Friday, 29 April 2016

Injection (vol. 1)

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

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

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

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

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

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

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



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

Buy it here:  Injection Volume 1 (Injection Tp)

Saturday, 23 April 2016

The Midwich Cuckoos

John Wyndham's - The Midwich Cuckoos.
Published in 1957, 'The Midwich Cuckoos' was the fourth of John Wyndham's post war novels after 'The Day of the Triffids', 'The Kraken Wakes' & 'The Chrysalids'. 

The book tells of the mysterious 'Dayout' suffered by the population of the town of Midwich and the subsequent discovery that every woman of child bearing age in the village has become pregnant.

Many people will be familiar with the story through the fantastic 1960 MGM movie 'Village of the Damned' starring George Sanders, Barbara Shelley and Martin Stephens as their fabulously creepy 'son', David.  Some of you may even know it through the risible 1995 John Carpenter remake starring Chrisopher Reeve.

The version below is a BBC Radio adaptation from 1982 starring William Gaunt (who played Richard Barrett in 'The Champions'), Charles Kay and Pauline Yates (perhaps most famously known as Elizabeth - wife of Reggie - Perrin) and with music by Roger Limb of the BBC Radiophonic Workshop.  It's a remarkably well-mannered adaption that seems like it should have been made in 1962 rather than 1982 but it does retain much of the post war character of the original material.


Saturday, 16 April 2016

The British Space Group - The Phantasmagoria

About 6 years ago I came to the painful realisation that I probably was never going to soundtrack one of those cool gothic Doctor Who episodes of the Philip Hinchcliffe era full of robot mummies, dilapidated country piles, mad scientists laboratories and Victorian sewers.  The bird hadn't so much flown on that one as much as that the egg from which the bird would have to hatch in order to one day fly away had never been laid. So, I made my own.

The process was simple.  I came up with some characters led by a Thomas Carnacki, John Silence, Doctor Who type chap and a list of plot points that I thought gave a suitably vague story arc (so that I didn't have to do any actual story writing) and then composed around that list.

I wanted this to be a fresh new start so I used an entirely new (to me) set of musical tools both to avoid slipping into any old habits or any of the same old compositional tricks I've used over the years and also in order to get a more appropriate sonic pallette and so armed I set about writing a suite of tunes that would evoke the music that had defined my ears.  In line with the soundtrack idea I deliberately kept the music short and, in order to evoke an air of suitable menace and otherness,  fairly atonal but on a couple of tracks I tried my hand at a tune or two which was a big step for someone who'd spent the last 12 years avoiding them like the plague.


That first Phantasms EP came together over the course of a couple of weeks and the response was enthusiastic enough to plant the seed to make another one.

By now though I'd satisfied my Doctor Who hankering and I wanted to take inspiration from another show from my youth, Sapphire & Steel.  A show that had such an impact on a young me that I still flinch when having my photo taken. I got far more involved with my plot points this time round and I needed to remind myself of the oddness of that particular show and the way the mundane bled into the obtuse.  Like the show, I wanted to avoid the obvious, keep resolutions to a minimum and maintain a fairly constant atmosphere of unease. This second EP duly made it's way onto Bandcamp

By now I realised that this Phantasms thing was destined, in the great tradition of science fiction, to be a trilogy and so I duly embarked on the third part and hit a creative brick wall.  To do the final entry in my holy trinity of Wyrd Britain sci-fi I'd have to have done 'Quatermass' next but that seemed to me to be a project in it's own right but I really wanted to round things off and say goodbye to these, partially formed, un-named travellers who have lived in my head for the last 6 years.

And so, in the end, I did just that.  I envisioned a story whereby the travellers are summoned to go on a journey to say a final goodbye to their comrade who has chosen to finally stop in this new place.  He stays, they depart and all eventually find their way home.

This one was undoubtedly the most difficult of the three to write and record.  Half of the music came fairly quickly but then I kept getting distracted from it by work commitments and various other projects but once I'd established the narrative the final tunes were written and recorded in a few days.  This third EP was finally released onto Bandcamp a few weeks ago, some 5 and a half years after the first one went live.

So, over half a decade on from the initial whim to do something different and having enjoyed doing it so much that  I've now adopted a new name under which to record this more, I suppose, radiophonic and hauntologically inclined music and I've decided to give the three EPs their time in the sun.  Having previously only been available digitally via our Bandcamp page I've now collected the 3, given them a spiffy new name, some smart new black and white artwork and have made them available on disc for the first time.

BTW - The three separate EPs are still online for those who may already have some of the parts and have no need to buy all three.

The Phantasmagoria is out now and available on both disc and digitally via the Quiet World Bandcamp page.

I hope you enjoy.
Ian

Thursday, 14 April 2016

Wyrd Britain Mix 9

It's been a few months since we did one of these mixes so I thought it was high time for a new one.

This time we've included a couple of our favourites from last year, some old favourites and some highlights from the first few months of 2016, a year that seems determined to wipe out as many musicians and actors as it possibly can.  As I type this news has broke of the passing of Gareth Thomas who, as Roj Blake (in 'Blake's 7') and as Adam Brake (in 'Children of the Stones') amongst many other roles, is an icon of Wyrd Britain.  This one is for you sir.  We thank you for your work.

The player is, as ever, at the bottom of this post.

I hope you enjoy

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Opening this here cavalcade of sinewy, sonic shapeliness is the bone aching loveliness of The Dandelion Set whose gobsmackingly good new album we reviewed in these here pages a short while ago.  This track, 'Tone Garden', is an itty bitty ditty that seemed like too good an opener to not use especially as it begins with such cool opening dialogue.
https://buriedtreasure.bandcamp.com/album/a-thousand-strands-1975-2015

The horticultural theme is continued with one of my own tunes, 'The Synaesthetic Garden' by The British Space Group which is part of my 'Phantasms' trilogy of radiophonic miniatures newly collected together and released on disc and digitally as 'The Phanstasmagoria'.  You'll excuse the shameless self promotion but needs must and all that.
https://ian-quietworld.bandcamp.com/album/the-phantasmagoria-the-collected-phantasms-eps

Jon Brooks' 'Walberswick'was a real highlight of last year and here but one that was fairly difficult to get hold of and so here we present a track to help tide you over until a reissue appears.

Another one of last years gems was the debut EP from Reading's tongue mangling folktronica collective Revbjelde.  This years new album is a slightly more angular affair but one that is filled with delights such as this fun ditty that feels like it's been lifted from the opening credits of a 1970s kids TV show which is something Wyrd Britain heartily approves of.
https://buriedtreasure.bandcamp.com/album/the-weeping-tree

King Crimson are a band that never managed to grab me,  prog was never my thing, but I stumbled across this the other day and was a little bit blown away.  Prog tropes are noticeable by their absence and in their place is a rather lovely, floaty Krautrock-like guitar and electronica tune.

We gave an early shout out the Matt Saunders' Assembled Minds album in our best of 2015 list but as we had an early copy and it wasn't actually out until a few weeks into this year he's not actually featured in one of these mixes and it's something anyone with an interest in electronic music will thoroughly dig.
https://patternedair.bandcamp.com/releases

Orbital are one of those bands that always seem to have been there.  I still maintain that their version of the Doctor Who theme should have been used for the revised series but you can't have it all so here's a tune about, I presume, underwear.

I do like to include a Trunk Records release in these mixes and so this month it's the turn of the unusually named Cults Percussion Ensemble,  this is an album made by young (female) musicians living in and around the Aberdeen suburb of Cults - and you all thought it was something creepy - and features a young Evelyn Glennie as part of the group and it's an album I really can't recommend highly enough.
http://www.trunkrecords.com/turntable/cults.shtml

Drew Mulholland's Mount Vernon Arts Lab investigate the ghosts of martians past on a track from the Ghost Box reissue of the fabulous 'The Séance at Hobs Lane' before the Mix ends with a beautifully calm piece from Godflesh's Justin Broadrick's dark ambient project Final.


Sunday, 10 April 2016

The Doombolt Chase

'The Doombolt Chase'  was an adventure serial for kids with a science fiction bent produced by HTV in early 1978 that tells of three teenagers, Richard, Lucy & Pete, as they rampage around the Bristol Channel and the Brecon Beacons in an attempt to establish the truth about Richard's Naval Commander fathers court martial.

The teens are played, with varying degrees of success, by three young actors (Andrew Ashby, Shelley Crowhurst & Richard Willis) who seem to have all faded into obscurity immediately following their 6 episodes of fame.  Each though makes the most of what they have and attack their roles with gusto with particular kudos going to Shelley Crowhurst who as Lucy has to endure some very dodgy gender politics and comes through it all not only as probably the action hero of the piece but with her strident west country accent and matter of fact manners as the comic relief also.

The trio are surrounded by a number of familiar faces on British TV of the time including a small role for Simon MacCorkindale - a year away from his tussles with the Planet People in Quatermass - Frederick Jaeger - a Doctor Who regular, most notably as K9's creator, Professor Marius -  Peter Vaughan - Porridge's Harry Grout - and Wyrd Britain TV legend, John Woodnutt - who appeared in four Doctor Who serials, The Tomorrow People, The Boy From Space & Children of the Stones.

The series was written by another regular in these pages, Don Houghton, who had already written scripts for 'Ace of Wands', Doctor Who ('Inferno' & 'Mind of Evil'), several early 70s Hammer movies and would later go on to co-write Assignment 5 of Sapphire & Steel (the one that looks like a Poirot story).  Here he revisits the military themed science fiction of his Third Doctor stories, particularly 'Mind of Evil',  in a story that sends our intrepid trio scurrying around the South West of England and the Brecon Beacons searching for a missing weapons system that allows the producers to make use of lots of cheap locations and save their money to invest in an impressive final act.

'The Doombolt Chase'  is as the title states pretty much entirely made up of 6 episodes of 3 teens chasing from one location to the next as various adults stand around back at base worrying and others are outwitted by our three plucky heroes.  As I've mentioned the three leads are more that a little wooden, few of the characters are given much in the way of opportunity to develop and there are several, let's call them, narrative glitches such as the blatant difference between the demonstrated use of the weapon and it's stated purpose.  As much as I love the stories of the psychic and the supernatural that were so much in vogue through the decade it is a refreshing change of pace to experience a story with it's ambitions so firmly planted on the ground it does though have a distinct charm and I really warmed to Richard, Pete and, in particular, Lucy and by the end I was thoroughly enjoying myself.

Watch it below or buy it here - The Doombolt Chase - The Complete Series [DVD] [1978]

Wednesday, 6 April 2016

The Dandelion Set - A Thousand Strands 1975 - 2015

Buried Treasure

So, as some of you know I spent much of the second half of  last year pretty immobile due to numerous broken bones and the ensuing surgical procedures.  Truth to say it wasn't a whole lot of fun.  I was on quite a lot of morphine and as such watching films or reading books was out as I couldn't follow a plot and so I found myself staring at a lot of daytime TV - side note:  not even morphine makes Jeremy Kyle any less noxious - and listening to copious amounts of music, so much in fact that I quickly ran out of what was to hand and so began searching around for new delights to do interesting things in my ears and my opiate addled brain.

Alan Moore
One of the things I stumbled across was the Buried Treasure label whose John Baker Vendetta Tapes became one of my most played albums of last year.  In fact, if you check out my end of year list you'll find several Buried Treasure releases on there with several others not making the list simply due to numerical considerations.  So it was with real excitement that I opened the promo copy sent by label honcho Alan Gubby of this, the first B.T. release of 2016 by psychedelic troubadours The Dandelion Set here ably assisted by one of the spiritual godfathers of what we do here at Wyrd Britain,  Mr. Alan Moore.

Expectation, as we all know, can be a real bitch and I'd heard some Dandelion ditties on the recent B.T. comp, 'The Delaware Road', and I know now that Alan G. has an ear for the wonderful so this had a lot to live up to; an awful lot to live up to.  We've all been down that road of getting all 'kid at xmas' about a new release only for it to turn out to be more of a 'kid at dentist' experience but now and again under the tree, wrapped in some beautifully psychedelic wrapping is that perfect gift and it surpasses all expectations.

From the opening moments of 'Pristina Strawberry Girl' we know that we're in for a trip of a ride as dreamy psyche-pop insinuates itself into the room before the wordy wizard of Northampton weaves a weirdy, wandering narrative over a skronking frug noir soundscape and so the scene is set.

Angular prog excursions make way for forays into the realms of opiated French jazz pop.  Playful dances of electronic fireflies throw themselves through animated radiophonic swirls of psychedelic colour as tales of love, loss, hopes, delusions and a trip to the cinema stand square, stark and unflinching basking in the hallucinatory haze and calling you into this twisting, writhing, mesmerising world.  A technicolour playground of lysergic intensity and intent filled with love and magic.

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'A Thousand Strands 1975 - 2015'  is released on 22nd April and Bandcamp pre-orders of the physical editions - LP / CD / Cassette - are sold out from the label - that's how good this album is - but will be available from an independent music supplier - shop independent and say no to tax avoiding multinationals - near you upon release.

Meanwhile here is a taster featuring the mighty Alan Moore, below that a video montage featuring live footage from 'The Delaware Road' launch gig and later this week you can hear a track on the next Wyrd Britain show on Mixcloud.



Saturday, 2 April 2016

Short Story - 'In The Woods' by Amyas Northcote

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

* * *

The girl was tired, tired and unhappy.

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

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

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

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

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

The woods enthralled her.

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

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

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

The woods enthralled her.

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

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

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

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

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

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

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

The woods enthralled her.

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

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

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

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

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

* * *

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

Friday, 25 March 2016

In Ghostly Company

Amyas Northcote
Wordsworth Editions

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

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

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

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

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

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

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

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

Saturday, 19 March 2016

Short Story - 'How Fear Departed from the Long Gallery' by E.F. Benson

E.F. (Edward Frederic) Benson (1867 – 1940) was an English novelist most notably remembered for his Mapp and Lucia novels but was also the author of a number of well regarded 'spook stories'. Regular readers of Wyrd Britain will remember we have already posted one of his most famous stories - 'The Bus-Conductor' which was adapted for the classic Ealing portmanteau horror, 'Dead of Night'.   Here we present one of his more whimsical stories in a haunted house tale where the residents are fully reconciled to sharing their house with all except the spirits that inhabit the 'Long Gallery'

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Church-Peveril is a house so beset and frequented by spectres, both visible and audible, that none of the family which it shelters under its acre and a half of green copper roofs takes psychical phenomena with any seriousness. For to the Peverils the appearance of a ghost is a matter of hardly greater significance than is the appearance of the post to those who live in more ordinary houses. It arrives, that is to say, practically every day, it knocks (or makes other noises), it is observed coming up the drive (or in other places). I myself, when staying there, have seen the present Mrs. Peveril, who is rather short-sighted, peer into the dusk, while we were taking our coffee on the terrace after dinner, and say to her daughter:

"My dear, was not that the Blue Lady who has just gone into the shrubbery. I hope she won't frighten Flo. Whistle for Flo, dear."

(Flo, it may be remarked, is the youngest and most precious of many dachshunds.)

Blanche Peveril gave a cursory whistle, and crunched the sugar left unmelted at the bottom of her coffee-cup between her very white teeth.

"Oh, darling, Flo isn't so silly as to mind," she said. "Poor blue Aunt Barbara is such a bore!"

"Whenever I meet her she always looks as if she wanted to speak to me, but when I say, 'What is it, Aunt Barbara?' she never utters, but only points somewhere towards the house, which is so vague. I believe there was something she wanted to confess about two hundred years ago, but she has forgotten what it is."

Here Flo gave two or three short pleased barks, and came out of the shrubbery wagging her tail, and capering round what appeared to me to be a perfectly empty space on the lawn.

"There! Flo has made friends with her," said Mrs. Peveril. "I wonder why she -- in that very stupid shade of blue."

From this it may be gathered that even with regard to psychical phenomena there is some truth in the proverb that speaks of familiarity. But the Peverils do not exactly treat their ghosts with contempt, since most of that delightful family never despised anybody except such people as avowedly did not care for hunting or shooting, or golf or skating. And as all of their ghosts are of their family, it seems reasonable to suppose that they all, even the poor Blue Lady, excelled at one time in field-sports. So far, then, they harbour no such unkindness or contempt, but only pity. Of one Peveril, indeed, who broke his neck in vainly attempting to ride up the main staircase on a thoroughbred mare after some monstrous and violent deed in the back-garden, they are very fond, and Blanche comes downstairs in the morning with an eye unusually bright when she can announce that Master Anthony was "very loud" last night. He (apart from the fact of his having been so foul a ruffian) was a tremendous fellow across country, and they like these indications of the continuance of his superb vitality. In fact, it is supposed to be a compliment, when you go to stay at Church-Peveril, to be assigned a bedroom which is frequented by defunct members of the family. It means that you are worthy to look on the august and villainous dead, and you will find yourself shown into some vaulted or tapestried chamber, without benefit of electric light, and are told that great-great-grandmamma Bridget occasionally has vague business by the fireplace, but it is better not to talk to her, and that you will hear Master Anthony "awfully well" if he attempts the front staircase any time before morning. There you are left for your night's repose, and, having quakingly undressed, begin reluctantly to put out your candles. It is draughty in these great chambers, and the solemn tapestry swings and bellows and subsides, and the firelight dances on the forms of huntsmen and warriors and stern pursuits. Then you climb into your bed, a bed so huge that you feel as if the desert of Sahara was spread for you, and pray, like the mariners who sailed with St. Paul, for day. And, all the time, you are aware that Freddy and Harry and Blanche and possibly even Mrs. Peveril are quite capable of dressing up and making disquieting tappings outside your door, so that when you open it some inconjecturable horror fronts you. For myself, I stick steadily to the assertion that I have an obscure valvular disease of the heart, and so sleep undisturbed in the new wing of the house where Aunt Barbara, and great-great-grandmamma Bridget and Master Anthony never penetrate. I forget the details of great-great-grandmamma Bridget, but she certainly cut the throat of some distant relation before she disembowelled herself with the axe that had been used at Agincourt. Before that she had led a very sultry life, crammed with amazing incident.

But there is one ghost at Church-Peveril at which the family never laugh, in which they feel no friendly and amused interest, and of which they only speak just as much as is necessary for the safety of their guests. More properly it should be described as two ghosts, for the "haunt" in question is that of two very young children, who were twins. These, not without reason, the family take very seriously indeed. The story of them, as told me by Mrs. Peveril, is as follows:

In the year 1602, the same being the last of Queen Elizabeth's reign, a certain Dick Peveril was greatly in favour at Court. He was brother to Master Joseph Peveril, then owner of the family house and lands, who two years previously, at the respectable age of seventy-four, became father of twin boys, first-born of his progeny. It is known that the royal and ancient virgin had said to handsome Dick, who was nearly forty years his brother's junior, "'Tis pity that you are not master of Church-Peveril," and these words probably suggested to him a sinister design. Be that as it may, handsome Dick, who very adequately sustained the family reputation for wickedness, set off to ride down to Yorkshire, and found that, very conveniently, his brother Joseph had just been seized with an apoplexy, which appeared to be the result of a continued spell of hot weather combined with the necessity of quenching his thirst with an augmented amount of sack, and had actually died while handsome Dick, with God knows what thoughts in his mind, was journeying northwards. Thus it came about that he arrived at Church-Peveril just in time for his brother's funeral. It was with great propriety that he attended the obsequies, and returned to spend a sympathetic day or two of mourning with his widowed sister-in-law, who was but a faint-hearted dame, little fit to be mated with such hawks as these. On the second night of his stay, he did that which the Peverils regret to this day. He entered the room where the twins slept with their nurse, and quietly strangled the latter as she slept. Then he took the twins and put them into the fire which warms the long gallery. The weather, which up to the day of Joseph's death had been so hot, had changed suddenly to bitter cold, and the fire was heaped high with burning logs and was exultant with flame. In the core of this conflagration he struck out a cremation-chamber, and into that he threw the two children, stamping them down with his riding-boots. They could just walk, but they could not walk out of that ardent place. It is said that he laughed as he added more logs. Thus he became master of Church-Peveril.

The crime was never brought home to him, but he lived no longer than a year in the enjoyment of his blood-stained inheritance. When he lay a-dying he made his confession to the priest who attended him, but his spirit struggled forth from its fleshly coil before Absolution could be given him. On that very night there began in Church-Peveril the haunting which to this day is but seldom spoken of by the family, and then only in low tones and with serious mien. For only an hour or two after handsome Dick's death, one of the servants passing the door of the long gallery heard from within peals of the loud laughter so jovial and yet so sinister which he had thought would never be heard in the house again. In a moment of that cold courage which is so nearly akin to mortal terror he opened the door and entered, expecting to see he knew not what manifestation of him who lay dead in the room below. Instead he saw two little white-robed figures toddling towards him hand in hand across the moon-lit floor.

The watchers in the room below ran upstairs startled by the crash of his fallen body, and found him lying in the grip of some dread convulsion. Just before morning he regained consciousness and told his tale. Then pointing with trembling and ash-grey finger towards the door, he screamed aloud, and so fell back dead.

During the next fifty years this strange and terrible legend of the twin-babies became fixed and consolidated. Their appearance, luckily for those who inhabit the house, was exceedingly rare, and during these years they seem to have been seen four or five times only. On each occasion they appeared at night, between sunset and sunrise, always in the same long gallery, and always as two toddling children scarcely able to walk. And on each occasion the luckless individual who saw them died either speedily or terribly, or with both speed and terror, after the accursed vision had appeared to him. Sometimes he might live for a few months: he was lucky if he died, as did the servant who first saw them, in a few hours. Vastly more awful was the fate of a certain Mrs. Canning, who had the ill-luck to see them in the middle of the next century, or to be quite accurate, in the year 1760. By this time the hours and the place of their appearance were well known, and, as up till a year ago, visitors were warned not to go between sunset and sunrise into the long gallery.

But Mrs. Canning, a brilliantly clever and beautiful woman, admirer also and friend of the notorious sceptic M. Voltaire, wilfully went and sat night after night, in spite of all protestations, in the haunted place. For four evenings she saw nothing, but on the fifth she had her will, for the door in the middle of the gallery opened, and there came toddling towards her the ill-omened innocent little pair. It seemed that even then she was not frightened, but she thought it good, poor wretch, to mock at them, telling them it was time for them to get back into the fire. They gave no word in answer, but turned away from her crying and sobbing. Immediately after they disappeared from her vision and she rustled downstairs to where the family and guests in the house were waiting for her, with the triumphant announcement that she has seen them both, and must needs write to M. Voltaire, saying that she had spoken to spirits made manifest. It would make him laugh. But when some months later the whole news reached him he did not laugh at all.

Mrs. Canning was one of the great beauties of her day, and in the year 1760 she was at the height and zenith of her blossoming. The chief beauty, if it is possible to single out one point where all was so exquisite, lay in the dazzling colour and incomparable brilliance of her complexion. She was now just thirty years of age, but, in spite of the excesses of her life, retained the snow and roses of girlhood, and she courted the bright light of day which other women shunned, for it but showed to great advantage the splendour of her skin. In consequence she was very considerably dismayed one morning, about a fortnight after her strange experience in the long gallery, to observe on her left cheek, an inch or two below her turquoise-coloured eyes, a little greyish patch of skin, about as big as a threepenny piece. It was in vain that she applied her accustomed washes and unguents: vain, too, were the arts of her fardeuse and of her medical adviser. For a week she kept herself secluded, martyring herself with solitude and unaccustomed physics, and for result at the end of the week she had no amelioration to comfort herself with: instead this woeful grey patch had doubled itself in size. Thereafter the nameless disease, whatever it was, developed in new and terrible ways. From the centre of the discoloured place there sprouted forth little lichen-like tendrils of greenish-grey, and another patch appeared on her lower lip. This, too, soon vegetated, and one morning, on opening her eyes to the horror of a new day, she found that her vision was strangely blurred. She sprang to her looking-glass, and what she saw caused her to shriek aloud with horror. From under her upper eye-lid a fresh growth had sprung up, mushroom-like, in the night, and its filaments extended downwards, screening the pupil of her eye. Soon after, her tongue and throat were attacked: the air passages became obstructed, and death by suffocation was merciful after such suffering.

More terrible yet was the case of a certain Colonel Blantyre who fired at the children with his revolver. What he went through is not to be recorded here.

It is this haunting, then, that the Peverils take quite seriously, and every guest on his arrival in the house is told that the long gallery must not be entered after nightfall on any pretext whatever. By day, however, it is a delightful room and intrinsically merits description, apart from the fact that the due understanding of its geography is necessary for the account that here follows. It is full eighty feet in length, and is lit by a row of six tall windows looking over the gardens at the back of the house. A door communicates with the landing at the top of the main staircase, and about half-way down the gallery in the wall facing the windows is another door communicating with the back staircase and servants' quarters, and thus the gallery forms a constant place of passage for them in going to the rooms on the first landing. It was through this door that the baby-figures came when they appeared to Mrs. Canning, and on several other occasions they have been known to make their entry here, for the room out of which handsome Dick took them lies just beyond at the top of the back stairs. Further on again in the gallery is the fireplace into which he thrust them, and at the far end a large bow-window looks straight down the avenue. Above this fireplace there hangs with grim significance a portrait of handsome Dick, in the insolent beauty of early manhood, attributed to Holbein, and a dozen other portraits of great merit face the windows. During the day this is the most frequented sitting-room in the house, for its other visitors never appear there then, nor does it then ever resound with the harsh jovial laugh of handsome Dick, which sometimes, after dark has fallen, is heard by passers-by on the landing outside. But Blanche does not grow bright-eyed when she hears it: she shuts her ears and hastens to put a greater distance between her and the sound of that atrocious mirth.

But during the day the long gallery is frequented by many occupants, and much laughter in no wise sinister or saturnine resounds there. When summer lies hot over the land, those occupants lounge in the deep window seats, and when winter spreads his icy fingers and blows shrilly between his frozen palms, congregate round the fireplace at the far end, and perch, in companies of cheerful chatterers, upon sofa and chair, and chair-back and floor. Often have I sat there on long August evenings up till dressing-time, but never have I been there when anyone has seemed disposed to linger over-late without hearing the warning: "It is close on sunset: shall we go?" Later on in the shorter autumn days they often have tea laid there, and sometimes it has happened that, even while merriment was most uproarious, Mrs. Peveril has suddenly looked out of the window and said, "My dears, it is getting so late: let us finish our nonsense downstairs in the hall." And then for a moment a curious hush always falls on loquacious family and guests alike, and as if some bad news had just been known, we all make our silent way out of the place.

But the spirits of the Peverils (of the living ones, that is to say) are the most mercurial imaginable, and the blight which the thought of handsome Dick and his doings casts over them passes away again with amazing rapidity.

A typical party, large, young, and peculiarly cheerful, was staying at Church-Peveril shortly after Christmas last year, and as usual on December 31, Mrs. Peveril was giving her annual New Year's Eve ball. The house was quite full, and she had commandeered as well the greater part of the Peveril Arms to provide sleeping-quarters for the overflow from the house. For some days past a black and windless frost had stopped all hunting, but it is an ill windlessness that blows no good (if so mixed a metaphor may be forgiven), and the lake below the house had for the last day or two been covered with an adequate and admirable sheet of ice. Everyone in the house had been occupied all the morning of that day in performing swift and violent manoeuvres on the elusive surface, and as soon as lunch was over we all, with one exception, hurried out again. This one exception was Madge Dalrymple, who had had the misfortune to fall rather badly earlier in the day, but hoped, by resting her injured knee, instead of joining the skaters again, to be able to dance that evening. The hope, it is true, was the most sanguine sort, for she could but hobble ignobly back to the house, but with the breezy optimism which characterises the Peverils (she is Blanche's first cousin), she remarked that it would be but tepid enjoyment that she could, in her present state, derive from further skating, and thus she sacrificed little, but might gain much.

Accordingly, after a rapid cup of coffee which was served in the long gallery, we left Madge comfortably reclined on the big sofa at right-angles to the fireplace, with an attractive book to beguile the tedium till tea. Being of the family, she knew all about handsome Dick and the babies, and the fate of Mrs. Canning and Colonel Blantyre, but as we went out I heard Blanche say to her, "Don't run it too fine, dear," and Madge had replied, "No; I'll go away well before sunset." And so we left her alone in the long gallery.

Madge read her attractive book for some minutes, but failing to get absorbed in it, put it down and limped across to the window. Though it was still but little after two, it was but a dim and uncertain light that entered, for the crystalline brightness of the morning had given place to a veiled obscurity produced by flocks of thick clouds which were coming sluggishly up from the north-east. Already the whole sky was overcast with them, and occasionally a few snow-flakes fluttered waveringly down past the long windows. From the darkness and bitter cold of the afternoon, it seemed to her that there was like to be a heavy snowfall before long, and these outward signs were echoed inwardly in her by that muffled drowsiness of the brain, which to those who are sensitive to the pressures and lightness of weather portends storm. Madge was peculiarly the prey of such external influences: to her a brisk morning gave an ineffable brightness and briskness of spirit, and correspondingly the approach of heavy weather produced a somnolence in sensation that both drowsed and depressed her.

It was in such mood as this that she limped back again to the sofa beside the log-fire. The whole house was comfortably heated by water-pipes, and though the fire of logs and peat, an adorable mixture, had been allowed to burn low, the room was very warm. Idly she watched the dwindling flames, not opening her book again, but lying on the sofa with face towards the fireplace, intending drowsily and not immediately to go to her own room and spend the hours, until the return of the skaters made gaiety in the house again, in writing one or two neglected letters. Still drowsily she began thinking over what she had to communicate: one letter several days overdue should go to her mother, who was immensely interested in the psychical affairs of the family. She would tell her how Master Anthony had been prodigiously active on the staircase a night or two ago, and how the Blue Lady, regardless of the severity of the weather, had been seen by Mrs. Peveril that morning, strolling about. It was rather interesting: the Blue Lady had gone down the laurel walk and had been seen by her to enter the stables, where, at the moment, Freddy Peveril was inspecting the frost-bound hunters. Identically then, a sudden panic had spread through the stables, and the horses had whinnied and kicked, and shied, and sweated. Of the fatal twins nothing had been seen for many years past, but, as her mother knew, the Peverils never used the long gallery after dark.

Then for a moment she sat up, remembering that she was in the long gallery now. But it was still but a little after half-past two, and if she went to her room in half an hour, she would have ample time to write this and another letter before tea. Till then she would read her book. But she found she had left it on the window-sill, and it seemed scarcely worth while to get it. She felt exceedingly drowsy.

The sofa where she lay had been lately recovered, in a greyish green shade of velvet, somewhat the colour of lichen. It was of very thick soft texture, and she luxuriously stretched her arms out, one on each side of her body, and pressed her fingers into the nap. How horrible that story of Mrs. Canning was: the growth on her face was of the colour of lichen. And then without further transition or blurring of thought Madge fell asleep.
She dreamed. She dreamed that she awoke and found herself exactly where she had gone to sleep, and in exactly the same attitude. The flames from the logs had burned up again, and leaped on the walls, fitfully illuminating the picture of handsome Dick above the fireplace. In her dream she knew exactly what she had done to-day, and for what reason she was lying here now instead of being out with the rest of the skaters. She remembered also (still dreaming), that she was going to write a letter or two before tea, and prepared to get up in order to go to her room. As she half-rose she caught sight of her own arms lying out on each side of her on the grey velvet sofa.

But she could not see where her hands ended, and where the grey velvet began: her fingers seemed to have melted into the stuff. She could see her wrists quite clearly, and a blue vein on the backs of her hands, and here and there a knuckle. Then, in her dream, she remembered the last thought which had been in her mind before she fell asleep, namely the growth of the lichen-coloured vegetation on the face and the eyes and the throat of Mrs. Canning. At that thought the strangling terror of real nightmare began: she knew that she was being transformed into this grey stuff, and she was absolutely unable to move. Soon the grey would spread up her arms, and over her feet; when they came in from skating they would find here nothing but a huge misshapen cushion of lichen-coloured velvet, and that would be she. The horror grew more acute, and then by a violent effort she shook herself free of the clutches of this very evil dream, and she awoke.

For a minute or two she lay there, conscious only of the tremendous relief at finding herself awake. She felt again with her fingers the pleasant touch of the velvet, and drew them backwards and forwards, assuring herself that she was not, as her dream had suggested, melting into greyness and softness. But she was still, in spite of the violence of her awakening, very sleepy, and lay there till, looking down, she was aware that she could not see her hands at all. It was very nearly dark.

At that moment a sudden flicker of flame came from the dying fire, and a flare of burning gas from the peat flooded the room. The portrait of handsome Dick looked evilly down on her, and her hands were visible again. And then a panic worse than the panic of her dreams seized her.

Daylight had altogether faded, and she knew that she was alone in the dark in the terrible gallery.

This panic was of the nature of nightmare, for she felt unable to move for terror. But it was worse than nightmare because she knew she was awake. And then the full cause of this frozen fear dawned on her; she knew with the certainty of absolute conviction that she was about to see the twin-babies.

She felt a sudden moisture break out on her face, and within her mouth her tongue and throat went suddenly dry, and she felt her tongue grate along the inner surface of her teeth. All power of movement had slipped from her limbs, leaving them dead and inert, and she stared with wide eyes into the blackness. The spurt of flame from the peat had burned itself out again, and darkness encompassed her.

Then on the wall opposite her, facing the windows, there grew a faint light of dusky crimson.

For a moment she thought it but heralded the approach of the awful vision, then hope revived in her heart, and she remembered that thick clouds had overcast the sky before she went to sleep, and guessed that this light came from the sun not yet quite sunk and set. This sudden revival of hope gave her the necessary stimulus, and she sprang off the sofa where she lay. She looked out of the window and saw the dull glow on the horizon. But before she could take a step forward it was obscured again. A tiny sparkle of light came from the hearth which did no more than illuminate the tiles of the fireplace, and snow falling heavily tapped at the window panes. There was neither light nor sound except these.

But the courage that had come to her, giving her the power of movement, had not quite deserted her, and she began feeling her way down the gallery. And then she found that she was lost. She stumbled against a chair, and, recovering herself, stumbled against another. Then a table barred her way, and, turning swiftly aside, she found herself up against the back of a sofa.

Once more she turned and saw the dim gleam of the firelight on the side opposite to that on which she expected it. In her blind gropings she must have reversed her direction. But which way was she to go now. She seemed blocked in by furniture. And all the time insistent and imminent was the fact that the two innocent terrible ghosts were about to appear to her.

Then she began to pray. "Lighten our darkness, O Lord," she said to herself. But she could not remember how the prayer continued, and she had sore need of it. There was something about the perils of the night. All this time she felt about her with groping, fluttering hands. The fire-glimmer which should have been on her left was on her right again; therefore she must turn herself round again. "Lighten our darkness," she whispered, and then aloud she repeated, "Lighten our darkness."

She stumbled up against a screen, and could not remember the existence of any such screen.
 
Hastily she felt beside it with blind hands, and touched something soft and velvety. Was it the sofa on which she had lain? If so, where was the head of it. It had a head and a back and feet--it was like a person, all covered with grey lichen. Then she lost her head completely. All that remained to her was to pray; she was lost, lost in this awful place, where no one came in the dark except the babies that cried. And she heard her voice rising from whisper to speech, and speech to scream. She shrieked out the holy words, she yelled them as if blaspheming as she groped among tables and chairs and the pleasant things of ordinary life which had become so terrible.

Then came a sudden and an awful answer to her screamed prayer. Once more a pocket of inflammable gas in the peat on the hearth was reached by the smouldering embers, and the room started into light. She saw the evil eyes of handsome Dick, she saw the little ghostly snow-flakes falling thickly outside. And she saw where she was, just opposite the door through which the terrible twins made their entrance. Then the flame went out again, and left her in blackness once more. But she had gained something, for she had her geography now. The centre of the room was bare of furniture, and one swift dart would take her to the door of the landing above the main staircase and into safety. In that gleam she had been able to see the handle of the door, bright-brassed, luminous like a star. She would go straight for it; it was but a matter of a few seconds now.

She took a long breath, partly of relief, partly to satisfy the demands of her galloping heart.

But the breath was only half-taken when she was stricken once more into the immobility of nightmare.

There came a little whisper, it was no more than that, from the door opposite which she stood, and through which the twin-babies entered. It was not quite dark outside it, for she could see that the door was opening. And there stood in the opening two little white figures, side by side. They came towards her slowly, shufflingly. She could not see face or form at all distinctly, but the two little white figures were advancing. She knew them to be the ghosts of terror, innocent of the awful doom they were bound to bring, even as she was innocent. With the inconceivable rapidity of thought, she made up her mind what to do. She had not hurt them or laughed at them, and they, they were but babies when the wicked and bloody deed had sent them to their burning death. Surely the spirits of these children would not be inaccessible to the cry of one who was of the same blood as they, who had committed no fault that merited the doom they brought. If she entreated them they might have mercy, they might forebear to bring the curse on her, they might allow her to pass out of the place without blight, without the sentence of death, or the shadow of things worse than death upon her.

It was but for the space of a moment that she hesitated, then she sank down on to her knees, and stretched out her hands towards them.

"Oh, my dears," she said, "I only fell asleep. I have done no more wrong than that--"

She paused a moment, and her tender girl's heart thought no more of herself, but only of them, those little innocent spirits on whom so awful a doom was laid, that they should bring death where other children bring laughter, and doom for delight. But all those who had seen them before had dreaded and feared them, or had mocked at them.

Then, as the enlightenment of pity dawned on her, her fear fell from her like the wrinkled sheath that holds the sweet folded buds of Spring.

"Dears, I am so sorry for you," she said. "It is not your fault that you must bring me what you must bring, but I am not afraid any longer. I am only sorry for you. God bless you, you poor darlings."

She raised her head and looked at them. Though it was so dark, she could now see their faces, though all was dim and wavering, like the light of pale flames shaken by a draught. But the faces were not miserable or fierce--they smiled at her with shy little baby smiles. And as she looked they grew faint, fading slowly away like wreaths of vapour in frosty air.

Madge did not at once move when they had vanished, for instead of fear there was wrapped round her a wonderful sense of peace, so happy and serene that she would not willingly stir, and so perhaps disturb it.

But before long she got up, and feeling her way, but without any sense of nightmare pressing her on, or frenzy of fear to spur her, she went out of the long gallery, to find Blanche just coming upstairs whistling and swinging her skates.

"How's the leg, dear," she asked. "You're not limping any more."

Till that moment Madge had not thought of it.

"I think it must be all right," she said; "I had forgotten it, anyhow. Blanche, dear, you won't be frightened for me, will you, but--but I have seen the twins."

For a moment Blanche's face whitened with terror.

"What?" she said in a whisper.

"Yes, I saw them just now. But they were kind, they smiled at me, and I was so sorry for them. And somehow I am sure I have nothing to fear."

It seems that Madge was right, for nothing has come to touch her. Something, her attitude to them, we must suppose, her pity, her sympathy, touched and dissolved and annihilated the curse.

Indeed, I was at Church-Peveril only last week, arriving there after dark. Just as I passed the gallery door, Blanche came out.

"Ah, there you are," she said: "I've just been seeing the twins. They looked too sweet and stopped nearly ten minutes. Let us have tea at once."