Around
this time last year I read a wonderful collection of stories published by Night
Shade Books, The Ghost Pirates and Others:
The Best of William Hope Hodgson (2012).
Hodgson was a prolific writer, known for his “Sargasso Sea” stories, as
well as the fictional psychic detective Cornacki, forerunner of Kolchak,
Mulder, Scully, and Ghost Hunters. He wrote over 80 short stories, 24 poems, 4
novels and 8 essays, (“Is the Mercantile Navy Worth Joining”). Many of his stories, though not all, take
place aboard ocean vessels, reflecting his early career as a merchant sailor.
I was
recently pleased to find an unfamiliar story by Hodgson—unfamiliar to me at
least—in a collection of gothic fiction produced in the late 1970s. The
Habitants of Middle Islet was originally published by Arkham House in an
anthology edited by August Derleth called Dark
Mind, Dark Heart, (1962). Arkham
House subsequently produced a collection of Hodgson’s stories called Deep Waters. This was long after Hodgson’s death in 1918.
The Habitants of Middle Islet is a story involving a derelict
ship, a specialty of Hodgson’s. Other
examples include The Mystery of the
Derelict (1907) and The Stone Ship
(1916). The discovery of a derelict,
whether it is a vessel that travels the sea or outer space or even the open
road, is often used to begin a tale of horror or science fiction. In some respects, the abandoned vehicle is a
metaphor for a person, and what remains of him or her. Who was this?
What happened to them? But even
on a literal level, finding an empty sea vessel or space ship, drifting and
quiet, far from port, is very disturbing.
Where are all the people that should be there? Was a distress signal sent? Did anyone receive it?
Yet The Habitants of Middle Islet is
qualitatively different from the other two stories. Events in the other two tales are
realistically detailed, and the eventual explanation of the crew’s fate
involves some kind of cryptozoology—a heretofore unknown but plausible creature is responsible. But the entity responsible for the disappearance
of everyone on board the Happy Return is
not so easily explained. The story is
effective in creating a sense of mystery and growing anxiety through attention
to odd details. (No ship should ever be
named the Happy Return, unless the
owner wants to court a disastrous and ironic fate.)
The
narrator and two other men return to an island somewhere in the south Atlantic,
where a missing pleasure boat has been discovered by an old sea man named
Williams. He leads the narrator and his
friend Trenhorn back to the location, “in a queer cove on the south side of Middle
Islet.” The boat sits in quiet waters
encircled by high cliffs—Hodgson describes the vessel as lying “at the bottom
of the great pit…” There is no one on
board. The ship is strangely very tidy
and clean, its rooms and deck immaculate.
Attention
shifts to the narrator’s friend Trenhorn, whose sweetheart had been on board
the ship. He may be losing his mind over
the intense grief and unrealistic expectations he has about finding his
love. She has been missing now for six
months. Disturbing little details on
board the Happy Return—a calendar
that is kept current even though no one is on board—traumatize Trenhorn and
intensify his obsession to find the young woman.
There
is an especially effective scene where Trenhorn and the narrator peer down from
the cliffs above the boat. There is something in the water near the boat,
but it is too far away to be certain what it is. A similar device is used in The Mystery of the Derelict, when the
crew in the narrator’s boat can see and hear something happening on the other
boat—awful, it turns out—but are too far away to determine what it is. Distance
from the phenomena is used skillfully by the author to amplify its power to
disturb.
The Habitants of Middle Islet superficially resembles a ghost
story. There is considerable attention
to disquieting details in the setting, and ambivalence over whether the weirdness
actually exists outside Trenhorn’s mind.
But his fate is not at the
hands of some cryptozoological specimen nor, strictly speaking, a ghost. It is something in-between, perhaps even
mythological: an awful embodiment of terrible grief and longing.
Readers
of Hodgson’s The Habitants of Middle
Islet may be reminded of Clark Ashton Smith’s A Night in Malnéant . The
latter has nothing to do with the sea or derelict ships, but shares with
Hodgson’s story the theme of unresolved grief and obsession with the death of a
loved one. In both stories, grief and
regret appear to take on a life of their own.
Though
the story was published posthumously, it would be helpful to know when Hodgson actually
wrote The Habitants of Middle Islet, so
that it can be placed in context with other similar work that he did. Is it one of his later stories? Do the ethereal and unexplained phenomena on
board the Happy Return suggest a
shift away from the realism of his other stories towards the supernatural?
An
excellent blog about this author may be found at http://williamhopehodgson.wordpress.com/.
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