"The murals hit me hard. First came terror, then awe. It was only after I’d taken them in that I began to feel their immense power."
Jason Poe, a former war photographer, has been breaking into abandoned houses for an art project to document what previous tenants have left behind. One night he finds more than expected when he ascends to an attic and is confronted by a haunting set of murals.
The murals cover all four walls of the cramped space and hypnotise Jason. Convinced there’s an important story behind them, he embarks upon a quest to identify their creator and uncover their meaning. To do so Jason recruits several friends, including Joan Nguyen, a reporter for Calista Times-Dispatch. As the team delve deeper they uncover a mystery involving accusations of satanism, police corruption, a scandal involving a wealthy Calista family, a series of contemporary arson attacks . . . and an enigmatic patient in a Swiss psychiatric clinic.
"The murals hit me hard. First came terror, then awe. It was only after I’d taken them in that I began to feel their immense power."
Jason Poe, a former war photographer, has been breaking into abandoned houses for an art project to document what previous tenants have left behind. One night he finds more than expected when he ascends to an attic and is confronted by a haunting set of murals.
The murals cover all four walls of the cramped space and hypnotise Jason. Convinced there’s an important story behind them, he embarks upon a quest to identify their creator and uncover their meaning. To do so Jason recruits several friends, including Joan Nguyen, a reporter for Calista Times-Dispatch. As the team delve deeper they uncover a mystery involving accusations of satanism, police corruption, a scandal involving a wealthy Calista family, a series of contemporary arson attacks . . . and an enigmatic patient in a Swiss psychiatric clinic.
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Overview
"The murals hit me hard. First came terror, then awe. It was only after I’d taken them in that I began to feel their immense power."
Jason Poe, a former war photographer, has been breaking into abandoned houses for an art project to document what previous tenants have left behind. One night he finds more than expected when he ascends to an attic and is confronted by a haunting set of murals.
The murals cover all four walls of the cramped space and hypnotise Jason. Convinced there’s an important story behind them, he embarks upon a quest to identify their creator and uncover their meaning. To do so Jason recruits several friends, including Joan Nguyen, a reporter for Calista Times-Dispatch. As the team delve deeper they uncover a mystery involving accusations of satanism, police corruption, a scandal involving a wealthy Calista family, a series of contemporary arson attacks . . . and an enigmatic patient in a Swiss psychiatric clinic.
Product Details
| ISBN-13: | 9780727889737 |
|---|---|
| Publisher: | Severn House |
| Publication date: | 12/03/2019 |
| Edition description: | First World Publication |
| Pages: | 224 |
| Product dimensions: | 5.55(w) x 8.74(h) x (d) |
About the Author
Read an Excerpt
CHAPTER 1
Jason Poe
Pow!
The murals hit me hard. First came terror, then awe. It was only after I'd taken them in that I began to feel their immense power.
'The Locust Street Murals,' as we later called them, covered all four walls of that little room, and the strange menacing figures all seemed to be staring at me, meeting my eyes with theirs, following me as I turned from one to the next. Clearly, they told some kind of story. I had no idea what the story was, but from the first I knew I had to uncover it. I was equally determined to discover who had told this story, the name of the artist who'd painted these figures.
I'd been photographing the interiors of abandoned houses for a couple of years, sneaking in at night, looking around, finding something interesting and poignant, then setting up my camera and using my miner's headlamp to paint it with light. These long slow exposures were parts of a project I called Leavings: The Things They Left Behind, which I later hoped to assemble for exhibition, and, if the images were strong enough, publish together as a book.
There were so many abandoned houses in the city that the project took on a boundless quality. My close friend, Hannah, after looking at a huge number of my images, kindly suggested that perhaps it was time for me to stop. 'You may have a problem with repetition,' she told me. 'You need to decide when you've made your point.'
She was right: I was repeating myself. But I wasn't ready to call a halt. There was something missing, I told her, something I was after, and I didn't want to stop until I found it. I shrugged when she asked me what this something was. 'I wish I knew,' I said.
Whenever I entered a house, I had a pretty good idea what I was looking for: the detritus folks abandon when they hurriedly leave a place – upended furniture, unwashed dishes, gunked-up cooking equipment, torn bedding, unlaundered clothes, the scattered food containers out of which they ate their final at-home meal. I often found broken toys, discarded school books, crumpled newspapers open to the Help Wanted pages. But I was after the unusual object that spoke of the anguish of people who had left in a rush because their mortgage was underwater or they couldn't make rent: a final eviction notice, heap of unpaid bills, dented old tuba wrapped in soiled high-school band uniform, perhaps a treasured set of drums that unhappily hadn't made it into the family car.
Best of all, I'd discover oddities, the images of which I treasured most because they seemed so telling – a painting on black velvet of a movie star hanging crooked on a wall, a ragged stuffed donkey tucked neatly by a child into a crib. In one house I came upon a rusted gynecological examination table with stirrups, suggesting the place had been an unlicensed abortion clinic. In another I slipped on the scattered beads of a rosary, perhaps ripped apart in despair. And, too often, I found messages of anger and contempt directed at mortgage lenders and landlords: smashed toilets, paint flung at walls, pet excrement and opened cans of food deliberately set out to attract vermin and flies.
Always I'd ask myself: What went wrong in this house? Who used to live here? What made them leave? It was a melancholy quest I was on.
I harbored the notion (perhaps naïve) that such abandoned objects told stories of the people who had left, their anger, despair, feelings of having been beaten down by life. And when I photographed them, I didn't try to aestheticize the way some photographers do when they shoot pictures of decayed buildings, reveling in mold and peeling paint. I did not, I told my students and colleagues, view myself as that kind of artist. I'm a documentarian, I told them, using still lives to tell stories of broken hardscrabble lives, and, by extension, the breakdown of our rust-belt town, Calista.
As always, we'd chosen the house carefully. Tally, my former student at Calista Art Institute, had scouted it out.
'There's this boarded-up gothic place standing apart on Locust,' he told me as we lunched together in the cafeteria at CAI. He passed me his cell phone. I liked what I saw. There was a small square gazebo perched on top, with a little railing around it, like a widow's walk on a coastal house, except there was no coast in sight.
'Looks untouched,' Tally told me. 'Most of the places around have been torn down. I thought you'd like the turret.'
'I do,' I told him. 'I also like that it's on Locust. Is there a way in?'
'Yeah, there's a way,' he said.
We went to see it on a warm June afternoon. I knew the area, an eclectic neighborhood of houses in different styles, most set far back from the street. Many of the abandoned ones had been bulldozed in accordance with the city's Tear Down the Blight program. There'd been talk of giving the land beneath these tear-downs to local residents for use as community gardens. I'd yet to see one. I'd only found broken foundations, piles of rubble and empty bramble-choked fields.
Locust Street fascinated me. The old Kenyon-Garfield Observatory stood on a rise at one end surmounted by the slotted dome that had once housed its fine Schmidt telescope. It was an anomaly in the neighborhood, a reminder of better days. The telescope had been relocated years before. The observatory building, long abandoned by Calista State University, had so far escaped local vandals due to a high-security fence and live-in watchman.
There were the two famous crime scenes near the other end of Locust that gave the street its notoriety: a house in which a middle-aged couple had imprisoned a young Latina for nearly a decade, and a murder venue just a block away to which a skinhead serial killer had lured black prostitutes for slaughter.
The imprisoned woman had been abducted on her way to school, then chained up in the attic to be used as a sex slave. As for the serial killer, when he was finally caught, the cops started digging around his place. They found four bodies buried in the crawlspace and seven more in shallow graves in the backyard. After that, TV anchors and reporters at local stations referred to Locust as 'Street of Horror.'
Tally was right. The gothic place did seem different from its neighbors, and the turret on top gave it the look of a classic haunted house. There were even decorative spikes protruding from the roof of the gazebo like a structure in a macabre cartoon by Charles Addams.
We slowed down as we passed, circled the block, then passed it slowly again.
'Best not to hang around and show interest,' Tally said as he picked up speed.
He had, he told me, checked it out three nights in a row.
'No one's lived there in years. Water, electric and gas all turned off. It's not considered abandoned 'cause the taxes are paid up. There're loose boards on a cellar window round back. Wouldn't be hard to jimmy,' he said.
'How do you know about the taxes?'
He glanced at me. 'Hall of Records. You know I always check, Jase. Listed to a corporation with an address on Doverland. I checked it out. Turned out to be a CPA's office in a shopping strip.'
'So somebody's paying taxes, but there're no utilities. What makes you so sure it hasn't been touched?'
Tally shrugged. 'Just a feeling. Maybe someone's been in there once or twice, but there're no signs it's been used as a crack house or occupied by homeless.' He glanced at me. 'Something about it, isn't there?' He stopped the car in front of the observatory. 'An aura. Like Stay outta here! We mean it! And for some reason the locals are respecting that.'
'I think you're being a little mystical,' I told him.
He shook his head. 'Maybe something spooky happened there once and people don't wanna mess around in it. Anyway, there's no one living near. A patrol car passes around midnight. Otherwise, it's real quiet. I spent a couple of hours in the bushes behind. Parked here then walked back. Didn't see a soul.' He paused, gestured toward the observatory dome. 'No moon tomorrow night. What'd you think?'
I wasn't sure. Going in through a cellar window could be risky if that was also the only way out. What if Tally was wrong and I encountered someone inside – crack user, copper thief, maniac with a vicious dog? Tally waiting outside would have my back; we'd be in contact texting back and forth ... but still ...
'Could attract attention if my lighting shows through the boards.'
'Boarding looks tight,' he said.
I thought about it. 'Let's try tomorrow.'
He grinned. 'Yeah, I kinda thought you'd go for it.'
We'd been working together on Leavings since I conceived the project, an odd pair of urban explorers, as we liked to describe ourselves: me, the white late-forties former conflict photographer, now instructor in photography at CAI, and Tally, my talented twenty-something former student, eking out a living as a wedding photographer in the African American community.
We'd worked out a partnership: I'd take the pictures; Tally would handle scouting, protection and transport. His battered Honda ran well and didn't stand out in poor neighborhoods. We'd split anything we made from print sales or a book, but money wouldn't be the point. We both loved the combination of photography and risk, plus Tally had special feelings for his home town. 'It's about the busted American Dream here, isn't it?' he asked when I first proposed the project. Yeah, that's what it'll be about, I told him, adding that it was great that he got it right away. 'I know why you want to do this, Jase. You need the rush,' Tally said. I was glad he got that too.
I wasn't inside a couple of minutes when I sensed this house was different. Soon as I inspected the main floor I understood this wasn't a typical residence. The dining table was long enough to accommodate more than a dozen people, and I found a standing gong in the kitchen. Could be a dinner bell, I thought, suggesting a lot of people had once lived there.
I liked houses where it turned out there'd been a lot more going on inside than you could guess from the exterior. Perhaps this one had been an unlicensed boarding house, or group home for the mentally handicapped.
The place was moderately ratty. There were the usual signs of disuse and decay – cobwebs, rodent droppings – but no sign of black mold. One oddity: the words A Caring Place meticulously stenciled on the living-room wall, with a huge 666, the satanic number, crudely spray-painted on top as if to negate the good intentions beneath.
Maybe this was some kind of cult house or splinter church that went bad.
I banded my miner's lamp to my forehead, texted Tally, then cautiously played the beam on the windows. Tally texted back that no light was seeping out. Relieved, I set down my tripod, battery unit and camera pack, and continued to explore.
The stairs were in OK shape. A couple of risers were missing, and one step started to give when I put my foot on it. I warned myself to be careful, then continued the climb. I counted three bedrooms and a bath on the second floor and one more on the third, with cots and double-decker bunks in each. Also on the third was a master suite with adjoining study and private bath. Bedding and clothes were strewn about. There were towels scattered on the bathroom floors, old toothbrushes and toothpaste tubes in the sinks.
All those beds – definitely a lot of people used to live here ...
I remember thinking that this was the kind of house I liked – stuff scattered about and a mysterious backstory suggested by that 666 sprayed on the wall below.
In the third-floor hallway I ran into a hanging rope. Figuring it for An attic ladder drawstring, I checked out the ceiling. My head lamp picked up the outlines of a trapdoor, an entrance hatch to the gazebo structure on the roof. When I pulled on the rope, the trap door dropped open. I pulled on the bottom rung of the attached ladder. It telescoped down to the floor.
I texted Tally that I was going up to the gazebo.
Circle the house and check again for light leaks, I texted. Remember there're windows on all four sides.
Roger that! he texted back.
The ladder held steady. A musty smell enveloped me as I approached the top. My breathing stirred up dust as I stuck my head through the hatch. I remember thinking: No one's been up here in years ...
That's when I caught sight of the murals.
No light, Tally texted, but I didn't respond, just crawled in, then stood still in the center of the ten-foot-square structure and gazed incredulously at the walls.
On numerous expeditions into abandoned houses I'd never come across anything like this: all four walls covered with artwork, on each a row of six painted life-size, head-to-foot people staring out at me ... or maybe at each other. These people, men and women, did not appear friendly. There was intensity about them, ferocity in their postures and the sets of their eyes. Gazing at them, I felt them staring back. I knew at once I was looking at something extraordinary.
I texted Tally: Pay dirt! Get settled. I'll be up here a while.
It didn't matter that the murals didn't fit with my theme of 'The Things They Left Behind.' I knew I had to document them. The turret room was small, which made it difficult to take good photographs. I'd have to go wide-angle to completely capture each wall. Since there're distortion issues with wide-angle lenses, I decided to shoot each wall from as far back as I could, then use a normal lens to document details. Later, using software, I could combine the images on my computer.
Full coverage would take time. My head lamp didn't throw off much light, but it helped that the walls were pale and the images were painted in shades of grays and blacks. Assured by Tally that no light was leaking out, I went downstairs to fetch my equipment. Back in the gazebo, I set up my master lights and set to work on the first wall.
The air in that attic was close. As I made exposure after exposure, standing very still so as not to shake my tripod and blur the images, I noticed that some of the murals were more finished than others. Looking closely, I saw that the figures on one wall and on a portion of another were drawn in a combination of charcoal and black crayon, while the rest were painted with black acrylic. This told me that whoever had drawn them had left behind a work-in-progress – as did a box of charcoal stubs and crayons, several cans of black paint and a vase of brushes I found stashed against one of the walls.
I didn't notice the bedrolls scrunched in a corner until I finished documenting two of the walls. Had the artist been so obsessed that he'd slept up here inside his work? Had he been awakened by someone in the middle of the night, forced to make a hurried departure? Who was he? What had he been trying to say? And how could he have left such a powerful work unfinished?
At first I thought that the figures on each wall were staring across the room at the figures on the wall opposite. But standing in the center of the gazebo while shooting sections, it occurred to me that just as I was staring through my lens at the people painted on the walls, they in turn were staring back at me. This, I realized, could account for the powerful effect of the murals: that it had been the intention of the artist, whoever he was, to draw the people on the walls as watchers, turning viewers who entered the attic room into objects of their inspection.
The eyes! There was no escaping them. They were sharp, hard, and all focused on whomever stood before them. Whenever I moved, the eyes uncannily seemed to follow me.
They were so strange, those people, frozen in space, their postures oddly angular, gestures exaggerated, bodies surmounted by slightly oversized heads. They were posed weirdly too: some in the foreground; others, darker, hovering just behind. And then I saw that in many cases the figures were doubled – the ones perched behind drawn as shadow doubles of the ones in front. The expressions on the faces of the front figures were stern but otherwise without affect, while the expressions on their shadowed doubles smirked, some showing unguarded cruelty, ferocity and deceit.
This, I gathered, had been the artist's intention: to show the two- faced character of his subjects, the false blank faces they showed the world and their true faces, Janus faces they kept concealed.
And then there was the little girl with the puppy crouching in the far right just behind one of the women's legs.
Who was she? And what was she doing there? Had she been asleep, heard something, come downstairs to see what was going on, and then snuck with her dog into a corner of the room, from which she peered out fascinated and unnoticed, a witness to the scene?
(Continues…)
Excerpted from "The Murals"
by .
Copyright © 2019 William Bayer.
Excerpted by permission of Severn House Publishers Limited.
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