Classic Ghost Story Writers: L. P. Hartley

Joseph Losey, dir.: The Go-Between (1971)
[writ. Harold Pinter / adapted from the 1953 novel by L. P. Hartley]


"The past is a foreign country; they do things differently there.”

This, the opening line of The Go-Between, is certainly L. P. Hartley's most commonly quoted phrase - though it does closely resemble an expression first used by his friend Lord David Cecil in his inaugural lecture as Goldsmiths' Professor in 1949:

Past periods are like foreign countries: regions inhabited by men of like passions to our own, but with different customs and codes of behaviour.

The Fine Art of Reading (1957)

L. P. Hartley (1895-1972)

Amongst all his other achievements as a novelist and man of letters, Hartley is perhaps not so well known as the author of some of the most effective ghost stories of the twentieth century.

Which are the best among them? Well, "A Visitor from Down Under" certainly takes pride of place. "The Travelling Grave" runs it a close second, though. What else? "Podolo", certainly - possibly "Feet Foremost", also.

You'll note that all of these are quite early stories, written, though not necessarily collected, before the Second World War, after which his energies turned decisively towards establishing himself as a novelist of manners, somewhat in the vein of Aldous Huxley or Henry James.

So what is it that makes this handful of stories so outstanding?

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L. P. Hartley: A Visitor from Down Under (1926)

Let's start with "A Visitor from Down Under".

The protagonist of the story, Mr. Rumbold, has sat down in the lounge of his hotel to have an apéritif before dinner. After a while, he realises he can hear a voice - "A cultivated voice, perhaps too cultivated, slightly husky, yet careful and precise in its enunciation" - coming from the wall above his head:

‘ . . . A Children’s Party,’ the voice announced in an even, neutral tone, nicely balanced between approval and distaste, between enthusiasm and boredom; ‘six little girls and six little’ (a faint lift in the voice, expressive of tolerant surprise) ‘boys. The Broadcasting Company has invited them to tea, and they are anxious that you should share some of their fun.’ (At the last word the voice became completely colourless.) ‘I must tell you that they have had tea, and enjoyed it, didn’t you, children?’ (A cry of ‘Yes,’ muffled and timid, greeted this leading question.) ‘We should have liked you to hear our table-talk, but there wasn’t much of it, we were so busy eating.’ For a moment the voice identified itself with the children. ‘But we can tell you what we ate. Now, Percy, tell us what you had.’

Obviously a voice on the radio, obviously from some kind of children's hour broadcast. So far, so banal. But as it continues, things begin to seem just a little bit ... off:

A piping little voice recited a long list of comestibles; like the children in the treacle-well, thought Rumbold, Percy must have been, or soon would be, very ill. A few others volunteered the items of their repast. ‘So you see,’ said the voice, ‘we have not done so badly. And now we are going to have crackers, and afterwards’ (the voice hesitated and seemed to dissociate itself from the words) ‘Children’s Games.’ There was an impressive pause, broken by the muttered exhortation of a little girl. ‘Don’t cry, Philip, it won’t hurt you.’ Fugitive sparks and snaps of sound followed; more like a fire being kindled, thought Rumbold, than crackers. A murmur of voices pierced the fusillade. ‘What have you got, Alec, what have you got?’ ‘I’ve got a cannon.’ ‘Give it to me.’ ‘No.’ ‘Well, lend it to me.’ ‘What do you want it for?’ ‘I want to shoot Jimmy.’

After that the games begin. After "Ring-a-Ring of Roses", it's "Oranges and Lemons", with its sinister refrain:

Here is a candle to light you to bed,
And here comes a chopper to chop off your head!
Chop—chop—chop.

A child screamed, and there was silence.

"Mr. Rumbold felt quite upset, and great was his relief when, after a few more half-hearted rounds of ‘Oranges and Lemons,’ the Voice announced, ‘Here We Come Gathering Nuts and May.’ At least there was nothing sinister in that."

The game began afresh. This time there was an eager ring in the children’s voices: two tried antagonists were going to meet: it would be a battle of giants. The chant throbbed into a war-cry.

Who will you have for your Nuts and May,
Nuts and May, Nuts and May;
Who will you have for your Nuts and May
On a cold and frosty morning?

They would have Victor Rumbold for Nuts and May, Victor Rumbold, Victor Rumbold: and from the vindictiveness in their voices they might have meant to have had his blood, too.

And who will you send to fetch him away,
Fetch him away, fetch him away;
Who will you send to fetch him away
On a cold and frosty morning?

Like a clarion call, a shout of defiance, came the reply:

We’ll send Jimmy Hagberd to fetch him away,
Fetch him away, fetch him away;
We’ll send Jimmy Hagberd to fetch him away
On a wet and foggy evening.

I think by now we can tell that it's all up with Mr. Victor Rumbold. Whatever it is that he's been getting up to down under, Jimmy Hagberd's coming to deal with him. And, when the visitor finally arrives at the hotel:

‘... take this message to Mr. Rumbold,’ said the stranger. ‘Say, “Would he rather that I went up to him, or that he came down to me?” ’

It doesn't make much difference in the end.

There are, to be sure, many such stories of nemesis being visited upon some smug fraudster, but it's the incidental details - such as the fact that the visitor comes to Mr. Rumbold on the top of a London bus, and finds considerable difficulty in paying his fare - which singles it out from the others:

‘Look here, now. Where do you want this ticket? In your button-hole?’

‘Put it here,’ said the passenger.

‘Where?’ asked the conductor. ‘You aren’t a blooming letter-rack.’

‘Where the penny was,’ replied the passenger. ‘Between my fingers.’

The conductor felt reluctant, he did not know why, to oblige the passenger in this. The rigidity of the hand disconcerted him: it was stiff, he supposed, or perhaps paralysed. And since he had been standing on the top his own hands were none too warm. The ticket doubled up and grew limp under his repeated efforts to push it in. He bent lower, for he was a good-hearted fellow, and using both hands, one above and one below, he slid the ticket into its bony slot.

That radio broadcast, steadily getting stranger and stranger, is the real prize of the piece, however. The person who wrote that had some personal demons, I would say, or at any rate found little difficulty in conjuring up such things.

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Hermione Lee: Penelope Fitzgerald: A Life (2014)

Penelope Fitzgerald, before she took to writing fiction, spent quite a number of years researching a biography of L. P. Hartley. She'd already written a book about her father and three eccentric uncles, The Knox Brothers (1977), as well as a life of the poet Charlotte Mew.

The L. P. Hartley book remained still-born, however, which is a bit of a shame. There are many respects in which she might have been the ideal commentator on the immense oddity of both his inner and outer lives.

It's an open secret that the intense brother-and-sister relationship which is the principal subject of his Eustace and Hilda trilogy is based on his own feelings about his domineering older sister Enid. He was 49 before he dared to publish it, and it made him famous. When he followed it a few years later with The Go-Between, W. H. Auden told Hartley that he was his favourite novelist.

Not everyone was so enthusiastic about his work. After the publication of his first long fiction Simonetta Perkins (1925), Virginia Woolf asked him, "Have you written any more shabby books, Mr. Hartley?" referring to it as "one that might have been written by a man with one foot in England and the other in Venice".

L. P. Hartley: The Travelling Grave and Other Stories (1948)

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Poveglia (Venice)

The second story I've chosen to discuss is one which nicely illustrates the problems associated with being "a man with one foot in England and the other in Venice." It's called "Podolo," and is set on a small island in the Venetian lagoon. So far as I can tell, there is no island called "Podolo", but there's certainly one called "Poveglia" (pictured above):

For more than 100 years, beginning in 1776, the island was used as a quarantine station for those suffering the plague and other diseases, and later as a mental hospital. The mental hospital closed in 1968, and the island has been vacant ever since ...
Visits to the island are prohibited, but various books and articles report on visits by writers and/or photographers. Believers in the paranormal have claimed that Poveglia is the most haunted island, or the most haunted place in the world.

- Wikipedia: Poveglia

What, then, of the story itself? It begins with some lighthearted plans for a visit to the island by the narrator, his friend Angela, and her husband Walter. Walter cries off, as he has business in Trieste, so the other two set off for their picnic together.

The sunlight sparkled on the water; the gondola, in its best array, glowed and glittered. ‘Say good-bye to Angela for me,’ cried Walter as the gondolier braced himself for the first stroke. ‘And what is your postal address at Podolo?’ ‘Full fathom five,’ I called out, but I don’t think my reply reached him.

There are already some ominous undertones in this sunny opening. There's clearly something going on between the narrator and Angela, right under Walter's nose, and getting her away to a deserted spot seems more than a trifle devious on his part. As for their destination:

Until you get right up to Podolo you can form no estimate of its size. There is nothing near by to compare it with. On the horizon it looks like a foot-rule. Even now, though I have been there many times, I cannot say whether it is a hundred yards long or two hundred. But I have no wish to go back and make certain.

The trouble begins shortly after they reach the island. Angela spots a mangy little stray cat, and is determined to catch it and bring it back with them. After a few unavailing attempts to seize it, after luring to her with food, she changes her approach:

‘I tell you what,’ Angela said suddenly, ‘if I can’t catch it I’ll kill it. It’s only a question of dropping one of these boulders on it. I could do it quite easily.’ She disclosed her plan to Mario [the gondolier], who was horror-struck. His code was different from hers. He did not mind the animal dying of slow starvation; that was in the course of nature. But deliberately to kill it! ‘Poveretto! It has done no one any harm,’ he exclaimed with indignation. But there was another reason, I suspected, for his attitude. Venice is overrun with cats, chiefly because it is considered unlucky to kill them. If they fall into the water and are drowned, so much the better, but woe betide whoever pushes them in.

Angela is unimpressed by Mario - and the narrator's - logic.

‘Let’s go and explore the island,’ she said, ‘until it’s time to bathe. The cat will have got over its fright and be hungry again by then, and I’m sure I shall be able to catch it. I promise I won’t murder it except as a last resource.’

I don't think I can say too much more without spoiling the story for you, but let's just say that the narrator dozes off after his meal, and Angela goes off exploring by herself. Their search for her, on the tiny, darkening island, is pretty perfunctory. Mainly because there appears to be someone - or something - else there.

We soon lost sight of each other in the darkness, but once or twice I heard Mario swearing as he scratched himself on the thorny acacias. My search was more successful than I expected. Right at the corner of the island, close to the water’s edge, I found one of Angela’s bathing shoes: she must have taken it off in a hurry for the button was torn away. A little later I made a rather grisly discovery. It was the cat, dead, with its head crushed. The pathetic little heap of fur would never suffer the pangs of hunger again. Angela had been as good as her word.

At this point, Mario rushes up, bundles him into the boat, and starts rowing frantically away from the island. Later on he explains:

‘When I found her,’ he whispered, ‘she wasn’t quite dead.’

I began to speak but he held up his hand.

‘She asked me to kill her.’

‘But, Mario!’

‘ “Before it comes back,” she said. And then she said, “It’s starving, too, and it won’t wait. ...” ’ Mario bent his head nearer but his voice was almost inaudible.

‘Speak up,’ I cried. The next moment I implored him to stop.

Mario clambered on to the poop.

‘You don’t want to go to the island now, signore?’

‘No, no. Straight home.’

I looked back. Transparent darkness covered the lagoon save for one shadow that stained the horizon black. Podolo. ...

Make of that what you will.

It's not that the plot of the story is so remarkable. Just as "A Visitor from Down Under" is a fairly standard vengeful revenant story, so "Podolo" is an account of what you fear might happen if you wander around some haunted old ruins at twilight. But in both cases it's the odd, outré details that count: In "A Visitor" it's the threatening radio broadcast, and in "Podolo" it's the joint, unspoken decision both men, the gondolier and her cavalier servente, make to leave Angela behind on the island.

She (it is implied) is the trouble-maker; she is the one who has insisted on hunting through all the crevices of the island for the small but viciously feral cat, despite Mario's warning that "It has been put here on purpose." And whatever she finds there is far beyond her powers, just as it turns out, unfortunately, to be equally beyond theirs.

It's a dark, rather nasty story, which leaves a bad taste in the mouth. But it's also an almost perfect illustration of M. R. James's doctrines on the best way to inculcate fear:

Let us be introduced to the actors in a placid way; let us see them going about their ordinary business, undisturbed by forebodings, pleased with their surroundings; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage.

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L. P. Hartley: The Travelling Grave (2017)

I'd like to go on and analyse some more of his stories: "The Travelling Grave" itself, in particular, not to mention the haunted house story "Feet Foremost", but I hope that I've said enough to persuade you that L. P. Hartley was a haunted man, and therefore a haunted writer.

Not everyone can combine the two conditions, and his later work does not really maintain the fierce intensity of these early stories. His Complete Stories is a fascinating book, however: well worth reading from cover to cover by anyone who has the time or the inclination.

Though perhaps, as many of his stories imply, you'd better make time. The life you save may be your own. Even if it involves sacrificing a cat-killer - or (for that matter) a coffin-collector, or a few of their business associates - along the way ...

Adrian Wright: Foreign Country: The Life of L. P. Hartley (1996)

"Drawing on exclusive access to unpublished private papers, this is the first biography of novelist Leslie Poles Hartley, covering his life and work from his childhood at Fletton Tower, Peterborough, his relationship with his mother, his experiences in the Great War, his homes in Venice, Bath and London, and his struggle to come to terms with his homosexuality."

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Henry Lamb: L. P. Hartley (1938)

Leslie Poles Hartley
(1895-1972)

Books I own are marked in bold:

Novels:


1. Simonetta Perkins (1925)
   • Included in: The Complete Short Stories of L. P. Hartley. Introduction by Lord David Cecil. London: Hamish Hamilton, 1973.
2. The Shrimp and the Anemone. Eustace and Hilda Trilogy I (1944)
3. The Sixth Heaven. Eustace and Hilda Trilogy II (1946)
4. Eustace and Hilda. Eustace and Hilda Trilogy III (1947)
   • Included in: Eustace and Hilda: A Trilogy. ['The Shrimp and the Anemone,' 1944; 'The Sixth Heaven,' 1946; 'Eustace and Hilda,' 1947]. 1958. Introduction by Lord David Cecil. London: Faber, 1979.
5. The Boat (1949)
6. My Fellow Devils (1951)
7. The Go-Between (1953)
   • The Go-Between. 1953. The Modern Novel Series. London: Heinemann Educational Books, 1966.
8. A Perfect Woman (1955)
9. The Hireling (1957)
10. Facial Justice (1960)
11. The Brickfield (1964)
12. The Betrayal (1966)
    • Included in: The Brickfield and The Betrayal. 1964 & 1966. London: Hamish Hamilton, 1973.
13. Poor Clare (1968)
14. The Love-Adept: A Variation on a Theme (1969)
15. My Sisters' Keeper (1970)
16. The Harness Room (1971)
17. The Collections: A Novel (1972)
18. The Will and the Way (1973)

Stories:


1. The Island (1924) [NF] [TG] [CSS] [CMS]
2. Talent (1924) [NF]
3. Night Fears (1924) [NF] [TG] [CSS] [CMS]
4. The Telephone Call (1924) [NF]
5. St. George and the Dragon (1924) [NF]
6. Friends of the Bridegroom (1924) [NF]
7. A Portrait (1924) [NF]
8. A Sentimental Journey (1924) [NF]
9. A Beautiful Character (1924) [NF]
10. A Summons (1924) [NF] [WW] [CSS] [CMS]
11. A Visit to the Dentist (1924) [NF]
12. The New Prime Minister (1924) [NF]
13. A Condition of Release (1924) [NF] [WW] [CSS]
14. A Tonic (1924) [NF] [WW] [CSS]
15. Witheling End (1924) [NF]
16. Apples (1924) [NF] [WW] [CSS]
17. The Last Time (1924) [NF]
18. A Visitor from Down Under (1932) [KB] [TG] [CSS] [CMS]
19. The Killing Bottle (1932) [KB] [TG] [CSS] [CMS]
20. Conrad and the Dragon (1932) [KB] [TG] [CSS] [CMS]
21. A Change of Ownership (1932) [KB] [TG] [CSS] [CMS]
22. The Cotillon (1932) [KB] [TG] [CSS] [CMS]
23. Feet Foremost (1932) [KB] [TG] [CSS] [CMS]
24. Podolo (1948) [TG] [CSS] [CMS]
25. Three, or Four, for Dinner (1948) [TG] [CSS] [CMS]
26. The Travelling Grave (1948) [TG] [CSS] [CMS]
27. The Thought (1948) [TG] [CSS] [CMS]
28. The White Wand (1954) [WW] [CSS]
29. Witheling End (1954) [WW] [CSS]
30. Mr Blandfoot's Picture (1954) [WW] [CSS]
31. A Rewarding Experience (1954) [WW] [CSS]
32. W.S. (1954) [WW] [CSS] [CMS]
33. The Vaynes (1954) [WW] [CSS] [CMS]
34. Monkshood Manor (1954) [WW] [CSS] [CMS]
35. Up the Garden Path (1954) [WW] [CSS]
36. Hilda's Garden (1954) [WW] [CSS]
37. The Price of the Absolute (1954) [WW] [CSS]
38. Two for the River (1961) [TR] [CSS] [CMS]
39. Someone in the Lift (1961) [TR] [CSS] [CMS]
40. The Face (1961) [TR] [CSS] [CMS]
41. The Corner Cupboard (1961) [TR] [CSS] [CMS]
42. The Waits (1961) [TR] [CSS] [CMS]
43. The Pampas Clump (1961) [TR] [CSS] [CMS]
44. Won by a Fall (1961) [TR] [CSS]
45. A Very Present Help (1961) [TR] [CSS]
46. A High Dive (1961) [TR] [CSS]
47. The Crossways (1961) [TR] [CSS] [CMS]
48. Per Far L'Amore (1961) [TR] [CSS] [CMS]
49. Interference (1961) [TR] [CSS] [CMS]
50. Noughts and Crosses (1961) [TR] [CSS]
51. The Pylon (1961) [TR] [CSS] [CMS]
52. Mrs Carteret Receives (1971) [MCR] [CSS] [CMS]
53. Paradise Paddock (1971) [MCR] [CSS] [CMS]
54. Pains and Pleasures (1971) [MCR] [CSS] [CMS]
55. Please Do Not Touch (1971) [MCR] [CSS] [CMS]
56. Roman Charity (1971) [MCR] [CSS] [CMS]
57. Home Sweet Home (1971) [MCR] [CSS] [CMS]
58. The Shadow on the Wall (1971) [MCR] [CSS] [CMS]
59. The Silver Clock (1971) [MCR] [CSS]
60. Fall In at the Double (1971) [MCR] [CSS] [CMS]
61. The Sound of Voices (2001) [CMS]
62. Mrs G. G. (2001) [CMS]
63. The Stain on the Chair (2001) [CMS]

Short Story Collections:


19. Night Fears (1924) [NF]
    1. The Island
    2. Talent
    3. Night Fears
    4. The Telephone Call
    5. St. George and the Dragon
    6. Friends of the Bridegroom
    7. A Portrait
    8. A Sentimental Journey
    9. A Beautiful Character
    10. A Summons
    11. A Visit to the Dentist
    12. The New Prime Minister
    13. A Condition of Release
    14. A Tonic
    15. Witheling End
    16. Apples
    17. The Last Time
20. The Killing Bottle (1932) [KB]
    1. A Visitor from Down Under
    2. The Killing Bottle
    3. Conrad and the Dragon
    4. A Change of Ownership
    5. The Cotillon
    6. Feet Foremost
21. The Travelling Grave and Other Stories (US 1948 / UK 1951) [TG]
    1. A Visitor from Down Under
    2. Podolo
    3. Three, or Four, for Dinner
    4. The Travelling Grave
    5. Feet Foremost
    6. The Cotillon
    7. A Change of Ownership
    8. The Thought
    9. Conrad and the Dragon
    10. The Island
    11. Night Fears
    12. The Killing Bottle
22. The White Wand and Other Stories (1954) [WW]
    1. The White Wand
    2. Apples
    3. A Tonic
    4. A Condition of Release
    5. Witheling End
    6. Mr Blandfoot's Picture
    7. A Rewarding Experience
    8. W.S.
    9. The Vaynes
    10. Monkshood Manor
    11. Up the Garden Path
    12. Hilda's Garden
    13. A Summons
    14. The Price of the Absolute
23. Two for the River (1961) [TR]
    1. Two for the River
    2. Someone in the Lift
    3. The Face
    4. The Corner Cupboard
    5. The Waits
    6. The Pampas Clump
    7. Won by a Fall
    8. A Very Present Help
    9. A High Dive
    10. The Crossways
    11. Per Far L'Amore
    12. Interference
    13. Noughts and Crosses
    14. The Pylon
24. The Collected Short Stories of L. P. Hartley (1968)
25. Mrs. Carteret Receives (1971) [MCR]
    1. Mrs Carteret Receives
    2. Paradise Paddock
    3. Pains and Pleasures
    4. Please Do Not Touch
    5. Roman Charity
    6. Home Sweet Home
    7. The Shadow on the Wall
    8. The Silver Clock
    9. Fall In at the Double
26. The Complete Short Stories of L. P. Hartley (1973) [CSS]
    1. Simonetta Perkins (1925)
    2. The Travelling Grave and Other Stories (1951)
    3. The White Wand and Other Stories (1954)
    4. Two for the River (1961)
    5. Mrs. Carteret Receives (1971)]
    • The Complete Short Stories of L. P. Hartley. Introduction by Lord David Cecil. London: Hamish Hamilton, 1973.
27. The Collected Macabre Stories (2001) [CMS]
    From the Introduction to Lady Cynthia Asquith’s Third Ghost Book
    1. A Visitor from Down Under
    2. Podolo
    3. Three, or Four, for Dinner
    4. The Travelling Grave
    5. Feet Foremost
    6. The Cotillon
    7. A Change of Ownership
    8. The Thought
    9. Conrad and the Dragon
    10. The Island
    11. Night Fears
    12. The Killing Bottle
    13. A Summons
    14. W.S.
    15. The Two Vaynes
    16. Monkshood Manor
    17. Two for the River
    18. Someone in the Lift
    19. The Face
    20. The Corner Cupboard
    21. The Waits
    22. The Pampas Clump
    23. The Crossways
    24. Per Far L'Amore
    25. Interference
    26. The Pylon
    27. Mrs Carteret Receives
    28. Fall In at the Double
    29. Paradise Paddock
    30. Roman Charity
    31. Pains and Pleasures
    32. Please Do Not Touch
    33. Home Sweet Home
    34. The Shadow on the Wall
    35. The Sound of Voices
    36. Mrs G. G.
    37. The Stain on the Chair

Non-fiction:


28. The Novelist's Responsibility (1967)

Edited:


29. Essays by Divers Hands. Volume XXXIV (1966)

L. P. Hartley: The Collected Macabre Stories (2001)

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Classic Ghost Story Writers: Algernon Blackwood

Algernon Blackwood: The Wendigo and Other Stories (2023)

'The Wendigo' (1910) remains my favourite story by Algernon Blackwood, and - indeed - one of my favourite horror stories of all time.

I know that H. P. Lovecraft preferred the earlier 'The Willows' (1907), and I certainly acknowledge the wonderfully atmospheric effects achieved by Blackwood in that story, but it just can't compare with the sense of cosmic terror, as well as the intensity of his descriptions of the Northern woods, in 'The Wendigo'.

M. Grant Kellermeyer: Classic Horror Blog (2019)

"Oh, oh! This fiery height! Oh, oh! My feet of fire! My burning feet of fire!"

If you haven't read the story (you can find an online text of it here), those words will sound very strange to you. If you have, they'll be only too meaningful.

But what exactly is a wendigo (or windigo, as it's also called)?

The wendigo is often said to be a malevolent spirit, sometimes depicted as a creature with human-like characteristics, which possesses human beings. It is said to cause its victims a feeling of insatiable hunger, the desire to eat other humans, and the propensity to commit murder. In some representations, the wendigo is described as a giant humanoid with a heart of ice, whose approach is signaled by a foul stench or sudden unseasonable chill.

- Wikipedia: Wendigo

This is far from Blackwood's description of it as a "moss-eater", with huge misshapen feet from its bounds up into the fiery upper air. In general he is careful to avoid its associations with cannibalism, a perennial problem for many of the Northern First Nations tribes, who often ran short of food in winter if the harvest had been bad the year before, and who therefore tended to be accused of acts of cannibalism by missionaries and colonisers (as historian Francis Parkman records in his 1865 account The Pioneers of France in the New World).

Here's a typical Windigo folktale, collected from a Chippewa informant by Lottie Chicogquaw Marsden:

One time long ago a big Windigo stole an Indian boy, but the boy was too thin, so the Windigo didn't eat him up right away, but he travelled with the Indian boy waiting for him till he'd get fat. The Windigo had a knife and he'd cut the boy on the hand to see if he was fat enough to eat, but the boy didn't get fat. They travelled too much. One day they came to an Indian village and the Windigo sent the boy to the Indian village to get some things for him to eat. He just gave the boy so much time to go there and back. The boy told the Indians that the Windigo was near them, and showed them his hand where the Windigo cut him to see if he was fat enough to eat. They heard the Windigo calling the boy. He said to the boy "Hurry up. Don't tell lies to those Indians." All of these Indians went to where the Windigo was and cut off his legs. They went back again to see if he was dead. He wasn't dead. He was eating the juice (marrow) from the inside of the bones of his legs that were cut off. The Indians asked the Windigo if there was any fat on them. He said, "You bet there is, I have eaten lots of Indians, no wonder they are fat." The Indians then killed him and cut him to pieces. This was the end of this Giant Windigo.

Sophia Cathryn: Wendigo (2022)

As you can see from the illustration above, Wendigos are generally depicted as being cadaverously thin, ravenously hungry, and prone to eating their own faces and limbs if no other food is available - hence their blood-stained teeth. They can also pass on this curse to others, which may account for the return of the French Canadian guide Défago in altered form at a crucial point in Blackwood's story. They don't always have horns, so it's not necessarily easy to identify them at first.

It's just one of many stories Blackwood set in the wilds of Canada. One of the best of the others is "A Haunted Island" (1899), though "Skeleton Lake" (1906) runs it a close second.

Algernon Blackwood: John Silence, Physician Extraordinary (1908)

Probably the most impressive of his many collections of mostly fantastic and supernatural stories is John Silence, Physician Extraordinary. John Silence is clearly an heir to Sheridan Le Fanu's Dr. Martin Hesselius, the psychic physician, as well as Bram Stoker's Dr. Abraham Van Helsing, bane of vampires everywhere.

John Silence is, however, more of a spectator than an active participant in the events he witnesses. He's probably at his best in "Secret Worship," set at a haunted boys' school in the Black Forest of Germany, but all of the six stories he figures in (five in the original book; another, "A Victim of Higher Space," collected later) are well worth reading.

Montague Rhodes James (1862-1936)

It's true that many of Algernon Blackwood's fictions offend against one or other of the three rules for effective ghost stories laid out by his close contemporary M. R. James in the preface to his own collection More Ghost Stories of an Antiquary (1911):

I think that, as a rule, the setting should be fairly familiar and the majority of the characters and their talk such as you may meet or hear any day. A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself, ‘If I’m not very careful, something of this kind may happen to me!’ Another requisite, in my opinion, is that the ghost should be malevolent or odious: amiable and helpful apparitions are all very well in fairy tales or in local legends, but I have no use for them in a fictitious ghost story. Again, I feel that the technical terms of ‘occultism’, if they are not very carefully handled, tend to put the mere ghost story (which is all that I am attempting) upon a quasi-scientific plane, and to call into play faculties quite other than the imaginative.

Algernon Blackwood: Ancient Sorceries (2022)

1. the setting should be fairly familiar and the majority of the characters and their talk such as you may meet or hear any day ...
Blackwood, by contrast, is fond of setting his stories in Canada, or on the lower reaches of the Danube, or on an island in the Baltic, or in a mysterious small town in France. That is, in fact, part of their attraction. One feels, in almost every case, that he's writing about a place familiar to him, and describing the kinds of characters encountered by him in his adventurous early life.


2. the ghost should be malevolent or odious ...
This is probably true of the Wendigo itself (though that's debatable), but as a general rule, Blackwood's ghosts and occult manifestations of various kinds tend to be largely indifferent to mankind: they operate according to their own rules, for reasons that remain largely obscure to us. The danger comes from the intersection of these otherwordly entities with our own quotidian concerns.


3. the technical terms of ‘occultism’ tend to put the mere ghost story upon a quasi-scientific plane, and to call into play faculties quite other than the imaginative.
It seems probable that James had Blackwood specifically in mind when he wrote this sentence. There's a lot of 'quasi' (or pseudo-) scientific discourse in a good many of his stories, particularly the ones which star John Silence, though in this he was following the example of such classic supernatural novellas as Edward Bulwer-Lytton's "The Haunted and the Haunters; or, The House and the Brain" (1859).

Algernon Blackwood: The Empty House and Other Ghost Stories (1906)

There's an expansiveness and range to the best of Blackwood's early stories which far surpasses his later work in the genre, influenced (as it was) by the need to provide stories short enough to broadcast or to fit into the increasingly restrictive demands of magazines.

Despite this, over time he built quite a reputation as a reader of his own stories on radio, and (eventually) on the burgeoning medium of television. But he should really be seen - along with Wilkie Collins, M. R. James and Sheridan Le Fanu - as one of the principal ornaments of the golden age of ghost stories, roughly from the mid-nineteenth century to the outbreak of the First World War.

It's a shame that there's no really comprehensive collection of his work in this genre, uneven in quality though it undoubtedly is. Perhaps the best introduction to his work remains E. F. Bleiler's careful selection, published by Dover in 1973.

E. F. Bleiler, ed.: Best Ghost Stories of Algernon Blackwood (1973)

Mind you, the wendigo itself has gone on to become one of the standard 'cryptids' - along with Bigfoot, the chupacabra, the Loch Ness monster, and the Jersey Devil - investigated by proponents of the pseudoscience known as Cryptozoology. It also bears an obvious resemblance to the Slender Man figure in contemporary pop culture.

It's even inspired a couple of feature films, as well as numerous stories, comics, novels and even role-playing games.

Larry Fessenden, dir. & writ.: Wendigo (2001)

•

Algernon Blackwood

Algernon Henry Blackwood
(1869-1951)

Books I own are marked in bold:

Novels:


1. Jimbo: A Fantasy (1909)
2. The Education of Uncle Paul (1909)
3. The Human Chord (1910)
4. The Centaur (1911)
5. A Prisoner in Fairyland [sequel to The Education of Uncle Paul] (1913)
6. The Extra Day (1915)
7. Julius LeVallon (1916)
   • Julius LeVallon: An Episode. London: Cassell and Company, Ltd., 1916.
8. The Wave (1916)
9. The Promise of Air (1918)
10. The Garden of Survival (1918)
11. The Bright Messenger [sequel to Julius LeVallon] (1921)
12. Dudley & Gilderoy: A Nonsense (1929)

Children's Books:


13. Sambo and Snitch (1927)
14. The Fruit Stoners: Being the Adventures of Maria Among the Fruit Stoners (1934)

Plays:


15. [with Violet Pearn] The Starlight Express. Music by Edward Elgar (1915)
16. [with Violet Pearn] Karma: A Reincarnation Play (1918)
17. [with Bertram Forsyth] The Crossing (1920)
18. [with Violet Pearn] Through the Crack (1920)
19. [with Bertram Forsyth] White Magic (1921)
20. [with Elaine Ainley] The Halfway House (1921)
21. [with Frederick Kinsey Peile] Max Hensig (1929)

Short story collections:


22. The Empty House and Other Ghost Stories (1906)
23. The Listener and Other Stories (1907)
24. John Silence (1908)
    • John Silence, Physician Extraordinary. 1908. London: Macmillan and Co., Limited, 1912.
25. The Lost Valley and Other Stories (1910)
26. Pan's Garden: A Volume of Nature Stories (1912)
27. Ten Minute Stories (1914)
28. Incredible Adventures (1914)
29. Day and Night Stories (1917)
30. Wolves of God, and Other Fey Stories (1921)
31. Tongues of Fire and Other Sketches (1924)
    • Tongues of Fire and Other Sketches. 1924. London: Herbert Jenkins Limited, n.d.
32. Shocks (1935)
33. The Doll and One Other (1946)

Short Story Selections:


34. Ancient Sorceries and Other Tales (1927)
35. The Dance of Death and Other Tales (1927)
    • The Dance of Death and Other Stories. 1927. London: Pan Books Ltd., 1973.
36. Strange Stories (1929)
37. Short Stories of To-Day & Yesterday (1930)
38. The Willows and Other Queer Tales. Ed. G. F. Maine (1932)
39. The Tales of Algernon Blackwood (1938)
40. Selected Tales of Algernon Blackwood (1942)
    • Selected Tales: Stories of the Supernatural and Uncanny. 1943. Harmondsworth: Penguin, 1948.
41. Selected Short Stories of Algernon Blackwood (1945)
42. Tales of the Uncanny and Supernatural (1949)
    • Included in: Tales of Terror & Darkness: Part One: Tales of the Uncanny and Supernatural / Part Two: Tales of the Mysterious and Macabre. 1949 & 1967. Spring Books. London: The Hamlyn Publishing Group, 1977.
43. In the Realm of Terror (1957)
44. Selected Tales of Algernon Blackwood (1964)
45. Tales of the Mysterious and Macabre (1967)
    • Included in: Tales of Terror & Darkness: Part One: Tales of the Uncanny and Supernatural / Part Two: Tales of the Mysterious and Macabre. 1949 & 1967. Spring Books. London: The Hamlyn Publishing Group, 1977.
46. Ancient Sorceries and Other Stories (1968)
    • Ancient Sorceries and Other Stories. 1906-1908. Harmondsworth: Penguin, 1974.
47. Best Ghost Stories of Algernon Blackwood. Ed. Everett F. Bleiler (1973)
    • Best Ghost Stories of Algernon Blackwood. Preface by the Author. 1938. Ed. E. F. Beiler. New York: Dover Books, Inc., 1973.
48. The Best Supernatural Tales of Algernon Blackwood. Ed. Felix Morrow (1973)
    • The Best Supernatural Tales of Algernon Blackwood. 1929. Introduction by Felix Morrow. New York: Causeway Books, 1973.
49. Tales of Terror and Darkness (1977)
    • Tales of Terror & Darkness: Part One: Tales of the Uncanny and Supernatural / Part Two: Tales of the Mysterious and Macabre. 1949 & 1967. Spring Books. London: The Hamlyn Publishing Group, 1977.
50. Tales of the Supernatural. Ed. Mike Ashley (1983)
51. The Magic Mirror. Ed. Mike Ashley (1989)
52. The Complete John Silence Stories. [with "A Victim of Higher Space"]. Ed. S. T. Joshi (1997)
53. Ancient Sorceries and Other Weird Stories. Ed. S. T. Joshi (2002)
54. Algernon Blackwood's Canadian Tales of Terror. Ed. John Robert Colombo (2004)
55. Ancient Sorceries and Other Stories (2022)
56. The Wendigo and Other Stories. Ed. Aaron Worth. Oxford World's Classics. Oxford: Oxford University Press, 2023.

Matt Fox: Illustration for The Wendigo (2015)

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The Many Faces of Dorothy L. Sayers

Dorothy L. Sayers (1893-1957)

When my mother left her hometown of Sydney, Australia in 1953 to take up her very first job as a house surgeon in a little country hospital in Waimate, New Zealand, among the very few things she brought with her was her collection of books by Dorothy Sayers.

Dorothy L. Sayers, ed. : Great Short Stories of Detection, Mystery and Horror (1928)

I suppose that might be where I got it from: this persistent taste for the occult and the macabre - not so much the detection bit, but certainly the mystery and horror.

I've read all the Lord Peter Wimsey detective stories many times, but - more to the point - have found perhaps even more to admire in the acumen with which Sayers mapped the whole field of the mysterious in three soup-to-nuts anthologies, issued over a period of seven years, from 1928 to 1934.

Dorothy L. Sayers, ed. : Great Short Stories of Detection, Mystery and Horror (1928)

Originally published in three large volumes, these collections were subsequently subdivided into six separate sections: three confined to detective stories, and another three devoted to ghost and horror stories.

This has made things far easier for fans of both genres, as the rationalists don't have to be bothered with all the supernatural stuff, and occultists such as myself don't have to pretend interest in the creaky mechanics of whodunnits.

Sombrero Island

It was there that I first encountered Le Fanu's 'Green Tea' and 'Carmilla', Bram Stoker's 'The Judge's House', and a host of more recent luminaries of the macabre. And it was there that I first read one of my very favourite short stories of all time, Martin Armstrong's 'Sombrero' (which you can read about it in more detail in Bronwyn Lloyd's brilliant essay here).

Carl Barks: The Many Faces of Magica de Spell (1964)

But who exactly was Dorothy Sayers, and why do her various sets of fans still maintain such devotion to her memory? Why, in particular, do those fans seem content to remain in such mutually exclusive groups?

The Many Faces of Dorothy Sayers, then, would have to include:

• her dazzling contribution to the Golden Age of Detective Fiction, as a contemporary (and rival) of Agatha Christie, Ngaio Marsh, and Josephine Tey, amongst others.
• her work as a translator - and commentator - on Dante, which resulted in one of the most widely read versions of the Divine Comedy published in modern times.
• her status as a visiting member of the Inklings, with C. S. Lewis and J. R. R. Tolkien, due mainly to her extensive contributions to the field of Christian apologetics.
• and, last but not least, her work as a critic and anthologist of mystery and ghost stories, which rivals even that of such industrious successors as Edmund Crispin and Peter Haining.

Let's take them one by one:

The Dorothy L. Sayers Crime Collection (Folio Society: 1998)


Detective Story Writer


Lord Peter Wimsey novels:


1. Whose Body? (1923)
2. Clouds of Witness (1926)
3. Unnatural Death (1927)
4. The Unpleasantness at the Bellona Club (1928)
5. Strong Poison (1930) [with Harriet Vane]
6. The Five Red Herrings (1931)
7. Have His Carcase (1932) [with Harriet Vane]
8. Murder Must Advertise (1933)
9. The Nine Tailors (1934)
10. Gaudy Night (1935) [with Harriet Vane]
11. Busman's Honeymoon (1937) [with Harriet Vane]




Jill Paton Walsh & Dorothy L. Sayers: A Presumption of Death (2002)


I recently came across an interesting paperback in a local vintage shop. It purports to be a collaboration between children's-book and detective-story writer Jill Paton Walsh and the long defunct Dorothy Sayers.



Dorothy L. Sayers & Jill Paton Walsh: Thrones, Dominations (1998)


Further research revealed the existence of an earlier volume which actually was based on some unpublished chapters of an unfinished Lord Peter Wimsey novel started by Sayers sometime in 1936, after the completion of Busman's Honeymoon, the last published Wimsey mystery.

Busman's Honeymoon was written as a stage play before being repackaged as a novel, an interesting change of gear which might lead one to argue that the last bona fide Sayers crime novel was in fact Gaudy Night (1935), which ends with her (at least partial) alter ego, crime novelist Harriet Vane, falling at last into the faithful arms of aristocratic sleuth Lord Peter Wimsey.

I enjoyed both of these Walsh / Sayers novels, though perhaps not sufficiently to hunt out the further instalments in the series. Jill Paton Walsh died in 2020, so there are unlikely to be any more beyond the four already completed by her - unless, that is, some enterprising fan-fiction writer discovers unpublished chapters or plot outlines for further such books, and so ad infinitum ...

Walsh certainly manages a pretty seamless join between her chapters and Sayers' chapters in the 1936-37 abdication era saga of Thrones, Dominations. She is also pretty good on the atmosphere of wartime Britain in A Presumption of Death. What one misses in both books, though, is the relentlessly circumstantial detail of the canonical Wimsey stories.



Ian Carmichael as Lord Peter Wimsey in Murder Must Advertise (BBC: 1973)


What was it like to work in an advertising agency in the 1930s? Sayers had done so, and she paints a vivid picture of the minutiae of the trade in Murder Must Advertise (1933). In fact, so absorbing is her account that one's interest - never strong - in solving the murder mystery the novel is purportedly about begins to shrink into nothingness.

The same could be said in even stronger terms about the apprenticeship in Campanology (or bell-ringing) offered by The Nine Tailors (1934). Painting in oils is exhaustively canvassed in The Five Red Herrings (1931), and any questions one may have had about the functioning of Oxford women's colleges before the war are very fully answered by Gaudy Night (1935).



Harriet Walters as Harriet Vane / Edward Petherbridge as Wimsey in Gaudy Night (BBC: 1987)


This tendency on Sayers' part to go off into a disquisition on the collecting of incunabula (books printed before 1500 - one of wealthy Lord Peter's principal passions), or some other esoteric topic, instead of sticking to the grimier details of blood-stains and alibis did not go unremarked at the time. Detective story purists decried this lack of focus on the usual content of such stories.

It is, however, one of the main reasons why they remain so readable almost a century after the Wimsey series began in 1923. She wrote them, at least initially, for money. As time went by, and her sources of income diversified, she continued them as a vehicle for her other passions: old books, and scholarship, and medieval pageantry.

I mentioned in an earlier post certain problems some readers have had with Whose Body? (1923), the first of the Wimsey novels. The fact that the victim is Jewish and his murderer overtly anti-semitic does not, in my view, add up to evidence that Sayers herself shared these views - on the contrary, in fact. There are admittedly certain parts of the book which read oddly today, but no more so than any other thriller of the time, I would argue.

This may be one reason why her subsequent books stick to subjects of more Academic interest. I can see how this might irritate fans of (say) Agatha Christie or the American hard-boiled tradition, but the long, languorous descriptions of Lord Peter's bookshelves with which Sayers occasionally indulges herself have probably drawn in more readers than they've driven away. Bookish folk are a clannish tribe, and the great thing about Sayers - like her near-contemporary M. R. James - is that she does know what she's talking about.

It's easy enough to plaster together a few Latin tags and booktitles from the likes of Wikipedia if you want to feign close knowledge of some esoteric field. Sayers never does that. It's not just that she fleshes out her account of such things from her own wide reading and classical education. It's also clear that she's speaking from the heart. Feigned enthusiasm can generally be distinguished from the real thing.



Jill Paton Walsh (1937-2020)


Jill Paton Walsh was a very well-informed and experienced writer. When, however, she attempts to emulate Sayers' expositions of esoteric areas of learning (the short account of the lost rivers of London in Thrones, Dominations, for instance - or the details of code-breaking and spycraft generally in A Presumption of Death), the results fall too far short of the original to satisfy.

I see no harm in what she's done - and wish her publishers well in continuing to market these four novels - but the Sayers canon will remain eleven novels and a number of short stories. Unsurprisingly, Walsh channels Harriet Vane far more convincingly than she does Lord Peter. The latter is a pallid shade of his jazz-era self. Harriet, by contrast, seems almost as self-involved and incompetent a detective as she was in the original books.

The fact that the process of fleshing out Lord Peter's genealogy and post-war career began during Sayers' own lifetime, and that she even collaborated with some of these attempts, can presumably be attributed to her passion for the so-called 'higher criticism' (a term coined by Monsignor Ronald Knox) of Sherlock Holmes.

There are many Holmes ephemera and sequels also. As long as they don't draw away too much attention from the parent tree, they're as pleasant a way of wasting one's time as any, I'd say.



Jill Paton Walsh: The Late Scholar (2013)




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Dorothy L. Sayers, trans. The Comedy of Dante Alighieri (Penguin Classics: 1949-62)


Verse Translator


I've already had a bit to say on this subject, too, in a post on Dante's Divine Comedy where I compare a number of translations - including Dorothy Sayers' - of the opening lines of the poem.

There's no need to repeat all that here, but I should perhaps mention Sayers' own comments on what she'd been trying to do in her own version of this much-English'd poem, which she seems almost alone in regarding as a 'comedy' in the modern sense:

the pervading favour of Dante's humour is ... dry and delicate and satirical; in particular his portrait of himself is tinged throughout with a charming self-mockery which has no parallel that I know of outside the pages of Jane Austen. ... The easiest way to show what I have done is to lay a few passages side by side with other translations; for example:

Inf. xi. 76:

"What error has seduced thy reason, pray?"
Said he; "thou art not wont to be so dull;
Or are thy wits woolgathering miles away?"

Where Cary has:

He answer thus returned: "Wherefore in dotage wanders thus thy mind,
Not so accustomed? Or what other thoughts
Possess it?

Inf. xvi. 124:

When truth looks like a lie, a man's to blame
Not to sit still, if he can, and hold his tongue,
Or he'll only cover his innocent head with shame.

Where Wright has:

That truth which bears the semblance of a lie
To pass the lips man never should allow:
Though crime be absent - still disgrace is nigh.

Inf. xvii. 91:

So I climbed to those dread shoulders obediently;
"Only do" (I meant to say, but my voice somehow
Wouldn't come out right) "please catch hold of me."

Where Binyon has:

On those dread shoulders did I then get hold.
I wished to say, only the voice came not
As I had meant: "Thy arms about me fold."

In this last case, it is a question, not only of translating, but of choosing between two possible meanings of the Italian; which one chooses - the unbroken phrase or the broken, gasping one - will depend, precisely, on whether one thinks Dante is laughing at himself or not. I believe that he is, and that his treatment of his own character is suffused throughout with a delicate spirit of comedy, which no reverence should tempt the translator to obscure by dignified phrases.

- The Comedy of Dante Alighieri the Florentine. Cantica I: Hell [L’Inferno]. Trans. Dorothy L. Sayers. 1949. Penguin Classics (Harmondsworth: Penguin, 1972): 62-64.

Whether or not she was right to emphasise this feature of Dante's poem is a matter of opinion. Myself, I have certain doubts. Her more relaxed and informal way of translating one of the great monuments of world poetry certainly hit a nerve at a time, though.

Like the other volumes in the new Penguin Classics series, it was very much in tune with the zeitgeist, the increased suspicion of the 'culture machine' expressed in its most extreme form by Adorno's famous adage about the impossibility of continuing to write traditional lyric poetry after the fact of Auschwitz.

If there was still to be poetry, it could - at the very least - not keep on being so smugly self-satisfied about the nature of its mode of expression. Hence E. V. Rieu's colloquial, almost novelistic translation of Homer's Odyssey (1946). Hence, too, Sayers' Hell (1949) - the avoidance of the more conventional "Inferno" for her title makes a statement in itself.

According to her friend and biographer Barbara Reynolds, who completed the final few cantos of the translation after Sayers' death, that first volume sold 50,000 copies "almost at once" - the set of three went on to sell a million and a quarter copies over the next half century.

There have been many, many English translations of Dante. Gilbert Cunningham's two-volume The Dvine Comedy in English: A Critical Bibliography (1965-66) lists no fewer than 83 between 1782 and 1966. In my 2012 blogpost on the subject, I added a further ten which had appeared since then. There's been no let-up in the last decade, though - even one by self-appointed antidote to 'cultural amnesia' Clive James. Who's next? Stephen Fry? me?

There are not so many which could actually be said to matter, though - Cary's pioneering 1814 version, composed in Miltonic blank verse, certainly; Longfellow's 1867 American translation, for its fluent readability; Philip Wicksteed's dual-text Temple Classics crib (1899-1901), as it was the edition read by Eliot and most of the other Modernists; possibly Laurence Binyon's 1933-43 rhyming terza rima translation, praised so highly by Ezra Pound ...

Among these latter you would have to include Dorothy Sayers', though. It's still not a bad place to start on your Dantean journey. It's readable and easy to follow, and while she certainly struggles to match the pictorial grace of Dante's extended metaphors, who doesn't? I'd certainly argue that it's better to enjoy her exceptional facility as a storyteller than to criticise her for failing to provide us with yet another piece of pretentious bombast.



Barbara Reynolds: Fifty Years On: Dorothy L. Sayers and Dante (1999)




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Dorothy L. Sayers: The Man Born to be King (BBC: 1942-43)


Christian Apologist


It was, according to Barbara Reynolds' article pictured above, Charles Williams' 1943 book The Figure of Beatrice which got Dorothy Sayers started on Dante in the first place. By then she was already well-known for her popular expositions of Christian doctrine - something of a boom industry during the dark days of the Second World War.

This brought her into close contact with the group of Christian writers and friends known informally as the Inklings, whose principal members were C. S. Lewis, J. R. R. Tolkien, and Williams himself.

There are a number of snide and rather misogynistic references to her in (especially) Tolkien's letters, but the others accepted her with a better grace. It's worth emphasising just how much greater than any of theirs her sales and influence were at the time. They may have far outdistanced her now, but then they were simply a small group of Oxford Dons whose following was largely due to Lewis's wartime broadcasts - subsequently collected as Mere Christianity (1952).

A massive amount of her time post-Wimsey was spent on composing such spiritual propaganda (I use the term advisedly): some of the highlights being her dramatised life of Christ, pictured above, her book of essays The Mind of the Maker, and the various studies necessitated by her all-consuming work on Dante.



Dorothy L. Sayers: The Mind of the Maker (1941)




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Dorothy L. Sayers, ed.: Great Stories of Detection, Mystery and Horror (Second Series: 1931)


Anthologist


I think that I've probably said enough above, in the first part of this post, to give you an idea of the effect that these three, brilliantly curated collections of the macabre have had on me, at least. Sayers also wrote a study of sensation novelist Wilkie Collins, which remained unpublished till long after her death, and there are enough references to occult maestro Sheridan Le Fanu in the Wimsey corpus to make it clear that he, too, was a subject of deep interest to her.

I guess that the overall point I wanted to make by piecing together these various disparate aspects of Sayers' ongoing influence was to point out how protean and fascinating her work remains. The same must, I suppose, be admitted of her life also, given the number of biographies and collections of letters which continue to appear.

Dismissing her as a detective writer with pretensions - or, worse, a thwarted scholar diverted into popular writing by poverty and circumstances - fails to explain why her books retain their vigour. Why, in short, do people continue to read them?

Part of it may be nostalgia for the (so-called) golden age of the detective genre, but Sayers' appeal goes far beyond that. Her characters are alive in a way that (say) Agatha Christie's or Edmund Crispin's - for all their technical ingenuity - are not.

Dorothy Sayers is, it appears, here to stay - and I, for one, am overjoyed to hear it.

•

John Doubleday: Dorothy L. Sayers (2015)

Dorothy Leigh Sayers
(1893-1957)

Novels:


1. Whose Body? (1923)
   • Included in: The Second Gollancz Detective Omnibus: Whose Body?, by Dorothy L. Sayers / The Weight of the Evidence, by Michael Innes / Holy Disorders, by Edmund Crispin. 1923, 1943 & 1945. London: Victor Gollancz Ltd., 1952.
   • Whose Body? 1923. NEL Books. London: New English Library Limited, 1977.
2. Clouds of Witness (1926)
   • Included in: The Lord Peter Omnibus: Clouds of Witness / Unnatural Death / The Unpleasantness at the Bellona Club. 1926, 1927, 1928 & 1935. London: Victor Gollancz Ltd., 1964.
3. Unnatural Death [aka The Dawson Pedigree] (1927)
   • Included in: The Gollancz Detective Omnibus: The Moving Toyshop, by Edmund Crispin / Appleby’s End, by Michael Innes / Unnatural Death, by Dorothy L. Sayers. 1946, 1945 & 1927. London: Victor Gollancz Ltd., 1951.
   • Included in: The Lord Peter Omnibus: Clouds of Witness / Unnatural Death / The Unpleasantness at the Bellona Club. 1926, 1927, 1928 & 1935. London: Victor Gollancz Ltd., 1964.
4. The Unpleasantness at the Bellona Club (1928)
   • Included in: The Lord Peter Omnibus: Clouds of Witness / Unnatural Death / The Unpleasantness at the Bellona Club. 1926, 1927, 1928 & 1935. London: Victor Gollancz Ltd., 1964.
5. Strong Poison (1930)
   • Included in: Three Great Lord Peter Novels: Strong Poison / Murder Must Advertise / The Nine Tailors. 1930, 1933 & 1934. London: Victor Gollancz Ltd., 1978.
6. [with Robert Eustace] The Documents in the Case (1930)
   • [with Robert Eustace] The Documents in the Case. 1930. London: Victor Gollancz Ltd., 1949.
7. The Five Red Herrings [aka Suspicious Characters] (1931)
   • The Five Red Herrings. 1931. London: Victor Gollancz Ltd., 1937.
8. [with Members of The Detection Club: Canon Victor Whitechurch, George and Margaret Cole, Henry Wade, Agatha Christie, John Rhode, Milward Kennedy, Sayers, Ronald Knox, Freeman Wills Crofts, Edgar Jepson, Clemence Dane, Anthony Berkeley & G. K. Chesterton] The Floating Admiral (1931)
9. Have His Carcase (1932)
   • Have His Carcase. 1932. London: Victor Gollancz Ltd., 1935.
10. Murder Must Advertise (1933)
    • Murder Must Advertise: A Detective Story. 1933. London: Victor Gollancz Ltd., 1953.
    • Included in: Three Great Lord Peter Novels: Strong Poison / Murder Must Advertise / The Nine Tailors. 1930, 1933 & 1934. London: Victor Gollancz Ltd., 1978.
11. [With Members of The Detection Club: Anthony Berkeley, Milward Kennedy, Gladys Mitchell, John Rhode, Sayers & Helen Simpson] Ask a Policeman (1933)
12. The Nine Tailors (1934)
    • The Nine Tailors: Changes Rung on an Old Theme in Two Short Touches and Two Full Peals. 1934. London: Victor Gollancz Ltd., 1942.
    • Included in: Three Great Lord Peter Novels: Strong Poison / Murder Must Advertise / The Nine Tailors. 1930, 1933 & 1934. London: Victor Gollancz Ltd., 1978.
13. Gaudy Night (1935)
    • Gaudy Night. 1935. London: Victor Gollancz Ltd., 1935.
14. [With Members of The Detection Club: Margery Allingham, Anthony Berkeley, Freeman Wills Crofts, Father Ronald Knox, Sayers & Russell Thorndike] Six against the Yard (1936)
15. Busman's Honeymoon: A Love Story With Detective Interruptions (1937)
    • Busman's Honeymoon: A Love Story with Detective Interruptions. 1937. London: Victor Gollancz Ltd., 1949.
16. [With Members of The Detection Club] Double Death: a Murder Story (1939)

Short Story Collections:


17. Lord Peter Views the Body (1928)
    • Lord Peter Views the Body. 1928. London: Victor Gollancz Ltd., 1949.
18. Hangman's Holiday (1933)
    • Hangman's Holiday. 1933. NEL Books. London: New English Library Limited, 1978.
19. [As Matthew Wimsey: with others] Papers Relating to the Family of Wimsey (1936)
20. An Account of Lord Mortimer Wimsey, the Hermit of the Wash (1937)
21. In the Teeth of the Evidence and Other Mysteries (1939)
    • In the Teeth of the Evidence. 1939. NEL Books. London: New English Library Limited, 1973.
22. The Wimsey Papers (1939-40)
23. A Treasury of Sayers Stories (1958)
24. Talboys [aka Striding Folly] (1972)
    • Striding Folly: Including Three Final Lord Peter Wimsey Stories. Introduction by Janet Hitchman. 1972. NEL Books. London: New English Library Limited, n.d.
25. Lord Peter: A Collection of All the Lord Peter Wimsey Stories (1972)
26. The Wimsey Family: A Fragmentary History Compiled from Correspondence With Dorothy L. Sayers. Ed. C. W. Scott-Giles (1977)
    • Scott-Giles, C. W. The Wimsey Family: A Fragmentary History Compiled from Correspondence with Dorothy L. Sayers. 1977. NEL Books. London: New English Library Limited, 1979.
27. [With Members of The Detection Club] The Scoop and Behind the Screen [Radio playscripts, 1930 & 1931] (1983)
28. [With Members of The Detection Club] Crime on the Coast and No Flowers by Request [Detective serials, 1953] (1984)
29. The Complete Stories (2002)

Jill Paton Walsh (1937-2020) - Authorised Sequels:


30. [with Dorothy L. Sayers] Thrones, Dominations (1998)
    • [with Dorothy L. Sayers] Thrones, Dominations. 1998. London: Hodder & Stoughton, 1998.
31. [with Dorothy L. Sayers] A Presumption of Death (2002)
    • [with Dorothy L. Sayers] A Presumption of Death: The New Lord Peter Wimsey Novel. 2002. A New English Library Paperback. London: Hodder & Stoughton, 2003.
32. The Attenbury Emeralds (2010)
33. The Late Scholar (2013)

Drama:


34. [with Basil Mason] The Silent Passenger [Screenplay] (1935)
35. [with Muriel St. Clare Byrne] Busman's Honeymoon: A Detective Comedy in Three Acts (1936)
36. The Zeal of Thy House (1938)
    • Included in: Four Sacred Plays: The Devil to Pay / The Just Vengeance / He That Should Come / The Zeal of Thy House. London: Victor Gollancz Ltd., 1948.
37. He That Should Come: A Nativity Play in One Act [Radio play] (1938)
    • Included in: Four Sacred Plays: The Devil to Pay / The Just Vengeance / He That Should Come / The Zeal of Thy House. London: Victor Gollancz Ltd., 1948.
38. The Devil to Pay: Being the Famous History of John Faustus, the Conjurer of Wittenberg in Germany: How He Sold His Immortal Soul to the Enemy of Mankind, and Was Served Twenty-four Years by Mephistopheles, and Obtained Helen of Troy to His Paramour, With Many Other Marvels; and How God Dealt With Him at the Last (1939)
    • Included in: Four Sacred Plays: The Devil to Pay / The Just Vengeance / He That Should Come / The Zeal of Thy House. London: Victor Gollancz Ltd., 1948.
39. Love All (1940)
40. The Golden Cockerel: Adapted from Alexander Pushkin [Radio play] (1941)
41. The Man Born to Be King: A Play-Cycle on the Life of Our Lord and Saviour Jesus Christ [Radio play] (1941-42)
    • The Man Born to be King: A Play-Cycle on the Life of our Lord and Saviour Jesus Christ. Presented by the British Broadcasting Corporation, Dec. 1941–Oct. 1942. Producer: Val Gielgud. 1943. London: Victor Gollancz Ltd., 1946.
42. The Just Vengeance (1946)
    • Included in: Four Sacred Plays: The Devil to Pay / The Just Vengeance / He That Should Come / The Zeal of Thy House. London: Victor Gollancz Ltd., 1948.
43. [With Members of The Detection Club] Where Do We Go From Here? [Radio play] (1948)
44. The Emperor Constantine: A Chronicle (1951)

Non-fiction:


45. The Murder of Julia Wallace. In The Anatomy of Murder, by The Detection Club (1936)
46. The Greatest Drama Ever Staged: Essays (1938)
47. Strong Meat: Essays (1939)
48. Begin Here: A War-Time Essay (1940)
49. Creed or Chaos? and Other Essays in Popular Theology (1940)
50. The Mind of the Maker: Essays (1941)
    • The Mind of the Maker. 1941. London: Methuen & Co. Ltd., 1946.
51. The Mysterious English (1941)
52. Why Work? An Address Delivered at Eastbourne, April 23rd, 1942 (1942)
53. The Other Six Deadly Sins: An Address Given to the Public Morality Council at Caxton Hall, Westminster, on October 23rd, 1941 (1943)
54. Even the Parrot: Exemplary Conversations for Enlightened Children (1944)
55. Making Sense of the Universe: An Address Given at the Kingsway Hall on Ash Wednesday, March 6th, 1946 (1946)
56. Unpopular Opinions: Essays (1946)
57. The Lost Tools of Learning (1948)
58. The Days of Christ's Coming (1953)
59. Introductory Papers on Dante (1954)
60. The Story of Easter (1955)
61. The Story of Noah's Ark (1956)
62. Further Papers on Dante (1957)
63. [with others] The Great Mystery of Life Hereafter (1957)
64. The Poetry of Search and the Poetry of Statement, and Other Posthumous Essays on Literature, Religion, and Language (1963)
65. Christian Letters to a Post-Christian World: A Selection of Essays. Ed. Roderick Jellema (1969)
66. Are Women Human? Essays (1971)
67. A Matter of Eternity: Selections From the Writings of Dorothy L. Sayers (1973)
68. Wilkie Collins: A Critical and Biographical Study (1977)
69. Spiritual Writings (1993)

Poetry:


70. Op. I (1916)
71. Catholic Tales and Christian Songs (1918)
72. Lord, I Thank Thee (1943)
73. The Story of Adam and Christ (1955)

Translation:


74. Tristan in Brittany, Being Fragments of the Romance of Tristan, Written in the Twelfth Century by Thomas the Anglo-Norman (1929)
75. The Heart of Stone, Being the Four Canzoni of the "Pietra" Group by Dante (1946)
76. The "Comedy" of Dante Alighieri the Florentine. Cantica I: Hell (1949)
    • Alighieri, Dante. The Comedy of Dante Alighieri the Florentine. Cantica I: Hell [L’Inferno]. Trans. Dorothy L. Sayers. 1949. Penguin Classics. Harmondsworth: Penguin, 1972.
77. The "Comedy" of Dante Alighieri the Florentine. Cantica II: Purgatory (1955)
    • Alighieri, Dante. The Comedy of Dante Alighieri the Florentine. Cantica II: Purgatory [Il Purgatorio]. Trans. Dorothy L. Sayers. 1955. Penguin Classics. Harmondsworth: Penguin, 1971.
78. The Song of Roland (1957)
    • The Song of Roland. 1957. Penguin Classics. Harmondsworth: Penguin, 1959.
79. [with Barbara Reynolds] The "Comedy" of Dante Alighieri the Florentine. Cantica III: Paradise (1962)
    • Alighieri, Dante. The Comedy of Dante Alighieri the Florentine. Cantica III: Paradise [Il Paradiso]. Trans. Dorothy L. Sayers & Barbara Reynolds. 1962. Penguin Classics. Harmondsworth: Penguin, 1971.

Edited:


80. [with Wilfred Rowland Childe & T. W. Earp] Oxford Poetry, 1917 (1918)
81. [with T. W. Earp & E. F. A. Geach] Oxford Poetry, 1918 (1919)
82. [with T. W. Earp & Siegfried Sassoon] Oxford Poetry, 1919 (1920)
83. [with the Editorial Committee] The Quorum (1920)
84. Great Short Stories of Detection, Mystery, and Horror (1928)
    • Great Short Stories of Detection, Mystery and Horror. Part I: Detection and Mystery. 1928. London: Victor Gollancz, 1950.
    • Great Short Stories of Detection, Mystery and Horror. Part II: Mystery and Horror. 1928. London: Victor Gollancz, 1951.
85. Great Short Stories of Detection, Mystery, and Horror — Second Series (1931)
    • Great Short Stories of Detection, Mystery and Horror. Part III: Detection and Mystery. 1931. London: Victor Gollancz, 1952.
    • Great Short Stories of Detection, Mystery and Horror. Part IV: Mystery and Horror. 1931. London: Victor Gollancz, 1952.
86. Great Short Stories of Detection, Mystery, and Horror — Third Series (1934)
    • Great Short Stories of Detection, Mystery and Horror. Part V: Detection and Mystery. 1934. London: Victor Gollancz, 1952.
    • Great Short Stories of Detection, Mystery and Horror. Part VI: Mystery and Horror. 1934. London: Victor Gollancz, 1952.
87. Tales of Detection. Everyman's Library (1936)

Letters:


88. The Letters of Dorothy L. Sayers: 1899–1936: The Making of a Detective Novelist (1995)
    • Reynolds, Barbara, ed. The Letters of Dorothy L. Sayers. 1899-1936: The Making of a Detective Novelist. Preface by P. D. James. Foreword by P. D. James. 1995. A Sceptre Paperback. London: Hodder & Stoughton, 1996.
89. The Letters of Dorothy L. Sayers: 1937–1943, From Novelist to Playwright (1998)
90. The Letters of Dorothy L. Sayers: 1944–1950, A Noble Daring (1999)
91. The Letters of Dorothy L. Sayers: 1951–1957, In the Midst of Life (2000)
92. The Letters of Dorothy L. Sayers: Child and Woman of Her Time - A Supplement to the Letters (2002)

Secondary:


93. Hitchman, Janet. ‘Such a Strange Lady’: An Introduction to Dorothy L. Sayers (1893-1957). 1975. NEL Books. London: New English Library Limited, 1979.
94. Brabazon, James. Dorothy L. Sayers: A Biography. Preface by Anthony Fleming. Foreword by P. D. James. 1981. A Discus Book. New York: Avon Books, 1982.
95. Dale, Alzina Stone. Maker and Craftsman: The Story of Dorothy L. Sayers (1993)
96. Reynolds, Barbara. Dorothy L. Sayers: Her Life and Soul (1993)
97. Duriez, Colin. Dorothy L Sayers: A Biography - Death, Dante and Lord Peter Wimsey (2021)

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