The second of my three-part series, Stories my Parents Tell Me, is up on the #FolkloreThursday blog! This piece is called “Laughter from Empty Rooms.” My parents tell me more family stories, this time about haunted houses. But what haunts a house? Ghosts, or fairies?
“How do you know [Uncle Pepito] wasn’t just making things up again?” I said.
Mom thought about it.
“Oh, he could have been, but you know… later, your [grandfather] sent him out to the country, to our great-grandfather’s house in Baao …. At first, Pepito was glad to go, but after a few months, he begged to come back home. He said there were multo [ghosts] in the house. Poltergeists.”
Good evening. Tonight I’m going to tell you another strange and unusual story of the unexplainable which lies behind The Veil.
I’ve been on a bit of a Boris Karloff kick since the beginning of the year, after rewatching Frankenstein and Bride of Frankenstein. So I was pleased to discover The Veil, a supernatural-themed anthology series from 1958, which, unfortunately was never broadcast. Only ten episodes were made (and an additional one acquired from another studio), all with intros and outros by Karloff. Karloff also played a character in all the episodes but one. Counting the “unofficial pilot,” there are twelve episodes total.
The Veil isn’t as strong a show as Twilight Zone or Outer Limits, but it’s not bad at all, and some of the episodes are excellent. Unlike Twilight Zone or Outer Limits, The Veil supposedly presents real-life supernatural episodes, what we might call Forteana. Karloff even sometimes refers to his “research” in his episode commentary, as if he himself had discovered the stories. I don’t believe that these stories are based on real incidents, but many episodes do have that open-ended feel of true-life anecdotes, without the neat tied-together structure of fictional tales.
It’s a pleasure to watch Karloff and several other excellent actors in each story. I recognized a few faces (several from Twilight Zone), and people who are real classic TV or classic film buffs may recognize a few more. If you recognize someone in an episode that I didn’t call out, please do let me know in the comments.
The episodes are short, a perfect snack sized TV break when you need one. They are (at least mostly) in the public domain, and you can find them on YouTube or the Internet Archive. Ten of the episodes are on Amazon’s Prime streaming service. In the mini-reviews below, I link to each episode on YouTube.
Karloff went on to host a more successful series, Thriller, which I plan to watch soon.
If you’ve been reading Multo for a while, the articles may seem familiar: I’ve based them on several posts from my Stories my Parents Tell Me category. I’m excited to be sharing my parents’ stories with the larger #FolkloreThursday audience.
“Mom, what do you know about the aswang?”
My parents never told me much about Filipino folklore when I was growing up. As professionals with advanced degrees, maybe they felt that old folktales and superstitions weren’t the kind of thing to share with their American-born daughters. Or maybe they just never thought about it. It wasn’t until much later that I got curious. So on a sunny Boxing Day morning a few years ago, I decided to ask.
“Did your Daddy tell you about what happened to him in Vintar?” my mom asked me.
I’d been gently pumping my parents over Christmas dinner, hoping for more family ghost stories and such, of the kind that they told me (and which I posted) several years ago. Under my prodding, they pulled stories from their memories, most of which I’d heard before. That’s okay; the stories are always worth re-listening to, and it’s fun to note how the details change just a little every time I hear one. With my mom’s help, I got a couple more anecdotes out of my dad that were new to me. Here’s one. I think my dad must have been about eight years old, or so.
As we count down the days to Christmas, here’s another winter tale: a haunted house story by Josephine Dodge Daskam Bacon. I found it in Tim Prasil’s interesting Chronology of early Ghost Hunter fiction. The story opens with a critique of the genre:
The only objection I have to ghost stories,” said young Sanford, “is from a literary point of view. They’re so badly done, you know.”
Specifically, young Sanford asks, how do all these people in haunted rooms get scared to death? Why doesn’t anybody ever rescue them? Why don’t they scream?
This sarcastic complaint is a bit too much for a stranger in the room.
“Do you suppose they don’t try to scream? Do you suppose they don’t think they’re screaming?”
And so the company learns the tale of a haunted mill, where manifestations occurred every Christmas Eve for nineteen years, and three separate ghost hunter parties were driven to madness while investigating. But, of course, there had to be a fourth attempt. It went about as well as you would expect. Continue reading →
Today I feature my second winter tale from Mary Elizabeth Braddon (1835 – 1915), a best-selling “sensation novelist” of the Victorian era, most famous today for the novel Lady Audley’s Secret. Braddon also founded Belgravia magazine in 1866, and edited it until 1876, when the magazine was sold.
“My Wife’s Promise” first appeared in Belgravia Annual, 1868, and again in Braddon’s 1886 collection Under the Red Flag and Other Tales. A former Arctic explorer tries again and again to swear off his Arctic expeditions out of family duty and love for his wife, but the call of the North is strong.
I, Richard Dunrayne, was the elder son of a wealthy house, my father, a man of some influence in the political world, and there were few positions which need have been impossible for me had I aspired to the ordinary career affected by British youth. I had been indulged in my early passion for the sea, in my later rage for Arctic exploration; and it was hoped that, having satisfied these boyish fancies, I should now settle down to a pursuit more consonant with the views and wishes of my people. My mother wept over her restored treasure, and confessed how terrible had been her fears during my absence; my father congratulated me upon having ridden my hobby, and alighted therefrom without a broken neck; and my family anxiously awaited my choice of a profession.
This next winter tale is a good old-fashioned, creepy haunted house story — but a modern one, by Jeanette Winterson, author of Oranges Are Not the Only Fruit and The Passion.
I found it as one of five Christmas ghost stories (all excellent) published by the Guardian Weekend magazine in 2013. Each of the stories has its own strengths; I liked them all. I chose Ms. Winterson’s story because of the five, it feels the most traditional to me.
We had borrowed the house from a friend none of us seemed to know.
A lone narrator in a mysterious, isolated house; footsteps in empty rooms; bats; flakey electricity, and of course (that modern touch) a phone that gets no signal. Oh, and an incomplete Nativity scene. What more could you want for a Christmas ghost story?
Reading this called up a lot of my favorite ghost stories, like Edith Wharton’s “Afterward” and M.R. James’ “Lost Hearts” — not that this story resembles either of those. There are just passing moments in “Dark Christmas” that brought those other stories to my mind. A good thing, in my opinion.
With A Christmas Carol, Charles Dickens practically invented the modern notion of the Christmas season for Britain and much of the English-speaking world (along with Queen Victoria’s consort Albert, who brought German Christmas traditions like the Christmas tree to the UK). I shared Dickens’ “A Christmas Tree” for one of my early series of winter tales, but mostly I try to avoid the more obvious Christmas classics in favor of tales that you might not have read before.
That said, Dickens wrote some fun ghost stories, and ’tis the season…. So today I’ll share a lesser-known Dickens Christmas tale, “The Trial for Murder,” originally titled “To be Taken with a Grain of Salt.” This story first appeared in the 1865 Extra Christmas number of All the Year Round. This issue is collectively known as Dr. Marigold’s Prescriptions — hence, each of the stories had a title with some variation of “To be taken with…”.
Though “The Trial for Murder” is generally credited to Dickens alone, Philip Allingham at The Victorian Web says the story is likely a collaboration with Charles Allston Collins, Dickens’ son-in-law and Wilkie Collins’ brother.
Every year, from the beginning of December until Epiphany, I like to share some winter tales — stories to tell or to read around a warm fire on a cold dark night, preferably with a steamy hot drink to wrap your hands around. This year I’ll open with a lesser-known story from F. Marion Crawford.
“The Doll’s Ghost” first appeared in the 1896 Christmas supplement of the Illustrated London News1, and again in Crawford’s posthumous 1911 collection Wandering Ghosts (Uncanny Tales in the UK). In his lifetime, Crawford was well known and well regarded for his historical novels and romances; today, he is mostly known for his supernatural tales, especially “The Upper Berth,” which M.R. James called a “horrid story” — in the positive sense of “full of horror” — in “Some Remarks on Ghost Stories.”
I picked “The Doll’s Ghost” to open up this year’s series because I like it, of course; also because the doll of the title shares my name, and Mr. Crawford and I share a birthday. It’s a “benign ghost” story, the kind M.R. James disapproved of, but it does have its creepy moments. For parents, it has genuinely scary moments. I think it’s good for the season. Continue reading →