There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.
—Shakespeare, Hamlet, Act I Scene V
Ruskin Bond says, while a good ghost story may not turn us into a believer in the supernatural, it can make us ponder upon the mysteries of human existence, and raise the possibility of another layer of life outside our material selves—something of the soul-force, the aura of a person that lingers on after the body is no more. Most of his stories are set in the hill-stations and small towns in the foothills of the Himalayas, away from the urban setting. Perhaps it is where “the inward eye” is able to speak the best.
Here, I would like to take up the titular story of this collection.
A Face in the Dark is set in Simla. Ruskin Bond once remarked that while he does not believe in ghosts, he sees them all the time—in the woods, in a bar, in a crowd outside a cinema. It is not surprising therefore, that the realm of the supernatural finds an expression in Ruskin Bond’s stories. He skillfully wields scary techniques in his short stories pertaining to the supernatural, thus sowing seeds of fear and suspense in the minds of his readers.
The protagonist, Mr. Oliver was an Anglo-Indian teacher, who taught in an English public school on the outskirts of the hill-station of Simla. He was a bachelor and was probably staying alone in the school premises. It was his usual leisurely activity to stroll into the town in the evening to the Simla Bazaar, about three miles from the school, with its cinemas and restaurants, returning only after dark by taking a short cut through the pine forest. A courageous man, he was not nervous or imaginative. The spectral pine forest, the eerie atmosphere with a strong wind blowing, making sad sounds, which kept most people to the main road, seemingly had no effect on him. The batteries of Oliver’s torch running down create an atmosphere of fear and suspense, indicating that something evil is going to happen.
On his way back to the school, “returning after dark”, Oliver sights upon a boy, sitting alone on a rock in the midst of the forest, late at night. He had his head hung down and held his face in his hands. The “figure of the[a] boy” marked the inception of trepidation in his mind, as well as the readers, evoking a sense of an ominous foreboding. His silent sobbing accentuates the anxiety. The flickering light of the torch that he carried, with its “batteries [were] running down” creates a sense of tension. On Oliver held the torch against the face of the boy, he was horrified at shockingly macabre face, rather facelessness. The suspense is further heightened when Oliver started running away from the faceless boy, the torch falling “from his trembling hand”. He saw “a lantern swinging in the middle of the path” and stumbled upon a watchman only to find that he too was faceless. The climax is reached “when the wind blew the lamp out”, leaving the readers to imagine what might have happened to Oliver.
Narrating the story in third person, Bond has focused on the details, necessary to the creation of apprehension and anxiety in the story. Most of the images used to create a mysterious atmosphere, befits a ghost story. It is ironic how both the sources of light —the torch and the lantern, have been used in the story as tools to evoke fear, instead of getting rid of it, as both brings to light the “featureless faces” of the boy and the watchman. The alliterations in the story, especially the‘s’ sounding ones create a hissing sound, making a chill go down our spine. Moreover, the boy and the watchman, who appear to be having a ‘face’ in the dark, did not have a face when seen in light. Bond himself says, “After dark we see or hear many things that may seem mysterious and irrational and then, by the clear light of the day, we find that the magic and mystery have an explanation after all.”
This story has different layers of meaning. On one level, it can be read as a paranormal one with the faceless boy and the watchman as two ghostly figures haunting the Oliver. On a deeper level, it can be read as unraveling the mysteries of human experience for Ruskin Bond believed that no matter how rational a person is, there is always an element of superstition in his mental makeup. Thus, not only does the story makes us ponder upon the intrigues of life but also makes us probe on the possibility of another layer of life outside our material world.
Though it is said that Oliver is not “a nervous or imaginative man”, yet it is possible that out of his fear, anxiety or loneliness, he might really be imagining some strange things. It is ironic that Oliver gets to see the “face in the dark”, and when the torch light falls on the boy, he is rendered a faceless apparition. It can be deducted that human being, like Oliver experience bliss in ignorance. Till the time he does not sight upon the appalling macabre, he had concern for the boy. But a moment later, when the bloodcurdling scene intimidates him, the “concern” is gone and he runs for his safety. This shows how humans hold their own life precious the best.
Bond’s stories generally have revelation of many moments of loneliness and anxiety. The petrifying incident can also be accounted for by keeping in mind the fact that Oliver was a bachelor and was lonely. He longed for company but all he gets are “faceless” faces---he feels lost in the crowd. Thus it might be possible that Oliver is looking for friends or family but is not able to find them. Thus, it could be that a boy’s school cap was lying on a rock, which Oliver in the flickering light of his torch, imagined to be a boy without a face. Again, it might have been his fear that made him imagine the watchman too as being faceless like the boy, perhaps a case of mindscape landscape.
Although one may suggest that Oliver’s encounter might just have been a prank played upon him by a mischievous student, the strict regulations of the school suggestive of severe punitive measures, kind of reduces that possibility to a probability (/rules out that possibility). A cliffhanger, the story leaves the readers to imagine what might have happened to Oliver, ushering Goosebumps.
Thus to read Ruskin Bond’s “ghost stories is to transport oneself into imaginary world where the supernatural elements have a great sway over human life.”