Friday, 29 January 2016

The House on the Brink

John Gordon
Puffin Books

When a teenager follows a strange trail in the marsh, he finds himself haunted by the legend of King John's lost treasure and increasingly aware of mysterious undercurrents in the town where he lives.

Dating from 1970 this Fenland tale has a distinct M.R. James aura to it.  The story tells of a young man with the implausible name of Dick Dobbs who is deeply at odds with his surroundings.  He's disconnected from his family, painfully shy around strangers, hostile to those he dislikes but forgiving of his friends - which is just as well really.  he also has a profound connection with the water of the Fens; a gift later identified as 'divining'.

Into his life arrives a young girl, Helen, who shares his gift along with a neurotic widow, Mrs Knowles, who believes she is haunted by a sinister log.  Dick is drawn into her neurosis as he himself is trapped into the presence of the log and the trail it's taking on it's journey inland.

It's an odd and quite lovely story that maintains a delicious aura of sinister and mysterious goings on.  It's not without it's faults,  Dick is an unlikeable lead and he is a little too temperamental and changeable to empathise with.  The landscape, and in particular the water, is made much of in dialogue but in the narrative itself it's there merely as a conduit for bicycles which was a real shame.  Also, while we are on the subject of dialogue this became my biggest bugbear with the novel as conversations regularly deform and collapse in a confused muddle as Gordon tries far too hard to convey both the words and Dick's - and Helen's - ever changing, sudden and often perplexing mood swings.

At it's heart though 'The House on the Brink' is a rather lovely little tale of adolescence, emotion, madness, friendship, love and magic.  It has echoes of Jamesian tropes of obsession and horrors from the past best left alone and there are echoes of an Alan Garner like grounding in place and the stories that inhabit it which for me could have been more acutely woven into the narrative and would have raised the book to being something really rather special as opposed to being one that was eminently and entertainingly readable.

Tuesday, 26 January 2016

Transformation

Mary Shelley
Hesperus Press

Surely never such had existed before - a misshapen dwarf, with squinting eyes, distorted features, and a body deformed, till it became a horror to behold.
A macabre, sinister and supernatural tale, Mary Shelley's Transformation is a masterpiece of Gothic writing. It is accompanied by The Mortal Immortal and The Evil Eye. , two further stories of the supernatural, both of which display the perfection of Shelley's literary craft.


Whilst 'Transformation' is the title of this lovely little book it is also the first of the three short stories that make up this slim volume from Hesperus Press.

'Transformation' - the story - is a short redemptive tale that tells the story of Guido, an arrogant and profligate young man who returns to his home in Genoa in penury to claim the hand of the daughter of a rich merchant.  When rejected by the kindly father due to his refusal to calm his reckless ways Guido fights back and is eventually cast out into exile.  Here he meets a deformed dwarf who offers him a bargain that may be heaven sent or then again may be from the other place.

'Transformation' - the story not the collection - is written in a dated and flamboyant style which I think would have been a bit of a chore to wade through had it been longer but at just 23 pages it made for an interesting experience.


Mary Wollstonecraft Shelley
Following on from the title piece is a much more straight forward and plainly written tale in the shape of 'The Mortal Immortal'.  This one tells the tale of an alchemists apprentice who inadvertently drinks an elixir of immortality thinking it to be a cure for love. 

I could happily have read an entire novel of this.  It's beautifully written and tightly held so that even at this short length it feels complete whilst also having an open ending that leaves you craving more.

The third story is an exhausting affair called 'The Evil Eye'.  Here in an absolute cascade of locations and various exotic terminology we are told the tale of Dimitri of the Evil Eye and his search for his kidnapped daughter.

The story absolutely hares along and manages to condense a novels worth of plot into a mere 30 pages.  It is, of course, almost completely unsatisfying as at no point do you get to feel anything other than the most fleeting of emotions towards the various characters before they've rushed off and done something else a hundred miles and two weeks away.  About halfway through I had the revelation that it felt like one of Neal Stephenson's 'Baroque Cycle' novels condensed into 30 pages.

I must say though that I thoroughly enjoyed these three stories and having never read 'Frankenstein' I was very curious as to how she wrote and what her stories were like.  I was pleasantly surprised and my desire to read more has been piqued.

Friday, 22 January 2016

Short Story - 'The Maiden of the Green Forest' (Welsh folktale)

William Elliot Griffis
from 'Welsh Fairy Tales' by William Elliot Griffis

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Many a palace lies under the waves that wash Cymric land, for the sea has swallowed up more than one village, and even cities.

When Welsh fairies yield to their mortal lovers and consent to become their wives, it is always on some condition or promise. Sometimes there are several of these, which the fairy ladies compel their mortal lovers to pledge them, before they agree to become wives. In fact, the fairies in Cymric land are among the most exacting of any known.

A prince named Benlli, of the Powys region, found this out to his grief, for he had always supposed that wives could be had simply for the asking. All that a man need say, to the girl to whom he took a fancy, was this: "Come along with me, and be my bride," and then she would say, "Thank you, I'll come," and the two would trot off together. This was the man's notion.

Now Benlli was a wicked old fellow. He was already married, but wrinkles had gathered on his wife's face.

She had a faded, washed-out look, and her hair was thinning out. She would never be young again, and he was tired of her, and wanted a mate with fresh rosy cheeks, and long, thick hair. He was quite ready to fall in love with such a maiden, whenever his eyes should light upon her.

One day, he went out hunting in the Green Forest. While waiting for a wild boar to rush out, there rode past him a young woman whose beauty was dazzling. He instantly fell in love with her.

The next day, while on horseback, at the same opening in the forest, the same maiden reappeared; but it was only for a moment, and then she vanished.

Again, on the third day, the prince rode out to the appointed place, and again the vision of beauty was there.

He rode up to her and begged her to come and live with him at his palace.

"I will come and be your wedded wife on three conditions: You must put away the wife you now have; you must permit me to leave you, one night in every seven, without following after or spying upon me; and you must not ask me where I go or what I do. Swear to me that you will do these three things. Then, if you keep your promises unbroken, my beauty shall never change, no, not until the tall vegetable flag-reeds wave and the long green rushes grow in your hall."

The Prince of Powys was quite ready to swear this oath and he solemnly promised to observe the three conditions. So the Maid of the Green Forest went to live with him.

"But what of his old wife?" one asks.

Ah! he had no trouble from that quarter, for when the newly-wedded couple arrived at the castle, she had already disappeared.

Happy, indeed, were the long bright days, which the prince and his new bride spent together, whether in the castle, or out doors, riding on horseback, or in hunting the deer. Every day, her beauty seemed diviner, and she more lovely. He lavished various gifts upon her, among others that of a diadem of beryl and sapphire. Then he put on her finger a diamond ring worth what was a very great sum—a king's ransom. In the Middle Ages, monarchs as well as nobles were taken prisoners in battle and large amounts of money had to be paid to get them back again. So a king's ransom is what Benlli paid for his wife's diamond ring. He loved her so dearly that he never suspected for a moment that he would ever have any trouble in keeping his three promises.

But without variety, life has no spice, and monotony wearies the soul. After nine years had passed, and his wife absented herself every Friday night, he began to wonder why it could be. His curiosity, to know the reason for her going away, so increased that it so wore on him that he became both miserable in himself and irritable toward others. Everybody in the castle noticed the change in their master, and grieved over it.

One night, he invited a learned monk from the white monastery, not far away, to come and take dinner with him. The table in the great banqueting hall was spread with the most delicious viands, the lights were magnificent, and the music gay.

But Wyland, the monk, was a man of magic and could see through things. He noticed that some secret grief was preying upon the Prince's mind. He discerned that, amidst all this splendor, he, Benlli, the lord of the castle, was the most miserable person within its walls. So Wyland went home, resolved to call again and find out what was the trouble.

When they met, some days later, Wyland's greeting was this:
"Christ save thee, Benlli! What secret sorrow clouds thy brow? Why so gloomy?"

Benlli at once burst out with the story of how he met the Maid of the Green Forest, and how she became his wife on three conditions.

"Think of it," said Benlli, groaning aloud. "When the owls cry and the crickets chirp, my wife leaves my bed, and until the daystar appears, I lie alone, torn with curiosity, to know where she is, and what she is doing. I fall again into heavy sleep, and do not awake until sunrise, when I find her by my side again. It is all such a mystery, that the secret lies heavy on my soul. Despite all my wealth, and my strong castle, with feasting and music by night and hunting by day, I am the most miserable man in Cymric land. No beggar is more wretched than I."

Wyland, the monk, listened and his eyes glittered. There came into his head the idea of enriching the monastery. He saw his chance, and improved it at once. He could make money by solving the secret for a troubled soul.

"Prince Benlli," said he, "if you will bestow upon the monks of the White Minster, one tenth of all the flocks that feed within your domain, and one tenth of all that flows into the vaults of your palace, and hand over the Maiden of the Green Forest to me, I shall warrant that your soul will be at peace and your troubles end."

To all this, Prince Benlli agreed, making solemn promise. Then the monk Wyland took his book, leather bound, and kept shut by means of metal clasps, and hid himself in the cranny of a rock near the Giant's Cave, from which there was entrance down into Fairyland.

He had not long to wait, for soon, with a crown on her head, a lady, royally arrayed, passed by out of the silvery moonlight into the dark cave. It was none other than the Maiden of the Green Forest.

Now came a battle of magic and spells, as between the monk's own and those of the Green Forest Maiden.

He moved forward to the mouth of the cave. Then summoning into his presence the spirits of the air and the cave, he informed them as to Benlli's vow to enrich the monastery, and to deliver the Green Forest Maiden to himself. Then, calling aloud, he said:

"Let her forever be, as she now appears, and never leave my side."

"Bring her, before the break of day, to the cross near the town of the White Minster, and there will I wed her, and swear to make her my own."

Then, by the power of his magic, he made it impossible for any person or power to recall or hinder the operation of these words. Leaving the cave's mouth, in order to be at the cross, before day should dawn, the first thing he met was a hideous ogress, grinning and rolling her bleared red eyes at him. On her head seemed what was more like moss, than hair. She stretched out a long bony finger at him. On it, flashed the splendid diamond, which Benlli had given his bride, the beautiful Maid of the Green Forest.

"Take me to thy bosom, monk Wyland," she shrieked, laughing hideously and showing what looked like green snags in her mouth. "For I am the wife you are sworn to wed. Thirty years ago, I was Benlli's blooming bride. When my beauty left me, his love flew out of the window. Now I am a foul ogress, but magic makes me young again every seventh night. I promised that my beauty should last until the tall flag reeds and the long green rushes grow in his hall."

Amazed at her story, Wyland drew in his breath.

"And this promise, I have kept. It is already fulfilled. Your spell and mine are both completed. Yours brought to him the peace of the dead. Mine made the river floods rush in. Now, waters lap to and fro among the reeds and rushes that grow in the banqueting hall, which is now sunk deep below the earth. With the clash of our spells, no charm can redress our fate.

"Come then and take me as thy bride, for oath and spell have both decreed it as thy reward. As Benlli's promise to you is fulfilled, for the waters flow in the palace vaults, the pike and the dare (fish) feed there."

So, caught in his own dark, sordid plot, the monk, who played conjurer, had become the victim of his own craft.

They say that Wyland's Cross still recalls the monk, while fishermen on the Welsh border, can, on nights with smooth water, see towers and chimneys far below, sunk deep beneath the waves.

Sunday, 17 January 2016

John Wyndham

Since my teens if at any point you were to ask me what my favourite book was you'd have got the same answer as you'll get now, John Wyndham's 'The Day of the Triffids'.  For the young me it was a glorious apocalyptic romp with killer plants.  For the older me it's a populist exploration of the fears of an uncontrollable arms race, the excesses of cold war science, gender roles and the difficulties of sustainable survival in a ravaged world that also happens to be a glorious apocalyptic romp with killer plants.

The TV adaptations of 'The Day of the Triffids' and 'Chocky' alongside the Howard Keel travesty and the magnificence of the 'Village of the Damned' movie meant that Wyndham had a huge part in defining my tastes long before I ever got around to reading another of his books.  Indeed it was at least a decade before I read another of his books, 'The Chrysalids', simply I think because I loved 'The Day of the Triffids' so much I didn't want any possible disappointment stemming from another of his books to spoil it for me and yes I know that's a fairly stupid reason to not read a book especially one as good as 'The Chrysalids' turned out to be.

Presented below is a BBC documentary about the man and his work featuring contributions from fans, friends and contemporaries such as Brian Aldiss and Sam Youd (John Christopher).  A very private man who rarely gave interviews and refused to participate in a biography there is little to tease out about his everyday existence but the documentary still makes for interesting viewing about an author who in the pantheon of British science fiction must be placed alongside his erstwhile predecessor, H.G. Wells, as one of the defining voices of the genre although outside of more dedicated circles I suspect he will remain for the most part that bloke who wrote the book about the walking plants.

Wednesday, 13 January 2016

The World in Winter

John Christopher
Penguin Books

The World in Winter is the terrorising story of what happens when a new Ice Age devastates the Northern Hemisphere, when civilisation disappears into a voiceless polar night, when men and women turn into wolf packs in their agonised struggle for survival.

 A few years ago before I started writing this blog I listened to an audiobook of John Christopher's other, more famous, apocalypse novel, 'The Death of Grass'.  It's a brutal and uncompromising story that showed the ease in which social conventions crumble and morality is cast aside in the pursuit of survival.

'The World in Winter' is a perfect companion piece.  Here it's a new ice age that has wreaked devastation on the UK, along with the rest of Europe and the US, but has left the African nations untouched.  This turn of events results in hordes of refugees making their way south and the balance of power tipping in favour of the former colonial subjects over their disenfranchised former masters.


We view this change of circumstances through the eyes of one Andrew Leedon a film maker evacuated from London to Nigeria.  There he finds himself in drastically reduced circumstances before a simple act of kindness made some years before comes to his aid.

Where 'The Death of Grass' is a story of a group of people finding refuge and a hope for survival within a devastated environment this book tells a different story.  It tells of power, control and revenge but it also tells of ideas of intolerance and racism and at times makes brutally uncomfortable reading in the language it uses and the attitudes expressed.  Sometimes it's hard to differentiate between what is intentional and what is a product of the time the book was written (1962) and a reflection of the concerns of the times as Britain's former colonies break free of it's governance and the sun seems to be finally setting on an empire still not entirely recovered from the deprivations on the second World War.  

It's a novel that is bleak in setting, events, attitude, outlook and execution that I found to be a compulsive but not necessarily enjoyable read that, I think, will haunt me for some time to come.

Buy it here - The World in Winter (Penguin Worlds)

Tuesday, 5 January 2016

Best of 2015 - Music to Heal Bones To

So, happy new year to you all.  I hope 2016 brings you good times aplenty.

For much of the last 6 months of 2015 I was fairly immobile due to the whole broken leg fiasco which finally seems to be properly on the mend and I'm able to get around a lot easier although as you can see my tibia now looks like a meccano set.

What this whole palaver did give me though was time to sit and read some of the books that have been piling up and to explore some new music.  I've written about the books on the blog already but have neglected to mention some of the music so it's time to put things right.

So, with the usual disclaimer of them being in no particular order, here are some of the records that I enjoyed over the last 12 (but particularly 6) months.

John Baker - The Vendetta Tapes
Magnificent radiophonic jazz and ruler twanging archive digging from Alan Gubby at Buried Treasure
https://buriedtreasure.bandcamp.com/album/the-vendetta-tapes

Keith Seatman - A Rest Before the Walk
Keith mixes folk and electronics to sublime effect to create a natural and human hauntological narrative.
https://keithseatman.bandcamp.com/album/a-rest-before-the-walk

Howlround - Tales from the Black Tangle
Loops as darkly immersive as a dip in the Mariana Trench.
http://thefogsignals.com/album/tales-from-the-black-tangle

Martin Gore - MG
Depeche Mode's Martin Gore guides his enviable collection of modular synths to create a stunning set of vintage sci-fi ambience.
http://mute.com/martin-l-gore/releases-stunning-instrumental-album-mg-out-2728-april-15-on-mute-listen-to-europa-hymn

The Assembled Minds - Creaking Haze and Other Rave-Ghosts
A late addition to 2015 or an early one for 2016 as it's not actually out yet.  Matt Saunders' haunted rave is filled with half remembered techno dreams.
http://patternedair.com/assembled-minds/


The Twelve Hour Foundation - Macaroni Cheese (7")
A hugely enjoyable 2 song set of 1970s style radiophonic pop.
https://thetwelvehourfoundation.bandcamp.com/album/macaroni-cheese

Various - The Delaware Road
A comprehensive and diverse compilation based around a fictional radiophonic narrative.
https://buriedtreasure.bandcamp.com/album/the-delaware-road

Peter Zinovieff - Electronic Calendar / The EMS Tapes
Beautifully presented two disc retrospective of the low-key career of a core figure in British electronic music.
http://www.adasamshop.com/index.php/record-labels/space-age/peter-zinovieff.html

Cat's Eyes - The Duke of Burgundy OST
A sumptuous soundtrack to the Peter Strickland film that owes a debt to Angelo Badalamenti's Twin Peaks recordings and that's no bad thing.
http://catseyes.store-08.com/the-duke-of-burgundy-presale/

Revbjelde - The Weeping Tree
Yet another appearance on this list from the Buried Treasure label this time from head honcho Alan Gubby's own band.  The EP is a bloody lovely collection of electronic folk featuring some fabulous guest vocals from Emma Churchley.
https://buriedtreasure.bandcamp.com/album/the-weeping-tree

Thursday, 31 December 2015

The Secret Life of Mary Poppins

In 1933 Helen Lyndon Goff working under the pseudonym P. L. (Pamela Lyndon) Travers began writing the first of what would become 7 books featuring the magical nanny, Mary Poppins.  Hugely successful in their own right the character would reach legendary status in 1964 with the arrival of the Disney movie.

Travers was a notoriously difficult and cantankerous character with an unusual private life and an outspoken nature who was rightfully protective of her creation and such makes for a fascinating subject for a documentary.

Victoria Coren Mitchell presents this look at the life and times of this singular lady made to coincide with the release of 'Saving Mr Banks' the movie made about the relationship between Travers and Walt Disney.

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.


Episode 2

Episode 3

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Tuesday, 8 December 2015

Short Story - 'The Bus-Conductor' by E.F. Benson

E. F. Benson
My friend, Hugh Grainger, and I had just returned from a two days' visit in the country, where we had been staying in a house of sinister repute which was supposed to be haunted by ghosts of a peculiarly fearsome and truculent sort. The house itself was all that such a house should be, Jacobean and oak-panelled, with long dark passages and high vaulted rooms. It stood, also, very remote, and was encompassed by a wood of sombre pines that muttered and whispered in the dark, and all the time that we were there a southwesterly gale with torrents of scolding rain had prevailed, so that by day and night weird voices moaned and fluted in the chimneys, a company of uneasy spirits held colloquy among the trees, and sudden tattoos and tappings beckoned from the window-panes. But in spite of these surroundings, which were sufficient in themselves, one would almost say, to spontaneously generate occult phenomena, nothing of any description had occurred. I am bound to add, also, that my own state of mind was peculiarly well adapted to receive or even to invent the sights and sounds we had gone to seek, for I was, I confess, during the whole time that we were there, in a state of abject apprehension, and lay awake both nights through hours of terrified unrest, afraid of the dark, yet more afraid of what a lighted candle might show me.

Hugh Grainger, on the evening after our return to town, had dined with me, and after dinner our conversation, as was natural, soon came back to these entrancing topics.

"But why you go ghost-seeking I cannot imagine," he said, "because your teeth were chattering and your eyes starting out of your head all the rime you were there, from sheer fright."

"Or do you like being frightened?"

Hugh, though generally intelligent, is dense in certain ways; this is one of them.

"Why, of course, I like being frightened," I said. "I want to be made to creep and creep and creep. Fear is the most absorbing and luxurious of emotions. One forgets all else if one is afraid."

"Well, the fact that neither of us saw anything," he said, "confirms what I have always believed."

"And what have you always believed?"

"That these phenomena are purely objective, not subjective, and that one's state of mind has nothing to do with the perception that perceives them, nor have circumstances or surroundings anything to do with them either. Look at Osburton. It has had the reputation of being a haunted house for years, and it certainly has all the accessories of one. Look at yourself, too, with all your nerves on edge, afraid to look round or light a candle for fear of seeing something! Surely there was the right man in the right place then, if ghosts are subjective."

He got up and lit a cigarette, and looking at him--Hugh is about six feet high, and as broad as he is long--I felt a retort on my lips, for I could not help my mind going back to a certain period in his life, when, from some cause which, as far as I knew, he had never told anybody, he had become a mere quivering mass of disordered nerves. Oddly enough, at the same moment and for the first time, he began to speak of it himself.

"You may reply that it was not worth my while to go either," he said, "because I was so clearly the wrong man in the wrong place. But I wasn't. You for all your apprehensions and expectancy have never seen a ghost. But I have, though I am the last person in the world you would have thought likely to do so, and, though my nerves are steady enough again now, it knocked me all to bits."

He sat down again in his chair.

"No doubt you remember my going to bits," he said, "and since I believe that I am sound again now, I should rather like to tell you about it. But before I couldn't; I couldn't speak of it at all to anybody. Yet there ought to have been nothing frightening about it; what I saw was certainly a most useful and friendly ghost. But it came from the shaded side of things; it looked suddenly out of the night and the mystery with which life is surrounded.

"I want first to tell you quite shortly my theory about ghost-seeing," he continued, "and I can explain it best by a simile, an image. Imagine then that you and I and everybody in the world are like people whose eye is directly opposite a little tiny hole in a sheet of cardboard which is continually shifting and revolving and moving about. Back to back with that sheet of cardboard is another, which also, by laws of its own, is in perpetual but independent motion. In it too there is another hole, and when, fortuitously it would seem, these two holes, the one through which we are always looking, and the other in the spiritual plane, come opposite one another, we see through, and then only do the sights and sounds of the spiritual world become visible or audible to us. With most people these holes never come opposite each other during their life. But at the hour of death they do, and then they remain stationary. That, I fancy, is how we 'pass over.'

"Now, in some natures, these holes are comparatively large, and are constantly coming into opposition. Clairvoyants, mediums are like that. But, as far as I knew, I had no clairvoyant or mediumistic powers at all. I therefore am the sort of person who long ago made up his mind that he never would see a ghost. It was, so to speak, an incalculable chance that my minute spy-hole should come into opposition with the other. But it did: and it knocked me out of time."

I had heard some such theory before, and though Hugh put it rather picturesquely, there was nothing in the least convincing or practical about it. It might be so, or again it might not.

"I hope your ghost was more original than your theory," said I, in order to bring him to the point.

"Yes, I think it was. You shall judge."

I put on more coal and poked up the fire. Hugh has got, so I have always considered, a great talent for telling stories, and that sense of drama which is so necessary for the narrator. Indeed, before now, I have suggested to him that he should take this up as a profession, sit by the fountain in Piccadilly Circus, when times are, as usual, bad, and tell stories to the passers-by in the street, Arabian fashion, for reward. The most part of mankind, I am aware, do not like long stories, but to the few, among whom I number myself, who really like to listen to lengthy accounts of experiences, Hugh is an ideal narrator. I do not care for his theories, or for his similes, but when it comes to facts, to things that happened, I like him to be lengthy.

"Go on, please, and slowly," I said. "Brevity may be the soul of wit, but it is the ruin of story-telling. I want to hear when and where and how it all was, and what you had for lunch and where you had dined and what--Hugh began:

"It was the 24th of June, just eighteen months ago," he said. "I had let my flat, you may remember, and came up from the country to stay with you for a week. We had dined alone here--"

I could not help interrupting.

"Did you see the ghost here?" I asked. "In this square little box of a house in a modern street?"
 
"I was in the house when I saw it." I hugged myself in silence.

"We had dined alone here in Graeme Street," he said, "and after dinner I went out to some party, and you stopped at home. At dinner your man did not wait, and when I asked where he was, you told me he was ill, and, I thought, changed the subject rather abruptly.

"You gave me your latch-key when I went out, and on coming back, I found you had gone to bed. There were, however, several letters for me, which required answers. I wrote them there and then, and posted them at the pillar-box opposite. So I suppose it was rather late when I went upstairs.

"You had put me in the front room, on the third floor, overlooking the street, a room which I thought you generally occupied yourself. It was a very hot night, and though there had been a moon when I started to my party, on my return the whole sky was cloud-covered, and it both looked and felt as if we might have a thunderstorm before morning. I was feeling very sleepy and heavy, and it was not till after I had got into bed that I noticed by the shadows of the window-frames on the blind that only one of the windows was open. But it did not seem worth while to get out of bed in order to open it, though I felt rather airless and uncomfortable, and I went to sleep.

"What time it was when I awoke I do not know, but it was certainly not yet dawn, and I never remember being conscious of such an extraordinary stillness as prevailed. There was no sound either of foot-passengers or wheeled traffic; the music of life appeared to be absolutely mute. But now, instead of being sleepy and heavy, I felt, though I must have slept an hour or two at most, since it was not yet dawn, perfectly fresh and wide-awake, and the effort which had seemed not worth making before, that of getting out of bed and opening the other window, was quite easy now and I pulled up the blind, threw it wide open, and leaned out, for somehow I parched and pined for air. Even outside the oppression was very noticeable, and though, as you know, I am not easily given to feel the mental effects of climate, I was aware of an awful creepiness coming over me. I tried to analyse it away, but without success; the past day had been pleasant, I looked forward to another pleasant day to-morrow, and yet I was full of some nameless apprehension. I felt, too, dreadfully lonely in this stillness before the dawn.

"Then I heard suddenly and not very far away the sound of some approaching vehicle; I could distinguish the tread of two horses walking at a slow foot's pace. They were, though not yet visible, coming up the street, and yet this indication of life did not abate that dreadful sense of loneliness which I have spoken of. Also in some dim unformulated way that which was coming seemed to me to have something to do with the cause of my oppression.

"Then the vehicle came into sight. At first I could not distinguish what it was. Then I saw that the horses were black and had long tails, and that what they dragged was made of glass, but had a black frame. It was a hearse. Empty.

"It was moving up this side of the street. It stopped at your door.

"Then the obvious solution struck me. You had said at dinner that your man was ill, and you were, I thought, unwilling to speak more about his illness. No doubt, so I imagined now, he was dead, and for some reason, perhaps because you did not want me to know anything about it, you were having the body removed at night. This, I must tell you, passed through my mind quite instantaneously, and it did not occur to me how unlikely it really was, before the next thing happened.

"I was still leaning out of the window, and I remember also wondering, yet only momentarily, how odd it was that I saw things--or rather the one thing I was looking at--so very distinctly. Of course, there was a moon behind the clouds, but it was curious how every detail of the hearse and the horses was visible. There was only one man, the driver, with it, and the street was otherwise absolutely empty. It was at him I was looking now. I could see every detail of his clothes, but from where I was, so high above him, I could not see his face. He had on grey trousers, brown boots, a black coat buttoned all the way up, and a straw hat. Over his shoulder there was a strap, which seemed to support some sort of little bag. He looked exactly like--well, from my description what did he look exactly like?"

"Why--a bus-conductor," I said instantly.

"So I thought, and even while I was thinking this, he looked up at me. He had a rather long thin face, and on his left cheek there was a mole with a growth of dark hair on it. All this was as distinct as if it had been noonday, and as if I was within a yard of him. But--so instantaneous was all that takes so long in the telling--I had not time to think it strange that the driver of a hearse should be so unfunereally dressed.

"Then he touched his hat to me, and jerked his thumb over his shoulder.

"'Just room for one inside, sir,' he said.

"There was something so odious, so coarse, so unfeeling about this that I instantly drew my head in, pulled the blind down again, and then, for what reason I do not know, turned on the electric light in order to see what time it was. The hands of my watch pointed to half-past eleven.

"It was then for the first time, I think, that a doubt crossed my mind as to the nature of what I had just seen.

But I put out the light again, got into bed, and began to think. We had dined; I had gone to a party, I had come back and written letters, had gone to bed and had slept. So how could it be half-past eleven?...Or--what half-past eleven was it?

"Then another easy solution struck me; my watch must have stopped. But it had not; I could hear it ticking.

"There was stillness and silence again. I expected every moment to hear muffled footsteps on the stairs, footsteps moving slowly and smally under the weight of a heavy burden, but from inside the house there was no sound whatever. Outside, too, there was the same dead silence, while the hearse waited at the door. And the minutes ticked on and ticked on, and at length I began to see a difference in the light in the room, and knew that the dawn was beginning to break outside. But how had it happened, then, that if the corpse was to be removed at night it had not gone, and that the hearse still waited, when morning was already coming?

"Presently I got out of bed again, and with the sense of strong physical shrinking I went to the window and pulled back the blind. The dawn was coming fast; the whole street was lit by that silver hueless light of morning. But there was no hearse there.

"Once again I looked at my watch. It was just a quarter-past four. But I would swear that not half an hour had passed since it had told me that it was half-past eleven.

"Then a curious double sense, as if I was living in the present and at the same moment had been living in some other time, came over me. It was dawn on June 25th, and the street, as natural, was empty. But a little while ago the driver of a hearse had spoken to me, and it was half-past eleven. What was that driver, to what plane did he belong? And again what half-past eleven was it that I had seen recorded on the dial of my watch?

"And then I told myself that the whole thing had been a dream. But if you ask me whether I believed what I told myself, I must confess that I did not.

"Your man did not appear at breakfast next morning, nor did I see him again before I left that afternoon. I think if I had, I should have told you about all this, but it was still possible, you see, that what I had seen was a real hearse, driven by a real driver, for all the ghastly gaiety of the face that had looked up to mine, and the levity of his pointing hand. I might possibly have fallen asleep soon after seeing him, and slumbered through the removal of the body and the departure of the hearse. So I did not speak of it to you.

There was something wonderfully straight-forward and prosaic in all this; here were no Jacobean houses oak-panelled and surrounded by weeping pine-trees, and somehow the very absence of suitable surroundings made the story more impressive. But for a moment a doubt assailed me.

"Don't tell me it was all a dream," I said.

"I don't know whether it was or not. I can only say that I believe myself to have been wide awake. In any case the rest of the story is--odd.

"I went out of town again that afternoon," he continued, "and I may say that I don't think that even for a moment did I get the haunting sense of what I had seen or dreamed that night out of my mind. It was present to me always as some vision unfulfilled. It was as if some clock had struck the four quarters, and I was still waiting to hear what the hour would be.

"Exactly a month afterwards I was in London again, but only for the day. I arrived at Victoria about eleven, and took the underground to Sloane Square in order to see if you were in town and would give me lunch. It was a baking hot morning, and I intended to take a bus from the King's Road as far as Graeme Street. There was one standing at the corner just as I came out of the station, but I saw that the top was full, and the inside appeared to be full also. Just as I came up to it the conductor, who, I suppose, had been inside, collecting fares or what not, came out on to the step within a few feet of me. He wore grey trousers, brown boots, a black coat buttoned, a straw hat, and over his shoulder was a strap on which hung his little machine for punching tickets. I saw his face, too; it was the face of the driver of the hearse, with a mole on the left cheek. Then he spoke to me, jerking his thumb over his shoulder.

"'Just room for one inside, sir,' he said.

"At that a sort of panic-terror took possession of me, and I knew I gesticulated wildly with my arms, and cried, 'No, no!' But at that moment I was living not in the hour that was then passing, but in that hour which had passed a month ago, when I leaned from the window of your bedroom here just before the dawn broke. At this moment too I knew that my spy-hole had been opposite the spy-hole into the spiritual world. What I had seen there had some significance, now being fulfilled, beyond the significance of the trivial happenings of to-day and to-morrow. The Powers of which we know so little were visibly working before me. And I stood there on the pavement shaking and trembling.

"I was opposite the post-office at the corner, and just as the bus started my eye fell on the clock in the window there. I need not tell you what the time was.

"Perhaps I need not tell you the rest, for you probably conjecture it, since you will not have forgotten what happened at the corner of Sloane Square at the end of July, the summer before last. The bus pulled out from the pavement into the street in order to get round a van that was standing in front of it. At the moment there came down the King's Road a big motor going at a hideously dangerous pace. It crashed full into the bus, burrowing into it as a gimlet burrows into a board."

He paused.

"And that's my story," he said.

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Wednesday, 2 December 2015

The Collected Connoisseur

Mark Valentine & John Howard
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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Sunday, 22 November 2015

Survivors (1975)

In 1975 Terry Nation, already renowned as the creator of the Daleks and soon to add Blake's 7 to his resume, destroyed the world - it's something every British sci-fi writer does at some point.

In Nation's case he did this via the BBC and a plague known rather wonderfully as 'The Death'.  The show was called 'Survivors' and followed a group of people trying to make their way in a world changed beyond all recognition and the trials they face as they go about relearning the skills needed in order to, well, survive.

From the off Survivors was always, to an extent, an ensemble piece although one with a changing triumvirate at it's head with only Lucy Fleming's Jenny Richards remaining as a lead for all three series.

Survivors first series concentrates on the aforementioned Jenny, Abby Grant (Carolyn Seymour) a middle class mum in search of her son  and engineer Greg Preston (Ian McCulloch) as the three slowly find each other and more in a world suddenly bereft of people.  Of the three only the overbearing Greg seems to have the slightest idea about how to survive with Abby entirely fixated on her search for her son and the as wet as water Jenny left entirely at odds with the world.

The life the group build in a handy mansion  is beset by problems from both outside influences and of their own making with one particularly harrowing episode - 'Law and Order' - where Greg shows just how unsuitable he is to have any sort of power.

By the time we arrive at series two our group has, by necessity, joined forces with one we had met briefly in the earlier series.  Abby has left to continue her search for her elusive son and has been replaced by Denis Lill as Charles Vaughan.  Cowed by the deaths of many of the group he led in series one Charles is a more sympathetic character than the single minded and driven Abby.  Joining them in this new community is Charles' saintly partner Pet (Lorna Lewis) and the lazy, smelly, miserable and deeply unpleasant farm hand Hubert Goss (John Abineri).

This second series is a more domestic affair as the group meet various other groups and struggle with establishing their crops and livestock. Interpersonal strife is still the hallmark of the series - mostly with Hubert as the catalyst - but the series isn't afraid to cast it's nets wider with the highlight of the series being the two part 'Lights of London' storyline that gives us a much deeper understanding of how the world has changed with our first look at how the city has coped since The Death.  The series ends with Greg abandoning his wife, son and community in order to fly off and tinker with some technology.

To my mind the third series which sees Jenny, Charles and Hubert hit the road in search of Greg is the least successful of the three.  After the relative inaction of the second it's good to see the cast back on the road but the reason behind it is weak - Jenny's constant, whining, neediness for the husband that has deserted her and their baby son to go adventuring with a young Norwegian girl essentially also pretty much abandons her baby in order to try and track Greg down - but it does result in some excellent episodes as we and they are exposed to the wider post-Death world.

Since I was a little kid I've had a love for this very British sort of post-apocalypse TV and literature; I just find it irresistible.  It's one of those genres where it's easy to point out flaws, inconsistencies and errors and here it's no exception - the obvious 'Where are all the bodies?' question is easily avoided given the TV restrictions of the time - but Survivors real strength is that for the most part they try to treat the apocalypse in as realistic a way as possible.  The actual survivors are woefully ill equipped to deal with the situation they find themselves in and make some spectacularly bad decisions.  They are temperamental, selfish, gossipy, insecure, angry, unpleasant, helpful, loving and entirely human.

Buy it here - Survivors - Series 1-3 Box Set [DVD] [1975] - 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 
 
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Tuesday, 17 November 2015

Empty World

John Christopher
Heinemann New Windmill

When Neil survives a deadly plague and plunges into solitude, he must question everything in this gripping adventure from critically acclaimed Tripods author John Christopher.
Neil’s world is shattered when he and his family are involved in a horrible car accident that leaves him an orphan. He is sent to live in a small village with his grandparents, whom he loves but doesn’t really know.
Soon, a devastating illness, the Calcutta Plague, begins making the headlines. After killing thousands of people in India in just a few months, the disease begins to spread much farther, quickly sweeping across the world and eventually settling in the same village where Neil resides. The sickness is a strange one, affecting only the adults and none of the children, and soon Neil finds himself an orphan once more.
Alone, Neil travels to London in search of other survivors of the plague. There he finds a strange world of fear and suspicion, where friends can be enemies and people will do anything to survive. In this time of strife, amid the excitement and loneliness of his solitude, can Neil find a way to focus on what matters most?


John Christopher
John Christopher took the opportunity to destroy the world on a number of occasions and a good few of his best novels are set either during and immediately following the apocalypse - 'The Death of Grass', 'The World in Winter' - or are set any number of years into the 'post' and tell of the various new societies that have formed in the aftermath - The Guardians', 'The Tripod tetralogy'.  This one is from the former camp.

Published in 1977 'Empty World' is a young adult novel that takes teenager Neil Miller from the automobile accident deaths of his family through the deaths of the rest of the world caused by the virulent Calcutta Plague and Neil's solitary quest for other survivors and up to the point where he begins a new life.

It's a lovely little book with a protagonist who is emotionally distant and so able to carry us through the horrors of the narrative including madness, suicide, mrderous jealousy and the lingering deaths of two small children.  

It is far too short and would certainly have benefitted from being allowed to expand it's exploration of this new world but I am quibbling as this was a most enjoyable way to spend an afternoon.

Buy it here - Empty World

Saturday, 14 November 2015

A Wyrd Britain factoid


The new Sainsbury's Xmas advert (which I'm not going to link to) features the misadventures of a cat called Mog.

Mog was the star of a series of books written by Judith Kerr who was married to Quatermass creator Nigel Kneale.

Now how about a Xmas ad based on one of his characters.

Maybe the Victor Caroon alien rampaging through Tesco, or a giant Martian devil appearing out of the Hob(bs Lane)nobs in Morrisons or maybe an Asda full of Planet People being harvested.

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.