BLACKWOOD-Thelistener.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

BLACKWOOD-Thelistener.Pdf The LISTENER AND OTHER STORIES. By ALGERNON BLACKWOOD F.W. von Junzt Dusseldorf - Stregoicavar - Corvallis Bibliothekspreße Published 2016 by F.W. von Junzt Bibliothekspreße New material, book design, and layout copyright ©2016 by F.W. von Junzt Bibliothekspreße, with the exceptions noted below: Copyright protections on The Listener and Other Stories have expired worldwide. In the spirit of good stewardship of the public domain, no copyright claim is made over any of Algernon Blackwood's original text as presented in this book, including any and all corrections and style changes made to the original text. Original edition published in 1917 by Alfred A. Knopf, New York. Interactive PDF edition ISBN: 978-1-63591-608-9 F.W. von Junzt Bibliothekspreße c/o Pulp-Lit Productions Post Office Box 77 Corvallis, Oregon http://von-junzt.org http://pulp-lit.com Other Pulp-Lit Productions titles The JOHN CARTER of MARS Trilogy of Edgar Rice Burroughs. you might enjoy: •Hardcover (636 pages) •6x9 softcover H.P. LOVECRAFT: The Complete Omnibus, Vol. I: 1917-1926: •E-book •Hardcover (558 pages) •Audiobook (19.5 hours) •Pulp-sized 7x10 softcover •E-book TARZAN of the APES and THE RETURN of TARZAN •Audiobook (23.5 hours) by Edgar Rice Burroughs. •6x9 softcover (590 pages) H.P. LOVECRAFT: The Complete •E-book Omnibus, Vol. II: 1927-1935: •Audiobook (16.5 hours) •Hardcover (606 pages) •Pulp-sized 7x10 softcover •E-book SUPERNATURAL HORROR in •Audiobook (27 hours) LITERATURE by H.P. Lovecraft.. •Hardcover (128 pages) FUNGI FROM YUGGOTH: The •Pocket-size softcover SONNET CYCLE by H.P. Lovecraft. •E-book •Hardcover (102 pages) •Audiobook (3 hours) •Pocket-size softcover •E-book Robert E. Howard's CONAN the •Audiobook (1.3 hours) CIMMERIAN BARBARIAN: •Hardcover (860 pages) For our full catalog search “Pulp-Lit” (in quota- •Pulp-sized 7x10 softcover tion marks) on your favorite bookseller's Web- •E-book site, or see http://pulp-lit.com. •Audiobook (35 hours) This book is available in other formats: Audiobook, e-book, paperback, hardcover. CONTENTS. You are reading the complimentary electronic copy of The Listener and Other Stories in the Adobe PDF format — Pulp-Lit Productions’ version of Amazon’s “Look Inside” feature, only including the entire book. The Listener (Audiobook Chapter 2)............... 3 Whether you’re here checking it out to see if you might want to Max Hensig: Bacteriologist and Murderer own a copy, or doing a quick search, or even retrieving a clean digital (Audiobook Chapter 3-6)..................... 43 copy of the story for a project of your own — welcome! The Willows (Audiobook Chapter 7-11)......... 117 But, of course, PDF is hardly the most convenient format in The Insanity of Jones (Audiobook Chapter 12-14) . 193 which to read a book. Here are a few other options, followed by a The Dance of Death (Audiobook Chapter 15) .... 233 link to follow for more information: The Old Man of Visions • 51/2-by-81/2 cloth-bound hardcover with dustjacket; (Audiobook Chapter 16-18) ................... 249 • Pocket-size softcover; May Day Eve (Audiobook Chapter 19-23)........ 265 • E-book in EPUB and Kindle formats; Miss Slumbubble — and Claustrophobia • Audiobook (8 hours). (Audiobook Chapter 24) . 303 To learn more about these other formats, please click here to go The Woman’s Ghost Story to the Listener Book Support Page at http://pulp-lit.com/600. (Audiobook Chapter 25) . 325 html. Thank you for reading our books! ix The LISTENER AND OTHER STORIES. [ return to table of contents ] The LISTENER. eptember 4. — I have hunted all over London for rooms suited to my income — £120 a year — and have at last found them. Two rooms, without Smodern conveniences, it is true, and in an old, ramshackle building, but within a stone’s throw of P — Place and in an eminently respectable street. The rent is only £25 a year. I had begun to despair when at last I found them by chance. The chance was a mere chance, and unworthy of record. I had to sign a lease for a year, and I did so willingly. The furniture from our old place in Hampshire, which has been stored so long, will just suit them. October 1. — Here I am in my two rooms, in the centre of London, and not far from the offices of the 3 4 ALGERNON BLACKWOOD The LISTENER 5 periodicals, where occasionally I dispose of an article or far is reasonable. Milk and sugar 7d., bread 6d., butter 8d., two. The building is at the end of a cul-de-sac. The alley is marmalade 6d., eggs 1s. 8d., laundress 2s. 9d., oil 6d., atten- well paved and clean, and lined chiefly with the backs of dance 5s.; total 12s. 2d. sedate and institutional-looking buildings. There is a stable The landlady has a son who, she told me, is “somethink in it. My own house is dignified with the title of “Chambers.” on a homnibus.” He comes occasionally to see her. I think I feel as if one day the honour must prove too much for it, he drinks, for he talks very loud, regardless of the hour of and it will swell with pride — and fall asunder. It is very the day or night, and tumbles about over the furniture old. The floor of my sitting-room has valleys and low hills downstairs. on it, and the top of the door slants away from the ceiling All the morning I sit indoors writing — articles; verses with a glorious disregard of what is usual. They must have for the comic papers; a novel I’ve been “at” for three years, quarrelled — fifty years ago — and have been going apart and concerning which I have dreams; a children’s book, in ever since. which the imagination has free rein; and another book which is to last as long as myself, since it is an honest record October 2. — My landlady is old and thin, with a of my soul’s advance or retreat in the struggle of life. Besides faded, dusty face. She is uncommunicative. The few words these, I keep a book of poems which I use as a safety valve, she utters seem to cost her pain. Probably her lungs are half and concerning which I have no dreams whatsoever. choked with dust. She keeps my rooms as free from this Between the lot I am always occupied. In the afternoons commodity as possible, and has the assistance of a strong I generally try to take a walk for my health’s sake, through girl who brings up the breakfast and lights the fire. As I Regent’s Park, into Kensington Gardens, or farther afield have said already, she is not communicative. In reply to to Hampstead Heath. pleasant efforts on my part she informed me briefly that I was the only occupant of the house at present. My rooms October 10. — Everything went wrong to-day. I have had not been occupied for some years. There had been other two eggs for breakfast. This morning one of them was bad. gentlemen upstairs, but they had left. I rang the bell for Emily. When she came in I was reading She never looks straight at me when she speaks, but the paper, and, without looking up, I said, “Egg’s bad.” fixes her dim eyes on my middle waistcoat button, till I get “Oh, is it, sir?” she said; “I’ll get another one,” and went nervous and begin to think it isn’t on straight, or is the out, taking the egg with her. I waited my breakfast for her wrong sort of button altogether. return, which was in five minutes. She put the new egg on the table and went away. But, when I looked down, I saw October 8. — My week’s book is nicely kept, and so that she had taken away the good egg and left the bad 6 ALGERNON BLACKWOOD The LISTENER 7 one — all green and yellow — in the slop basin. I rang again. next gust of wind and repeat their impertinence. On the “You’ve taken the wrong egg,” I said. other side of my room a single square window opens into a “Oh!” she exclaimed; “I thought the one I took down sort of shaft, or well, that measures about six feet across to didn’t smell so very bad.” In due time she returned with the the back wall of another house. Down this funnel the wind good egg, and I resumed my breakfast with two eggs, but dropped, and puffed and shouted. Such noises I never heard less appetite. It was all very trivial, to be sure, but so stupid before. Between these two entertainments I sat over the fire that I felt annoyed. The character of that egg influenced in a great-coat, listening to the deep booming in the chimney. everything I did. I wrote a bad article, and tore it up. I got It was like being in a ship at sea, and I almost looked for a bad headache. I used bad words — to myself. Everything the floor to rise in undulations and rock to and fro. was bad, so I “chucked” work and went for a long walk. I dined at a cheap chop-house on my way back, and October 12. — I wish I were not quite so lonely — and reached home about nine o’clock. so poor. And yet I love both my loneliness and my poverty. Rain was just beginning to fall as I came in, and the The former makes me appreciate the companionship of wind was rising.
Recommended publications
  • Supernatural Elements in Selected Stories of Arthur Machen and Algernon Blackwood
    MASARYK UNIVERSITY FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Supernatural elements in selected stories of Arthur Machen and Algernon Blackwood Bachelor Thesis Brno 2013 Supervisor: Author: Ing. Mgr. Věra Eliášová, Ph.D. Michal Břenek 1 Annotation This bachelor thesis focuses on the analysis of supernatural elements in the stories The White People and The Great God Pan by Arthur Machen and The Willows by Algernon Blackwood used by authors to achieve psychological impacts on readers and closely examining the origin of these elements taking into consideration authors' background and attitudes. In the first part I briefly introduce the authors as well as their opinions and background that influenced their writing while the second part is dedicated to explanations of plots and analyses of the elements in detail. Anotace Tato bakalářská práce se zaměřuje na rozbor nadpřirozených prvků v povídkách Bílí lidé a Velký Bůh Pan Arthura Machena a v povídce Vrby Algernona Blackwooda, které autoři použili pro dosažení psychologického dopadu na čtenáře a také na původ těchto prvků s ohledem na postoje a minulost obou autorů. V první části krátce představuji jednotlivé autory, jejich názory a minulost, které ovlivnily jejich literární styl a v druhé části se věnuji vysvětlení zápletek a podrobnému rozboru prvků. 2 Bibliographical description BŘENEK, Michal. Supernatural elements in selected stories of Arthur Machen and Algernon Blackwood : bachelor thesis. Brno : Masaryk University, Faculty of Education, Department of English
    [Show full text]
  • ENC 1145 3309 Chalifour
    ENC 1145: Writing About Weird Fiction Section: 3309 Time: MWF Period 8 (3:00-3:50 pm) Room: Turlington 2349 Instructor: Spencer Chalifour Email: [email protected] Office: Turlington 4315 Office Hours: W Period 7 and by appointment Course Description: In his essay “Supernatural Horror in Fiction,” H.P. Lovecraft defines the weird tale as having to incorporate “a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.” This course will focus on “weird fiction,” a genre originating in the late 19th century and containing elements of horror, fantasy, science fiction, and the macabre. In our examination of weird authors spanning its history, we will attempt to discover what differentiates weird fiction from similar genres and will use several theoretical and historical lenses to examine questions regarding what constitutes “The Weird.” What was the cultural and historical context for the inception of weird fiction? Why did British weird authors receive greater literary recognition than their American counterparts? Why since the 1980s are we experiencing a resurgence of weird fiction through the New Weird movement, and how do these authors continue the themes of their predecessors into the 21st century? Readings for this class will span from early authors who had a strong influence over later weird writers (like E.T.A. Hoffman and Robert Chambers) to the weird writers of the early 20th century (like Lovecraft, Robert Howard, Clark Ashton Smith, Lord Dunsany, and Algernon Blackwood) to New Weird authors (including China Miéville, Thomas Ligotti, and Laird Barron).
    [Show full text]
  • 'Determined to Be Weird': British Weird Fiction Before Weird Tales
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Repository of Birkbeck Institutional Theses Birkbeck, University of London ‘Determined to be Weird’: British Weird Fiction before Weird Tales James Fabian Machin Submitted for the degree of Doctor of Philosophy June 2016 1 Declaration I, James Fabian Machin, declare that this thesis is all my own work. Signature_______________________________________ Date____________________ 2 Abstract Weird fiction is a mode in the Gothic lineage, cognate with horror, particularly associated with the early twentieth-century pulp writing of H. P. Lovecraft and others for Weird Tales magazine. However, the roots of the weird lie earlier and late-Victorian British and Edwardian writers such as Arthur Machen, Count Stenbock, M. P. Shiel, and John Buchan created varyingly influential iterations of the mode. This thesis is predicated on an argument that Lovecraft’s recent rehabilitation into the western canon, together with his ongoing and arguably ever-increasing impact on popular culture, demands an examination of the earlier weird fiction that fed into and resulted in Lovecraft’s work. Although there is a focus on the literary fields of the fin de siècle and early twentieth century, by tracking the mutable reputations and critical regard of these early exponents of weird fiction, this thesis engages with broader contextual questions of cultural value and distinction; of notions of elitism and popularity, tensions between genre and literary fiction, and the high/low cultural divide allegedly precipitated by Modernism. 3 Table of Contents Acknowledgements ....................................................................................... 5 Introduction .................................................................................................. 6 Chapter 1: The Wyrd, the Weird-like, and the Weird ..............................
    [Show full text]
  • The Ill-Fated Women of Arthur Machen's Fictive
    UNFIT TO LIVE: THE ILL-FATED WOMEN OF ARTHUR MACHEN’S FICTIVE UNIVERSE A Thesis Presented to the faculty of the Department of English California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in English (Literature) by Angela Elisa Schoch SPRING 2020 © 2020 Angela Elisa Schoch ALL RIGHTS RESERVED ii UNFIT TO LIVE: THE ILL-FATED WOMEN OF ARTHUR MACHEN’S FICTIVE UNIVERSE A Thesis by Angela Elisa Schoch Approved by: __________________________________, Committee Chair Jason Gieger, Ph.D. __________________________________, Second Reader Nancy Sweet, Ph.D. ____________________________ Date iii Student: Angela Elisa Schoch I certify that this student has met the requirements for format contained in the University format manual, and this thesis is suitable for electronic submission to the library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ___________________ Doug Rice, Ph.D. Date Department of English iv Abstract of UNFIT TO LIVE: THE ILL-FATED WOMEN OF ARTHUR MACHEN’S FICTIVE UNIVERSE by Angela Elisa Davidson Welsh gothic writer Arthur Machen (1863-1947), born Arthur Llewellyn Jones, is undoubtedly best known for his 1894 novella The Great God Pan, a text that has received a fair amount of scholarly consideration. Conversely, many of Machen’s other fin de siècle era works have received little attention from scholars despite the fact that they often engage with similar themes as the Pan novella. “The White People,” written in the 1890s and published in 1906, makes a striking companion piece alongside The Great God Pan: while both tales involve women who interact with supernatural forces, they are told from radically different points of view and betray Machen’s interest in engaging with a wide variety of moral and spiritual perspectives.
    [Show full text]
  • Ancient Sorceries
    THREE JOHN SILENCE STORIES Dr. Silence. Outwardly or inwardly, it happened beyond a doubt, and in spite of the jeers of his few friends who heard the tale, and observed wisely Case II: that “such a thing might perhaps have come to Isz- Ancient Sorceries ard, that crack-brained Iszard, or to that odd fish Minski, but it could never have happened to com- monplace little Vezin, who was fore-ordained to by Algernon Blackwood live and die according to scale.” But, whatever his method of death was, Vezin I certainly did not “live according to scale” so far as this particular event in his otherwise uneventful There are, it would appear, certain wholly unre- life was concerned; and to hear him recount it, and markable persons, with none of the characteristics watch his pale delicate features change, and hear that invite adventure, who yet once or twice in the his voice grow softer and more hushed as he pro- course of their smooth lives undergo an experience ceeded, was to know the conviction that his halting so strange that the world catches its breath—and words perhaps failed sometimes to convey. He lived looks the other way! And it was cases of this kind, the thing over again each time he told it. His whole perhaps, more than any other, that fell into the personality became muffled in the recital. It sub- wide-spread net of John Silence, the psychic doc- dued him more than ever, so that the tale became a tor, and, appealing to his deep humanity, to his lengthy apology for an experience that he deprec- patience, and to his great qualities of spiritual sym- ated.
    [Show full text]
  • A Holmes and Doyle Bibliography
    A Holmes and Doyle Bibliography Volume 2 Monographs and Serials By Subject Compiled by Timothy J. Johnson Minneapolis High Coffee Press 2010 A Holmes & Doyle Bibliography Volume 2, Monographs & Serials, by Subject This bibliography is a work in progress. It attempts to update Ronald B. De Waal’s comprehensive bibliography, The Universal Sherlock Holmes, but does not claim to be exhaustive in content. New works are continually discovered and added to this bibliography. Readers and researchers are invited to suggest additional content. The first volume in this supplement focuses on monographic and serial titles, arranged alphabetically by author or main entry. This second volume presents the exact same information arranged by subject. The subject headings used below are, for the most part, taken from the original De Waal bibliography. Some headings have been modified. Please use the bookmark function in your PDF reader to navigate through the document by subject categories. De Waal's major subject categories are: 1. The Sacred Writings 2. The Apocrypha 3. Manuscripts 4. Foreign Language Editions 5. The Literary Agent (Sir Arthur Conan Doyle) 6. The Writings About the Writings 7. Sherlockians and The Societies 8. Memorials and Memorabilia 9. Games, Puzzles and Quizzes 10. Actors, Performances and Recordings 11. Parodies, Pastiches, Burlesques, Travesties and Satires 12. Cartoons, Comics and Jokes The compiler wishes to thank Peter E. Blau, Don Hobbs, Leslie S. Klinger, and Fred Levin for their assistance in providing additional entries for this bibliography. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 01A SACRED WRITINGS -- INDIVIDUAL TALES -- A CASE OF IDENTITY (8) 1. Doyle, Arthur Conan. A Case of identity and other stories.
    [Show full text]
  • Dissertation
    ABSTRACT “Man Is Made a Mystery”: The Evolution of Arthur Machen’s Religious Thought Geoffrey Reiter, Ph.D. Director: Joe B. Fulton, Ph.D. Arthur Machen (1863-1947) was a Welsh author now known almost exclusively for his late nineteenth-century weird horror tales such as The Great God Pan (1894) and The Three Impostors (1895). The few Machen critics who have researched his corpus as a whole sometimes deride his later works, and whether they do or not, most have tried to read his entire body of work as a thematic unity. Even if they admit that his changing outlook on life did affect his fiction, critics often believe his interest in mystical ecstasy—as articulated in his 1899 work Hieroglyphics—can be read across his entire career. Absent from this critical discourse is an examination that takes seriously the distinct worldviews of Machen’s fiction at its various stages. This dissertation represents a diachronic examination of Machen’s fiction, treating the entire scope of his fiction while proposing several stages in which his altered philosophy led to a concomitant alteration of literary style and structure. Because the events of his life are important to this diachronic reading, chapter one begins with an introductory biography of Arthur Machen, then proceeds to a summary of the critical response to Machen’s work and the relevance of this dissertation in that critical conversation. Chapter two treats the first major phase of Machen’s career (1890-95), arguing that the horror of his most famous works stems from a fear of the implications of his own skepticism at the time.
    [Show full text]
  • Vol.21 No 3 December 2018
    Journal December 2018 Vol.21, No. 3 The Elgar Society Journal 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2018 Vol. 21, No. 3 Elgar and the Great War 3 Barry Collett President Julian Lloyd Webber FRCM ‘My tunes are ne’er forgotten’: 16 Elgar, Blackwood and The Starlight Express (part two) Kevin Mitchell Vice-Presidents Remembering a Musical Centenary: 39 Diana McVeagh Charles Mott and The Fringes of the Fleet Dame Janet Baker, CH, DBE Ian Morgan Leonard Slatkin Sir Andrew Davis, CBE Elgar’s ‘Angel’: Hubert Parry in Perspective 42 Christopher Robinson, CVO, CBE Michael Trott Andrew Neill Sir Mark Elder, CBE Elgar’s Voice 47 Martyn Brabbins David Matthews Tasmin Little, OBE Book reviews 52 Ian Lace, Martin Bird Chairman CD reviews 54 Steven Halls Andrew Neill, Michael Schwalb, Martin Bird Vice-Chairman Elgar viewed from afar 62 Stuart Freed Meinhard Saremba Treasurer 100 Years Ago 65 Helen Whittaker Martin Bird Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Covers of the scores of Carillon (Arthur Reynolds’ Archive) and The Starlight Express (Barry Collett). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Elgar and the Great War required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions.
    [Show full text]
  • The Supernatural Story By: Koger, Grove, Critical Survey of Short Fiction, Second Revised Edition, Database: Literary Reference Center
    Title: The Supernatural Story By: Koger, Grove, Critical Survey of Short Fiction, Second Revised Edition, Database: Literary Reference Center HTML Full Text The Supernatural Story Contents 1. Origins 2. The Gothic School 3. Early American Masters 4. The Victorian Period 5. European Writers 6. A Golden Age 7. Other British Writers 8. America at the Beginning of the Nineteenth Century 9. Great Britain Between the Wars 10. America Between the Wars 11. The Later Twentieth Century 12. Bibliography 13. Cross References Origins To the modern reader, the stories that make up the mythology and folklore of ancient cultures are largely supernatural. Whether the storytellers originally responsible for composing, adding to, and passing on these stories necessarily thought in terms of “natural” and “supernatural” is debatable, yet the existence of such classical works as Metamorphoses (c. 8 c.e.; English translation, 1867) by Ovid suggests that such a distinction eventually became clear. Ovid’s stories in verse are based upon Latin mythology and deal with transformations — metamorphoses — of humans into plants and animals, a theme destined to become common in what came to be recognized as supernatural literature. Much later collections in the same general vein include Alf layla wa-layla (fifteenth century; The Arabian Nights’ Entertainments, 1706-1708). Drawn from much earlier sources in Persia and Arabia, this mammoth collection has been the inspiration for innumerable other works and was translated in its most complete English version (1885-1886) by explorer Sir Richard Francis Burton. Rivaling The Arabian Nights’ Entertainments in scope and surpassing them in influence in the Western world are the tales that make up the cycle about the (perhaps) legendary King Arthur and his Knights of the Round Table.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Dark Matter: British Weird Fiction and the Substance of Horror, 1880-1927 Permalink https://escholarship.org/uc/item/4ns5q1fv Author Camara, Anthony Christopher Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Dark Matter: British Weird Fiction and the Substance of Horror, 1880-1927 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy In English by Anthony Christopher Camara 2013 © Copyright by Anthony Christopher Camara 2013 ABSTRACT OF THE DISSERTATION Dark Matter: British Weird Fiction and the Substance of Horror, 1880-1927 by Anthony Christopher Camara Doctor of Philosophy in English University of California, Los Angeles, 2013 Professor Joseph Bristow, Chair This dissertation examines the origins of British weird horror fiction, an understudied literary genre that had an extraordinary impact on later writers whose works appeared in popular magazines such as The Argosy (1882-1978) and Weird Tales (1923-1954). By far the most popular writer associated with the latter publication is H.P. Lovecraft, an American practitioner of cosmic weird horror whose astounding fictions have become emblematic of the genre in the mainstream imagination. This dissertation locates Lovecraft’s early modernist predecessors in British authors Vernon Lee (Violet Paget), Arthur Machen, Algernon Blackwood, and William Hope Hodgson. By tracking the evolution of the genre through these authors’ works, this study addresses the following question: “How does weird horror fiction distinguish itself from prior supernatural traditions, in particular the Gothic romance and the Victorian ghost story?” The chapters answer that inquiry by demonstrating that British weird horror fiction destabilizes scientific and philosophical accounts of physical matter, as well as the materialistic theories of ii biological life and the cosmos that issue from such accounts.
    [Show full text]
  • Dorothy Scarborough. 'Supernatural Science' (1917)
    DePauw University Scholarly and Creative Work from DePauw University Modern Languages Faculty publications Modern Languages 7-2021 Dorothy Scarborough. 'Supernatural Science' (1917) Arthur B. Evans DePauw University, [email protected] Follow this and additional works at: https://scholarship.depauw.edu/mlang_facpubs Part of the English Language and Literature Commons, and the Fiction Commons Recommended Citation "Dorothy Scarborough. 'Supernatural Science' (1917)." Edited and annotated by Arthur B. Evans. Science Fiction Studies Vol. 48.2 (July 2021): 193-217. https://www.depauw.edu/sfs/documents/ scarborough.htm This Article is brought to you for free and open access by the Modern Languages at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Modern Languages Faculty publications by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. SCARBOROUGH’S “SUPERNATURAL SCIENCE” 193 DOCUMENT IN THE HISTORY OF SCIENCE FICTION Dorothy Scarborough Supernatural Science Introduced and annotated by Arthur B. Evans In its day, Dorothy Scarborough’s book The Supernatural in Modern English Fiction (1917) was considered to be the best scholarly study on the subject. As the author points out in the book’s preface, the sheer size of its corpus was impressive: “the supernatural in modern English fiction has been found difficult to deal with because of its wealth of material. While there has been no previous book on the topic, and none related to it ... the mass of fiction itself introducing ghostly or psychic motifs is simply enormous” (v). Scarborough divided her book into seven chapters: The Gothic Romance, Later Influences, Modern Ghosts, The Devil and His Allies, Supernatural Life, The Supernatural in Folk-Tales, and Supernatural Science.
    [Show full text]
  • Possible Echoes of Blackwood and Dunsany in Tolkien's Fantasy Dale Nelson
    Possible Echoes of Blackwood and Dunsany in Tolkien's Fantasy Dale Nelson Tolkien Studies, Volume 1, 2004, pp. 177-181 (Article) Published by West Virginia University Press DOI: https://doi.org/10.1353/tks.2004.0013 For additional information about this article https://muse.jhu.edu/article/176072 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] NOTES and DOCUMENTS Possible Echoes of Blackwood and Dunsany in Tolkien’s Fantasy DALE J. NELSON ared Lobdell’s A Tolkien Compass (1975) published Tolkien’s “Guide to Jthe Names in the Lord of the Rings,” but a reference that Tolkien makes to Algernon Blackwood, in the manuscript of his “Nomenclature of The Lord of the Rings” (to use Tolkien’s own title for the essay), was omitted from Lobdell’s book. Tolkien thought that the “Crack of Doom” might have been derived from something written by Blackwood that he was unable to remember more precisely (Anderson 106). However, Lobdell himself, in his 1981 book England and Always: Tolkien’s World of the Rings, suggested that Tolkien was influenced by “The Willows” and “The Glamour of the Snow,” two stories of the supernatural by Blackwood (1869-1951). These stories appeared in 1907 and 1912 collections of Blackwood’s tales. Lobdell could have suggested that a third Blackwood story, the oft- reprinted “The Wendigo,” from The Lost Valley (1910), also left a mark on Tolkien’s imagination. In this story, Fifty Island Water, a remote region of Canada, is haunted by a “great Outer Horror,” the embodiment of the “Panic of the Wilderness,” which steals its victims even from their tents, bearing them aloft to race across the skies with it, their anguished cries of pain and terror descending to appall their erstwhile companions.
    [Show full text]