Wyeth has made Halloween a personal Walpurgisnacht, an annual reconnection with the unearthly, with witchcraft and hidden meanings. On that day he is electric with fun. He picks the deformed pumpkins and carves them into jack-o’-lanterns, a long lineage of fantastic death masks summoned up from childhood by the remembered scent of candle-heated pumpkin flesh.
On Halloween night Wyeth sometimes throws open his studio to the Wyeth clan and cohorts. They raid the NC [Wyeth] costume collection and disappear behind Andrew’s store of stage makeup, becoming a pack of ghouls touring the homes of close friends. Sometimes Wyeth in makeup and costume just walks alone in the night through a cornfield. “Marvelous,” exclaims Wyeth. “Getting rid of myself—fifty years after I’m dead, I’ll come walking back in disguise. I’d like nothing better.”
Always he is transported by a sensation of invisibility, of seeing the world through other eyes—revisiting his boyhood orgies of delicious horror. “It’s the eerie feeling of goblins,” he explains, “of witches out riding their broomsticks, dark holes behind windows, the glint of metal, the smell of damp rotting leaves and moisture, the smell of makeup, the feeling of your face under a mask, walking down a road in the moonlight as a child.”
For most of us, inspiration is a whisper, slight and private—so I love when eccentrics with outsized visions find huge ways to share their obsessions with us. A few weeks ago, I discovered one such site in Pennsylvania; it’s literally monumental.
Along an uphill webwork of winding roads, you’ll find a stone circle and dozens of other menhirs, dolmens, and megaliths strewn across 17 acres of groves and paths. The park is a refuge for pilgrims to rest, roam, ponder, and (in my case) take snapshots with antique Polaroids, most of them as murky as whatever moved the soul in a nearby house to haul these huge stones into place.
Celtic nostalgia is cousin to medievalism; a kindred impulse shaped them both. As far back as the English constitutional debates of the 17th and 18th centuries—was the Norman Conquest legit?—the druids were in play. Supporters of Parliament wanted to show continuity from the Germanic Saxons, who were seen as practicing a sort of primitive democracy temporarily kiboshed in 1066; monarchists wanted to override their claims with a more ancient political inheritance from pre-Germanic Celtic Britons. With the druids in mind, boosters of the British Empire also saw proof that savage people could be conquered, colonized, and redeemed—although the Welsh and the Cornish soon showed the power of druids as defiant patriotic symbols instead.
In the 1760s, the discovery of an epic cycle by the ancient bard Ossian famously beguiled readers on both sides of the Atlantic; it was a fake by a Scottish poet, but the Celts of romance conquered and thrived. Students of medieval lit still read Arthurian legend in the wake of 20th-century scholars like Roger Loomis, who never failed to discern minute echoes of Celtic ritual on every interminable page. Since the 1980s, the comically prolific John and Caitlin Matthews have cranked out piles of books that nourished a neo-druid British counterculture with growing political heft.
In the United States, popular Celticism has been domesticated; as with medievalism, less is at stake, so we make it our own. You’ll find it in neopagan spirituality and in the nostalgia of Scottish and Irish ancestral pride—and, it seems, in the shady groves of eastern Pennsylvania.
As I rested under a wooden awning, a golf cart came zipping down from the large modern house overlooking the stones. Behind the wheel was Bill, who founded the park in the 1970s. We talked about the inevitable breakdown of human institutions, the fleeting nature of the physical world, and the holy mischief of making places for future myth.
According to his book (for sale on the honor system in a nearby shed), Bill was a Presbyterian minister, but a series of dreams and mystical experiences on the Scottish island of Iona apparently turned him into a universalist. Since then, he’s busily created what is, at the very least, an ecumenical work of visionary landscape art. In addition to the main stone circle, his site includes a dolmen devoted to Thor, a path through a “faerie ring,” sacred male and female groves, a quirky bell tower inspired by an Ionian saint who was buried alive, stones for St. David and St. Brigid, and a lovely chapel to St. Columba, the Irishman who spread Christianity in Scotland.
Although Bill welcomes the public from dawn to dusk and religious revelers on certain evenings, I’ve deliberately not used the name of the park to help preserve it just a little from search-engine omnipresence. “We had 600 people on the land over Memorial Day,” Bill told me—not ruefully, but with a glimmer of concern. With a huge, happy laugh, he said he sometimes tells his board that they ought to take down the entire website. He didn’t quite mean it, but I liked his reason. “People will still come,” he said, as if he’d known so since the dawn of time. “They’ll find it when they need it.”