William
Sloane was a younger contemporary of H.P. Lovecraft. Unlike Lovecraft, he had a successful career
in both writing and publishing, working for various publishing houses and
eventually becoming the director of Rutgers University Press from 1955 until
his death in 1974. Sloane published
several plays in the early 1930s, some dealing with supernatural subjects, and
a number of short stories. He formed his
own company, William Sloane Associates in 1946, and later edited two
anthologies of science fiction in the 1950s.
He wrote
two impressive novels, To Walk the Night and
a later work, The Edge of Running Water,
(1939). The latter was made into a movie
called The Devil Commands (1941). It starred Boris Karloff as a scientist
obsessed with communicating with his deceased wife via weird technology and the
help of a treacherous medium. Both of
Sloane’s novels appear together in The
Rim of Morning, originally published in 1964, and re-issued this year.
Stephen
King, who wrote the introductory notes to the most recent release, notes that
Sloane once met Carl Jung, the famous psychotherapist and J.B. Rhine, a renowned
expert in extrasensory perception at a special luncheon in 1937. Jung had read an earlier version of To Walk the Night—it had first appeared
as a play—and was apparently impressed with Sloane’s work. Jung’s notion of the mysterious archetypal
feminine principle, the “anima” is strongly echoed in Sloane’s character of
Selena LeNormand.
Rhine,
who was originally a botanist, became intrigued with the paranormal after
attending a lecture by Arthur Conan Doyle, who expounded on scientific proof
that it was possible to communicate with the dead. After publishing his experience of debunking
a fraudulent medium, Rhine went on to develop scientific procedures for testing
the presence of extra sensory perception.
He is credited with being one of the founders of parapsychology. E.S.P. is an important element in To Walk the Night, enhancing the essential
otherness of the principle female character.
To Walk the Night is a compelling blend of horror,
science fiction and mystery genres.
Though there is reference to higher level mathematics and Einstein’s
theory of the Space-Time Continuum, this is basically a novel of quiet,
psychological horror. The story is told
in a series of flashbacks bracketed by two unnatural deaths, one gruesome and
inexplicable, the other tragic and perhaps unavoidable.
The pace
will seem slow and leisurely to many contemporary readers, who have come to expect
intense action and graphic detail. To
Walk the Night is mainly a series of conversations and set pieces, and
Sloane makes adept use of the psychology of a family’s relationships, where
issues of trust, anxiety and fear of change complicate the arrival of a new
member. Sloane hooks his readers with a
bizarre death in the opening chapters and then retreats into a sequence of
reminisces that grow increasingly disturbing as events are recalled in greater
detail.
The focus
gradually sharpens on Selena LeNormand, widow of the doomed astronomer. She is a strange woman who alternately
attracts and repels, abruptly changing the lives of two men who have grown up
together as brothers. She marries one of
the two men not long after the grisly demise of her first husband. Incredibly intelligent and alluring, she seems
to have no recoverable past, only a present and perplexing future.
Selena
displays an eerie knack for subtle imitation, making herself a kind of screen
onto which others project their desires and anxieties. Her new in-laws grow ever more uncomfortable
with unanswered questions about the woman’s origin, nationality, social class,
age, intent—there is a suggestion that she could be either a celebrity in
hiding or perhaps a subversive. But Selena
remains utterly unknown, part of a larger mystery. Her power over the others continues to grow.
To Walk the Night is remarkable for its depth of
characterization, mastery of subtle, even witty dialogue, and deft portrayal of
family dynamics in the wake of mystery and tragedy. It is refreshing to see conventional details
that are almost completely absent from the fiction of Lovecraft and his
colleagues: smoking, drinking, dancing,
dinner parties, family gatherings, interesting women, intimacy. The scenes and characters in Sloane’s novel
are credible, familiar and normal. Their
very conventionality serves to magnify the horror that emerges. The depiction of that horror—of a willful,
intelligent and self-sufficient woman—is sophisticated for the genre fiction of
the time.
********************
Fans of
H.P. Lovecraft will want to check out the November issue of Rue Morgue, which features several
articles commemorating the author’s 125th anniversary.
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