The Conjuring X Ghost Reader

[Karriem Drewery]

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Sam and Colby decided to come back to the suicide bridge but this time it was just the two of them. Which might be the worst decision ever. When they get under the bridge and pull out the ouija board, you get curious and float to them. Taking a good look at both you have to admit they're both cute and handsome.

Once again you move it to yes. They talked to you like this for a decent amount of time. Getting your name and how you died. You couldn't help yourself and when said goodbye you stayed attached to the one you learned was named Colby.

You followed them everywhere they went. To every haunted location. Eventually they caught on and always asked if you specifically were there with them, the answer was always yes. Until the rerun to the conjuring house, you were there but due to the power of the demon you couldn't contact them.

When they split up and Colby stayed alone in the basement you tried so hard to let him know you're there. You saw and felt how terrified he was. As he planted the devices and sat down on the ground, hugging his knees you sat down next to him, touching his shoulder and he flinched, looking your way. He couldn't see you and yet he stared right at you.

You stayed by him, keeping him safe and even when they left, he tried the k-2 on himself and saw it spike. He had a smile on his face the whole way home. He never once thought he would be happy to have a ghost attached to him. But he was happy that you were with him, every step he took...

Jones grew up the only girl child surrounded by bootlegging, country-song-writing, hard-living men, uncles, brothers, fathers, and grandfathers who broke their own families but quite literally built the bright coastal tourist town of Myrtle Beach. Their lives became legends passed around from living room to living room, uttered and immortalized by the women who had to endure them.

Rumpus: Did it feel difficult to be telling the stories of Low Country while also navigating that sense of accountability to the people in your life that these sometimes painful stories are about, having to contend with the notion that your version of it is just one version?

Jones: My dad writes songs and is a writer, and I feel like I sort of grew up with a precedent of writing about the things that happened to us. Songwriting is more fictionalized maybe. The real things are interwoven with whatever rhymes, I guess, but there was a precedent for it.

I did a lot of research for this book. I got a lot of local history books and I read a bunch of more formal history books, but every myth or ghost story that I included, it was important to me that I had grown up hearing it in some way. It was interesting to me to read one particular ghost written by different people and then compare all of the versions with how I grew up hearing it.

So folk tales and oral histories do sort of become part of your family history, too. You grow up hearing them. I heard that particular story about the Gray Man from my grandmother, from my dad, from my uncle, at school. And it was important to me that all of those that are included in the book are ones that I was familiar with, orally, and then through studying history books.

Rumpus: I loved, too, all of those little glistening threads of magic you weave throughout this memoir in your sentences. Not just the ghost stories you recount, but in the turns of phrase in the book that drew on a kind of mystical, fantastical imagery. As someone who does come from this region, I recognize that there is something both deeply haunted and tragic, as well as enchanted, here. Our dead are never really that far from us. What did you have in mind as you were drawing that out, all those haints and ghosts and mermaids and witches that play a role in Low Country?

When I was reading a lot about ghosts and what purpose they serve, and why some regions seem more haunted than others, a common theory that I came across was that places with a lot of ghost stories are often places with a lot of cultural guilt, and I certainly felt that that was true while writing the book.

The Rumpus publishes original fiction, poetry, literary humor writing, comics, essays, book reviews, and interviews with authors and artists of all kinds. Our mostly volunteer-run magazine strives to be a platform for risk-taking voices and writing that might not find a home elsewhere. We lift up new voices alongside those of more established writers our readers may already know and love. We want to bring new perspectives into the conversation that will make us all look deeper.

Reading any creative work is an interaction that requires engagement, interpretation, and recollection. By being a game instead of merely a book, Dwelling brings those activities to the forefront, and it uses an isolation-horror scenario to make them all deeply personal. It provides the narrative frame and invites the reader to fill it with their own details.

I will warn you: it gets dark and may dredge up uncomfortable or even traumatic memories. Pines is extremely upfront about this and built multiple creative, physical safety tools into the game and the book, so players can feel secure approaching the experience on their own terms.

Dwelling gives the reader choices, but it makes sure they understand the game-related repercussions those choices carry. You must either live with your ghosts or risk losing them, whether for better or worse.

The visual-verbal interplay emphasizes and intermingles with the parallel interplay between mental and physical. The third interaction, mark, involves marking your own body either by touch or with a visible medium like washable ink. This prompt physically establishes the mutual interaction between the game and player; you will mark the book, and the game will mark you in return.

In the epilogue, Pines steps in as another I in the book. Yes, the player has spent the last 70+ pages navigating the house alone, but the author has covertly been there for every step of that journey, guiding the experience from behind the scenes.

Dream symbolism is reflected in the symbols we find in creative works, and it is always deeply personal and individualized. But I venture to say that the house in Dwelling likewise represents the I(s) who inhabit it. The marked book itself testifies to that.

After your suitcase was packed and youhad your backpack on, you were ready to go to London. You were so excited tosee a new place and considering you have never left the country, this was awhole new experience for you. After a ride in an uber and a plane, the five ofyou arrived in the capital of the United Kingdom.

After finishing the interview and exploringa bit of the beautiful town you were in, you all gathered around the camera as Samgave some background on the hotel. He tells you all about a German prince who jumpedfrom the building out the window and how the doctor from earlier killed hiswife and himself afterwards, both stories happening in room 333.

Sam pushes the door open to reveal thesupposed haunted room. A bed sat in the center of it, a closet to the left anda desk to the right. Huge grey curtains covered the window and another door wasnext to it, which you assumed to be the bathroom.

Back in room 333, you guys sat on thebed and Sam explained all the new ghost hunting gadgets they got, from the EMFreader to the dowsing rods. Sam says that with the dowsing rods, you can findbasically anything you want.

A sense of relief flooded your bodywhen you walked into the room. You were still very creeped out by the hotel andthe fact that you were on the most haunted floor of the most haunted hotel inthe most haunted country in the world. You were happy you were no longer in themost haunted room, but the things that were happening in there freaked you out.

You went to your suitcase and flippedthrough your clothes until you found something to sleep in. You had packedmainly warmer clothes for sleepwear, but since room 333 was so hot and you werestill burning up from it, you grabbed the one pair of shorts you brought and atank top. You grabbed a hair tie from your backpack and went to the mirror,throwing your hair into a ponytail. After you brushed your teeth and got yourcharger out, you settled into bed and shot Colby a text.

After not seeing the bubble with threedots pop up, you decide to let your phone record audio while you sleep just tocatch anything that might happen and set an alarm from three in the morning. Finally,you get to sleep.

You sling the covers off your body andrun to the door. When you open it, you are met with the concerned expressionsand worried eyes of the four boys you loved most. Your tear-filled eyes meetthe specific blues ones before you step forward and wrap your arms around hiswaist, hiding your face in his chest.

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