“The millstones of justice turn exceedingly slow, but grind exceedingly fine.” Ghosts, being once human themselves, desire justice and many other things just as we do. Certainly they long to complete any unfinished business they may have left behind in their almost always inconvenient and untimely departures from life. However, being insubstantial, they have far fewer means at their disposal. Even communicating a simple message to the living can be an insurmountable hurdle.
Justice from beyond the grave is the subject of E.F.
Benson’s masterful short story, The China
Bowl (1916). The narrator manages to
obtain a very good deal on a house in a very desirable neighborhood—often an
ominous sign at the beginning of a ghost story.
The previous owner has just suffered the loss of his spouse, and wants
to leave the sad memory of her death behind him. But she begins to appear very soon after the
narrator moves in, with a message she attempts to convey to him through ghostly
pantomime. So much depends on a bit of
broken porcelain. What is the message?
The narrator’s friend Hugh, a criminologist and ghost aficionado
spends the night to help him solve the mystery.
Hugh has the best line: “It’s so
difficult to get frightened nowadays.
All but a few things are explained and accounted for.” The story is short and effective, and without
giving the ending away, it should just be said that ‘the millstones of justice
turn exceedingly slow…’
Vengeance from
beyond the grave is the theme in Benson’s The
Passenger (1917), where the haunting takes place on the top of a double-decker
bus. The narrator and the conductor
gradually become aware of a mysterious passenger, barely visible in the gloom
at the front of the vehicle. He appears
to hold his head forlornly in his hands—and the disturbing reason for this
posture is brought to light in the climax of the tale.
The Passenger
may remind some readers of Fritz Leiber’s classic urban horror story, Smoke Ghost (1941). In that story, Mr. Wran is pursued by a “shapeless
black sack”, which he can see from his train, getting closer and closer each
day as it crosses a grimy landscape of rooftops and chimneys. (Even though the smoke ghost may have already
visited his office.) Lieber’s ghost
seems more like a spirit of evil, a visual sign of the anxiety, restlessness,
greed and resentment created by the urban environment. It is not an individual; if asked, it might
say something like ‘My name is Legion…for we are many.’
In The Passenger,
the ghost is clearly an individual, and one with unfinished business. Besides an even worse crime, someone has
violated the 7.5th Commandment, as was the case in H.P. Lovecraft’s The Hound, (discussed in a post last
month). That Commandment is: “Thou shalt not steal what is already
stolen.” Benson effectively sets the
story in London during World War I, (as is The
China Bowl, above). There are
lighting restrictions and search lights scan the murky skies above for enemy
aircraft. Darkness and gloom are
everywhere. Besides a string of pearls,
something even more valuable has been taken.
Peace of mind? Hope?
Best line from this story: “You haven’t collected the fare from that man
in front there.”
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