In a recent conversation with Entertainment Weekly to promote his new Netflix series Midnight Mass, Mike Flanagan reiterated that (alas) there are no current plans for a third season of The Haunting. The EW piece, though, did shed some insight onto Flanagan’s criteria for selecting a ghost-centric literary property to bring to the small screen. If a third season of The Haunting ever is considered, here are three books that I think would make excellent candidates for adaptation.
Summer of Night by Dan Simmons
Flanagan has proven himself a master of the Stephen King adaptation, so Simmons’s IT-inspired horror epic would be right up his dark alley. This novel about a haunted school spreading evil throughout the town of Elm Haven, Illinois, features both quiet dread (other-worldly voices intoning on a radio) and spectacular ghoulishness (you thought you had some awful teachers growing up!). Simmons’s sequel A Winter Haunting (which centers on the ghostly encounters of one of the protagonists from Summer of Night, who returns to Elm Haven as an adult) would also furnish material for a terrific coda to a stretch of episodes. A big-screen version has been long-rumored, but in the absence of such a film, Netflix could provide an ideal home for Summer of Night.
Coldheart Canyon: A Hollywood Ghost Story by Clive Barker
This ambitious and arguably under-appreciated novel mixes dark fantasy (the Wild Hunt is brought to California) and supernatural horror (the predations by a former film vamp) into a biting satire of the modern movie industry. The secluded Old Hollywood mansion where much of the action takes place can loom sinisterly right alongside Shirley Jackson’s Hill House (Season 1 of The Haunting) and Henry James’s Bly Manor (Season 2). Barker’s specters here have a particularly carnal bent, which would bring a much edgier element and more carnivalesque air to the typical ghostly proceedings on The Haunting.
Haunted: A Novel by Chuck Palahniuk
Palahniuk’s unabashedly macabre novel/linked-collection riffs on (and references) the famous spook-story-telling sessions of Mary Shelley, her husband Percy, Lord Byron, and John Polidori at the Villa Diodati in 1816. Here a group of aspiring modern-day artists discover that their writers’ retreat is actually a site of nightmarish entrapment (inside an abandoned theater). The book’s structure–characters’ recited works interpolated within the ongoing, ever-darkening captivity narrative–would lend itself perfectly to episodic televisual format. Yes, the ghosts that Palahniuk scares up might not be of the traditional variety, but as the novel’s title portends, there is plenty of haunting experience in store.