As the light grows in the bus, however, our narrator looks around and sees that all the people on the bus Ż all these dissatisfied quarrelsome people Ż "were all fixed faces, full not of possibilities, but of impossibilities" (Lewis 16). Yet, as the light grows, he catches sight of his own reflection, but his appearance is not revealed to the reader (Lewis 16). The significance of this moment only becomes clear at the end of the story, which will be discussed later. But their faces of impossibilities suggests a conceptual connection with the afterlife in Matheson's Dreams.
In What Dreams May Come, Chris also begins the story as a dead person. Also as in Divorce he does not at first realize that he is, in fact, a ghost. He is insubstantial, as are the ghosts in The Great Divorce. One religious scholar, Archana Dongre, has likened Matheson's Summerland to the astral planes of Western metaphysics, the Swarloka of Hinduism or the Bardos of Tibetan Buddhism (C9). In addition, Sydney Coale, writing for Hinduism Today, notes the examples of Hindu philosophy and theology in Dreams. For example, she notes his reference to the lower realms of the astral plane and the energy rather than materialism of the heaven worlds (Coale 24). She also notes Matheson's description of people's auras, the laws of karma and his understanding of the rules about reincarnation (Coale 24). Most notably, Coale traces to Hinduism M