Classic Ghost Stories

It's been a long time since I’ve read a story by a living author. This story, “The Hand of M. R. James,” was written by Canadian author Sarah Tolmie, and it deals with a very strange occurrence—you may call it a haunting—that happens to an academic during the COVID pandemic.

After the story, I ask Sarah about herself, about this story, and about her book Sacraments for the Unfit, from which collection, The Hand of M. R. James is taken.

You can learn more about Sarah from her website

Sarah Tolmie

http://sarahtolmie.ca/

You can read reviews of the the book Sacraments For The Unfit and find links to buy it via this link

http://sarahtolmie.ca/sacramentsReviews.html

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Robert Murray Gilchrist, born on November 29, 1867, in Sheffield, England, was a Victorian writer whose literary contributions remain an intriguing enigma within the realm of Gothic and Decadent fiction. Educated at Sheffield Royal Grammar School and privately tutored, Gilchrist's inclination toward reclusiveness and introspection shaped his literary style. Despite publishing 22 novels and around a hundred short stories, his work, set predominantly in the early 1700s, reflects a unique blend of Gothic, Decadent, and weird sensibilities.

An Analysis of "The Crimson Weaver" Story Through the Lens of Jungian Archetypal Psychology

"The Crimson Weaver," one of Gilchrist's haunting tales, can be analyzed through the lens of Jungian archetypal psychology, revealing the story's hidden depths. The story's archetypal elements align with Carl Jung's concepts of the collective unconscious and its symbols. The Master and the servant, symbolizing conscious and unconscious aspects of the psyche, embark on a journey into the unknown, entering the Domain of the Crimson Weaver. The old woman's warning echoes the archetype of the wise crone, guiding them toward a confrontation with the Shadow—a dark, repressed aspect of the self.

The Crimson Weaver herself embodies the anima archetype, representing the feminine and intuitive aspects of the unconscious. Her seductive allure and her weaving of lives on a loom point to her role as a life-giving and life-taking figure, reflecting the anima's dual nature.

The setting, including the Domain and the enchanted land, symbolizes the liminal space between conscious and unconscious realms, akin to the archetypal threshold where transformation occurs. The strange beasts and grotesque creatures evoke the presence of the Shadow, embodying repressed fears and desires.

The Master's lost love that he keeps as a shrine in his heart appears to be a kind of sacrifice. Is it this hankering that the Crimson Weaver feeds on???

The Master's disappearance and the servant's encounter with the Weaver can be interpreted as a confrontation with the anima's transformative power. The Master's forgotten memory echoes the loss of the conscious ego in the face of the unconscious. The final union with the Weaver and the image of the vulture-legged woman signify a symbolic death and rebirth—a transformation of the ego through embracing the anima's influence.

In "The Crimson Weaver," Gilchrist weaves a narrative that taps into the profound archetypal currents of the human psyche. His story becomes a tapestry of psychological symbols, inviting readers to explore the deeper layers of their own unconscious and engage with the universal themes that lie beneath the surface of the narrative.

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Fitz James O'Brien (1828 – April 6, 1862) was an Irish-American writer, best known for his works in the genre of science fiction and fantasy. Born in Cork, Ireland, he migrated to the United States in 1852 after squandering his inheritance.

O'Brien settled in New York City and began his writing career which took off with his contributions to Harper's Magazine and the New York Saturday Press. He quickly gained popularity for his strange and imaginative stories. His most recognized works include "The Diamond Lens" and "What Was It? A Mystery", both of which are considered early contributions to the science fiction genre.

While O'Brien's literary career was on the rise, the American Civil War broke out. He joined the Union Army in 1861 and was commissioned as a second lieutenant. Despite his talents as a writer, his military career was short-lived. In February 1862, he was injured in a skirmish and contracted tetanus from his wounds. He died on April 6, 1862, leaving behind a significant body of work that continues to be admired for its innovative and imaginative qualities.

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People have been asking for more of my own stories, so here's one. However, I have to warn you that I use the f-word in it and it is rather dark. It's possibly as dark as my Whitehaven Bodysnatcher, plus it has swearing (though it is necessary for the character I feel). So, if you prefer my sweeter stories, or don't like that word being used, I would avoid this one.

It all starts with a man going walking in the Black Forest in Germany...

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Step into the mysterious realm of Eugene Field's short story "The Werewolf." 🌕 This narrative unfolds a tale of love and lycanthropy, revolving around a haunting love triangle. The characters of Harold, Alfred, and the captivating Saxon maiden Yseult are entwined in a complex dance of emotions. Harold, cursed to carry the lineage of a werewolf, traces his ancestry back to the legendary Siegfried. With a unique twist on the traditional werewolf motif, Field's story takes us on a journey through love, curses, and the eerie legacy of lycanthropy.

Meet the creative mind behind "The Werewolf," Eugene Field. 🖋️ Renowned as an American writer, Field's artistic journey flourished from his St. Louis roots. A master of children's poetry and humorous essays, he left an indelible mark on literature. Field's life led him through the realm of journalism, where his wit shone in his articles. His legacy extends beyond his words, with statues, parks, and institutions honoring his influence. Join us in exploring the life of Eugene Field and his captivating tale of "The Werewolf."

#EugeneField #TheWerewolf #LoveTriangle #Lycanthropy #SiegfriedLegacy #AmericanWriter #LiteraryLegacy #CreativeMind #LiteraryTale #LoveAndCurses

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Thank you to Jay Rothermel for suggesting I read these stories. You can read his take on them here:
[https://jayrothermel.substack.com/p/two-stories-by-rose-macaulay-1881]

Dame Emilie Rose Macaulay, born on August 1, 1881, in Rugby, Warwickshire, England, emerged as a distinctive figure in 20th-century literature. The daughter of George Campbell Macaulay, a classical scholar, and Grace Mary Conybeare, her upbringing was imbued with a scholarly aura that would lay the foundation for her intellectual pursuits. She attended Oxford High School for Girls before studying Modern History at Somerville College, Oxford University.

Macaulay's literary journey was marked by a remarkable transformation. From her early struggles with depression, she transitioned into a prolific novelist known for her incisive commentary on society and relationships. This transition is especially fascinating when considered alongside her complex relationships, her private life, and her evolving religious and philosophical beliefs.

Macaulay's religious journey was far from linear. Her exploration of faith went beyond the boundaries of traditional Christianity, reflecting a mystical sense of the Divine. While her spiritual convictions evolved, she did not return to the Anglican church until 1953. This complex relationship with religion is reflected in her works, where themes of Christianity often intertwined with skepticism and satire. Her novels, including "Potterism" (1920) and "Keeping Up Appearances," demonstrated her ability to dissect societal norms, often with a satirical edge.

Her personal life was marked by a clandestine affair with Gerald O'Donovan, a lapsed Irish priest and fellow novelist. This intricate relationship spanned over two decades and remained a secret from many, even her closest friends. Macaulay's own ambivalence toward her sexuality added another layer of complexity to her identity, influencing her writing and the themes she explored.

Macaulay's relationships within literary circles were equally captivating. She fostered connections with prominent writers such as Rupert Brooke and Elizabeth Bowen, often leaving her imprint on their narratives. Her role as a patron and supporter of emerging talents showcased her nurturing spirit, even as her own literary prowess continued to grow.

Her impact extended to journalism, where she contributed to magazines like Time & Tide and the Spectator. Her engagement with contemporary issues, including her support for the League of Nations, underscored her commitment to global harmony.

Macaulay's work often grappled with the tension between individual freedom and societal responsibilities. Her novel "The World My Wilderness" (1950) exemplified this theme, as it navigated war-torn landscapes and internal struggles. The contrast between private introspection and public involvement became a defining motif in her literary explorations.

Dame Emilie Rose Macaulay's legacy is a testament to the interplay of faith, identity, and relationships in shaping artistic expression. Her intricate journey through religious and philosophical landscapes, her intricate relationships with other literary figures, and her prolific body of work continue to captivate readers and scholars alike. As a figure who wove threads of complexity into the fabric of literature, she s

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Joseph Sheridan Le Fanu

Joseph Thomas Sheridan Le Fanu (1814-1873) was an Irish writer and one of the leading ghost story writers of the 19th century. Born into a literary family in Dublin, he studied law and became a journalist. Le Fanu's first published story appeared in 1838. In 1844, he married Susanna Bennett and had four children.

Following his wife's death in 1858, Le Fanu withdrew from society for a period of time. However, during the 1860s and 1870s, he produced his most notable supernatural fiction, including the acclaimed short story collection "In a Glass Darkly" (1872) and the vampire novella "Carmilla" (1871).

Le Fanu's ghost stories, such as "Green Tea," "The Familiar," and "Mr Justice Harbottle," earned him admiration from fellow writers like M.R. James. Although he also wrote novels, journalism, and poetry, Le Fanu's reputation predominantly rests on his chilling tales of the supernatural.

He passed away in Dublin in 1873 at the age of 58. Today, Le Fanu is regarded as one of the pioneers and masters of supernatural horror fiction. His work greatly influenced subsequent writers, including Bram Stoker, who drew inspiration from Le Fanu's vampire story, "Carmilla."

Schalken The Painter Analysis

In "Schalken The Painter," Vanderhausen can be seen as a representation of the shadow archetype, embodying the dark, repressed, and sinister aspects of the characters Douw and Schalken. The shadow is a psychological concept in Jungian theory that represents the hidden, suppressed, and often undesirable aspects of the psyche. It holds the unacknowledged fears, desires, and weaknesses that individuals may project onto others.

Full analysis and links here
https://www.ghostpod.org/2023/07/15/schalken-the-painter-by-j-sheridan-le-fanu/

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Edith Wharton was born Edith Newbold Jones on January 24, 1862, into a wealthy New York family. She was a prolific writer, known for her insightful and critical portrayal of the American upper class. Her most famous works include "The Age of Innocence," "Ethan Frome," and "The House of Mirth." Wharton was the first woman to win the Pulitzer Prize for Literature in 1921. She was also a keen designer, traveler, and a dedicated supporter of French efforts during World War I, for which she was awarded the French Legion of Honor.

The Story and Its Context: "The House of the Dead Hand" was published in 1904, a time when Wharton was beginning to establish herself as a serious writer. This was a period of significant personal and social change for Wharton. She was beginning to question the constraints of her privileged New York society, and these themes of societal constraints and personal freedom are evident in the story. The story also reflects Wharton's love for Italy and her deep knowledge of art and culture.

"The House of the Dead Hand" by Edith Wharton is a compelling exploration of power dynamics, personal freedom, and the enduring influence of the past. The story centers around Miss Lombard, a woman trapped by her father's control and his obsession with a Leonardo da Vinci painting. Even after her father's death, she remains ensnared by his influence, symbolized by the painting she cannot sell. This narrative can be seen as a critique of patriarchal control, reflecting Wharton's own questioning of societal constraints. From a Freudian perspective, Miss Lombard's complex relationship with her father can be interpreted as a manifestation of the Elektra complex. The story also incorporates elements of Jungian psychology, with the painting serving as a powerful symbol of the unconscious. Wharton's narrative structure effectively builds tension, foreshadows dramatic events, and delivers a chilling twist, leaving a lasting impression of Miss Lombard's despair and entrapment.

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Arthur Conan Doyle's "The New Catacomb" is a chilling exploration of the themes of revenge, betrayal, and obsession, all set against the haunting backdrop of Rome's ancient catacombs. With its strong atmospheric build-up and a shocking climax, the story delivers a compelling narrative, though it falls short in terms of character development and narrative clarity.

Conan Doyle masterfully employs the theme of revenge, manifest in Burger's calculated plot against his friend and rival Kennedy. It's an example of karma, with Kennedy becoming the victim of the same callous behavior he displayed towards Mary Saunderson, Burger's fiancée. Burger's obsession with his revenge plot, which he meticulously executes under the guise of archaeological discovery, adds another layer of complexity to his character.

Betrayal is a constant undercurrent in this tale. Kennedy's betrayal of Mary Saunderson and, by extension, Burger, sets the stage for the dramatic climax, while Burger's act of leaving Kennedy alone in the catacomb is a striking mirror image of this betrayal. The irony of Kennedy, the heartbreaker, accusing Burger of mistreating Mary Saunderson is not lost on the reader and adds an interesting dynamic to the plot.

The story excels in creating a palpable sense of claustrophobia and tension within the catacomb's dark confines. However, the intricacies of the catacomb's layout can become confusing, causing disorientation and detracting from the overall narrative experience.

One of the strengths of this story lies in the surprising revelation about Mary Saunderson's engagement, which adds a twist to the narrative. This unexpected element of surprise showcases Conan Doyle's ability to keep readers on their toes.

The characterization, however, leaves room for improvement. While Kennedy is convincingly portrayed as an obsessed but callous archaeologist, his motivations remain unclear, making him a less sympathetic protagonist. Similarly, Burger's vengeful rigidness, though compelling, could benefit from additional depth.

The ending, while providing a neat closure with Burger's false newspaper story, also seems to tie the narrative too abruptly. Further exploration of Mary Saunderson's perspective would have added a valuable dimension to the story.

In conclusion, "The New Catacomb," while not Conan Doyle's most nuanced work in terms of character development, remains an engaging short story. Its gripping narrative, marked by an atmospheric setting and a plot filled with revenge, betrayal, and irony, ensures an entertaining read. The story's major strengths lie in its sense of atmosphere and suspense, while its character development and narrative clarity could use some refinement.

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William Frederick Temple (9 March 1914 – 15 July 1989) was a British science fiction writer, best known for his novel "Four-Sided Triangle."

Born in Woolwich in 1914, Temple's early career included working as a clerk in the London Stock Exchange. His passion for science fiction led him to become an active member of the Science Fiction Association and the British Interplanetary Society.

During World War II, Temple served as a field artillery signaller. After the war, he resumed his writing career, publishing "Four-Sided Triangle" in 1949, which was later adapted into a film in 1953.

Though he found success with some novels and series, such as the "Martin Magnus" series for young readers, Temple eventually returned to full-time employment in 1957 due to financial constraints. His last novel, "The Fleshpots of Sansato" (1968), marked the end of his writing career. He died in 1989.

"The Whispering Gallery" is one of Temple's intriguing short stories, first published in "Fantastic Universe" in October 1953. The story is set in the Whispering Gallery at St. Paul's Cathedral in London, a location famous for its unique acoustic phenomenon that allows whispers to be heard across the room.

The story has been included in various anthologies and collections, such as "65 Great Tales of Horror" edited by Mary Danby.

"The Whispering Gallery" by R.F. Temple is a haunting tale set within the eerie confines of St. Paul's Cathedral's Whispering Gallery. The story masterfully weaves an atmospheric setting, rich with symbolism and intrigue. The golden ball atop the cathedral, symbolizing innocence and obsession, becomes a beacon of desire for the young protagonist, Frederick. Themes of innocence, fear, and the supernatural are explored with subtlety, creating a tension that drives the narrative. However, the story's pacing might feel uneven, and the characters, particularly Frederick's mother and the guide, could benefit from more depth and development.

The supernatural elements in the story add a layer of complexity and intrigue. The ghostly figure and the haunting voice in the Whispering Gallery create a sense of dread and terror, playing on primal fears. The cathedral's history and the recurring ghostly events suggest a cyclical nature of time and history, where the past continues to haunt the present. Yet, some readers might find the ending and the supernatural aspects confusing or underexplained, and the connection between the historical and supernatural aspects could be clarified.

In conclusion, "The Whispering Gallery" is an engaging and thought-provoking read that effectively uses its setting and supernatural elements to create suspense and horror. The golden ball's symbolism, reflecting the danger of unchecked curiosity and obsession, adds depth to the story. While the character development and clarity in some areas could be enhanced, the story's exploration of innocence, obsession, and fear, along with its rich symbolism, make it a memorable piece of horror fiction. The allure of the unknown and unattainable, embodied in the golden ball, leads the protagonist to his doom, offering a chilling commentary on human desire and the dark corners of the human psyche.

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