The Ghost Slayers - Mike Ashley (ed)

 Thrilling tales of occult detection...  Yes!   Ghost-finders - my absolute fave.   And favourite amongst them, John Silence and Thomas Carnacki, both prominent in this compilation of classics by Mike Ashley for the British Library.   My second faves, Aylmer Vance and Flaxman Low, both appear, too.   The Silence and the Carnacki were both familiar to me - Blackwood and William Hope Hodgson both only wrote one collection each and I have long had both - but I was reminded how superior Blackwood was with Ashley's choice of 'A Psychic Invasion.'   Sadly, 'The Searcher of the End House' is to my mind one of the lesser Carnacki tales.

New to me were the tales by Bertram Atkey, Dion Fortune, Moray Dalton, Gordon Hillman and Joseph Payne Brennan.   The latter two were especially effective.   'Forgotten Harbour' (1931) by Hillman is a tale of spooky doings at a fog-bound lighthouse, absolutely dripping with menace.   Brennan's story, 'In Death as in Life' is by far the most recent of the tales, dating only from 1963, but his ghostfinder, Lucius Leffing, is a Victorian out of his time, and the ghost when it manifests is literally dripping, truly horrible, and squishy.   Brennan's real stroke of genius is to make himself Leffing's Dr Watson.

A fantastic collection, essential for any fan of the sub-genre.

The Unknown - Algernon Blackwood

 Another excellent collection from the sadly defunct Handheld Press.   The idea here is to demonstrate Blackwood's range beyond the usual suspects, 'Wendigo' and 'The Willows'.   Editor Henry Batholomew four key topics - Canada, Mountain, Reincarnation and Imagination - and illustrates each with three examples, an essay or article, and two short stories.

I was especially taken with the Reincarnation section, which firstly demonstrates how Blackwood came to view the topic, then follows with 'The Insanity of Jones' from 1907 and 'The Tarn of Sacrifice' from 1921.   'The Insanity of Jones' was my favourite in the book, a tale of ancient revenge carried out in the present.   The third wheel as it were, the spirit who sucks the meek clerk Jones into his act of revenge, was truly scary.   I would also single out the story 'By Water' in the final Imagination section, largely because it is the story Blackwood talks about writing in the essay 'The Genesis of Ideas' which immediately precedes it.

Highly recommended.

British Weird - ed. James Machin

 It's a shame Handheld Press went out of business, because this is a nicely-presented anthology, part of a series which has decided to venture off the usual track in order to introduce to fans of the genre some long forgotten classics.   Here, for example, we have Arthur Machen's 'N', which happens to be the starting point for Alan Moore's marvellous Great When which I reviewed here earlier this year.   In the same vein is 'Mappa Mundi' by Mary Butts, who was an occultist contemporary of Machen and Aleister Crowley.   Editor James Machin has also included an essay by Butts from 1933 in which she has some startling things to say about alternative realities and her personal experience thereof.   I had never comes across John Buchan's weird fiction before but must find more of it.   I'm not particularly a fan of E F Benson or Edith Nesbit but they certainly merit inclusion here.   I am a big fan of Algernon Blackwood and thoroughly enjoyed 'The Willows', which I had not come across before.

Machin's introduction is excellent.   I note he has written a book on Weird Fiction in Britain 1880-1939.   That sounds like exactly my cup of tea.

Fontana Book of Great Ghost Stories - Robert Aickman (ed)

 

Inevitably in a collection like this, there are going to be old friends.  For me, these included Sheridan Le Fanu's 'Squire Toby's Will' and William Hope Hodgson's 'The Voice in the Night'.  A personal favourite, Robert Aickman's 'The Trains' was also here.  I had read D H Lawrence's 'The Rocking-Horse Winner' and Algernon Blackwood's 'The Wendigo', both so long ago that I had no real memory of them.  Both were better than expected, true classics of the genre, though neither was about ghosts.  The revelation among the others was, for me, Walter de la Mare's 'Seaton's Aunt'.  De la Mare has cropped up a lot in my research recently but indirectly, and I had not realised how effective his creepy fiction can be.  'Seaton's Aunt', again not a ghost story, reminded me strongly of Kipling at his best.

Aylmer Vance, Ghost-Seer - Alice and Claude Askew

All literary collaborations seem odd in the age of the single author, but no collaboration has been as unusual or as productive as that of the Askews. They were astonishingly prolific over a short period - up to ninety novels in a 13-year period, glamorous (both born into money) and brave. The last characteristic warrants a sentence all its own. In a forgotten niche of World War 1 they volunteered to the cause of Serbia (also interesting because a lot of British lesbians enlisted as men in the Serbian army) and died when their ship was torpedoed by a U-boat in 1917.

Aylmer Vance was their attempt to cash in on the short-lived psychic detective fad of the pre-war period, kicked off by Hodgson's Carnacki and Blackwood's Dr John Silence. The stories appeared in a weekly story magazine and there are only eight of them. Do not be fooled in this respect. No amount of re-titling can increase the number and "Alymer Vance and the Vampire" is one of them.

The stories are narrated by Vance's amanuensis Dexter, a barrister. Unlike Dr Watson, Dexter has a gift which makes him useful to Vance. He is clairvoyant. Vance is posh, with a country manor and a Mayfair flat. He is a bachelor though, cunningly, this seems to be because he is in love with a Georgian ghost. There is also a rather clever continuity device. Vance and Dexter get to know one another on a fishing holiday, and only after Dexter has demonstrated his clairvoyance does Vance ask him to move in with him and become his investigative assistant. Where Carnacki devotes himself to debunking sham ghosts and Silence is preoccupied with natural forces, Vance favours the historical. When not busy ghost-seeing he travels the world visiting archaeological digs. Thus the first story, 'The Invader', is about a Celtic warrior princess. 'The Stranger' is, quite frankly, a god. The best Carnacki stories are the ones in which the ghost is genuine, whereas with Vance it's the other way round. 'The Indissoluble Bond' is an a awful title but it is a cracking story featuring a burst of Chopin's Funeral March at a wedding.

Only 8 stories means that the collection only lasts 120 pages, which isn't enough. On the other hand, they are all high quality and brilliantly written.

The Complete John Silence Stories - Algernon Blackwood

Blackwood was nudging forty when he made his name with the 1908 short story collection John Silence - Physician Extraordinary. He lived for another forty-three years, became a voice on radio and a skeletal face on early TV, but the first decade of the Twentieth Century was his most productive.

The 'extraordinary' thing about John Silence is that he is a psychic doctor. The tendency has been to class him as a psychic detective like Hodgson's Carnacki (interestingly commissioned by their mutual publisher when it became obvious no more Silence material would be forthcoming) but that is not the case. In some of these stories Silence is little more than a bit-part player, brought on at the end to cure the occult affliction. He is really a therapist, showing victims how to cure themselves, or a consultant brought in to take drastic action. To solve a mystery as a detective is to discover the truth; John Silence, adept in the occult arts and practices, already knows the answer.

The original five stories from Physician Extraordinary are all here in the original order, plus "A Victim of Higher Space" which may have been written alongside the others but which wasn't published until Day and Night Stories in 1917. One thing should be stressed, these are not short stories. They are all around 40 pages save for 'The Camp of the Dog' which is nearly 60. This is important because the long form allows Blackwood to build his horror in layers. Nothing in itself is especially shocking but the cumulative mass really gets into the reader's psyche.

Two of the stories particularly enthralled me, 'Ancient Sorceries' and 'Secret Worship'. Silence is the protagonist in neither; he is just someone who the protagonist confides in. This is good because Silence is a bit of a superhero - hugely wealthy and impossibly learned. He can never be in much jeopardy, so to hook the reader someone else has to be. In 'Ancient Sorceries' it is 'little Vezin ... a timid, gentle, sensitive soul' who finds himself marooned in a rural French town where the locals celebrate the titular sorceries and transform themselves into cats. In 'Secret Worship' it is Harris, a silk merchant,  who decides to visit the school he hated as a boy. The school is in southern Germany, run by monks. Harris is made welcome, which turns out to be a very bad thing for poor Harris.

To us, the idea of Victorian tradesmen being educated in Germany seems odd, but it is Blackwood's personal story. He was a perpetual traveller from childhood and is perhaps best known today for tales like 'The Wendigo' which brought Gothic horror to the vast open spaces of Canada, where Blackwood spent much of his twenties. Here, Canada is the setting for 'The Camp of the Dog'. Blackwood was also a member of the Golden Dawn, with Yeats and Mathers, Crowley and Arthur Machen, hence his taste for ancient ritual and, indeed, devil worship. Given the extraordinary nature of the author's life - the first half of it, anyway - S T Joshi's introduction to the collection is essential.

The book is a curiosity, but it is essential for anyone interested in that singular period between roughly 1890 and 1914 when occultism and ritual magic were actually fashionable.

The House on the Borderland - William Hope Hodgson

Mr Hodgson is perhaps second only to Algernon Blackwood in his serious treatment of unreality.  Few can equal him in adumbrating the nearness of nameless forces and monstrous besieging entities through casual hints and insignificant details, or in conveying feelings of the spectral and the abnormal in connexion with regions or buildings

Thus said H P Lovecraft in his rolling survey of the form, "Supernatural Horror in Literature", written between 1925 and 1934.

Well the object here is very much the building, and what happens there is abnormal to the ultimate degree.  Those who know Hodgson only for the Carnacki stories or his innumerable tales of the Sargasso, are missing out.  Borderland prefigures his final novel, The Night Land, which even Lovecraft and Clark Ashton Smith felt 'went a bit too far'.  It might have been written in 1907 (see 'the editor's' introduction) but in many ways it could easily have come from the acid-ridden 1960s.

It starts traditionally enough.  Two Victorian chaps take a holiday in the far West of Ireland.  There they stumble upon the ruined, abandoned house, perched precariously on an unstable rock platform over a huge bottomless abyss.  In the rubble inside the house they find a damaged manuscript written by the last owner, a nameless recluse.  We do not know when the manuscript was written or when the house was abandoned, and very soon the issue of time becomes irrelevant.

The recluse describes how he was sitting in his study late one night when he felt himself being borne up and away by invisible forces, into space and out of the solar system.  In another part of the galaxy he visits a planet where he finds a massive replica of his house hewn out of green stone, standing on the border of the Silence.  He wakes back in his study and finds that nothing has changed.  Or has it?

Part of his garden is carried away in a landslip.  The pit begins to form.  Creatures emerge and attack the house, which the recluse now realises stands on the border between dimensions.

A good third of the book is taken up with a second out-of-body experience in which he seems to live forever, so long that he sees and survives the death of the sun itself.  He seems to wake, but---

Unique for its day and very much a precursor of modern visionary sci fi, this book essentially defines the term 'fantastic fiction'.  A must-read for any student of the genre.

And what, for the record, did Lovecraft think of The House on the Borderland?  Why, this---

The House on the Borderland (1908) - perhaps the greatest of all Mr Hodgson's works - tells of a lonely and evilly regarded house in Ireland which forms the focus for hideous other-world forces and sustains a siege by blasphemous hybrid anomalies from a hidden abyss below.  The wanderings of the narrator's spirit through limitless light-years of cosmic space and kalpas of eternity, and its witnessing of the solar system's final destruction, constitute something almost unique in standard literature.  And everywhere there is manifest the author's power to suggest vague, ambushed horrors in natural scenery.  But for a few touches of commonplace sentimentality this book would be a classic of the first water.

I'd quibble with the last sentence - Lovecraft, understandably, had no knowledge of Hodgson's love life, which I see mirrored in the recluse's reunion with his lost love in the second vision - but otherwise, I think he pretty much covers all the bases.  And I'd forgive him almost anything in return for the word kalpas, albeit Lovecraft borrows it from Hodgson's book.