Earlier this year I got quite interested in the short stories of the Uruguyan author Horacio Quiroga (1878-1937), and I started translating and posting some of his stories. One of Quiroga’s literary influences was Edgar Allan Poe, with whom he shares a morbid fascination with death and madness. I’m sure Quiroga’s frequent themes of addiction and illness are also partially influenced by Poe, as well.
Quiroga published his breakout collection Cuentos de amor, de locura y de muerte (Tales of Love, Madness and Death) in 1917. By then, his voice was coming into its own, merging Quiroga’s love for Poe with other literary interests, in particular de Maupassant and Kipling, along with Quiroga’s own life experiences living in the jungle province Misiones, in Argentina. But his earlier work shows Quiroga’s love for Poe much more strongly. Several of the stories in his 1904 collection, El crimen del otro (The Crime of Another) are direct homages to Poe’s short stories.
I translated one of Quiroga’s earliest stories back in July, but never posted it here. You can read it at the Ephemera blog:
Full disclosure: Tim kindly sent me a review copy of this book.
The executive summary:Guilt is a Ghost is a fine second offering in the adventures of ghost hunter Vera Van Slyke and her assistant Lucille Parsell (nee Ludmila Prasilova).
The operative phrase is second offering: I’m honestly not sure what a reader’s reaction would be if this were the first Vera Van Slyke book they read. (Tim Prasil apparently disagrees with me). Having read Help for the Haunted first (my review here), I came into Guilt is a Ghost familiar with the two main characters, and already quite fond of them. And that’s good, because I feel there is less characterization of Vera and her friendship with Lucille in this book than there was in the previous one.
Covering the third of Boris Karloff’s three anthologies of dark tales.
The Boris Karloff Horror Anthology, first published in 1965, is rather different from Karloff’s previous two anthologies. Tales of Terror and And the Darkness Falls were both collaborations with Karloff’s friend, the editor Edmund Speare. Both those anthologies highlighted stories that, while macabre, could mostly be considered “mainstream” or “literary” tales from the nineteenth and twentieth centuries. The Boris Karloff Horror Anthology, on the other hand, has more of a pulp magazine feel, and features almost all stories from the mid-twentieth century (nothing earlier than 1936; Table of Contents here). The one exception is Poe’s “The Cask of Amontillado,” which is included because John Jake’s story “The Opener of the Crypt” is a sequel to Poe’s classic tale.
This difference raises a number of possibilities about the editorship of the anthologies:
Speare had more to do with the editing of the first two anthologies than one might think.
Karloff had less to do with the editing of the third anthology than one might think.
Karloff’s tastes, and his thoughts on the definition of terror, had evolved in the intervening two decades.
Covering the second of Boris Karloff’s three anthologies of dark tales.
And the Darkness Falls is the second anthology of “terror tales” edited by Boris Karloff (with Edmund Speare’s assistance). It was published in 1946 by World Publishing, apparently to coincide with the release of the film Bedlam, Karloff’s third and final collaboration with producer Val Lewton (Cat People). While Tales of Terroris an anthology of mostly ghost stories, about half the stories in And the Darkness Falls have no supernatural element, but are naturalistic tales of the macabre. Reading it reminded me a little of an old Alfred Hitchcock anthology. This is not a bad thing; the Alfred Hitchcock paperbacks put out by Dell in the ’60s and ’70s were a staple at my local library when I was growing up, and I adored them.
And the Darkness Falls is a more ambitious and eclectic anthology than Tales of Terror: a whopping 69 stories and poems (Table of Contents here), each with a brief introduction by Karloff that gives biographical information about the author, and often a short rationale for the story’s selection, or its thematic connections with other stories in the book. The main criterion for inclusion in the anthology seems to be that the story be in some way dark. Karloff and Speare interpret the idea of dark broadly, leading to an interesting and diverse selection of tales. Karloff also wrote a short introduction to the entire anthology.
Covering the first of Boris Karloff’s three anthologies of dark tales.
Some time in the early 1940s, Boris Karloff was approached by his friend Dr. Edmund Speare, editor for Pocket Books and Knopf, as well as the author of several books of literary criticism and editor of World’s Great Short Stories; Masterpieces of American, English and Continental Literature (World Publishing, 1942). Speare pitched to Karloff the idea of “a collection of bogey stories selected by a professional bogey man” — Karloff. The deal was for Speare to gather the first round of candidate stories, and for Karloff to winnow them down for the final selection, as well as to write the introduction to the anthology. The result was Tales of Terror, released by World Publishing in 1943 with Karloff credited as editor.
Tales of Terror collects fourteen tales, most of them quite well known by aficionados of the genre today, though perhaps they were less well known at the time (Table of Contents here). The collection is still a fine introduction to some classics of the genre for newcomers, but the real delight is Karloff’s introduction. Reading it (I like to imagine Karloff’s deep distinctive voice while doing so), we learn of Karloff’s distinction between terror and horror. To Karloff, horror carries a connotation of revulsion; the gory, the grisly, the Grand Guignol: that’s horror. The basis of terror, on the other hand, is simply fear: “fear of the unknown and the unknowable.” I’ve read elsewhere that Karloff preferred to call his own films “terror films” rather than “horror films” for this same reason.
Exploring the dark tales of this Uruguayan author.
I recently found Horacio Quiroga’s short story “The Dead Man” in Clifton Fadiman’s 1986 collection The World of the Short Story, and it’s given me a new hobby: tracking down all of his short stories that I can find.
I’ve seen Quiroga’s stories compared variously to Edgar Allan Poe, Ambrose Bierce, William Faulkner, and Rudyard Kipling; he himself acknowledged the influences of Poe, Kipling and de Maupassant on his work. Like Poe, he had a theory of the perfect short story (one he often contradicted in his own work). Also like Poe, and he was incredibly obsessed with death, and fascinated with madness as well.
This morbid viewpoint is not surprising, given Quiroga’s own life history. His father accidentally shot himself on a hunting trip and later his stepfather deliberately shot himself (apparently, Quiroga witnessed it). In 1900, when Quiroga would have been about twenty-one, his two brothers died of typhoid fever. The following year, one of Quiroga’s best friends, Federico Ferrando, was challenged to a duel. Since Ferrando knew nothing about guns, Quiroga offered to check Ferrando’s gun for him — and accidentally shot and killed Ferrando in the process. Though Quiroga was found innocent of any crime, his own feelings of guilt led him to leave his native Uruguay for Argentina.
It is always hazardous to prophesy the future course of an admirable writer, but it is safe to say that the rich, human embodiment of the stories collected in this volume assure them a permanence in our literature for their imaginative reality, their warm color, and their finality of artistic execution. Almost without exception they represent the best that is being accomplished in America today by a literary artist.
— Edward J. O’Brien, Introduction to Land’s End and Other Stories (1918)
When I first read Wilbur Daniel Steele’s 1919 short story, “Out of Exile,” it struck me right away. The language was beautiful, the imagery evocative. I loved it. I felt immediately drawn into this New England fishing community, on the fictional Urkey Island, as the love triangle at the heart of the story unfolded through the filter of the narrator’s growing up and coming-of-age. And although the story was not in any way supernatural, somehow it felt like a ghost story. And that, of course, is a plus, as far as I’m concerned. I wondered: who is this Wilbur Daniel Steele? Did he write any actual ghost stories? What are they like?
He’s quite forgotten today (sorry, Mr. O’Brien!), but Wilbur Daniel Steele was one of the most popular American short story writers of the early twentieth century. He wrote both for prestigious fiction magazines and for women’s magazines. Between 1915 and 1933, at least ten of Steele’s stories appeared in Edward J. O’Brien’s annual Best [American] Short Stories of the Year. Over the same period, eleven of his stories were O. Henry prize selections: one more than John Cheever, one fewer than Alice Munro and William Faulkner.
After about 1933, he seems to have published fewer short stories, and these largely in women’s magazines. He had a revival of sorts around the 1950s, when some of his earlier work was republished in crime fiction magazines like Ellery Queen’s Mystery Magazine. After that, he dropped off the radar. Steele passed away in 1970, at the age of 84.
I confess: I picked this up in the bookstore because it had “ghosts” in the title. But I didn’t put it down when I saw that it was a book of essays, and I’m glad I didn’t. I wasn’t familiar with Eliot Weinberger before this, and I’m a better person for having discovered him.
Eliot Weinberger is an essayist, political commentator, editor, and translator of Latin American and Chinese literature. This particular volume has two parts. The first part “continues his linked serial-essay An Elemental Thing” (note to self: pick up the first part of the serial-essay), and the second part collects various book reviews and essays originally written as introductions to other people’s works. The first part is wondrous. The second part is quite enjoyable, too.
Reading “The Story of Adam and Eve” was a revelation for me. In it, Weinberger reconstructs the story of what happened to Adam and Eve (and later, to Cain) after they were expelled from the Garden, based on several extant versions of the story (Greek, Latin, Slavonic, Georgian, Armenian). Not only is in an interesting tale in itself, but I felt like I had just discovered the ideal that I’ve been striving for in the retellings of folktale and myth that I attempt from time to time on this blog. It’s an ideal that I’ll likely never achieve, but now I have a conscious image in my head of what I’m trying to reach.
And then it gets even better; I have more literary goals to strive for.
A collection of Golden Age ghost stories that will be all brand-new to most readers.
I had been planning to post one more winter tale, but I just finished this anthology from the British Library Tales of the Weird series, and I enjoyed it so much that I decided to write about it instead.
In Glimpses of the Unknown: Lost Ghost Stories, editor Mike Ashley has compiled eighteen previously unrepublished supernatural tales from British periodicals and magazines of the period between the 1890s to the end of the 1920s. Some of the stories are from writers who were well-known during the period but forgotten now; some are from writers who were relatively obscure (and possibly pseudonymous) even at the time. The jewel of the collection is a previously uncollected ghost story by E. F. Benson, written for the London Evening News in 1928. It’s a pleasant surprise, and quite a coup for the editor.