Of
Algernon Blackwood, Lovecraft wrote:
“Above all others he understands how fully some sensitive minds dwell
forever on the borderland of dream, and how relatively slight is the
distinction betwixt those images formed from actual objects and those excited
by the play of the imagination.” In his Supernatural Horror In Literature
(1927), Lovecraft praised Blackwood’s skill and subtlety in the use of details
to move his characters from realistic perceptions of their surroundings to an
experience of the supernatural.
This talent can be seen in Blackwood’s The
Occupant of the Room (1917). This is
essentially a ghost story, though one could argue it primarily involves psychic
clairvoyance. It is also an example of travel horror—short stories that seem to
say “You won’t believe what happened on my trip to—”. Their chief consolation is that the frightening
events they depict take place far away
from home.
Examples
include E.F. Benson’s Caterpillars
(1912)—in which a hotel is found to be haunted by spectral insect larvae; Robert
E. Howard’s Rattle of Bones (1929)—in
which Solomon Kane encounters a treacherous traveling companion, a murderous innkeeper,
and a fellow guest who has been chained to the floor for a while; and H.P.
Lovecraft’s The Picture In the House
(1921)—in which the narrator comes in out of the rain to discover that his host
is an illiterate, hungry cannibal. Readers can probably identify many other examples of stories like these.
In Blackwood’s The Occupant of the Room, a man named Minturn is
vacationing somewhere in the Swiss Alps, but has initial trouble finding a room—the
inn is already filled with guests. He is
directed to a house down the road, where less reputable innkeepers offer him a place to spend the night. The room is already taken, but the
occupant, a solitary English woman, has not returned for several days from a
recent expedition in the nearby mountains.
He may have the room, but must be prepared to vacate immediately when
she returns. Perhaps another room will
open up in the meantime.
Minturn
is uneasy about this, and feels increasingly uncomfortable in the room, which really belongs to someone else. He is trespassing. The woman's clothes and personal items are still
here, even a trace of her perfume. More
ominously, he begins to feel overpowered by deep feelings of cynicism and depression—a
sort of Ecclesiastes moment, (“I have seen all the things that are done under
the sun; all of them are meaningless, a chasing after the wind.”). Presumably he is experiencing some of the psychic
residue of the woman with whom he is sharing this room. Minturn avoids even looking at “that big,
ugly cupboard” that contains the her clothing and accessories. Readers will suspect that this closet must
eventually be opened.
Algernon
Blackwood wrote numerous ghost stories, for which he was primarily known in his
heyday. As a young man, he was
especially interested in hypnotism, supernatural phenomena, eastern philosophies,
and occultism. Though he wrote a couple
of early stories in the very late1800s, he began to publish regularly after
1906, and had a long and successful career as an author. He created a series of stories featuring a
psychic detective named John Silence, who was a contemporary of William Hope
Hodgson’s charactor, Carnacki, the occult investigator. Today Blackwood is probably
best known for one of his earlier stories, The
Willows (1907), often found in older anthologies of weird fiction or
horror. It should be considered required reading.
********************
Here
are a few examples of “travel horror” discussed in earlier posts:
1.
E.F. Benson’s Entomophobia and P.Y.F. (Caterpillars, by E.R. Benson)
Cleft
Skull Tavern—Not Recommended (Rattle of Bones, by Robert E. Howard)
H.P. Lovecraft’s Celebrity Collaboration (Under the Pyramids, with Harry Houdini, a.k.a. Imprisoned with the Pharaohs)
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