Showing posts with label Weird Tales. Show all posts
Showing posts with label Weird Tales. Show all posts

Wednesday, February 8, 2017

Lesser known tales of the strange...

William F. Harvey (1885-1937) was an English author known for his short stories that could be classified as weird or of the horror genre. August Heat is one of his more well-known tales.

 

August Heat by W. F. Harvey


PHENISTONE ROAD, CLAPHAM.
August 20th, 190--.

I have had what I believe to be the most remarkable day in my life, and while the events are still fresh in my mind, I wish to put them down on paper as clearly as possible.
Let me say at the outset that my name is James Clarence Withencroft.
I am forty years old, in perfect health, never having known a day's illness.
By profession I am an artist, not a very successful one, but I earn enough money by my black-and--white work to satisfy my necessary wants.
My only near relative, a sister, died five years ago, so that I am independent. I breakfasted this morning at nine, and after glancing through the morning paper I lighted my pipe and proceeded to let my mind wander in the hope that I might chance upon some subject for my pencil.
The room, though door and windows were open, was oppressively hot, and I had just made up my mind that the coolest and most comfortable place in the neighborhood would be the deep end of the public swimming bath, when the idea came.
I began to draw. So intent was I on my work that I left my lunch untouched, only stopping work when the clock of St. Jude's struck four.
The final result, for a hurried sketch, was, I felt sure, the best thing I had done. It showed a criminal in the dock immediately after the judge had pronounced sentence. The man was fat---enormously fat. The flesh hung in rolls about his chin; it creased his huge, stumpy neck. He was clean shaven (perhaps I should say a few days before he must have been clean shaven) and almost bald. He stood in the dock, his short, clumsy fingers clasping the rail, looking straight in front of him. The feeling that his expression conveyed was not so much one of horror as of utter, absolute collapse.
There seemed nothing in the man strong enough to sustain that mountain of flesh.
I rolled up the sketch, and without quite knowing why, placed it in my pocket. Then with the rare sense of happiness which the knowledge of a good thing well done gives, I left the house.
I believe that I set out with the idea of calling upon Trenton, for I remember walking along Lytton Street and turning to the right along Gilchrist Road at the bottom of the hill where the men were at work on the new tram lines.
From there onwards I have only the vaguest recollection of where I went. The one thing of which I was fully conscious was the awful heat, that came up from the dusty asphalt pavement as an almost palpable wave. I longed for the thunder promised by the great banks of copper- coloured cloud that hung low over the western sky.
I must have walked five or six miles, when a small boy roused me from my reverie by asking the time.
It was twenty minutes to seven.
When he left me I began to take stock of my bearings. I found myself standing before a gate that led into a yard bordered by a strip of thirsty earth, where there were flowers, purple stock and scarlet geranium. Above the entrance was a board with the inscription--
CHS. ATKINSON. MONUMENTAL MASON.
WORKER IN ENGLISH AND ITALIAN MARBLES
From the yard itself came a cheery whistle, the noise of hammer blows, and the cold sound of steel meeting stone.
A sudden impulse made me enter.
A man was sitting with his back towards me, busy at work on a slab of curiously veined marble. He turned round as he heard my steps and I stopped short.
It was the man I had been drawing, whose portrait lay in my pocket.
He sat there, huge and elephantine, the sweat pouring from his scalp, which he wiped with a red silk handkerchief. But though the face was the same, the expression was absolutely different.
He greeted me smiling, as if we were old friends, and shook my hand.
I apologized for my intrusion.
"Everything is hot and glary outside," I said. "This seems an oasis in the wilderness."
"I don't know about the oasis," he replied, "but it certainly is hot, as hot as hell. Take a seat, sir!"
He pointed to the end of the gravestone on which he was at work, and I sat down.
"That's a beautiful piece of stone you've got hold of," I said.
He shook his head. "In a way it is," he answered; "the surface here is as fine as anything you could wish, but there's a big flaw at the back, though I don't expect you'd ever notice it. I could never make really a good job of a bit of marble like that. It would be all right in the summer like this; it wouldn't mind the blasted heat. But wait till the winter comes. There's nothing quite like frost to find out the weak points in stone."
"Then what's it for?" I asked.
The man burst out laughing.
"You'd hardly believe me if I was to tell you it's for an exhibition, but it's the truth. Artists have exhibitions: so do grocers and butchers; we have them too. All the latest little things in headstones, you know."
He went on to talk of marbles, which sort best withstood wind and rain, and which were easiest to work; then of his garden and a new sort of carnation he had bought. At the end of every other minute he would drop his tools, wipe his shining head, and curse the heat.
I said little, for I felt uneasy. There was something unnatural, uncanny, in meeting this man.
I tried at first to persuade myself that I had seen him before, that his face, unknown to me, had found a place in some out-of-the-way corner of my memory, but I knew that I was practising little more than a plausible piece of self-deception.
Mr. Atkinson finished his work, spat on the ground, and got up with a sigh of relief.
"There! what do you think of that?" he said, with an air of evident pride. The inscription which I read for the first time was this--
SACRED TO THE MEMORY
OF
JAMES CLARENCE WITHENCROFT.
BORN JAN. 18TH, 1860.
HE PASSED AWAY VERY SUDDENLY
ON AUGUST 20TH, 190--
"In the midst of life we are in death."
For some time I sat in silence. Then a cold shudder ran down my spine. I asked him where he had seen the name.
"Oh, I didn't see it anywhere," replied Mr. Atkinson. "I wanted some name, and I put down the first that came into my head. Why do you want to know?"
"It's a strange coincidence, but it happens to be mine." He gave a long, low whistle.
"And the dates?"
"I can only answer for one of them, and that's correct."
"It's a rum go!" he said.
But he knew less than I did. I told him of my morning's work. I took the sketch from my pocket and showed it to him. As he looked, the expression of his face altered until it became more and more like that of the man I had drawn.
"And it was only the day before yesterday," he said, "that I told Maria there were no such things as ghosts!"
Neither of us had seen a ghost, but I knew what he meant.
"You probably heard my name," I said.
"And you must have seen me somewhere and have forgotten it! Were you at Clacton-on-Sea last July?"
I had never been to Clacton in my life. We were silent for some time. We were both looking at the same thing, the two dates on the gravestone, and one was right.
"Come inside and have some supper," said Mr. Atkinson.
His wife was a cheerful little woman, with the flaky red cheeks of the country-bred. Her husband introduced me as a friend of his who was an artist. The result was unfortunate, for after the sardines and watercress had been removed, she brought out a Doré Bible, and I had to sit and express my admiration for nearly half an hour.
I went outside, and found Atkinson sitting on the gravestone smoking.
We resumed the conversation at the point we had left off. "You must excuse my asking," I said, "but do you know of anything you've done for which you could be put on trial?"
He shook his head. "I'm not a bankrupt, the business is prosperous enough. Three years ago I gave turkeys to some of the guardians at Christmas, but that's all I can think of. And they were small ones, too," he added as an afterthought.
He got up, fetched a can from the porch, and began to water the flowers. "Twice a day regular in the hot weather," he said, "and then the heat sometimes gets the better of the delicate ones. And ferns, good Lord! they could never stand it. Where do you live?"
I told him my address. It would take an hour's quick walk to get back home.
"It's like this," he said. "We'll look at the matter straight. If you go back home to-night, you take your chance of accidents. A cart may run over you, and there's always banana skins and orange peel, to say nothing of fallen ladders."
He spoke of the improbable with an intense seriousness that would have been laughable six hours before. But I did not laugh.
"The best thing we can do," he continued, "is for you to stay here till twelve o'clock. We'll go upstairs and smoke, it may be cooler inside."
To my surprise I agreed.
--------------------------------------------
We are sitting now in a long, low room beneath the eaves. Atkinson has sent his wife to bed. He himself is busy sharpening some tools at a little oil-stone, smoking one of my cigars the while.
The air seems charged with thunder. I am writing this at a shaky table before the open window.
The leg is cracked, and Atkinson, who seems a handy man with his tools, is going to mend it as soon as he has finished putting an edge on his chisel.
It is after eleven now. I shall be gone in less than an hour.
But the heat is stifling.
It is enough to send a man mad.

Thursday, December 26, 2013

Robert W. Chambers

Robert W. Chambers (1865-1933) was an American artist and
writer. He was born in Brooklyn, New York and is a direct 
descendant of Roger Williams (1603-1683), founder of 
Providence, Rhode Island. Chambers was first an art student 
and an artist, selling sketches to Vogue and Life magazine, 
then decided to dedicate himself to writing. He was a very 
prolific writer and besides odd tales he also wrote romantic 
fiction, historical fiction, and war and war adventure stories 
during WWI. His first novel,'In the Quarter', was written in 
1887 a melodramatic recounting of student life in Paris. His
most famous work is probably the collection of stories known 
as “The King in Yellow” (1895).  It is described as a group of 
eerie short stories. Most of the stories in the book are 
connected by the common theme of a fictitious drama which 
goes by the title- 'The King in Yellow', bad things happen to 
those who read it. His style influenced H.P. Lovecraft and 
others.  His novel 'Tracer of Lost Persons' , a crime drama, was adapted into a long-running radio drama 
                                                          (1937-1954). 

He was a man with many interests, art, history, antiques, 
conservation- as he is known to have planted some 20,000 trees, butterflies, oriental art and he enjoyed 
hunting and fishing. He wrote many historical novels spurred on by his interest in his ancestor, 
Roger Williams. He also wrote about Captain Kidd in his book “The Man They Hung". Sadly he died 
after a failed attempt at surgery to cure an intestinal illness, his brother was the famous architect 
Walter B. Chambers. Chambers was quoted as saying “I write the sort of stories which at the moment
it amuses me to write”, he was a popular author, had more than one best-seller to his name and wrote 
about various subjects, returning now and then to write his weird tales when it suited him. He borrowed
the place Carcosa, from Ambrose Bierce, as the place of his King in Yellow Tales and H.P. Lovecraft 
also used this setting for his Cthulhu stories. 
 
Bibliography of novels and story collections from Wikipedia:

  • In the Quarter (1894)
  • The King in Yellow (1895) – short stories
  • The Red Republic (1895)
  • The Maker of Moons (1896) – short stories
  • A King and A Few Dukes (1896)
  • With the Band (1896)
  • The Mystery of Choice (1897) – short stories
  • Lorraine (1898)
  • Ashes of Empire (1898)
  • The Haunts of Men (1898) – short stories
  • Outsiders (1899)
  • The Cambric Mask (1899)
  • The Conspirators (1899)
  • Cardigan (1901)
  • The Maid-at-Arms (1902)
  • The Maids of Paradise (1903)
  • In Search of the Unknown (1904)
  • A Young Man In a Hurry (1904) – short stories
  • The Reckoning (1905)
  • Iole (1905)
  • The Tracer of Lost Persons (1906)
  • The Fighting Chance (1906)
  • The Tree of Heaven (1907) – short stories
  • The Younger Set (1907)
  • Some Ladies in Haste (1908)
  • The Firing Line (1908)
  • Special Messenger (1909)
  • The Danger Mark (1909)
  • The Green Mouse (1910)
  • Ailsa Paige (1910)
  • The Common Law (1911)
  • The Adventures of a Modest Man (1911)
  • Blue-Bird Weather (1912)
  • The Streets of Ascalon (1912)
  • The Japonette (1912)
  • The Gay Rebellion (1913)
  • The Business of Life (1913)
  • Quick Action (1914)
  • The Hidden Children (1914)
  • Anne's Bridge (1914)
  • Between Friends (1914)
  • Who goes There! (1915)
  • Athalie (1915)
  • Police!!! (1915) – short stories
  • The Girl Philippa (1916)
  • The Better Man (1916) – short stories
  • The Dark Star (1917)
  • The Barbarians (1917)
  • The Laughing Girl (1918)
  • The Restless Sex (1918)
  • The Moonlit Way (1919)
  • In Secret (1919)
  • The Crimson Tide (1919)
  • A Story of Primitive Love (1920)
  • The Slayer of Souls (1920)
  • The Little Red Foot (1920)
  • The Flaming Jewel (1922)
  • The Talkers (1923)
  • Eris (1923)
  • The Hi-Jackers (1923)
  • America; or, The Sacrifice (1924)
  • The Mystery Lady (1925)
  • Marie Halkett (1925)
  • The Man They Hanged (1926)
  • The Drums of Aulone (1927)
  • The Sun Hawk (1928)
  • The Rogue's Moon (1928)
  • The Happy Parrot (1929)
  • The Painted Minx (1930)
  • The Rake and the Hussy (1930)
  • War Paint and Rouge (1931)
  • Gitana (1931)
  • Whistling Cat (1932)
  • Whatever Love Is (1933)

Published posthumously

  • Secret Service Operator 13 (1934) Copyrighted by Elsie M. Chambers
  • The Young Man's Girl (1934) Copyrighted by Elsie M. Chambers
  • The Gold Chase (1935) Copyrighted by Elsie M. Chambers
  • Love and the Lieutenant (1935) Copyrighted by Elsie M. Chambers
  • Beating Wings (1936) Copyrighted by Elsie M. Chambers
  • The Girl In Golden Rags (1936) Copyrighted by Elsie M. Chambers
  • The Fifth Horseman (1937) Copyrighted by Elsie M. Chambers
  • Marie Halkett (1937) Reprint. Copyrighted by Elsie M. Chambers
  • Smoke of Battle (1938) Copyrighted by Elsie M. Chambers; this novel was possibly finished by Rupert Hughes.

Children's books

  • Outdoorland (1902) Illustrated by Reginald Bathurst Birch
  • Orchard-Land (1903) Illustrated by Reginald Bathurst Birch
  • River-Land (1904) Illustrated by Elizabeth S. Green
  • Forest-Land (1905) Illustrated by Emily Benson Knipe
  • Mountain-Land (1906) Illustrated by Frederick Richardson & Walter King Stone
  • Garden-Land (1907) Illustrated by Harrison Cady

Collections containing reprinted work by Robert W. Chambers

  • The Hastur Cycle, edited by Robert M. Price, Chaosium 1993
  • The Yellow Sign and Other Stories, edited by S.T



    Quotes I've assembled from his works:
     
    I awoke to the saddest music I had ever heard. The room was quite dark, I had no idea what time it was. A ray of moonlight silvered one edge of the old spinet, and the polished wood seemed to exhale the sounds as perfume floats above a box of sandal wood.” (The Mask, from The King in Yellow by Robert W. Chambers)

    I left the river side, plunging blindly across to the Champs Elysées and turned toward the Arc. The setting sun was sending its rays along the green sward of the Rond-point: in the full glow he sat on a bench, children and young mothers all about him. He was nothing but a Sunday lounger, like the others, like myself. I said the words almost aloud, and all the while I gazed on the malignant hatred of his face. But he was not looking at me. I crept past and dragged my leaden feet up the Avenue. I knew that every time I met him brought him nearer to the accomplishment of his purpose and my fate. And still I tried to save myself.” (In the Court of the Dragon, from The King in Yellow, by Robert W. Chambers)

    "I could see your face," I resumed, "and it seemed to me to be very sorrowful. Then we passed on and turned into a narrow black lane. Presently the horses stopped. I waited and waited, closing my eyes with fear and impatience, but all was silent as the grave. After what seemed to me hours, I began to feel uncomfortable. A sense that somebody was close to me made me unclose my eyes. Then I saw the white face of the hearse-driver looking at me through the coffin-lid -- " (The Yellow Sign, from The King in Yellow by Robert W. Chambers)
    "For some time I tossed about the bed trying to get the sound of his voice out of my ears, but could not. It filled my head, that muttering sound, like thick oily smoke from a fat- rendering vat or an odor of noisome decay. And as I lay and tossed about, the voice in my ears seemed more distinct, and I began to understand the words he had muttered. They came to me slowly as if I had forgotten them, and at last I could make some sense out of the sounds. It was this:
    "Have you found the Yellow Sign?"
    "Have you found the Yellow Sign?"
    "Have you found the Yellow Sign?"
    I was furious. What did he mean by that? Then with a curse upon him and his I rolled over and went to sleep, but when I awoke later I looked pale and haggard, for I had dreamed the dream of the night before and it troubled me more than I cared to think." (The Yellow Sign, from The King in Yellow by Robert W. Chambers)


    Along the shore the cloud waves break,
    The twin suns sink behind the lake,
    The shadows lengthen
    In Carcosa
    Strange is the night where black stars rise,
    And strange moons circle through the skies,
    But stranger still is
    Lost Carcosa
    Songs that the Hyades shall sing,
    Where flap the tatters of the King,
    Must die unheard in
    Dim Carcosa.
    Song of my soul, my voice is dead,
    Die though, unsung, as tears unshed
    Shall dry and die in
    Lost Carcosa
    Cassilda's Song in "The King in Yellow" Act 1, Scene 2. by Robert W. Chambers
    Books are the blessed chloroform of the mind.
    ” 
    ― Robert W. Chambers Ah," she said, "to come is easy and takes hours; to go is different—and may take centuries.” 
    ― Robert W. Chambers, The King in Yellow