Here’s a closeup of the sculpture on the clock on the carriage house.
Over several years, for the month of June, I wrote about a short story that was available online each day of the month…. It seemed like a good idea at the time. My blog readership fell precipitously and nobody seemed to give a damn about what I was doing – which was a surprising amount of work.
Because of this result, I’m going to do it again this year – In September this time… because it is September.
Today’s story, for day 26 – At Lorn Hall by Ramsey Campbell
Read it online here:
At Lorn Hall by Ramsey Campbell
To its left, where he might have looked for a doorbell, a tarnished blotchy plaque said LORN HALL. The door displayed no bell or knocker, just a greenish plaque that bore the legend RESIDENCE OF CROWCROSS. “Lord Crowcross,” Randolph murmured as though it might gain some significance for him if not summon its owner to the door. As he tried to recall ever having previously heard the name he felt a chill touch as thin as a fingernail on the back of his neck. It was a raindrop, which sent him to push the heavy door wide.
—-Ramsey Campbell, At Lorn Hall
Ramsey Campbell is considered one of the masters of modern horror – and from what I’ve read, I’d have to agree. I particularly impressed by the evolution and breadth of his talent… from Lovecraftian tales, to jewels of erotic horror, to his increasingly complex novels.
Today’s story is a straightforward gothic frightfest… a haunted house full of ancient furniture, barely functioning lighting, and foreboding paintings of the master, Lord Crowcross looking down on every scene. There are these odd headphones that narrate the tours… and maybe more. There are even spiders that add their webbing to the lace patterns of doilies on the furniture.
Scary stuff. Game over.
Interview with Ramsey Campbell:
Starburst: What are your thoughts on horror fiction? Do you think one must experience horror in order to write it?
Ramsey Campbell: I think you have to experience horror in the imagination. That’s what you dream up onto the page. On a personal level, my childhood is a case of nightmares. Someone once said I was born to write horror; I’m not too sure about that. A fair number of horror writers have a strange background. It’s not specific to the field, and I’m not certain if it’s even special to it. That said, I grew up reading adult horror. It was a very small step from reading George MacDonald to fairy tales. Victorian fairy tales were a complete nightmare that have been cut out of the later versions. They use the same kind of suggestions. What is left out is then up to my imagination, for me, that’s how much of the best horror fiction works, even today.
Thoughts on your childhood?
I had a very strange childhood. I lived in a small house with my parents. They became estranged very shortly after I was born, and I didn’t know my father at all for about twenty years, even though he was in the same house. I never saw him, and he became this kind of monstrous figure. My mother suffered from schizophrenia, and at a very early age I had to figure out the difference between what she saw and reality. I had to work that out when I was three years old, you know. A useful perception, obviously. That’s defined a lot of what I write, this difference between what is perceived and what is real. That was a long answer. (laughs)
What type of influence did H.P. Lovecraft have on you, in particular your early work?
Oh huge. Huge! I read a number of anthologies from the library when I was young and teenage. You couldn’t get a book on Lovecraft, and it wasn’t until 1960, I believe, that the first ever paperback collection of Lovecraft stories came out called, Cry Horror. They contained Call of Cthulhu and Rats in the Wall. Some of his masterpieces. Also some of his lesser stuff like Moon Bog. But I read that through in a single day, and I was completely steeped in it. I knew that was what I wanted to write, basically. But I didn’t write short stories or a novel for at least three years. At eleven I completed a terrible work called, Ghostly Terrors, which was everything I read just stuffed together, but it gave me focus. I knew this was the kind of thing I wanted to do, and I wanted to imitate. But I hadn’t travelled, never gone further than Southport, and Lovecraft’s work was set in Massachusetts. I wrote five stories very much imitating Lovecraft. Lovecraft didn’t use dialogue, so nor did I. I unlearned a lot of stuff. I sent the works originally to Arkham House to see if they were any good. They wrote back two pages describing what was wrong with the pieces. Not the least of which, of course, was the lack of dialogue. It’s interesting how many writers start off imitating other writers.
—-From Starburst Magazine
(click to enlarge)