Imagining Some Fear

"...Ben walked slowly away, his heart a thudding drum in his chest. Yes, he was sweating; he could feel it trickling down from his forehead, his armpits, matting the hair on his chest. He looked up and saw Pennywise the Clown standing at the top of the lefthand staircase, looking down at him. His face was white with greasepaint. His mouth bled lipstick in a killer's grin. There were empty sockets where his eyes should have been. He held a bunch of balloons in one hand and a book in the other. Not he, Ben thought. It. I am standing here in the middle of the Derry Public Library's  rotunda on a late-spring afternoon in 1985, I am a grown man, and I am face to face with my childhood's greatest nightmare. I am face to face with It. 'Come on up, Ben,' Pennywise called down. 'I won't hurt you. I've got a book for you! A book . . . and a balloon! Come on up!"

This exquisite passage you just read is by Stephen King, the great author of horror novels, and is from his fiction work, It.

As I read this passage for the first time, in bed, with the lights turned low at late in the night, with the house creepily living on around me with no intention of falling asleep, I felt the same as Ben Hanscom. The sweat, the fear, the anxiety, the horror; and this was all thanks to the incredibly vivid descriptions by Stephen King, fruits of his teeming imagination.

Without King's imagination, there would be no horror in that passage. I would not start to look at clowns as I've never done before. I wouldn't close my eyes and see Pennywise the Clown, probably completely different from what King had in mind when he wrote that passage. Because as I read the passage, I blend that description with my own imagination, and create something totally different. Still horrifying, but in another way; horrifying for me.

This is why I believe it is safe to agree with the greatest mystery writer of all time, the inventor of the logical, arrogant, neat, socially-awkward "consultant" Sherlock Holmes; Sir Arthur Conan Doyle, on his saying,"when there is no imagination, there is no horror."

We cannot be afraid of something that does not exist in our minds.

Can a 3-year-old be afraid of a nuclear war starting, or an earthquake?

They are more likely to be horrified by the idea of slimy, forever-famished, hideous creatures, "monsters", I believe that's what they call them, hiding under their beds, sneakily waiting until they fall asleep, into the deep and wondrous world of dreams, and just linger their arms over the edge...

The moment we think of something, it spurs into life, instantaneously, and, unfortunately, you cannot hit "delete".

What the monster in It does is that it reads the minds of the children and takes the form of the thing they're most afraid of. The thing they imagined would harm them. The thing they think is hiding in their closet. For Ben, it was a mummy. For Eddie Kaspbarak, it was a werewolf.

Shakespeare wrote, in his play A Midsummer Night's Dream, that a lunatic, a lover and a poet all have different imaginations and comprehend the world differently; while the lover sees "a gypsy as the world's most beautiful woman", the madmen sees "hell" and "devils", all the while the poet "shapes" what he sees into immortal words, seeing something to write about in "airy nothing". And all of these people, with their crazy imaginations colossally different from each other, can easily perceive a "bush" as "a bear" in the night, by "imagining some fear".

Without our imaginations, we wouldn't have anything to be afraid of; we would not have a great machine behind our wondering eyes, restlessly imagining and recording things; spawning horrible thoughts, scary animals, worst-case-scenarios. King "imagines some fear" of his own, and puts them on paper masterfully, allowing us to "imagine" some horror for ourselves; people who read the passage in the beginning of this blog post fear completely different things. Now that you've read the passage, and imagined your own fear,  it's up to you to decide whether you are the lunatic, the lover, or the poet.