The Rivals of Dracula - Nick Rennison

 

A collection of vampire tales from around the time of Stoker's classic.  There are familiar faces here.  M R James's 'Count Magnus' is always worth reading and it was good to see 'Aylmer Vance and the Vampire'.  There are oddball entries too, some very odd Norse vampires and a vampiric plant.  But there are also several duds, I'm afraid - 'Ken's Mystery' for example, by Julian (son of Nathaniel) Hawthorne, and Mary Cholmondely's 'Let Loose'.  On the whole, though, a good range, well worth reading.

A Natural History of Ghosts - Roger Clarke

The title is a play on Pliny, the man responsible for so much of the world's nonsense, including (probably) ghosts. Roger Clarke is himself a ghost-hunter, but the vast majority of the cases he reports here are fake, up to and including Most Haunted on Living TV in the Nineties and Noughties.

Books like this used to be a staple when I was young - by names like Peter Underwood and Hans Holzer - but it seems the scandals that killed off Most Haunted and Living TV also put paid to the genre for a while.  That's a shame because many literary greats either wrote the occasional ghost story (Daniel Defoe, Henry James and, of course, Dickens) or even specialised (M R James and Sheridan le Fanu).

Clarke has been diligent in his research and has found cases I knew nothing about. It is a shame the proof reading wasn't to the same level of diligence. You can forgive a self-published text but this is from Penguin for Pete's sake. I enjoyed it all the same.

Madam Crowl's Ghost - Sheridan Le Fanu

The companion piece to In A Glass Darkly, this collection put together by the great M R James, no less, is supernatural fiction that Le Fanu himself did not collect. The other stuff, frankly, is better, and yet there are great pleasures and genuine creepiness among the twelve stories here. Some of it is journalism, or what passed for journalism in Le Fanu's time. We have 'Ghost Stories of Chapelizod' and 'Stories of Lough Gair' which are presented as ghost gazeteers. Others, like 'The Vision of Tom Chuff' and 'The Child that went with the Fairies', give the impression of being local legends retold. The title story and 'Squire Toby's Will' are straight ghost stories and both manage a couple of serious shocks, whereas 'Ultor de Lacy' and 'Wicked Captain Walshawe of Wauling' are more gothic and weird.

My favourites were 'An Account of Some Strange Disturbances in Aungier Street', which is essentially a draft version of 'Justice Harbottle' from In A Glass Darkly, and 'Dickon the Devil' which, like a surprising number of the stories here, is set my native Lancashire - 'Dickon', indeed, iun my native Pendle Valley. Le Fanu explains why: he was a fan of the forgotten bestseller Harrison Ainsworth and was familiar with The Lancashire Witches (1848).

Ghost Stories - M R James

Why is it I didn't take to the stories of Thomas Ligotti (see below) but fell instantly under the spell of M R James?  They have much in common - James is obviously a key influence on Ligotti.  Both writers tend to use the same type of narrator - learned, single, often a writer - and both use distancing devices such as "this is the story as someone told it to me."  I have thought about it for some days now, and have concluded that the difference is the attitude of the narrator/protagonist.  Ligotti's are inert, accepting, and thus alienate us; James's academic old buffers, on the other hand, rebel against their disturbing experiences and strive to put the world back in order.  That makes them appealing.  They do what we would hope to do in their position.

This selection, for Vintage Classics, includes an introduction by Ruth Rendell.  I like Rendell but hate it when publishers feel they need to add a 'name' to a classic.  This introduction is amiable enough but in the end it is piffle.  It tells us nothing about James and even less about his works.

On to the stories themselves, there are thirteen of them, naturally, and the best for me was the story "Number 13".  Can I say why I preferred it?  Well, to an extent.  It is odd, as hotel rooms tend to be odd, especially old hotels which have been converted from something else.  Hotel rooms strive to be comfortable, to be a temporary home from home, but they always fail because most of us can never be truly comfortable away from home.  We never fully have our bearings because there's always somewhere else, staff areas and other people's rooms, which we cannot access.

As always with ghost stories, it depends what you find frightening.  If you have a problem with spiders, then James is definitely the boy for you.  Personally, it's the oddness rather than the apparition which unsettles me.  The flapping sheet on the beach in "Oh Whistle and I'll Come to You My Lad" is, for me, much scarier than the attack on Parkins by his bedsheets.  But even if the thing itself in a particular story doesn't raise your gooseflesh you can always enjoy the sheer mastery of James's writing.  James, of course, was far more learned than any of his protagonists; that means he does not need to show off, and he doesn't.  Instead his pen flows like Picasso's line, effortless and yet magnificent.

Teatro Grottesco - Thomas Ligotti

Thomas Ligotti has become a cult writer since the millennium.  People liken him to Lovecraft, Poe, and M R James.  I like all those authors so naturally I was keen to try Ligotti.  My conclusion?  He's not like the aforementioned.  He's not scary, though he does successfully get under your skin, and for all the very obvious work that goes into crafting his stories, he ends up being a bit dull.  For me, the problem is that his first-person narrator has always the same characteristics - reclusive, obsessive, an outsider with a bad stomach - no matter whether he is a creative artist or a drudge in a slave-labour town.  The towns, likewise, are always in the north, on the border, and he has usually left by the time he comes to write down his experience.  There are other regular tropes - other recluses, bizarre modern artworks, and carnival performers (carnies are much scarier in America, apparently, than they are in the UK).  Frankly, some of the long pieces are distinctly over-wrought - by the time I've got to the end of some of his paragraphs I've forgotten what he began with.  I admire the work, the commitment to form.  I own Ligotti has created a fictional world almost as real as Lovecraft's Arkham.  But he's not adventurous enough for my taste.