If Christmas is the great holiday for sounds — think of all of the masterworks and the centuries of carols — then surely Halloween is the bushel holiday harvest for sights. The very plumage of the landscape itself morphs from pastel verdure to vermillion explosions of the sorts of colors that we think of as having tongues, lapping across expanses as if summoning your gaze. The boogeymen come out, too, much as the ghosts do at Christmas, but whereas the latter have a subtle ease to them, the Halloween haunts rarely do. Part of that may have to do with Washington Irving and his Sketch Book of Geoffrey Crayon from 1820, a work that, in one vignette, helped inspire a visual schema that still colors the season.
Most people don’t read the Sketch Book in full anymore, focusing instead on its two most famous tales: “Rip Van Winkle” and, of course, the object of our purpose, “The Legend of Sleepy Hollow.” These are bumper crop works that repay and repay, but that’s the gist of the thirty-four essays, stories, anecdotes, and musings that comprise the Sketch Book itself, a weird piece of Americana by turns folksy, Gothic, chatty, and terrifying which also happens to be exceedingly accessible. And, wouldn’t you know, entirely modern, as if Irving’s words have piggy-backed atop the Horseman’s mount and rode into the latest age, ready to gallop off with a willing reader.
More… “Getting to the Bridge”