When people think of Charles "Boz" Dickens (1812-1870) around Christmastime, they obviously think of "A Christmas Carol." It was published to much fanfare on December 14, 1843. Yet it is relatively unknown that seven years prior, Dickens published another scary ghost story for Christmas. The scary story was first published in 1836 and later appeared as Chapter 29 in The Pickwick Papers. The ghost story is both funny and horrific in parts, reminiscent of A Christmas Carol in this regard.
Best Ghost Short Stories Blog
The Best Ghost Short Stories Blog is edited by Andrew Barger, author of the award winning novel "Coffee with Poe" that details Edgar Allan Poe's life. I am also the editor of the classic ghost anthologies: Best Ghost Short Stories 1850-1899 and Phantasmal: The Best Ghost Stories 1800-1849. Check them out at AndrewBarger.com
Sunday, December 18, 2022
The Goblins Who Stole a Sexton Ghost Story by Charles Dickens
Saturday, May 28, 2022
Nathaniel Hawthorne was no stranger when it came to telling a scary ghost story. His "Legends of the Province House" was mentioned as being exemplary by H.P. Lovecraft and his 1835 story titled "Graves and Goblins" is quite good. But this post is about Lady Eleanor's Mantle, and one of the scary ghost stories for the first half of the nineteenth century. "Lady Eleanor's Mantle" is a tightly-woven scary short story of pestilence and because of that it draws certain parallels to Edgar Allan Poe's "Mask of the Red Death," which is included in my book: The Best Ghost Stories 1800-1849: A Classic Ghost Anthology.
LADY ELEANORE'S MANTLE
LADY ELEANORE ROCHCLIFFE, being orphaned, was admitted to the family of her distant relative, Governor Shute, of Massachusetts Bay, and came to America to take her home with him. She arrived at the gates of Province House, in Boston, in the governor's splendid coach, with outriders and guards, and as the governor went to receive her, a pale young man, with tangled hair, sprang from the crowd and fell in the dust at her feet, offering himself as a footstool for her to tread upon. Her proud face lighted with a smile of scorn, and she put out her hand to stay the governor, who was in the act of striking the fellow with his cane.
"Do not strike him," she said. "When men seek to be trampled, it is a favor they deserve."
For a moment she bore her weight on the prostrate form, "emblem of aristocracy trampling on human sympathies and the kindred of nature," and as she stood there the bell on South Church began to toll for a funeral that was passing at the moment. The crowd started; some looked annoyed; Lady Eleanore remained calm and walked in stately fashion up the passage on the arm of His Excellency. "Who was that insolent fellow?" was asked of Dr. Clarke, the governor's physician.
"Gervase Helwyse," replied the doctor; "a youth of no fortune, but of good mind until he met this lady in London, when he fell in love with her, and her pride and scorn have crazed him."
A few nights after a ball was given in honor of the governor's ward, and Province House was filled with the elect of the city. Commanding in figure, beautiful in face, richly dressed and jewelled, the Lady Eleanore was the admired of the whole assembly, and the women were especially curious to see her mantle, for a rumor went out that it had been made by a dying girl, and had the magic power of giving new beauty to the wearer every time it was put on. While the guests were taking refreshment, a young man stole into the room with a silver goblet, and this he offered on his knee to Lady Eleanore. As she looked down she recognized the face of Helwyse.
"Drink of this sacramental wine," he said, eagerly, "and pass it among the guests."
"Perhaps it is poisoned," whispered a man, and in another moment the liquor was overturned, and Helwyse was roughly dragged away.
"Pray, gentlemen, do not hurt my poor admirer," said the lady, in a tone of languor and condescension that was unusual to her. Breaking from his captives, Helwyse ran back and begged her to cast her mantle into the fire. She replied by throwing a fold of it above her head and smiling as she said, "Farewell. Remember me as you see me now."
Helwyse shook his head sadly and submitted to be led away. The weariness in Eleanore's manner increased; a flush was burning on her cheek; her laugh had grown infrequent. Dr. Clarke whispered something in the governor's ear that made that gentleman start and look alarmed. It was announced that an unforeseen circumstance made it necessary to close the festival at once, and the company went home. A few days after the city was thrown into a panic by an outbreak of small-pox, a disease that in those times could not be prevented nor often cured, and that gathered its victims by thousands. Graves were dug in rows, and every night the earth was piled hastily on fresh corpses. Before all infected houses hung a red flag of warning, and Province House was the first to show it, for the plague had come to town in Lady Eleanore's mantle. The people cursed her pride and pointed to the flags as her triumphal banners. The pestilence was at its height when Gervase Helwyse appeared in Province House. There were none to stay him now, and he climbed the stairs, peering from room to room, until he entered a darkened chamber, where something stirred feebly under a silken coverlet and a faint voice begged for water. Helwyse tore apart the curtains and exclaimed, "Fie! What does such a thing as you in Lady Eleanore's apartment?"
The figure on the bed tried to hide its hideous face. "Do not look on me," it cried. "I am cursed for my pride that I wrapped about me as a mantle. You are avenged. I am Eleanore Rochcliffe."
The lunatic stared for a moment, then the house echoed with his laughter. The deadly mantle lay on a chair. He snatched it up, and waving also the red flag of the pestilence ran into the street. In a short time an effigy wrapped in the mantle was borne to Province House and set on fire by a mob. From that hour the pest abated and soon disappeared, though graves and scars made a bitter memory of it for many a year. Unhappiest of all was the disfigured creature who wandered amid the shadows of Province House, never showing her face, unloved, avoided, lonely.
#NathanielHawthorneHorrorStory #HawthorneHorrorStory #HawthorneHorrorTale #LadyEleanorsMantle
Thursday, May 19, 2022
The Best Ghost Short Stories for the First Half of the Nineteenth Century by Andrew Barger
Top 10 Ghost Stories for the First Half of the 19th Century.
Thursday, December 30, 2021
A Website that Tracks Potential Ghosts in Hotels - RoomSpook.com
For those of you who are interested in paranormal, I wanted to let you know about a website that tracks hotel deaths. You can find it at RoomSpook.com and the site can tell you if a death has occurred in your hotel room. While most people try to avoid staying in a room where there has been a death, such as a suicide, others specifically want to stay in rooms where there might be paranormal activity. You know who you are.
The Hotel Pennsylvania in New York City has recorded the most hotel suicides, currently at 32, in the RoomSpook database. One of the earliest suicides happened on June 15, 1921. On that date Kirk Moore jumped from the hotel to his death. He landed on the 7th avenue sidewalk curb, just missing a taxi cab. He was to stand trial the next day on child molestation charges after being caught inviting children into his car. Moore left a note to his wife that said in part: "Something broke in my head and I feel myself going." He was 28 years old and a graduate of Princeton University.
But wait, there's more! "RoomSpook tracks many undesirable events that, unfortunately, happen in hotels. They include: accidents, accidental deaths, assaults, bed bugs, communicable diseases, deaths by natural causes, murders, rapes, shootings by police, and suicides." This is what the site says about its current markets:
"RoomSpook.com, which allows travelers to search for unwanted “events” for free in their hotel such as bed bugs, deaths and communicable diseases like Covid-19, now has data covering 450,000+ hotel rooms, 1,200+ hotels and 3,940+ events in Anaheim, Brooklyn, Lake Buena Vista, Los Angeles, Las Vegas, New York City, and Orlando. The company is rapidly expanding to other markets."
If you are interested in ghosts, or even ghost stories, this is the site for you. Boo!
#RoomSpook #HotelDeaths #HotelBedBugs #HotelSuicides #GhostStories #HotelDeathNewYork #HotelDeathOrlando #HotelDeathLasVegas #HotelDeathLosAngeles
Saturday, September 19, 2020
Best Ghost Short Stories 1850-1899 Interview with Andrew Barger
Andrew Barger Interview
Best Ghost Short Stories 1850-1899 Anthology
http://andrewbarger.com/bestghostshortstories1850.html
Q1. You have edited the best ghost short stories for the first half of the 19th century and now you are finishing off the century with your new ghost stories anthology?
A1. In the fantasy genre I wanted to start with the first modern form of short stories in the English language, which really began the first half of the 19th century. I published 6a66le: The Best Horror Short Stories 1800-1849, Shifters: The Best Werewolf Short Stories 1800-1849, Mesaerion: The Best Science Fiction Short Stories 1800-1849, Middle Unearthed: The Best Fantasy Short Stories 1800-1849 and Phantasmal: The Best Ghost Stories 1800-1849. Now I have moved on to the last half of the century with a collection of the best scary ghost stories.
Q2. Did you include background information on each story in the collection like your other anthologies?
A2. Yes. I can’t help it! I also include author photos, publication dates and a list of stories read at the end of the book.
Q3. What are some of the differences in the ghost short stories from the first to the last half of the century?
A3. The writing is at a higher level and, for the most part, the character generation is better. Also, for the first time in the century women began publishing in the ghost story genre. Mary Braddon, Rhoda Broughton, Catherine Crowe, Amelia Edwards, Mary Anne Evans (aka George Eliot), Florence Marryat (daughter of horror story writer Captain Frederick Marryat), Mary Louise Molesworth, Rosa Mulholland, Edith Nesbit, and many other women stood out as fine ghost story writers of the Victorian age.
Q4. Are any of the ghost stories in the anthology comedic? There are some funny ghost stories out there.
A4. Absolutely not. I have never liked funny ghost stories. The Legend of Sleepy Hollow is the exception. I want to be frightened in a ghost story. Boo!
Q5. Who are some of the more famous authors in the anthology?
A5. Joseph Le Fanu, M. R. James, Charles Dickens, Francis Marion Crawford, Rosa Mulholland, Bram Stoker, Edith Nesbit, Robert Chambers and Edward Bulwer-Lytton all have stories in the collection.
Q6. Do you have a favorite?
A6. “The Haunted and the Haunters” by Bulwer-Lytton is the foremost thing of its kind and, surprisingly, the oldest in the ghost short story anthology. It’s based on a true story and I include the actual letter telling about the haunted house in question. A guy decided to stay in the haunted house, but only with a “brace of pistols.” You will have to read the scary story to learn what happened.
Q7. Who were the most influential ghost short story writers in the back half of the 19th century?
A7. Certainly Joseph Le Fanu and M. R. James were first rate ghost short stories writers and the sheer number of stories they wrote in the genre exceeds nearly everyone else. When you look at it from the perspective of the author who supported others in the genre, Charles Dickens comes to the forefront. His “No. 1 Branch Line, The Signal Man” of 1866 sits firmly in the collection. As if his many ghost stories weren’t enough, Dickens fostered the literary careers of many talented supernatural authors by publishing them in his weekly magazine—All the Year Round, including Joseph Le Fanu, Wilkie Collins, Edward Bulwer-Lytton and Elizabeth Gaskell. M. R. James stood on the shoulders of Joseph Le Fanu and Fanu had his foundation in Charles Dickens.
Q8. Are there any stories by Henry James in the anthology?
A8. Henry James, on the other hand, was a proponent of the subtle ghost story. Enter the timid ghosts. As if filled by English sensibilities, they were rarely overt in their actions. They never jump out from behind the curtain and say “Boo!” Their presence was felt all the same yet in a more nuanced way than traditional ghost stories. James wrote cigar smoking, single malt scotch sipping tales. His “The Romance of Certain Old Clothes” (1868), “Sir Edmund Orme” (1892) and “The Friends of the Friends” (1896) are each well worth a read.
Q9. In Phantasmal: Best Ghost Short Stories 1800-1849 you gave an introduction titled “All Ghosts are Gray” where you drew attention to the lack of color in early ghost short stories. Does color play a role later in the century?
A9. Yes. Consider the color yellow, for instance. It morphed from the cheerful glow of flowering snapdragons and daffodils in the English countryside to one that forewarned of evil in Britain and the United States. It became a color to describe the sickly, instead of the happy. Yellow fever entered the vernacular and those outside of the African continent became fearful of the viral disease spread by female mosquitoes. This was especially true given the active slave trade in parts of America.
The color yellow soon became treated as a precursor to death thanks to writers in the supernatural community. By 1892, American Charlotte Perkins Gilman published her classic horror story “The Yellow Wallpaper.” In it the sickly colored wallpaper has a terrible effect on the occupant of the room. Three years later, fellow American Robert Chambers published his collection of short stories The King in Yellow that begged the overriding question “Have you found the yellow sign?” It contained the haunting ghost story “The Yellow Sign” (1895) included in this anthology and his treatment of the color in The King in Yellow has evolved into what is now referred to as the yellow mythos in supernatural literature.
Q10. Last question, how did ghosts change from the first to the last part of the century in question?
A10. The ghosts streaming from the pen of Dickens were highly communicative with the living. They were no longer stagnate beings of the spirit world who moved silently among the darkling corners of haunted houses, but rather interacted with the sorry lot of the living in ways never before seen in literature. In Phantasmal: Best Ghost Short Stories 1800-1849 there is an excellent story that was published anonymously titled “The Deaf and Dumb Girl” that is a fine example of how ghosts started out being rather innocuous.
#BestGhostStories #ClassicGhostStories #NineteenthCenturyGhostStories #AndrewBarger