The Victorian tradition of telling ghost stories at Christmas has been celebrated by Bone and Sickle since 2018.  This year is no exception as we share two stories in this episode, one comic, and one frightening. We begin with the Introduction to the 1891 anthology, Told After Supper, by the British writer, Jerome K. Jerome, following this with “The Old Portrait” from  Scottish writer Hume Nisbet’s 1900 collection Stories Weird and Wonderful. Pour a brandy, douse the lights, and enjoy!

The devilish reputation Ouija boards enjoy in horror films is a relatively new phenomenon.  In the Victorian era, they were regarded by “psychical researchers” as something to be embraced in a spirit of calm scientific inquiry, while Spiritualists saw in them a means of reaching out to those who’d passed into the “Summerland,” an anodyne realm of sweetness and light.

While these were the dominant attitudes of the day, the idea of spirit communications has  always been fraught with a sense of the uncanny, tainted even by an association with witchcraft and the Devil. We’ll see this element already present in those first communications of the Spiritualist movement, the dialogues the Fox sisters with an unseen presence at first presumed to be a sort of devil.

As we saw in our previous episode, spirit-boards represent a particular danger to those with psychologically fragile constitutions. Beyond the instances of obsessive madness detailed previously, this episode examines a handful of cases from the 1920s and ’30s involving actual bloodshed — murder, suicide, and explicit invocations of the Devil.

Of  course these remained isolated incidents, and historical distrust of the Ouija was generally low, and all but non-existent during the spiritual and occult explorations of the 1960s. But all of this would soon change with William Peter Blatty’s 1971 novel, The Exorcist, and its 1973 cinematic adaptation, both of which famously depict the Ouija board as a channel through which the Devil enters.

Some listeners may know that Blatty’s novel was inspired by actual reports of an exorcism that took place in America of the late 1940s, one involving a teenage boy rather than girl, a change Blatty said he’d made to help preserve the privacy of the boy.

Within the last decade, as individuals involved in these incidents have passed on, more information on this case has made its way to public scrutiny.  In the last half of our show, we examine the role spirit-boards and Spiritualist practices played in these events as revealed by a day-to-day log kept by the lead exorcist during the rites . Mrs. Karswell reads for us the passages from the journal.

An element Blatty wove in with this source material was a specific identity of the demon possessing his fictional victim — Pazuzu, an ancient Mesopotamian wind spirit bringing dro ught, famine, storms, and all manner of ill fortune.  As this figure was digested into pop culture over the next decades, a version of its name, “Zozo,” would eventually appear in the  early 2000s as a destructive entity often channeled by unwary Ouija user.  We take a look at this bit of evolving web-lore, showcased in paranormal shows, like Ghost Adventures and at the heart of the 2012 indie horror film I am Zozo.

Banshees are spirits of Irish folklore, who warn of impending deaths.  Originally considered fairies, their Irish name, bean sídhe, means “woman of the mounds,” those mounds (sídhe) being the ancient burial mounds believed in Ireland to be the home of fairies.

The banshee’s wailing, which betokens imminent death of a blood relative, is probably based upon the wailing of Irish mourners called “keeners,” from the Irish word caoineadh, or “lament.”  You can hear some snippets of traditional keeners in this segment, incliuding  a 1957 field recording released by Smithsonian Folkways.

Next we look at how the banshee’s appearance and behavior derives in part from that of Irish keeners, including some odd details having to do with petticoats.  Her origins in the fairy world also has often suggested that she may be small of stature.  We also examine some folktales involving combs lost by or stolen from banshees, and what you should or should not do should you find one.

While the banshee is attached strictly to particular families, she is not bound to the Emerald Isle.  We hear some accounts of her following travelers to other countries, including a surprising tale involving a party aboard an Italian yacht.

The figure, as she’s known today, receives no mention in print until the 17th century.  Mrs. Karswell reads for us what is probably the earliest account, retelling an incident experienced by Lady and Sir Richard Fanshawe, an English ambassador and his wife visiting Ireland.

This account also introduces the notion that a banshee may not originate in the fairy world, but may also be a vengeful ghost.  We hear another tale in this mode associated with Dunluce Castle in County Antrim, a location known for its “banshee room,” a feature duplicated in Shane’s Castle, about an hour to the south.  Both of these castle banshees are sometimes called “the red sisters,” so named for the color of their hair.

After a brief side trip to make note of figures similar to the banshee in Scotland (the caoineag) and Wales, the cyhyraeth and gwrach y rhibyn, we turn to older figures of the fairy realm regarded as banshees, but rather different from the figure born in the Early Modern Period.

The first of these is Clíodna, who was known as the queen of the banshees of southern Ireland, particularly the province of Munster. Unlike the modern banshee, a solitary figure who does little more than wail and make those well-timed appearances, Clíodna engages in romantic affairs, including a romantic rivalry with her banshee sister Aoibhell, a matter culminating in a magical battle with both transformed into cats.

Aoibhell also appears in an important story about Brian Boru, founder of the O’Brian Dynasty, whose army defeats an alliance of Vikings and Irish lords fought at the Battle of Clontarf, near Dublin in 1014. While Boru’s forces are victorious, he and his son are visited by Aoibhell, who heralds their deaths not with a wail, but music played on her harp from the fairy world.  We hear a similar story about the Irish hero and demi-god Cúchulainn encoutering Aoibhell as a death omen.

Cúchulainn also encounters a banshee-like figure of the type folklorists call, “the Washer at the Ford,” or in Celtic regions elsewhere, like Celtic Britanny, “the Midnight Washer.”  The figures appear at lonely bodies of water washing bloody shrouds, or often armor, as they are particularly inclined to predict the deaths of soldiers and armies. We hear a particularly splendid account of one such figure from the 12th-century Triumphs of Torlough — one, which in its generous use of horrific adjectives sounds as if it were written by H.P. Lovecraft.

The episode ends with a quick look at a couple cinematic bamshees, including one which has earned a place in the nightmares of children encountering it in the 1950s-70s.  The two movies we hear bits of are Damned by Dawn and Darby O’Gill and the Little People.

Tonight we bring you our sixth annual Christmas ghost story, a tradition particularly beloved in Victorian and Edwardian Britain. First published in 1908, and set in the days before Christmas, the tale is by British writer Algernon Blackwood (from whom we earlier heard “Ancient Lights“) and whom many listeners will know through his other works, particularly, The Wendigo or The Willows.  Throw a log on the fire, refill the brandy, and settle back for Mrs. Karswell’s reading of “The Kit Bag.”

The Monster of Glamis was a Victorian legend involving a Scottish castle, a secret chamber, and a monstrous aristocrat hidden from the world–a perfect story for Bone and Sickle’s return to its old format, a 45-minute deep-dive into the castle’s lore, including its association with Macbeth, a legend of a cursed Earl’s card game with the Devil, as well as theories regarding the extravagant measures employed to keep the castle’s terrible secret. Along the way, we learn a bit about other secret chambers  in castles and estates of Britain, a scandal involving the Royal Family, and a connection between the Glamis legend and a popular literary trope of the day, one embraced in Gothic fiction and later in the pulps and horror films.  We even hear Lon Chaney, Jr. sing!

“The Spook House,” an 1899 short story by Ambrose Bierce is suitably spooky for the season, but not in the way you expect.It was a favorite of H. P. Lovecraft, who praised its “terrible hints of a shocking mystery.” Also, a macabre bit of poetic whimsy from A.E. Houseman, and an intruder is welcomed in Mr. Ridenour’s library.

Tales of animal ghosts are usually relegated to the periphery of ghost story collections, but in this episode, we showcase this class of apparition. Our stories were collected in a volume from 1915 called Human Animals by Frank Hamel.  It covers werewolves, animal transformations through witchcraft, possession by totemic animal spirits, and the phantom animals that haunt lonely roads, ancestral homes, and the storytellers’ imaginations.

An Irish ghost story seems a good way to add a bit of Halloween spice to your St. Patrick’s Day. Our selection, which will be read by Mrs. Karswell, comes from the 1825 publication Fairy Legends and Traditions of the South of Ireland.  It’s the first of three volumes of stories told by the Irish antiquarian Thomas Crofton Croker, one of the earliest collector of the island’s folk tales.

The Christmas Eve ghost story is a fine old tradition associated with Victorian and Edwardian England, one now making a comeback on both sides of the Atlantic. Since 2018, Bone and Sickle has enthusiastically embraced the custom.

Our offering for 2022, is “Smee” written by A.M. Burrage in 1931 and read for us by Mrs. Karswell.

Previous Christmas ghost stories are linked here in our website show notes  (2018, 2019, 2020, and 2021).

The best known of the 18th-century Hellfire Clubs, one founded by Francis Dashwood, is largely remembered today because of the theatrical settings in which they were said to gather, namely a ruined abbey and a network of caves. The latter is represented in the 1961 period drama, The Hellfire Club, from which we hear a brief snippet (although other details and characters of the film are strictly products of the screenwriter’s imagination.)

Francis Dashwood was born into privilege, son of a Baronet, whose title and estate in Wycombe (in Buckinghamshire county, about an hour northeast of London) he inherited at the age of 15.  His various social connections  saw him appointed to various positions, including Chancellor of the Exchequer and Postmaster General, but his  reputation in such roles was generally one of incompetence. This, however, was balanced by his peculiar genius for organizing social clubs.

We discuss two groups he founded before his “Hellfire” days, The Society of Dilettanti, and The Divan Club, both groups dedicated to exploring the culture of lands far from England: the first dedicated to the exploration of the classical heritage of Greece and Rome, and the latter devoted to the lands of the Ottoman Turks.

Social groups such as these were referred to as “dining clubs,” though “drinking clubs” would likely be more accurate.  The Society of Dilettanti seems to have exhibited a particular devotion to “Venus” and “Bacchus” (polite jargon of the era for erotica and more drinking.)  The Dilettanti’s delight in forbidden themes expressed itself in certain “devilish” elements of club ritual prefiguring Dashwood’s “Hellfire” years.  In  some anecdotes about Dashwood’s travels abroad, told by Horace Walpole, we hear of some likewise impish and irreligious behavior.

In 1752, Dashwood turned his attention to his most famous creation. Actually, he never called it “The Hellfire Club”; instead it was referred to (among other names) as The Brotherhood of St. Francis of Wycombe — a mocking reference to the Catholic saint of Assisi.  Dashwood had several portraits painted portraying him as a questionable monk, including this one by William Hogarth:

(The image in the episode collage likewise represents Dashwood as St. Francis, this one from his Dilettanti years.)

After an abortive start holding meetings on his estate, Dashwood moved the group to the George and Vulture Inn in London, then in 1751, after leasing an old abbey 10 miles south of his estate in Medmenham, he relocated gatherings there, at which point, the group became known as  the Monks of Medmenham.

To supervise restoration of the abbey, Dashwood hired Nicholas Revett, a pivotal figure in the revival of classical Greek architecture in England, a movement, Dashwood embraced with uniquely idiosyncratic abandon.

We hear of a number of eccentrically pagan additions Revett added to Dashwood’s estate, and Mrs. Karswell reads a contemporary report on the dedication of a Temple of Bacchus on the grounds, complete with costumed fawns and satyrs. We also hear about the curious interest he took in Wycombe’s Church of St. Lawrence, hiring Revett to complete a restoration modeled on a pagan temple in Syria.  He also had an enormous golden ball added to the church steeple, one reputedly large enough to accommodate Dashwood and several Hellfire cronies, who would gather there to drink.

As for rumors of sexual escapades attached to the club, we explore some clues provided a 1779 volume surveying London’s brothels entitled Nocturnal Revels.  While some of this may just be salacious rumor, the libertine law of Dashwood’s “order” was literally set in stone, carved over the entrance: Fais ce que tu voudras, (“Do what you will”.)

The phrase is borrowed from 16th century French satirist François Rabelais, himself a former monk who satirized the Church and society at large, in his series of connected novels Gargantua and Pantagruel.  In the former, Rabelais imagined a libertine monastery with the phrase inscribed over its entrance, an idea borrowed by Aleister Crowley in his imagining of an Abbey of Thelema (his religious system built around the concept of the will or thelema in Greek.)

While Dashwood’s primarily playful attitude clearly distinguished him from Crowley and other serious occultists, there were rumors of secret rituals practiced by an inner circle of the monks, as we hear in another description provided by Horace Walpole.

The inner circle of Dashwood’s group, known as “the Superiors,” was restricted to 12 members plus Dashwood, the number being either an irreverent reference to Jesus and his twelve disciples or the number in a witches’ coven.  The general membership  included a alarming number of elite figures, a half dozen or so Members of Parliament, prominent writers, poets, the son of the Archbishop of Canterbury, and Frederick Prince of Wales, the eldest (estranged) son of George II.  We also hear of Benjamin Franklin’s involvement with Dashwood.

Two particular members are discussed in a bit more detail: John Wilkes and John Montagu, whose personal feud spelled the end of the club and involved a particularly outrageous stunt said to have been perpetrated by Wilkes.

Wilkes was a radical politician whose published remarks on a speech by George III resulted in charges of libel and him briefly fleeing the country as an outlaw — an incident which endangered the Monks by his association.  His nemesis was John Montagu, better known as the Earl of Sandwich (and here we provide the origin story of that particular culinary innovation.)

At some point around 1750, Wilkes published obscene parody of Alexander Pope’s poem, “An Essay on Man,”  called “An Essay on Woman,” one which targeted Montagu’s well known mistress Fanny Murray as its subject.  In revenge, Sandwich chose to read before Parliament particularly obscene passages from Wilkes’ satire, resulting in further charges against his rival.  Wilkes reciprocated by publishing further exposes of the group, generating further controversy ultimately leading Dashwood to close the abbey headquarters in March of 1776.

While there were serious political differences between Sandwich and Wilkes, the real cause of their hostility, so goes the story, lies in an absurd stunt referred to as “The Affair of the Baboon,” a detailed account of which Mrs. Karswell provides from an 18th century source.

Though there are no historical records documenting this, a strong tradition holds that after ending meetings at the abbey, Dashwood moved gatherings into a network of manmade caves on his estate (tunnels excavated for chalk).

This tradition is documented as early as 1796, when a diarist (Mrs. Philip Powys)  describes a visit to the caves, noting a hook for a chandelier, likely to have been the “Rosicrucian” chandelier, Dashwood elsewhere described. She also mentions an underground pool supposedly known by the Medmenham monks, as “The River Styx,” a large central chamber that became “The Banqueting Hall” and other small rooms nicknamed “Monks’ Cells.” A gothic facade fronts the caves.

Throughout the 19th century, local legends of occult doings in the caves grew evermore fantastic, as we hear in a few quotes read by Mrs. Karswell. By 1951, a descendent of Francis Dashwood, Sir Francis John Vernon Hereward Dashwood, who had inherited the family’s West Wycombe properties, struck upon the idea of transforming the caves into a tourist attraction, advertising the tunnels as “The Hellfire Caves.”  Though ultimately successful, we hear some contemporary newspaper accounts voicing concerns by local residents and clerics about evil forces awakened from within the caves through these activities.

Our episode ends with a ghost story told of Francis Dashwood’s best friend and fellow Monk, Paul Whitehead, something involving removing Whitehead’s heart.