Not all of William Hope Hodgson’s stories take place at sea. Two of his more important works are the science fiction novels The House on the Borderland (1908) and The Night Land (1912). He also wrote a series of short stories that featured the occult detective Thomas Carnacki. Hodgson published nine of the Carnacki stories, most of them between 1910 and 1912.
According
to Sam Gafford’s excellent blog on William Hope Hodgson*, the character of
Carnacki has been on TV at least twice.
In 1954 an episode of the Pepsi-Cola
Playhouse showed an adaptation of Hodgson’s
The Whistling Room (1910). In an
episode of the 1971 BBC TV series The
Rivals of Sherlock Holmes, Donald Pleasence of Halloween fame played the detective. This was an adaptation of Hodgson’s The Horse of the Invisible (1910).
Although
there is no direct connection, several of the Carnacki stories may have been a
source of inspiration for the TV show Kolchak:
The Night Stalker, a short lived series that ran in 1974-1975. There were also two television movies
featuring Kolchak that preceded the series, The
Night Stalker (1972) and The Night
Strangler (1973). Kolchak was a
Chicago newspaper reporter who investigated unsolved crimes involving supernatural
phenomena.
Though
a bit of a stretch, it seems reasonable to assume Carnacki is also a predecessor
of detectives Scully and Mulder of The
X-Files, (1993-2002). There are
numerous detectives of the occult and supernatural in fiction, comics,
television and movies, probably going back at least to Van Helsing, in Bram
Stoker’s Dracula.
William
Hope Hodgson’s The Searcher of the End
House (1910) is an entertaining ghost story in which Carnacki himself is a
victim of the haunting. There are odd
knockings and rappings, slamming doors, wet footprints, and a mysterious bad
smell in the house where he and his mother dwell. These intensify and prompt an investigation,
first by Carnacki and his landlord, and later involving local law
enforcement.
It
turns out that the previous tenant, “Captain Tobias”, who has just been released
from prison, may be the source of some
of the ghostly activity. He is trying to
scare Carnacki and his mother out of the house, so he can repossess it and
recover some items he has hidden there.
Since Carnacki wants to get out of his lease anyway, he and the landlord
agree to turn the house over to Tobias, not prosecute him, and ensure “that the
whole business be hushed up”. This all seems
reasonable! But in the course of the
investigation, other phenomena are
observed, involving two real ghosts.
And
this is really the most interesting part of The
Searcher of the End House. Virtually
all of the characters see either a mysterious woman or a young child in the
house—even the conniving captain—and the history of sightings goes back several
years. There are some genuinely
unsettling scenes in which the detective endures an alteration in his
perception of light and physical space, which are part of the experience of
seeing the two ghosts: “…and about each
lantern there was a little cloud of absolute blackness, where the phenomenon
that is light to our natural eyes, came through the fittings…”
Typical
of a Carnacki story is a tiresome explanation at the end in which Hodgson,
through his character, anticipates all the questions his readers will have about
the origin of the ghostly events. Carnacki
speculates that “fear was in every
case the key, as I might say, which opened the senses to an awareness of the presence
of the Woman.” There is a force present
in the house which manifests itself in a human form depending on the
sensitivity and level of anxiety of its occupants.
As
for the apparition of the child, Carnacki introduces the “Sigsand MS.”, a sort
of addendum to the Necronomicon,
which describes a “Mother Spirit”, a primal ego, and something about “Monstrosities
of the Outer Circle.” Most readers will
find this incomprehensible, and the author himself concludes that “it is futile
to attempt to discuss a thing, to any purpose, of which one has a conception so
fragmentary as this…”
The problem
with The Searcher of the End House is
that it is really two different stories that would have been more successful as
separate tales. Hodgson might have
played the tale for laughs, and focused on the almost successful shenanigans of
Captain Tobias as he puts on a “ghost-play” to scare Carnacki and his mother
away. When he is captured emerging from
the well in the basement—an otherwise inherently creepy scene—the detective and
inspector burst out laughing. But this “canned
laughter” falls flat after earlier scenes of ultraviolet weirdness.
In
the same way, the effectively eerie scenes of the ghostly woman and child are
counteracted by the jokey uncovering of the captain’s schemes, and the story
loses a focused effect.
* http://williamhopehodgson.wordpress.com/
* http://williamhopehodgson.wordpress.com/
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