" name="description"/> Wyrd Britain: folk horror
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Showing posts with label folk horror. Show all posts
Showing posts with label folk horror. Show all posts

Sunday, 24 December 2017

The Blood on Satan's Claw

When Ploughman Ralph (Barry Andrews) uncovers a strangely formed skull with one staring eye in the field he's tilling he sets in motion a series of events that culminates in one of the most revered of 1970s UK cult horrors.

Patrick Wymark plays the local judge who is dismissive of the local yokel's tale even after a young girl staying at the same house (Tamara Ustinov) goes crazy and his host goes missing.  Meanwhile teenage temptress Angel Blake (Linda Hayden) finds a claw (no prizes for guessing who that belongs too) in a field that slowly works it's magic on her and her friends turning them into a coven of furry devil worshippers.

The film was released to little acclaim but over the intervening years has achieved notable cult status and is beloved of fans of the British horror movies of the 1960s and 70s.  Originally planned as a trio of tales a late decision to amalgamate them into one narrative has left things a little cluttered and there are some dubious make up (Hayden's 'evil' eyebrows) and effects (the revealed creature) but writer Robert Wynne-Simmons and director Piers Haggard have crafted a script and a film where you can almost smell the earth, taste the blood and feel the devil's claws scratching on your neck.

Buy it here - The Blood on Satan's Claw - or watch it below.




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Sunday, 19 March 2017

Greenwitch

Susan Cooper
Puffin Books

Simon, Jane, and Barney, enlisted by their mysterious great-uncle, arrive in a small coastal town to recover a priceless golden grail stolen by the forces of evil -- Dark. They are not at first aware of the strange powers of another boy brought to help, Will Stanton -- nor of the sinister significance of the Greenwitch, an image of leaves and branches that for centuries has been cast into the sea for good luck in fishing and harvest. Their search for the grail sets into motion a series of disturbing, sometimes dangerous events that, at their climax, bring forth a gift that, for a time at least, will keep the Dark from rising.

This third book in Cooper's 'The Dark is Rising' series turned out to be an absolute joy.  The first was a bit 'Tally-ho chaps' Famous Five style frolicking and the second, despite being a huge improvement and thoroughly enjoyable lacked any sense of jeopardy as everything in the story just felt like it was entirely preordained for young Will and all he really had to do was sit back and go along for the ride. This instalment brings together the protagonists of the first two in an uncomfortable alliance back in the town of Trewissick at the time of the making of the 'Greenwitch' in order to locate the Grail instructions lost in the battle at the end of the first book. 

The story here is a much more cohesive, well plotted and enjoyable read than the previous two volumes, and when I say much I really do mean much.  The others were an OK way to while away a lazy afternoon but I thoroughly enjoyed this one.

I'm not quite sure why poor Will wasn't allowed to confide in the other 3 about his true nature and so had to endure their ill manners but from the making of the Witch through the travels to the other realm and the battle with the agent of the Dark and the angry Witch I was hooked.

The narrative moved at an easy lope and there was no padding that I noticed.  The improvement / growth in Cooper's writing from the first to this is immense and the confidence she shows in playing with her world is a joy. I am genuinely excited to read the next two books.

Buy it here: Greenwitch (The Dark Is Rising)

Thursday, 25 August 2016

Welsh Tales of Terror

R. Chetwynd-Hayes
Fontana Books

Inside what is probably the single most stereotypical portrayal of Welsh cliches ever to adorn a book cover this anthology of stories set in Wales, written by Welsh writers or regarding Welsh folklore turned out to be utterly fantastic.

Let's start by getting the various folktales out of the way.  These, here, take the form of teeny little half page stories relating things like 'The Brown Hobgoblin of Bedd Gelert', 'Dead Man's Candles', 'The Devil's Tree', 'Corpse Candles' and more.  They're fun little hints at the depth of Welsh folklore but little more than that.  For those wishing for a more in depth examination that's catered for with a chapter taken from Marie Trevelyan's early 20th century study 'Folk-Lore and Folk-Stories of Wales' that explores the phenomena of the 'Ceffyl-dwr' in 'Water Horses and the Spirits of the Mist'.

Arthur Machen
So, onto the stories.  There are a number of very enjoyable stories here but the book is helped no end by an exemplary opening trio of tales.  First up is Glyn Jones' 'Jordan', a story of an attempted swindle and the grim and unpleasant fate that befalls the perpetrators.  The second story is by one of my favourite authors, John Christopher, and is the first thing of his I've read that was neither science-fiction nor post-apocalyptic.  'A Cry of Children' is a subtle and deeply moving story with a brutal and breathtaking finale.  The golden trio culminates with Arthur Machen's 'The Shining Pyramid' with its folk horror and proto-Lovecraftian rural horrors from beyond.

There's a bit of a dip next with Angus Wilson's 'Animals or Human Beings' which despite being written in a very agreeable and jaunty style has a story that really does nothing interesting which is also the case with the ghost story 'The Man on a Bike' by Hazel F. Looker that follows it.

Regular readers of my write-us will know that I'm a bit of a sucker for a happy story and so in many ways 'The Morgan Trust' by Richard Bridgeman (a pseudonym of sci-fi writer L.P. Davies) ticked lots of my boxes with its story of a man on an obsessive quest finding what he's looking for in two remote Welsh towns.

Caradoc Evans
Obsession is also at the heart of two more tales of Caradoc Evans' 'Be This Her Memorial' takes religious fervour in a small town to its extreme and 'The Lost Gold Mine' by Hazel F. Looker has a more obvious object of fascination.

Dorothy K. Haynes' contribution 'Mrs Jones' is a repurposed folktale of a woman kidnapped and forced to cook for the little folk of Gower.  It's lifted from the doldrums by the matching belligerence of both its victim and her erstwhile rescuer whose dislike of the woman and her domineering ways could be her downfall.

Ronald Seth's 'The Reverend John James and the Ghostly Horseman' is another story that feels like a repurposed folktale but unlike its predecessor has little charm or wit in its telling.

The books second story by Glyn Jones, 'Cadi Hughes', is a bit of a disappointment after the opener.  It has a great opening and a couple of fun moments but is ultimately a bit cruel and vindictive.

Richard Hughes
The final three tales pretty much capture the Wales I grew up in the 1970s dealing as they do with coal mining, religion and folk horror.  Jack Griffith deals with the first of these as he traps a group of men underground in 'Black Goddess' and we're left to decide for ourselves whether the supernatural aspect is more real than the insanity.  'The Stranger' by Richard Hughes drops a small demon into the household of a preacher and his peg-legged wife.  It tries for laughs amidst the temptations and the piety but I thought it all got more than a little jumbled at the end.

R. Chetwynd-Hayes
The book closes with editor R. Chetwynd-Hayes' own contribution, 'Lord Dunwilliam and the Cwn Annwn'.  It's the most 1970s thing here by far as it's Regency period setting and wild snowy moorland setting filled with obnoxious aristocrats, cackling peasants, beautiful maidens and ancient powers put me in mind of so many of my favourite Hammer movies.

I know there are lots of other books in this series covering different areas of the country (and indeed parts of the world) compiled by different editors all of which are now on my wants list but truthfully they are all going to have to be something special to live up to this one.

Monday, 27 June 2016

Dark Entries

Robert Aickman
Faber & Faber

Aickman's 'strange stories' (his preferred term) are constructed immaculately, the neuroses of his characters painted in subtle shades. He builds dread by the steady accrual of realistic detail, until the reader realises that the protagonist is heading towards their doom as if in a dream.
Dark Entries was first published in 1964 and contains six curious and macabre stories of love, death and the supernatural, including the classic story 'Ringing the Changes'.


So, after reading a few short stories and him as the editor of a Fontana anthology I finally get to experience Aickman on his own terms.  'Dark Entries' is one of four newly reprinted collections by Faber & Faber and is the earliest of the works and so the perfect place to start.

The first Aickman story I read is featured here but first we have a biographical foreword before the book properly begins with 'The School Friend'.  The story tells of the unlikely friendship between two women who find themselves thrown back together after many years only for one of them to find that people are stranger by far than the face they present to the world.

The second story is, in the words of the jacket blurb, 'the classic story 'Ringing in the Changes' which is the only story presented here that I'm already familiar with.  It's a brutal and harrowing story that pits a newly married couple against the risen dead in a small coastal town.

Truthfully I have no idea what to make of 'Choice of Weapons'.  For much of it it seems like a straight forward love story until the ending spins everything on it's head and left me a tad confused.

This oddity is followed by probably the most straightforward story in the book in the shape of a haunted railway station in 'The Waiting Room' before the book once more earns its 'strange stories' label with 'The View'.  Here whilst taking refuge on an island a man finds solace in the arms and house of a beautiful woman but in a place where change is constant he finds it hard to do so.

With the exception of a short remembrance of Aickman by Ramsey Campbell the book ends with the folk horror of 'Bind Your Hair' that places a newly engaged career woman amidst her fiances country family and the very odd and unpleasant goings-on up on the hill; a story I felt could have benefited greatly from being given far more space in the telling.

I really didn't know what to expect of these books.  Having read about him and having read two of his stories I was pretty certain I was going to get an old fashioned kind of strangeness and I wasn't disappointed on that score as it was strange to the nth degree.  'Dark Entries' proved to be a most diverting read and I'm very much looking forward to the others.

Buy it here -  Dark Entries

Wednesday, 22 June 2016

Tales of the Mysterious and Macabre

Algernon Blackwood
Spring Books

I've been slowly working my way through this sizeable hardback for a few months now reading a couple of stories and then shelving it for a week or two. I've mentioned here before about my long held dislike for reading anthologies of short stories which is a prejudice I've had to overcome over the last few years since starting to read more and more of these period strange stories.  Out of these anthologies the name Algernon Blackwood was one that held a particular appeal.  He has a name that seems expressly designed to be that of an author of weird fiction and his photos make him look like a magician.  He's a regular in anthologies so stories by him weren't hard to track down and the more I read the more I wanted to read and finding a copy of the 'Ancient Sorceries and Other Stories' Penguin paperback in a charity shop only helped stimulate this interest.  So, stumbling across this 400 page anthology was a happy day indeed.

Published in 1967 by Spring Books it contains 23 tales of the odd, the uncanny and the unnatural.  The stories in this volume are decidedly less spooky than the ones I've read previously although there is a strong undercurrent of the strange and the inexplicable but these are far more of the weird fiction genre than the ghostly.

Within its pages lie various pieces of treasure; a delightfully odd encounter for Blackwood's occult detective Dr. John Silence with a man who is 'A Victim of Higher Space', the strangely enchanting tale of a brother and sisters experience of a house filled with 'The Damned', a sacrificial tale involving the old gods of the sea in 'The Sea Fit', a tale about the transcendent powers of nature in 'The Golden Fly' and a rather lovely tale of cross generational help in 'The Other Wing'.

The collection is crammed full of enticing oddities all written with Blackwood's characteristic charm and readability.  Personally I have a marked fondness for the more ghostly side of his work but on the whole this collection turned out to be one of beauty and intriguing profundity.

Tuesday, 14 June 2016

Aylmer Vance: Ghost Seer

Alice & Claude Askew
Wordsworth Editions

A collection of classic supernatural tales from the Edwardian period. Originally published in 1914 between 4 July and 22 August in The Weekly Tale-Teller, the stories were belatedly collected into the current volume in the late 1990s by Jack Adrian.
This is a collection of eight ghost stories, written by the remarkably prolific husband and wife team of Claude and Alice Askew, centering on Aylmer Vance, an investigator of the supernatural. Dexter, the narrator, meets Vance during a fishing holiday and Vance tells him three ghost stories on successive nights, each story involving Vance more closely in the action. The fourth story brings Dexter himself into the action, and reveals him to have unsuspected clairvoyant powers. The remaining stories feature Vance and Dexter as a sort of Holmes-and-Watson team investigating incidents not all of which prove to have supernatural causes.

Another in the fabulous Wordsworth Editions series of 'Tales of Mystery and the Supernatural', Aylmer Vance: Ghost Seer is a short collection of Edwardian ghost stories featuring the titular psychical investigator and his 'Watson' the clairvoyant barrister Dexter.

Over the 8 tales that make up the book Vance initially tells Dexter of a number of his encounters with the supernatural; a possession from the ancient past in 'The Invader', an encounter with an old god in 'The Stranger', a love story featuring a beautiful ghost exeriencing one last soiree in 'Lady Green-Sleeves' and a tale of heartbreak, love, poetry and fire that transcends death in 'The Fire Unquenchable'.  It's following this fouth story that Dexter becomes Vance's apprentice and takes a more active role in the proceedings.  Like the aforementioned Watson he is very much the junior partner and serves mostly as narrator but also as pupil as result of his psychic abuilities.

The second four stories explore hauntings and possession in the 'The Vampire', haunted houses in 'The Boy of Blackstock' and 'The Fear', and the enduring influence of past lives in 'The Indissoluble Band'.

It's a great shame that the eight stories here are all that the husband and wife authors completed as both Vance and Dexter are enjoyable company and the stories are entertainingly creepy.

Friday, 29 April 2016

Injection (vol. 1)

Warren Ellis (writer)
Declan Shalvey (artist)
Jordie Bellaire (colourist)
Image Comics

A few years ago, a public/private partnership between the British Government and a multinational company saw five clever people placed in university-owned offices and allowed to do whatever they liked. It was called the Cultural Cross-Contamination Unit, and the idea was that it would hothouse new thinking and new patents. Five actual geniuses, all probably crazy, very eccentric, put in one place and given carte blanche to think about ways to approach and change the future. What Could Possibly Go Wrong?
They did A Crazy Thing, which was referred to as The Injection. A mysterious Thing that they did in order to make the 21st Century better and stranger. It got out. It got loose into the fabric of the 21st Century, whatever it was, and now things are getting weird and ugly, faster and faster.  
So a few years have passed. They've all gone their separate ways, into separate "jobs" that allow them to follow and sometimes deal with the repercussions of The Injection. We are in the period where the toxic load of The Injection is at such a level that events that are essentially paranormal in nature are coming faster and faster, headed towards a point where humanity won't easily be able to live on the planet any more. Not a Singularity of glory, but an irretrievable constant blare of horror coming too thick and fast for anything to deal with.

Warren Ellis
I love Warren's work.  I gave up on comics in the early 90s, sold off the majority of my collection and blew the money on... well, let's just say I blew the money.  About 10 years later having cleaned up considerably I picked up a copy of the first 'Transmetropolitan' book in a HMV in Cardiff.  After standing there reading for 10 minutes (it's quite short) I left with it and the next 2 volumes in hand.  It brought me back, somewhat, into the fold and I will sing his praises to anyone who'll sit still long enough to listen.  So, pull up a chair and let me tell you why this book is an absolute must for all fans of Wyrd Britain storytelling.

Those of you familiar with Warren's work, in particular, 'Planetary' (and perhaps 'Global Frequency') will recognise in 'Injection' his love of playing with genre archetypes, making them dance to the subtly different tune that the current zeitgeist is playing.

Declan Shalvey
What we have is a team book which is, of course, a staple of comics and is a trope that Warren very much re-invigorated with his 'widescreen' superheroics on 'Stormwatch' and 'The Authority'.  Here though, as I mentioned earlier, it's his other, non spandex, team book that springs most readily to mind.  In that previous series his characters were dealing with the events and consequences of the 'fictions' of the 20th century.  They were investigating the genre staples that have defined modern tastes such as the superhero - both the pulpy variety and the grim and grrr version of the late 80s / early 90s - monster movies, noir, etc.  Here, his characters are concerned with an older and more deeply fundamental and, so far at least, decidedly British folkloric fictions;  they are accessing the stories behind the stories and are dealing with the impacts these stories are having on their lives and the country as a whole.

Maria Kilbride
'Injection' tells of a 'team' of four very distinct people who make up the 'Cultural Cross-Contamination Unit', a governmental think-tank that takes it upon itself to avoid the predicted death of innovation and the entropic decay of the 21st century by injecting a non-biological consciousness into the physics of the world to "make the 21st century more interesting".  Part spell, part AI the consciousness or 'injection' begins to serve it's purpose accessing and utilising the folklore of the British Isles to add that extra spice that the CCCU were so keen on stimulating especially at the point we join the story as it starts communicating with it's creators.

Robin Morei
The core (no longer a) team make for a pretty intriguing prospect.  A Holmes-esque investigator named Vivek Headland - immaculate, aloof and seemingly an utter control freak watching over his former comrades from his ultra-minimalist New York penthouse furnished with only a phone, a white devil, a very tall chair, a folding table and an inedible sandwich - Simeon Winters - a gadget laden super spy / assassin - Brigid Roth - computer whizz and creator of the aforementioned A.I. - Robin Morei - who is absolutely "not a fucking wizard" but is descended from a long line of cunning folk - and heading it all is "the only authentic genius most people will ever meet", Maria Kilbride who is trying very hard "to make up for a terrible thing she did".  They make for a very interesting quintet with Robin and Maria showing themselves to be, for me at least, fascinating characters as I'm always a sucker for an anarchic magician and a hard as nails rampaging scientist.



Obviously this is only the first 5 issues of a brand new series and Warren excels at teasing out his stories and keeping you guessing, hoping, wondering and hankering in equal measures.  As I said earlier I am a fan and I'll happily follow wherever he happens to take a story and this time out it's started in a place that rings every single one of my Wyrd Britain bells.  Like it's author, 'Injection' is steeped in the stories of the British Isles; the stories both ancient and modern that define that very British sense of the fantastical from the creatures of legend to the type of nightmares conjured up by an Etonian schoolmaster, from the detective fantasies of a Scottish physician to the pioneering scientist with his own Experimental Rocket Group and of an entire generation of post-war British authors who destroyed the world again and again and again.  This book bleeds them all but does so in a way that mixes them with Warren's voracious appetite for the new, the unique and the unorthodox and presents them alongside Shalvey and Bellaire's breathtaking artwork as a bold and beautiful re-invigoration that makes for an enthralling read.

Buy it here:  Injection Volume 1 (Injection Tp)

Saturday, 2 April 2016

Short Story - 'In The Woods' by Amyas Northcote

The old woman raised herself from stooping among her vegetables, and looked upwards towards the wood topping the hill above her.  Her glance was arrested by a pair of moving figures. Shading her eyes with her hand against the westering sun, the old woman gazed more attentively at them, and distinguished, outlined against the blackness of the fir trees, the figures of a young girl and a large dog. Slowly they mounted the grassy slope, and as they drew near the wood its shadow seemed to her to stretch itself forward to meet them. They passed on, and vanished in its recesses. The old woman bent again to her task.

* * *

The girl was tired, tired and unhappy.

She was tired with that tiredness that at seventeen seems hopeless and unending. It is a tiredness of the mind, an ill far worse than any physical fatigue. She was unhappy with an unhappiness that, being in a sense causeless, is all the more unbearable. She felt herself to be neglected, to be misunderstood. Not, be it remarked, that she was neglected in the sense in which we apply it to those in poverty and distress. On the contrary, she was doubtless, and she herself knew it, an object of envy to many. She lacked for no bodily comfort, she owned to no neglect of the mind. Governesses had implanted that which we call knowledge in her, affectionate parents had lavished their love and care upon her. She had been watched, guided, advised, taught with all possible care. She knew all this; and she knew that if she expressed a reasonable wish for any concrete thing she would promptly possess it. But yet she felt herself neglected. A lonely child, without brother or sister, and lacking the power or the will to find close friends among the other girls of her neighbourhood, she had been compelled to rely on her parents and their friends. In childhood she had been happy, but now, with the passing of the years, she felt, dimly and indistinctly perhaps, that she was isolated and alone.

She moved onwards into the recesses of the wood, the great St. Bernard beside her, treading with familiar steps the well-known track, letting her eyes rest on the stately beauty of the trees and her tired thoughts draw repose from their profound calm. Her way led gradually upwards over the crest of a ridge covered with the dark grandeur of Scotch firs. In a few moments after entering the wood the trees, closing their ranks behind her, blotted out every glimpse of the valley whence she had come. In front and on each side of her they rose, towering, straight and tall, with clean stems, upwards to where their dark-green foliage branched out and almost hid the sky. Here and there rare gaps appeared, and in these open spaces the bracken leapt up to gaze upon the sun, and waved its green fronds in the gentle breeze. Her footsteps fell noiseless on the smooth dry pine-needles as she hurried on, drinking in the first feelings of rest, the rest and peace of the great woods.

Presently the trees began to thin in front of her, the gaps among them became more frequent and larger, and soon, passing out of the fir-wood, she gazed down on to a happy valley between two ridges. Beyond the valley the fir-trees recommenced, black and formidable-looking against the slowly setting sun, except away to her left, where the declining ridge opposite sank gently into more open country, and she could descry beyond the trees a fair prospect of unwooded fields. In front of her, as she emerged from among the pines, was a pool of still water, fed by a little brook, which meandered down a green and wooded valley, a valley of osiers and willow and hazel, carpeted at this season with buttercups and ragged-robin, and fringed by tall fox-gloves, by flowering elder and mountain ash. Among these lesser plants an occasional oak towered up, gnarled and misshapen, resembling, beside the stately firs, some uncouth giant of a bygone age.

The wood was very still, the afternoon hush lay upon it, there were no sounds save a gentle whispering of the wind among the fir-tops and the occasional harsh cry of a jay, startled by the rare sight of a human form, or the metallic note of a moor-hen swimming across the pool with its queer clock-work-like motion. With these sounds mingled the gentle tinkle of water escaping from the pool over a hoary flood-gate, and trickling away towards the cultivated lands below. All else was silent and moveless, and the girl, seating herself on the stump of a long-vanished tree, relapsed into absolute quiet, the dog lying equally still beside her.

The peacefulness of the scene calmed the vexed thoughts that had perplexed her; gradually the last gift of Pandora reasserted itself. She began to feel more confident in herself and in her future. True, the way was weary and long, lack of sympathy, lack of interest prevented her, but she felt that within herself lay the seeds of great deeds; the world would yet hear of her, success would yet be at her feet. Formless were the dreams, uncertain even in which direction they would be realised, but chief among them was her dream of music, her beloved music. The paths to many an ambition are closed to women, this she bitterly realised, but at any rate music lies open to them. The visions became more clearly defined, the tinkling water, the rustling pines resolved themselves into stirring rhythms and interlacing harmonies. In her excitement she moved slightly; the great dog, opening his eyes, glanced up, and licked the hand of his companion. This recalled her to herself; she looked up with a start, first at the evening sky and then at her watch, and with a little exclamation at the lateness of the hour hastened to retrace her footsteps through the trees. Presently she emerged again on the open hill-side, and hurried downwards; the trees, bending to the rising wind, seemed to reach out long arms after her.

The woods enthralled her.

Her days were spent more and more dreaming in their recesses. She was much alone. Her father, a busy man, breakfasted, and was gone till evening, before she came down of a morning, an early tradition of delicate health having made her a late riser. In the evening, on his return, he was usually tired, kind but tired. Her mother, long an invalid, was away from home on an interminable cure, and in her absence even the rare visits of dull, country neighbours ceased. And so she lived, surrounded by comforts, a forgotten girl!

She grew more and more abstracted and dreamy: she neglected her duties, even her personal appearance suffered. The servants,who had long regarded her as eccentric, began to grow anxious, even a little alarmed. She became irregular in all her habits; she would stray away into the woods for hours, careless of time. In her rambles she became familiar with every corner of the woods; she was a familiar figure to the watchful gamekeeper and to the old woodman at his work. With these she was on a friendly footing. Once convinced that the great St. Bernard harboured no evil intentions as regards his pheasants, the keeper was civil enough and, after a word or two of salutation, used to stand and watch the lithe, lonely, brown-clad figure slipping away from him among the brown tree trunks with a queer mixture of sympathy and bewilderment. But with the old woodman the young girl made closer friends. She loved to watch him at his solitary toil, and to note in his lined face the look of one who has lived his life in solitude among the beauties of the woods, and who has become cognizant of their glories and of part of their mysteries. She would speak to the old man but little, she spoke to few and rarely in those days, but her watch of him was sympathetic, and she seemed to be trying to draw from him something of that woodland mystery in which he was steeped.

And alone in the woods she grew ever closer to them; the trees began to be for her more than mere living trees: they began to become personalities. At first only certain of them were endowed with personality, but gradually she became aware that each tree was a living and a sentient being. She loved them all, even the distorted oak-trees were her friends. Lying prone in her favourite corner overhanging the pool, the forest become more and more alive, and the firs waving and rustling in the wind were souls lifting up their voices to God. She imagined them each with a living, separate soul, and mourned for a fallen giant as if it were a friend. Ever more and more rapt she became, more and more silent and unresponsive to her fellow-men. At times her father would gaze earnestly at the silent girl, clad in her simple white frock, seated opposite him, but he could discern nothing to disturb him. Her mother wrote, and the girl answered; letters of affection, but covering up within herself all the deep mysteries and yearnings of her heart.

The woods enthralled her.

In them, as she paced to and fro or rested on the stem of some fallen tree, listening to the rustling of the branches around, she became conscious that they were ringing with melody. She felt that here, and here alone among the trees, she could produce that divine music which her soul held expressionless within her. Vainly she would strive in her music room to reach even the lowest terrace of that musical palace whose grandest halls were freely opened to her among the solitudes of the woods.

Little by little did she become absorbed into them; she dared not as yet visit them at night, on account of the certain annoyance of her father, but by day she almost lived in them, and her belief in the souls of the trees grew stronger and ever stronger. She would sit for hours motionless, hoping, believing, that at any moment the revelation might come to her, and that she would see the Dryads dancing, and hear the pipes of Pan. But there was nothing. “Another day of disappointment,” she would cry.

The summer passed on, one of those rare summers which only too seldom visit our English land, but which, when they do appear, by their wonderful beauty and delight, serve to make us thankful to be alive if only to enjoy the joys of Nature.

On one of these glorious days the girl had wandered out, as usual, into the woods. It was afternoon, the sky was cloudless, the wind was almost still, but at times a gentle breath from the west made a soft rustling amongst the pine branches far overhead. As the girl moved on she gazed around her on the well-known trees. All was as usual; Nature spread her beauties before her, glorious, mysterious, veiled from the ken of the human soul. The girl stopped. “Is there nothing,” she cried, “nothing behind this? Is Nature all a painted show? Oh, I have so longed for Nature, to find the peace, and pierce the mystery of the woods, and nothing comes in answer to my soul's call!” She moved on again, passionate, eager, yearning, with all the yearning of youth and growth for the new, the wonderful. Presently she reached her seat above the pool, and sitting down buried her face in her hands. Her shoulders heaved, her feet beat the ground in hasty emotion, her soul cried out in longing.

Suddenly she ceased to move, for a moment longer she sat in her old attitude, then, lifting her face, she gazed around her. Something had happened! Something, in those few moments! To her outward eye all was unchanged, the pool still lay silent in the sunlight, the breeze still murmured in the tree-tops, the golden-rod still nodded in the sun at the verge of the pool, and the heather still blazed on the lower slopes of the ridge opposite her. But there had come a change!—an unseen change!—and in a flash the girl understood. The woods were aware of her, the trees knew of her presence and were watching her, the very flowers and shrubs were cognizant of her! A feeling of pride, of joy, of a little fear, possessed her; she stretched out her arms, “Oh, my beloved playmates,” she cried, “you have come at last!”

She listened, and the gentle breeze among the pine-trees seemed to change, and she could hear its voices, nay, the very sentences of those voices, calling to each other in a language still strange to her ears, but which she felt she knew she would soon understand. She knew she was being watched, discussed, appraised, and a faint sense of disappointment stole over her. Where was the love and the beauty of Nature; these woods, were they friendly or hostile, surely such beauty could mean nothing but love? She began to grow fearful, what was going to happen next? She knew something great was coming, something awe-inspiring, something, perchance, terrible! Already she began to feel invisible, inaudible beings closing, in upon her, already she began to know that slowly her strength, her will, were being drawn out of her. And for what end? Terror began to possess itself of her, when suddenly on the farther side of the pool she saw the old woodman, slowly plodding on his homeward way. The sight of the familiar figure, clad in his rough fustian clothes, bending under a new-cut faggot to which was tied the bright red handkerchief containing the old man's dinner-pail, a splash of bright colour outlined against the green verdure by the pool, was as a dash of cold water over a fainting man. She braced herself up, and watched the distant figure—as she did so, as silently, as suddenly as the mysterious door had opened, it closed again. The woods slept again, ignorant of and indifferent to the young girl.

But, that night, long after the household slept, the girl was at her window, gazing out across the valley to where the fir woods crowned the opposite hill. Long she watched them as they towered, irregular and mysterious, overhanging the grey moonlit fields and sleeping village below them. They seemed to her now to be a strong, thick wall defending the quiet valley below, and guarding it from ill, and now to be the advance guard of an enemy overhanging her peaceful village home and waiting but the word to swoop down and overwhelm it.

The woods enthralled her.

She felt herself on the point of penetrating their mystery, a glimpse had been given her, and now she hesitated and doubted, torn between many emotions. The fascination of fear possessed her, she dreaded and yet she loved the woods. For a day or two after her adventure she shunned them, but they lured her to them, and again and again she went, seeking, hoping for, dreading, what she knew must come. But her search was vain, silently and blindly the woods received her, though again and again she felt that after she had passed she was noted, she was discussed, and that her coming was watched for. The fascination and the fear grew; her food, her few duties, were all neglected, she felt, she knew, that her eyes would soon be opened.

The summer was over. September was upon the world of the woods: the bracken was turning into a thousand shades of yellows and browns, the heather was fading, the leaves of the early trees were browning, the bulrushes hung their dying heads, the flowers were nearly over; the golden-rod alone seemed to defy the changing year. The young rabbits, the fledgling birds, the young life, had all disappeared. At times one saw a lordly cock pheasant, or his more modest wife, strut across the woodland rides. Once in a while, with a loud clapping of wings, wild duck would rise from the pool; among the hazel bushes the squirrels were busy garnering their winter store, and from the distant fields the young girl, as she sat in her well-loved corner of the woods, could hear the far-off lowing of cattle. The afternoon was heavy and oppressive; a dull sensation of coming change hung over the woods, dreaming their last dreams of summer. The firs stood dark and motionless, with a faint aspect of menace in their clustering ranks; no birds were moving among them, no rabbit slipped from one patch of yellowing bracken to another. All was still as the young girl sat musing by her well-loved pool.

Suddenly she started up, listening. Far off, up the green valley, beyond where a cluster of osiers hid the bend, she seemed to hear a sound of piping. Very faint and far off it seemed; very sweet and enthralling; sweet, with a tang of bitter in the sweet, enthralling, with a touch of threatening. As she stood listening eagerly, and with the air of one who hears what he has hoped and longed and dreaded to hear, that same well-remembered sudden, subtle change passed over the woods. Once more she became aware that the trees were alive, were watching her, and this time she felt that they were closer, their presences were more akin to her than before. And it seemed to her as if everywhere, figures, light, slender, brown-clad figures, were passing to and fro, coming from, fading into, the brown trunks of the trees. She could not discern these figures clearly; as she turned to watch they faded out, but sidelong they seemed to flock and whirl in a giddy dance. Ever the sound of the piping drew nearer, bringing with it strange thoughts, overpowering sensations, sensations of growth, of life, thoughts of the earth, vague desires, unholy thoughts, sweet but deadly. As the sounds of the piping drew nearer, the vague, elusive figures danced more nimbly, they seemed to rush towards the girl, to surround her from behind, from each side, never in front, never showing clearly, always shifting, always fading. The girl felt herself changing. Wild impulses to leap into the air, to cry aloud, to sing a new strange song, to join in the wild woodland dance, possessed her. Joy filled her heart, and yet, mingling with the joy, came fear; fear, at first low-lying, hidden, but gradually gaining; a fear, a natural fear, of the secret mysteries unfolding before her. And still the piping drew nearer; IT was coming, IT was coming! IT was coming down the quiet valley, through the oak trees that seemed to spring to attention to greet IT, as soldiers salute the coming of their King. The piping rose louder and more clear. Beautiful it was, and entrancing, but evil and menacing; the girl knew, deep in her consciousness she knew, that when IT appeared, evil and beauty would come conjoined in it. Her terror and her sense of helplessness grew; IT was very near now; the dancing, elusive forms were drawing closer around her, the fir woods behind her were closing against her escape. She was like a bird charmed by a serpent, her feet refused to fly, her conscious will to act. And the Terror drew ever nearer. Despairingly she looked around her, despairingly uttered a cry of helpless agony.

The great St. Bernard lying at her feet, disturbed by her cry, raised himself to his haunches and looked up into her face. The movement of the dog recalled him to her thoughts; she looked down at him, into the wise old eyes that gazed up at her with love and with the calm look of the aged, the experienced, of one from whom all the illusions of Life had faded. In the peaceful, sane, loving look of the dog the girl saw safety, escape. “Oh, Bran, save me, save me,” she cried, and clung to the old dog's neck. Slowly he arose, stretched himself, and, with the girl holding fast to his collar, turned towards the homeward path. As they moved forwards together the whirling forms seemed to fade and to recede, the menacing, clustered firs fell back, the piping changed and, harsh and discordant, resolved itself into the whistle of the rising wind, the very sky seemed to grow lighter, the air less heavy.

And so they passed through the woods together; and emerging from their still clutching shadows stood gazing across the valley darkening in the evening light, towards the gates of home, lit up by the cheerful rays of the setting sun.

* * *

The old woman, resting her aching back, Looked up and saw the girl descending from the
woods with quick light steps. “I wish I were as young and care free as she be,” she muttered,
and stooped again among her vegetables.

Friday, 25 March 2016

In Ghostly Company

Amyas Northcote
Wordsworth Editions

A grey cloud formed on the summit of the altar, diminishing, thickening and turning into a Shape, a shape of evil and fear. The silent group by the fire once more broke forth into wild gesticulations and cries, Stella prostrated herself, the Form on the altar grew clearer and with a cry of horror Mr Fowke turned away and rushed madly across the moor'. Amyas Northcote's In Ghostly Company is a rare and splendid collection of strange and disturbing tales from the golden age of ghost stories. His style is akin to that of the master of the genre M.R. James: it is measured and insidiously suggestive, producing unnerving chills rather than shocks and gasps. Northcote's tales make the reader unsettled and uneasy. This is partly due to the fact that the hauntings or strange occurrences take place in natural or mundane surroundings - surroundings familiar to the reader but never before thought of as unusual or threatening. Long out of print, this book remains an enthralling and chilling read.

Amyas Northcote was an English writer of the Edwardian era with just this single volume of ghost stories published in 1921 to his name.

The intro by David Stuart Davies makes note of how Northcote's short tales were described as being written in an 'unemotional style' and indeed this is well noted as throughout the author feels very distant from his subject matter.  Emotions, other than fear, are kept at a respectable distance and he offers up his stories with a very British reserve.  Happily, this isn't something that bothers me to any particular extent and I like a fairly hands off author.

The stories themselves hail from what must be described as the halcyon days of the ghost story.  Northcote was a student at Eton during M.R. James' tenure at the school and it is to that venerable author, along with others such as E.F. Benson that Northcote's work draws parallels.

In the classic tradition of the genre and the era Northcote's characters are, for the most part innocents caught up in events over which they have little understanding and even less control.  For some their lack of comprehension proves to be their saving grace.  In other situations it's their innate goodness or the self destructive nature of evil or even their pet but equally often the innocent are sent to their grave through nefarious actions.

An aspect of the works here that particularly appealed is that in Northcote's hands the landscape becomes a character in itself.  His stories, unlike those of his eminent peer, are more definitely attached to their British landscape.  There are a few obvious exceptions but they could easily have been relocated to the wilds of Wales, Scotland, Cornwall or Devon.  In the story of the same name the nature of The Downs being as much a character as the spectral figures that haunt it and the horror of the actions of 'The Late Mrs Fowke' are intensified through both the unsavoury establishment she visits and the befouled rural setting within which she conducts her evil conjuring.

His writing seems embedded in a changing age;  the almost fully mechanised industrial society of the early twentieth century that remembers the wild places of the countryside but as a place of superstitious fear and dangerous magics.  Equally there's a sentimentality within his work that serves to make the prospect of the afterlife one here wrongs, both great and small and both slight and slights can be addressed and redressed.

I've become very much a fan of these Wordsworth Editions over the last few years and it's always a good day when I stumble across a new one especially one that I become as besotted with as I have with this one.  Northcote, I suspect, will always remain a peripheral figure in the pantheon of authors of the macabre but to those that seek him out and to those who fall upon him unexpectedly he will prove to be a fortuitous treat.

Thursday, 25 February 2016

Ghostly Encounters

Susan Dickinson (ed)

Armada Lion

A year or so ago I read another anthology edited by Susan Dickinson called Ghostly Experiences which was a very fine read that boasted a beautifully drawn cover. Both books were taken from a single hardcover volume called 'The Restless Ghost'. It would seem that that other volume hogged the limelight as it is a vastly superior set to this but that isn't to say there's little to recommend here.

Opening the proceedings is indeed Leon Garfield's, 'The Restless Ghost' which tells of a prank that leads to unexpected consequences of fear and redemption in a story where the innocuous illustrations belie the truly terrible fate facing it's prankster protagonist.

Up next is a staple of these anthologies, W.W. Jacobs' 'The Monkey's Paw' where greed and wishes are shown to be unfortunate bedfellows, particularly for your offspring.

L.P. Hartley is an author that I've encountered a few times and who has yet to grab me. I thought his 'Feet Foremost' would be the one to finally do so as it's a nicely desperate and tense haunted house story that keeps you on tenterhooks right up until it falls apart in it's finale.

W.F. Harvey
 'August Heat' by W.F. Harvey on the other hand has a suitably creepy premise that is absolutely nailed at the end in a manner that reminded me of those 'Tales of the Unexpected' episodes where it's shown that you can't cheat fate.

'The Return of the Native' by William Croft Dickinson is a supernatural revenge tale that is entertaining enough but is a little too breathless in it's headlong charge to the end to be wholly satisfying. It's followed by 'Coincidence' by A.J. Alan (a Bletchley Park cryptogrtapher during WWII) which has a fun little idea at it's heart and is realised well but is a tad too obvious to really satisfy.

The ubiquitous M.R. James tale is up next with 'The Rose Garden'. For me one of his weaker stories that never really manages to build into the genuinely creepy atmosphere he was so accomplished at.

To end, the book leaves the realm of the supernatural altogether with Kenneth Wyatt's ghost dance tale 'Ghost Riders of the Sioux' which tells of two settler family's experiences around the time of the Sioux nations adoption of the Ghost Dance movement. It's an interesting read but entirely out of place here.

As I said earlier a mixed bag and certainly the poorer relation to the other volume but not entirely without merit.

Thursday, 5 November 2015

The Fontana Book of Great Horror Stories

Christine Bernard
Fontana Books

I jumped on this book when I saw it in a cluttered second hand bookshop in Cheltenham because of the Nigel Kneale story that I hadn't read before; I'd have bought it anyway but that was the clincher.  There were a few other firsts in there too so let's take it one story at a time.

Starting things off is 'The Squaw' by Bram Stoker and it's tale of feline revenge as a rather stupid American tourist is given a medieval comeuppance by a particularly angry she-cat.  I've only ever read one Stoker tale before - 'The Judge's House' - which I really enjoyed and this one was fun also.  I really must get around to reading that copy of Dracula that's sitting on my bookshelf.

Next is only me second experience of Robert Aickman.  I'd managed to entirely miss him and now I've read him in two books in a row - 'Ringing the Changes' in '65 Great Tales of the Supernatural'.  'No Stronger Than a Flower' is a quietly odd little tale of newly weds that sees the wife relenting to her new husbands comments regarding her appearance in a most odd and unpleasant way.

Hugh Walpole
Hugh Walpole's excellent 'Tarnhelm' was one of three familiar stories here as a young boy is sent to stay with his two uncles only to discover that there's something quite unlikeable about one of them and he finds himself in serious danger.

The fourth story gives me my first chance to read an Agatha Christie story, 'The Gypsy' is a light but gratifying tale of premonition, fate and love wrapped up in a breakneck read that still manages to feel complete and satisfying.

Another anthology regular, Algernon Blackwood's 'A Case of  Eavesdropping', takes a young man to a boarding house where bumps (and blood) in the night are commonplace.

And so we arrive at the Nigel Kneale tale.  Kneale only ever published one non Quatermass book, a short story collection called 'Tomato Cain and Other Stories',  and it's from that his haunted house story 'Minuke' is the most anthologised so to get a chance to read another was a real treat.  'The Pond' is a short but sweet tale of revenge on a strange old taxidermist.

L.P. Hartley
Roald Dahl provides a tale that is straight out of his 'Tales of the Unexpected' style with a story that mixes a dead husband, his newly liberated wife and some gruesome post-mortem science with the promise of some well savoured revenge.

L.P. Hartley's 'The Two Vaynes' is by far the poorest story here with large plot holes in a fairly pointless plot of revenge for a pretty slight leading to revenge for a larger crime.

The Hartley story is followed by longest piece as Ray Bradbury's 'The Next in Line' tells of a young woman's descent into madness in a small Mexican town.  It's beautifully written but I found it to be quite unsatisfying with a very poor finale.  My preference in a ghostly or weird story is for a British setting - or at the furthest European - so the Bradbury was a step outside my happy place but still an enjoyable excursion as what Bradbury I've read in the past was always very readable as it, mostly, was here.

Frank Baker
Frank Baker's 'In The Steam Room' is notable only for it's narrators long list of possible deaths which do raise a smile but the story itself which sees a middle aged neurotic foresee a violent death inside a sauna is fairly innocuous.

The same can be said of 'The Interlopers' by Saki as two feuding Carpathian lords are trapped together in a deep forest giving them time to sort out their quarrel.

Of the final three stories one proved itself to be stylish but ultimately empty, the second to be slightly pointless and the final one to be an old favourite whose title I didn't recognise.

Elizabeth Bowen
Elizabeth Bowen's 'The Cat Jumps' is a haunted house story without any actual ghosts as the new owners and their party guests at a house famous for the gory murder committed there become obsessed and bewitched by it's reputation .  Ambrose Bierce's 'The Boarded Window' continues this theme with a remembrance of the reasons behind a sealed window in a deserted log cabin.

The book ends with Joan Aiken's lovely little twisted tale, 'Marmalade Wine' that finds a walker chancing across the country home of a retired surgeon only for things to go horribly awry.

As I've mentioned in previous reviews I do have a love for these old (this one is 1966) anthologies and this proved to be a most enjoyable one.  The selection is admirably light on ghostly goings on and heavy on supernatural revenge and retribution and is very much worth hunting down for anyone with a love of the weird.

Sunday, 18 October 2015

65 Great Tales of the Supernatural

Mary Danby (editor)
Octopus Books

This powerful and comprehensive collection of 65 brilliant stories contains the best of all the well-known writers of the supernatural, both old and new, with some stories specifically commissioned for this volume.

I've grown to love these anthologies particularly the older stories which this mammoth tome has in spades.  It also features a fairly large smattering of (at the time of publication) modern writers.

Of the 65 here it's the famous that have been represented by their A-game pieces.  Robert Aickman opens the book with the sublime terror of his 'Ringing the Changes', E.F. Benson's 'The Bus Conductor' will be familiar to some from it's film version in the 1945 Ealing Films classic 'Dead of Night'.  M.R. James' 'Lost Hearts' makes it's customary appearance as does William Hope Hodgson's Carnacki classic 'The Whistling Room', Robert Louis Stevenson's 'The Body Snatcher' and Nigel Kneale's 'Minuke'.


Robert Aickman
Alongside these and other key authors such as Algernon Blackwood ('Keeping His Promise'), Ambrose Bierce ('The Middle Toe of the Right Foot'), Charles Dickens ('The Signal-Man'), Arthur Conan Doyle ('The Brown Hand'), Mark Twain ('A Ghost Story'), H.G. Wells ('The Red Room') and Dennis Wheatley ('The Case of the Long-Dead Lord'), editor Mary Danby has gathered an intriguing selection of lesser known authors such as Charles Birkin whose 'Little Boy Blue' is an affectingly grim tale of childhood friendship and Dorothy K. Haynes' intense and horrific hotel in 'Those Lights and Violins'.

Adrian Cole
Rounding out the collection is a selection of more modern storytellers such as Adrian Cole who does a Cornish Lovecraft (who's also here with his excellent 'Moon Bog') pastiche called 'The Horror under Penmire', Danby herself gives a nifty tale of well-deserved comeuppance with 'The Engelmayer Puppets', Roger Malisson brings the creepy, small town horror in 'A Fair Lady' and Tim Vicary's heart wrenching 'Guest Room'  is a real highlight.

Since it was published in 1979 (mine is a 1982 4th edition) this book has become a charity shop staple but please don't let that put you off as it really is a corking collection.  OK so maybe there isn't 65 'great'tales but there's certainly a large proportion of the freaky and the fabulous.  There's a couple of tales that are very much not 'great' but Danby has compiled a fairly solid collection and there's a great deal of macabre fun to be had here.

Monday, 7 September 2015

Horror Stories

Susan Price (ed)
Kingfisher Books

Chills, spills and empty coffins! This wide-ranging collection of twenty-four spine-tingling stories draws on the best traditions of classic horror, from powerful myths and folktales to contemporary stories of man-made terrors. With contributions by writers of the calibre of John Steinbeck, Edgar Allen Poe, Charles Dickens, T. H. White, Philip K. Dick and Stephen King, this is a truly chilling anthology.

On one weird day out at a local town a few months back I found 3 books in this series of anthologies in 3 separate charity shops (and then a few weeks later another in a different shop in a different town).  I bought 2; this one and a Vampire one.

What we have here is very much the modern equivalent of the old Pan, Fontana, Puffin anthologies.  The contents selected by the author Susan Price, is a mixed bag of the famous and the less so, the old and the new, the ghastly and the funny.

There's 24 separate tales here each of which I jotted a sentence about in my handy little notebook as I read and that seemed a good enough idea for this review so here goes the most spur of the moment review I've ever written.

E. F. Benson
1. Algernon Blackwood - The Kit Bag.
- Dark and spooky story about a man terrified by a bag.

2. Stephen King - Here There Be Tygers
- Pointless tale of urine related shyness and a tiger.

3. E.F. Benson - The Room in the Tower
- Prophetic dreams of a horrid old woman and a creepy room lead to a poor ending.

4. Philip K. Dick - Beyond Lies the Wub
- Very odd sci-fi tale of the ethics of food.

5. Susan Price - Feeding the dog
- A short fun morality tale about the costs of evil.

Nicholas Fisk
6. Nicholas Fisk - Teddies Rule OK
- A thoroughly, and I do mean thoroughly, creepy girl with teddy bear story.

7. Eleanor Farjeon - Grendel the Monster
- A quick telling of the Beowolf story.

8. Leon Garfield - A Grave Misunderstanding
- A fun little ghostly tale of the differences between what a dog 'sees' and what a human does.

9. Charles Dickens - Captain Murderer
- An oddly written tale of cannibalism and revenge.

10. Joan Aiken - Something
- Enigmatic and terrifying hauntings & dreams affect the males of a family.

Guy de Maupassant
11. Guy de Maupassant - The Hand
- Spooky tale of a haunted murderous hand.

12. Ellen Emerson White - The Boy Next Door
- Psychopathy American teen style

13. Scottish folktale - The Murder Hole
- Murder on the moors

14. Terry Jones & Michael Palin - The Famous Five go Pillaging
- A deeply Pythonesque tale of the collapse of Roman Imperialism.

15. John Steinbeck - the Affair at 7 Rue de M-
- Pointless story of malevolent bubble gum.

Vivien Alcock
16. Vivien Alcock - A Change of Aunts
- A fun tale of swampy retribution.

17. Edgar Allen Poe - The Cask of Amontillado
- Poe really liked walling people up.  Someone should check his house.

18. English folktale - The Pear Drum
- Odd tale about the perils of misbehaviour.

19. Philippa Pearce - The Dog Got Them
- Dog versus the D.T.s

20. Saki - Gabriel-Ernest
- A story of lycanthropy that begins well and ends poorly.

Philippa Pearce
21. Jan Mark - Nule
- Creepy little tale of anthropomorphism .

22. Jerome K. Jerome - The Dancing Partner
- A robotic take on 'The Red Shoes'.

23. Margaret Bingley - The Ring
- Young girl buys jewellery with a hidden cost.

24. T. H. White - The Troll
- Odd little story of a man confronted by a hungry troll whilst holidaying in Norway.

I'm so pleased they still do anthologies of this type for kids especially ones with this much good stuff but do many young people read Victorian horror?  I hope so.