Posts Tagged 'classic'

The Hound

In my tortured ears there sounds unceasingly a nightmare whirring and flapping, and a faint, distant baying as of some gigantic hound. It is not dream—it is not, I fear, even madness—for too much has already happened to give me these merciful doubts. St. John is a mangled corpse; I alone know why, and such is my knowledge that I am about to blow out my brains for fear I shall be mangled in the same way. Down unlit and illimitable corridors of eldritch phantasy sweeps the black, shapeless Nemesis that drives me to self-annihilation.

May heaven forgive the folly and morbidity which led us both to so monstrous a fate! Wearied with the commonplaces of a prosaic world, where even the joys of romance and adventure soon grow stale, St. John and I had followed enthusiastically every aesthetic and intellectual movement which promised respite from our devastating ennui. The enigmas of the Symbolists and the ecstasies of the pre-Raphaelites all were ours in their time, but each new mood was drained too soon of its diverting novelty and appeal. Only the sombre philosophy of the Decadents could hold us, and this we found potent only by increasing gradually the depth and diabolism of our penetrations. Baudelaire and Huysmans were soon exhausted of thrills, till finally there remained for us only the more direct stimuli of unnatural personal experiences and adventures. It was this frightful emotional need which led us eventually to that detestable course which even in my present fear I mention with shame and timidity—that hideous extremity of human outrage, the abhorred practice of grave-robbing.

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Genius Loci (2/2)

I can not be sure whether anything more was said by either of us. I have, however, the impression of a blank silence. After his single exclamation of surprise, Amberville seemed to retreat into an impenetrable abstraction, as if he were no longer conscious of my presence; as if, having identified me, he had forgotten me at once. On my part, I felt a weird and overpowering constraint. That infamous, eerie scene depressed me beyond measure. It seemed that the boggy bottom was trying to drag me down in some intangible way. The boughs of the sick alders beckoned. The pool, over which the bony willow presided like an arboreal death, was wooing me foully with its stagnant waters.

Moreover, apart from the ominous atmosphere of the scene itself, I was painfully aware of a further change in Amberville—a change that was an actual alienation, His recent mood, whatever it was, had strengthened upon him enormously: he had gone deeper into its morbid twilight, and was lost to the blithe and sanguine personality I had known. It was as if an incipient madness had seized him; and the possibility of this terrified me.

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Genius Loci (1/2)

‘It is a very strange place,’ said Amberville, ‘but I scarcely know how to convey the impression it made upon me. It will all sound so simple and ordinary. There is nothing but a sedgy meadow, surrounded on three sides by slopes of yellow pine. A dreary little stream flows in from the open end, to lose itself in a cul-de-sac of cat-tails and boggy ground. The stream, running slowly and more slowly, forms a stagnant pool of some extent from which several sickly-looking alders seem to fling themselves backwards, as if unwilling to approach it. A dead willow leans above the pool, tangling its wan, skeleton-like reflection with the green scum that mottles the water. There are no blackbirds, no kildees, no dragon-flies even, such as one usually finds in a place of that sort. It is all silent and desolate. The spot is evil—it is unholy in a way that I simply can’t describe. I was compelled to make a drawing of it, almost against my will, since anything so outré is hardly in my line. In fact, I made two drawings. I’ll show them to you, if you like.’

Since I had a high opinion of Amberville’s artistic abilities and had long considered him one of the foremost landscape painters of his generation, I was naturally eager to see the drawings. He, however, did not even pause to await my avowal of interest, but began at once to open his portfolio. His facial expression, the very movements of his hands, were somehow eloquent of a strange mixture of compulsion and repugnance as he brought out and displayed the two water-colour sketches he had mentioned.

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The Space Eaters (4/4)

It was past midnight when the telephone rang. I laid down the book I was reading and lowered the receiver.

“Hello. Who is there?” I asked.

“Frank, this is Howard!” The voice was strangely high-pitched. “Come as quickly as you can. They’ve come back! And Frank, the sign is powerless. I’ve tried the sign, but the droning is getting louder, and a dim shape….” Howard’s voice trailed off disastrously.

I fairly screamed into the receiver. “Courage, man! Do not let them suspect that you are afraid. Make the sign again and again. I will come at once.”

Howard’s voice came again, more hoarsely this time. “The shape is growing clearer and clearer. And there is nothing I can do! Frank, I have lost the power to make the sign. I have forfeited all right to the protection of the sign. I’ve become a priest of the Devil. That story—I should not have written that story.”

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The Space Eaters (3/4)

Howard was writing when I entered the room.

“How is the story going?” I asked.

For a moment he ignored my question. Then he slowly turned and faced me. He was hollow-eyed, and his pallor was alarming.

“It’s not going well,” he said at last. “It doesn’t satisfy me. There are problems that still elude me. I haven’t been able to capture all of the horror of the thing in Mulligan Wood.”

I sat down and lit a cigarette.

“I want you to explain that horror to me,” I said. “For three weeks I have waited for you to speak. I know that you have some knowledge which you are concealing from me. What was the damp, spongy thing that landed on Wells’s head in the woods? Why did we hear a droning as we fled in the fog? What was the meaning of the shape that we saw above the trees? And why, in heaven’s name, didn’t the horror spread as we feared it might? What stopped it? Howard, what do you think really happened to Wells’s brain? Did his body burn with the farm, or did they—claim it? And the other body that was found in Mulligan Wood—that lean, blackened horror with the riddled head—how do you explain that?” (Two days after the fire a skeleton had been found in Mulligan Wood. A few fragments of burnt flesh still adhered to the bones, and the skullcap was missing.)

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