! which is such a good inversion of the lonely being about lack of connection! jon doesn’t do a great job of comforting naomi, but he does stay with her as she gives the statement when she asks!! that’s beside the point but it is something i really love), and right off the bat, the ghost vibes are off the charts.

truly i am feeling absolutely idiotic for not really thinking about the ghosts-lonely connection before now because this statement? peak ghost story.

naomi’s fiance dies. naomi has several near-death experiences (crashes her car, then is hit by another car and winds up in the hospital), which is also a staple in a lot of ghost stories; nearly dying is set up as a way to get the living closer to the realm of ghosts, able to interact with them more clearly. it was a dark and foggy night in a graveyard, and standing at evan’s (open, empty) grave, naomi hears his disembodied voice leading her home.

when ghost stories are told from a distance, they’re about the horror of it — disembodied howling, faces in the window that keep you up at night. but when they’re told by someone close to the now-ghost, they’re love stories. it’s my grandmother hearing her father’s breathing one last time after his death, giving her a chance to say goodbye. it’s a familiar and loving presence, comforting you. that’s what naomi’s story is — the ghost of evan showing his love for her one final time.

MAG033: BOATSWAIN’S CALL

so, ships are meant to be places of community, right? ron @gerrydelano​ has a really good post about this regarding shanties. but ghost ships are an established trope of ghost stories: the inversion of what a ship should be, lacking all life and community, silently traversing the waters on its own.

the tundra is a ghost ship. it’s quiet (”very quiet... it was like they were doing everything in their power not to think about each other”) — the people there move around one another as if none of them are there, all so taken by the lonely. their cargo containers are empty. all they’re transporting on that ship is the ghosts of those aboard.

this episode falls into the trope of ghosts want the living to join them — though there’s still a mourning atmosphere when sean kelly is taken fully by the lonely, that final bit of life on the ship extinguished. (”no one said a word, but i could have sworn a few of my shipmates were crying.”)

MAG048: LOST IN THE CROWD

this one’s one of my favorites! andrea nunis’ statement deals with different kinds of loneliness — she begins it with explaining that she prefers to travel alone, but later, that loneliness is something terrifying. she’s in a crowd of unrecognizable people, unable to fit herself into the world she’s seeing — she’s completely separate from the rest of the world. she’s a ghost. 

“it wasn’t italian being spoken ... or any other language i recognized. the more i listened, the more i realized it wasn’t a language. there were no words, it was just noise.” “their faces were a blur, each and every one of them.” and, the crowning point: “i tried to talk to them or to shout, to scream at them, but there was no reaction.”

by being taken in by the lonely, andrea’s been turned into a ghost. she cannot interact with or even recognize her environment, and that’s the real horror — it isn’t just being alone, it’s being surrounded by something that should be familiar; a crowd is something she’s been in a thousand times, as someone who travels a lot, and people are the most familiar thing in the world, like looking in a mirror! but it isn’t. everything is strange and she is outside of it all and that’s what a ghost is.

and her connection to her mother is what pulls her out. people have talked at length about how love is the antidote to the lonely so i won’t go on too long about that, but the connection between that & ghosts’ relationships to the living often being what keeps them around is sure something.

also, after getting out of the lonely andrea says “i made sure i was always in sight of at least one other person” — and there’s something to be said there about needing to be seen to be real. 

chiara @red-reys​ brought up this feuerbach quote which fits very well: “that which i alone perceive i doubt; only that which the other also perceives is certain.” being the only one to perceive something (for example, a ghost), or the only one who is utterly unperceived, is a very lonely thing — it isolates you entirely from those who do not perceive it. being perceived, or having someone else see what you see, can give you an anchor.

wow i’m sure that won’t come back later!

also, far be it from me to talk about this statement without mentioning gerry keay. because it means something that he’s the one to give andrea the tools she needs to pull herself out of the lonely. gerry is someone completely lacking in human connection, who is literally haunted by the ghost of his mother and later is seen as a ghost himself. gerry doesn’t have friends; he tells jon “i always wanted my friends to call me gerry,” but in a tone that makes it clear he didn’t have anyone who could’ve. and of course he didn’t. a life so entwined with the entities and cut so short, a life so ruled by the cruelty of others that he certainly did not want to rope anyone else into. 

though gerry’s never directly stated to be affected by the lonely, he’s certainly lowercase-L lonely at the very least, and he’s certainly got enough experience with ghosts to understand the lonely. 

gerry is the trope of the helpful spirit. he’s the ghost who’ll give you directions on a deserted road and disappear when you turn around. he gives jon the information he needs to understand the entities, he gives andrea the information she needs to not become a ghost.

MAG057: PERSONAL SPACE

alright so this one is, admittedly, more cosmic horror than anything else, but if y’all’ve seen any of my comics you probably know i’m very passionate about space ghosts & haunted spaceships. and as such, i’m extremely interested in how the daedalus mission echoes ghost stories.

carter chilcott’s story pretty directly acts as a ghost story — unable to communicate with the others on the ship even when he tries, unable to interact with the world to the point of looking out the window at one point to find the world entirely missing. this is all stuff i’ve said already about the other statements, so i’m glossing past it, because what interests me more is the daedalus as malicious architecture.

because the daedalus was created specifically for this union between vast, lonely, and dark (all of which i think have significant ghostly tie-ins). everything about how the ship itself and the mission came to be is a mystery, even to those involved — manuela says “i don’t know how he convinced the lukases and fairchilds to help finance the project,” “i don’t know if they were working on rituals of their own,” “exactly how the launch was arranged, i couldn’t tell you.” 

a piece of the traditional haunted house is a sort of timelessness, and mystery inherent in its building. hill house in shirley jackson’s haunting of hill house “seemed somehow to have formed itself, flying together into its own powerful pattern under the hands of its builders... it was a house without kindness, never meant to be lived in, not a place fit for people or for love or for hope.” the oldest house in the game control is malicious architecture at its finest, and it’s called the oldest house. it predates people. it exists as a giant piece of brutalist architecture smack dab in the middle of new york, but no one knows why or how it came to be. as a real-world example: the winchester mystery house is wrapped up in mythos about its creation. was sarah winchester just a lonely old woman with a hobby for architectural design, or did she create endlessly spiraling staircases and doorways with a steep drop into the yard to keep ghosts away? who knows! we sure do like to speculate, though.

yes, i’ve talked about this in tma metas before. highly recommend jacob geller’s control, anatomy, and the legacy of the haunted house for more of this content.

even manuela dominguez, the only person on the daedalus mission who actually knew what she was doing and wasn’t just there to be a victim of entities they did not understand, does not know how the mission came to be. 

and the entire purpose of this spacecraft is to be malicious to its inhabitants! the very architecture is meant to make the people within into perfect snacks for their respective entities! the station is cramped (”so cramped that i could only fully stretch out in the section used to exercise,” says jan kilbride), but when the vast takes hold it’s suddenly endless — “a hollow pretense of a shell that did nothing to separate me from the void.” (cue me shouting about how much trust we put in the places we live, and whether or not that trust is warranted, how easily it can be turned against us!)

a few other bits of this statement that really echo ghost stories: “twice i was woken up by the sound of the door opening, only to find it as tight as it had ever been. throughout the daytime i would occasionally hear footsteps, which shouldn’t even have been possible in zero gravity.” and then the empty, ghostly spacesuit that floats past chilcott’s window — there are so many stories about disembodied wedding dresses or mourningwear walking the halls silently, so why not a spacesuit?

i started this section saying this statement was more cosmic horror than ghost story but i’m finishing it by saying this is actually one of the clearest representations of haunted architecture in the whole podcast. (other examples off the top of my head include upon the stair & a cosy cabin, the latter of which i actually already wrote a meta about.)

MAG092: NOTHING BESIDE REMAINS

the moment i started thinking about the lonely-ghosts connection i remembered this episode, because it’s so clear. complete disconnect, existing entirely alone in a shadow of the world you once knew, unable to interact with the living in any way.

very small bit but. “as the cab pulled away, it seemed to have no driver that i could discern” vs the theme of ghost carriages in older ghost stories. i am looking directly at it.

barnabas bennett can “almost think i hear the mocking joy of my friends, but there is nobody here.” he can see evidence that life continues around him, unseen — “i know that what is done by those i cannot see might be felt here — i have found glasses broken and pages torn that were not so the night before.” just as a ghost is unseen to the living, the reverse is true: bennett can see others having an impact on the world in small ways, and his letter is found by jonah, but he can’t really affect the world in any real way.

MAG108: MONOLOGUE

this one is so exciting to me because theater ghosts are a huge trope in ghost stories! theater people are some of the most superstitious people you’ll ever meet! especially regarding ghosts having an impact on their shows — there’s the superstition regarding The Scottish Play™, the tradition of leaving a ghost light on onstage to appease the spirits. there’s that time all the kids in my production of brigadoon when i was in middle school circled around the makeup mirrors to play bloody mary and got thoroughly chewed out by the adults in the cast. theater’s full’a ghosts!

(i think it’s something about the intense amounts of history behind it — and how, in playing a part that a thousand people have played before, you’re echoing their exact words, becoming a repetition of those long gone. and on a stage, blinding lights in your face washing out any view of the audience — you could, technically, leave the stage and interact with the people down there, but it seems pretty entirely impossible when you’re up there. you’re being perceived but can’t see in return. you’re essentially a ghost putting on a show for the living on a loop.)

the statement-giver for this one, adonis biros, echoes a lot of those sentiments, actually. “your words heard by no one — and in that no one, an entire universe.” “have you ever had stage lights in your eyes? ...you can look out into the audience and see nothing at all. just you.”

i said before that “when ghost stories are told from a distance, they’re about the horror of it — disembodied howling, faces in the window that keep you up at night.” the disconnect between the anonymous audience and the singular actor onstage makes the distance here extreme — so this is the sort of ghost story that’s unquestionably a horror story, focusing on the most chilling aspects of ghosts. their inhumanity, their anonymity. the theater masks adonis sees in the audience are “empty. it was a hollow shape of a man that had no life, no presence to it.” even adonis himself says he “had no doubt that what i had seen was some sort of specter or omen.”

he sees a “masked mockery of a human figure” in a window while walking at night. ghosts looking through windows is enough of a trope that once, when i went on a ghost tour in williamsburg, at least half the stories were about people seeing ghostly faces in windows, and i completely freaked out when i saw someone moving around in one of the houses before realizing, oh, some of them are still actually occupied.

this one’s undoubtably a collaboration between stranger and lonely, but i think that intersection’s one of the best for ghost stories — something not-quite-human-anymore, if it ever was, haunting you.

MAG150: CUL-DE-SAC

a lot of the bare bones of this statement are things i’ve already covered, so i’m not gonna go too in-depth on it. herman gorgoli’s statement is about disconnect (from alberto, and then from the rest of humanity), about isolation, about houses-gone-wrong (his and alberto’s house in cheadle, which he views by the end as a place imprisoning him, and the titular cul-de-sac).

we’ve seen the malicious architecture trope in the form of the daedalus already, but this time it’s on earth. it’s something that should, by all rights, be familiar. the houses in the suburbs are all the same, but it’s at least a sameness you know. but they’re all bereft of any irregularities, ghostly echoes of what a house should be.”there were no lights on in any of the houses.” he even finds a dead body in one of the houses — but the woman who’s body he finds is not the one haunting them.

it’s herman haunting the neighborhood, until his love for alberto brings him out. herman making his way through houses he cannot interact with in any meaningful way, whos details he cannot interpret. “how many corpses lay waiting behind the placid facade of this endless false suburbia?” he wonders, and i have to imagine he’s also wondering if he’s already joined their ranks, if he’s the haunting in a haunted house.

and connection brings him back and the houses are no longer empty, no longer waiting for a ghost to take resident in their hallways.

MAG159: THE LAST   (& martin’s journey in season four, generally)

we’ve all analyzed 159 within an inch of its life but i’m here to do it again, with the context of martin’s whole journey into the lonely. because the lonely turns people into ghosts. the lonely takes away humanity and life and leaves a hollow echo in its wake.

literally the powers lonely avatars have involve turning invisible. what else is often associated with invisibility? ghosts. checkmate. i’m running out of steam a bit but i swear these are good points i’m making. trust me.

what makes ghost stories so good is that even if the narrator is not a ghost themselves, just experiencing a ghost puts them at a fundamental disconnect from society. it’s something disbelieved by so many people. (there’s parallels to be made with mental illness here, but i... don’t really feel like making them right now. they’re definitely there, as is the very potent lonely-depression connection that made ep170 hit so hard for so many of us.) in hill house, the more eleanor is wrapped up in the goings-on of the house, the less she’s able to relate to the other people there. the closer martin becomes to the lonely, the less he’s able to talk to the people around him — he’s told not to talk to them by lukas, but he’s also just... unable to relate. their experiences are different than his, at this point.

nicole @brunetteauthorette99​ said something really good in our conversation about this, about ghosts “being stuck in... spaces that have moved on without them, reenacting their defining moments in life over and over again without the possibility of change.”

martin is stuck in the institute. he probably has an apartment, but we don’t see it, and i can’t imagine he as he is by season four has put much effort into decorating it or making it feel like a home. every place is impersonal — somewhere he exists without really living.

and the institute moves on without him. jon goes into the coffin and martin doesn’t know until he’s already in there. and martin can impact his environment only in small ways — leaving tape recorders on the coffin in an attempt to anchor jon home, leaving the tape of jon’s victim for melanie, basira, and daisy to find. he will not or cannot speak to or touch other living beings, just move objects around in a desperate attempt to get a message across, a ouija board of tapes and post-it notes. his moment of rejecting the lonely’s plans in 158 is dropping the knife peter has given him — another expression more through his interactions with his environment than any human connection.

martin says the lonely always had him, and with how much his story revolves around people who may as well be ghosts, that’s true. his father disappeared and left only the image martin had of him in his mind, only the echo he himself provided in the mirror, the ghost of someone who hurt him overlaid on his own reflection. his mother was only present so far as she could be malicious, disapproving; a vengeful ghost, taking out the revenging instinct she had for martin’s father on martin. and then everyone else martin cares about dies — sasha’s gone and not!sasha acts as her malicious echo for a while; tim dies; jon dies. and yeah, he comes back — but he’s different. a ghost of sorts. martin’s already pretty ghostly by then, too.

so martin is, essentially, a ghost throughout season four, and probably beforehand, as well. jon literally! asks martin! if he is a ghost! in season one! which brings us to 159: “are you real?” martin asks the first living person he’s really talked to in who-knows-how-long. because martin doesn’t feel real, so how could anyone else be? “nothing hurts here” may be a contradiction of the literal experience of ghosts we see in tma (gerry saying “it hurts, being like this”), but is a very real perception of ghosts in ghost mythology as beings beyond pain, beyond the suffering of being alive. sometimes they exist to cause others that suffering they can no longer feel, but a lot of the time, they’re just melancholy, having forgotten what it’s like to be a person or hanging on just enough to yearn to return to that feeling of life.

“i’m the reason he... i did this to him as much as you,” jon says. in ghost terms: martin died for him. of course his connection to jon, then, would be the only thing able to bring him back.

mag159 is an orpheus/eurydice story — people have made posts about that before, i’m sure, and i have too, how jon and martin invert the orpheus archetype by being saved rather than damned by the act of sight. and it feels obvious to state it, but for clarity: eurydice dies. orpheus, alive, tries to save eurydice from the underworld, where she is a spirit, a ghost, an echo of herself.

MAG170: RECOLLECTION   —   (SPOILER WARNING!)

this episode is the reason i’m making this post, but i may as well copy-and-paste the entire transcript for this section, because there is truly not a single part of it that doesn’t resonate as a ghost story. 

the lonely house as a malicious location. the chairs are all uncomfortable, the house is large enough that just by wandering it (as a ghost might) martin grows tired enough to sit in them regardless. the decorations are wrong — all the rooms are the same and martin doesn’t like it, said he doesn’t know “why i’d decorate my house like this.”

it isn’t a small house. there’s a reason a lot of ghost stories take place in twisting mansions where you can never quite find your way back to where you started. ghost stories thrive on that isolation, that loneliness — if you see a ghost while you’re alone, are you sure you’ll be believed? doesn’t that just isolate you further? architecture can twist around those within it until they’re trapped, doomed to haunt it themselves. “it's such a - such a big house, my house, there must be other people!” martin says. 

but the only others in the house are ghosts like martin. 

“hundreds, thousands of lost souls, wandering the halls. hollow memories, with eyes full of tears. i’ve seen them. they’re all trying to remember.” 

“i found someone else, wandering around. they were all thin and gray. faded. like they’d been here for ages.”

the ghosts cannot remember their names, why they are there, whether or not it is their house they exist in. they’ve become near-inseparable from the fog around them and the architecture that holds them hostage.

and the house itself, it takes all of that, and its quirks — the size, the chairs, the decorations, all of which martin openly does not like — are all made from the people haunting it. the house is wrong because the people within it can no longer change it. martin’s comment on the decorations sticks with me because it’s such a simple example of this: presumably, he could affect the house in some way in the past, but he no longer can, and he’s stuck with the results of his past mistakes, echoing over and over from room to room. the impacts remain even when the people have faded so far as to be practically nonexistent.

and once again: love is what makes him remember, over and over. he remembers jon, and then the lonely steals that memory — but the remembering is what’s important, because the act of loving anchors martin, and it helps him remember who he is, repeating his name over and over.

ghosts lack identity. whether it’s because they’ve been forgotten by all who knew them in life, whether it’s because it’s too painful to hold onto that when they can no longer do anything with it — we assign names to ghost stories, connect them to the living, but there’s always a disconnect there.

and that’s what helps jon find him, helps martin keep himself from fading out again. and even jon says “you were faint” upon finding martin. martin was a ghost haunting that house.

but not anymore.

the lonely is a ghost story. the lonely is about people who’ve become unmoored from human connection and their own identities, who haunt places, or who’ve been lured into places that are hauntings in and of themselves and have no choice but to take up residence as ghosts within those walls.

and ghost stories, often, are love stories. love keeps us tethered to life, and love is what saves people from the lonely, over and over again.