This is a collection of linked short stories set in modern Hong Kong which, the blurb tells us, “collectively capture various versions of the expat life that share the feeling of being between two worlds, that experience of being neither here nor there and trying to find a way to fill that space.” The way the characters mostly fill the space is by having empty, meaningless sex, usually with strangers.
The stories are well written, but terribly repetitive, filled with too much swearing, drink, drugs and the aforesaid empty sex. The overall impression is of a sordid, seedy place, where people go to make money and seem to lose their souls in the process. I suspect that’s the point, and therefore in that sense the author succeeds in her aim. But I certainly didn’t find them an entertaining bunch to spend time with nor, if I’m truthful, did I really buy the whole idea that expat life is quite this vacuous and pointless, except perhaps for people who have no internal resources to fall back on. I also felt that the picture of Hong Kong was extremely narrowly drawn, never letting us see beyond the restricted vision and lack of cultural curiosity of the characters. These expats could have been anywhere.
I don’t want to be too harsh. Many people have a higher tolerance level than me for reading about whiny, foul-mouthed, addicted, entitled, poor little rich kids having sex, and for them I’m sure these stories will seem less tedious.
NB I won this book in a giveaway from the lovely Anne at ivereadthis.com – sorry, Anne! I tried to love it… 😉
Another themed collection of mystery shorts from the British Library Crime Classics series, edited and with a foreword by our usual excellent guide to all things vintage, Martin Edwards. This one contains eleven stories, all with a Christmas theme, often of family get-togethers for the holiday. Some of the British Library regulars are here – ECR Lorac, John Bude, Julian Symons, but there are also many who are new to me or whom I’ve only come across as contributors to other anthologies. I often find the stories from these lesser known ones are the best in the collections, and this is the case here. I wonder if this might be because they specialised in the short story form, whereas the bigger names are more comfortable with the full-length novel? But that’s merely speculation.
Here’s a brief idea of some of the stories I enjoyed most, which will give you some idea of the variety in the collection:
By the Sword by Selwyn Jepson – this is told from the murderer’s perspective and a nasty piece of work he is too! He is in lust with his cousin’s wife, plus his cousin, usually willing to help him out financially, has decided to draw the line and refuse him any more “loans” which never seem to get repaid. It’s a tradition in this military family that all the men die “by the sword” and our murderer is happy to go along with this. However, there’s more than one sting in the tail of this rather dark and well written story. And the author is particularly good at creating layers, so that we see through the murderer’s self-obsessed viewpoint but also can guess at things he misses.
Sister Bessie or Your Old Leech by Cyril Hare – a man is being blackmailed and is sure the blackmailer is one of his step-siblings. He’s already caused the death of the one he first suspected, but now he’s received another demand. So he sets out to kill the one he now suspects – sister Bessie. Naturally things don’t go according to plan… another one that’s very well told.
Blind Men’s Hood by Carter Dickson – one of the things I enjoy about these collection is that they often include stories that crossover into mild horror. This is a great little ghost story, brilliantly atmospheric. Our protagonists, a young man and his girlfriend, turn up at a friend’s country house for a Christmas gathering. The house is empty – all the inhabitants have gone off to a church service but for one young woman, who tells them the story of a long-ago murder. It’s beautifully done, with some lovely spooky touches.
‘Twixt the Cup and the Lip by Julian Symons – Symons is rapidly becoming one of my favourites of the authors the BL is reviving, and this rather longer story shows his style well. Our protagonist is a bookseller as far as the world knows, but in secret he is also something of a criminal mastermind. He is putting together a little team to rob a local store of a jewellery collection that forms the centrepiece of its Christmas display. Despite his meticulous planning, things don’t quite work out as he intended. There’s a lovely mixture of light and dark in this story, and the Christmas theme is enhanced by men running about in Santa costumes.
Overall, eight of the eleven stories got either 4 or 5 stars from me and none got less than 3, which makes this one of the strongest of the collections so far. Unfortunately I didn’t get around to reviewing it in time for Christmas just past, but it’s one I highly recommend for the nights leading up to next Christmas, or for the rebellious non-traditionalists among you, it would even be possible to read and enjoy it now…
NB This book was provided for review by the publisher, the British Library.
This is a collection of nineteen stories, nine by AC Benson and ten from his brother RH Benson, plus a short essay on haunted houses by RH. These two are also brothers of the more famous EF Benson, and all three dabbled in ghost story writing to a greater or lesser degree. There’s an informative introduction by Hugh Lamb giving some biographical detail of each of the brothers and discussing the background to the stories.
I seem to be overusing the term “mixed bag” recently, but this is another one for me. Mostly I enjoyed AC’s stories and loved a few of them. RH, on the other hand, did nothing for me, so I’ll get him out of the way first.
On the basis of the stories collected here, many of which come from a series of tales about priests telling of supernatural occurrences they have experienced, RH seems to be firstly, obsessed by religion, specifically Catholicism; and secondly, intent on examining the question of whether hauntings are actually spirits returned from the dead, or psychological, produced by the expectations of the observer, or physical manifestations of echoes of tragic events. Almost every one of his stories includes these two aspects, so that they are repetitive and, to me, entirely uninteresting. They feel like fragments, and I hoped that they might eventually pull together into some climax, but they certainly didn’t in the ones selected here. I fear RH never achieved more than a three star rating from me and often dipped to two, or even one more than once.
AC, on the other hand, consistently achieved four stars and several fives. His stories also have strong religious themes and I admit this did begin to bore me by the end. But he uses much more imaginative ways to examine the themes than his brother. Some of his stories are standard hauntings but with original twists, such as Basil Netherby, where the haunting comes out through the music composed by the haunted man. Other of his stories read like fables, with adventuring protagonists participating in what are fundamentally battles between good and evil, but which are done so well they don’t feel stale and repetitive like poor old RH’s. Both brothers write well technically, but AC lifts his tales with the use of some great imagery. His stories also feel complete in themselves, whether a few pages or close to novella length.
Here are a few of the ones I enjoyed most – all from AC:
Basil Netherby – a great story, which I’ve already highlighted as a Tuesday Terror! post.
Out of the Sea – the story takes place in a small, poor seaside village. There’s a shipwreck and two sailors are found dead on the shore. Later, a family, the Grimstons, approach the local priest to seek his help – they are being haunted by a ghostly shadow that smells of the sea and corruption. This, like so many of the stories, is a tale of atonement for an evil deed, with a rather heavy-handed religious message at the end, but it’s very well told, dark and effective.
The Snake, The Leper and the Grey Frost – A fable of a boy who has heard of a treasure and wants to go on a quest to find it, so asks the village wise man for advice. The wise man sets him on the path and tells him to beware the snake, the leper and the grey frost. But each is hidden in some way so the boy has a series of narrow escapes, until eventually he is caught in the grey frost. This is a tale of the power of faith, but it’s not explicit. It’s beautifully written and has some great imagery, especially of what the boy sees in the frost. I found this one surprisingly moving.
The Grey Cat – Young Roderick strays to a pool which has an evil reputation. There he meets a cat which befriends him but refuses to follow him home, so that Roderick, becoming oddly obsessed by the creature, finds himself returning to the pool again and again. The reader quickly knows the cat is clearly demonic in origin and so does the local priest, who enters into a battle to save young Roderick’s soul. Fable-like in style again and with some fantastic imagery, especially of… nope, spoiler! You’ll have to read it. I loved this one, although again its overtly religious message is a little heavy-handed.
The Uttermost Farthing – this is almost novella length and again is very well written with some great horror imagery and an effective ghostly atmosphere. Biblical scholars will of course recognise the reference in the title. (I googled it.) The narrator visits the house of a friend, to find that it’s haunted by the previous tenant, a man who had carried out experiments into how to use evil thoughts as a weapon against his enemies. The two men, together with the inevitable local priest, must find the papers left by the evil-doer and destroy them, but the ghost is determined to stop them…
Overall, for me it would have been a stronger collection had RH been left out of it altogether. But full marks to AC, whose fable-like stories in particular stand out for their imaginativeness and imagery, and the quality of his stories in general makes me very glad to have read the collection.
No wonder the porpentine’s praying!
NB This book was provided for review by the publisher, Collins Chillers.
This is a collection of fourteen stories that were first published in magazines between 1819 and 1838. The majority are from London’s New Monthly but there are a few from other London and Dublin magazines. This was a time when magazines were flourishing, providing information and sensation to a readership hungry for entertainment. The foreword tells me that this book deliberately omits the famous Edinburgh-based Blackwood magazine, because Oxford World’s Classics had already published a separate collection of them. The title story, The Vampyre by John Polidori, arose out of the same evening of ghost story-telling that inspired Mary Shelley’s Frankenstein, and was the first literary portrayal of what would become the modern vampire, hence its star billing. (I’ve already talked about it at more length in a Tuesday Terror! post.)
I found this an intriguing collection, different in tone to the usual horror anthology. Although some of the stories have a ghostly or otherwise supernatural element, many of them are strictly about human horrors and they’re often related in some way to events of the time. For example, James Hogg’s contribution, Some Terrible Letters from Scotland, arises from the cholera epidemic which killed thousands of Scots in 1831-2, while William Carleton’s Confessions of a Reformed Ribbonman is based on a real-life lynching – the Ribbonmen were a secret organisation of Irish nationalists. More than one of the stories has been influenced by the true-life story of Burke and Hare, who robbed graves and murdered people to supply bodies for anatomy students. And there’s a good sprinkling of Scottish and Irish stories, which pleased my Celtic heart.
Macabre is undoubtedly the right word for the collection – some of the stories are fairly gruesome, with a proliferation of corpses and anatomists popping up more than once, and the ones based on real events have an added grimness for knowing that. Madness, when it appears, is not always of the Poe-esque high Gothic variety, but more of the realistic murderer type, and is therefore more chilling than scary, perhaps. A couple of them were too macabre for my squeamish taste, but they were more than compensated for by touches of humour or genuine spookiness in other stories. Here are a few of the ones I enjoyed most:-
The Vampyre – Illustration by Anne Yvonne Gilbert
Monos and Daimonos by Edward Bulwer – a story of a man’s desperate search for solitude and what happens when he can’t find it. Another one which I used for Tuesday Terror!
Sir Guy Eveling’s Dream by Horace Smith – this is written in the form of an old historical document, so the author has a lot of fun with old-fashioned language. Basically a warning to wastrels everywhere, this tells of a man who spends his life drinking and womanising, till one day he comes across a beautiful but mysterious lady, who is not quite what she appears. Quite naughty, this one, I thought, in a mild way – Victorian morality must not have kicked in yet. I wasn’t sure if it was supposed to be funny, but it did make me laugh!
Some Terrible Letters from Scotland by James Hogg – this is presented as three letters supposedly written by people caught up, as I mentioned above, in the cholera epidemic. The first tells of a man who is pronounced dead and prepared for burial, but his mind is still conscious. Apparently this was a real fear during the epidemic, at a time when medicine was still a pretty primitive profession. The next letter gives a picture of how easily the disease could be spread, and how that led to fear of strangers. The last one takes us more into supernatural territory as a woman insists on nursing the sick over the protests of her fearful children. Together, they’re a great mix of history and horror with touches of black humour.
The Curse by Anonymous – a man is returning from India, having made his fortune there, to claim the hand of the girl he loves. But on the way home, he meets an old man who tells him that God has placed a curse on his family in revenge for murders committed by an ancestor. Needless to say, when he gets home, the curse is waiting for him! This is a more traditional story which touches on that never-ending Scottish obsession with sectarianism and hellfire religion, and it’s very well told.
Life in Death by Anonymous – a man invents an elixir which, when rubbed on a newly deceased body, will bring the dead back to life. But it all goes horribly wrong! Some deliciously shivery moments of pure horror in this one – sometimes death isn’t the worst thing that can happen…
* * * * *
There’s an interesting introduction by Robert Morrison, Professor of English Literature at Queen’s University, Kingston, Ontario, and Chris Baldick, professor of English at Goldsmith’s College, University of London, in which they tell the story behind The Vampyre and discuss the history of the magazines and the part they played in the literature of the day. The notes are great, with each story put into its historical context. Needless to say, most of the information I’ve included above has been taken from the introduction or notes.
In total I gave nine of the tales either four or five stars individually, so despite there being a few I wasn’t so keen on, overall I enjoyed the collection very much, and recommend it as a good mix of stories that are a little different from the norm.
NB This book was provided for review by the publisher, Oxford World’s Classics.
When discussing classic horror stories, it’s not possible to omit Edgar Allan Poe. Plus his stories are always great. Aren’t they? Time to find out in this week’s…
Berenice by Edgar Allan Poe
Edgar Allan Poe
Misery is manifold. The wretchedness of earth is multiform. Overreaching the wide horizon like the rainbow, its hues are as various as the hues of that arch, as distinct too, yet as intimately blended. Overreaching the wide horizon like the rainbow! How is it that from Beauty I have derived a type of unloveliness? — from the covenant of Peace a simile of sorrow? But thus is it. And as, in ethics, Evil is a consequence of Good, so, in fact, out of Joy is sorrow born.
After this cheery start, we learn that our narrator is Egaeus, the last of his line (thankfully), who grows up in the family mansion with his cousin, Berenice. He suffers from a mental condition, monomania he calls it though the opium might have something to do with it, that causes him to focus excessively on whatever grabs his attention to the exclusion of all else. She, once beautiful and agile, now suffers from an unnamed illness that causes her to waste away whilst having epileptic-style fits that leave her in a kind of trance. So they decide to get married. It’s a true romance…
During the brightest days of her unparalleled beauty, most surely I had never loved her. In the strange anomaly of my existence, feelings with me, had never been of the heart, and my passions always were of the mind. . . And now—now I shuddered in her presence, and grew pale at her approach; yet, bitterly lamenting her fallen and desolate condition, I called to mind that she had loved me long, and, in an evil moment, I spoke to her of marriage.
However, Berenice does have one feature which takes our dashing hero’s fancy…
The eyes were lifeless, and lustreless, and seemingly pupilless, and I shrank involuntarily from their glassy stare to he contemplation of the thin and shrunken lips. They parted; and in a smile of peculiar meaning, the teeth of the changed Berenice disclosed themselves slowly to my view. Would to God that I had never beheld them, or that, having done so, I had died!
Unfortunately, he does not die. The same cannot be said for poor Berenice, who having smiled her ghastly smile, quietly goes off and becomes deceased. But a little matter like death isn’t enough to undo the effect of her toothiness on our lovely narrator. He carries out a horrific deed, and then, like so many before and since, pleads amnesia…
Yet its memory was replete with horror—horror more horrible from being vague, and terror more terrible from ambiguity. It was a fearful page in the record of my existence, written all over with dim, and hideous, and unintelligible recollections. . . I had done a deed—what was it? I asked myself the question aloud, and the whispering echoes of the chamber answered me,—“what was it?”
Harry Clarke illustration
* * * * * * *
Well, if you want to know what it was, here’s a link – but take my advice and don’t! Ugh! I reckon Poe must have been having a bad day when he wrote this one! I can’t say it scared me exactly, more disgusted me. Apparently it also disgusted the first readers too, and even Poe himself later said “I allow that it approaches the very verge of bad taste…” Approaches?? It walks right up and punches it on the nose!
Combine that with his constant insertion of bits of untranslated French and Latin…
Of Mademoiselle Salle it has been well said, “Que tous ses pas etaient des sentiments,” and of Berenice I more seriously believed que toutes ses dents etaient des idees.
Quite so!
The words were the singular but simple ones of the poet Ebn Zaiat:—”Dicebant mihi sodales si sepulchrum amicae visitarem, curas meas aliquantulum fore levatas.” Why then, as I perused them, did the hairs of my head erect themselves on end, and the blood of my body become congealed within my veins?
Why indeed?
On the upside, there’s lots of traditionally Gothic stuff about the gloomy old mansion and the library filled with ancient, unspeakable tomes and so on. But I’m afraid this won’t figure in my list of top Poe stories. His narrator was opium-sozzled throughout and by the end of this I was kinda wishing I was too…
* * * * * * *
Fretful Porpentine rating: 😱 😱
Overall story rating: 😐 😐
The porpy’s teeth are nearly as lovely as Berenice’s…
NB I read this in the anthology Horror Stories, which was provided for review by Oxford World’s Classics.
One summer evening in 1816, a group of friends got to discussing tales of the supernatural, and challenged each other to write their own story. Two defaulted, Lord Byron wrote a “fragment” entitled Augustus Darvell, Mary Godwin, later Shelley, wrote Frankenstein: or, The Modern Prometheus, and Byron’s doctor, John Polidori, wrote this story…
The Vampyre
by John Polidori
Portrait of John Polidori by FG Gainsford c. 1816
…there appeared at the various parties of the leaders of the ton a nobleman, more remarkable for his singularities, than his rank. He gazed upon the mirth around him, as if he could not participate therein. Apparently, the light laughter of the fair only attracted his attention, that he might by a look quell it, and throw fear into those breasts where thoughtlessness reigned.
A young gentleman by the name of Aubrey becomes fascinated by a rather older nobleman, Lord Ruthven, because he finds Ruthven’s character impossible to guess at. Ruthven is attractive but his eyes are strangely inexpressive, giving no clue to his feelings. The susceptible, inexperienced Aubrey…
…allowing his imagination to picture every thing that flattered its propensity to extravagant ideas, he soon formed this object into the hero of a romance, and determined to observe the offspring of his fancy, rather than the person before him.
Illustration by Anne Yvonne Gilbert
Discovering that Ruthven intends to travel abroad, Aubrey arranges to go too, and soon the men become travelling companions. But over time, Aubrey begins to realise that his friend is not necessarily a very nice man…
Aubrey could not avoid remarking, that it was not upon the virtuous, reduced to indigence by the misfortunes attendant even upon virtue, that he bestowed his alms;—these were sent from the door with hardly suppressed sneers; but when the profligate came to ask something, not to relieve his wants, but to allow him to wallow in his lust, or to sink him still deeper in his iniquity, he was sent away with rich charity.
Aubrey tries to give him the benefit of the doubt, even though he can see that Ruthven preys on young women, (in rather unspecified ways), leaving them and their families ruined and disgraced. Then Aubrey’s guardians warn him that Ruthven is a bad lot, and Aubrey decides to leave and travel alone to Greece. But here, tragedy strikes – and soon Aubrey will become convinced that his one-time friend is hiding a terrible secret…
There was no colour upon her cheek, not even upon her lip; yet there was a stillness about her face that seemed almost as attaching as the life that once dwelt there:—upon her neck and breast was blood, and upon her throat were the marks of teeth having opened the vein:—to this the men pointed, crying, simultaneously struck with horror, “A Vampyre! a Vampyre!”
Advertising poster showing Byron as the author
* * * * * * *
I can’t help imagining the two friends, Mary Shelley and John Polidori, getting together again a couple of years later…
Mary: So, did you write a story? John (proudly): Yes, I did! Here it is! Did you? Mary (taking the few sheets from John’s hand): Umm… well, yes, I did. (She holds out a massive manuscript.) John: Oh! (pauses) So… what’s it about? Mary: Oh, you know, the usual stuff. Mad science, ethics, perceptions of difference, man usurping God as creator, existential questions of loneliness and belonging, the essence of humanity… what’s yours about? John: Umm… well, it’s about… umm… well, a man who’s actually a vampire. Mary: Ah! I see! (She riffles through the tiny sheaf of pages.) That should be… fun! John: I feel a bit embarrassed now. Mary (kindly): Oh, don’t be! At least you wrote a story. Byron only managed a “fragment”…
Mary Shelley by Samuel John Stump 1831
Mary was right – this is… fun! Not terribly well written fun, it has to be said, and not very vampirish either, to modern eyes. However, apparently it started the whole fictional vampire obsession, so it deserves praise for that. The introduction in my Oxford World’s Classic edition tells me that originally it was published under Byron’s name by an unscrupulous publisher looking to cash in on his notoriety, and I wonder if it would have had the same impact without that. I doubt it. I did find it amusing that some people said it was Byron’s best work – bet they felt a bit foolish when it came out he hadn’t written it! Polidori nicked the basic idea from Byron’s “fragment” (which is included in the book and is much better written) and expanded it into a full short story. He was apparently also taking a bit of a swipe at Byron himself – Ruthven being the name Byron’s cast-off mistress Caroline Lamb had given him in her own fictional portrayal in her novel, Glenarvon.
Lord Byron by Thomas Phillips 1813
In truth, I found the story of the story more interesting than the story. Neither the porpy nor I found it scary, and while the porpy didn’t laugh at some of the clunky, over-dramatic sentences, I did. Clearly the porpy has a sweeter nature than I…
John: Mary, your book is wonderful! It’s destined to be a great classic! I predict it will become one of the foundation stones of modern literature! I shuddered, I cried, I got angry, I shivered in fear! Your creature will fire imaginations through the centuries! Bravissima! Mary: Thanks, John! Er… your story’s quite good too!
This story appears in the collection, The Gothic Tales of HP Lovecraft. Lovecraft is known for his long, verbose, weird fiction but he could do short, Gothic and scary with the best of them when he tried. This little story seems perfect to wake the fretful porpentine from hibernation…
The Music of Erich Zann
by HP Lovecraft
HP Lovecraft
I have examined maps of the city with the greatest care, yet have never again found the Rue d’Auseil.
Our unnamed narrator was a student at the time of which he tells, in a city which is probably Paris although it isn’t named. His straitened finances force him to take a room in a ramshackle house in the Rue d’Auseil. Most of the other rooms are empty, but on his first night in the house, he hears strange music being played in the garret room above his own. On enquiring from the landlord, he learns the tenant of that room is Erich Zann, a strange, old, dumb viol-player.
Thereafter I heard Zann every night, and although he kept me awake, I was haunted by the weirdness of his music. Knowing little of the art myself, I was yet certain that none of his harmonies had any relation to music I had heard before; and concluded that he was a composer of highly original genius.
Resolving to make Zann’s acquaintance, the student stops him in the corridor and asks if he may listen while Zann plays. Grudgingly the old man agrees and takes the student to this room.
Its size was very great, and seemed the greater because of its extraordinary bareness and neglect. Of furniture there was only a narrow iron bedstead, a dingy washstand, a small table, a large bookcase, an iron music-rack, and three old-fashioned chairs. Sheets of music were piled in disorder about the floor. The walls were of bare boards, and had probably never known plaster; whilst the abundance of dust and cobwebs made the place seem more deserted than inhabited. Evidently Erich Zann’s world of beauty lay in some far cosmos of the imagination.
Illustration by Andrew Brosnatch, drawn for the reprint of the story in the May 1925 issue of Weird Tales.
But as time passes, the student comes to realise that there’s something very strange about Zann’s playing. When the student is in the room with him, he plays well but conventionally. However, when he’s alone and the student is hearing him from outside the room, the music becomes wild, with weird harmonies such as the student has never before imagined…
There in the narrow hall, outside the bolted door with the covered keyhole, I often heard sounds which filled me with an indefinable dread—the dread of vague wonder and brooding mystery. It was not that the sounds were hideous, for they were not; but that they held vibrations suggesting nothing on this globe of earth, and that at certain intervals they assumed a symphonic quality which I could hardly conceive as produced by one player.
Then one night, the music grows so wild that the student is drawn to the old man’s door…
I heard the shrieking viol swell into a chaotic babel of sound; a pandemonium which would have led me to doubt my own shaking sanity had there not come from behind that barred portal a piteous proof that the horror was real—the awful, inarticulate cry which only a mute can utter, and which rises only in moments of the most terrible fear or anguish.
He finds the old man unconscious, and when he comes to, he agrees to tell the student the secret of the music. He sits at the table to write out his story, when suddenly the student becomes aware of music, but it’s coming from outside the window!
Zann leaps to his feet, grabs his viol and starts playing for all he’s worth…
It would be useless to describe the playing of Erich Zann on that dreadful night. It was more horrible than anything I had ever overheard, because I could now see the expression of his face, and could realise that this time the motive was stark fear…
* * * * * * *
Gosh! This woke the porpentine with a shriek! It has touches of Lovecraft’s famed weird tales, but mostly it’s a fairly traditional Gothic-style horror story. It’s brilliantly told, with the descriptive writing gradually bringing it up to a pitch of perfect terror. The old viol-player being dumb adds to the tension since he can’t quickly explain what’s going on, and the narrator’s inability to ever find the Rue d’Auseil again leaves the reader wondering if it was all his imagination; or is the street somehow part of another world hidden within this one into which the narrator had somehow strayed? As it reaches its crescendo, I swear to you that I actually gasped out loud!
So far I’ve read about half the tales in this collection and each one has been superb. I wish HPL had stuck to Gothic rather than creating his weird Cthulhu Mythos – for my taste, these short tales of sheer horror have far more impact. If you’d like to read this one online, here’s a link. But I think it’s safe to say already that I’ll be recommending the whole collection when I finish it.
* * * * * * *
Fretful Porpentine rating: 😱 😱 😱 😱 😱
Overall story rating: 😀 😀 😀 😀 😀
It’s a fretful porpentine!
NB This book was provided for review by the publisher, the British Library.
NB For the benefit of new readers since it’s the porpy’s first appearance for the season, the fretful porpentine reference comes from Shakespeare’s Hamlet:
I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porpentine
So the Fretful Porpentine rating is for the scariness factor, whereas the Overall Rating is for the story’s quality.
Although best known today for his Sherlock Holmes stories, Sir Arthur Conan Doyle wrote prolifically across a whole range of genres in his lifetime. This collection brings together thirty-four of his tales which have been categorised as “gothic”, although some of them are more gothic than others. Some are well known as classic horror stories and a couple have already put in an appearance on my semi-regular horror slot, Tuesday Terror! – The Horror of the Heights and Lot No. 249. None of the Holmes stories are included, although several of them would certainly count as gothic and have a strong element of horror – The Disappearance of Lady Frances Carfax, for example, is one of his most Poe-like gothic horrors, I think.
The level of horror is variable from mild and even humorous to really quite scary. But the real joy of the collection, as always with Conan Doyle, is the sheer quality of his story-telling skills. Whether relating an Arctic adventure complete with ghostly apparition, or telling a tale of vengeance set in the wild frontier of old America, or forcing the reader to spend a night in a museum full of not completely dead Egyptian mummies, or taking us into the dark heart of the British Empire, his powers of description and ability to create atmosphere and tension are surely second to none. And his total command of a wonderful vocabulary and seemingly effortless writing style make the stories pure pleasure to read.
The range of stories is incredible, making it quite hard to single any out as representative of the collection. Some have a supernatural element while others concentrate on the horrors men and women perpetrate on each other, and yet others take their horror from the dangers of the natural world. We even get a couple culled from Conan Doyle’s life as a physician, including one about a young man with hereditary syphilis – I was astonished that such a subject was handled so openly in a story at this early date. I’m spoiled for choice, but here’s a brief look at some of the ones I enjoyed most…
J Habakuk Jephson’s Statement – based on the story of the Marie Celeste, ACD gives his version of what might have happened. A “quadroon” kills everyone and takes the ship to Africa. Although there’s some fairly strong racial stuff here that sits uneasily with the modern reader, Jephson is an abolitionist and the motive is revenge against white people for the cruelties they have perpetrated through slavery and colonialism. Powerfully told, it reminded me of Conrad’s stories in its reaction to colonialism.
The Beetle Hunter – the narrator is a newly-qualified doctor and beetle collector who answers an advert for the same. His new employer takes him to the home of a famous beetle expert, where the beetles will not be the scariest thing he has to face! Very well told and quite creepy in parts, especially if you’re squeamish about beetles… ugh!
The Retirement of Signor Lambert – a cuckolded husband takes revenge on the opera singer who seduced his wife. That’s all, but it’s told in a kind of understated deadpan that makes it deliciously horrible.
The Pot of Caviare – a group of Westerners trapped following the Boxer Rebellion await relief. But they have heard terrible stories of how the Chinese treat their captives, especially women, and so have a contingency plan should the relieving force not turn up in time. This is a dark and rather disturbing story, expertly told for maximum effect. The notes point out that it’s part of the Edwardian “Yellow Peril” genre, but it’s far more realistic and chilling than any of the silly Fu Manchu type of stuff I’ve read.
The Captain of the Polestar – an Arctic expedition to hunt whales comes to a stop when the ship is caught in the ice. Scary enough, but even scarier when the ghostly figure of a woman begins to appear and the Captain seems to recognise her. This is narrated via the journal of a young ship’s medic, a role ACD himself had undertaken in his youth. Very atmospheric, great descriptions and some first-rate Scottish dialect!
As always in the Oxford World’s Classics editions, there is an informative introduction and extensive notes, this time written by Darryl Jones, Professor in English at Trinity College Dublin. He gives a kind of biography of Conan Doyle’s thought development over the course of his life. He talks about these stories and Conan Doyle’s wider writings in the context of the various phases of his changing beliefs – his pro-Imperialism, his anxiety over the question of Irish Home Rule culminating in him changing from anti- to pro- after seeing the worst of colonialism in the Belgian Congo; and of course his loss of religion and the growth of his belief in spiritualism – Jones shows that he always had an interest in the subject but “came out” as a believer after witnessing the huge losses in the Great War. An interesting and informative essay, happily written without any lit-crit jargon, making it both accessible and enjoyable for the general reader. (Though I do wish he wouldn’t refer to him as Doyle – after he added Conan to his name (in tribute to his godfather) he was always known as Conan Doyle, he published under that name, his son refers to him that way in his biographical writings about his father, and his wife took the double surname Conan Doyle, so I don’t understand why some modern commentators have taken on themselves the right to change his name back.)
Sir Arthur Conan Doyle
I loved this collection. Admittedly Conan Doyle can do no wrong in my eyes, so I’m not the most unbiased reviewer, but nearly all of these stories are good and many are excellent – masterclasses in the form. Perfect for dipping – one to keep on the bedside table in perpetuity, since stories of this quality will stand up to frequent re-reading.
NB This book was provided for review by the publisher, Oxford World’s Classics.
(I’ve been putting off writing a review of this for ages because I couldn’t see how to keep it down to anything approaching a reasonable length, since, although Heart of Darkness is by far the most famous of the four stories in the collection and is the one on my Classics Club list, the other three deserve more than a passing mention too. So I’ve decided in the end to review those briefly in this post and then to review Heart of Darkness itself more fully in a later post.)
This collection from Oxford World’s Classics includes four of Conrad’s stories, each of which deals with the subject of empire and colonialism in one way or another. It also has an introduction and notes by Cedric Watts, Professor of English at the University of Sussex – a Conrad expert. While the notes are very useful, unfortunately, unlike in the other OWC books I’ve read, the introduction is written in the kind of academic jargonese that I hate – the kind that for non-academics needs another introduction to explain the introduction…
An important political aspect of this theme is displayed by the tale’s demonstration that there is an imperialism of discourse which both licenses and conceals the excesses of economic exploitation.
Hmm! So I abandoned the introduction and hurried swiftly on…
Fortunately, the stories are not nearly as intimidating or difficult to understand as the introduction had led me to fear. I’m sure there’s loads of nuance I’ve missed (I missed the bit about the “imperialism of discourse”, for sure), but my own view is that all stories should stand or fall on their own merit as stories, and should not rely on a reader catching all the references or undertones, though they may be enhanced by it. These stories more than stand on their own – in fact, three of the four are up there amongst the best I’ve ever read.
An Outpost of Progress – Two men, Kayerts and Carlier, are dropped off to run a Company trading post in the Belgian Congo. They are basically incompetent, relying on their black agent and workers to do the work of trading for the precious ivory for which they are there. However, events spiral out of their control and they are left running low on resources and increasingly scared of the, to them, incomprehensible and savage people in this wild land. And then the boat that was due to relieve them is delayed…
This starts off with a good deal of humour, full of irony and sarcasm as Conrad turns the prevailing ideas about the superiority of the white man on their head. We see how quickly the veneer of “civilisation” falls away when men are isolated in a vastly different culture they don’t understand. Gradually the story darkens, until it reaches a powerfully dark and dramatic ending of true horror. The writing is wonderful, full of lush descriptions that create an ominously threatening environment, with enough vagueness so that we, like the characters, fear what may be lurking just outside. And his depiction of the downward spiral of his characters into moral weakness and eventual terror is done brilliantly. A great story.
Youth: A Narrative – This tells of Marlow, who will appear again in Heart of Darkness, as a twenty-year-old in his first voyage as second mate on an ill-fated sea trip in the rickety old ship Judea. A series of disasters leads to the ship constantly having to return to port for repairs, and things don’t improve once they finally get off on their journey. It’s quite funny and is apparently a fairly accurate record of Conrad’s own voyage as a young man aboard the equally doomed Palestine. It’s about the vigour and optimism of youth – how even disasters can seem like exciting adventures before age and experience make us jaded and fearful. It’s enjoyable, but a little too long for its content, and with nothing like the depth of the other stories in the collection.
Karain: A Memory – The narrator is one of three adventurers, smuggling arms into the Malay Archipelago. They come to know Karain, the headman of a small land which he and his followers have invaded and occupied. Karain is a haunted man, perhaps literally, perhaps superstitiously. He turns to his white friends for protection…
From the deck of our schooner, anchored in the middle of the bay, he indicated by a theatrical sweep of his arm along the jagged outline of the hills the whole of his domain; and the ample movement seemed to drive back its limits, augmenting it suddenly into something so immense and vague that for a moment it appeared to be bounded only by the sky. And really, looking at that place, landlocked from the sea and shut off from the land by the precipitous slopes of mountains, it was difficult to believe in the existence of any neighbourhood. It was still, complete, unknown, and full of a life that went on stealthily with a troubling effect of solitude; of a life that seemed unaccountably empty of anything that would stir the thought, touch the heart, give a hint of the ominous sequence of days. It appeared to us a land without memories, regrets, and hopes; a land where nothing could survive the coming of the night, and where each sunrise, like a dazzling act of special creation, was disconnected from the eve and the morrow.
The story in this one, although good, is somewhat secondary to the wonderfully descriptive and insightful writing. The prose in the first two or three pages is sublime, as Conrad swiftly creates a place, a country, a man and a people, all with a level of lyricism and mysticism that places the reader there, already unsettled before the tale begins. Conrad shows how colonialism disrupts and corrupts long-held traditions and ways of life, but how old beliefs nonetheless endure. And lest the reader should wish to mock the superstitions of the natives, Conrad forestalls this by reminding us with brutal irony that many of our own cherished traditions and beliefs arise out of superstition too. He also shows that, when white and black meet not as master and slave but in a kind of equality, the possibility for friendship exists, even when their cultures are so different. I loved this story.
Joseph Conrad
Conrad gets a bad rap in some quarters these days for what some see as racist portrayals of other cultures, and there’s no doubt that the stories include a lot of words we would now consider derogatory, along with depictions of native customs – god worship, cannibalism, human sacrifice – that our current rewriting of the past to suit political correctness makes problematic. But, of course, these things did happen so is it really racist to write about them? And the language he uses is of its time. Plus, in moral terms, he’s far more derogatory about the white men and the evils of empire. I give him a pass – since he was so clearly writing from an anti-colonialist stance, I feel to hang him for use of the n-word is to trivialise the importance of what he was saying.
Reading these three stories first gave me an appreciation for Conrad’s style and view of colonialism, which I’m sure eased and enhanced my reading of Heart of Darkness itself. I thoroughly enjoyed the collection and, despite my disappointment with the style of the introduction, there’s no doubt the notes aided my understanding and gave some interesting background information, making it an accessible entry-point to new readers of Conrad’s work.
NB This book was provided for review by the publisher, Oxford World’s Classics.
Another of the British Library’s collection of vintage detective stories, this one takes us away from the amateur detective beloved of Golden Age authors and gives the downtrodden policeman* his place in the spotlight.
(*Yup, no female police officers, of course, in these older stories, so I’m not going to attempt to be pointlessly politically correct with lots of he/she-ing, etc.)
The book is informatively introduced by Martin Edwards as usual, plus he gives a little introduction to each story telling the reader a little about the author. He points out that although policemen were somewhat overshadowed by their amateur rivals, they were still there throughout the period, and not always as the simple stooge or sidekick.
The stories in these collections always tend to be variable in quality, and that’s the case in this one too, with several of the fifteen stories getting an individual rating of three stars (OK) or below from me. However, I also gave three stories four stars (liked it) while another four achieved the full five stars (loved it). Overall, that makes this one of the weaker collections for me, and I found I was having to plough through quite a lot of mediocre stuff to find the gems. Perhaps I’ve just read too many of these collections too close together, but my enthusiasm certainly wore a little thin halfway through this one.
There are fewer of the usual suspects among the authors, presumably because most of the well known ones who’ve shown up in previous collections concentrated on their gifted amateur ‘tecs. But Edgar Wallace is there, along with Freeman Wills Croft, Nicholas Blake and Christianna Brand, among others. There are several I haven’t come across before and one or two who I felt didn’t succeed quite as well in short form as in their novels (always bearing in mind I’m no expert and am comparing tiny sample sizes – often one story versus one novel) – ECR Lorac, for example, or Gil North.
Here’s a flavour of the stories I liked best:
The Man Who Married Too Often by Roy Vickers – an excellent “inverted” mystery where we know whodunit and the story revolves around how the police prove it. A fortune-hunting woman tricks a man into marriage only to discover he’s a bigamist when his wife shows up. Murder ensues. It turns neatly on a fair-play clue and a quirk of the law, and it’s perfectly possible for the reader to get the solution before it’s revealed. But I didn’t.
The Chief Witness by John Creasey – a story of secrets within families and their sometimes tragic consequences. A child lies in bed listening to his mother and father argue. Murder ensues. The motivation is a bit weak in this one, but the writing is good and it’s very well told, especially the opening with the child discovering his mother’s body. Plus I liked the policeman in this one – he’s one of those ones who cares about the people as much as the puzzle.
Old Mr Martin by Michael Gilbert – Old Mr Martin is a sweet-shop owner, much loved by generations of children to whom he often gives free sweeties. (No, no, it’s not what you’re thinking, I promise!) But even so, murder ensues. When he dies and his premises are sold, a body is found buried in the cellar. The police assume it must have been a previous tenant, because it couldn’t have been nice old Mr Martin. Could it? Again I liked the writing, and this one had an intriguing plot point based on how people sometimes disappeared without trace in the chaos of the wartime bombing of London.
Alastair Sim as Inspector Cockrill in the film version of Green for Danger
After the Event by Christianna Brand – easily the highlight of the collection for me, starring Inspector Cockrill whom I’d met before in Green for Danger. In this story, an old detective is recounting one of his past cases to a group of admiring listeners, but Inspector Cockrill keeps chipping in and stealing his thunder. During rehearsals for a stage production of Othello, murder ensues. Othello’s wife is strangled – that is to say, the wife of the actor playing Othello. The old detective charged someone for the crime but the accused got off. Cockrill then takes over to show where the old detective went wrong and to reveal who actually dunit. Lots of humour in this one, a nice plot with some good clues, and very well told.
So plenty here to interest vintage crime enthusiasts even if it wouldn’t be the first of these collections I would recommend to newcomers. (Capital Crimes, since you ask, or Miraculous Mysteries.)
NB This book was provided for review by the publisher, Poisoned Pen Press.
William Boyd is one of my long-time favourite authors. Although I’ve always found him a bit hit or miss, when he’s on form he’s one of the best. As a novelist he tends to write long books, full of layers and depth and detail, and with wonderful characterisation. But I’ve never come across any short stories by him before, so was intrigued to see how his style would work in that form.
The stories in this collection are largely unconnected, though many of them have a common theme of artists who have experienced some form of failure in their professional or personal lives. To some degree, they’re mainly character studies, though each has a plot. They vary in length from quite short up to novella length and, for me, the longer they were, the better they were, so I guess that answers my question about his style suiting the format. There’s a lot of humour in them, some of it mildly black, and truthfully, not much depth. I found them enjoyable enough to read but rather disappointingly light – although I’m sure my disappointment is mainly a result of my expectations of him based on his novels.
However, the characterisation is great. Even in the shorter ones, he creates fully formed individuals, with enough background for each to explain why they are as they are. He also shows a lot of originality in both subject matter and structure – everything from a UN soldier in the Congo to an out-of-work actor carrying a mysterious substance on a trip to Scotland, and from a love story told backwards to a series of unsent letters. Here’s a flavour of some that I enjoyed most…
The Road Not Taken – the story of a love affair that begins with how it ends. It then jumps back through time, giving snapshots of the relationship at various points, and ends on the day the lovers met. The ending felt a little too much like a neat ‘twist’, perhaps, but otherwise I found this one very well told and quite moving.
Humiliation – One to frighten all of us reviewers, professional or amateur! A novelist’s career has foundered after a prominent reviewer trashed his second book. Having run off to France to lick his wounds, the novelist is at first horrified to find the reviewer is staying in the same place. But then he begins to see the possibility of taking a little revenge… Lots of humour in this one, and a feeling that Boyd might be taking a tongue-in-cheek pop at some reviewers who’ve been less than enthusiastic about some of his books…
The Dreams of Bethany Mellmoth – the title story is novella length and tells of a young woman who is determined to do something creative in her life, but she’s not sure what. We follow her as she tries but fails to write a book, to act, to become a professional photographer, and so on. Again I didn’t feel there was much depth to it, and it just faded away at the end with no real resolution. But again humorous, and great characterisation – Boyd is one of the few male authors who I think creates really convincing women.
The Vanishing Game – an out-of-work actor is offered £1000 to take a jar of holy water to a church on the west coast of Scotland. But he quickly discovers he’s being followed, and begins to wonder what’s really in the jar. By far my favourite story, this is an old-fashioned adventure in the style of The 39 Steps – indeed, there are similarities as the hero takes to the wilds of Scotland in a bid to throw off his pursuers.
William Boyd
So in conclusion, for me, the collection doesn’t have the depth that makes his novels stand out from the crowd, but there’s still plenty to enjoy overall. A lighter read than I expected, very well written, of course, with the emphasis on humour for the most part and with some excellent characterisation, so despite my slight disappointment, I’d still recommend it for those times when one just wants to be entertained.
NB This book was provided for review by the publisher, Penguin Books UK.
This is a collection of those stories of Arthur Machen that fit into what would now be thought of as ‘weird’ tales. Normally when a book is titled after one story with the rest lumped under “and other”, my expectation would be that the title story would be the best of them. And indeed, I loved The Great God Pan, as you’ll know if you read my Tuesday Terror! post about it. But I was thrilled to find that many of the other stories in this book are at least as good, and some are even better. I’ve discovered a new favourite horror writer!
The book is edited by Aaron Worth, Associate Professor of Rhetoric at Boston University. He provides an informative introduction, which gives a brief biography of Machen’s literary life along with a discussion of his influences and themes, and of his own influence on later generations of writers. Worth also provides copious notes to explain any unfamiliar terms, or allusions within the text to other works, to mythologies, or to the preoccupations of Machen’s society. All of this richly enhanced my reading experience, reminding me once again that, great though it is to be able to download so many old stories, a well-edited volume is still a major pleasure.
Machen’s stories are set mainly in two locations, both of which he evokes brilliantly. His native Monmouthshire, in Wales, is depicted as a place with connections to its deep past, where ancient beliefs and rituals are hidden just under the surface of civilised life. His London is a place of dark alleys and hidden evils, with a kind of degenerate race living side by side with the respectable people, and often stretching out a corrupting hand towards them. Worth tells us that Machen was sometimes considered to be connected to the Decadent movement – Oscar Wilde, Aubrey Beardsley, et al – although Machen himself disputed this. But there is a definite air of decadence with a small ‘d’ about the stories. Many have strong sexual undercurrents (never overtly spelled out – it’s the Victorian era) and paganism is a recurring feature. There’s also a frequent suggestion that the morally deficient are most likely to succumb to the forces of evil, and will often pay a horrible price for their weakness.
The quality of the writing is excellent – stylistically it compares to the likes of Conan Doyle or HG Wells. There’s a good deal of humour in it alongside some effective and occasionally gruesome horror and he’s a great storyteller. His descriptive writing is also very good. I particularly liked how he used London pollution effectively to give a strangeness to the city – his skies are purple, grey, dark, red, and the street lamps have to fight to shed their light through the dirty air. His Wales is equally good in what feels like a deliberately contrasting way. There, the air is clear but there are hidden things behind ancient rock formations – old symbols, and sometimes new symbols placed by ancient races.
The Welsh parts have a very similar feel to Lovecraft’s ruins – Lovecraft acknowledged his influence – but where Lovecraft opted for ancient malign aliens, Machen’s evil is all of earth, earthly. Worth reminds us that this was at a time when Victorian society was having to get used to the ideas that man had evolved from the beast and that the world was far, far more ancient than had previously been thought. Where Wells takes evolution far into the future in The Time Machine, Machen instead suggests that some of the ancient things of earth are still here, unevolved and unchanging. And that sometimes they might even live within us…
The stories range in length from a couple of pages to well over a hundred. I gave every one individually either 4 or 5 stars – I think that’s a first for me in any collection. Some of the very short ones are a little fragmentary, but each either tells a tale on its own or adds depth to the world Machen has created. Some are outright horror, some more an evocation of a kind of witchy paganism, some based more in reality. Marvellous stuff! Hard to pick favourites, but here are just a few of the ones I enjoyed most:-
The Shining Pyramid
The Inmost Light – this one features Dyson, who along with his friend Phillips, appears in a few of the stories, almost as a kind of Holmes and Watson of the occult. Dyson sees a horribly frightening face in a window and some time later discovers the woman of the house has died. The doctor at the inquest declares that her brain was inhuman, and Dyson investigates. This has some great London scenes and a decidedly demonic theme – Machen apparently subsidised his meagre earnings as an author at one point by taking on the job of cataloguing a library of occult publications, and used the knowledge he gained from that throughout his work. Excellently told and a very effective horror ending.
The Three Impostors – this is the longest in the book and in fact reads like a mini-collection of stories all linked by one major underlying one. It has a great mixture of humour and horror within the separate episodes, and again stars Dyson and Phillips. The main story is of an evil cult which sucks people in through exploiting their greed or weakness, and then either forces them to join or uses them as victims. But it’s really the minor stories that make this one special. My favourite of all, I think.
The White People – a story told by one man to another as an illustration that evil is an elemental force. It tells of a girl who from an early age has seen things invisible to others. She is introduced to old stories and pagan rituals by her nurse. This displays another common theme of the stories – female sexuality and its links to witchery, paganism and even Satanism. It’s brilliantly told and one can see its influence on both weird and witch fiction, and Machen’s siting of evil within humans rather than as an external force is particularly effective.
The White People
I could go on, and on, but I won’t. I’ll just say if, like me, you’ve managed to miss out on Machen up till now, I strongly recommend you make his acquaintance – a great collection.
NB This book was provided for review by the publisher, Oxford World’s Classics.
PD James was one of my favourite crime writers for many years, so much so that for a couple of decades she was one of my elite group of “must read on publication day” authors even back when this meant paying expensive hardback prices rather than waiting for up to a year for the paperback to come out. It’s been a long time though since I revisited her, so I was keen to see if her magic would still work for me in this collection. There are four stories in the audiobook, each quite substantial in terms of length. They were originally written as special short stories for Christmas editions of magazines and newspapers and cover a wide time period from the late ’60s to the mid-’90s. As one would expect, the quality is variable, but only within the range of good to excellent.
I listened to the audiobook version, with two stories each narrated by Jenny Agutter and Daniel Weyman, both of whom give excellent performances. There is also a short introduction, narrated by Agutter, in which James considers the differences between writing in short and long form, and discusses the place of the short story in the history of crime fiction. (I believe there’s a further introduction from Val McDermid in the paper book, but that’s not included in the audio version.)
The Mistletoe Murder narrated by Jenny Agutter, first published in 1995
A country house mystery with the traditional body in the library! This is told from the perspective of a first-person narrator, a war widow who is visiting her grandmother over Christmas while WW2 is still underway. An unexpected and unpleasant guest arrives and is promptly murdered. The narrator uses her status as a family member to uncover the secrets that led to his death. While very well written, I found this a rather uneasy mix of traditional golden age style with a storyline that felt too modern in its concerns to quite fit that approach. It’s also very dark and somewhat depressing for a Christmas story, I felt. Murder is always fun, but the war aspect and the bleakness of the motivation in this aren’t. I admired this story more than I enjoyed it.
* * *
A Very Commonplace Murder narrated by Jenny Agutter, first published in 1969
This is James at her best. Gabriel, a respectable middle-aged lawyer’s clerk, witnesses something that would be vitally important evidence in a murder trial. But since he was doing something he shouldn’t have been at the time, he finds himself reluctant to come forward. This is a deliciously wicked tale where we see Gabriel twist his conscience into knots to justify his actions – a beautifully constructed psychological study of a weak and not very nice man. James maybe goes a little far at the end, but I found this added the touch of melodrama the story needed to make it into a shivery chiller – perfect seasonal entertainment!
* * *
The Twelve Clues of Christmas narrated by Daniel Weyman, first published in 1996
The first of two stories featuring James’ long-running detective, Adam Dalgleish. In this one, Dalgleish is still a young copper with his name to make. He is driving through the snow to spend Christmas at his aunt’s Suffolk house when he is stopped by a man who asks for his help. The man’s uncle, the curmudgeonly old owner of Harkerville Hall, has apparently committed suicide, but Dalgleish soon finds clues that suggest it may have been murder. Again, James is trying to reproduce golden age style here and openly nods to Agatha Christie, as she also did in The Mistletoe Murder. This one works better in that the motivation is more appropriate to the golden age era, and it’s certainly entertaining, but for me it doesn’t have the depth that James achieves when she sticks more to her own style.
* * *
The Boxdale Inheritance narrated by Daniel Weyman, first published in 1979
Dalgleish is asked to look into an old murder by his elderly godfather, Canon Hubert Boxdale. The Canon’s grandfather died of arsenic poisoning many decades ago. His young second wife was tried for the crime but found not guilty. Now she has left the Canon some money in her will, but his conscience won’t let him accept unless he is sure she didn’t acquire it by murder. Again a much more traditionally James-ian story in this one, concentrating more on the psychology of the characters than on clues and tricks, though there’s some of that too. In the short space available, James hasn’t much time to develop a cast of suspects, so Dalgleish’s detection seems a bit too slick. But this is well outweighed by the storytelling and characterisation. Another excellent one to end on.
* * *
PD James
I found it interesting that I enjoyed the two early stories considerably more than the ones from the ’90s. This chimes with my feelings about James’ novels – that she lost her spark towards the end of her career and began to get too involved in ‘issues’ or general ‘cleverness’ at the expense of her real strength – excellent psychological studies. Her ‘gentleman detective’ also started to feel rather out of place among the more realistic police officers of modern crime fiction, and her later books felt somewhat anachronistic – almost out-dated. But she retained her story-telling skills throughout, and this shows through in the later stories from this collection too. Of course, even when she may have gone off the boil a little, a writer of the stature and skill of PD James was still head and shoulders above most of the competition. A thoroughly enjoyable set of stories overall, then, that would work just as well for newcomers as established fans.
Another collection of vintage short stories from the great partnership of the British Library and Martin Edwards, this one is different in that these are all translated. Many are from European countries but there are some that range further afield – Russia, India, Mexico, Japan. As always the book begins with a highly informative and entertaining foreword from Edwards who always manages to get the tricky balance between not enough and too much information just about perfect. Each story also has its own little introduction, where Edwards gives some information about the author and in this collection also about the translation. Some of the stories were translated earlier and have appeared in magazines or other collections, but some have been translated specifically for this collection and are appearing in English for the first time.
There are fifteen stories in all, and as always the quality is variable. There are “impossible” crimes, Holmes pastiches with a foreign slant, little stories that are just a bit of fun, dark stories that linger in the mind, stories that verge on gothic horror. For me, the collection got off to a pretty poor start – I wasn’t impressed by the first two or three and began to think I’d made a mistake with this one. But as it goes on, the stories get better and better, and some of the later stories are very good indeed. One of them in particular rates as one of the best crime short stories I’ve ever read. In the end, I rated 6 of the stories as 5 stars and another 5 as 4 stars, and there were only two that I thought were complete duds that didn’t really deserve inclusion on the basis of their quality, although I could see why Edwards had picked them – one for the author’s name (Chekhov), and the other because it plays on a classic of the genre. So despite the iffy start, this ended up being one of my favourites of these collections overall.
Here are a few of the stories that stood out for me:-
The Spider by Koga Saburo translated by Ho-Ling Wong. Japanese. Part crime/part horror and definitely not one for arachnophobes! A scientist built a tower where he keeps vast numbers of spiders for study. But one day a visitor to the tower comes to a sticky end. Our narrator is looking into events after the later death of the scientist himself. This is almost Poe-ish in style in that we learn what happened mostly from the diaries of the scientist – a tale told by a man driven mad. Those spiders have haunted me for weeks now!
The Venom of the Tarantula by Sharadindu Bandyopadhyay translated by Sreejata Guha. Indian. Very much a Holmes pastiche and excellently done. The detective Byomkesh Bakshi and his Watson, Ajit, apparently appeared in many stories and I’d happily read more of them. In this one, an old man is driving his long-suffering family crazy – he takes a drug that makes him impossible to deal with and they don’t know how he’s getting hold of it. The solution is very Holmesian even if it’s a little obvious, and the story is highly entertaining.
Poster from the 2015 film based on the stories
The Kennel by Maurice Level translated by Alys Eyre Macklin. French. There is a crime here, a fairly horrific one too, but mostly this is a great little gothic horror story. A man suspects his wife of having an affair, especially when he finds another man in her room. She claims it’s all very innocent but things are about to take a very nasty turn. It has a darkly twisted ending that made me gasp aloud (and then laugh). The author apparently wrote for the Grand Guignol and this story is of that type – melodramatic, gruesome and lots of fun!
The Cold Night’s Clearing by Keikichi Osaka translated by Ho-Ling Wong. Japanese again – there’s something about the Japanese approach to crime fiction that always draws me in, and this is the story I referred to above as being one of the best crime shorts I’ve ever read. It’s also by far the darkest story in the book. A teacher is called out in the middle of the night to his friend’s house, where he finds his friend’s wife and cousin dead, Christmas toys and sweets strewn around the floor, and the couple’s young son missing. Beautifully written and translated, the author uses the winter snow, the dark night and the frozen countryside to create a great atmosphere of uncanny dread, and there’s an excellent puzzle to be solved too. I was blown away by this story – a little piece of dark perfection.
So some great stories in there that well outweigh the less good ones, and make this for me one of the best of these collections… so far! Highly recommended and I hope Edwards and the BL keep ’em coming!
NB This book was provided for review by the publisher, the British Library.
When two young men who are canoeing down the Danube in the middle of a great flood decide to camp for the night on a tiny island, what could possibly go wrong? Time to find out in this week’s…
The Willows
by Algernon Blackwood
Algernon Blackwood
After leaving Vienna, and long before you come to Budapest, the Danube enters a region of singular loneliness and desolation, where its waters spread away on all sides regardless of a main channel, and the country becomes a swamp for miles upon miles, covered by a vast sea of low willow-bushes.
Our unnamed narrator (I shall call him Jim) and his friend, known only as the Swede, have travelled far along the Danube on a pleasure excursion in a little canoe. They have reached a place where the river splits into three branches, and know that a high flood is due. They decide to continue anyway, both being experienced rivermen and having done many journeys together before. Driven forward by the fast waters and a howling wind, they have some difficulty landing for the night on one of the small temporary islands that spring up in this swampy stretch of the river, but finally they manage it…
Then we lay panting and laughing after our exertions on the hot yellow sand, sheltered from the wind, and in the full blaze of a scorching sun, a cloudless blue sky above, and an immense army of dancing, shouting willow bushes, closing in from all sides, shining with spray and clapping their thousand little hands as though to applaud the success of our efforts.
Already Jim has shown that he feels the river as a mighty presence with its own character. At first he sees it as friendly…
How, indeed, could it be otherwise, since it told us so much of its secret life? At night we heard it singing to the moon as we lay in our tent, uttering that odd sibilant note peculiar to itself and said to be caused by the rapid tearing of the pebbles along its bed, so great is its hurrying speed. We knew, too, the voice of its gurgling whirlpools, suddenly bubbling up on a surface previously quite calm; the roar of its shallows and swift rapids; its constant steady thundering below all mere surface sounds; and that ceaseless tearing of its icy waters at the banks. How it stood up and shouted when the rains fell flat upon its face! And how its laughter roared out when the wind blew up-stream and tried to stop its growing speed!
But once on the island and with night approaching, a strange feeling of dread begins to fall over the travellers. The willows seem to give off a threatening air…
Some essence emanated from them that besieged the heart. A sense of awe awakened, true, but of awe touched somewhere by a vague terror. Their serried ranks, growing everywhere darker about me as the shadows deepened, moving furiously yet softly in the wind, woke in me the curious and unwelcome suggestion that we had trespassed here upon the borders of an alien world, a world where we were intruders, a world where we were not wanted or invited to remain—where we ran grave risks perhaps!
As night sets in, Jim finds himself unable to sleep and wanders out of the camp. By now his imagination – or is it? – is working overtime, and he has come to see the willows as somehow malevolent…
What, I thought, if, after all, these crouching willows proved to be alive; if suddenly they should rise up, like a swarm of living creatures, marshaled by the gods whose territory we had invaded, sweep towards us off the vast swamps, booming overhead in the night—and then settle down! As I looked it was so easy to imagine they actually moved, crept nearer, retreated a little, huddled together in masses, hostile, waiting for the great wind that should finally start them a-running. I could have sworn their aspect changed a little, and their ranks deepened and pressed more closely together.
The Swede seems stolidly unimaginative at first and Jim relies on this to keep his dread at bay. But it soon transpires that the Swede, far from being unaffected, is way ahead of Jim in interpreting the strange events… and has come to a chilling conclusion…
…I think I felt annoyed to be out of it, to be thus proved less psychic, less sensitive than himself to these extraordinary happenings, and half ignorant all the time of what was going on under my very nose. He knew from the very beginning, apparently. But at the moment I wholly missed the point of his words about the necessity of there being a victim, and that we ourselves were destined to satisfy the want…
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Well, this is a classic for a reason! The descriptive writing is fabulous, and Blackwood gradually builds up an air of creepy menace guaranteed to send shivers down the stoutest spine. Apparently Lovecraft hailed this as the greatest supernatural tale of all, and it’s very clear to see how it influenced his own later weird tales. There is the same suggestion of ancient and malign alien beings, with men caught up as irrelevant victims of a power at which they can only vaguely guess. But, unlike Lovecraft, this doesn’t get bogged down in endless repetitive description – it is novella length but it keeps going at a good pace and builds up to an excellently chilling climax. Nature is used brilliantly, at first as something for man to admire and revel in, and then, gradually, as something immense and uncontrollable, reducing man to tiny insignificance, fumbling to make sense of forces so great that they are incomprehensible to his limited mind. Great stuff – the porpentine highly recommends it!
If you would like to read it, here’s a link, though personally I found it too long to read comfortably online, so downloaded a Kindle version.
First published in 1911, this is a charming little tale of murder and revenge from beyond the tomb – a warning to all of you who may be contemplating bumping off your spouses. Go ahead, by all means, but don’t keep your victim’s skull in your cupboard…
The Screaming Skull
by F. Marion Crawford
F Marion Crawford
I have often heard it scream. No, I am not nervous, I am not imaginative, and I never believed in ghosts, unless that thing is one. Whatever it is, it hates me almost as much as it hated Luke Pratt, and it screams at me.
One night, an old man has a friend visiting him in his isolated cottage. The cottage used to belong to his cousin, Luke Pratt and his wife, known to us only as Mrs Pratt. The old man tells his friend of the strange and terrible scream that often disturbs the night…
Sometimes, about this time of year–hallo!–there it is! Don’t be frightened, man–it won’t eat you–it’s only a noise, after all! But I’m glad you’ve heard it, because there are always people who think it’s the wind, or my imagination, or something. You won’t hear it again tonight, I fancy, for it doesn’t often come more than once.
The old man thinks he knows why he is being haunted. Not long after a visit he had paid to the Pratts, Mrs Pratt died, apparently in her sleep. But the old man thinks there may have been a darker cause…
If I were you, I would never tell ugly stories about ingenious ways of killing people, for you never can tell but that some one at the table may be tired of his or her nearest and dearest. I have always blamed myself for Mrs. Pratt’s death, and I suppose I was responsible for it in a way, though heaven knows I never wished her anything but long life and happiness. If I had not told that story she might be alive yet. That is why the thing screams at me, I fancy.
…about a woman in Ireland who did for three husbands before anyone suspected foul play.
Did you never hear that tale? The fourth husband managed to keep awake and caught her, and she was hanged. How did she do it? She drugged them, and poured melted lead into their ears through a little horn funnel when they were asleep…
Some time after Mrs Pratt’s death, Luke Pratt also died… in mysterious and dreadful circumstances…
How? He was found dead on the beach one morning, and there was a coroner’s inquest. There were marks on his throat, but he had not been robbed. The verdict was that he had come to his end “By the hands or teeth of some person or animal unknown”…
When his body was found, there was a skull with it, which he had apparently been carrying home in a hat-box…
It had rolled out and lay near his head, and it was a remarkably fine skull, rather small, beautifully shaped and very white, with perfect teeth. That is to say, the upper jaw was perfect, but there was no lower one at all, when I first saw it.
On inheriting the house after Pratt’s death, the old man is shown the skull which is now kept, still in the hat-box, in a cupboard in the bedroom. He discovers that it… rattles… as if there is something inside it…
No, I’ve never tried to get it out, whatever it is; I’m afraid it might be lead, don’t you see? And if it is, I don’t want to know the fact, for I’d much rather not be sure. If it really is lead, I killed her quite as much as if I had done the deed myself. Anybody must see that, I should think…
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This is quite fun! It’s told almost entirely as a kind of monologue as the old man tells the story to his friend, and it’s pretty long. There’s no real mystery to it as my quotes, which are all from the early part of the story, will have indicated. But it builds up a nice sense of creepy anticipation as candles blow out, and the wind rattles the windows, and the occasional shriek sounds from upstairs. The old man goes on to tell of all the strange things that have happened since he moved into the house, and lots of the usual horror elements are here – servants who won’t stay in the house overnight, sextons and graves, attempts to silence the skull that just seem to make it angrier. There’s not much new here, but it’s not trying to be innovative – it’s just a good ghost story well told. It might be a little long for modern tastes, but that allows it to build up the atmosphere slowly as we wait for the inevitable to happen…
If you’d like to read it, here’s a link – it’s about 13,000 words.
Enough to give the porpy a bad hair day…
Apparently it’s loosely based on a “real” haunting of a farmhouse in Dorsetshire, called Bettiscombe Manor. The legend attached to that screaming skull is that it belonged to a slave who was brought there in the 17th century – you can read more about it here.
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Fretful Porpentine rating: 😯 😯 😯
Overall story rating: 😀 😀 😀 😀
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There’s also a 1958 film based on the Crawford story which, though they’ve changed it quite a lot, retains the basic horror elements of the original. The opening scene claims that
“Its impact is so terrifying that it may have an unforeseen effect. It may kill you! Therefore its producers feel they must assure free burial services for anyone who dies of fright while seeing The Screaming Skull!”
I watched it last night – so either I bravely survived, or this post is coming to you from beyond the tomb…
(It’s actually a lot of fun too. It’s available on youtube, though as usual I don’t know whether legally or not – here’s the link: the decision is yours. It has some nicely scary moments but not gory or gross. Admittedly, the ending made me laugh rather than scream, but it was still an enjoyable way to spend an hour or so…)
First published in 1832, this isn’t a ghost story or even really a horror story as such. Nathaniel Hawthorne subtitled it “A Parable”, but despite the lack of traditional spookiness, it creates a rather unnerving atmosphere of dread…
The Minister’s Black Veil
by Nathaniel Hawthorne
Nathaniel Hawthorne
The Reverend Mr Hopper is a young minister, kindly and patient, who has always tried to lead his parishioners into goodness rather than thundering to them about hell and damnation. He is well liked in his parish, often invited to the homes of the respectable parishioners, and engaged to be married to a sweet young woman. But one Sunday, as he approaches the church to give the service, his flock notice something strange. He…
…was dressed with due clerical neatness, as if a careful wife had starched his band, and brushed the weekly dust from his Sunday’s garb. There was but one thing remarkable in his appearance. Swathed about his forehead, and hanging down over his face, so low as to be shaken by his breath, Mr. Hooper had on a black veil.
Somehow this black veil, which covers his whole face apart from his mouth and chin, makes his parishioners uneasy. He gives no explanation for it and his sermon is much as usual, but the wearing of the veil causes it to sound graver, and his parishioners find themselves paying more attention than usual. He continues to wear the veil at all times, and the people of the town are left to speculate as to the reason. Some think he is hiding his face for shame of some unknown sin. Other think it may be hiding some physical disfigurement. But none of them has the courage to ask him directly why he wears it…
There was a feeling of dread, neither plainly confessed nor carefully concealed, which caused each to shift the responsibility upon another, till at length it was found expedient to send a deputation of the church, in order to deal with Mr. Hooper about the mystery, before it should grow into a scandal.
“the children fled from his approach.” Artist: Elenore Abbott
However, once faced with the veiled minister, the members of the deputation find themselves unable to ask and leave none the wiser. Only one person is unaffected by the strange dread – Elizabeth, the woman he is engaged to marry. She asks him to explain his reasons…
“Elizabeth, I will,” said he, “so far as my vow may suffer me. Know, then, this veil is a type and a symbol, and I am bound to wear it ever, both in light and darkness, in solitude and before the gaze of multitudes, and as with strangers, so with my familiar friends. No mortal eye will see it withdrawn. This dismal shade must separate me from the world: even you, Elizabeth, can never come behind it!”
And this is as much answer as he’s willing to give. When she expresses some not unreasonable dissatisfaction, he sets out to cheer her up…
“Do not desert me, though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over my face, no darkness between our souls! It is but a mortal veil, it is not for eternity! O! you know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever!”
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I’ll leave you on a cliffhanger – if you want to know whether Elizabeth dumps him, and whether we ever see behind the veil, you’ll have to read the story. Here’s a link – it’s about 5000 words.
As far as I can tell the veil is basically a metaphor for the idea of original sin. By wearing it outwardly, he reminds his parishioners of the sin they carry hidden inside themselves. I’m not religious so the finer points of why we all have to be miserable all the time have passed me by somewhat, but it seemed to me this is exactly the kind of short story John Knox would have loved to curl up with after a hard day’s work preaching hellfire and damnation and lambasting the monstrous regiment of women and suchlike. Suffice it to say, it doesn’t have what you’d think of as a traditionally happy ending (though one hopes poor old Rev Hopper got his rewards in the afterlife – one couldn’t help but feel the veil must have got very grubby after the first thirty years or so. One hopes he didn’t eat a lot of spaghetti bolognese…)
Knox haranguing Mary Queen of Scots by Robert Inerarity Herdman
More seriously, the writing is wonderfully atmospheric and hugely effective at creating a feeling of unease. Why does he suddenly start wearing the veil? Is it because of something he’s done, or something he fears he might do? Is it a sign of madness? Or is there some physical cause – what would the parishioners see if he lifted the veil? They want to know… but they are afraid to know. And so is the reader. As with most allegories, the reader is largely left to do the work – to create the meaning for herself. Even this atheist found it unsettling, thought-provoking and beautifully ambiguous. The porpentine, however, fell asleep halfway through.
An excellent story – recommended. It might not make you hide under the blankets, but it may cause you to lie awake for a bit, pondering on the mysteries of the soul…
This is another in the British Library’s series of anthologies of vintage crime stories edited by Martin Edwards. This time, the focus is on Continental Europe as the authors take us to casinos in Monte Carlo, catacombs in Rome, castles on the Rhine, in search of the usual murder, mystery and mayhem. To be clear, this is British authors visiting the Continent – I believe there’s a new anthology coming along soon containing stories by non-Brits translated into English, some for the first time, which should be fun.
I found this collection quite variable in quality. Although there were certainly enough 4 and 5 star stories to keep me entertained, there were also several stories that didn’t quite cut it as far as I’m concerned. Partly this is to do with the settings – I freely admit I prefer the traditional English manor house or village, or the foggy streets of London, as the setting for my vintage crime fix. But also it’s because sometimes I felt the setting wasn’t really brought to life terribly well, or there was a touch too much of that British condescension towards all foreigners.
Oddly there were also a couple of stories where the attitude towards (lower-class) women goes well over the out-dated line towards outright misogyny – not a thing I’m normally aware of in vintage crime. Something about going abroad seems to bring out the worst in Brits, I think! I hasten to add that one of these stories was written by a woman, Josephine Bell, who clearly felt that her young female murder victim had brought her fate on herself by her unladylike behaviour in pursuing a man – it actually contains the line “She was asking for it!” The other one was by Michael Gilbert who rounds his story off with the equally astonishing line: “Many a successful marriage has been founded on a good beating.” Well, Mr Gilbert, should you ever propose to me, I’ll be sure to give you a sound thrashing before I reply…
There’s also plenty of good stuff, though. There’s the usual mix of well known and more obscure names among the authors, and a nice mix of crimes, from ‘impossible’ mysteries to revenge murders, blackmail, theft, greed and even the occasional haunting. Here’s a little selection of some of the ones I enjoyed most…
The New Catacomb by Sir Arthur Conan Doyle – I know I nearly always select the Conan Doyle story, but that’s because he’s such a great storyteller. This one is a lovely little revenge tale which climaxes in a catacomb in Rome. An interesting story well told, and with some effective touches of horror – make sure you don’t read it if there’s any danger of a power outage…
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A Bracelet at Bruges by Arnold Bennett – While Kitty is showing her new expensive bracelet to another woman, it somehow gets dropped into a canal in Bruges and is lost. Or is it? This is more of a howdunit with a neat solution and has a rather charming little romance thrown in. But the reason I enjoyed it so much is that it reminded me of the sheer quality of Arnold Bennett’s writing – an author I loved when I was young, though for his fiction rather than crime, and had more or less completely forgotten. Must revisit him!
….‘What an exquisite bracelet! May I look at it?’ ….It was these simple but ecstatic words, spoken with Madame Lawrence’s charming foreign accent, which had begun the tragedy. The three women had stopped to admire the always admirable view from the little quay, and they were leaning over the rails when Kitty unclasped the bracelet for the inspection of the widow. The next instant there was a plop, an affrighted exclamation from Madame Lawrence in her native tongue, and the bracelet was engulfed before the very eyes of all three.
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The Room in the Tower by J Jefferson Farjeon – our narrator, a writer, goes to stay in a castle on the Rhine looking for inspiration and atmosphere for his book. Perhaps he gets more atmosphere than he anticipated though when he gets lost in the gloomy corridors and ends up in the haunted tower. The story in this one is a bit weird but Farjeon builds up the tension well and there are some genuinely spooky moments.
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So even though this isn’t my favourite of these anthologies, there’s still plenty to enjoy. And I haven’t even mentioned the Agatha Christie story…
NB This book was provided for review by the publisher, Poisoned Pen Press.
As autumn nights grow darker, the fretful porpentine has poked his little nose out of his hibernation box and demanded new stories to get him through the winter months. Or old stories – like this one from the master storyteller Sir Arthur Conan Doyle. Who better to kick off a new season of horror…?
Lot No. 249 by Sir Arthur Conan Doyle
Sir Arthur Conan Doyle
…when we think how narrow and how devious this path of Nature is, how dimly we can trace it, for all our lamps of science, and how from the darkness which girds it round great and terrible possibilities loom ever shadowly upwards, it is a bold and confident man who will put a limit to the strange by-paths into which the human spirit may wander.
Three students live in a corner turret in Old College in Oxford. Our hero is Abercrombie Smith, a medical student studying hard for his final exams, and a man of both robust physical attributes and a steady, unimaginative mind. On the floor below is Edward Bellingham, a strange and rather repulsive man with a pasty complexion and rolls of loose skin as if he had lost a lot of weight at some time. He is a student of Eastern languages and has spent much time amongst the people of Egypt and the arab lands. Below him is William Monkhouse Lee – a friend of Bellingham, who is engaged to be married to Lee’s sister. They are connected by an ancient staircase…
Life has flowed like water down this winding stair, and, waterlike, has left these smooth-worn grooves behind it. From the long-gowned, pedantic scholars of Plantagenet days down to the young bloods of a later age, how full and strong has been that tide of young, English life. And what was left now of all those hopes, those strivings, those fiery energies, save here and there in some old-world churchyard a few scratches upon a stone, and perchance a handful of dust in a mouldering coffin? Yet here were the silent stair and the grey, old wall, with bend and saltire and many another heraldic device still to be read upon its surface, like grotesque shadows thrown back from the days that had passed.
Abercrombie Smith is warned by his friend James Hastie to steer clear of Bellingham. Hastie says Bellingham’s character is as unpleasant as his appearance, and gives an example to back up his claim…
“Well, you know the towpath along by the river. There were several fellows going along it, Bellingham in front, when they came on an old market-woman coming the other way. It had been raining–you know what those fields are like when it has rained – and the path ran between the river and a great puddle that was nearly as broad. Well, what does this swine do but keep the path, and push the old girl into the mud, where she and her marketings came to terrible grief. It was a blackguard thing to do…”
Despite this tale, Abercrombie Smith suspects that Hastie is in love with Bellingham’s fiancée and that it’s the green-eyed monster talking, so dismisses his warnings.
However, later that night, after Hastie has left, Abercrombie Smith hears a stange hissing noise from the room below. Then suddenly…
…there broke out in the silence of the night a hoarse cry, a positive scream – the call of a man who is moved and shaken beyond all control.
Lee bursts into his room asking for assistance – Bellingham has apparently been taken ill. Abercrombie Smith rushes down to find Bellingham in a dead faint. His room is more like a museum – filled with curiosities from the East and strange relics from the tombs of Egypt, and a stuffed crocodile suspended from the ceiling. But there’s one thing in particular that sends chills down Abercrombie Smith’s spine…
…a mummy case, which had been conveyed from the wall, as was evident from the gap there, and laid across the front of the table. The mummy itself, a horrid, black, withered thing, like a charred head on a gnarled bush, was lying half out of the case, with its claw-like hand and bony forearm resting upon the table. Propped up against the sarcophagus was an old, yellow scroll of papyrus, and in front of it, in a wooden armchair, sat the owner of the room, his head thrown back, his widely opened eyes directed in a horrified stare to the crocodile above him, and his blue, thick lips puffing loudly with every expiration.
Boris Karloff as The Mummy (1932)
Soon Abercrombie Smith will be locked in battle against an evil beyond his wildest imaginings…
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Did you know Sir Arthur Conan Doyle was the first person to create a story about a mummy being brought back to life for evil purposes? No, neither did I. Isn’t that fascinating? So every time you watch a mummy movie, it was inspired either directly or indirectly by this story.
Sometimes the problem with these old originals is that each generation of descendants adds something to them until eventually the originals can seem a bit bland. I must say I think this story stands up very well for about 95% of it, and then has a rather anti-climactic ending in comparison to what we’d expect now. The old college and winding staircase give it all a nicely gothic feel and of course Conan Doyle’s writing is perfectly suited to that kind of style. There are some genuinely creepy moments, and a particularly scary scene when our hero is pursued through the night by the murderous mummy.
I do like my horror stories to include the old battle between good and evil thing, and this has that to perfection. So it’s not just interesting for its place in the history of horror, it’s also still a very enjoyable tale of terror in its own right. The porpentine and I enjoyed it thoroughly.
But the wisdom of men is small, and the ways of Nature are strange, and who shall put a bound to the dark things which may be found by those who seek for them?
Who indeed?
If you’d like to read it, here’s a link. It’s quite a long short story – maybe about an hour’s worth.
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Fretful Porpentine rating: 😯 😯 😯
Overall story rating: 😀 😀 😀 😀 😀
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NB For the benefit of new readers since it’s the porpy’s first appearance for the season, the fretful porpentine reference comes from Shakespeare’s Hamlet:
I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porpentine
So the Fretful Porpentine rating is for the scariness factor, whereas the Overall Rating is for the story’s quality.
Anyone who’s been reading my blog over this last year or two will be aware that I have developed something of an addiction for the themed anthologies being published under the British Library Crime Classics label. This one concentrates on “impossible” crimes – “locked room” mysteries and others of the kind where the emphasis is more on how it was done than on whodunit. As always, the stories have been selected by Martin Edwards who gives a brief introduction to each one telling a little about the author. They’re printed in rough chronological order, covering the period from the beginning of the 20th century (or just before) through to 1960.
There are lots of well-known names here – Sir Arthur Conan Doyle, Dorothy L Sayers, Margery Allingham, etc – as well as some more obscure authors, some of whom have appeared in the earlier anthologies and some who I think are making their first appearance. The crimes are a lot of fun, ranging from the fiendishly clever but quite possible to work out if you have that kind of mind, to ones that rely on something that couldn’t have been known – trick doors or things of that nature. I did guess a few, but was baffled by plenty, and even the easier to solve ones are still entertaining.
As with all anthologies, the quality is variable but I must say I think the average standard throughout this collection is actually higher than in some of the earlier collections. Perhaps this kind of puzzle just appeals more to me, but I don’t think that’s it, really – I think this is just a particularly good group of stories. There are sixteen of them in total, and I ranked ten of them as either 4 or 5 stars, with only one getting a rating lower than 3 (and that was the GK Chesterton story, which can be put down to my own prejudice – I simply don’t enjoy his style).
Here’s a flavour of a few of the ones I enjoyed most:
The Lost Special by Sir Arthur Conan Doyle – a special train goes missing between two stations and, though the driver is later found dead by the side of the tracks, nothing is heard of the passengers or other crew for eight years…until a man waiting to be executed in France reveals how it was done. ACD is a master storyteller and builds up a nice air of almost supernatural mystery around the disappearance, though the answer is firmly of this world. And there’s a brief cameo appearance from an anonymous man who writes to a newspaper with a possible solution to the crime – a man who sounds very like a certain consulting detective we all know and love…
The Diary of Death by Marten Cumberland – when a woman dies in poverty, she leaves behind a diary blaming all her former friends for deserting her in her time of need. Now someone is bumping those friends off one by one. Loreto Santos, an amateur ‘tec from Spain, is on site when the third murder happens in a locked room during a house party. In truth, the method in this one is blindingly obvious, but the writing is very good, there’s some nice characterisation and the story is interesting, so that being able to work out how it was done didn’t spoil the entertainment.
The Music-Room by Sapper – Forty years earlier, a man was found killed in the middle of the locked music room. No-one ever worked out how it happened. Now, during a dinner party, the new owner of the house tells the old tale to his guests. Later that night, his nephew and business partner is killed in the same room, apparently accidentally. But amateur sleuth Ronald Standish is unconvinced. This is one of the ones where it wouldn’t really be possible to work out the how – though one can make a rough guess – and the who is relatively obvious. But the plotting is tight and the telling of the story is done very well.
I could just as easily have highlighted any of half a dozen others, and now feel quite qualified to bump off anyone who annoys me in ways that will baffle the greatest detective minds. So probably best if you were to send me some chocolate, just to be on the safe side…
NB This book was provided for review by the publisher, Poisoned pen Press.
This is a collection of linked short stories set in modern Hong Kong which, the blurb tells us, “collectively capture various versions of the expat life that share the feeling of being between two worlds, that experience of being neither here nor there and trying to find a way to fill that space.” The way the characters mostly fill the space is by having empty, meaningless sex, usually with strangers.
Book 1