Henry S. Whitehead’s Across the Gulf, (1926), is a fairly conventional, even sentimental ghost story—in some respects. It contains interesting autobiographical elements, as well as a section worth studying by aspiring writers of horror or thriller fiction. The story was originally published in the May 1926 issue of Weird Tales, along with Seabury Quin’s The Dead Hand, and August Derleth’s Bat’s Belfry.
Alan
Carrington, the narrator of Across the
Gulf, begins the story by relating a maternal superstition carried down the
generations from his family’s origin in Scotland: when a deceased mother appears in the dreams
of her children, it is a sign of imminent disaster. During the year following his own mother’s
death, Carrington is fearful of just such a nocturnal visitation, but none ever
occurs. Several years then pass, but the reader will not forget this
introductory comment; he or she is now primed for some later prophetic
appearance of Carrington’s parent. (Evidently the appearance of a deceased father in a dream is of no consequence.)
The
suspense of the story does not lie so much in the recurring image of the mother,
who is otherwise a symbol of love and benevolence. The reader’s trepidation lies in the nature of
the future catastrophe that is paired with this appearance. What terrible thing is going to happen? This is the framework of Across the Gulf.
Time
goes by and Carrington, though a successful lawyer, succumbs to the pressure
and exhaustion of his work. Is a cardiac
event in view? His doctor urges him to
rest and recuperate his “overworked mind and under-exercised body.”
Fortuitously, a cousin requests his help in running a summer camp for boys in
the Adirondack Mountains. The cousin is
a
“…middle-aged,
retired clergyman, whom an imminent decline had removed eight or ten years
before from a brilliant, if underpaid, career in his own profession. After a few years sojourn in the Adirondacks
he had emerged cured, and with an already growing reputation as a writer…”
Henry
S. Whitehead was an ordained Episcopal deacon himself, who later in life was a
rector and leader of a boys program at Church of the Good Shepherd in Dunedin,
Florida. It was in Dunedin that
Whitehead hosted H.P. Lovecraft during one of the latter’s visits to Florida. He took up writing relatively late in life
and was beginning to achieve success when he died. It seems reasonable to assume that Across the Gulf may contain an
expression of the author’s feelings about his earlier career.
The narrator’s
cousin has little business sense, and this is where Carrington can be of
service. He soon recovers his strength
and energy working at the Adirondack campground, and applies himself vigorously
to his cousin’s affairs. However, about
a month after arriving at the camp, he has a vivid dream of his mother,
attending to him at bedside. He explains
the phenomena in realistic terms, and provides a snippet of dream psychology,
circa the 1920s.
The
most suspenseful part of the story is the episode that follows, which cannot be
described in detail here without ruining the effect. The author skillfully uses everyday materials
and interactions to create the anticipation of doom—which readers can immediately
see, while the narrator remains oblivious.
So much depends on common kitchen ingredients! Would-be writers of suspense or horror may
find it valuable to analyze the passage to see how the author accomplishes the
effect.
Is there
any truth to the superstition introduced at the beginning of the story? The author never claims that there is; he
just presents the facts. (“Coincidence? You decide.”)
He is also careful to portray the appearance of the mother as a dream image—not as an entity separate
from the operations of Carrington’s mind.
In this way Whitehead keeps the story well away from toppling over the
brink into supernaturalism.
Even
near the end, when there is a second visitation, it is clear that this is most
likely a strong tactile memory of his mother’s protection and support, not a
visual appearance of a ghost.
Strikingly, Whitehead the clergyman gives no strong credence to spirits,
benevolent or otherwise. His main character
utters a prayer of gratitude, not to God, but to the generic “Powers above”. Did Whitehead’s theology change with his
career?
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