The above image is a digital manipulation of the drawing below:
The above image is a digital manipulation of the drawing below:
This week’s poem is There was in cranes. I hope you enjoy it!
There was in cranes. by Jay Snelling
To look forward to it was an astonishing feeling of a high degree.
one by hand.
Directors of gardens,
their relationship to the towering tempest in over 2000 plastic theatres
created a production by the name of
She sat by Neptune and they created poultry,
and dogs with names of Mars and Fire.
They were interested,
to London they flew for a
line and shine
I use chance methods to create my poetry and I’d love to hear from others who do the same!
Strange Medicine by Mike Russell is free on Kindles today! Grab a copy 🙂
From Kiernan to Carter, here are Examining the Odd‘s top Weird Fiction authors! I hope you find it of use. Feel free to share it everywhere.
Anthony Tobias Bradshaw sits, as usual, on the 7:00 a.m. train, on his way to work. Dressed in his black raincoat, pin-striped suit, white shirt, black tie and black shoes, Anthony Tobias Bradshaw reads the morning newspaper, either nodding or shaking his head in agreement or disagreement with the various articles. Each movement of his head, be it a nod or a shake, maintains and strengthens who it is that Anthony Tobias Bradshaw believes himself to be.
‘Why does he continue to go to work?’ is a question that many people have whispered behind the back of Anthony Tobias Bradshaw; not because Anthony Tobias Bradshaw is past retirement age and in receipt of a pension (though he is) but because the business for which Anthony Tobias Bradshaw continues to work closed down twelve years ago.
If anyone were to ask Anthony Tobias Bradshaw why he continues to diligently repeat the same administrative tasks, Monday to Friday, nine to five, in an abandoned office building, for a business that no longer exists, he would undoubtedly reply:
‘Because I am Anthony Tobias Bradshaw. That is what I do.’
The train slows to a halt. Anthony Tobias Bradshaw lays his newspaper on his lap and peers out of the window. The station that Anthony Tobias Bradshaw sees is not his destination. Anthony Tobias Bradshaw looks at his watch; his destination is not due for another twenty-seven minutes. Anthony Tobias Bradshaw shakes his head.
‘Yes, sir?’ the young guard replies, rushing through the carriage towards Anthony Tobias Bradshaw, eager to be of service.
‘This is the 7:00 a.m. non-stop train, is it not?’ Anthony Tobias Bradshaw asks.
‘Yes, sir,’ the guard answers. ‘This is the 7:00 a.m. train and it is non-stop.’
The guard smiles, happy that he has been able to help. Before Anthony Tobias Bradshaw can ask the guard why then, if the train is non-stop, has it just stopped, the guard walks on through the carriage with the satisfied feeling of a job well done.
Anthony Tobias Bradshaw shakes his head then picks up his newspaper and resumes reading. Whilst Anthony Tobias Bradshaw reads, the carriage doors open and an elderly woman in a multi-coloured shawl steps onto the train. She walks towards Anthony Tobias Bradshaw and sits in the seat opposite him.
The carriage doors shut and the train continues on its way.
The elderly woman stares at Anthony Tobias Bradshaw.
‘In the future,’ the woman says, ‘I remember a man like you.’
Anthony Tobias Bradshaw slowly lowers his newspaper.
‘I am sorry, madam, are you talking to me?’ Anthony Tobias Bradshaw enquires, knowing perfectly well that she is but wanting the woman to understand just how impertinent it is of her to be doing so.
The woman ignores Anthony Tobias Bradshaw’s question and says:
‘One day, the man realised that he wasn’t a man at all but that he was, in fact, sixteen birds. At the moment of realisation, the birds all suddenly took flight, each one flying off in a completely different direction.’
Anthony Tobias Bradshaw slowly shakes his head.
‘Is that so?’ Anthony Tobias Bradshaw says. ‘And what exactly is it that you are attempting to communicate to me by sharing this little work of fiction, this little fairy story, hmm? I presume that you intend it to have some sort of symbolic function, though I really cannot see what on Earth that might be.’
Anthony Tobias Bradshaw waits for an answer but the woman simply stares at him with an expression that clearly shows her disdain for everything he has just said. Anthony Tobias Bradshaw shakes his head then returns to his newspaper.
The 7:00 a.m. non-stop train eventually reaches its destination, the extra stop somehow not having added any time to the journey, and Anthony Tobias Bradshaw packs his newspaper away in his briefcase, shakes his head one last time at the elderly woman in the multi-coloured shawl who is still staring at him with the same expression, then Anthony Tobias Bradshaw stands up, steps off the train and walks towards the derelict building in which he works.
Anthony Tobias Bradshaw enters a large room filled with rows of empty, dust-covered desks and empty, dust-covered chairs. Though all of the desks and chairs are identical, Anthony Tobias Bradshaw always works at the same desk, his desk, and sits on the same chair, his chair, both of which are significantly less dust-covered and are situated at the far end of the room. Anthony Tobias Bradshaw walks to his desk, removes his coat and hangs it on the back of his chair, sits down and opens his briefcase.
‘I should not have even entered into conversation with her,’ Anthony Tobias Bradshaw says aloud to himself. ‘I should have just shaken my head then ignored her. That is what I should have done. To even entertain the possibility that such nonsense has meaning is a weakness that leaves oneself open to attack.’
Anthony Tobias Bradshaw feels a breeze, looks around him and sees an open window. Anthony Tobias Bradshaw shakes his head, reprimanding himself for not having closed the window the previous day. He hears a rustling sound coming from the waste-paper bin beneath his desk, looks inside the bin and sees a pigeon flapping about amongst the screwed up newspapers. Anthony Tobias Bradshaw shakes his head.
‘This is what happens,’ Anthony Tobias Bradshaw says aloud, ‘when one leaves just the tiniest opening.’
Anthony Tobias Bradshaw opens his desk drawer and removes a pair of scissors, a ball of string and a bulldog-clip. Using the scissors, Anthony Tobias Bradshaw cuts a one metre length of string from the ball. Anthony Tobias Bradshaw then ties one end of the length of string to the bulldog-clip. The other end of the string, Anthony Tobias Bradshaw ties to the paperweight that is sitting on his desk. Anthony Tobias Bradshaw then reaches into the waste-paper bin, takes hold of the pigeon, attaches the bulldog-clip to one of its legs, carries it to the centre of the room, sets the paperweight down on the floor, then lets go of the pigeon. The tethered bird flies about frantically, pulling on the weighted string, unable to escape. Anthony Tobias Bradshaw walks back to his desk, sits down, watches the bird for a while, nodding in satisfaction, then begins his usual daily tasks.
Anthony Tobias Bradshaw works through the day, pausing only at midday to eat a cheese and tomato sandwich that he bought, as usual, from the newsagents in the station that morning, then at 5:00 p.m. Anthony Tobias Bradshaw closes his briefcase, puts on his coat and leaves the office, ensuring before he does so that all of the windows are firmly shut.
At the station, as usual, Anthony Tobias Bradshaw buys the evening newspaper, then catches the 6:00 p.m. train. On the train, Anthony Tobias Bradshaw sits reading the evening newspaper, nodding or shaking his head at the various articles. The 6:00 p.m. train travels to its destination on time without incident.
‘Hello, Celia,’ Anthony Tobias Bradshaw calls as he enters his house.
Anthony Tobias Bradshaw closes the door behind him, sets down his briefcase, hangs up his coat and removes his shoes.
‘Hello, Celia,’ Anthony Tobias Bradshaw calls again.
Anthony Tobias Bradshaw’s wife always has a hot meal waiting for him when he arrives home. The meal always consists of meat, potatoes and three vegetables on a large, white, china plate with cutlery and condiments, positioned at the far end of the dining table. Anthony Tobias Bradshaw’s wife always eats before Anthony Tobias Bradshaw gets home because Anthony Tobias Bradshaw prefers to eat alone.
Anthony Tobias Bradshaw enters the dining room.
Instead of the usual one large, white, china plate at the end of the table, there are sixteen small, white, china plates covering the whole of the table. There is no cutlery, no condiments and each plate, instead of containing a hot meal, has in its centre a small pile of seeds.
Anthony Tobias Bradshaw shakes his head.
‘Celia!’ Anthony Tobias Bradshaw shouts. ‘What’s going on? Is this a joke?’
Anthony Tobias Bradshaw walks into the kitchen. His wife is not there. In the middle of the kitchen table is a large packet of birdseed.
‘Celia!’ Anthony Tobias Bradshaw shouts.
Anthony Tobias Bradshaw walks upstairs. His wife is nowhere to be seen. Anthony Tobias Bradshaw walks back downstairs, enters the living room and sits in his armchair, shaking his head again and again whilst waiting for his wife to appear. When the clock strikes midnight and his wife is still nowhere to be seen, Anthony Tobias Bradshaw walks back into the dining room, picks up the sixteen small plates, takes them into the kitchen, pours the birdseed into the bin and puts the plates away in the cupboard. Anthony Tobias Bradshaw then walks upstairs and goes to bed.
The next day, Anthony Tobias Bradshaw sits again on the 7:00 a.m. train and reads the morning newspaper, nodding or shaking his head at the various articles, then nodding his head with particular vigour when the train arrives at its destination without having made any erroneous stops.
Inside his office, Anthony Tobias Bradshaw nods in satisfaction at the tethered pigeon, then walks to his desk, removes his coat and hangs it on the back of his chair, sits down, opens his briefcase and begins the day’s tasks. As usual, Anthony Tobias Bradshaw works through the day, pausing only at midday to eat a cheese and tomato sandwich, then at 5:00 p.m. Anthony Tobias Bradshaw closes his briefcase, puts on his coat, leaves the office and walks to the station. There, he buys the evening newspaper, then catches the 6:00 p.m. train home.
Anthony Tobias Bradshaw closes the door to his house behind him, sets down his briefcase, hangs up his coat, removes his shoes, then calls:
There is no answer. Anthony Tobias Bradshaw enters the dining room. Sixteen small plates cover the dining table as before, each with a small pile of birdseed in its centre. Anthony Tobias Bradshaw shakes his head then picks up his briefcase and stomps upstairs.
In the bedroom, Anthony Tobias Bradshaw undresses in front of a full-length mirror. Anthony Tobias Bradshaw shakes his head at his naked reflection, then opens his briefcase and removes a bulldog-clip. Anthony Tobias Bradshaw attaches the clip to the end of his tongue. Anthony Tobias Bradshaw produces another clip from his briefcase and attaches it to the end of his nose. Anthony Tobias Bradshaw produces two more clips and attaches one to each of his ears. Anthony Tobias Bradshaw produces more clips, attaching one to each of his eyebrows, one to each of his nipples, one to the back of each of his hands, one to each of his thighs, one to each of his knees and one to the top of each of his feet.
Anthony Tobias Bradshaw then produces from his briefcase a pair of scissors and a ball of string from which he cuts sixteen lengths. Anthony Tobias Bradshaw attaches a length of string to each of the bulldog-clips that now adorn his body.
Anthony Tobias Bradshaw looks at his reflection and nods.
‘But how to harness them?’ Anthony Tobias Bradshaw says aloud.
Anthony Tobias Bradshaw searches his reflection, then finds the perfect solution. Anthony Tobias Bradshaw ties each of the loose ends of string to his penis. Anthony Tobias Bradshaw nods in satisfaction, then puts on his pyjamas and goes to bed.
In the morning, Anthony Tobias Bradshaw wakes at the usual time, washes, dresses, walks downstairs and puts on his shoes and coat, picks up his briefcase, then leaves his house and walks to the station. The bulldog-clips and strings mean that Anthony Tobias Bradshaw has to walk rather carefully but, other than slowing him down a little, Anthony Tobias Bradshaw does not find them too troublesome.
‘The usual, sir?’ asks the newsagent, deciding not to mention the entirely obvious pieces of stationery attached to Anthony Tobias Bradshaw’s face and the connected strings that disappear down into Anthony Tobias Bradshaw’s collar.
Anthony Tobias Bradshaw nods, then hands over the exact money for his copy of the morning newspaper and his cheese and tomato sandwich.
On the 7:00 a.m. train, only the young guard shows any sign of noticing Anthony Tobias Bradshaw’s peculiar adornments, and even then his only reaction is a brief expression of concerned shock, which is quickly and professionally replaced by a congenial and un-judgemental smile.
Anthony Tobias Bradshaw arrives at his office, nods at the tethered pigeon, walks to his desk, removes his coat and hangs it on the back of his chair, sits down, opens his briefcase and begins the day’s tasks. Anthony Tobias Bradshaw works until 5:00 p.m., pausing only at midday to eat (with some difficulty) his cheese and tomato sandwich, then Anthony Tobias Bradshaw leaves the office, walks to the station, buys the evening newspaper and catches the 6:00 p.m. train home.
In his house, Anthony Tobias Bradshaw enters the dining room, clears away the sixteen new plates of birdseed, sits in his armchair in the living room until midnight, then walks upstairs to bed.
In the bedroom, Anthony Tobias Bradshaw stands in front of the full-length mirror and undresses. Anthony Tobias Bradshaw nods in satisfaction at the fact that all of the clips and strings are still in place. Then Anthony Tobias Bradshaw turns around and gasps.
‘Celia!’ Anthony Tobias Bradshaw says.
Anthony Tobias Bradshaw’s wife is lying in the bed. She is wearing her multi-coloured shawl.
‘Turn the light out, dear,’ she says as if she has not been absent for the past two days and nothing is amiss.
Anthony Tobias Bradshaw stands and looks at his wife. He feels as if he has not seen her for longer than two days; he feels as if he has not really seen her for years. He is overwhelmed by her beauty, by the beauty of who she is, of who she really is, and Anthony Tobias Bradshaw experiences his first erection in twenty-five years accompanied by the noise of sixteen bulldog-clips snapping shut as they are all pulled at once from their various locations. The bedroom is filled with the sound of fluttering wings and that which used to call itself Anthony Tobias Bradshaw feels utterly fantastic.
Copyright © 2016 Mike Russell. All Rights Reserved.
If you enjoyed this story, go and check out Mike’s website StrangeBooks.com
We all know Lovecraft, Poe and M. R. James, but how about broadening our horizons? Here are ten of the original Weird Fiction authors from around the world.
Ryūnosuke Akutagawa – Tokyo, Japan, 1892-1927. Ryūnosuke Akutagawa was a Japanese writer active in the Taishō period in Japan. He is regarded as the “Father of the Japanese short story” and Japan’s premier literary award, the Akutagawa Prize, is named after him. He committed suicide at the age of 35 through an overdose of barbital. Ryūnosuke Akutagawa was born in the Kyōbashi district of Tokyo, the third child and only son of father Toshizō Niihara and mother Fuku. – Wikipedia. Read one of his short stories for free here.
Friedrich de la Motte Fouqué – Berlin, Germany, 1777-1843. Read his works for free here. He was introduced to August Wilhelm Schlegel, who deeply influenced him as a poet (“mich gelehret Maß und Regel | Meister August Wilhelm Schlegel”) and who published Fouqué’s first book, Dramatische Spiele von Pellegrin, in 1804. – Wikipedia
Théophile Gautier – Tarbes, France, 1811-1872.
André Breton – Orne, France, 1896-1966.
Gustave Flaubert – Rouen, France, 1821-1880.
Start from Chapter One.
It may well be imagined how powerfully I was affected by the annals of the Harrises. In this continuous record there seemed to me to brood a persistent evil beyond anything in Nature as I had known it; an evil clearly connected with the house and not with the family. This impression was confirmed by my uncle’s less systematic array of miscellaneous data—legends transcribed from servant gossip, cuttings from the papers, copies of death-certificates by fellow-physicians, and the like. All of this material I cannot hope to give, for my uncle was a tireless antiquarian and very deeply interested in the shunned house; but I may refer to several dominant points which earn notice by their recurrence through many reports from diverse sources. For example, the servant gossip was practically unanimous in attributing to the fungous and malodorous cellar of the house a vast supremacy in evil influence. There had been servants—Ann White especially—who would not use the cellar kitchen, and at least three well-defined legends bore upon the queer quasi-human or diabolic outlines assumed by tree-roots and patches of mould in that region. These latter narratives interested me profoundly, on account of what I had seen in my boyhood, but I felt that most of the significance had in each case been largely obscured by additions from the common stock of local ghost lore.
Ann White, with her Exeter superstition, had promulgated the most extravagant and at the same time most consistent tale; alleging that there must lie buried beneath the house one of those vampires—the dead who retain their bodily form and live on the blood or breath of the living—whose hideous legions send their preying shapes or spirits abroad by night. To destroy a vampire one must, the grandmothers say, exhume it and burn its heart, or at least drive a stake through that organ; and Ann’s dogged insistence on a search under the cellar had been prominent in bringing about her discharge.
Her tales, however, commanded a wide audience, and were the more readily accepted because the house indeed stood on land once used for burial purposes. To me their interest depended less on this circumstance than on the peculiarly appropriate way in which they dovetailed with certain other things—the complaint of the departing servant Preserved Smith, who had preceded Ann and never heard of her, that something “sucked his breath” at night; the death-certificates of fever victims of 1804, issued by Dr. Chad Hopkins, and shewing the four deceased persons all unaccountably lacking in blood; and the obscure passages of poor Rhoby Harris’s ravings, where she complained of the sharp teeth of a glassy-eyed, half-visible presence.
Free from unwarranted superstition though I am, these things produced in me an odd sensation, which was intensified by a pair of widely separated newspaper cuttings relating to deaths in the shunned house—one from the Providence Gazette and Country-Journal of April 12, 1815, and the other from the Daily Transcript and Chronicle of October 27, 1845—each of which detailed an appallingly grisly circumstance whose duplication was remarkable. It seems that in both instances the dying person, in 1815 a gentle old lady named Stafford and in 1845 a school-teacher of middle age named Eleazar Durfee, became transfigured in a horrible way; glaring glassily and attempting to bite the throat of the attending physician. Even more puzzling, though, was the final case which put an end to the renting of the house—a series of anaemia deaths preceded by progressive madnesses wherein the patient would craftily attempt the lives of his relatives by incisions in the neck or wrist.
This was in 1860 and 1861, when my uncle had just begun his medical practice; and before leaving for the front he heard much of it from his elder professional colleagues. The really inexplicable thing was the way in which the victims—ignorant people, for the ill-smelling and widely shunned house could now be rented to no others—would babble maledictions in French, a language they could not possibly have studied to any extent. It made one think of poor Rhoby Harris nearly a century before, and so moved my uncle that he commenced collecting historical data on the house after listening, some time subsequent to his return from the war, to the first-hand account of Drs. Chase and Whitmarsh. Indeed, I could see that my uncle had thought deeply on the subject, and that he was glad of my own interest—an open-minded and sympathetic interest which enabled him to discuss with me matters at which others would merely have laughed. His fancy had not gone so far as mine, but he felt that the place was rare in its imaginative potentialities, and worthy of note as an inspiration in the field of the grotesque and macabre.
For my part, I was disposed to take the whole subject with profound seriousness, and began at once not only to review the evidence, but to accumulate as much more as I could. I talked with the elderly Archer Harris, then owner of the house, many times before his death in 1916; and obtained from him and his still surviving maiden sister Alice an authentic corroboration of all the family data my uncle had collected. When, however, I asked them what connexion with France or its language the house could have, they confessed themselves as frankly baffled and ignorant as I. Archer knew nothing, and all that Miss Harris could say was that an old allusion her grandfather, Dutee Harris, had heard of might have shed a little light. The old seaman, who had survived his son Welcome’s death in battle by two years, had not himself known the legend; but recalled that his earliest nurse, the ancient Maria Robbins, seemed darkly aware of something that might have lent a weird significance to the French ravings of Rhoby Harris, which she had so often heard during the last days of that hapless woman. Maria had been at the shunned house from 1769 till the removal of the family in 1783, and had seen Mercy Dexter die. Once she hinted to the child Dutee of a somewhat peculiar circumstance in Mercy’s last moments, but he had soon forgotten all about it save that it was something peculiar. The granddaughter, moreover, recalled even this much with difficulty. She and her brother were not so much interested in the house as was Archer’s son Carrington, the present owner, with whom I talked after my experience.
Having exhausted the Harris family of all the information it could furnish, I turned my attention to early town records and deeds with a zeal more penetrating than that which my uncle had occasionally shewn in the same work. What I wished was a comprehensive history of the site from its very settlement in 1636—or even before, if any Narragansett Indian legend could be unearthed to supply the data. I found, at the start, that the land had been part of the long strip of home lot granted originally to John Throckmorton; one of many similar strips beginning at the Town Street beside the river and extending up over the hill to a line roughly corresponding with the modern Hope Street. The Throckmorton lot had later, of course, been much subdivided; and I became very assiduous in tracing that section through which Back or Benefit Street was later run. It had, a rumour indeed said, been the Throckmorton graveyard; but as I examined the records more carefully, I found that the graves had all been transferred at an early date to the North Burial Ground on the Pawtucket West Road.
Then suddenly I came—by a rare piece of chance, since it was not in the main body of records and might easily have been missed—upon something which aroused my keenest eagerness, fitting in as it did with several of the queerest phases of the affair. It was the record of a lease, in 1697, of a small tract of ground to an Etienne Roulet and wife. At last the French element had appeared—that, and another deeper element of horror which the name conjured up from the darkest recesses of my weird and heterogeneous reading—and I feverishly studied the platting of the locality as it had been before the cutting through and partial straightening of Back Street between 1747 and 1758. I found what I had half expected, that where the shunned house now stood the Roulets had laid out their graveyard behind a one-story and attic cottage, and that no record of any transfer of graves existed. The document, indeed, ended in much confusion; and I was forced to ransack both the Rhode Island Historical Society and Shepley Library before I could find a local door which the name Etienne Roulet would unlock. In the end I did find something; something of such vague but monstrous import that I set about at once to examine the cellar of the shunned house itself with a new and excited minuteness.
The Roulets, it seemed, had come in 1696 from East Greenwich, down the west shore of Narragansett Bay. They were Huguenots from Caude, and had encountered much opposition before the Providence selectmen allowed them to settle in the town. Unpopularity had dogged them in East Greenwich, whither they had come in 1686, after the revocation of the Edict of Nantes, and rumour said that the cause of dislike extended beyond mere racial and national prejudice, or the land disputes which involved other French settlers with the English in rivalries which not even Governor Andros could quell. But their ardent Protestantism—too ardent, some whispered—and their evident distress when virtually driven from the village down the bay, had moved the sympathy of the town fathers. Here the strangers had been granted a haven; and the swarthy Etienne Roulet, less apt at agriculture than at reading queer books and drawing queer diagrams, was given a clerical post in the warehouse at Pardon Tillinghast’s wharf, far south in Town Street. There had, however, been a riot of some sort later on—perhaps forty years later, after old Roulet’s death—and no one seemed to hear of the family after that.
For a century and more, it appeared, the Roulets had been well remembered and frequently discussed as vivid incidents in the quiet life of a New England seaport. Etienne’s son Paul, a surly fellow whose erratic conduct had probably provoked the riot which wiped out the family, was particularly a source of speculation; and though Providence never shared the witchcraft panics of her Puritan neighbours, it was freely intimated by old wives that his prayers were neither uttered at the proper time nor directed toward the proper object. All this had undoubtedly formed the basis of the legend known by old Maria Robbins. What relation it had to the French ravings of Rhoby Harris and other inhabitants of the shunned house, imagination or future discovery alone could determine. I wondered how many of those who had known the legends realised that additional link with the terrible which my wide reading had given me; that ominous item in the annals of morbid horror which tells of the creature Jacques Roulet, of Caude, who in 1598 was condemned to death as a daemoniac but afterward saved from the stake by the Paris parliament and shut in a madhouse. He had been found covered with blood and shreds of flesh in a wood, shortly after the killing and rending of a boy by a pair of wolves. One wolf was seen to lope away unhurt. Surely a pretty hearthside tale, with a queer significance as to name and place; but I decided that the Providence gossips could not have generally known of it. Had they known, the coincidence of names would have brought some drastic and frightened action—indeed, might not its limited whispering have precipitated the final riot which erased the Roulets from the town?
I now visited the accursed place with increased frequency; studying the unwholesome vegetation of the garden, examining all the walls of the building, and poring over every inch of the earthen cellar floor. Finally, with Carrington Harris’s permission, I fitted a key to the disused door opening from the cellar directly upon Benefit Street, preferring to have a more immediate access to the outside world than the dark stairs, ground floor hall, and front door could give. There, where morbidity lurked most thickly, I searched and poked during long afternoons when the sunlight filtered in through the cobwebbed above-ground windows, and a sense of security glowed from the unlocked door which placed me only a few feet from the placid sidewalk outside. Nothing new rewarded my efforts—only the same depressing mustiness and faint suggestions of noxious odours and nitrous outlines on the floor—and I fancy that many pedestrians must have watched me curiously through the broken panes.
At length, upon a suggestion of my uncle’s, I decided to try the spot nocturnally; and one stormy midnight ran the beams of an electric torch over the mouldy floor with its uncanny shapes and distorted, half-phosphorescent fungi. The place had dispirited me curiously that evening, and I was almost prepared when I saw—or thought I saw—amidst the whitish deposits a particularly sharp definition of the “huddled form” I had suspected from boyhood. Its clearness was astonishing and unprecedented—and as I watched I seemed to see again the thin, yellowish, shimmering exhalation which had startled me on that rainy afternoon so many years before.
Above the anthropomorphic patch of mould by the fireplace it rose; a subtle, sickish, almost luminous vapour which as it hung trembling in the dampness seemed to develop vague and shocking suggestions of form, gradually trailing off into nebulous decay and passing up into the blackness of the great chimney with a foetor in its wake. It was truly horrible, and the more so to me because of what I knew of the spot. Refusing to flee, I watched it fade—and as I watched I felt that it was in turn watching me greedily with eyes more imaginable than visible. When I told my uncle about it he was greatly aroused; and after a tense hour of reflection, arrived at a definite and drastic decision. Weighing in his mind the importance of the matter, and the significance of our relation to it, he insisted that we both test—and if possible destroy—the horror of the house by a joint night or nights of aggressive vigil in that musty and fungus-cursed cellar.
The Shunned House (1924) probably has my favourite opening and my favourite ending of any Lovecraft short story. The ending could even be considered a happy ending by Lovecraft standards and leaves me smiling and not grimacing or despairing! It’s quite a straight-forward horror tale really, a classic haunted-house story, but I enjoy the suspense that builds as we learn the history of the house. The stench in the house emanates out through the pages (or Kindle screen!) and the plaster appears to fall off the walls of your own room as you read.
The Shunned House is a book in the Public Domain and can be shared. I’m going to post the five chapters over the next five days. Here’s Chapter One! Enjoy.
From even the greatest of horrors irony is seldom absent. Sometimes it enters directly into the composition of the events, while sometimes it relates only to their fortuitous position among persons and places. The latter sort is splendidly exemplified by a case in the ancient city of Providence, where in the late forties Edgar Allan Poe used to sojourn often during his unsuccessful wooing of the gifted poetess, Mrs. Whitman. Poe generally stopped at the Mansion House in Benefit Street—the renamed Golden Ball Inn whose roof has sheltered Washington, Jefferson, and Lafayette—and his favourite walk led northward along the same street to Mrs. Whitman’s home and the neighbouring hillside churchyard of St. John’s, whose hidden expanse of eighteenth-century gravestones had for him a peculiar fascination.
Now the irony is this. In this walk, so many times repeated, the world’s greatest master of the terrible and the bizarre was obliged to pass a particular house on the eastern side of the street; a dingy, antiquated structure perched on the abruptly rising side-hill, with a great unkempt yard dating from a time when the region was partly open country. It does not appear that he ever wrote or spoke of it, nor is there any evidence that he even noticed it. And yet that house, to the two persons in possession of certain information, equals or outranks in horror the wildest phantasy of the genius who so often passed it unknowingly, and stands starkly leering as a symbol of all that is unutterably hideous.
The house was—and for that matter still is—of a kind to attract the attention of the curious. Originally a farm or semi-farm building, it followed the average New England colonial lines of the middle eighteenth century—the prosperous peaked-roof sort, with two stories and dormerless attic, and with the Georgian doorway and interior panelling dictated by the progress of taste at that time. It faced south, with one gable end buried to the lower windows in the eastward rising hill, and the other exposed to the foundations toward the street. Its construction, over a century and a half ago, had followed the grading and straightening of the road in that especial vicinity; for Benefit Street—at first called Back Street—was laid out as a lane winding amongst the graveyards of the first settlers, and straightened only when the removal of the bodies to the North Burial Ground made it decently possible to cut through the old family plots.
At the start, the western wall had lain some twenty feet up a precipitous lawn from the roadway; but a widening of the street at about the time of the Revolution sheared off most of the intervening space, exposing the foundations so that a brick basement wall had to be made, giving the deep cellar a street frontage with door and two windows above ground, close to the new line of public travel. When the sidewalk was laid out a century ago the last of the intervening space was removed; and Poe in his walks must have seen only a sheer ascent of dull grey brick flush with the sidewalk and surmounted at a height of ten feet by the antique shingled bulk of the house proper.
The farm-like grounds extended back very deeply up the hill, almost to Wheaton Street. The space south of the house, abutting on Benefit Street, was of course greatly above the existing sidewalk level, forming a terrace bounded by a high bank wall of damp, mossy stone pierced by a steep flight of narrow steps which led inward between canyon-like surfaces to the upper region of mangy lawn, rheumy brick walls, and neglected gardens whose dismantled cement urns, rusted kettles fallen from tripods of knotty sticks, and similar paraphernalia set off the weather-beaten front door with its broken fanlight, rotting Ionic pilasters, and wormy triangular pediment.
What I heard in my youth about the shunned house was merely that people died there in alarmingly great numbers. That, I was told, was why the original owners had moved out some twenty years after building the place. It was plainly unhealthy, perhaps because of the dampness and fungous growth in the cellar, the general sickish smell, the draughts of the hallways, or the quality of the well and pump water. These things were bad enough, and these were all that gained belief among the persons whom I knew. Only the notebooks of my antiquarian uncle, Dr. Elihu Whipple, revealed to me at length the darker, vaguer surmises which formed an undercurrent of folklore among old-time servants and humble folk; surmises which never travelled far, and which were largely forgotten when Providence grew to be a metropolis with a shifting modern population.
The general fact is, that the house was never regarded by the solid part of the community as in any real sense “haunted”. There were no widespread tales of rattling chains, cold currents of air, extinguished lights, or faces at the window. Extremists sometimes said the house was “unlucky”, but that is as far as even they went. What was really beyond dispute is that a frightful proportion of persons died there; or more accurately, had died there, since after some peculiar happenings over sixty years ago the building had become deserted through the sheer impossibility of renting it. These persons were not all cut off suddenly by any one cause; rather did it seem that their vitality was insidiously sapped, so that each one died the sooner from whatever tendency to weakness he may have naturally had. And those who did not die displayed in varying degree a type of anaemia or consumption, and sometimes a decline of the mental faculties, which spoke ill for the salubriousness of the building. Neighbouring houses, it must be added, seemed entirely free from the noxious quality.
This much I knew before my insistent questioning led my uncle to shew me the notes which finally embarked us both on our hideous investigation. In my childhood the shunned house was vacant, with barren, gnarled, and terrible old trees, long, queerly pale grass, and nightmarishly misshapen weeds in the high terraced yard where birds never lingered. We boys used to overrun the place, and I can still recall my youthful terror not only at the morbid strangeness of this sinister vegetation, but at the eldritch atmosphere and odour of the dilapidated house, whose unlocked front door was often entered in quest of shudders. The small-paned windows were largely broken, and a nameless air of desolation hung round the precarious panelling, shaky interior shutters, peeling wall-paper, falling plaster, rickety staircases, and such fragments of battered furniture as still remained. The dust and cobwebs added their touch of the fearful; and brave indeed was the boy who would voluntarily ascend the ladder to the attic, a vast raftered length lighted only by small blinking windows in the gable ends, and filled with a massed wreckage of chests, chairs, and spinning-wheels which infinite years of deposit had shrouded and festooned into monstrous and hellish shapes.
But after all, the attic was not the most terrible part of the house. It was the dank, humid cellar which somehow exerted the strongest repulsion on us, even though it was wholly above ground on the street side, with only a thin door and window-pierced brick wall to separate it from the busy sidewalk. We scarcely knew whether to haunt it in spectral fascination, or to shun it for the sake of our souls and our sanity. For one thing, the bad odour of the house was strongest there; and for another thing, we did not like the white fungous growths which occasionally sprang up in rainy summer weather from the hard earth floor. Those fungi, grotesquely like the vegetation in the yard outside, were truly horrible in their outlines; detestable parodies of toadstools and Indian pipes, whose like we had never seen in any other situation. They rotted quickly, and at one stage became slightly phosphorescent; so that nocturnal passers-by sometimes spoke of witch-fires glowing behind the broken panes of the foetor-spreading windows.
We never—even in our wildest Hallowe’en moods—visited this cellar by night, but in some of our daytime visits could detect the phosphorescence, especially when the day was dark and wet. There was also a subtler thing we often thought we detected—a very strange thing which was, however, merely suggestive at most. I refer to a sort of cloudy whitish pattern on the dirt floor—a vague, shifting deposit of mould or nitre which we sometimes thought we could trace amidst the sparse fungous growths near the huge fireplace of the basement kitchen. Once in a while it struck us that this patch bore an uncanny resemblance to a doubled-up human figure, though generally no such kinship existed, and often there was no whitish deposit whatever. On a certain rainy afternoon when this illusion seemed phenomenally strong, and when, in addition, I had fancied I glimpsed a kind of thin, yellowish, shimmering exhalation rising from the nitrous pattern toward the yawning fireplace, I spoke to my uncle about the matter. He smiled at this odd conceit, but it seemed that his smile was tinged with reminiscence. Later I heard that a similar notion entered into some of the wild ancient tales of the common folk—a notion likewise alluding to ghoulish, wolfish shapes taken by smoke from the great chimney, and queer contours assumed by certain of the sinuous tree-roots that thrust their way into the cellar through the loose foundation-stones.