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3.66 AVERAGE
3.66 AVERAGE
Some of the best ripping yarns of one Anglo-Irish mid-century Victorian weaver of ghost, adventure, and vampire tales. Perfect for the winter weather; perfect for those rainy, dark, and dimly-lit chilly days and nights beneath the eiderdown, warm drink in hand, in my late 19th century Continental European digs. Ah, you see, atmosphere is everything here, there, in both tale told and in the setting of one's reading. The mists swirl and the first-person narrators stand clueless before all-too-obvious mysteries: be fair, we know all about ghosts and vampires, while our narrators are only just now learning to face the supernatural and are prejudiced by reason and convention, I suppose. These were more innocent times, Gothic-wise, in which secret passages could still secretly link decaying chateau with a haunted and little-patronized country inn, and in which vampires still returned to unmarked sepulchers in Gothic chapels attached to a scenic Styrian schloss to live amphibiously in blood the whole morning through.
The linking device that Le Fanu cooked up in order to connect these five short-story to novelette-length tales is weak: the introductions explaining that these are part of the papers of a metaphysical researcher, Dr. Hasselius, could easily have been dispensed with--but it would have cut only five or so pages of the whole, but feel free to skip the intros as they add nothing to the tales. Of course, centering themselves primarily upon rollicking--if atmospheric--adventure tropes (especially in the penultimate tale, "A Room in the Dragon Volant," which I enjoyed immensely) means that Le Fanu's tales fall somewhat short of the sheer perverse frisson often achieved by his contemporary E. A. Poe or the later Victorian (and personal favorite) Arthur Machen, who so convincingly captures the dream world and hints at its being a passage into other, hidden--perhaps forbidden--eldrich regions of Gods and creatures best left unnamed--yes, and Lovecraft as well, hack that he was (don't take this wrong, I love his very bad writing and revel in the contradiction). Still, these are far superior texts, in my humble opinion, to the pedestrian mysteries of the more popular Victorian ghost-tale tellers like Dickens, Wilkie Collins, or Mary Elizabeth Braddon. Far superior.
One warning: the first tale, "Green Tea" is the weakest--is even a bit silly. However, be not afraid, read on! Each tale improves upon the previous, or so it seemed to me, and my enjoyment grew as I plunged on through, culminating in the most famous pre-Dracula vampire tale, "Carmilla," the novelette that links so many of the vampire conventions codified by Stoker's Dracula to Dr. John Polidori's (first-ever-vampire-in-the-English-language) short story "The Vampyre." "Carmilla," therefore, represents a sort of missing link in the vampire-tale/legend world, with its even more interesting (than most, than Dracula certainly) feminine themes of innocence, adolescent sensuality, propriety, and--dare I say it?--lesbianism. There, I said it! Pretty highly recommended--but only with the right setting and with the right atmosphere of course. (now, poof! This reviewers vanishes in a puff of smoke.)
The linking device that Le Fanu cooked up in order to connect these five short-story to novelette-length tales is weak: the introductions explaining that these are part of the papers of a metaphysical researcher, Dr. Hasselius, could easily have been dispensed with--but it would have cut only five or so pages of the whole, but feel free to skip the intros as they add nothing to the tales. Of course, centering themselves primarily upon rollicking--if atmospheric--adventure tropes (especially in the penultimate tale, "A Room in the Dragon Volant," which I enjoyed immensely) means that Le Fanu's tales fall somewhat short of the sheer perverse frisson often achieved by his contemporary E. A. Poe or the later Victorian (and personal favorite) Arthur Machen, who so convincingly captures the dream world and hints at its being a passage into other, hidden--perhaps forbidden--eldrich regions of Gods and creatures best left unnamed--yes, and Lovecraft as well, hack that he was (don't take this wrong, I love his very bad writing and revel in the contradiction). Still, these are far superior texts, in my humble opinion, to the pedestrian mysteries of the more popular Victorian ghost-tale tellers like Dickens, Wilkie Collins, or Mary Elizabeth Braddon. Far superior.
One warning: the first tale, "Green Tea" is the weakest--is even a bit silly. However, be not afraid, read on! Each tale improves upon the previous, or so it seemed to me, and my enjoyment grew as I plunged on through, culminating in the most famous pre-Dracula vampire tale, "Carmilla," the novelette that links so many of the vampire conventions codified by Stoker's Dracula to Dr. John Polidori's (first-ever-vampire-in-the-English-language) short story "The Vampyre." "Carmilla," therefore, represents a sort of missing link in the vampire-tale/legend world, with its even more interesting (than most, than Dracula certainly) feminine themes of innocence, adolescent sensuality, propriety, and--dare I say it?--lesbianism. There, I said it! Pretty highly recommended--but only with the right setting and with the right atmosphere of course. (now, poof! This reviewers vanishes in a puff of smoke.)
See my other reviews at Never Enough Books
First published in 1872, this remarkable collection of stories includes such classics as Green Tea and Carmilla.
Each of the five stories are purported to be the cases of Dr. Hesselius; a ‘metaphysical’ doctor who is willing to consider ghosts both as both real and as hallucinations. The reader’s doubt and anxiety is meant to clearly mimic that of each story’s protagonist and so create the atmosphere of mystery that is the supernatural experience.
My dear reader, it pains me to end the year with a negative review but I’m afraid that is the way it will have to be.
I was unable to finish In a Glass Darkly and actually had to stop reading it out of sheer aggravation. The prose is so very purple and lurid that there were several times I had to reread a passage simply to try and make sense out of it. And more often than not, not being able to. While I am aware that Victorian writing styles vary greatly from the writing styles of today, I have read my share of books from that era and enjoyed quite a few.
Unfortunately, In a Glass Darkly is not one of them.
I believe I can understand what Le Fanu was trying to accomplish; however the efforts fall short. There is simply too much for the reader to try and digest. I cannot recommend this one, my dear readers, unless you are looking for something to put you to sleep.
First published in 1872, this remarkable collection of stories includes such classics as Green Tea and Carmilla.
Each of the five stories are purported to be the cases of Dr. Hesselius; a ‘metaphysical’ doctor who is willing to consider ghosts both as both real and as hallucinations. The reader’s doubt and anxiety is meant to clearly mimic that of each story’s protagonist and so create the atmosphere of mystery that is the supernatural experience.
My dear reader, it pains me to end the year with a negative review but I’m afraid that is the way it will have to be.
I was unable to finish In a Glass Darkly and actually had to stop reading it out of sheer aggravation. The prose is so very purple and lurid that there were several times I had to reread a passage simply to try and make sense out of it. And more often than not, not being able to. While I am aware that Victorian writing styles vary greatly from the writing styles of today, I have read my share of books from that era and enjoyed quite a few.
Unfortunately, In a Glass Darkly is not one of them.
I believe I can understand what Le Fanu was trying to accomplish; however the efforts fall short. There is simply too much for the reader to try and digest. I cannot recommend this one, my dear readers, unless you are looking for something to put you to sleep.
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
After reading Carmilla by itself last summer, someone suggested that I keep reading J. Sheridan Le Fanu’s works. I picked up a beautiful edition of In a Glass Darkly and read it during the last few months. I moved slowly, due to being busy and distracted, but also so that I could savor his writings. This collection of five stories (three short stories and basically two novellas) were so perfect for me that this volume has jumped high onto my favorites list.
Since I mentioned the physicality of the book, let me start there first. It’s a very nice, 1929 edition from Peter Davies, with many small, beautiful illustrations by Edward Ardizzone. There’s something to be said for a physical book. The paper is thick, the boards firm and heavy. It was solid in my hands and just a pleasure to hold. I bought it from Any Amount of Books, a fantastic shop on Charing Cross Road in London.
Turning to the stories, I’d only ever read Carmilla. At the time, I praised it as a fantastic story that predated Dracula and was just something I couldn’t stop reading. Like Laura, I was drawn to Carmilla but couldn’t explain it. The story was just as good, perhaps better, the second time through.
I had heard the name Green Tea, the first story, but knew nothing of it. It was great. The spectral monkey was awesomely spooky and terrifying. Le Fanu describes so little but says so much. Like the spectral monkey of Green Tea, the footsteps heard by no one there was simply terrifying in The Familiar, his second story. I never really was gripped by the third story, Mr. Justice Harbottle. But, I know I will return to this volume again and again over the years, so perhaps it will grow on me. The Room in the Dragon Volant was brilliant, closest to the beauty of Carmilla. The terror of paralysis, almost being buried alive, and love betrayed made for a fantastical story.
I like how Le Fanu talked about writers. In Green Tea, he talked about the relationship between writers and stimulants, something that I can relate to: “I believe that every one who sets about writing in earnest does his work, as a friend of mine phrased it, on something– tea, coffee or tobacco. I suppose there is a material waste that must be hourly supplied in such occupations, or that we should grow too abstracted, and the mind, as it were, pass out of the body, unless it were reminded often of the connection by actual sensation” (p. 23).
If I could give this book six stars, I would. I highly recommend it.
Since I mentioned the physicality of the book, let me start there first. It’s a very nice, 1929 edition from Peter Davies, with many small, beautiful illustrations by Edward Ardizzone. There’s something to be said for a physical book. The paper is thick, the boards firm and heavy. It was solid in my hands and just a pleasure to hold. I bought it from Any Amount of Books, a fantastic shop on Charing Cross Road in London.
Turning to the stories, I’d only ever read Carmilla. At the time, I praised it as a fantastic story that predated Dracula and was just something I couldn’t stop reading. Like Laura, I was drawn to Carmilla but couldn’t explain it. The story was just as good, perhaps better, the second time through.
I had heard the name Green Tea, the first story, but knew nothing of it. It was great. The spectral monkey was awesomely spooky and terrifying. Le Fanu describes so little but says so much. Like the spectral monkey of Green Tea, the footsteps heard by no one there was simply terrifying in The Familiar, his second story. I never really was gripped by the third story, Mr. Justice Harbottle. But, I know I will return to this volume again and again over the years, so perhaps it will grow on me. The Room in the Dragon Volant was brilliant, closest to the beauty of Carmilla. The terror of paralysis, almost being buried alive, and love betrayed made for a fantastical story.
I like how Le Fanu talked about writers. In Green Tea, he talked about the relationship between writers and stimulants, something that I can relate to: “I believe that every one who sets about writing in earnest does his work, as a friend of mine phrased it, on something– tea, coffee or tobacco. I suppose there is a material waste that must be hourly supplied in such occupations, or that we should grow too abstracted, and the mind, as it were, pass out of the body, unless it were reminded often of the connection by actual sensation” (p. 23).
If I could give this book six stars, I would. I highly recommend it.
adventurous
challenging
dark
mysterious
reflective
slow-paced
Plot or Character Driven:
A mix
Strong character development:
N/A
Loveable characters:
N/A
Diverse cast of characters:
Yes
Flaws of characters a main focus:
N/A
dark
emotional
mysterious
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
No
A fun collection of stories and it was cool to to spot where more modern tales have been inspired. They are definitely dated and I have read much more gripping ghost stories but I'm sure a hundred years will do that! The last two stories in the book were the best in my opinion, a thriller, and a vampire story!
I give this three stars for the atmospheric and effective 'Carmilla'. The other stories in this collection are pretty forgettable.
slow-paced
I found the first third of this book very difficult to read just due to the old language/style (1870s) but once I was about a third of the way through it felt like my brain got used to the writing and it became much more enjoyable. The stories are tame but for whatever reason I always enjoy these Victorian ghost stories, there's something charming about them.