Even though Algernon Blackwood’s ‘The Willows’ is one of my favourite weird tales, possibly even my most favourite, I’m embarrassed to admit that I’ve read little of his less-known work and hardly any of his non-fiction writings. This is doubly shameful as not only is there a huge amount of work beyond stories like ‘The Willows’ and ‘The Wendigo’ but also much of it is concerned with a love which I share with the writer: a deep love not only of enjoying nature (or Nature, as editor Henry Bartholomew reminds us of Blackwood’s love of capitalisation) but of becoming lost within it. I’ve never been to the Canada that Blackwood described as ‘the nearest approach to a dream come true I had yet known’, but I have explored the jungles of Borneo, trekked across Andean passes and skirted Himalayan foothills. As Blackwood would’ve known, these are all places where reality itself seems to become thin and one’s soul expands outwards to fill the void left behind. They are, in short, weird places.
From the Abyss: Weird Fiction, 1907-1945, by D. K. Broster, edited by Melissa Emdundson (Handheld Press, 2022).
There’s a strange irony in the fact that while the names of Weird authors may be known to fans of the genre for their strange and unsettling visions, many of them were also widely popular for more mainstream writing. E. F. Benson, for example, was not only the author of “spook stories” like the deeply chilling “Caterpillars,” a personal favourite of mine, but became well-known for the camp and sometimes caustic humour of his popular Mapp and Lucia series. Dorothy Kathleen Broster was no different. Although aficionados of the Weird may know her for the oft-anthologised tale of Jamesian transgression and punishment that is “Couching at the Door,” it was the Jacobite Trilogy of Scottish histories that made her, as editor Melissa Edmundson points out, “a household name” to the extent that many readers simply assumed she was herself a Scotsman. Should it be surprising that a writer works in different genres and modes? No, but it is surprising when those genres are so opposed to each other – in Broster’s case, deeply researched depictions of historical reality on one hand and, on the other, tales which delve into the world’s occasional bouts of un-reality.
The Villa and the Vortex: Supernatural Stories by Elinor Mordaunt
Guest PostThe Villa and the Vortex: Supernatural Stories (1916-1924), Elinor Mordaunt, edited by Melissa Edmundson (Handheld Press, 2021).
Melissa Edmundson’s Women’s Weird anthologies were, for me, an invaluable window into the work of a number of long-neglected women writers and a trove of weird, unsettling short fiction of astonishing breadth. Stories like the cosmic horror of Francis Stevens’ ‘Unseen – Unfeared’, or the deeply oneiric tragedy of ‘The House’ by Katherine Mansfield, demonstrated that women writers are not just the equal of their male counterparts but, often, far exceed them. We should be thankful, then, that Edmundson has continued her partnership with Handheld Press to begin a series of single-author collections, starting with The Villa and the Vortex, a retrospective of Elinor Mordaunt’s strange, melancholy tales. Read more