Black Spirits and White: A Book of Ghost Stories (1895)
By Ralph Adams Cram
I'm a sucker for Gilded Age U.S. writers with strange travel anecdotes. Cram is an excellent example. Black Spirits and White offers a number of them, some from the Mediterranean zone, though the finest, "The Dead Valley" and "No. 252 Rue M. Le Prince," are from northern Europe.
Cram was not an aesthetic self-exile like Wharton or Henry James. His notebooks and architectural treatises (available here) show a hard-working professional of recognized skill. [I like to think of him as being perhaps not unlike the young narrator in Mary Cholmondeley's fine story "Let Loose."]
Cram is particularly skilled at conveying the weight of uncanny atmosphere in interior rooms and open air landscapes.
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"The Dead Valley" is one of the high points of wilderness Panic horror. Olof recounts a journey he and his friend Nils took on foot when they were youths, travelling over the mountains to a neighboring town to buy a puppy both cherished.
They start their return with the puppy late in the day.
...."Why we did not leave early on the following day, I can't quite remember; at all events, I know we stopped at a shooting range just outside of the town, where most attractive pasteboard pigs were sliding slowly through painted foliage, serving so as beautiful marks. The result was that we did not get fairly started for home until afternoon, and as we found ourselves at last pushing up the side of the mountain with the sun dangerously near their summits, I think we were a little scared at the prospect of the examination and possible punishment that awaited us when we got home at midnight.
"Therefore we hurried as fast as possible up the mountain side, while the blue dusk closed in about us, and the light died in the purple sky. At first we had talked hilariously, and the little dog had leaped ahead of us with the utmost joy. Latterly, however, a curious oppression came on us; we did not speak or even whistle, while the dog fell behind, following us with hesitation in every muscle.
"We had passed through the foothills and the low spurs of the mountains, and were almost at the top of the main range, when life seemed to go out of everything, leaving the world dead, so suddenly silent the forest became, so stagnant the air. Instinctively we halted to listen.
"Perfect silence,—the crushing silence of deep forests at night; and more, for always, even in the most impenetrable fastnesses of the wooded mountains, is the multitudinous murmur of little lives, awakened by the darkness, exaggerated and intensified by the stillness of the air and the great dark: but here and now the silence seemed unbroken even by the turn of a leaf, the movement of a twig, the note of night bird or insect. I could hear the blood beat through my veins; and the crushing of the grass under our feet as we advanced with hesitating steps sounded like the falling of trees.
"And the air was stagnant,—dead. The atmosphere seemed to lie upon the body like the weight of sea on a diver who has ventured too far into its awful depths. What we usually call silence seems so only in relation to the din of ordinary experience. This was silence in the absolute, and it crushed the mind while it intensified the senses, bringing down the awful weight of inextinguishable fear.
"I know that Nils and I stared towards each other in abject terror, listening to our quick, heavy breathing, that sounded to our acute senses like the fitful rush of waters. And the poor little dog we were leading justified our terror. The black oppression seemed to crush him even as it did us. He lay close on the ground, moaning feebly, and dragging himself painfully and slowly closer to Nils's feet. I think this exhibition of utter animal fear was the last touch, and must inevitably have blasted our reason—mine anyway; but just then, as we stood quaking on the bounds of madness, came a sound, so awful, so ghastly, so horrible, that it seemed to rouse us from the dead spell that was on us.
"In the depth of the silence came a cry, beginning as a low, sorrowful moan, rising to a tremulous shriek, culminating in a yell that seemed to tear the night in sunder and rend the world as by a cataclysm. So fearful was it that I could not believe it had actual existence: it passed previous experience, the powers of belief, and for a moment I thought it the result of my own animal terror, an hallucination born of tottering reason...."
***
A young Bostonian inherits his aunt's Paris property. The new owner and his friends decide to spend a night investigating the house's evil reputation.
....Once a year the austerity of the place was broken, and the denizens of the whole quarter stood open-mouthed watching many carriages drive up to No. 252, many of them private, not a few with crests on the door panels, from all of them descending veiled female figures and men with coat collars turned up. Then followed curious sounds of music from within, and those whose houses joined the blank walls of No. 252 became for the moment popular, for by placing the ear against the wall strange music could distinctly be heard, and the sound of monotonous chanting voices now and then. By dawn the last guest would have departed, and for another year the hôtel of Mlle. de Tartas was ominously silent.
Eugene declared that he believed it was a celebration of "Walpurgisnacht," and certainly appearances favored such a fancy.
"A queer thing about the whole affair is," he said, "the fact that every one in the street swears that about a month ago, while I was out in Concarneau for a visit, the music and voices were heard again, just as when my revered aunt was in the flesh...."
"No. 252 Rue M. Le Prince" is not the finest haunted house story, but the grim atmosphere of the rooms where secret worship took place is concisely conveyed.
....Eugene selected a key from the bunch he carried, unlocked the door, and with some difficulty forced it to swing inward; it was as heavy as the door of a safe.
"We are now," he said, "on the very threshold of hell itself; these rooms in here were my scarlet aunt's unholy of unholies. I never let them with the rest of the house, but keep them as a curiosity. I only wish Torrevieja had kept out; as it was, he looted them, as he did the rest of the house, and nothing is left but the walls and ceiling and floor. They are something, however, and may suggest what the former condition must have been. Tremble and enter."
The first apartment was a kind of anteroom, a cube of perhaps twenty feet each way, without windows, and with no doors except that by which we entered and another to the right. Walls, floor, and ceiling were covered with a black lacquer, brilliantly polished, that flashed the light of our lanterns in a thousand intricate reflections. It was like the inside of an enormous Japanese box, and about as empty. From this we passed to another room, and here we nearly dropped our lanterns. The room was circular, thirty feet or so in diameter, covered by a hemispherical dome; walls and ceiling were dark blue, spotted with gold stars; and reaching from floor to floor across the dome stretched a colossal figure in red lacquer of a nude woman kneeling, her legs reaching out along the floor on either side, her head touching the lintel of the door through which we had entered, her arms forming its sides, with the fore arms extended and stretching along the walls until they met the long feet. The most astounding, misshapen, absolutely terrifying thing, I think, I ever saw. From the navel hung a great white object, like the traditional roe's egg of the Arabian Nights. The floor was of red lacquer, and in it was inlaid a pentagram the size of the room, made of wide strips of brass. In the centre of this pentagram was a circular disk of black stone, slightly saucer-shaped, with a small outlet in the middle.
The effect of the room was simply crushing, with this gigantic red figure crouched over it all, the staring eyes fixed on one, no matter what his position. None of us spoke, so oppressive was the whole thing....
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Jay
11 June 2020
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