Another in the British Library's “Tales of the Weird” titles, collating supernatural stories from chiefly Victorian and Edwardian writers. This one featured all new-to-me titles aside from the Conan Doyle offering. Emily Vincent has done an excellent range of uncovering a wide range of intriguing titles loosely linked by a spiritualist theme, presenting them here in order of publication.
We begin with WELL-AUTHENTICATED RAPPINGS, a humorous account by Dickens of a man's digestive ailments and their causation by a mischievous spirit. It's rather laboured but works as a lighthearted piece. Following this is an except taken from Robert Browning's MR. SLUDGE, “THE MEDIUM”, which satirises the profession in a cutting way. I'm no fan of excerpts as they appear in anthologies but I'm glad to have made acquaintance with this famous title.
Florence Marryat's A MIDSUMMER'S NIGHTMARE; OR, THE AMATEUR DETECTIVE is the first narrative short story and it tackles the subject in an amusing way. The protagonist is an investigator who travels to Norwich in search of a missing man, but ends up staying in a haunted house. For me, the combination of likeable narrator and touches of character humour make this one a winner. Following this is Lettice Galbraith's excellent IN THE SEANCE ROOM, which ably mixes a sinister crime story with a spooky séance scene. The psychological approach works very well and the clinical tone gives this the impact of a true crime tale.
Jean Lorrain's THE SPECTRAL HAND is a short effort about a summoned apparition foretelling doom. It's straightforward enough, but suitably atmospheric with it. Unfortunately, Emma Dawson's “ARE THE DEAD DEAD?” is the one I liked least of all, a muddled romance in a haunted house which feels like nothing more than an excuse for the author to repeatedly show off her learning. Elizabeth D'Esperance's THE LIGHT OF PETRAGINNY is much better and one of the best here: a saga-like story of Cornish shipwrecks and second sight, loaded with atmosphere and tragic characters. It summons up a mood of doomed inevitability and is all the better for it.
Next up is another except, this time from H.G. Wells's LOVE AND MR LEVISHAM, and not for me either; I wasn't a fan of the way it discusses spiritualism in a rather dry fashion, and I wouldn't rank it as one of the author's many decent pieces of writing. Conan Doyle's PLAYING WITH FIRE I already knew, and I've always had a ball with this one. It offers an exciting set-piece in which an unexpected apparition makes its appearance at a suspenseful séance. Following this is Edgar Jepson's MRS. MORREL'S LAST SEANCE, which I'd rank the finest in the book. It's a thoroughly frightening read in which the strained atmosphere of the séance is depicted very well, and the unusual events which take place are handled superbly, leaving me feel uneasy and full of questions after I'd read it, which is the desired effect of any ghost story.
Jessica Adelaide Middleton's AT A SEANCE is a short-short that commendably tells a complete story in just two pages, while F. Scott Fitzgerald's THE I.O.U. is a wonderfully droll effort in which the publication of a spiritualist memoir comes a cropper due to an unexpected development. For me, this hilarious story is every bit as assured as the likes of GATSBY, and easily on par with other comic favourites of mine, like the works of Wodehouse. THE SEANCE AT RADLEY MANOR: A WARNING, by Katherine Drake, is the longest story collected here, a novella in which a group of characters assemble at a country house for a séance, but there's a violent visit from an interloper. It's not for all tastes, containing long passages of dialogue which the author uses to explore the spiritualist landscape of 1925, but I found the discussion fascinating and enjoyed the narrative overall. The last tale, Olga L. Rosmanith's simply-titled SEANCE, is another brief story about a bickering couple, but it has an appropriately chilly twist which works very well.
Altogether this is an intriguing collection which is a must for anyone with an interest in spiritualist history or indeed ghost stories as a whole.