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monsters, ghosts and apparitions have not lost their power of fascination despite the fact that they have almost vanished, since they are still very much alive.

Our language has several terms to designate these beings, but in general they are considered synonymous and refer to different realities. Everyone knows “ghost1”, which evokes an idea of ​​illusion and light; “spectre2”, to which a notion of fright or horror is attributed, the same horror caused by the skeleton with its mocking laughter or the decomposing corpse; “shadow”, which above all has to do with poetic vocabulary and which recalls the dissolution of the body in death3; “spirit4”, which is vague and expresses human perplexity in the face of unexplained manifestations; “appeared5”, on the other hand, immediately suggests the return of a dead person. The word Monster means a warning sent to the world.

Let's talk about the Experiential before moving on to literature and philosophy. The one that knows the monsters and tames them has a strange look. The stigmata is the lacerating presence of the street that the father and mother are teaching to name. The truth of another way of being in the world was brought about by the mutilated and incomplete. The pain and grief was so great that words were needed to say the impossible, to give a name to what did not have a name in itself, and to leave room for the exit of the species.

Poor, it's a pity for life.

Don't look at her, it's a lack of education.

These were the monsters of the street. The first experience of monsters within the reach of children comes from that normality made of scars and horrifying names.

We go to his portrait from the street. The circus experiences include lambs with one more leg, bearded women, dwarfs and giant men. Glass eaters, fire eaters, the bullet man, and other uses were explored by those who explored the uses against logic.

He was not impressed if a child was capable of eating mud.

Then came the real fear: albinos; children, men and women with hair on their faces like fragments of sheep's back, in the middle of their faces, below their glasses; the one who has been deprived of his nose and modestly covers it with a brown woolen shawl; the blind woman with white eyes who systematically stops to say hello to her neighbors. The country that the blind woman speaks from is a place that is covered in mud and yellow.

Children's stories have a correlation with threatening presences that are delimited by civil stigmas. The basic operations of the chopping, the fall and ascent, the dazzling metamorphosis and the lethal petrification are well known by girls and boys.

All of them are scary but with a face and a name.

The worst was when the motto became a more frightening and disturbing danger: a faceless monster. The features of the coconut and the cry baby were not seen by anyone, but there were teeth and claws waiting for us. The family or local name is sure to be found among the folds of memory. It was devastating because it was oneself who did it and undid it on the way home through little-frequented streets.

To become a monster, you have to change your voice. A breath of air that is no longer a human comes from inside, mixed with animal essences.

The one who changes his voice, like Jekill becoming Hyde, resembles Godzillas, dragons and, in general, the ogres that populate the stories and who have their lives in the doubles of daily life: the elderly gentlemen who cough with cigarette in hand, they roar because they are relieved with a drink.

As a consequence of crossing the line, a monster is being created.

A story that is not known by what fate has in store for it, lashes out at everything and everyone, starting with the old woman alone and the holy mother of the main character. He spurs the good woman until she takes her own life. He will be punished soon, with hair growing from his eyebrows and head and his nails growing disproportionately. His voice is no longer able to articulate words and he becomes a hoarse scream.

The monsters have been a barrier to the other for both girls and boys. It seems that there are three more posts left. The most violent bite in painting, in the life of monsters, is the one that the ogre makes when he imitates the devourer of the children of Saturn. The witch in the many appearances of her is afraid of the power of women with her spells and she keeps alive her fear.

And also the mestizo: the figure of the demediated, the broken, the fact of a human and something else, or who is human with another form, in another way; the anomalous that always teaches us that the world is actually upside down and that only the disciplining desire covers, polishes, orders, denies.

What texts and periods to follow the history of ghosts, apparitions and monsters to show them as our ancestors found them? For a thousand years, literature has told us about them and their evolution in its own way.

When Sophocles, in Electra, describes Clytemnestra's meeting with her late husband, Agamemnon, and in which both recriminate their respective crimes; when Aeschylus, in Prometheus Enchained, brings out the specter of Argos persecuting Io, blaming her for her 7 death; when Homer narrates in The Iliad the appearance of Patroclus in a dream to Achilles, asking him to have his body cremated, since, having not been buried, he could not cross the river that separates him from Hades; or, when Philostratus8 in Life of Apollonius, shows us Achilles leaving his tomb, answering five questions from Apollonius on issues related to the Trojan War9. The ghosts and apparitions of classical antiquity are actors and not troupes. This is the case until the 16th century

Shakespeare shows us the horror that overwhelms Macbeth when he sees the ghost of Banquo in Hamlet and describes the ghost of Hamlet's father crying out for revenge on a platform in the castle of Elsinore. Ghosts and apparitions, however, become mere comic or dramatic literary affairs, as in Oscar Wilde's The Canterville Ghost, in which the specter becomes a victim of the mischief of the terrible twins, or else, sentimentality moral that causes when reading the story of the dark and evil Scrooge in "A Christmas Carol" by Charles Dickens.

The Gothic novel, which had a great boom in the 18th, 19th and early 20th centuries, reacted to romanticism and chose to exalt atmospheres of psychological terror. The Raven, Another twist, and The beast in the cave were all written by authors such as Henry James, and they were all inspired by them.

Robert Aickman and Stephen King used the resources of fiction and the figure of the American phsyco killer. In King's work, multi-criminal John Wayne Gacy (aka Pogo the Clown, accused of 33 Illinois youth murders), becomes Pennywise in It, an undefined paranormal being who can take the form of a clown, a spider, a old man, to feed on the fears of the victims.

Christianity is similar to the culture of the dominant culture in which popular and pagan beliefs are largely hidden by the clergy who act for the glory of God. Since it is heavily impregnated with classical antiquity, clerical literature is hybrid.

And it is that the authors who trace the route followed by the invasion of those who appear in literature are called Saint Augustine, Tertullian and Gregory the Great, who developed the doctrine of purgatory in the Book of Dialogues,10 and Peter the Venerable, famous for his work The appearance of a deceased in Spain, written in the twelfth century and in which he concludes how necessary prayer is for souls to reach eternal rest and not roam the streets.

The Middle Ages of Northern Europe offer a place to describe the return of the dead and to follow the fight the Church waged against them. Who comes back? When do the visions happen?

Some dead bring good news, while others cause terror. What force makes the dead man come out of his grave, and what conception of the afterlife do they correspond to? The collective mentality of the time integrated ghosts and apparitions into it.

The Middle Ages is a place where ghosts and spirits appeared as far back as possible, before the intervention of the Church, so choosing it is important. It is difficult for Christians to believe that there are some men who appear after death, because they are nourished by the Bible and the Fathers of the Church.

Before the idea of purgatory was established, there were only two possibilities for a dead person: they could either go to Hell or Paradise. Faced with the cult of the dead, capital in paganism, the Church is forced to respond to questions regarding post mortem states.

The most important role in the history of ghosts and apparitions has been played by the two theologians Tertullian and Saint Augustine.