I’ve had a great time in San Jose over the past few days, and even took the tour of the Winchester Mystery House, something I’ve resisted for maybe 50 years, having last fidgeted through the place as a youngster. The WMH is a rambling, quixotic, 160-room Victorian structure that was built over a span of 38 years by Sarah Winchester, 1884 to 1922, when she died. Sarah was a blue blood from Connecticut and inherited a fortune when her husband passed. He was William Winchester, heir to the great gun manufacturing business of the 19th century. Sarah’s husband’s death was preceded by that of their only child, a daughter who succumbed at a few weeks of age. Sarah was devastated by these deaths and felt her family was cursed, a supposition supported by a Boston medium who pointed to the thousands of ghosts of those killed by Winchester arms. The medium told Sarah that she could appease or at least find some refuge from the curse by continually, uninterruptedly building a house, 24/7. She could easily afford to do so … and she did in San Jose.
There are some impressive statistics for Sarah’s house: numbers of windows and doors, high costs. There are also anomalies to point to: the doors that open onto walls, the stairs that end at a ceiling, rooms for spying on the help, rooms abandoned in disrepair after the 1906 earthquake, which trapped Sarah in one of her many bedrooms for several hours. Underneath the commercialized novelty, you see the idiosyncratic vision of a single person. Sarah seems to have lived reclusively but in community with her servants and workmen, whom she treated well but from whom she would tolerate no argument. The house was her reflection, guided as she may have felt herself to be by the spirits to whom she owed a debt. It was innovative, singular, and confused.
In contrast, and contemporaneous with Sarah Winchester’s building activity, a neighborhood Portuguese community built the impressive Five Wounds church on the Eastside of San Jose, which was constructed between 1912 and 1914. I wanted to visit this church, having walked and driven by its large scale facade for decades. I showed up there the morning after touring the WMH, but the doors to the church were locked. There was another wanderer in front of the church, a middle-aged woman who looked Portuguese. Assuming she was a parishioner, I asked her if she knew about church hours. Turned out, she was from Portugal but spoke good English. She said that her daughter, who she bemusedly described as aggressive, had gone to rouse a priest from the rectory to open the doors.
Her daughter came back with a big, comfortable looking older man in civilian attire. She’d shaken out the Portuguese-speaking priest, who’s actually from Brazil. The daughter, the woman, and her suddenly materialized husband, joined the priest for a tour of the church. I was invited to tag along, happily receiving random English translations along the way. The walls and alcoves of the church were rich with large and detailed statuary of Jesus and many saints. The Brazilian priest described the lives of each of the saints to the Portuguese guests with an obvious heartfelt connection. The saints inspired and delighted him, even when their stories were difficult. The Portuguese couple—the man a tightly-wound, committed religious conservative and the woman open-hearted and accepting in equal measure—pronounced the church the equal of those that move them back home.
Sourced from ghosts or God, individual eccentricities or community devotion, it’s been a rare gift to walk through early 20th century artifacts that survive in San Jose, imagining minds along with the shape of matter they’ve wrought. In a place where history sweeps through with astonishing speed—bringing wheat, bringing orchards, then wiping them away, along with oaks and creeks and the slow pace of lazy waters—I’ve actually felt the past.