David Longhorn (editor)
Supernatural Tales
I've been thoroughly enjoying these quarterly magazines from the Supernatural Tales blog. They give me a semi regular fix of a Mark Valentine story and have introduced me to a couple of other interesting writers.
I have to say though I was less enamoured of this issue than I usually am. Mark is here and his 'The Forwarding Agent' is another delicately twisted exploration of odd hobbies and fractured reality but the other stories just didn't really do all that much for me.
C.M. Muller's 'Slattergreen' was an initially intriguing tale of loss and transformation that came to a far too sudden and jarring end that left me wondering what the point was. A feeling magnified tenfold in Jeremy Schlieve's 'Children's Castles'.
'Silver' by Helen Grant was a nicely written werewolf tale that seemed to have been inspired by the author's discovery of an interesting piece of trivia regarding glass-making rather than by the story itself and so I came out of it thinking more about the factoid and the construction of the story than the story itself.
With the exception of a couple of reviews by the editor the book closes with Chloe N Clark's 'Leopard Seals' a really intriguing story wrapped in some padding about a dream. The central idea I thought really promising but the dream stuff just seemed like filler.
A slightly frustrating read this time out but not entirely a bad one although I really could have done without the one about the castle.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much appreciate a donation towards keeping the blog going - paypal.me/wyrdbritain
Showing posts with label horror. Show all posts
Showing posts with label horror. Show all posts
Tuesday, 6 November 2018
Sunday, 15 April 2018
The Thirteenth Reunion
Hammer House of Horror was an anthology series created by the titular studio and ITC Entertainment (home of shows such as The Prisoner, Jason King and The Saint as well as the various Gerry Anderson programmes) that was broadcast in 1980. Somewhat appropriately there were 13 episodes made each with a different writer and cast exploring the various plot favourites of the Hammer Studios such as satanism, murder, witchcraft and voodoo but stripped of the gothic trappings that characterised the movies which makes it perhaps more redolent of Amicus Productions.
'The Thirteenth Reunion' was the second episode on the series and was written by Jeremy Burnham (co-writer of the amazing 'Children of the Stones') and directed by Peter Sasdy (director of Nigel Kneale's brilliant 'The Stone Tape' and various Hammer movies including 'Countess Dracula'). It tells the story of a reporter's investigation of a health farm and of the secret society that lurks behind it's facade.
The episode isn't entirely successful as it never quite seems to decide whether or not it wants to be scary or funny and winds up not really being either. It does have it's moments though along with some really good casting with Warren Clarke providing what's possibly the best scene of the episode and Doctor Who regular Kevin Stoney is an imposing presence as the doctor in charge. The main problem is lead actress Julia Foster who strives valiantly but seems like she would be far more at home in a sitcom (which is in no way meant to be an insult) and certainly doesn't conform to the body type they keep branding her as and which they've hidden under some truly hideous costume choices. The end result is certainly not one of the best remembered episodes of the series (I'm sure we'll get to them in due time) but with a pedigree like the one that Burnham and Sasdy bring it was an irresistible choice for sharing here and the big reveal when it comes is fun.
Buy it here - Hammer House Of Horror - Complete Collection [DVD] [1980]
- or watch it below.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
'The Thirteenth Reunion' was the second episode on the series and was written by Jeremy Burnham (co-writer of the amazing 'Children of the Stones') and directed by Peter Sasdy (director of Nigel Kneale's brilliant 'The Stone Tape' and various Hammer movies including 'Countess Dracula'). It tells the story of a reporter's investigation of a health farm and of the secret society that lurks behind it's facade.
Buy it here - Hammer House Of Horror - Complete Collection [DVD] [1980]
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Sunday, 25 February 2018
Death Line (aka Raw Meat)
Known - in the US - as Raw Meat this is a 1972 movie made by AIP and starring the brilliant Donald Pleasance as the cynical and tea obsessed Inspector Calhoun and the always watchable Norman Rossington as Detective Sergeant Rogers who are investigating the disappearance of a politician (James Cossins) from Russell Square tube station. The pair are aided in their search by two students, Patricia (Sharon Gurney) and Alex (David Ladd), who were the last people to see him alive. What they find are the two last surviving descendants of a colony of Victorian railway workers who had been abandoned in the tunnels after a cave in and had resorted to cannibalism.
As well as being an often pretty gory cannibalistic horror of the type that would become increasingly popular with horror directors as the decade wore on - The Texas Chainsaw Massacre, The Hills Have Eyes - Death Line also has at it's core an exploration of UK class and social structures with various tiers of British society coming into conflict; from Christopher Lee's cameo as threatening upper class MI5 agent, Stratton-Villiers, through the new, young, bohemian, middle class students, to the working class coppers and the under class of 'The Man' and 'The Woman' literally feeding on those above them.
Please don't start thinking of this as a po-faced piece of social drama it is a bitingly visceral and often very funny movie with Pleasance and Rossington in fine form and with Hugh Armstrong giving an astonishing performance as 'The Man' that instills weight and pathos on a character that could have been horrendously one dimensional in the wrong hands.
Death Line is a neglected and very much overlooked gem with some notable admirers, Guillermo del Toro and Edgar Wright amongst them, that deserves to be recognised as, if perhaps not a classic of the genre then certainly as an important (and hugely enjoyable) contribution and as a signifier of the direction horror cinema was going to head over the next decade or so.
As well as being an often pretty gory cannibalistic horror of the type that would become increasingly popular with horror directors as the decade wore on - The Texas Chainsaw Massacre, The Hills Have Eyes - Death Line also has at it's core an exploration of UK class and social structures with various tiers of British society coming into conflict; from Christopher Lee's cameo as threatening upper class MI5 agent, Stratton-Villiers, through the new, young, bohemian, middle class students, to the working class coppers and the under class of 'The Man' and 'The Woman' literally feeding on those above them.
Please don't start thinking of this as a po-faced piece of social drama it is a bitingly visceral and often very funny movie with Pleasance and Rossington in fine form and with Hugh Armstrong giving an astonishing performance as 'The Man' that instills weight and pathos on a character that could have been horrendously one dimensional in the wrong hands.
Death Line is a neglected and very much overlooked gem with some notable admirers, Guillermo del Toro and Edgar Wright amongst them, that deserves to be recognised as, if perhaps not a classic of the genre then certainly as an important (and hugely enjoyable) contribution and as a signifier of the direction horror cinema was going to head over the next decade or so.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
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Sunday, 18 February 2018
Asylum
Made (and released) in 1972 'Asylum' is perhaps one of the least celebrated of Amicus Productions' portmanteau movies and undeservedly so. It's framing story tells of the arrival of Dr. Martin (Robert Powell) at the titular establishment where he is challenged by Patrick Magee's Dr. Lionel Rutherford to interview the inmates and identify the hospital's previous head who has been committed there following a breakdown.
The frame and the four tales that follow are all written by Psycho author Robert Bloch and whilst eschewing the more gothic trappings of the Hammer movies still drink from the same well with stories concerning voodoo, soul transference and magic.
Over the course of the movie we are treated to performances from a host of Wyrd Britain film legends. As well as the already mentioned Jesus of Nazareth we also have Professor Van Helsing, Catweazle, Willow MacGregor, Professor Victor Bergman and Chief Inspector Charles Dreyfus alongside a host of other great actors that I wasn't able to think of an easily identifiable role for such as Charlotte Rampling and Sylvia Syms.
Director Roy Ward Baker, who had previously directed 'Quatermass and the Pit' and 'The Vampire Lovers' (UK / US) for Hammer and various episodes of ITC spy-fi series like 'The Saint' & 'The Avengers' and would go on to direct another Amicus anthology 'The Vault of Horror' (UK / US) , brings a practised eye to the proceedings and the end result is nicely claustrophobic with a rare narrative logic for the telling of the stories and a brutally satisfying ending.
Buy it here - UK / US - or watch it below.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
The frame and the four tales that follow are all written by Psycho author Robert Bloch and whilst eschewing the more gothic trappings of the Hammer movies still drink from the same well with stories concerning voodoo, soul transference and magic.
Over the course of the movie we are treated to performances from a host of Wyrd Britain film legends. As well as the already mentioned Jesus of Nazareth we also have Professor Van Helsing, Catweazle, Willow MacGregor, Professor Victor Bergman and Chief Inspector Charles Dreyfus alongside a host of other great actors that I wasn't able to think of an easily identifiable role for such as Charlotte Rampling and Sylvia Syms.
Director Roy Ward Baker, who had previously directed 'Quatermass and the Pit' and 'The Vampire Lovers' (UK / US) for Hammer and various episodes of ITC spy-fi series like 'The Saint' & 'The Avengers' and would go on to direct another Amicus anthology 'The Vault of Horror' (UK / US) , brings a practised eye to the proceedings and the end result is nicely claustrophobic with a rare narrative logic for the telling of the stories and a brutally satisfying ending.
Buy it here - UK / US - or watch it below.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Thursday, 25 January 2018
The Mammoth Book of Best New Horror 24
Stephen Jones (ed)
Robinson
For nearly twenty-five years The Mammoth Book of Best New Horror has been the world's leading annual anthology dedicated solely to showcasing the best in contemporary horror fiction. Comprising the most outstanding new short fiction by both contemporary masters of horror and exciting newcomers, this multiple award-winning series also offers an overview of the year in horror, a comprehensive necrology of recent obituaries, and an indispensable directory of contact details for dedicated horror fans and writers.
The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction.
I don't often do modern anthologies - for no other reasons really than I don't find them very often and I have more than enough old ones here to keep me going - but I came across this one recently and it caught my eye due to the presence of Mark Valentine and Reggie Oliver, the first being a writer I like very much and the second being one I've wanted to check out for a while now.
The collection is bookended by two long reviews of the year (2012) with the first being a what's happened and the second a who's died. Neither of these interested me much so I skipped them in their entirety. Of the stories, of which there are 22, they are generally pretty sound, which you should hope from the title of the anthology. There are some big names included here, Neil Gaiman provides a poem which didn't do much for me but I'm generally not much of a poetry buff, Ramsey Campbell provides a great fun, witchy bingo story full of cackling old women and Joe R. Lansdale has a fairly tasteless and unpleasant zombie tale.
Of the others there were a few standouts, Mark Valentine's 'The Fall of the King of Babylon' is a dark fantasy with interesting and unexpected tinges of Mervyn Peake and of Robert E. Howard's Solomon Kane stories, Steve Rasnic Tem's 'Waiting at the Crossroads Motel' had me singing a theme tune to myself (if you're a Brit of a certain age you'll know the one - if not) but offered up a satisfying piece of Loveceraftian mischief whilst Glen Hirshberg's 'His Only Audience' was an interestingly open ended slice of devilish whimsy. The rest were all readable to varying degrees with none standing out as particular stinkers and provided a suitable distraction as I navigated new year with a stinking cold and has left me quite curious about the other year's collections.
Buy it here - The Mammoth Book of Best New Horror 24 (Mammoth Books)
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Robinson
For nearly twenty-five years The Mammoth Book of Best New Horror has been the world's leading annual anthology dedicated solely to showcasing the best in contemporary horror fiction. Comprising the most outstanding new short fiction by both contemporary masters of horror and exciting newcomers, this multiple award-winning series also offers an overview of the year in horror, a comprehensive necrology of recent obituaries, and an indispensable directory of contact details for dedicated horror fans and writers.
The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction.
I don't often do modern anthologies - for no other reasons really than I don't find them very often and I have more than enough old ones here to keep me going - but I came across this one recently and it caught my eye due to the presence of Mark Valentine and Reggie Oliver, the first being a writer I like very much and the second being one I've wanted to check out for a while now.
The collection is bookended by two long reviews of the year (2012) with the first being a what's happened and the second a who's died. Neither of these interested me much so I skipped them in their entirety. Of the stories, of which there are 22, they are generally pretty sound, which you should hope from the title of the anthology. There are some big names included here, Neil Gaiman provides a poem which didn't do much for me but I'm generally not much of a poetry buff, Ramsey Campbell provides a great fun, witchy bingo story full of cackling old women and Joe R. Lansdale has a fairly tasteless and unpleasant zombie tale.
Of the others there were a few standouts, Mark Valentine's 'The Fall of the King of Babylon' is a dark fantasy with interesting and unexpected tinges of Mervyn Peake and of Robert E. Howard's Solomon Kane stories, Steve Rasnic Tem's 'Waiting at the Crossroads Motel' had me singing a theme tune to myself (if you're a Brit of a certain age you'll know the one - if not) but offered up a satisfying piece of Loveceraftian mischief whilst Glen Hirshberg's 'His Only Audience' was an interestingly open ended slice of devilish whimsy. The rest were all readable to varying degrees with none standing out as particular stinkers and provided a suitable distraction as I navigated new year with a stinking cold and has left me quite curious about the other year's collections.
Buy it here - The Mammoth Book of Best New Horror 24 (Mammoth Books)
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Saturday, 6 January 2018
Between the Minute and the Hour
Herbert Jenkins
I've been stumbling across various Burrage shorts for the last few years - mostly 'Playmates' and 'Smee' but others too - and invested in a copy of his occult detective stories 'The Occult Files of Francis Chard' and I've pretty much loved them all. This 1960s collection of some of his ghostly tales has been sitting around on eBay for a while now beckoning and flaunting it's unearthly wiles and I was finally pushed beyond temptation when they dropped the price a few quid.
The big pull for me here was the presence of 'Playmates' a story I never get tired of re-reading and which makes me smile everytime but it turned out that the goodies contained within were many.
The book opens strongly with a fun little oddity from which the book draws it's name that sees a shop keeper receive some disproportionate retribution from a fairly uppity gypsy beggar woman before everything gets very dark indeed for a recuperating chartered accountant in the shadow of 'The Hawthorne Tree'.
'Playmates' is next with it's story of a bookish old man and his neglected ward finding their own lives amongst those who lost theirs. 'The Affair at Paddock Cross' is a rather silly follow up tale of circular history or possibly just a fever dream and then 'The Waxwork' which always struck me as a competently written but ultimately daft story of an overactive imagination.
'The Ivory Gods', 'The Green Scarf' and 'The Captain's Watch' all tell stories of items well hidden and the ghosts attached to them. Of the three it's the second that is the more powerful with it's air of invading, relentless terror. The first is an amusing dalliance and the last a fairly light tale that borrows a key aspect of it's plot from the Robert Hichens classic 'How Love Came to Professor Guildea'.
The much anthologised 'Smee' and it's ghostly party always reminds me of the 'Christmas Party' segment of 'Dead of Night' a film I've loved since childhood and so can't really read it that other one echoing in my head.
Trees with unorthodox root nourishment make a second appearance in 'The Oak Saplings' a vividly written but essentially obvious tale of ghostly retribution which gives way to a far more powerfully realised tale of the same in 'One Who Saw'.
Burrage once again goes for the heart with 'The Garden in Glenister Square'. It's a story of a life ending and a love realised that tells of a good man refusing to give way to hate even in the face of betrayal and loss and it's quite lovely.
'The Gambler's Room' is an odd take on the idea of possession - by a habit rather than a spirit - that for me never quite took off perhaps because the injured party who we meet at it's beginning seems, well, happy with his circumstances. The book ends with a fairly traditional haunted house story in 'Browdean Farm' which does give a little twist to the form at it's end.
As I said earlier, even tempted as I was I took sometime in deciding to grab this book. From what I'd read before I kind of knew it was going to be readable at the very least with the potential of being very good indeed and in the end it proved to be somewhere in the middle. Burrage was a writer with a strong, personable and enjoyable style and his ideas could be poignant and disturbing. His tales are straight forwardly told but often manage to raise a chill or two.
I am, at the final reckoning, very glad I invested in this. I bought the book specifically to have a nice old hardback copy of 'Playmates' but in the end got so much more.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Sunday, 10 December 2017
The Omen
Although a predominantly American made film the Wyrd Britain credentials of The Omen are impeccable with it boasting a mostly UK setting, a cast consisting of some of Britain's finest character actors and a story with the legacy of the Hammer and Amicus studios right at it's core.
Originally released in the UK, on the 6th day of the 6th month in nineteen seventy 6 which almost manages to be spooky whilst simultaneously failing spectacularly, 'The Omen' went on to be one of the biggest grossing films of the year spawning several sequels of decreasing merit and a remake.
The story tells of the birth and childhood of the Antichrist, Damien Thorn, the 'son' of the US ambassador to the UK (Gregory Peck) and his wife (Lee Remick) and the various incidents and accidents that plague them.
Directed by Richard Donner (who would go on to make Superman two years later) and with a timeless, Academy Award winning score by Jerry Goldsmith (I'm sure most everyone reading this can sing at least a 'do-be, do-be-do' version of his 'Ave Satani' piece) the movie also features a stunning ensemble of actors including David Warner as doomed photographer Keith Jennings, Patrick Troughton as doomed priest Father Brennan, Leo McKern as the not quite doomed yet but soon archaeologist Carl Bugenhagen, Holly (daughter of Jack) Palance as Damian's doomed nanny and Billie Whitelaw as her evil - and doomed - replacement.
I suspect in many ways 'The Omen' was intended to ride the coat-tails of 'The Exorcist' which, following it's release at the very end of 1973, had gone on to global success and notoriety but the end result is very much a film which has deservedly become a horror classic in it's own right.
Buy it here - The Omen [DVD] [1976]
- or watch it below.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Originally released in the UK, on the 6th day of the 6th month in nineteen seventy 6 which almost manages to be spooky whilst simultaneously failing spectacularly, 'The Omen' went on to be one of the biggest grossing films of the year spawning several sequels of decreasing merit and a remake.
The story tells of the birth and childhood of the Antichrist, Damien Thorn, the 'son' of the US ambassador to the UK (Gregory Peck) and his wife (Lee Remick) and the various incidents and accidents that plague them.
Directed by Richard Donner (who would go on to make Superman two years later) and with a timeless, Academy Award winning score by Jerry Goldsmith (I'm sure most everyone reading this can sing at least a 'do-be, do-be-do' version of his 'Ave Satani' piece) the movie also features a stunning ensemble of actors including David Warner as doomed photographer Keith Jennings, Patrick Troughton as doomed priest Father Brennan, Leo McKern as the not quite doomed yet but soon archaeologist Carl Bugenhagen, Holly (daughter of Jack) Palance as Damian's doomed nanny and Billie Whitelaw as her evil - and doomed - replacement.
I suspect in many ways 'The Omen' was intended to ride the coat-tails of 'The Exorcist' which, following it's release at the very end of 1973, had gone on to global success and notoriety but the end result is very much a film which has deservedly become a horror classic in it's own right.
Buy it here - The Omen [DVD] [1976]
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Tuesday, 26 September 2017
Fellside
M.R. Carey
Orbit
Fellside is a maximum security prison on the edge of the Yorkshire Moors. It's not the kind of place you'd want to end up. But it's where Jess Moulson could be spending the rest of her life.
It's a place where even the walls whisper.
And one voice belongs to a little boy with a message for Jess.
Will she listen?
Over the years I've read quite a lot of Carey's writing. I liked his Lucifer series and his run on Hellblazer was fun and I worked my way through a couple of books of Unwritten before lack of funds put a stop to my graphic novel buying. Of his novels I think I've read them all; the Felix Castor books were enjoyable but a little too Constantine and 'The Girl With All The Gifts' was a worthy successor to the apocalyptic proclivities of the two Johns (Wyndham and Christopher).
This time out Carey has condemned us all to prison, a women's prison on the Yorkshire moors where newly convicted child killer, Jess Moulson, has started to see and hear the one person who absolutely cannot be there, the little boy she accidentally burned to death whilst in a heroin stupor.
'Fellside' is a dark and unforgiving book that sometimes feels just a little too soap opera for it's own good. The prisoner hierarchy has a whiff of a certain Australian prison show about it and the less 'conventional' aspects of what's going on with Jess aren't explored anywhere near deeply enough for my liking.
When it's on game though it's an engaging read that uses a pretty intense premise to explore guilt and redemption without leaving you too emotionally drained.
Buy it here - Fellside
Orbit
Fellside is a maximum security prison on the edge of the Yorkshire Moors. It's not the kind of place you'd want to end up. But it's where Jess Moulson could be spending the rest of her life.
It's a place where even the walls whisper.
And one voice belongs to a little boy with a message for Jess.
Will she listen?
Over the years I've read quite a lot of Carey's writing. I liked his Lucifer series and his run on Hellblazer was fun and I worked my way through a couple of books of Unwritten before lack of funds put a stop to my graphic novel buying. Of his novels I think I've read them all; the Felix Castor books were enjoyable but a little too Constantine and 'The Girl With All The Gifts' was a worthy successor to the apocalyptic proclivities of the two Johns (Wyndham and Christopher).
This time out Carey has condemned us all to prison, a women's prison on the Yorkshire moors where newly convicted child killer, Jess Moulson, has started to see and hear the one person who absolutely cannot be there, the little boy she accidentally burned to death whilst in a heroin stupor.
'Fellside' is a dark and unforgiving book that sometimes feels just a little too soap opera for it's own good. The prisoner hierarchy has a whiff of a certain Australian prison show about it and the less 'conventional' aspects of what's going on with Jess aren't explored anywhere near deeply enough for my liking.
When it's on game though it's an engaging read that uses a pretty intense premise to explore guilt and redemption without leaving you too emotionally drained.
Buy it here - Fellside
Monday, 18 September 2017
The Cold Embrace
Alex Hamilton (ed)
Corgi Books
There are two fields of the arts where I think women have truly overcome the belittling misogyny that would devalue their contributions, have made their presence felt and stand shoulder to shoulder with their male contemporaries. Happily for me they're two fields I like very much indeed; experimental music - oh the glory of Delia Derbyshire, Daphne Oram, Pauline Oliveros, Else Marie Pade to name just the first four to come to mind - and as tellers of stories of the macabre and the supernatural. Why these two in particular? I don't know. Perhaps it's just my taste bias spotting immensely talented women in the fields to which I'm most drawn, perhaps it's a willingness by fans of these fields to accept diversity, perhaps other fields have a more ingrained misogyny, perhaps all of these, perhaps none.
The reason I bring this up is that this here anthology is staffed almost entirely (Editor Alex is sole exception) by women and there are some of the greats here too, Agatha Christie, Elizabeth Bowen & Edith Nesbit amongst them. Storywise though there is one tale here that stands head and shoulders above the others, Shirley Jackson's 'The Lottery' a classic piece of witty and terrifying writing. That's not to say that others fall far short it's just that it really is that good.
Of the others M.E. Braddon's story - from which this book takes it's name - is a regular in these anthologies and for good reason and Sheena MacKay provides the delightfully ghastly 'Open End' as a grieving widow finds an outlet for her emotions. Elizabeth Bowen's 'The Demon Lover' is another staple with a story of an unavoidable and terrifying fate whereas Agatha Christie's 'The Seance' allows a bereaved mother one last opportunity to see her child.
The book takes a dip with Marie de France's tediously folkloric 'The Werewolf', Margaret Irwin's idiotic 'The Country Gentleman' and Mary Coleridge's 'The King is Dead' before we're back on familiar territory with E. Nesbit's 'John Charrington's Wedding' which for me isn't one of the lady's best but is certainly both readable and a favourite of anthologists.
Hortense Calisher is a new name to me but her body horror tale 'Heartburn' is an enjoyably frivolous beastie worthy of further reads. Scheherezade's 'The Cenotaph' on the other hand is a Robert E. Howard story in most respects full of deceitful women and ancient magic.
I first came across Elizabeth Jane Howard's 'Three Miles Up' a few years ago and it became one of those stories that stick fast in your head. The tale of two canal riding holidaymakers and the mysterious lady that joins them is a gently unsettling and ultimately deeply eerie read.
Unfortunately the high point delivered by Howard's tale is somewhat short lived by Margueritte de Navarre's 'The Confessor' a tedious piece of folkish drivel and Janet Frame's teeny tiny tale 'The Press Gang'.
Flannery O'Connor's story of sickness, homesickness and family ties tells of a rural man uprooted by family to the city and wishing to return home to die, It's a fabulously grimy and uncompromising tale which would sit proudly in a collection alongside folk such as Harry Crews or Barry Gifford but here it sticks out like a sore thumb.
The books ends on a bit of a low as Elizabeth Gaskell's 'The Doom of the Griffiths' has too much of the Victorian melodrama about it and Elizabeth Taylor's interestingly creepy but ultimately disappointing story felt too much in debt to 'The Turning of the Screw'.
So what we have is the very definition of a mixed bag; one classic tale, a personal favourite, a few solid, reliable old favourites and more than a few page fillers but that's a pattern I can live with for as the good ones really do shine out and that one classic is always worth the price of admission.
Corgi Books
There are two fields of the arts where I think women have truly overcome the belittling misogyny that would devalue their contributions, have made their presence felt and stand shoulder to shoulder with their male contemporaries. Happily for me they're two fields I like very much indeed; experimental music - oh the glory of Delia Derbyshire, Daphne Oram, Pauline Oliveros, Else Marie Pade to name just the first four to come to mind - and as tellers of stories of the macabre and the supernatural. Why these two in particular? I don't know. Perhaps it's just my taste bias spotting immensely talented women in the fields to which I'm most drawn, perhaps it's a willingness by fans of these fields to accept diversity, perhaps other fields have a more ingrained misogyny, perhaps all of these, perhaps none.
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| Shirley Jackson |
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| E. Nesbit |
The book takes a dip with Marie de France's tediously folkloric 'The Werewolf', Margaret Irwin's idiotic 'The Country Gentleman' and Mary Coleridge's 'The King is Dead' before we're back on familiar territory with E. Nesbit's 'John Charrington's Wedding' which for me isn't one of the lady's best but is certainly both readable and a favourite of anthologists.
Hortense Calisher is a new name to me but her body horror tale 'Heartburn' is an enjoyably frivolous beastie worthy of further reads. Scheherezade's 'The Cenotaph' on the other hand is a Robert E. Howard story in most respects full of deceitful women and ancient magic.
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| Elizabeth Jane Howard |
Unfortunately the high point delivered by Howard's tale is somewhat short lived by Margueritte de Navarre's 'The Confessor' a tedious piece of folkish drivel and Janet Frame's teeny tiny tale 'The Press Gang'.
Flannery O'Connor's story of sickness, homesickness and family ties tells of a rural man uprooted by family to the city and wishing to return home to die, It's a fabulously grimy and uncompromising tale which would sit proudly in a collection alongside folk such as Harry Crews or Barry Gifford but here it sticks out like a sore thumb.
The books ends on a bit of a low as Elizabeth Gaskell's 'The Doom of the Griffiths' has too much of the Victorian melodrama about it and Elizabeth Taylor's interestingly creepy but ultimately disappointing story felt too much in debt to 'The Turning of the Screw'.
So what we have is the very definition of a mixed bag; one classic tale, a personal favourite, a few solid, reliable old favourites and more than a few page fillers but that's a pattern I can live with for as the good ones really do shine out and that one classic is always worth the price of admission.
Friday, 9 December 2016
Gilray's Ghost
John Norman
Walker Books
A tense and gripping tale of horror and desire. In a pyramid-shaped tomb, in the forest, lie the last remains of Doctor Septimus Carr. An evil necromancer, he believed the bodily fluids of virgins could rejuvenate him; his grisly experiments claiming the life of a servant girl. Now, two centuries later, another girl is in mortal danger. Enter Gilray. Short and chubby, with a turn of speech as bizarre as his attire, Gilray has flown back in time to prevent the wickedness he fears is looming. But it's no simple task. For a start, who is the girl? Is it Linda Blake, Pauline Withers, Cassandra Ashe? Their teacher, flirtatious, poetry-loving Bob Wheatley, is the man whose help Gilray needs most, but he is preoccupied with passionate affairs of his own. At the same time, unknown to Gilray, the sinister Rosa and Robin Underleaf are planning to resurrect their "Master". The key, it seems, is the malign doctor's lost book of spells, if only Gilray can find and interpret it in time. The book explores a number of very different male-female relationships as it moves towards its chilling climax.
This is the third book by John Gordon that I've read over the last year or so. The first was the one about the woman who was scared of a stick, the second was about some flying kids and a chalk giant and this one is about a time travelling bicycle repairman baker who traps people inside a walking stick. Traditional plots are not where Mr. Gordon likes to travel.
So, how do I explain that plot? You know what? I'm not going to try. 'Gilray's Ghost' is another intriguing oddity from the good Mr. Gordon but, much like the others, it just doesn't quite hit the mark for me. The daftness of the concept and the distasteful hints at necrophilia and paedophilia alongside his characteristic jumbled dialogue and unlikeable characters make it a bit of a gruelling and ultimately unfulfilling read.
Walker Books
A tense and gripping tale of horror and desire. In a pyramid-shaped tomb, in the forest, lie the last remains of Doctor Septimus Carr. An evil necromancer, he believed the bodily fluids of virgins could rejuvenate him; his grisly experiments claiming the life of a servant girl. Now, two centuries later, another girl is in mortal danger. Enter Gilray. Short and chubby, with a turn of speech as bizarre as his attire, Gilray has flown back in time to prevent the wickedness he fears is looming. But it's no simple task. For a start, who is the girl? Is it Linda Blake, Pauline Withers, Cassandra Ashe? Their teacher, flirtatious, poetry-loving Bob Wheatley, is the man whose help Gilray needs most, but he is preoccupied with passionate affairs of his own. At the same time, unknown to Gilray, the sinister Rosa and Robin Underleaf are planning to resurrect their "Master". The key, it seems, is the malign doctor's lost book of spells, if only Gilray can find and interpret it in time. The book explores a number of very different male-female relationships as it moves towards its chilling climax.
This is the third book by John Gordon that I've read over the last year or so. The first was the one about the woman who was scared of a stick, the second was about some flying kids and a chalk giant and this one is about a time travelling bicycle repairman baker who traps people inside a walking stick. Traditional plots are not where Mr. Gordon likes to travel.
So, how do I explain that plot? You know what? I'm not going to try. 'Gilray's Ghost' is another intriguing oddity from the good Mr. Gordon but, much like the others, it just doesn't quite hit the mark for me. The daftness of the concept and the distasteful hints at necrophilia and paedophilia alongside his characteristic jumbled dialogue and unlikeable characters make it a bit of a gruelling and ultimately unfulfilling read.
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.
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.
Saturday, 26 December 2015
Crooked House
'Crooked House' was a three episode mini series written and co-produced by Mark Gatiss in 2008. The series is an obvious homage to Gatiss' love affair with the Gothic supernatural horrors of writers such as M.R. James and the films of the Hammer and Amicus studios and it could easily have been presented in that most Amicus of formats, the portmanteau, but instead here we have three separate episodes featuring interlinked tales narrated by Gatiss' museum curator.
The tale telling is triggered when new homeowner Ben (Lee Ingleby) unearths a door knocker that he takes to museum curator Gatiss who believes it to be a remnant of the locally infamous, but now demolished, Geap Manor.
The curator tells two tales of the Manor, one from the 18th century and another from the early 20th before the third episode transpires in 'real time' so to speak.
There's a nice period feel to the whole thing and it does come across as a labour of love but it also comes across as a bit, well, cheap looking. The stories though are suitably creepy, particularly the third, and there's a perfectly predicable but also perfectly correct ending to the whole thing.
The tale telling is triggered when new homeowner Ben (Lee Ingleby) unearths a door knocker that he takes to museum curator Gatiss who believes it to be a remnant of the locally infamous, but now demolished, Geap Manor.
The curator tells two tales of the Manor, one from the 18th century and another from the early 20th before the third episode transpires in 'real time' so to speak.
There's a nice period feel to the whole thing and it does come across as a labour of love but it also comes across as a bit, well, cheap looking. The stories though are suitably creepy, particularly the third, and there's a perfectly predicable but also perfectly correct ending to the whole thing.
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Wednesday, 2 December 2015
The Collected Connoisseur
Tartarus Press
Following in the footsteps of M.P. Shiel's exotic savant Prince Zaleski and Arthur Machen's Mr Dyson, Mark Valentine and John Howard's The Connoisseur - aesthetical detective extraordinaire - unravels a cornucopia of arcane mysteries in these twenty-three tantalising tales. Collecting together all the adventures in previous Tartarus volumes In Violet Veils and Masques and Citadels, along with four further tales published elsewhere, this volume provides the lover of esoteric mystery and adventure fiction with the complete Connoisseur casebook.
Venturing from his fire-lit study in an English cathedral city, The Connoisseur encounters, among other phenomena, strange masquerades in country houses; a Scottish island whose Prince may not be named; a poignant relic from the Black Sea region, sought after by a ruthless order; a secret account of the first crossing of an Arctic land and an Art Deco cinema which may retain resonances of its mysterious former occupants. From your own fireside, follow The Connoisseur into the delicate shading between this world and other realms of wonder, tragedy and trepidation.
I've been intending to tackle this book for a while now and the enforced immobility of this summer seemed like the perfect opportunity.
The Connoisseur is an investigator into the arcane, or as the book blurb has it, 'aesthetical detective extraordinaire', who, from his home in an English cathedral city, relates his accounts of his investigations to his chronicler, Valentine; a format that immediately ties this modern work in with classics of the genre such as Hope-Hodgson's 'Carnacki' stories, Algernon Blackwood's 'Dr John Silence' and even the Sherlock Holmes tales.
Where The Connoisseur differs from these others is in the things he investigates and experiences. The supernatural is often nearby but the weird and the inscrutable is aways closer to hand. Folktales, psychometry, summonings and magic of all hues are explored by this most enigmatic of antiquarian sleuths via the mediums of art, literature, music, performance, architecture and more. He relates tales of an other worldly Prince and the family beholden to him, of shattering aeromantic divinations, of art, of memory, of obsession and of love.
These aren't tales of adventure; for the most part they do not seek to excite. Instead they intrigue, they entice and they beguile; they are, simply, magical.
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If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
If you enjoy what we do here on Wyrd Britain and would like to help us continue then we would very much welcome a donation towards keeping the blog going - paypal.me/wyrdbritain
Affiliate links are provided for your convenience and to help mitigate running costs.
Friday, 13 November 2015
Short Story - 'The Body-Snatcher' by Robert Louis Stevenson
Every night in the year, four of us sat in the small parlour of the George at Debenham - the undertaker, and the landlord, and Fettes, and myself. Sometimes there would be more; but blow high, blow low, come rain or snow or frost, we four would be each planted in his own particular armchair. Fettes was an old drunken Scotsman, a man of education obviously, and a man of some property, since he lived in idleness. He had come to Debenham years ago, while still young, and by a mere continuance of living had grown to be an adopted townsman. His blue camlet cloak was a local antiquity, like the church-spire. His place in the parlour at the George, his absence from church, his old, crapulous, disreputable vices, were all things of course in Debenham. He had some vague Radical opinions and some fleeting infidelities, which he would now and again set forth and emphasize with tottering slaps upon the table. He drank rum - five glasses regularly every evening; and for the greater portion of his nightly visit to the George sat, with his glass in his right hand, in a state of melancholy alcoholic saturation. We called him the Doctor, for he was supposed to have some special knowledge of medicine, and had been known upon a pinch, to set a fracture or reduce a dislocation; but, beyond these slight particulars, we had no knowledge of his character and antecedents.
One dark winter night - it had struck nine some time before the landlord joined us - there was a sick man in the George, a great neighbouring proprietor suddenly struck down with apoplexy on his way to Parliament; and the great man's still greater London doctor had been telegraphed to his bedside. It was the first time that such a thing had happened in Debenham, for the railway was but newly open, and we were all proportionately moved by the occurrence.
'He's come,' said the landlord, after he had filled and lighted his pipe.
'He?' said I. 'Who? - not the doctor?'
'Himself,' replied our host.
'What is his name?'
'Dr Macfarlane,' said the landlord.
Fettes was far through his third tumbler, stupidly fuddled, now nodding over, now staring mazily around him; but at the last word he seemed to awaken, and repeated the name 'Macfarlane' twice, quietly enough the first time, but with sudden emotion at the second.
'Yes,' said the landlord, 'that's his name, Doctor Wolfe Macfarlane.'
Fettes became instantly sober: his eyes awoke, his voice became clear, loud, and steady, his language forcible and earnest. We were all startled by the transformation, as if a man had risen from the dead.
'I beg your pardon,' he said, 'I am afraid I have not been paying much attention to your talk. Who is this Wolfe Macfarlane?' And then, when he had heard the landlord out, 'It cannot be, it cannot be,' he added; 'and yet I would like well to see him face to face.'
'Do you know him, Doctor?' asked the undertaker, with a gasp.
'God forbid!' was the reply. 'And yet the name is a strange one; it were too much to fancy two. Tell me, landlord, is he old?'
'Well,' said the host, 'he's not a young man, to be sure, and his hair is white; but he looks younger than you.'
'He is older, though; years older. But,' with a slap upon the table, 'it's the rum you see in my face - rum and sin. This man, perhaps, may have an easy conscience and a good digestion. Conscience! Hear me speak. You would think I was some good, old, decent Christian, would you not? But no, not I; I never canted. Voltaire might have canted if he'd stood in my shoes; but the brains' - with a rattling fillip on his bald head - 'the brains were clear and active, and I saw and made no deductions'.
'If you know this doctor,' I ventured to remark, after a somewhat awful pause, 'I should gather that you do not share the landlord's good opinion.'
Fettes paid no regard to me.
'Yes,' he said, with sudden decision, 'I must see him face to face.'
There was another pause, and then a door was closed rather sharply on the first floor, and a step was heard upon the stair.
'That's the doctor,' cried the landlord. 'Look sharp, and you can catch him.'
It was but two steps from the small parlour to the door of the old George inn; the wide oak staircase landed almost in the street; there was room for a Turkey rug and nothing more between the threshold and the last round of the descent; but this little space was every evening brilliantly lit up, not only by the light upon the stair and the great signal-lamp below the sign, but by the warm radiance of the bar-room window. The George thus brightly advertised itself to passers-by in the cold street. Fettes walked steadily to the spot, and we, who were hanging behind, beheld the two men meet, as one of them had phrased it, face to face. Dr Macfarlane was alert and vigorous. His white hair set off his pale and placid, although energetic, countenance. He was richly dressed in the finest of broadcloth and the whitest of linen, with a great gold watchchain, and studs and spectacles of the same precious material. He wore a broad-folded tie, white and speckled with lilac, and he carried on his arm a comfortable driving-coat of fur. There was no doubt but he became his years, breathing as he did, of wealth and consideration; and it was a surprising contrast to see our parlour sot - bald, dirty, pimpled, and robed in his old camlet cloak - confront him at the bottom of the stairs.
'Macfarlane!' he said somewhat loudly, more like a herald than a friend.
The great doctor pulled up short on the fourth step, as though the familiarity of the address surprised and somewhat shocked his dignity.
'Toddy Macfarlane!' repeated Fettes.
The London man almost staggered. He stared for the swiftest of seconds at the man before him, glanced behind him with a sort of scare, and then in a startled whisper, 'Fettes!' he said, 'you!'
'Ay,' said the other, 'me! Did you think I was dead too? We are not so easy shut of our acquaintance.'
'Hush, hush!' exclaimed the doctor. 'Hush, hush! this meeting is so unexpected - I can see you are unmanned. I hardly knew you, I confess, at first; but I am overjoyed - overjoyed to have this opportunity. For the present it must be how-d'ye-do and goodbye in one, for my fly is waiting, and I must not fail the train; but you shall - let me see - yes - you shall give me your address, and you can count on early news of me. We must do something for you, Fettes. I fear you are out at elbows; but we must see to that for auld lang syne, as once we sang at suppers.'
'Money!' cried Fettes; 'money from you! The money that I had from you is lying where I cast it in the rain.'
Dr Macfarlane had talked himself into some measure of superiority and confidence, but the uncommon energy of this refusal cast him back into his first confusion.
A horrible, ugly look came and went across his almost venerable countenance. 'My dear fellow,' he said, 'be it as you please; my last thought is to offend you. I would intrude on none. I will leave you my address, however----'
'I do not wish it - I do not wish to know the roof that shelters you,' interrupted the other. 'I heard your name; I feared it might be you; I wished to know if after all, there were a God; I know now that there is none. Begone!'
He still stood in the middle of the rug, between the stair and the doorway; and the great London physician, in order to escape, would be forced to step to one side. It was plain that he hesitated before the thought of this humiliation. White as he was, there was a dangerous glitter in his spectacles; but while he still paused uncertain, he became aware that the driver of his fly was peering in from the street at this unusual scene and caught a glimpse at the same time of our little body from the parlour, huddled by the corner of the bar. The presence of so many witnesses decided him at once to flee. He crouched together, brushing on the wainscot, and made a dart like a serpent, striking for the door. But his tribulation was not yet entirely at an end, for even as he was passing Fettes clutched him by the arm and these words came in a whisper, and yet painfully distinct, 'Have you seen it again?'
The great rich London doctor cried out aloud with a sharp, throttling cry; he dashed his questioner across the open space, and, with his hands over his head, fled out of the door like a detected thief. Before it had occurred to one of us to make a movement, the fly was already rattling toward the station. The scene was over like a dream, but the dream had left proofs and traces of its passage. Next day the servant found the find gold spectacles broken on the threshold, and that very night we were all standing breathless by the bar-room window, and Fettes at our side, sober, pale, and resolute in look.
'God protect us, Mr Fettes!' said the landlord, coming first into possession of his customary senses. 'What in the universe is all this? These are strange things you have been saying.'
Fettes turned toward us; he looked us each in succession in the face. 'See if you can hold your tongues,' said he. 'That man Macfarlane is not safe to cross; those that have done so already have repented it too late.'
And then, without so much as finishing his third glass, far less waiting for the other two, he bade us goodbye and went forth, under the lamp of the hotel, into the black night.
We three turned to our places in the parlour, with the big red fire and four clear candles; and as we recapitulated what had passed the first chill of our surprise soon changed into a glow of curiosity. We sat late; it was the latest session I have known in the old George. Each man, before we parted, had his theory that he was bound to prove; and none of us had any nearer business in this world than to track out the past of our condemned companion, and surprise the secret that he shared with the great London doctor. It is no great boast, but I believe I was a better hand at worming out a story than either of my fellows at the George; and perhaps there is now no other man alive who could narrate to you the following foul and unnatural events.
In his young days Fettes studied medicine in the schools of Edinburgh. He had talent of a kind, the talent that picks up swiftly what it hears and readily retails it for its own. He worked little at home; but he was civil, attentive, and intelligent in the presence of his masters. They soon picked him out as a lad who listened closely and remembered well; nay, strange as it seemed to me when I first heard it, he was in those days well favoured, and pleased by his exterior. There was, at that period, a certain extramural teacher of anatomy, whom I shall here designate by the letter K. His name was subsequently too well known. The man who bore it skulked through the streets of Edinburgh in disguise, while the mob that applauded at the execution of Burke called loudly for the blood of his employer. But Mr K---- was then at the top of his vogue; he enjoyed a popularity due partly to his own talent and address, partly to the incapacity of his rival, the university professor. The students, at least, swore by his name, and Fettes believed himself, and was believed by others, to have laid the foundations of success when he had acquired the favour of this meteorically famous man. Mr K---- was a bon vivant as well as an accomplished teacher; he liked a sly allusion no less than a careful preparation. In both capacities Fettes enjoyed and deserved his notice, and by the second year of his attendance he held the half-regular position of second demonstrator or sub-assistant in his class.
In this capacity, the charge of the theatre and lecture-room devolved in particular upon his shoulders. He had to answer for the cleanliness of the premises and the conduct of the other students, and it was a part of his duty to supply, receive, and divide the various subjects. It was with a view to this last - at that time very delicate - affair that he was lodged by Mr K---- in the same wynd, and at last in the same building, with the dissecting-rooms. Here, after a night of turbulent pleasures, his hand still tottering, his sight still misty and confused, he would be called out of bed in the black hours before the winter dawn by the unclean and desperate interlopers who supplied the table. He would open the door to these men, since infamous throughout the land. He would help them with their tragic burthen, pay them their sordid price, and remain alone, when they were gone, with the unfriendly relics of humanity. From such a scene he would return to snatch another hour or two of slumber, to repair the abuses of the night, and refresh himself for the labours of the day.
Few lads could have been more insensible to the impressions of a life thus passed among the ensigns of mortality. His mind was closed against all general considerations. He was incapable of interest in the fate and fortunes of another, the slave of his own desires and low ambitions. Cold, light, and selfish in the last resort, he had that modicum of prudence, miscalled morality, which keeps a man from inconvenient drunkenness or punishable theft. He coveted, besides, a measure of consideration from his masters and his fellow-pupils, and he had no desire to fail conspicuously in the external parts of life. Thus he made it his pleasure to gain some distinction in his studies, and day after day rendered unimpeachable eye-service to his employer, Mr K----. For his day of work he indemnified himself by nights of roaring, blackguardly enjoyment; and when that balance had been struck, the organ that he called his conscience declared itself content.
The supply of subjects was a continual trouble to him as well as to his master. In that large and busy class, the raw material of the anatomists kept perpetually running out; and the business thus rendered necessary was not only unpleasant in itself, but threatened dangerous consequences to all who were concerned. It was the policy of Mr K---- to ask no questions in his dealings with the trade. 'They bring the boy, and we pay the price,' he used to say, dwelling on the alliteration - quid pro quo. And, again, and somewhat profanely, 'Ask no questions,' he would tell his assistants, 'for conscience sake.' There was no understanding that the subjects were provided by the crime of murder. Had that idea been broached to him in words, he would have recoiled in horror; but the lightness of his speech upon so grave a matter was, in itself, an offence against good manners, and a temptation to the men with whom he dealt. Fettes, for instance, had often remarked to himself upon the singular freshness of the bodies. He had been struck again and again by the hang-dog, abominable looks of the ruffians who came to him before the dawn; and, putting things together clearly in his private thoughts, he perhaps attributed a meaning too immoral and too categorical to the unguarded counsels of his master. He understood his duty, in short, to have three branches: to take what was brought to pay the price, and to avert the eye from any evidence of crime.
One November morning this policy of silence was put sharply to the test. He had been awake all night with a racking toothache - pacing his room like a caged beast or throwing himself in fury on his bed - and had fallen at last into that profound, uneasy slumber that so often follows on a night of pain, when he was awakened by the third or fourth angry repetition of the concerted signal. There was a thin, bright moonshine: it was bitter cold, windy, and frosty; the town had not yet awakened, but an indefinable stir already preluded the noise and business of the day. The ghouls had come later than usual, and they seemed more than usually eager to be gone. Fettes, sick with sleep, lighted them upstairs. He heard their grumbling Irish voices through a dream; and as they stripped the sack from their sad merchandise he leaned dozing, with his shoulder propped against the wall; he had to shake himself to find the men their money. As he did so his eyes lighted on the dead face. He started; he took two steps nearer, with the candle raised.
'God Almighty!' he cried. 'That is Jane Galbraith!'
The men answered nothing, but they shuffled nearer the door.
'I know her, I tell you,' he continued. 'She was alive and hearty yesterday. It's impossible she can be dead; it's impossible you should have got this body fairly.'
'Sure, sir, you're mistaken entirely,' said one of the men.
But the other looked Fettes darkly in the eyes, and demanded the money on the spot.
It was impossible to misconceive the threat or to exaggerate the danger. The lad's heart failed him. He stammered some excuses, counted out the sum, and saw his hateful visitors depart. No sooner were they gone than he hastened to confirm his doubts. By a dozen unquestionable marks he identified the girl he had jested with the day before. He saw, with horror, marks upon her body that might well betoken violence. A panic seized him, and he took refuge in his room. There he reflected at length over the discovery that he had made; considered soberly the bearing of Mr K----'s instructions and the danger to himself of interference in so serious a business, and at last, in sore perplexity, determined to wait for the advice of his immediate superior, the class assistant.
This was a young doctor, Wolfe Macfarlane, a high favourite among all the reckless students, clever, dissipated, and unscrupulous to the last degree. He had travelled and studied abroad. His manners were agreeable and a little forward. He was an authority on the stage, skilful on the ice or the links with skate or golf-club; he dressed with nice audacity, and, to put the finishing touch upon his glory, he kept a gig and a strong trotting-horse. With Fettes he was on terms of intimacy; indeed their relative positions called for some community of life; and when subjects were scarce the pair would drive far into the country in Macfarlane's gig, visit and desecrate some lonely graveyard, and return before dawn with their booty to the door of the dissecting-room.
On that particular morning Macfarlane arrived somewhat earlier than his wont. Fettes heard him, and met him on the stairs, told him his story, and showed him the cause of his alarm. Macfarlane examined the marks on her body.
'Yes', he said with a nod, 'it looks fishy.'
'Well, what should I do?' asked Fettes.
'Do?' repeated the other. 'Do you want to do anything? Least said soonest mended, I should say.''
'Someone else might recognize her,' objected Fettes. 'She was as well known as the Castle Rock.'
'We'll hope not,' said Macfarlane, 'and if anybody does - well, you didn't, don't you see, and there's an end. The fact is, this has been going on too long. Stir up the mud, and you'll get K---- into the most unholy trouble; you'll be in a shocking box yourself. So will I, if you come to that. I should like to know how any one of us would look, or what the devil we should have to say for ourselves, in any Christian witness-box. For me, you know there's one thing certain - that, practically speaking, all our subjects have been murdered.'
'Macfarlane!' cried Fettes.
'Come now!' sneered the other. 'As if you hadn't suspected it yourself!'
'Suspecting is one thing----'
'And proof another. Yes, I know; and I'm as sorry as you are this should have come here,' tapping the body with his cane. 'The next best thing for me is not to recognize it; and,' he added coolly, 'I don't. You may, if you please. I don't dictate, but I think a man of the world would do as I do; and I may add, I fancy that is what K---- would look for at our hands. The question is, Why did he choose us two for his assistants? And I answer, because he didn't want old wives.'
This was the tone of all others to affect the mind of a lad like Fettes. He agreed to imitate Macfarlane. The body of the unfortunate girl was duly dissected, and no one remarked or appeared to recognize her.
One afternoon, when his day's work was over, Fettes dropped into a popular tavern and found Macfarlane sitting with a stranger. This was a small man, very pale and dark, with coal-black eyes. The cut of his features gave a promise of intellect and refinement which was but feebly realized in his manners, for he proved, upon a nearer acquaintance, coarse, vulgar, and stupid. He exercised, however, a very remarkable control over Macfarlane; issued orders like the Great Bashaw; became inflamed at the least discussion or delay, and commented rudely on the servility with which he was obeyed. This most offensive person took a fancy to Fettes on the spot, plied him with drinks, and honoured him with unusual confidences on his past career. If a tenth part of what he confessed were true, he was a very loathsome rogue; and the lad's vanity was tickled by the attention of so experienced a man.
'I'm a pretty bad fellow myself,' the stranger remarked, 'but Macfarlane is the boy - Toddy Macfarlane I call him. Toddy, order your friend another glass.' Or it might be, 'Toddy, you jump up and shut the door.' 'Toddy hates me,' he said again. 'Oh, yes, Toddy, you do!'
'Don't you call me that confounded name,' growled Macfarlane.
'Hear him! Did you ever see the lads play knife? He would like to do that all over my body,' remarked the stranger.
'We medicals have a better way than that,' said Fettes. 'When we dislike a dead friend of ours, we dissect him.'
Macfarlane looked up sharply, as though this jest was scarcely to his mind.
The afternoon passed. Gray, for that was the stranger's name, invited Fettes to join them at dinner, ordered a feast so sumptuous that the tavern was thrown in commotion, and when all was done commanded Macfarlane to settle the bill. It was late before they separated; the man Gray was incapably drunk. Macfarlane, sobered by his fury, chewed the cud of the money he had been forced to squander and the slights he had been obliged to swallow. Fettes, with various liquors singing in his head, returned home with devious footsteps and a mind entirely in abeyance. Next day Macfarlane was absent from the class, and Fettes smiled to himself as he imagined him still squiring the intolerable Gray from tavern to tavern. As soon as the hour of liberty had struck he posted from place to place in quest of his last night's companions. He could find them, however, nowhere; so returned early to his rooms, went early to bed, and slept the sleep of the just.
At four in the morning he was awakened by the well-known signal. Descending to the door, he was filled with astonishment to find Macfarlane with his gig, and in the gig one of those long and ghastly packages with which he was so well acquainted.
'What?' he cried. 'Have you been out alone? How did you manage?'
But Macfarlane silenced him roughly, bidding him turn to business. When they had got the body upstairs and laid it on the table, Macfarlane made at first as if he were going away. Then he paused and seemed to hesitate; and then, 'You had better look at the face,' said he, in tones of some constraint. 'You had better,' he repeated, as Fettes only stared at him in wonder.
'But where, and how, and when did you come by it?' cried the other.
'Look at the face,' was the only answer.
Fettes was staggered; strange doubts assailed him. He looked from the young doctor to the body, and then back again. At last, with a start, he did as he was bidden. He had almost expected the sight that met his eyes, and yet the shock was cruel. To see, fixed in the rigidity of death and naked on that coarse layer of sack-cloth, the man whom he had left well-clad and full of meat and sin upon the threshold of a tavern, awoke, even in the thoughtless Fettes, some of the terrors of the conscience. It was a cras tibi which re-echoed in his soul, that two whom he had known should have come to lie upon these icy tables. Yet these were only secondary thoughts. His first concern regarded Wolfe. Unprepared for a challenge so momentous, he knew not how to look his comrade in the face. He durst not meet his eye, and he had neither words nor voice at his command.
It was Macfarlane himself who made the first advance. He came up quietly behind and laid his hand gently but firmly on the other's shoulder.
'Richardson,' said he, 'may have the head.'
Now Richardson was a student who had long been anxious for that portion of the human subject to dissect. There was no answer, and the murderer resumed: 'Talking of business, you must pay me; your accounts, you see, must tally.'
Fettes found a voice, the ghost of his own: 'Pay you!' he cried, 'Pay you for that?'
'Why, yes, of course you must. By all means and on every possible account, you must,' returned the other. 'I dare not give it for nothing, you dare not take it for nothing; it would compromise us both. This is another case like Jane Galbraith's. The more things are wrong the more we must act as if all were right. Where does old K---- keep his money?'
'There,' answered Fettes hoarsely, pointing to a cupboard in the corner.
'Give me the key, then,' said the other, calmly, holding out his hand.
There was an instant's hesitation, and the die was cast. Macfarlane could not suppress a nervous twitch, the infinitesimal mark of an immense relief, as he felt the key between his fingers. He opened the cupboard, brought out pen and ink and a paper-book that stood in one compartment, and separated from the funds in a drawer a sum suitable to the occasion.
'Now, look here,' he said, 'there is the payment made - first proof of your good faith: first step to your security. You have now to clinch it by a second. Enter the payment in your book, and then you for your part may defy the devil.'
The next few seconds were for Fettes an agony of thought; but in balancing his terrors it was the most immediate that triumphed. Any future difficulty seemed almost welcome if he could avoid a present quarrel with Macfarlane. He set down the candle which he had been carrying all the time, and with a steady hand entered the date, the nature, and the amount of the transaction.
'And now,' said Macfarlane, 'it's only fair that you should pocket the lucre. I've had my share already. By-the-by, when a man of the world falls into a bit of luck, has a few shillings extra in his pocket - I'm ashamed to speak of it, but there's a rule of conduct in the case. No treating, no purchase of expensive class-books, no squaring of old debts; borrow, don't lend.'
'Macfarlane,' began Fettes, still somewhat hoarsely, 'I have put my neck in a halter to oblige you.'
'To oblige me?' cried Wolfe. 'Oh, come! You did, as near as I can see the matter, what you downright had to do in self-defence. Suppose I got into trouble, where would you be? This second little matter flows clearly from the first. Mr Gray is the continuation of Miss Galbraith. You can't begin and then stop. If you begin, you must keep on beginning; that's the truth. No rest for the wicked.'
A horrible sense of blackness and the treachery of fate seized hold upon the soul of the unhappy student.
'My God!' he cried, 'but what have I done? and when did I begin? To be made a class assistant - in the name of reason, where's the harm in that? Service wanted the position; Service might have got it. Would he have been where I am now?'
'My dear fellow,' said Macfarlane, 'what a boy you are! What harm has come to you? What harm can come to you if you hold your tongue? Why, man, do you know what this life is? There are two squads of us - the lions and the lambs. If you're a lamb, you'll come to lie upon these tables like Gray or Jane Galbraith; if you're a lion, you'll live and drive a horse like me, like K----, like all the world with any wit or courage. You're staggered at the first. But look at K----! My dear fellow, you're clever, you have pluck. I like you, and K---- likes you. You were born to lead the hunt; and I tell you, on my honour and my experience of life, three days from now you'll laugh at all these scarecrows like a high-school boy at a farce.'
And with that Macfarlane took his departure and drove off up the wynd in his gig to get under cover before daylight. Fettes was thus left alone with his regrets. He saw the miserable peril in which he stood involved. He saw, with inexpressible dismay, that there was no limit to his weakness, and that, from concession to concession, he had fallen from the arbiter of Macfarlane's destiny to his paid and helpless accomplice. He would have given the world to have been a little braver at the time, but it did not occur to him that he might still be brave. The secret of Jane Galbraith and the cursed entry in the day-book closed his mouth.
Hours passed; the class began to arrive; the members of the unhappy Gray were dealt out to one and to another, and received without remark. Richardson was made happy with the head; and before the hour of freedom rang Fettes trembled with exultation to perceive how far they had already gone toward safety.
For two days he continued to watch, with increasing joy, the dreadful process of disguise.
On the third day Macfarlane made his appearance. He had been ill, he said; but he made up for lost time by the energy with which he directed the students. To Richardson in particular he extended the most valuable assistance and advice, and that student, encouraged by the praise of the demonstrator, burned high with ambitious hopes, and saw the medal already in his grasp.
Before the week was out Macfarlane's prophecy had been fulfilled. Fettes had outlived his terrors and had forgotten his baseness. He began to plume himself upon his courage, and had so arranged the story in his mind that he could look back on these events with an unhealthy pride. Of his accomplice he saw but little. They met, of course, in the business of the class; they received their orders together from Mr K----. At times they had a word or two in private, and Macfarlane was from first to last particularly kind and jovial. But it was plain that he avoided any reference to their common secret; and even when Fettes whispered to him that he had cast in his lot with the lions and forsworn the lambs, he only signed to him smilingly to hold his peace.
At length an occasion arose which threw the pair once more into a closer union. Mr K---- was again short of subjects; pupils were eager, and it was a part of this teacher's pretensions to be always well supplied. At the same time there came the news of a burial in the rustic graveyard of Glencorse. Time has little changed the place in question. It stood then, as now, upon a crossroad, out of call of human habitations, and buried fathom deep in the foliage of six cedar trees. The cries of the sheep upon the neighbouring hills, the streamlets upon either hand, one loudly singing among pebbles, the other dripping furtively from pond to pond, the stir of the wind in mountainous old flowering chestnuts, and once in seven days the voice of the bell and the old tunes of the precentor, were the only sounds that disturbed the silence around the rural church. The Resurrection Man - to use a by-name of the period - was not to be deterred by any of the sanctities of customary piety. It was part of his trade to despise and desecrate the scrolls and trumpets of old tombs, the paths worn by the feet of worshippers and mourners, and the offerings and the inscriptions of bereaved affection. To rustic neighbourhoods, where love is more than commonly tenacious, and where some bonds of blood or fellowship unite the entire society of a parish, the body-snatcher, far from being repelled by natural respect, was attracted by the ease and safety of the task. To bodies that had been laid in earth, in joyful expectation of a far different awakening, there came that hasty, lamp-lit, terror-haunted resurrection of the spade and mattock. The coffin was forced, the cerements torn, and the melancholy relics, clad in sackcloth, after being rattled for hours on moonless by-ways, were at length exposed to uttermost indignities before a class of gaping boys.
Somewhat as two vultures may swoop upon a dying lamb, Fettes and Macfarlane were to be let loose upon a grave in that green and quiet resting-place. The wife of a farmer, a woman who had lived for sixty years, and been known for nothing but good butter and a godly conversation, was to be rooted from her grave at midnight and carried, dead and naked, to that far-away city that she had always honoured with her Sunday best; the place beside her family was to be empty till the crack of doom; her innocent and almost venerable members to be exposed to that last curiosity of the anatomist.
Late one afternoon the pair set forth, well wrapped in cloaks and furnished with a formidable bottle. It rained without remission - a cold, dense, lashing rain. Now and again there blew a puff of wind, but these sheets of falling water kept it down. Bottle and all, it was a sad and silent drive as far as Penicuik, where they were to spend the evening. They stopped once, to hide their implements in a thick bush not far from the churchyard, and once again at the Fisher's Tryst, to have a toast before the kitchen fire and vary their nips of whisky with a glass of ale. When they reached their journey's end the gig was housed, the horse was fed and comforted, and the two young doctors in a private room sat down to the best dinner and the best wine the house afforded. The lights, the fire, the beating rain upon the window, the cold, incongruous work that lay before them, added zest to their enjoyment of the meal. With every glass their cordiality increased. Soon Macfarlane handed a little pile of gold to his companion.
'A compliment,' he said. 'Between friends these little d----d accommodations ought to fly like pipe-lights.'
Fettes pocketed the money, and applauded the sentiment to the echo. 'You are a philosopher,' he cried. 'I was an ass till I knew you. You and K---- between you, by the Lord Harry! but you'll make a man of me.'
'Of course we shall,' applauded Macfarlane. 'A man? I tell you, it required a man to back me up the other morning. There are some big, brawling, forty-year-old cowards who would have turned sick at the look of the d----d thing; but not you - you kept your head. I watched you.'
'Well, and why not?' Fettes thus vaunted himself. 'It was no affair of mine. There was nothing to gain on the one side but disturbance, and on the other I could count on your gratitude, don't you see?' And he slapped his pocket till the gold pieces rang.
Macfarlane somehow felt a certain touch of alarm at these unpleasant words. He may have regretted that he had taught his young companion so successfully, but he had no time to interfere, for the other noisily continued in this boastful strain:
'The great thing is not to be afraid. Now, between you and me, I don't want to hang - that's practical; but for all cant, Macfarlane, I was born with a contempt. Hell, God, Devil, right, wrong, sin, crime, and all the old gallery of curiosities - they may frighten boys, but men of the world, like you and me, despise them. Here's to the memory of Gray!'
It was by this time growing somewhat late. The gig, according to order, was brought round to the door with both lamps brightly shining, and the young men had to pay their bill and take the road. They announced that they were bound for Peebles, and drove in that direction till they were clear of the last houses of the town; then, extinguishing the lamps, returned upon their course, and followed a by-road toward Glencorse. There was no sound but that of their own passage, and the incessant, strident pouring of the rain. It was pitch dark; here and there a white gate or a white stone in the wall guided them for a short space across the night; but for the most part it was at a foot pace, and almost groping, that they picked their way through that resonant blackness to their solemn and isolated destination. In the sunken woods that traverse the neighbourhood of the burying-ground the last glimmer failed them, and it became necessary to kindle a match and reillumine one of the lanterns of the gig. Thus, under the dripping trees, and environed by huge and moving shadows, they reached the scene of their unhallowed labours.
They were both experienced in such affairs, and powerful with the spade; and they had scarce been twenty minutes at their task before they were rewarded by a dull rattle on the coffin lid. At the same moment Macfarlane, having hurt his hand upon a stone, flung it carelessly above his head. The grave, in which they now stood almost to the shoulders, was close to the edge of the plateau of the graveyard; and the gig lamp had been propped, the better to illuminate their labours, against a tree, and on the immediate verge of the steep bank descending to the stream. Chance had taken a sure aim with the stone. Then came a clang of broken glass; night fell upon them; sounds alternately dull and ringing announced the bounding of the lantern down the bank, and its occasional collision with the trees. A stone or two, which it had dislodged in its descent, rattled behind it into the profundities of the glen; and then silence, like night, resumed its sway; and they might bend their hearing to its utmost pitch, but naught was to be heard except the rain, now marching to the wind, now steadily falling over miles of open country.
They were so nearly at an end of their abhorred task that they judged it wisest to complete it in the dark. The coffin was exhumed and broken open; the body inserted in the dripping sack and carried between them to the gig; one mounted to keep it in its place, and the other, taking the horse by the mouth, groped along by wall and bush until they reached the wider road by the Fisher's Tryst. Here was a faint, diffused radiancy, which they hailed like daylight; by that they pushed the horse to a good pace and began to rattle along merrily in the direction of the town.
They had both been wetted to the skin during their operations, and now, as the gig jumped among the deep ruts, the thing that stood propped between them fell now upon one and now upon the other. At every repetition of the horrid contact each instinctively repelled it with greater haste; and the process, natural although it was, began to tell upon the nerves of the companions. Macfarlane made some ill-favoured jest about the farmer's wife, but it came hollowly from his lips, and was allowed to drop in silence. Still their unnatural burthen bumped from side to side; and now the head would be laid, as if in confidence, upon their shoulders, and now the drenching sackcloth would flap icily about their faces. A creeping chill began to possess the soul of Fettes. He peered at the bundle, and it seemed somehow larger than at first. All over the countryside, and from every degree of distance, the farm dogs accompanied their passage with tragic ululations; and it grew and grew upon his mind that some unnatural miracle had been accomplished, that some nameless change had befallen the dead body, and that it was in fear of their unholy burden that the dogs were howling.
'For God's sake,' said he, making a great effort to arrive at speech, 'for God's sake, let's have a light!'
Seemingly Macfarlane was affected in the same direction; for though he made no reply, he stopped the horse, passed the reins to his companion, got down, and proceeded to kindle the remaining lamp. They had by that time got no further than the cross-road down to Auchendinny. The rain still poured as though the deluge were returning, and it was no easy matter to make a light in such a world of wet and darkness. When at last the flickering blue flame had been transferred to the wick and began to expand and clarify, and shed a wide circle of misty brightness round the gig, it became possible for the two young men to see each other and the thing they had along with them. The rain had moulded the rough sacking to the outlines of the body underneath; the head was distinct from the trunk, the shoulders plainly modelled; something at once spectral and human riveted their eyes upon the ghastly comrade of their drive.
For some time Macfarlane stood motionless, holding up the lamp. A nameless dread was swathed, like a wet sheet, about the body, and tightened the white skin upon the face of Fettes; a fear that was meaningless, a horror of what could not be, kept mounting to his brain. Another beat of the watch, and he had spoken. But his comrade forestalled him.
'That is not a woman,' said Macfarlane, in a hushed voice.
'It was a woman when we put her in,' whispered Fettes.
'Hold that lamp,' said the other. 'I must see her face.'
And as Fettes took the lamp his companion untied the fastenings of the sack and drew down the cover from the head. The light fell very clear upon the dark, well-moulded features and smooth-shaven cheeks of a too familiar countenance, often beheld in dreams of both of these young men. A wild yell rang up into the night; each leaped from his own side into the roadway; the lamp fell, broke, and was extinguished; and the horse, terrified by this unusual commotion, bounded and went off toward Edinburgh at a gallop, bearing along with it, sole occupant of the gig, the body of the dead and long-dissected Gray.
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