WE SAY PARODY, YOU SAY NONSENSE

I have a great fondness for skilful parody, which is why I try to read it only when it’s done by other people – three talented fellows whose work springs to mind immediately are Jerome K Jerome, David Langford and John Sladek.

Sadly, I like to scribble mockeries myself, for relaxation, and take the pee out of things (we’re talking literature here, not lurchers, by the way – Django needs no help in that area) even without the talent. And we’re overstretched at the moment, so instead of doing a proper article on something, with grown-up notes, links and so on, today we offer some of greydog’s dreadful parodies to while away your time in custody.

(And if you choose to say “But look, what you write isn’t actually parody, it’s just cheap shots chucked together for ephemeral amusement!” then yes, you’re right. So?)

It helps, of course, if you mock things which people recognise. A cunningly wrought lampoon of Miss Hepzibah Tworle’s Nineteenth Century novel Kilner, on the sinfulness of bottled peaches, is likely to be passed over without great interest. Sherlock Holmes, on the other hand, is always fun:

THE ADVENTURE OF THE DEVIL’S BISHOP

“Great Scott!” I cried. “This isn’t Sir Reginald Musgrave at all, but seven otters in a morning suit. Damn it, Holmes, I’m a doctor, not a miracle-worker!”

Holmes shook his head. “As usual, my friend, you miss the most salient point. These are not the common otter, but Enhydra lutris, the Pacific sea otter. The entire plot almost succeeded because Sir Reginald was in fact AMPHIBIOUS!”

“Then Hurlstone Manor is…” Inspector Lestrade paused to take in the enormity of this revelation, “The only country house in Sussex involved in the illicit Chinese sea urchin trade, the very business which almost took down Gladstone and eight peers of the realm!”

“No, Lestrade.” Holmes strapped out his pipe on the inspector’s head. “That was in the last story. Do keep up, you utter womble.”

Thus it was that I, John Watson, left Sussex a wiser man, smelling of seaweed and five pounds lighter. The blacksmith took ship to South America; Lestrade toyed with entering a nunnery and Holmes himself remained triumphant. I would have written this case up for The Strand magazine, but I think, instead, that I shall make up some old bollocks about a dog covered in phosphorescent paint. That always goes down well.

Oh, and I never did find out what happened to the bishop…


parody jerome k jerome
the good stuff

free text on line


I can’t say I’m a vampire fan, though it can occasionally be done well. It can also be done like Twilight, which entranced a generation of teenage girls and also screwed up their sense of self-worth:

THE UNBEARABLE LIGHTNESS OF EDWARD

His dark, brooding face turned to hers in a look which spoke of centuries of tousled, slightly ill-defined passion, as if they had known each other since the beginning of time, or at least prior to the invention of portable toilets.

“I’m not a vampire,” he said moodily, brushing shimmering fragments of congealed light from his shoulders. She wondered if he knew there was a shampoo for that sort of thing?

“That’s nice.” She faced him warily, thinking suddenly and unnecessarily about her dead but beautiful mother, her loveable but alcoholic father, and the veiled warnings she had heard from her grandmother, before they discovered the old lady was overdosing on toilet cleanser and trying to date the washing machine as well.

He coughed. “But you might say that I’m also a rebel, a loner in this small, narrow-minded town with a generic name and an intolerant pastor who has his own secrets to hide.”

She smiled playfully, showing that most of her teeth were in the right place. No one had ever spoken to her like this before, except three other boys at school who had inexplicably self-ignited during football practice.

“What are you rebelling against?” she asked trepidatiously.

“Raccoons, mostly.”

Her destiny was sealed.

Or you can go with the gay version:

“I can make make you immortal,” said the man with the slicked-back, raven-black hair and eyes like pools of Dettol. Wrapped in a velvet cloak of darkness, he seemed to have swirled in with the evening breeze.

Gary looked up from his Budweiser. “You’re a photographer?”

“No,” said the stranger, his voice a sliver of ice across the bar, “A vampire!”

“Immortality, huh? You sculpt working men in surprising poses?”

“No, I said–”

“You can get my scripts read at the studios?”

The man hissed. “Look, I am a Prince of the Undead, right? Master of the Children of the Night, sire of a thousand depraved souls. And as it happens, mortal, I’m taken by your roguish good looks.”

Gary adjusted the collar of his check shirt, glancing in the mirror behind the bar. Instead of the stranger’s reflection, all he could see was some expensive dental work hovering in mid-air.

“I see. I am into guys, as you ask. Are you fond of colour co-ordinated design, extravagant musicals and soft furnishings?”

The vampire prince hesitated. “Uh, yes. Yes I am.”

“Pity. I dislike sexual identity stereotypes. I’m a dockyard welder with an interest in cheap hamburgers (no onions), and stapling parking citations onto old ladies’ hats to annoy them.”

“So…”

“Nope.”

The vampire sighed, and wrapped his fine velvet cloak more tightly around his lean frame, like a clothes-horse re-arranging itself. This was not to be his night for passionate embraces and a good siring, it seemed.

“You don’t know if anyone sparkly called Edward lives in the neighbourhood, do you?” He caught the look in Gary’s eye as he edged away. “Yeah, I know – but I’m getting desperate here…”


Easy targets, you say? Well, yes. I mean, I could write parodies of Nabokov or Gogol, sly and subtly crafted works which would get me the admiration of the literati, but what can you do with admiration? Bottle it, like those wicked peaches?

I have no shame in taking cheap shots – such as at the Weird Western, a sub-genre which is being explored by more and more writers:

A SLOW DAY FAIRLY NEAR HELL BUT NOT QUITE IN IT

The town of Aching Gulch had given in for the day. It settled low into the afternoon dust, hunkered down like an old cougar whose claws were too blunt to make fighting worth a spit. Far in the distance, the Jessop Boys removed the wheels off the stagecoach; the passengers they had intended to rob were carrying nothing but wooden nickels and jewellery made of paste. Wallpaper paste, at that.

Jeb Whittles, the town podiatrist, leaned back on the saloon porch. He lit a match on his daughter’s stubble, and drew in a lungful of smoke from what the folk of Aching Gulch liked to call cigars.

“Sure is weird round here, Annie-Beth.”

Annie-Beth snickered, and knocked over a bucket with one mucus-laden tendril. The clatter of the tin bucket down the steps was as hollow as Abe Murphy’s testicles.

“Yep,” she said.

Annie-Beth had to admit that the town had seen its fair share of trouble since the cattle barons clashed with the sheep earls, and the goat lords gave up on the whole idea of hanging around in such a violent area. Times were hard.

Lured by talk of a plot of land for only $1, most of the homesteads were filled with embittered court stenographers from New York, and there were now more cuticle salons in Aching Gulch than in the whole of Texas. A man could easy lose his life walking down the main street, prey to a stray fingernail clipping coming out of one of the shop windows.

“Heared there’s vampires in town,” said Old Jed, spitting at the saloon dog. The dog growled, and urinated on Jed’s six-shooter to make a point.

“Yup, they dun been sayin’ that,” agreed the tall, scarred man with the sheriff’s star on his vest, and the Winchester ‘73 crooked in his arm. Even half-blind old Jed could see the ripple of muscle under the grimy, torn shirt the man wore. “Pity I’m a florist.”

“Sure is.” Old Jed sighed. It looked like Aching Gulch was pretty much doomed again.


 

more proper parodies

e-book from ansible editions


On the other hand, parody in the style of dear M R James is a gentle pleasure:

A CURIOUS INCIDENT IN PICKERING

Mr Bettleworth did not consider himself to be a scholar. He had achieved some minor success, it is true, with his monograph on the lost hill-people of King’s Lynn, and his acclaimed series of presentations to the Royal Society detailing the men’s toilet facilities at Beverley Minster. At this advanced age, however, he felt that the days of bicycle, brass-rubbing kit and a pack full of hard-boiled eggs were behind him. Especially the latter, since the incident with the rubber tube and olive oil at King’s College.

And so it had been a pleasant prospect to take an extended walking holiday through the less corrugated parts of the Yorkshire Wolds, encumbered only by his umbrella, the Seal of Solomon, the drowned coronet of the last King of Cumbria, a dog whistle and a series of curiously animated fitted sheets.

In these perambulations, he was often accompanied by his nephew Reginald, a keen photographer who seemed to fall into a state of gibbering terror every time he was instructed to develop negatives which included Mr Bettleworth himself.

In mitigation of such circumstances, the genial uncle always had a kind word for young Reginald. “Nil desperandum, parva lamia”, he was fond of quoting when his nephew was especially distressed. Which is to say, in loose translation from Ovid’s original text, “Don’t worry about treading on the smaller owls.”

Mr Bettleworth, it must be admitted, understood little Latin.


And occasionally I like to hit multiple genres at the same time:

THE DA VINCI CUBE NEXUS MYSTERY

The nurse mopped the doctor’s brow with surprising urgency. If only I could love him, she thought, but I swore to my undead mother that I would become a Lesbian for Jesus. Besides, I have yet to solve the jade-encrusted riddle of the Unremitting Garden, where the blind beg hoarsely for throats with which to scream.

Doctor Aalfinus smiled, knowing her thoughts only too well. His own mother, the Autarch of N’Eph’Eir, had asked for a similar pledge when the diesel-powered cowboys of the Santeria Lord has breached their plane of existence and slaughtered the Dawn Legion. He turned back to the patient, sliding his hands into the purulent, protoplasmic ooze of the last shoggoth, just as Brett, the anaesthetist, pulled off his shirt and displayed his glistening torso.

“Damn you, Brett, not now!” snapped Aalfinus. “Negacorps Inc insists that we complete the operation – this shoggoth is our only hope of understanding how two people adrift in time, and continents apart, can still have a love affair that their families have forbidden. Don’t you care about them, or our troops fighting the Industrial Complex Wars?”

Disappointed, Brett put his shirt back on, dreaming of the time when there had only been the open plains and his faithful possum hound. It had been so simple back then, when finding D’Arne’s lost notes on the Da Vinci Cube was all that mattered. He glanced at the nurse, who tossed back her long, lustrous copper hair to reveal a long, lustrous copper skull.

“We are the Void,” she said. “Bereft of that coruscating luminosity which shelters all from unreason and the night-cries of the Ur-Mind. We are Yesterday, splintered into a Tomorrow which will flense sorrow from the City of Cities…”

“I think I’m in the wrong story,” said Flaxman Low, noted psychic investigator.


parody
specialising in spoofing sf

And speaking of investigators, having started our parody adventure with Holmes, why not fail to finish satisfactorily with an eerie tale of Carnacki the Ghost Finder:

THE CASE OF THE MAN WITH NO ENDING

Carnacki settled back into his armchair and lit his pipe, affecting such a Holmesian pose that we looked to the study door to see if Mrs Hudson was on her way in.

“Did I ever tell you fellows…” he began.

After we had recovered Taylor from behind the curtains, and stopped Arkright from feigning an epileptic fit, the Ghost Finder nodded and continued.

“…about a dashed sticky situation I encountered in Nottingham, a case which almost cost me more than my life, threatened the sanity of many a resident of that fair city, and brought me to the attention of some of the highest authorities in the land”

We admitted that he had not.

“Good,” said Carnacki. “Out you go, then, you ungrateful bastards.”

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THE HAUNTED AUTHOR: SO YOU WANT TO WRITE – A CHARACTER?

Today, beloved listener, we provide an intensive step-by-step guide to creating, describing and using characters in fiction, along with tutelary videos, a comprehensive workshop package, one-to-one coaching, and seventeen character stereotypes you hadn’t thought of. No, no, dear gods we do not! We lied again. Instead, we mess around with an Australasian author of the Victorian era, Marcus Clarke, and share one of his most amusing tales from 1871 – ‘The Haunted Author’ – about a writer plagued by his own characters. It may impart some valuable lessons…

haunted author

But we could quite easily collect together all the extensive advice available on character development, with detailed references to hundreds (if not thousands) of articles which tell you to:

  • Make them stop and think
  • Give them opinions
  • Give them flaws
  • Describe their body language
  • Give them motivations
  • Create a back story for them

And so on. Pages of that sort of thing. We pay little attention to any of it (which is perhaps why old greydog is an award-winning, billionaire author with so many film options taken up).

Some of the advice is written by people who should be busy producing fiction if they’re that good at it (which makes us suspicious). Some advice may be genuinely useful, though much tends to be a bit over-obvious – unless you had planned a novel with motiveless characters who stand there like cardboard cut-outs and have never met anyone else in the world or done anything until the story starts.

John Linwood Grant (greydog to you) writes tolerable character-based fiction. This is mostly because:

  • He has come across other people, and spoken to them
  • He does not only know white Britlander males exactly like himself
  • He has spent most of his life as a Human Being
  • He has eyes and ears

It may also be that he is good at copying what better writers did in the past, but we won’t explore that one in case it’s true.

We did think about including real tips, but could only come up with one:

  • Assume your characters ALL exist as real people, and do/did so whether you write about them or not.

If you do not know any real people, then copying neatly may be your only option.

LAZY READER NOTE: If you want to skip down to the rather amusing Marcus Clarke story ‘The Haunted Author’, about writing and characters, feel free. It’s not like you paid for this and have to squeeze value out of it. Nor do you have to be a genre fan to enjoy the tale.


MARCUS CLARKE

marcus clarke haunted author
1866

And on to our featured author, who sadly does not exist any more. Marcus Andrew Hislop Clarke (1846 – 1881) was born in London, but was send out to Australia at the age of seventeen with £800 in his pocket, from his father (Marcus had an uncle out there who was a judge). In his brief time, he managed to be novelist, poet, farmer, journalist, playwright, and useless bank clerk.

As a lively, mercurial character, by all accounts, he wrote many wry pieces of journalism, but also the totally serious novel His Natural Life

“The convict of fiction has been hitherto shown only at the beginning or at the end of his career. Either his exile has been the mysterious end to his misdeeds, or he has appeared upon the scene to claim interest by reason of an equally unintelligible love of crime acquired during his experience in a penal settlement. Charles Reade has drawn the interior of a house of correction in England, and Victor Hugo has shown how a French convict fares after the fulfilment of his sentence. But no writer—so far as I am aware—has attempted to depict the dismal condition of a felon during his term of transportation.

“I have endeavoured in ‘His Natural Life’ to set forth the working and the results of an English system of transportation carefully considered and carried out under official supervision; and to illustrate in the manner best calculated, as I think, to attract general attention, the inexpediency of again allowing offenders against the law to be herded together in places remote from the wholesome influence of public opinion, and to he submitted to a discipline which must necessarily depend for its just administration upon the personal character and temper of their gaolers.”

Dedication, His Natural Life (1874)

Clarke married in 1869, and the couple had six children, of which at least two survived, but he died in Melbourne at the age of only thirty five.

“After Clarke’s death his friend Hamilton Mackinnon assembled the Marcus Clarke Memorial Volume (Melbourne, 1884), a selection of his most popular journalism with a biographical introduction. The witty, often malicious, ephemeral humour which colours the greater part of these writings contrasts strangely with the dark, powerful imagination exhibited in His Natural Life, the revised, shortened and best known version of which appeared in book form in 1874 and 1875. The title, For the Term of His Natural Life, was applied by publishers to this work after Clarke’s death. Whether the light and trivial social journalist, the literary butterfly, or the serious author of this great, if defective, novel is the true Marcus Clarke, who is to say? The best defence of his journalism is that, viewed in its context, it still seems extraordinarily alive and vivid, providing a brilliant index to a very vigorous period of colonial literary life.”

Australian Dictionary of Biography, 1969

For the Term of His Natural Life has been filmed a few times, most recently in 1983, though we understand that this version was given a happy ending (?!).

the haunted author

The book can be read on-line here.

https://web.archive.org/web/20050721112736/http://etext.library.adelaide.edu.au/c/clarke/marcus/c59f/index.html



THE HAUNTED AUTHOR

by Marcus Clarke

First published as ‘Hunted Down’ in The Australasian 6 May 1871

‘What can I do for you, sir?’ I asked blandly, astonished. He was a tall broad-shouldered man in a rough pea-jacket, and scowled portentously.

‘Put me into an honest livelihood,’ he answered. It was such a strange request that I could only stare. ‘Don’t you understand?’ he said, seating himself with rough vehemence, ‘I want to become a reputable member of society. I want some honest employment.’

‘But, my good sir, why do you come to me? Your motive is most excellent, but an honest employment is the last thing at my disposal.’

‘That be blowed!’ said he, ‘you could give me a fortune if you liked, you know you could. But I don’t want that. No, I’m fly to that game! You’ll have some blessed elder brother, that nobody knowed of, coming back from New Zealand and succeeding to the ancestral mansion; or you’ll get me pitched out of my gilded chariot at the church door, and marry my wife, that ought to be, to somebody else. I know you. I only want a modest competence, nobody interferes with that.’

‘Your language is even more mysterious than your appearance, my friend,’ I said.

‘Pshaw!’ said he (I never heard a man outside a book said ‘pshaw’–never), ‘don’t you know me?’

I looked at him steadily, and it seemed that I ought to know him, that hat, that pea-jacket, that knotted scarf around his muscular throat, those fierce eyes–all were familiar to me…

‘You don’t happen to have any marks about you?’ I asked, while a cold sweat broke out upon my brow.

He laughed–that bitter laugh which I had described so often. ‘I have a peculiar mole on the back of my neck, the tip of my left ear is shot away, my right side still bears the mark of Pompey’s claws when he defended his young mistress Alice in the lonely swamp. I have lost the little finger of my right hand, and have three pear-shaped wens, besides the usual allowance of strawberry marks.’

There was no mistaking him. It was my Villain! I knew his bloodthirsty nature, and dreaded the tremendous struggle which experience told me was to follow.

‘But why come here?’ I urged.

‘I am sick of it,’ said my villain, doggedly. ‘I ain’t to be badgered any more. It ain’t a respectable business. First I was Jabez Jamrack, then Black Will the Smuggler, then Curlewis Carleyon, then a Poacher, then a Burglar, then an Unjust Steward, and now I’m an Escaped Convict.’

It was true. The unhappy creature before me had figured–in my world-renowned novels–in all those capacities…

‘It ain’t because I’m out all nights in all sorts of weather, mostly thunderous. It ain’t because I’m often drunk, always in debt, and totally disreputable. It ain’t because I’ve murdered a large variety of mothers, and brought the grey ‘airs of a corresponding number of aged fathers with sorrow to the grave. It ain’t because my langwidge is altogether ridiculous, and I leave out more ‘h’s and put in more oaths in my conversation than any natural man did yet. It ain’t that. No!’ he cried, waxing wroth, ‘it’s because I’m always left at the end of the third volume, if I’m still alive, without hope of mercy or promise of repentance.’

I shuddered. ‘Take some brandy,’ I said, and pushed him the decanter. He took it, and filling half-a-tumbler with neat spirit drained it at a gulp. I knew he would. The Beast–under my direction–invariably took his liquor in that fashion…

‘Is it right? Is it just, guvernor?…Your comic servant winds up with the chambermaid. Your aristocratic villain, the Marquis, my master, who poisons his niece, and shoots his aunt with an air-gun, he’s all right…he’s never hung in chains, or tuk to Newgate, or starved to death in a deserted drive on the diggings in Bend-i-go…But why waste words? Are we not alone here? No sound but the whistling of the wind in the wide chimneys of the moated grange; no footsteps but that of the midnight mouser as she creeps stealthily to her prey. Ha, ha! Thou art mine, and–‘…

Ha, ha, indeed! I guessed how it would happen. My experience as a novel-writer told me as much. Just as the enraged ruffian advanced to seize me…a new-comer appeared upon the scene. By his wavy hair, square-toed Wellingtons, massive watch chain, and handkerchief that hung from the right hand pocket of his shooting coat, I knew him at once.

He was Sir Aubrey de Briancourt.

‘Assist me!’ I exclaimed. The look of scorn he gave me was sufficient to daunt a bolder man, but I knew of a spell by which I could compel him.

‘Hist!’ I said, in a thrilling whisper. ‘Proud scion of a lordly house, there is another Sir Aubrey. Refuse me aid, and young Fairfield will assume your name and title. These minions are beyond my power, but remember you are to be continued in our next.’

The threat made pale the cheek even of one whose ancestors had bled on Bosworth, and the baronet waved a white hand towards the back door. ‘Take my cabriolet, dog!’ he said, with that courtesy which characterizes the British aristocrat…

I need scarcely remark that I leapt into the cabriolet, and was soon driving with the rapidity of lightning towards Goodman’s Gully. Fast behind came the echo of hooves. The lightning flashed incessantly, and the negro who held the reins was white with fear. All at once a man clad in a red shirt jumped from behind a bush and seized the head of the mare.

‘Who are you?’ I cried.

‘The most abused of all,’ said he. ‘I am the Typical Digger! I am the man whom you and the others of your tribe have made to eat banknotes as sandwiches. I have shod my horse with gold and swilled champagne–which I detest–out of stable buckets…Am I to pass my life in finding repeatedly gigantic nuggets, and being perpetually robbed of the same? Must I never shave? Shall the tyranny of the fictionmonger compel me to sleep in my boots?’

‘Calm yourself, my friend,’ I said, ‘There is not much harm done. I know of some poor fellows whom the fictionmongers have treated much more rudely.’

At that instant, the demoniac howls of my pursuers were borne upon the blast.

‘That may be,’ roared the Digger of Romance, ‘but I will be revenged on thee. Come!’

The cabriolet disappeared in the distance–there was never a cabriolet yet that did not do so under such circumstances–and my captor led me away. He paused at the door of the usual bush inn (how well I knew it), and striking three blows upon the door (they invariably struck three loud blows), we were admitted into a long apartment. I beheld with astonishment that all the personages whom I had imagined the creatures of my own too fertile brain were there.

‘Wretch!’ cried the fair Madeline, ‘why did you not unite me to the Duke? You know you only changed your mind at the last moment.’

‘Monster,’ said the lovely Violet, ‘you made me pass three nights of horror in the Red Farm, when one stroke of your pen would have freed me.’…

‘Christian dog!’ roared Mordecai the Jew, ‘I was born with charitable impulses, and should have lent in peace the humble shilling upon the ragged coat of poverty, had not your felon soul plunged me into crime to gratify the tastes of a blood-and-thunder loving public.’

‘And I,’ remarked Henry Mortimer, with that cynical smile that I had so often depicted, curling his proud lip, ‘did I wish to throw my elder brother down a well in order to succeed to his name and heritage? No! I loved him fondly, madly, as you took pains to state in your earlier chapters.’…

‘Away with him!’ hissed Lady Millicent, the Poisoner. ‘I knew not of the deadly power of strychnine until he told me.’…

”Twas he that let me linger in consumption for forty pages folio!’ cried Coralie de Belleisle, the planter’s daughter.

”Twas he that blighted my voluptous contours with an entirely unnecessary railway accident!’ wept the lovely Geraldine.

‘Away with him!’

‘Mercy!’ I cried, gazing in terror on their well-known lineaments.

‘Mercy!’ cried the Lost Heiress, Isabelle Beaumanoir, ‘when for two long hours you deliberated whether my sainted mother or the poacher’s wife should give me birth! Mercy for thee! Oh, no, no, no!’…

I trembled over the abyss.

‘Why seek to dispel my ennui with this espieglerie, mon ami,’ said the soft tones of the Count in his native tongue. ‘Sacre, let the pauvre petit escape, my dejeuner at the fourchette awaits. The coup d’oeil is superb, the tout ensemble all that could be desired. Voila.’

The digger swung me over the yawning grave. All the buttons in my waistcoat gave way, and for an instant my life hung literally by a thread.

‘Will you make me respectable?’ said the Villain.

‘Never.’

The button cracked. I was going, going–gone, when the alarm-bell sounded, the door was burst open, and–Bridget entered.

‘It is the boy from the printers’ for the proofs,’ said she.

‘Tell him to wait,’ said I; and wiping the sweat from my intellectual brow, I seized my pen, and in ten lines had got my Villain comfortably in irons at Norfolk Island.

THE END


And that was ‘The Haunted Author’. There’s also a fun podcast version of ‘The Haunted Author’ to be heard here:

haunted authorhttp://nineteennocturne.libsyn.com/-the-haunted-author-by-marcus-clarke



Next time on greydogtales – something unrelated to the above. And don’t forget to subscribe (it’s free!) top left, so that you’ll know when to avoid visiting the site…

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Fright into Flight & An Infernal Invasion

One of our guest reviews today, dear listener, this time – a detailed one by writer Jill Hand, who considers the ins and outs of the anthology Fright into Flight, from Word Horde, edited by Amber Fallon. And for those who don’t know of it, a bit about the forthcoming anthology Hell’s Empire, from Ulthar Press, edited by John Linwood Grant. No time for lurchings and longdogses today, we fear (that is to say, we’ve walked, fed and hugged them, but their stories will have to wait).

fright into flight

Fright into Flight is a compilation of horror stories focused loosely around the concept of flight, written by women only. As such, it’s also a sort of riposte (whether pointed or tongue-in-cheek we cannot say) to the recent anthology Flight or Fright (Hodder & Stoughton 2018), edited by Stephen King and Bev Vincent, which somehow managed to include NO women writers. So kudos to Word Horde.

Hell’s Empire received about forty percent of its submissions from women, and that proportion is roughly represented in the final selection set between the two anchor stories, purely on merit. Hell’s Empire is also themed, but quite tightly – we’ll deal with that first.


Entering Hell’s Empire

The concept behind Hell’s Empire is that at some unspecified point in the early to mid-1890s, the forces of Hell invade Britain, in an unprecedented event called the Incursion. Not a steampunk, fantasy or alternate Victorian Britain, but the plain old historical one.

The Incursion takes many forms, including:

  • subtle attempts to undermine or demoralise the British;
  • lone demonic appearances in unexpected places;
  • strikes at key places and organisations;
  • seemingly random acts of terror and destruction, and/or
  • outbreaks of direct combat between Infernal and Victorian forces.

The background is therefore a time when the main forces of the British Empire are engaged elsewhere across the globe, and those units still in the United Kingdom are depleted from sending reinforcements to conflicts overseas for years. A vulnerable time, and an ideal one should the Infernal Prince be looking for an opportunity to expand His realm.

I was asked at the time if this would be a project which insisted on only Christian symbology and tropes – the classical Hell of the church. The answer was not necessarily. It was possible that the Incursion was not the onslaught of a literal Christian Inferno, but took such an appearance to most people in Victorian Britain because of their own history and upbringing.

Another plane of existence, malign, chaotic and using the most suitable guise for its assault? Entirely acceptable. One of many ‘Afterlifes’, from Abrahamic or other religions? Fine. And there remains the possibility that it was Hell itself, most of all, that believed itself to be Hell. Perhaps we shape our nightmares until they take the form we give them?

We were sent an amazing range of tales, some of which made me quite jealous as a writer – because they included things I’d never thought of. As an editor, I don’t think I’ve ever been more delighted by the results of asking for submissions to a project.

I did wonder if we’d be buried under loads of jingoistic tales of purely military interest. We weren’t – rather the opposite. There was action and excitement, yes, with strong plots, but also much subtlety and pathos – fleeting, personal victories; dreadful losses, and a sense of true horror at a world falling apart. Wonderful tales of humanity under pressure. This is not a book where everyone wins.

Here’s an extract from the interlinking text, to give you a feel for the scope of the action:

England bore the brunt of the onslaught. If things were worse in Scotland, it was hard to tell – communication with many Scottish centres of population was lost towards the end of the first month. We knew that fighting was stiff in Northern England – Durham and its cathedral a beacon of hope, York almost in ruins, Hull a besieged port reached and supplied when possible by sea. Armed trawlers and naval patrol boats, each with their parson or priest, kept a semblance of resistance going along the east coast. Hardened chapel men and women held the line inland, bolstered by what remained of the military and the police force.

London, and many large towns in the Midlands and South East, became battlefields. Confused arenas of a war fought in burning streets, where civilians shot at anything which they could not understand, and hasty garrisons were formed from a motley of regular troops.

Religious belief itself became a battlefield. Faith and Will seemed paramount. Three Mohammedan students from Balliol College survived the destruction of Oxford, as the lost souls which were sent against them seemed unwilling to engage. A priest in Leicester stood against a spiked horde, and found that the faith he professed to his flock was a sham. He died, several times.

Christian theologians and rabbinical authorities dug deep, and found partial answers – Faith, Will, and the symbolism of earlier times. The Enochian language of Dr John Dee, whether fabricated or not, held power, as did certain aspects of the Kabbalah. The curious fact that Dee had been advisor to the greatest queen of these isles until Victoria, and that he was reputed to have coined the term ‘British Empire, was lost on most. Bullets were blessed and scratched with such symbols as were known; the people turned to holy water, cold iron and silver, whatever might work…

Hell’s Empire is due out either late 2018 or very early 2019.



Now, to that review. The greydogtales.com reviewers are not ‘staffers’ – they’re free-lancers, writers and editors who kindly help us deal with the large number of books we come across or are sent. So any opinions below the line are those of the reviewer, not the website. If we ourselves have time to read and reflect on a book, we do it in-house and say so…

Boarding Fright into Flight

Review by Jill Hand

 

“Fallon has collected some true gems that will be perfect for fans of horror stories centered on female power and dangerous women.”

John Linwood Grant asked me to review Fright into Flight, an anthology of horror stories written by women. Mr Grant said he chose me for two reasons: the first being the more or less indisputable fact that I am a woman. The second is that I write horror. Sometimes I write smart-ass responses to the pictures that Mr Grant posts on his Facebook page. He likes to take illustrations from Victorian novels and children’s books – saccharine drawings featuring anthropomorphic bunnies and genteel young ladies having tea — and add funny cutlines. We all have our little hobbies, and since the copyrights have expired and the illustrations have entered into the public domain he won’t go to prison. At least not for plagiarism. I can’t speak for anything else that he may be up to.

Fright into Flight is edited by Amber Fallon and published by Word Horde. It has striking cover art by Peter Nicolai Arbo of a pensive-looking ginger-haired woman astride a horse. The woman clutches a spear in one hand while in the other she holds a shield with a pointy thing on the front. The woman’s legs and feet are bare, which seems a poor choice for someone engaged in equestrian activities. The horse appears somewhat panicked, as it should be, since it and the woman are soaring above the clouds. The woman is a Valkyrie, a creature from Norse mythology whose primary role was to choose who would die in battle and who would live. They also served mead to the warriors in Valhalla and had sex with heroes. Valkyries led busy lives.

But let’s move on, shall we? Paperback editions of Fright Into Flight cost $15.99. The eBook is $5.99, which is a good value, considering that you’re getting sixteen short stories. Some were first published in the 1990s, but most are more recent reprints. One, “I Did it for the Art,” by Izzy Lee makes its debut in Fright Into Flight.

All sixteen stories have to do with the theme of “flight,” although the term is loosely defined in some cases. There’s a mix of fantasy, dark fantasy, horror, and science-fiction-based horror.

There are some real gems here, as well as a few that failed to impress me as much. I’ll name the three I liked best, in no particular order:

The collection opens with Damien Angelica Walters’s story, ‘The Floating Girls: A Documentary.’ Twelve years ago, 300,000 girls from all over the world floated up into the sky and vanished. This phenomenon was hushed up, relegated to the status of urban myth. The documentarian, Tracy Richardson, shares her personal memories of one of the floating girls, her next-door neighbor and former best friend, Jessie. The two of them grew apart after Jessie’s mother died and her father remarried. Tracy witnesses Jessie’s disappearance. Her guilt that she didn’t do more to salvage the friendship is poignant, reminding the reader of all the friendships they allowed to wither and die for no good reason. The documentary intersperses film and audio in a way that feels genuine, as if we’re reading about an actual event. It’s deftly written, with powerful imagery.

‘Wilderness’ by Leticia Trent bears the stamp of Shirley Jackson’s influence on the horror genre. Trent captures Jackson’s signature brooding sense of not-quite-rightness that slowly builds to almost unbearable tension. The main character, Krista, is traveling alone. Her flight to New Haven is delayed and the airline personnel won’t say why. Krista has lost her job for reasons that aren’t clear, and she’s just had an unsatisfactory visit with her parents. She’s planning to start over fresh, but something tells us that won’t be happening. Not when the airport workers and the police are acting strangely. It seems there might be something toxic in the air, or in the water. The other passengers are starting to regard Krista with suspicion, and we can only wonder if she’s going to end up like Tessie Hutchinson in Jackson’s “The Lottery.”

‘Every Angel’ by Gemma Files is an absolutely kickass tale. Bob is a London crime boss in the mold of the brutal Kray twins. He has developed an obsession with religion that’s getting in the way of business to the point that it’s starting to worry his right-hand man, Darger. When what appears to be a female angel is discovered roosting beneath a freeway overpass, eating live rats and the occasional hapless passerby, Darger is tasked with capturing it. Penned up in Bob’s crime headquarters, what might be an angel or a demon or a harpy or something even worse starts messing with Bob’s mind with grim observations about God and the afterlife. It’s darkly funny and the East End accented dialogue is spot-on. This is a story that can be read and enjoyed again and again.

Two stories which I feel could have gone even further with more development were Izzy Lee’s ‘I Did it for the Art’ and ‘Consent’ by Nancy Baker. In the first one, the main character, Jeff, is a photographer who gets off on drugging and raping adolescent fashion models. He’s thoroughly reprehensible and the narrative would have worked better for me if he had some redeeming qualities. I would also have liked if there was a brief explanation of the curse of Dudleytown, Connecticut. Readers unfamiliar with the abandoned village’s history would fail to appreciate why it was a bad idea for Jeff to take his bevy of Lolitas there and why really bad stuff started to happen after he did.

In the second, a best-selling horror writer has inspired the crimes of a serial killer who tortured and disfigured his victims before killing them. One survived, and she takes her revenge against the writer in a deserted airplane hangar. In this case, the “flight” theme applies not only to the location where the writer is cornered, but also to the woman’s plans to fly away afterwards on a private jet. The story poses the excellent question of what is the purpose of horror writing. I would have preferred more development of that premise, rather than focusing on the plot-line from a slasher film.

There are other inclusions in the anthology which I found difficult to get on with because of the subject matter. The presence of Native American ghosts that rape women and steal white babies for sacrificial revenge doesn’t sit comfortably with me. This isn’t the golden age of pulp fiction, where Native Americans were either noble savages or sneaky, deranged baddies. It could be nice if writers would stop perpetuating stereotypes. And yes, one had a good guy who is native, but I wish the vengeful Indian thing would stop, or at least find a new way of being expressed. Shamans are an overdone trope, in my opinion. I wish someone would write about a Native American main character who’s not wise in the ways of nature or able to summon spirits.

Speaking of horror movies, Nadia Bulkin’s ‘When She was Bad’ takes on the theme of “final girl,” the girl who survives to the end of a horror movie (or at least is the last to die.) As always, Bulkin’s prose is a treat. Her description of how the girl takes revenge against the winged monster that killed her friends brings catharsis in the purest sense of the word. We feel pity and terror, both for the unnamed girl and for the monster. It’s gorgeously done.

Despite a few possible missteps, Fallon has collected some true gems that will be perfect for fans of horror stories centered on female power and dangerous women.

The question, I suppose, is why have an anthology of all-female writers? There’s been a lot of talk lately in the horror community about the need for “inclusion” of “under-represented” groups, meaning women and various minorities and people who identify as LGBTQ. I don’t see any harm in that, although women have been writing and publishing horror forever, or at least since a teenager named Mary Shelley wrote a scary story about a doctor who stitched together pieces of dead bodies and zapped them with electricity in order to bring his creation to life.

Women write horror at least as well as men do. Mary Shelley certainly did, and Ann Radcliffe, who is credited with inventing the Gothic novel. Then there’s Charlotte Perkins Gilman, author of ‘The Yellow Wallpaper’, the super-creepy short story about a rest cure that’s decidedly less than restful, and of course Shirley Jackson, whose The Haunting of Hill House is currently having a redo in the form of a Netflix miniseries loosely based on the original book. The new contingent of women horror writers walk in the footsteps of Shelley and Gilman and Jackson and Rebecca du Maurier and Margaret Oliphant and all the rest and are doing an admirable job.

I highly recommend Fright Into Flight. It’s got some of the best current creators of horror who just happen to be women.

Fright into Flight is available now:

http://amzn.eu/d/3HboLZD

http://a.co/d/hiQu9SF

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Redcap, Coffman, and the Doom of Lord Soulis

Dark folklore and verse today, dear listener. We travel up to the Scottish borders, visit American poet Frank Coffman, by strange association, and then swing back for a legend of Holderness in Yorkshire. We unveil an exclusive folklore/folk horror ballad on the wicked redcap by Frank in the process, and even add in a short ballad by Paul St John Mackintosh.

hermitage castle

Some of you may already know of the redcap, or Robin Redcap. The folklorist William Henderson (1813-1891) described this malevolent, goblin-like being in detail:

“Redcap, Redcomb, or Bloody Cap, is a sprite of another sort from the friendly Brownie. He is cruel and malignant of mood, and resides in spots which were once the scene of tyranny — such as Border castles, towers, and peelhouses. He is depicted as a short thickset old man, with long prominent teeth, skinny fingers armed with talons like eagles, large eyes of a fiery-red colour, grisly hair streaming down his shoulders, iron boots, a pikestaff in his left hand, and a red cap on his head. When benighted or shelterless travellers take refuge in his haunts, he flings huge stones at them; nay, unless he is much maligned, he murders them outright, and catches their blood in his cap, which thus acquires its crimson hue.

“This ill-conditioned goblin may, however, be driven away by repeating Scripture words, or holding up the Cross ; he will then yell dismally, or vanish in a flame of fire, leaving behind him a large tooth on the spot where he was last seen.”

Notes on the Folk-lore of the Northern Counties of England and the Borders (1879)

And Sir Walter Scott mentions the creature in his Minstrelsy of the Scottish Border:

“Redcap is a popular appellation of that class of spirits which haunt old castles. Every ruined tower in the south of Scotland is supposed to have an inhabitant of this species.”


Perhaps the most famous citation of the redcap is in the ballad collected by John Leyden (1775 – 1811), a Scots folklorist and orientalist. ‘Lord Soulis’ was passed to Scott and included in Volume Three of Minstrelsy – it’s long, but we’ll give you a taste:

Lord Soulis

by J Leyden

Lord Soulis he sat in Hermitage castle,
And beside him Old Redcap sly;—
“Now, tell me, thou sprite, who art meikle of might,
“The death that I must die?”

“While thou shalt bear a charmed life,
“And hold that life of me,
“‘Gainst lance and arrow, sword and knife,
“I shall thy warrant be.

“Nor forged steel, nor hempen band,
“Shall e’er thy limbs confine,
“Till threefold ropes, of sifted sand,
“Around thy body twine.

“If danger press fast, knock thrice on the chest,
“With rusty padlocks bound;
“Turn away your eyes, when the lid shall rise,
“And listen to the sound.”

Minstrelsy of the Scottish Border (1806)

Historically, the real William de Soulis, Lord of Liddesdale, shifted sides between the English and the Scots, and the official record is that he was eventually imprisoned at Dumbarton at the order of King Robert of Scotland (Robert the Bruce), dying in or by 1321. A number of Border Ballads are a mixture of fact and fiction, and there’s a degree of confusion and myth-making when it comes to William.

redcap
Sir Walter Scott and his dog camp at Hermitage Castle 1808

Sir Walter Scott says, of this Lord Soulis:

“…he is represented as a cruel tyrant and sorcerer; constantly employed in oppressing his vassals, harassing his neighbours, and fortifying his castle of Hermitage against the king of Scotland; for which purpose he employed all means, human and infernal: invoking the fiends, by his incantations, and forcing his vassals to drag materials, like beasts of burden. Tradition proceeds to relate, that the Scottish king, irritated by reiterated complaints, peevishly exclaimed to the petitioners, “Boil him, if you please, but let me hear no more of him.”

“Satisfied with this answer, they proceeded with the utmost haste to execute the commission; which they accomplished, by boiling him alive on the Nine-stane Rig, in a cauldron, said to have been long preserved at Skelf-hill, a hamlet betwixt Hawick and the Hermitage. Messengers, it is said, were immediately dispatched by the king, to prevent the effects of such a hasty declaration; but they only arrived in time to witness the conclusion of the ceremony.

“The castle of Hermitage, unable to support the load of iniquity, which had been long accumulating within its walls, is supposed to have partly sunk beneath the ground; and its ruins are still regarded by the peasants with peculiar aversion and terror. The door of the chamber, where Lord Soulis is said to have held his conferences with the evil spirits, is supposed to be opened once in seven years, by that dæmon, to which, when he left the castle, never to return, he committed the keys, by throwing them over his left shoulder, and desiring it to keep them till his return. Into this chamber, which is really the dungeon of the castle, the peasant is afraid to look; for such is the active malignity of its inmate, that a willow, inserted at the chinks of the door, is found peeled, or stripped of its bark, when drawn back.”

ibid

Hermitage Castle, which is in Liddesdale, right on the border with England, still exists today. Some believe the true fate of William de Soulis was mixed up with another of the line (possibly Ranulf de Soulis) who was supposed to have been slain by his servants.

Whether Ranulf was boiled alive or not, we cannot say. Nor can we prove that either Ranulf or William were sorcerors, unfortunately. As is the way of these things, the whole de Soulis dark magicks story is compounded by connections with Michael Scott, the legendary scholar who was later immortalised as a powerful wizard by… Sir Walter Scott.


TRIVIA 1: Robert Bruce, an illegitimate son of Robert the Bruce, was later acclaimed as Lord of Liddesdale, the de Soulis (or de Soules) line having forfeited the title.


TRIVIA 2: None of the above should be confused with the 1964 TV series Redcap, starring John Thaw, who later became the incarnation of Inspector Morse. That was named after the red caps of the British military police, who were not supposed to steep them in blood. Really.



COFFMAN AND THE REDCAP

Our musings on the redcap in general were re-awakened by Frank Coffman, writer, prolific poet and crafter of weird verse, who sent us this rather neat piece in response to an on-line discussion. We’ll say something about Frank’s latest collection in a moment, but first of all here’s the ballad he supplied, for its first ever showing:

Redcap

A Ballad of the Border Country, by Frank Coffman

 

Along the Tweed, an ancient row
Of stony ruins runs.
Grey-grim and stark, they fell below
Two-hundred thousand suns.

The years swept over tall peel towers,
Castles, and cairns for bone.
With trials of Time and Nature’s powers—
Their rubble sleeps alone.

And yet, not quite alone are they
Across that country wide,
From Berwick to the Tower of Wrae
And down to Cardrona side.

For there are wights about at nights
Among those fallen stones.
Within the ruined towers, strange lights
Are seen. A cold wind moans.

Long gone the days when watch fires blazed
Along that row of forts.
But, Traveler, you would be amazed,
For still a light—of sorts—

Can be seen if you dare to come too near
To those abandoned places.
And you’ll have every cause for fear
When you behold their faces!

They are those of the Unseely Court,
Gnomes you must rightly dread.
Flee for your life’s your best resort,
Or you will sure be dead!

They are Redcaps, each stands his guard
At those old fallen towers
And your spilt blood is their reward
If you fall ‘neath their powers.

He’s short, thick-framed, with long grey hair,
With razor-sharp, long nails.
If, in the night, you dare his lair,
And Scripture chanting fails;

Sometimes a Cross will send him gone,
Those iron boots will clank.
If you survive until the dawn,
You’ve surely God to thank.

Far better to beware. Don’t dare
Those old stones ‘neath the moon.
For there is Death residing there,
And it will come full soon.

For holy signs and Bible verse
Are rarely safe. Instead,
A fool falls victim to the curse;
Hurled stone will crush his head.

Sometimes, old Redcap’s halberd chops
And takes the head clean off.
Or spear-point rips out guts. He stops
And then his cap he’ll doff.

His name is true; his cap is red.
Made scarlet in its hue
By soaking blood spilled from the dead!
Most horrible to view!

‘Tis stained, but decked with grim black gouts,
Dried from his many kills.
When his foul fun is done, he shouts
To echo from the hills.

So heed my tale. Do not go near—
If you would keep your breath—
Those piles of stone bring more than fear;
You’ll likely meet your death.

Leave Redcap and his ilk alone.
Stay home—and lock your doors.
Let the night wind keen and moan
Through ruins fraught with horrors.


Which brings us nicely to Frank’s latest publication, This Ae Nighte, Every Nighte and Alle, a chapbook of thirty three short poems. You can read more about the title in the book itself, but suffice to say that it once more comes back to Yorkshire, for it draws on the Lyke Wake Dirge of our homeland.

frank coffman

It’s a lovely little book, beautifully laid out and even includes a glossary of poetical forms for those who are serious versifiers.

“This slim volume is presented as a sampling of some of my efforts in the rapidly reviving and burgeoning realms of both Formalist and Speculative poetry… The theme, focus, genre, subject of the several poems you’ll find in these pages is of the weirdly horrific and supernatural.”

A retired professor of college English, creative writing, and journalism, Frank has published poetry and fiction across speculative genres in magazines, anthologies, and online.

“Poetry scholar Frank Coffman creates a relentless and obsessive poetic journey into the dark night of the soul. Poet Coffman utilizes classic poetic forms such as the sonnet and villanelle in a postmodern, so-old-it-is-new way to unleash a speculative world of supernatural terror. These poems are just the thing to read aloud on Halloween, or if you want to make every day Halloween. He brings a lifetime of experience with him to create a volume that is both rigorous and enchanted.” —JP Bloch, author of Identity Thief and Shadow Language

“…he’s an expert on folklore themes and an impressive master of formal verse.” —Marge Simon, from her column, Blood And Spades, in the HWA Newsletter.

We’re also looking forward to a further volume from the Master. His major collection The Coven’s Hornbook and Other Poems (around 270 pp with poems and glossary of exotic types, and foreword by Donald Sidney-Fryer, “Foreword” by Frederick J. Mayer, and illustrations by Yves Tourigny) will be out in early 2019.

(Incidentally, Frank has a very evocative story – not a poem! – in the forthcoming anthology Hell’s Empire from Ulthar Press.)

This Ae Nighte, Every Nighte and Alle can be obtained via this link:

frank coffmanhttp://www.lulu.com/shop/frank-coffman/this-ae-nighte-every-nighte-and-alle/paperback/product-23781908.html


By one of those odd coincidences which regularly bless greydogtales, we are pleased to have at hand a new short ballad on the redcap theme from writer/poet Paul St John Mackintosh, who occasionally graces out pages with reviews and opinion pieces. What better place to show this off as well?

“The Redcap”

In Border haunts, the Redcap lurks
with iron boots and pike
among black ruins’ blasted stones
to slay those he can take.

His tall cap glistens thirstily
a bright and bloody red,
for if it were to dry dull brown
the Redcap would fall dead.

But Border burns run thick with blood
where many brave men die
and Redcap never will be short
of colour for his dye.

Paul’s latest review for greydogtales can be found here:

http://greydogtales.com/blog/trains-terror-grabinski-returns-niveau-triumphs/


Homeward Bound

At last, down from the Borders, along the path of the Lyke Wake Walk and to the North Sea Coast of Yorkshire again. Henderson also mentions in his Notes on the Folk-lore of the Northern Counties

“There are Redcaps in Holland too, but they have little in common with the Scottish Redcap, except the name. They are nearer akin to the Brownie, whom they resemble in their attachment to certain homesteads, in the diligence with which they perform manual labour, and in their abrupt departure on receiving a guerdon in the form of clothing. The Dutch Redcaps light fires during the night, which are invisible save to themselves, but warm the house; and the few sticks they leave of the Hausfrau’s stock of brushwood serve her as long as a great bundle, and give double the warmth. They are clad in red from head to foot, and have green hands and faces.”

There has long been a Northern European influence on this part of the coast (we ourselves were called Danes by an old fellow when we moved to West Yorkshire, because of dialect and inflections). So here, to redcap or roundcap off the article, is a wry folk tale, from Holderness in East Yorkshire, where we run the lurchers often:

“The Hob Thrust, or Robin Round Cap, is a good natured fellow who assists servant maids by doing their work in the early morning. As he never wears clothes, it is told that one servant girl offered to make him a harden shirt (a shirt made of coarse, brown linen), but this gave him such offence that he instantly departed and never returned. Should he, however, have spite against any one, he annoys them terribly by breaking crockery, upsetting the milk, letting the beer run to waste, throwing down pans, rattling things together, and giving the place a reputation for being haunted.

“The Rev. W. H. Jones relates a story of a Holderness farmer who had his life made so miserable by one of these impish spirits that he determined to leave his farm. All was ready, and the carts, filled with furniture, moved away from the haunted house. As they went, a friend inquired ” Is tha flitting? ” and before the farmer could reply, a voice came from the churn, “Ay, we’re flitting!” and lo! there sat Robin Round Cap, who was also changing his residence. Seeing this, the farmer returned to his old home. By the aid of charms, Robin was enticed into a well, and there he is to this day, for the well is still called Robin Round Cap Well.”

John Nicolson’s Folk Lore of East Yorkshire (1890)

django on the holderness coast

A less bloody end than most Border Ballads.



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