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nerzola's review against another edition
4.0
"It's extraordinary how frightened one can be," said Phrynne, "even when one is not directly menaced. It must prove that we all belong to one another, or whatever it is, after all."
The School Friend: * * * *
Ringing the Changes: * * * * *
Choice of Weapons: * * *
The Waiting Room: * * * *
The View: * * * *
Bind Your Hair: * * * * *
The School Friend: * * * *
Ringing the Changes: * * * * *
Choice of Weapons: * * *
The Waiting Room: * * * *
The View: * * * *
Bind Your Hair: * * * * *
aleph's review against another edition
3.0
An sich schreibt Aickman in einem recht attraktiven Stil und es gelingt ihm meist, eine passable und spannende Atmosphäre aufzubauen (minimal gehindert durch die doch etwas veraltete Sprache und Vokabel) - allerdings war es das auch schon.
Mit wenigen Worten ein klares, komplexes Bild in den Köpfen der Leser hervorzubringen ist vielleicht die größte Kunst der Literatur, ähnlich wie einzelne Dinge bewusst nicht zu beschreiben, sondern sie der Vorstellung des Lesers zu überlassen. Aickman beherrscht diese Techniken erschreckend gut. Dies bleibt leider auch das einzig Erschreckende an "Dark Entries": von Horror oder Grusel kann man hier kaum sprechen. Wo andere Authoren großartige Ideen haben und schlampig ausführen macht Aickman das Gegenteil. Was absolut legitim ist, allerdings sind mir persönlich gute Ideen wichtiger, um nicht von essentiell zu sprechen. Keine der Geschichten habe ich nach dem zuschlagen des Buches besonders in Erinnerung behalten. Keine der Geschichten entlockt mir mehr als ein leises "Aha." Die Plots sind mir zu schwach, zu wenig ausgeführt, man ist nie wirklich nahe dran, zumindest leichtes Gruseln zu verspüren, man bekommt nie das Gefühl von Bedrohung, Gefahr oder Terror. Die Enden sind allesamt erwartungsgemäß unkonkret und lassen eine Geschichte, die gefühlt ihren Höhepunkt nie erreicht hat mit einem Schulterzucken ausklingen.
Im vollen Bewusstsein darüber, dass ich den an sich (wie erwähnt) sehr guten Stil des Authors vielleicht zu wenig schätzen weiss, muss ich sagen dass ich nicht vorhabe, mehr von Herrn Aickman zu lesen.
Die besten Shortstories waren meiner Meinung nach diejenigen, die gleichzeitig am wenigsten den Versuch einer "Gruselgeschichte" unternahmen und mehr die Atmosphäre eines Fiebertraumes hatten, "Choice of Weapons" und "The View". "Ringing the Changes" und der Rest sind alle Grundsolide und bieten wenig Raum für Kritik an dem, was da ist - mein Problem ist allerdings nicht was geschrieben steht, sondern was fehlt: etwas, dass mein Interesse weckt. Vielleicht würde Aickman mich auf Romanlänge mehr abholen.
Mit wenigen Worten ein klares, komplexes Bild in den Köpfen der Leser hervorzubringen ist vielleicht die größte Kunst der Literatur, ähnlich wie einzelne Dinge bewusst nicht zu beschreiben, sondern sie der Vorstellung des Lesers zu überlassen. Aickman beherrscht diese Techniken erschreckend gut. Dies bleibt leider auch das einzig Erschreckende an "Dark Entries": von Horror oder Grusel kann man hier kaum sprechen. Wo andere Authoren großartige Ideen haben und schlampig ausführen macht Aickman das Gegenteil. Was absolut legitim ist, allerdings sind mir persönlich gute Ideen wichtiger, um nicht von essentiell zu sprechen. Keine der Geschichten habe ich nach dem zuschlagen des Buches besonders in Erinnerung behalten. Keine der Geschichten entlockt mir mehr als ein leises "Aha." Die Plots sind mir zu schwach, zu wenig ausgeführt, man ist nie wirklich nahe dran, zumindest leichtes Gruseln zu verspüren, man bekommt nie das Gefühl von Bedrohung, Gefahr oder Terror. Die Enden sind allesamt erwartungsgemäß unkonkret und lassen eine Geschichte, die gefühlt ihren Höhepunkt nie erreicht hat mit einem Schulterzucken ausklingen.
Im vollen Bewusstsein darüber, dass ich den an sich (wie erwähnt) sehr guten Stil des Authors vielleicht zu wenig schätzen weiss, muss ich sagen dass ich nicht vorhabe, mehr von Herrn Aickman zu lesen.
Die besten Shortstories waren meiner Meinung nach diejenigen, die gleichzeitig am wenigsten den Versuch einer "Gruselgeschichte" unternahmen und mehr die Atmosphäre eines Fiebertraumes hatten, "Choice of Weapons" und "The View". "Ringing the Changes" und der Rest sind alle Grundsolide und bieten wenig Raum für Kritik an dem, was da ist - mein Problem ist allerdings nicht was geschrieben steht, sondern was fehlt: etwas, dass mein Interesse weckt. Vielleicht würde Aickman mich auf Romanlänge mehr abholen.
captainfez's review against another edition
4.0
Robert Aickman worked in what he described as "strange stories". It's an oddly reductive description, inherently self-deprecating, and about as English as you'd expect from a man whose other great enthusiasm was the restoration of the inland canal system. But to think the stories are somehow lesser than more grandiose weird tales would be to underestimate their power.
This edition of Dark Entries is one in a series of rereleases to celebrate the centenary of the author's birth. It collects a couple of tales which are powered by the idea of an English way of doing things; a concept of how one should behave, how the world should work. Except in the stories here, nothing ever works as it should.
The tales aren't horror in the sort of blood-dripping, decapitated-head manner you'd expect of a King or a Koontz. They're more weird fiction than straight-out horror - drawing their power from the magnetism of the odd, of the power of nature. The English landscape, unreadable and unstable, thrumming with psychic power and import, is a major motivation. This is stuff to file with MR James, say - it's creepy, not because of something as artless as the pornography of violence but because the psychogeography of the place has leached into your body along with the evening damp.
That's not to say there's a lack of broader, cosmic themes: one of the stories, set in a small seaside village (seemingly devoid of sea) couldn't be more Lovecraftian if HP had banged it out himself. It's just that for the most part, the stories are content to provide thumbnail sketches of distinct places. A possible criticism would be that the stories seem to be fairly monochrome - Aickman is keen on exploring the same mood rather than creating worlds anew - but I didn't find this to be a worry. The author's keener on capturing the note of sadness which sags over a locale, rather than in telling a grandiose tale. (Fittingly, one of the stories lands in Tasmania, where the landscape slyly changes, just out of view.)
Have the stories dated? Sure, there's some phrasing and views which point to the collection's original 1960s publication. But overall, these are remarkable stories if you've a penchant for the slow creep. I can't wait to read more.
(There is also a Bauhaus song called 'Dark Entries' which is presumably no relation. However, I couldn't help but hear it while reading Aickman's words, though I assume from Ramsay Campbell's afterword that the author would hate it. So enjoy!)
This edition of Dark Entries is one in a series of rereleases to celebrate the centenary of the author's birth. It collects a couple of tales which are powered by the idea of an English way of doing things; a concept of how one should behave, how the world should work. Except in the stories here, nothing ever works as it should.
The tales aren't horror in the sort of blood-dripping, decapitated-head manner you'd expect of a King or a Koontz. They're more weird fiction than straight-out horror - drawing their power from the magnetism of the odd, of the power of nature. The English landscape, unreadable and unstable, thrumming with psychic power and import, is a major motivation. This is stuff to file with MR James, say - it's creepy, not because of something as artless as the pornography of violence but because the psychogeography of the place has leached into your body along with the evening damp.
That's not to say there's a lack of broader, cosmic themes: one of the stories, set in a small seaside village (seemingly devoid of sea) couldn't be more Lovecraftian if HP had banged it out himself. It's just that for the most part, the stories are content to provide thumbnail sketches of distinct places. A possible criticism would be that the stories seem to be fairly monochrome - Aickman is keen on exploring the same mood rather than creating worlds anew - but I didn't find this to be a worry. The author's keener on capturing the note of sadness which sags over a locale, rather than in telling a grandiose tale. (Fittingly, one of the stories lands in Tasmania, where the landscape slyly changes, just out of view.)
Have the stories dated? Sure, there's some phrasing and views which point to the collection's original 1960s publication. But overall, these are remarkable stories if you've a penchant for the slow creep. I can't wait to read more.
(There is also a Bauhaus song called 'Dark Entries' which is presumably no relation. However, I couldn't help but hear it while reading Aickman's words, though I assume from Ramsay Campbell's afterword that the author would hate it. So enjoy!)
infinitebynature's review
3.0
I enjoyed the writing style and variety of language used in this short story collection. Perhaps due to the profligate array of horror themed books and films available these days I didn't connect to the suspenseful and supposedly creepy elements in these tales.
I did, however, thoroughly enjoy them. Answers are never quite given and I often ended a story thinking 'what on Earth happened there?' There's a mysterious and supernatural quality to be found between these pages, not for those who enjoy black and white -- thoroughly explained story-lines and plots. I enjoyed the portrayal of many eccentric characters despite not quite being able to figure out who or what was real. I feel as though each story was a short trip into insanity, a sort of psychedelically supernatural dream-world where nothing is what it seems and you never figure out exactly what it was.
There are a few outdated ideas to be found in this book which was originally published in the 1950s or 60s, including a sentence which nearly made me put the book down due to its racist nature, it certainly lost my respect for the author himself as during that time there were huge numbers of people who weren't prone to such ignorant thoughts. I think it is important to acknowledge the history of the time in which a book is written but it did make me wonder at Neil Gaiman's recommendation of this author.
I did, however, thoroughly enjoy them. Answers are never quite given and I often ended a story thinking 'what on Earth happened there?' There's a mysterious and supernatural quality to be found between these pages, not for those who enjoy black and white -- thoroughly explained story-lines and plots. I enjoyed the portrayal of many eccentric characters despite not quite being able to figure out who or what was real. I feel as though each story was a short trip into insanity, a sort of psychedelically supernatural dream-world where nothing is what it seems and you never figure out exactly what it was.
There are a few outdated ideas to be found in this book which was originally published in the 1950s or 60s, including a sentence which nearly made me put the book down due to its racist nature, it certainly lost my respect for the author himself as during that time there were huge numbers of people who weren't prone to such ignorant thoughts. I think it is important to acknowledge the history of the time in which a book is written but it did make me wonder at Neil Gaiman's recommendation of this author.
kazgriki's review
4.0
‘Strange stories’ is how Robert Aickman liked to refer to his fictional works and I am inclined to agree. They don’t really fit into the ‘horror’ or ‘mystery’ genres or any others I can think of. They are truly in a genre all their own.
The six stories in ‘Dark Entries’ are extremely imaginative and largely without plot in the usual sense of the word. There is a beginning and a middle but no end to speak of, as if the author wants the reader to decide for themselves where the story goes next.
In ‘The School Friend’ we are left to ponder the fate of Sally Tessler who, returning to live in her father’s house after his death starts behaving very oddly. We never find out what happened to Gerald’s young wife Phrynne in ‘Ringing the Changes’ after an unwise choice of honeymoon destination leads to strange goings-on in the night. In ‘Choice of Weapons’ Fenville’s infatuation with an heiress proves fatal, but how and why? Edward Pendlebury survives a night in the waiting room at Casterton railway station, but at what cost? In ‘The View’ shape-shifting landscapes make Carfax’ sojourn on an island at the invitation of a stranger anything but uneventful, while the mysterious Mrs Pagani makes Clarinda Hartley’s stay with her future in-laws a weekend to remember.
After reading any of the stories in ‘Dark Entries’ you may be left thinking ‘what was all that about?’ but in my opinion, that is the beauty of these tales – their conclusions lie in the realms of your own imagination. Make of them what you will.
The six stories in ‘Dark Entries’ are extremely imaginative and largely without plot in the usual sense of the word. There is a beginning and a middle but no end to speak of, as if the author wants the reader to decide for themselves where the story goes next.
In ‘The School Friend’ we are left to ponder the fate of Sally Tessler who, returning to live in her father’s house after his death starts behaving very oddly. We never find out what happened to Gerald’s young wife Phrynne in ‘Ringing the Changes’ after an unwise choice of honeymoon destination leads to strange goings-on in the night. In ‘Choice of Weapons’ Fenville’s infatuation with an heiress proves fatal, but how and why? Edward Pendlebury survives a night in the waiting room at Casterton railway station, but at what cost? In ‘The View’ shape-shifting landscapes make Carfax’ sojourn on an island at the invitation of a stranger anything but uneventful, while the mysterious Mrs Pagani makes Clarinda Hartley’s stay with her future in-laws a weekend to remember.
After reading any of the stories in ‘Dark Entries’ you may be left thinking ‘what was all that about?’ but in my opinion, that is the beauty of these tales – their conclusions lie in the realms of your own imagination. Make of them what you will.
mjhorge's review
dark
mysterious
reflective
tense
slow-paced
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
btecbobdylan's review
An interesting, bizarre and sometimes confusing collection of 'strange tales'. From the cover and the blurb, I was expecting ghost stories or more conventional horror fiction, but 'strange tales', the author's preferred term, is far more apt: these are, quite literally, very strange stories. They take place in England in the first half of the twentieth century, and feature all of the emotional repression, obsession with class & behaviour, and peculiar anxiety that comes with that. I had some trouble understanding what was going on, but the stories are definitely well-constructed; it's just Aickman prefers to keep the reader in the dark where a more conventional horror author would allow the reader more insight into how his monsters work. Like the characters, we stumble into the strangeness without much idea of what’s really going on. Or maybe it’s just me. The collection feels more like dry, tragic literary fiction than horror. Except this dry, tragic literary fiction happens to involve supernatural elements, and what is horror if not tragic literary fiction with supernatural elements? (Deep breath.)
The School Friend started out interestingly, and slowly built a sense of foreboding, only for not much to happen. What did happen wasn’t explained at all. I wasn’t used to Aickman’s technique at this point, so the story didn’t draw me in.
Ringing the Changes was generally more conventional; I can see why it’s one of the author’s most famous tales. It’s a decent zombie story with some nicely creepy moments.
Choice of Weapons is, for me, the most memorable tale. Like The School Friend I didn’t have a clue what the fuck was going on—maybe even less so, here—but the characters and this particular slow build of anxiety were enough to make me like it. Even though, in this instance, I think Aickman could and should have done more to explain the strange happenings.
The Waiting Room is a lovely well-crafted ghost story. I felt absolutely drawn into the nighttime world here. It’s the most conventional story in Dark Entries, definitely the sort of thing I was expecting when I picked up the collection, although the mention of a burial ground has since been turned into a horror cliche. Anyway, the point is, this story hits all the right notes.
The View isn’t a horror story at all. It’s more of a tragedy, a heartbreaking one, which defies the laws of nature. The only horror element besides this is the unease you feel at all points. It’s a superb construction of love and anxiety, and while I wasn’t expecting the ending to be so quiet, I enjoyed it and will definitely reread.
Finally, Bind Your Hair is a nicely written and exceedingly weird story, and like The Waiting Room was generally more conventional in its horror setup. However, unlike that story, it didn’t feel cliched at all. Like all the other stories, though, Aickman leaves a lot unexplained. I didn’t mind so much this time.
The School Friend started out interestingly, and slowly built a sense of foreboding, only for not much to happen. What did happen wasn’t explained at all. I wasn’t used to Aickman’s technique at this point, so the story didn’t draw me in.
Ringing the Changes was generally more conventional; I can see why it’s one of the author’s most famous tales. It’s a decent zombie story with some nicely creepy moments.
Choice of Weapons is, for me, the most memorable tale. Like The School Friend I didn’t have a clue what the fuck was going on—maybe even less so, here—but the characters and this particular slow build of anxiety were enough to make me like it. Even though, in this instance, I think Aickman could and should have done more to explain the strange happenings.
The Waiting Room is a lovely well-crafted ghost story. I felt absolutely drawn into the nighttime world here. It’s the most conventional story in Dark Entries, definitely the sort of thing I was expecting when I picked up the collection, although the mention of a burial ground has since been turned into a horror cliche. Anyway, the point is, this story hits all the right notes.
The View isn’t a horror story at all. It’s more of a tragedy, a heartbreaking one, which defies the laws of nature. The only horror element besides this is the unease you feel at all points. It’s a superb construction of love and anxiety, and while I wasn’t expecting the ending to be so quiet, I enjoyed it and will definitely reread.
Finally, Bind Your Hair is a nicely written and exceedingly weird story, and like The Waiting Room was generally more conventional in its horror setup. However, unlike that story, it didn’t feel cliched at all. Like all the other stories, though, Aickman leaves a lot unexplained. I didn’t mind so much this time.
ross_maclean's review
4.0
Aickman writes in a precise, detailed manner so you’re in absolutely no doubt about the atmosphere he wishes to create for the reader. Minute details linger in the memory and give a somewhat unrelenting sense of each location. But there’s an extent to which some of the stories in this collection feel like they’re all build-up and the payoff somewhat anticlimactic.
While there’s no outright disappointing story in the collection, since so much of the joy in them stems from the richly drawn descriptiveness, it is definitely at its finest in the most overtly folk horror stories from the collection: Ringing the Changes and Bind Your Hair. Both those tales are beautifully realised with a pervading sense of unease instilled in both commonplace and outlandish situations.
While there’s no outright disappointing story in the collection, since so much of the joy in them stems from the richly drawn descriptiveness, it is definitely at its finest in the most overtly folk horror stories from the collection: Ringing the Changes and Bind Your Hair. Both those tales are beautifully realised with a pervading sense of unease instilled in both commonplace and outlandish situations.