Somewhat over a year ago, I started the Dark Tales Sleuth blog to record my progress tracking down the sources of unattributed stories in the 1856 three volume anthology, Evening Tales for the Winter. I’ve been working on the project on and off since then, and yesterday I wrapped up what I could discover about Volume Two!
Of the last four stories in Volume Two, two were non-supernatural crime or adventure tales, one was arguably a ghost story, and the last a gothic demon tale. I’ve already featured Charles Macfarlane’s “Hungarian Robbers” in my Classic Crime series, so no more needs to be said about that.
Remember my other blog,The Dark Tales Sleuth? That’s where I’m tracking down the sources of the unattributed stories in the 1856 anthology, Evening Tales for the Winter, edited by Henry St. Clair. I’m still working on it!
After wrapping up Volume One, I started on Volume Two with what seemed like a straightforward case, which quickly turned super interesting. I began with what I thought was a plagiarism of one of the seven “horrid novels” from Jane Austen’s Northanger Abbey, and found what I think is an alternative (and earlier!) translation of the first section of the German source novel. Pretty cool!
It started when I came across an old anthology called Evening Tales for the Winter (1856). The first few stories included some interesting gothic tales, some implied to be translated from German; the book looked to be a potential source for good stories to share for Winter Tales season. So I started reading.
I noticed, though, that nothing was attributed: no authors, no translators, no information at all. This annoys me.
When the world feels like it’s falling apart around you, it feels good to solve little problems that are completely under your control. And that’s what I’ve been doing this past week. I migrated ninazumel.com away from WordPress to a more appropriate host (Github Pages); I merged the old Win-Vector sites (there were two of them, self-hosted) into a single sleek new site — ironically, now WordPress hosted. And I reconstructed a very old and neglected site, mzlabs.com, and set it up here (The address mzlabs.com should still reach it).
All this virtual housekeeping turned up some old writing of mine, and of John’s, that I think is worth revisiting again. So here’s a little (non ghost-related) reading list for you, if you are in the mood:
Browsing through JSTOR the other day, a paper caught my eye: “Vengeance with a Stickpin: Barreto, Quiroga, And García Calderón,” by Daniel C. Scroggins. A stickpin, you say? Oh, that must be “El solitario” (The Solitare)! I love that story; it’s my favorite of the Quiroga pieces that I’ve translated. So of course, I had to read the paper.
Scroggins posits that “El solitario” (probably first published in 1913, collected in 1917), as well as the 1925 short story “El alfiler” by Peruvian author Ventura García Calderón, were both influenced by an earlier story, also titled “El alfiler” (The Stickpin), by Peruvian José María Barreto. Barreto published his story in the Uruguayan periodical Revista Nacional de Literatura y Ciencias Sociales in 1897; Quiroga, remember, was Uruguayan.
If you read Spanish, you can download the August 10, 1897 issue of Revista Nacionalhere; the story is on page 74. It’s quite short: about two columns of a three column layout. I also translated the story and put it up on Ephemera:
Though my translations are amateur attempts, I’m really enjoying the challenge. Other than The Feather Pillow, these are the first literary stories that I’ve attempted without a previous translation to reference. I’ve translated other things without reference, like this and this, but in those cases I was concerned mostly with meaning. With a literary work, one wants to convey not just meaning, but something of the work’s voice and tone.
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.
Near Byland Abbey, Yorkshire, ghosts walked. If only someone would pray for their sins.
A traveller, carrying a load of beans, encountered a whirling haystack on the road. Inside the haystack, a strange light glowed. The traveller invoked the haystack; it became a man. This man insisted on carrying the traveller’s beans. When they reached the river, the man disappeared, leaving the traveller with the beans on his own back. The traveller had masses sung for the soul of the revenant, and the ghost was laid.
It looked like an injured crow; the tailor tried to help. The crow shot sparks from his sides; in fear, the tailor crossed himself. With a terrible screech, the crow attacked; injured, the tailor prayed for protection. The crow turned into a dog; the tailor invoked the creature to speak. In life, the dog had been a man; he had been excommunicated for a terrible crime (What crime? No one says). Now his ghost wanted absolution, and one hundred and eighty masses to be said for his soul. If the tailor helped him, the ghost would tell him how to heal his wounds; otherwise, the tailor’s flesh would rot, and his skin would waste away.
The tailor went to the priest who had excommunicated the man; the priest refused to give absolution. The tailor begged—who wants their own flesh to rot, or their skin to waste away? Finally the priest agreed. The tailor went to all the monasteries in York, and got one hundred and eighty masses for the man’s soul. The tailor went to meet the ghost; the ghost arrived as a goat, then turned into a flame. Satisfied, the ghost told the tailor to bathe in the river and scrub his body with a certain rock; then the tailor’s wounds would heal. The ghost then left on his journey to heaven; the tailor returned home, and fell ill.
I recently came across the essay “Let Me Tell You,” by author Cecilia Tan. It’s a response to the old writing dictum “show, don’t tell,” and in the process of arguing against it (specifically in the SF/Fantasy genres), the essay also takes a shot at the myth of “universality” that underlies the dictums of writing “quality” (read: literary) fiction.
I highly recommend the essay to you. But in addition to what it says to writers/readers of SF/Fantasy, it crystallized some other thoughts of my own – a reader, not a writer, and not generally an SF/Fantasy reader either – about the obligations of the reader.
Clumsy exposition (“as you know…”) is one of my pet peeves. And I’ve noticed that I sometimes prefer reading works from an X writer to those of an X-American or otherwise hyphenated writer (X-British, X-Canadian, etc.), and this is kinda why: X-Americans often feel an obligation to write to “Americans”. That is, they feel the need to explain bits of X culture or history to the mainstream “American” reader. X writers write only to X-ians.
A Filipinx author can leave the fraught relationship/history between the Philippines and US unsaid, even when that relationship is central to their themes or to their characters, because readers in the Philippines know. But not all Americans do, so a Fil-American author might feel the need to somehow work a little history lesson into their narrative.