Tag Archives: Thrillers – Suspense

Ghost Story

Hermetic Library Fellow T Polyphilus reviews Ghost Story [Amazon, Bookshop, Publisher, Local Library] by Peter Straub.

Straub Ghost Story

Ghost Story was Peter Straub’s breakout novel in 1979, and I remember seeing it in the “new” section of my local public library at the time. The publisher flogged it as a supernatural horror book with literary merit, and it was a fair boast. Straub was an admirable prose stylist, and his monsters have come a long way from their folklore and pulp origins. I found precursor comparanda in some of Seabury Quinn’s semi-traditional creatures and most especially Jack Williamson’s Darker Than You Think. Straub, who would eventually edit the two-volume American Fantastic Tales: Terror and the Uncanny for Library of America, consciously adverts to his more literary antecedents Nathaniel Hawthorne and Henry James, even going so far as to name two central characters Ricky Hawthorne and Sears James.

It’s a big book, with the storytelling heft of, say, a full season of the Stranger Things television horror drama. Like that show, it is multigenerational in scope, although Straub’s key ensemble is geriatric rather than adolescent. And Straub’s imagined town of Milburn, New York provides the Hawthorne-to-HPL New England sense of a lost frontier buried deep in the unconscious, rather than the vulnerable bucolic Midwestern sensibility of Hawkins, Indiana. All sorts of characters are powerfully drawn, with relationship tensions extending in every direction.

The body of the book provides several layers of background for the frame story focused on the horror novelist Don Wanderly. There is naturally some metafictional positioning that results, both from Wanderly’s metier and from the ghost-storytelling preoccupation of the Chowder Society, the clique of old friends around whom most of the novel is constructed. The climax takes place in late December, thus attaching the book to the English tradition of the Christmas ghost story, for which those of M.R. James are paragons. While there was less metafictional meat here than in Straub’s later book The Hellfire Club (i.e. Wanderly’s The Nightwatcher is neither so well-developed nor so pivotal to the story as Hugo Driver’s Night Journey), it still put a shine on the writing.

I have not yet seen the 1981 movie which was “loosely based” on the novel, but the book itself gives more than a little attention to cinema. Attorney Ricky Hawthorne is a movie aficionado given to describing people in terms of old screen icons, and he is friends with the proprietor of the local picture show. A key background character Eva Galli was a film actress, having appeared in a single silent film China Pearl (1925), and there is also important business involving a more recent actress Ann-Veronica Moore. The film of Ghost Story turned out to be the final screen appearance of Fred Astaire (in the role of Ricky Hawthorne), and Astaire is actually name-checked in the novel: “… Clark Gable in a bush jacket turning into Dan Duryea in a gangster’s nipped-in-suit turning into graceful, winning Fred Astaire in a Chowder Society tuxedo” (465).

My copy of this book is the first edition, which has a feature of interest extirpated from later re-issues. The chapter “Alma” (181-221) details Wanderly’s previous marital engagement during a brief university gig in Berkeley, California. By way of making the Alma character mysterious and creepy, Straub associated her with something presented as more dreadful than “California lunacy at its worst,” to wit: “O.T.O. … Ordo Templi Orientis … raw material for nightmares” (194-5). Some incidental details demonstrate that Straub’s awareness of O.T.O. was almost certainly based on press coverage of the Solar Lodge pretender organization. In any case, he never presents any specific characters or activities as being part of O.T.O., he just uses the allusion for nebulous menace. Since the actual O.T.O. was operating in Berkeley in 1979, they felt a bit slandered and reached out to Straub, who graciously apologized and made an edit for later printings to change the name to an occult order of his own invention: Xala Xalior Xiati.

The rich character development in this book is the feature that makes it most effective as supernatural horror, in my opinion. You can’t be very afraid for people you don’t care about. On the other hand, there are doubtless adrenaline junkies for whom the pace of this novel with its nested retrospection is just too slow to keep them engaged. (I’ve certainly read complaints to that effect online.) It continues to find a place in “best of” horror indices, and it deserves one.

Declare

Hermetic Library Fellow T Polyphilus reviews Declare [Amazon, Bookshop, Publisher, Local Library] by Tim Powers

Powers Declare

I came to Tim Powers’ Declare on the strength of a friend’s recommendation, and also Charles Stross’ comparison to his own work in The Atrocity Archives. Although the subject matter of espionage plus supernatural elements was certainly similar to Stross’ “Laundry” novels, I was surprised to find myself comparing Declare to a very different, and altogether more popular book: Jonathan Strange & Mr Norrell by Susanna Clarke. Both are bulky, character-oriented novels rooted in the socio-political frames of particular periods; both are self-consciously English; both have emotional depth; both mix in some real historical persons as characters; both introduce their central supernatural elements in a gradual manner; and in both cases those elements are anchored in archaic intelligences and their complex relations with humanity. I would even compare the narrative role that Powers assigns to T.E. Lawrence (“of Arabia”) to that occupied by the Raven King in Clarke’s book. And both Powers and Clarke are performing a comparable sort of transcendent pastiche: adding magic to the LeCarre spy thriller on the one hand and to the Austen saga of realist satire on the other. Powers gets more points for fidelity to history, Clarke for verisimilitude of magic.

Comparisons aside, I did very much enjoy Declare. It was not a flawless book. There was a certain attribution of supernatural efficacy to Christian piety and sacraments that was never properly justified, and I occasionally found a sentence in laughable need of easy repair. (An example of both from p. 486: “He opened his mouth to speak the first words of the Our Father, but realized that he had forgotten them.”) But there is a healthy and profitable use of dramatic irony — attentive readers can stay a half-step ahead of the central characters — and Powers manages to instill a real numinosity into the higher orders of espionage that he invents for World War II and the Cold War. The psychology of double-agency is a long-standing interest of mine, and Powers makes it central to his novel in a way that I appreciated. The recruitment and induction of spies (“agent-runners”) is presented through an explicitly initiatory framework that should be accessible and engaging to those who share those interests with me as well.

Night-Gaunts and Other Tales of Suspense

Hermetic Library Fellow T Polyphilus reviews Night-Gaunts and Other Tales of Suspense [Amazon, Bookshop, Publisher, Local Library] by Joyce Carol Oates

Oates Night-Gaunts and Other Tales of Suspense

This relatively recent collection from Joyce Carol Oates offers a half dozen “tales of suspense.” They are not supernatural horror, despite the title’s allusion to the monstrous phantasms of H.P. Lovecraft. Although all written in the third person, each is thoroughly psychological, tracking the thoughts of villains and victims on the cusp of horrible events. There is a lot more person than plot in these stories, and the substance of them is the interaction of character with circumstance.

The first story “The Woman at the Window” was (according to its prior publication) inspired by an Edward Hopper painting, and I’m sure the painting in question must be 11 A.M. (1926).

These tales tend toward novella length, typically on the long side of what can be read in a single sitting, but often subdivided into chapters. The longest story in the collection is “The Experimental Subject,” which is trained on the interior world of a scientific researcher seducing an undergraduate student into being unwittingly inseminated with chimpanzee sperm. Strangely, it is probably the closest of any of the stories in the book to having a “happy” outcome.

The title story that concludes the book is an account of “Horace Love, Jr.,” a fairly transparent fictionalization of the biography of Lovecraft. It takes for its premise the same thesis set forth in this bit of criticism from Kenneth Callaghan:

“Lovecraft was masquerading, for the purposes of fiction, as both the son and as his own father, thereby giving himself permission to use his own father’s madness for fictional purposes, and informing both himself and us, the readers, of the secret facts of his pathology that his own father was unfortunately unable to provide to him. In his fiction, if not in his life, Lovecraft was able to assume the mask, and the role, of the father, and with none of the messy aftereffects of STDs, wives, or possession by an all-consuming and all-destroying sexuality.” (Lovecraft’s Dark Arcadia, 86)

There is a bit of thematic resonance between “Night-Gaunts” itself and the other pieces of the collection, particularly “Sign of the Beast” and “Walking Wounded.” All of these stories have vivid characters with their subjectivities unravelled in engaging prose. The endings are sometimes like a song finishing on a suspended chord–you know where the story might go, and Oates allows you to do the work of taking it there.

Desirous of leaving the powers of fancy at liberty to expatiate through the boundless realms of invention, and thence of creating more interesting situations, he wished to conduct the mortal agents of his drama according to the rules of probability; in short, to make them think, speak and act, as it might be supposed mere men and women would do in extraordinary positions.

Horace Walpole, The Castle of Otranto [Amazon, Bookshop, Internet Archive]

Hermetic quote Walpole The Castle of Otranto powers fancy liberty boundless invention rules probability think speak act extraordinary

“The jewel has facets,” said the Chinese, “and it is possible that many religions are moderately true.” “I agree with that,” said Barnard heartily. “I never did believe in sectarian jealousies. Chang, you’re a philosopher, I must remember that remark of yours. ‘Many religions are moderately true.’ You fellows up on the mountain must be a lot of wise guys to have thought that out. You’re right, too, I’m dead certain of it.” “But we,” responded Chang dreamily, “are only moderately certain.”

James Hilton, Lost Horizon: A Novel [Bookshop, Amazon, Publisher]

Hermetic quote Hilton Lost Horizon all religions moderately true but only moderately certain

“So you think I’m mad?” said Conway at length. Mallinson broke into a nervous laugh. “Well, I should damn well say so, after a tale like that. I mean … well, really … such utter nonsense … it seems to me rather beyond arguing about.”

James Hilton, Lost Horizon: A Novel [Bookshop, Amazon, Publisher]

Hermetic quote Hilton Lost Horizon utter nonsense beyond arguing