Category Archives: Tales /märchen

Stories which are not regarded as possibly true.

UFO Over Bridge Sighting

Text 

“Alright, uh, so this was my middle school teacher in 7th grade, whatever, who was an English teacher. Um, and he was like an old man who would just tell random stories about his life. This one time, him and his girlfriend at the time were like, hanging out, I guess, just in- they were on like a bridge in a city on a date, you know, like a romantic date, looking at the stars on the bridge. 

They’re hanging out on this bridge, they’re sitting, they’re chatting, um, and they see in the sky this moving, like, thing. It looked sort of like- well, it looked like a spaceship, is what they said. It had- it was like, some kind of thing in the sky and had like, lights underneath it, and it was moving in sort of like a figure eight pattern in the sky, just like right above the bridge, uh, above the city. And they both saw it for a while, and they were watching it, and eventually it left. Um, and he- I remember my teacher followed the story up with like ‘kids these days- you guys wouldn’t have seen it because you would be on your cell phones!’” 

Context

C is a University of Southern California student who went to middle school in Mercer Island, Washington in the United States. While unsure exactly when his teacher experienced these events, C guessed it happened about twenty to thirty years ago. He also guesses that his teacher has told this story to other classes of students. When asked about his and his classmates’ reactions, C said their reaction was skeptical but interested and polite.

He then followed up with an explanation of his teacher’s own stance on aliens: “Um, I don’t think he thinks it was aliens, necessarily? I think he believes- or, he told us he thinks it was a stealth plane, because they had like government stealth planes, and apparently he looked up what government stealth planes are like nowadays…and it apparently looked pretty similar to a stealth plane, so he thinks maybe it was that. Because it was kind of like black and V-shaped, I guess.” To explain the final part of his retelling, C also added that his teacher was very anti-cellphones.

Analysis

Folklorists have discussed how alien beliefs are often indicative of the US’s societal predispositions towards the future, upwards direction, and technology, and this memorate has several elements that seem to support this notion. C’s teacher’s explanations for the ‘true’ identity of the UFO as a stealth plane seems to indicate an air of mystery, intrigue, and perhaps even fear surrounding unknown government practices and technology. In addition, the way that C’s teacher ended the story with a jab at the cellphone usage of today’s children showcases the fluidity of narratives and how the meaning behind a narrative comes from one’s mind. While C and his classmates see the memorate as an entertaining (if unlikely) legend, C’s teacher, with his anti-cellphone moral message and skepticism towards the truth of the event, seems to have refashioned his experience to somewhat resemble a tale.

Text: In 2004, a vengeful spirit forces a Bhawanigarh family to abandon their mansion. Decades later, Ruhaan and Reet, mistaken for dead, hide there, uncovering the spirit’s true identity as a family betrayal. The climax reveals a switcheroo between twins Anjulika and Manjulika, leading to a spectral showdown and a plea for forgiveness.

Context: My brother told me about a tale set in Bhawanigarh, where in 2004, a malevolent spirit forced a family to abandon their mansion. Fast forward to 2022, Ruhaan and Reet, who narrowly escape a fatal accident, seek refuge in this very mansion. Ruhaan becomes known as Rooh Baba, believed to communicate with spirits, amid the family’s misconception of Reet’s demise. The spirit’s identity is revealed to be Manjulika, Anjulika’s jealous twin, skilled in black magic. The plot thickens when the family discovers Reet is alive and Ruhaan’s pretended possession by Manjulika, who had been impersonating Anjulika all along. In a dramatic turn, the true Anjulika’s spirit traps Manjulika, advising the family to forgive Reet for her deceit. This tale, weaving through themes of supernatural revenge, mistaken identities, and familial bonds, culminates in a haunting yet poignant resolution, where the spirit’s entrapment brings an end to the family’s curse, leaving a lingering question of forgiveness and redemption.

Analysis:

The tale from Bhawanigarh intertwines supernatural vengeance with familial betrayal, reflecting deep-seated cultural values surrounding family dynamics and redemption. The malevolent spirit, Manjulika, driven by jealousy and skilled in black magic, embodies the dark consequences of familial discord, resonating with Domino Renee Perez’s observation that folklore figures “wield power by making often incomprehensible and at times contemptible choices” (Perez 155). The narrative’s twist, revealing Manjulika’s identity through a twin switcheroo, delves into themes of deception and truth, showcasing the cultural fascination with doppelgängers and the supernatural as mirrors to human psychology.

The climax, marked by a spectral showdown and a plea for forgiveness, underscores the cultural emphasis on reconciliation and the healing potency of forgiveness. This aligns with the belief in redemption’s possibility, highlighting the transformative power of understanding and absolution within personal and cultural realms. Furthermore, the mansion’s role as the story’s backdrop, abandoned due to the spirit’s wrath, emphasizes the significance of space in spiritual beliefs, akin to Ülo Valk’s analysis of how environments shape folklore (Valk 31).

Text: A gold idol that might be cursed is placed in Mahadev Mandir (temple) in India and the idol has been stolen 7 times but mysteriously always returned within 24 hours.

Context:my friend from Kolkata shared a fascinating tale about the Mahadev Mandir in his city, nestled in the eastern part of India. This temple houses an intriguing gold idol, rumored to be cursed. The enigmatic charm of the idol has led to it being stolen not once but seven times. Yet, each theft is shrouded in mystery as the idol inexplicably finds its way back to the temple within a mere 24 hours. This recurring phenomenon has not only deepened the mystique surrounding the idol but also led to widespread speculation and lore among the locals, who regard the idol’s inevitable return as a divine or supernatural intervention, ensuring its presence within the sacred confines of the Mahadev Mandir.

Analysis: This tale encapsulates more than just an intriguing story; it embodies the intricate interplay of faith, mystique, and cultural heritage that pervades many Indian communities. This narrative, shared among friends and locals, transcends the boundaries of mere folklore, touching upon the deep-seated belief in divine intervention and the supernatural that often characterizes Indian spiritual and cultural ethos.

The idol’s uncanny ability to return to its sacred abode within 24 hours of being stolen, a phenomenon that has occurred seven times, resonates with Domino Renee Perez’s observation that folklore figures or objects wield power by making “often incomprehensible and at times contemptible choices” (Perez 155). Here, the idol, though inanimate, assumes a persona imbued with a divine or supernatural will, challenging the rational and inviting speculation about higher powers and the sacredness of objects within religious contexts.

Furthermore, the community’s reaction to the idol’s return, viewing it as a divine or supernatural intervention, underscores the cultural and historical value placed on such artifacts. It reflects a collective belief in the sanctity and divine protection of religious symbols, underscoring the role of faith in shaping communal narratives and practices. This shared belief system, woven into the fabric of daily life, serves not only to affirm faith but also to bind the community together through shared stories that underscore a common cultural heritage and identity.

Text: In the quaint British village near Durham, the ‘Wald Inns’ hotel harbors a chilling tale from the 1980s. A girl’s tragic end in room 212 spawned a series of inexplicable fatalities, sealing the room’s fate and the hotel’s closure within a mere month. Whispers abound that her spirit lingers, eternally confined to that very room.

Context: While sharing eerie stories one evening, my friend from a serene British village recounted the haunting history of ‘Wald Inns.’ The hotel, once bustling, became the stage for a harrowing narrative in the ’80s when a young girl’s life ended in despair in room 212. This event marked the beginning of a terrifying pattern: subsequent guests of the room never emerged alive. The sequence of mysterious deaths led to the hotel’s swift shutdown. Today, the abandoned ‘Wald Inns’ stands as a spectral reminder, with locals firmly believing the girl’s spirit remains, eternally wandering within the walls of room 212.

Analysis: The haunting history of the ‘Wald Inns’ hotel in room 212, where a young girl’s tragic demise led to a series of unexplained fatalities, transcends mere ghostly folklore. This narrative, deeply ingrained in the local community’s consciousness, reflects a collective engagement with themes of loss, the afterlife, and the quest for understanding beyond the tangible. As Domino Renee Perez highlights, folklore figures like the girl’s spirit in room 212 wield power through their actions, often leaving a lasting impact on cultural memory and communal identity (Perez 155). The tale of the ‘Wald Inns’ serves not just as a chilling story but as a cultural expression that probes the boundaries between life and death, invoking questions about justice, remembrance, and the unseen forces that linger in our midst. It embodies a communal narrative that navigates the complexities of human existence and the mysteries that defy explanation, serving as a poignant reminder of the past’s enduring presence in the collective psyche.

Text: In Dalit Tradition, you are supposed to place the mandir (temple) in the southwest direction of the house.

Context: When my friend’s brother was crafting his home, he wove in the ancient wisdom of Vaastu Shastra, a revered Indian ethos aligning architecture with cosmic energies for harmony. In a mindful move, he placed the sacred mandir facing the southwest, as advised, ensuring a home cradled in positive vibrations and prosperity, a testament to Indian traditions. He was talking about how his family believes in Vaastu as they consider the placements of each parts of the house as “important parts in deciding the house’s energy.”

Analysis:

The placement of the mandir (temple) in the southwest direction of a house, adhering to Vaastu Shastra principles, reflects a deep-rooted cultural and spiritual ethos within Indian tradition. This architectural practice transcends mere structural design, embodying a holistic approach to living that aligns with cosmic energies for harmony and prosperity. Such practices resonate with Ülo Valk’s observation that folkloric entities and practices are “shaped by the perspectives…of storytellers” (Valk 31), suggesting that these architectural choices are infused with cultural narratives and wisdom passed down through generations.

This mindful integration of the mandir within a home’s architecture speaks to the historical and cultural significance of sacred spaces in Indian tradition. It echoes Domino Renee Perez’s insight that folklore and cultural practices wield power by making “often incomprehensible and at times contemptible choices” (Perez 155), highlighting a deep-seated reverence for tradition and unseen cosmic forces. The adherence to Vaastu Shastra in modern living represents a dialogue between tradition and modernity, anchoring individuals within a continuum of time-honored practices and offering a sense of continuity amidst contemporary life. In essence, aligning a home according to Vaastu Shastra principles, particularly in the placement of sacred spaces, is a manifestation of the enduring influence of spiritual traditions in shaping personal and communal environments. It illustrates a worldview that regards the home as a microcosm of the universe, where directions and spatial arrangements are imbued with deeper meanings, thus integrating the sacred into everyday life and maintaining a vibrant connection with cultural heritage.