Wednesday, March 31, 2010

Author of the 25th Best Horror Short Story 1800-1849 is Samuel Ferguson


Samuel Ferguson (1810-1886) is not remembered today as a horror short story writer. He is primarily known for his Irish poetry and a few novels. Ferguson was an attorney, just like William Harrison Ainsworth, Honore de Balzac and Sir Walter Scott who also penned horror short stories for the period in question. Ferguson continued to write after being admitted to the bar in such esteemed publications as Blackwood's Edinburgh Magazine and the Dublin University Magazine. Only one of this stories rises to level of being in the Top 40 horror short stories for 1800-1849 and it was published in Blackwood's. Not sure which one it was? Here is another hint: Samuel Ferguson's horror story drew the attention of Edgar Allan Poe. I will reveal the story and provide a link to it in a few days.

Monday, March 29, 2010

Thoughts on the 26th Best Classic Horror Short Story 1800-1849


The Fiery Vault was first published in the September 1835 issue of The Metropolitan. The horror short story, set in Venice, was published anonymously. It contains the first uses of hot and cold victim torture found in any horror tale. The following passage is not for the faint of heart: 
Terrible indeed, was the secret council chamber of the Doge of Venice. A large and lofty room, lighted not by the sun, but by several lamps carefully arranged, to throw their strong lustre away from the judgment seats, and upon a central point, surmounted by a low massive rail, was rendered utterly impervious to sound, bv means of doubly quilted arras, and treble doors. The floor was thick!y carpeted, save in the space alluded to, which was about twelve feet in diameter, and appeared to be boarded. Within this room deeds were whispered to have been done, at the mention of which human blood is ireezingly arrested. A concealed door behind the arras led to a smaller apartmentt, where every engine for wrenching the joints, crushing the flesh, and grinding the marrow of their fellow mortals, had been stored by the relentless agen's of Venetian tyranny. Those boards surrounded by the rail could be raised, and the half breathing body, which had undergone the agonies of that chamber, was thrown into an abyss of appalling depth, at whose bottom, it was rumored, years before a machine had been placed, which the falling mass set in motion, and by which was mangled to atoms. A winding staircase, entered from a corner, also hidden by the tapestry, conducted down to a spot where a more hideous torture than all was prepared. A small low roofed room was there, built entirely of iron, not sufficiently large to enab'e the inmate to stand erect, but allowing the full range of limb in every other direction. Below was a furnace. Stripped to the skin, the victim was led thither, and (hough in utter darkness, ventilation was supplied him.—For some hours, perchance, he was thus left, until he began to dread a perpetual imprisonment. But the atmosphere grows more confined, still more so, and the Mood is thrown violently to his head. Air is again admitted, he breathes again,—it must have been a lancy. But no, this time there is no deception, the heat is stifling, the floor below him is unbearable, he raises himself on his extremities, he raves, he screams for mercy. Anon his scorched limbs become blistered, and writhings and shrieks proclaim his excruciating agony. A few minutes, and all must cease in death. No. The tormentor's craft has been better taught. Suddenly the iron floor is drawn from beneath him, its place is supplied by a slab of the coldest marble, while gushes of icy water from above fall upon his burning frame. The transition is exquisite, almost too delicious for mortal bearing. For a time he lies in semi-insensibilityy, but not long. The chill comes over him, and the relief becomes another torment. Then is accomplished the crowning efforts of the fiends, who know too well the indescribable effect of the unexpected substitution of one agony for another. The marble bed is drawn away and the wretch is writhing on a red hot floor. Then scream follows scream, and the body is drawn into every form and posture conceivable, with terrible swiftness. Malice has now done its utmost, a few more struggles, and a few more groans, and a blackened and (indistinguishable corpse is withdrawn from its fiery cavern, and hurled through a trap-door near, eventually to find its way into one of the canals of Venice. Such had been the late of that Miollano, whom the gondoliers have mentioned as one of the last victims of Count Morentali. Who is to be the next?
The Fiery Vault is treasured for being the best Venice horror short story for the half century in question. It is ashame that the author is only known as Reithra. On the negative side, the storyline is choppy, and the dialogue is stilted and unbelievable in a number of parts:
"So, thou art here. Hast any more tales of the cruel and merciless count to tell?"
The prisoner, pale as death, muttered only, "My lord! my lord!" and convulsive breathings seemed to drown his voice.
"Thou shalt know another," continued Morentali, in the same cold, sneering tone, "ere long. Pity that thou wilt not be able to tell it."
"My lord! remember—your promise"
"Was of secrecy, I believe; and it shall be kept. Look around, whom dost thou fear can overhear thy stories of the count, or thy screams which may follow them?"
But I forgive the author of The Fiery Vault for these transgressions and place this story as the 26th best classis horror short story from 1800-1849.

Sunday, March 28, 2010

The 26th Best Classic Horror Short Story 1800-1849 is The Fiery Vault



For your Sunday reading, here is a free link to what I have picked as the 26th best classic horror short story from 1800-1849. Its title is The Fiery Vault and I will comment on it in a few days. Enjoy!
AndrewBarger.com

Friday, March 26, 2010

Reithra is the Author of the 26th Best Classic Horror Short Story 1800-1849



The name of the author for the next classic horror short story is only given as "Reithra." I have been able to find it listed anywhere and it was apparently only used once by this unknown author. The name is likely a penname. Tomorrow I will a link to the 26th best classic horror short story that includes a devious use of a fiery chamber in that grand city of Venice, Italy. I had the good fortune to visit Venice last year and it was one of the most fantastic Gothic cities I have ever experienced.

Wednesday, March 24, 2010

Coffee with Poe Interview by Andrew Barger

Coffee With Poe

Coffee With Poe, my novel about the fascinating and mysterious life of Edgar Allan Poe, has recently been published for the Amazon Kindle. I have added many new sections over the book edition that was published in 2003. Even if you do not have a Kindle device, you can read it on a PC or Mac or iPhone by downloading the Kindle software. But this isn't a plug for the Kindle, rather this is the updated text of an interview I did for Coffee with Poe. I hope you enjoy it.

Interview

Q1: Let’s start with the title. Why Coffee with Poe?
A1: There’s a funny story behind that because I don’t drink coffee, but I love the smell.  My wife, who did the great cover photography for the novel, tells me that doesn’t count. She has an entire kitchen cabinet devoted to her coffee paraphernalia. I’m banned from looking inside because of my jokes about all the sifters, grinders, roasters, and foamers.  Anyway, I could think of no better coupling than books and coffee … well, actually I can.  In truth, the title is derived from a letter that Sarah Helen Whitman (one of Poe's fiancées) wrote to John Ingram on December 13, 1874, which speaks of Poe's penchant for coffee: "Mr. Bartlett has never seen him inspired by any more dangerous stimulant than strong coffee, of which he was very fond & of which [he] drank freely. MacIntosh says that the measure of a man’s brain is the amount of coffee he can drink with impunity."

Q2: Coffee with Poe is one of the only--if not the only--novel about Edgar Allan Poe’s life viewed from his own eyes. What made you write Coffee with Poe from Poe’s first person perspective?
A2: I wanted readers to get inside the head (however frightening that may be) of one of America’s best-loved and most mysterious writers. I wanted readers to live Poe’s life instead of learn about it. That’s the only way you can truly understand his horror stories and where he’s coming from. There are so many boring biographies out there.

Q3: And what an interesting and tragic life it was. You use a number of actual letters to and from Poe, including letters from Nathaniel Hawthorne and Washington Irving. How did this come about?
A3: In researching Coffee with Poe I was surprised to learn that there were so many conflicting accounts of his life, so I went straight to the letters and used these as a framework to construct the novel. I was able to incorporate many of the people mentioned in the letters as characters. The novel to me is more compelling when you read Poe’s letters from his pen after experiencing the events that prompted the letter.

Q4: The letters of his three fiancées are especially interesting.
A4: Poe got around!

Q5: In one chapter Poe meets Charles Dickens. Was that hard to write?
A5: It was difficult to capture the personalities of both of these great writers as they would have interacted at this point in their careers, but it was a lot of fun to try. When they met in Philadelphia, Dickens was finishing a trip to the U.S. He was as popular across The Pond as he was in England. Poe, on the other hand, had yet to write The Raven and was not nearly as well known. Poe solicited Dickens at this time to get his works published in England but it never panned out. Poe thought any author as popular as Dickens could easily get him published in Europe. Poe thought Dickens never really tried and Poe held a grudge against Dickens until his death. Poe lampooned Dickens in his short story Thou Art the Man.

Q6: Where did Poe get his idea for The Raven?
A6: Many think it was from Dickens’s use of a talking raven in Barnaby Rudge. Poe felt the bird should have had a much larger role and I imagined Poe gently telling him such in Philadelphia. Dickens’s in turn based the raven in Barnaby Rudge off his own pet raven named Grip. There is a hilarious account of Grip’s death that Dickens gave in a letter to a friend and I included that statement as he retells it to Poe.

Q7: Was Poe strung out on drugs when he did most of his writing?
A7: It’s doubtful. Even Poe’s bitter literary enemies—and he had quiet a few—never accused him of taking drugs. Many of these enemies were also medical doctors, so they would have detected this state. I believe people over the years have confused narrators in Poe’s tales, many of whom are crazed or tripping on drugs, to be Poe himself. What these people are doing is taking credit away from a highly talented author and assuming he could only have experienced these states to write about them. Poe also wrote about being buried alive, but that never happened either!

Q8: What about drinking?
A8: Poe most certainly drank, but a medical condition caused him to have a sensitivity to alcohol. One or two drinks a day in our society, which is acceptable in certain circles and even claimed as good for the heart by the medical community, would have branded Poe as being prone to excess over a hundred and fifty years ago. As you know, I have my own theory regarding Poe’s drinking problem in Coffee with Poe and how this sensitivity came about.

Q9: Why did Poe write horror short stories?
A9: Because he could. and because he was the best. On my blog I am counting down the Top 40 best horror short stories from 1800-1849. It is amazing at how Poe towered above all other writers in this genre for those fifty years. There is a fine art to scaring people to death and Poe took it to levels unseen. The time was ripe for his tales. Snake oil salesmen roamed the country. Prominent doctors of the day routinely practiced bloodletting and people were buried alive because their faint pulse could not be detected. Then you have everyone frightened of reanimation by galvanic batteries thanks to Mary Shelley. Poe thoroughly enjoyed getting a rise out of people. This was evidenced by his many pranks as a child, his biting reviews of the "Literati of New York," and, of course, his horror tales. Poe had a very humorous side despite his circumstances and many people don’t realize this.

Q10: A few more questions?
A10: Okay, but I’m about to turn into a pumpkin and orange is not my color.

Q11: Speaking of horror, who do you think are the Big Three?
A11: In order of appearance: Edgar Allan Poe. H. P. Lovecraft. Stephen King. The problem is that the first two died in abject poverty and Stephen King has made slightly less money than God. Not that I’m taking anything away from King, but the other two should also have been rewarded handsomely for their work. Poe only made $15 off the entire publication history of The Raven. There are injustices in this world, and then there are outright tragedies.

Q12: Going back to your comment on Poe using deductive reasoning to craft some of his stories, he obviously used this in his mystery novels.
A12: Poe is actually the inventor of the mystery genre, or at least the closed room murder mysteries. Many people overlook this and focus only on his horror. His mystery stories were The Murders in the Rue Morgue, The Purloined Letter, and The mystery of Marie Roget. Sir Conan Doyle got his idea for Sherlock Holmes based partly off Poe’s mysteries. Thou Art the Man is another fine mystery of his and the only one where he satired another writer (see the previous Dickens discussion).

Q13: What were Edgar Allan Poe's favorite things?
A13: Color-Black; Drink-Strong coffee; Song-"Come Rest in this Bosom"; Animal-Cat (Poe had one named Catterina with his wife Virginia and also had a black cat that he wrote about); Poem-He had many. Orion: An Epic English Poem was his favorite epic poem. A few years ago I edited a new edition since is had been out of print for 80 years. In it I included Poe's fine review of Orion; Place-the South in general.

Q14: Did Edgar Allan Poe father a child with Frances Osgood?
A14: That is some question. I believe that he did. In the Kindle edition of Coffee with Poe I added a number of sections that include their relationship. There are simply too many references in Poe's Ulalume and the poetry of Frances Osgood to not believe that Fanny Fay Osgood, Fances's third child, was fathered by Edgar Allan Poe. In Edgar Allan Poe Annotated and Illustrated Entire Stories and Poems I included, in chronological order, all of the poems with a lot of background information.

Q15: What is the most surprising thing about Edgar Allan Poe people do not know?
A15: Poe was a practical joker at heart and you see that reflected in many of satires and literary hoaxes such as The Facts in the Case of M. Valdemar and The Balloon Hoax. Poe loved to fool the public into believing his fantastic stories were real.

Tuesday, March 16, 2010

Andrew's Thoughts on the 27th Best Classic Horror Short Story 1800-1849 "Gabriel Lindsay"


Gabriel Lindsay by William Mudford (1782-1848) proves that The Iron Shroud was not the only classic horror short story Mudford had in him. This tale of pestilence was first printed in the January 1832 issue of Atkinson's Casket and remains largely unknown today since it was published anonymously by Mudford. It merely stated that it was "[b]y the author of 'The Unrevealed.'" When I searched on this title I found a thread to it in The Royal Lady's Magazine, Vol. III of 1832 where the author of "The Three Letters" is listed as the author of "The Unrevealed." Following the literary trail of bread through the forest, I next found "The Three Letters" published in the June 1832 issue of The Canterbury Magazine and listed as by the author of The Five Nights of St. Albans, which is the best Gothic novel Mudford wrote.

The horror short story takes place during the 1600s at a time when the plague was rampant. Gabriel Lindsay, on returning to his small village and expecting to find a red cross painted on his door to signify the plague had reached the house, it elated to learn his family is still alive. He stays with them, listening to the passing the dead-cart at midnight until his family also begins to succumb to the disease. Take this example,
I believe I was roused from this stupor by the rumbling of the dead-cart at midnight, the hollow sound of the bell, and the hoarse, horrid cry of 'Bring out your dead.' I have never had, and have not now, the recollection of any thing that passed till then, from the moment my poor Rachael was kneeling at my feet. I had been permitted too (or, for aught I know, I would do so,) to sit all those hours with my mournful burden in my arms; for when the coming of the dead-cart awakened me to consciousness, the corpse of Alice was still resting on my bosom.
While The Iron Shroud contains the death machinations of William Mudford, Gabriel Lindsay is equally full of impending doom only this time from the unseen. It is surely one of the Top 30 classic horror short stories from 1800-1849.

Friday, March 12, 2010

The 27th Best Classic Horror Short Story 1800-1849 is Gabriel Lindsay by William Mudford


Gabriel Lindsay by William Mudford is the next classic horror short story in this countdown of the Top 40 from 1800-1849. The true author was difficult to find. I will let you know how I followed the literary dots, so to speak, to learn that it was Mudford, early next week.

Thursday, March 11, 2010

Author of the 27th Best Classic Horror Short Story 1800-1849 is William Mudford



William Mudford (1782-1848) is best known in the classic horror and science fiction genres for his excellent short story The Iron Shroud, where a prison room slowly collapses and turns into a coffin. Mudford's most Gothic novel was The Five Nights of St. Albans and the dark novel is often mentioned in company with the trifecta of early Gothic novels: Horace Walpole's The Castle of Otranto, Ann Ward Radcliffe's Mysteries of Udolpho, and The Monk by Matthew Gregory Lewis.
Of Mudford, The Universal Anthology said:
William Mudford was born at London in 1782. In 1800 he became assistant secretary to the Duke of Kent, accompanying him to Gibraltar in 1802; then resigned to study for a journalist, and after a term as parliamentary reporter, and then writer on the Courier, became editor of that paper, but left it on its changing its politics. Losing his money in speculation, he took the editorship of, and finally bought, the Kentish Observer at Canterbury; and was long a voluminous contributor to Blackwood's, where one of his stories, "The Iron Shroud," was the model for Poe's "The Pit and the Pendulum." His contributions as "The Silent Member" were very popular. In 1841 he succeeded Theodore Hook as editor of John Bull. He died in 1848. He wrote many books of fiction, history, etc.
Apart from being a tale of sensation and the lowering of an object, the similarities between Poe's The Pit and the Pendulum and Mudford's The Iron Shroud are few. Regardless, tomorrow I will provide a link to Mudford's best classic horror short story apart from The Iron Shroud. It was published anonymously and remains almost entirely unknown to this day.

Friday, March 5, 2010

Coffee with Poe Has Advanced to the Second Round of the Amazon Breakthrough Novel Award


Coffee with Poe, my novel about the life of Edgar Allan Poe, has advanced to the second round of the Amazon Breakthrough Novel Award.
Like one of his Gothic stories, I have brought Poe to life in the pages of Coffee with Poe. Orphaned at the age of two, Poe is raised by John Allan—his abusive foster father—who refuses to adopt him until he becomes straight-laced and businesslike. Poe, however, fancies poetry and young women. He becomes engaged to Elmira Royster as a teenager, but the engagement is broken after her father intercepts Poe’s letters. The contentious relationship with John Allan culminates in a violent altercation, which causes Poe to leave his wealthy foster father’s home to make it as a writer.

Poe tries desperately to get established. The Raven subsequently gains Poe renown in America yet he slips deeper into poverty without the support of John Allan, only making $15 off the poem’s entire publication history. Poe marries his first cousin who is only thirteen. John Allan has remarried by this time and when Poe visits his deathbed, Poe is refused an interview because his second wife believes Poe is after an inheritance. Poe lives his last years in abject poverty while suffering through the deaths of his foster mother, grandmother, and young wife. Poe’s health begins failing and he has bouts of paranoid delusions. In a cemetery Poe becomes engaged to Helen Whitman, a dark poet who is addicted to ether and conducts séances in her home. Her mother thinks the impoverished poet is after her money and demands that Poe sign a prenuptial agreement. The engagement is soon broken off because of Poe’s drinking. In his final months Poe is again engaged to Elmira Royster after a joyful reunion, yet his health is in a downward spiral. Just before their marriage Poe is found delirious and wearing another person’s clothes. He dies days later, calling: "God help my poor soul."

Monday, March 1, 2010

Andrew's Thoughts on the Classic Horror Short Story "Hop-Frog" by Edgar Allan Poe



This classic horror short story was originally titled: Hop-Frog:, or, the Eight Chained Ourang-Outangs and published March 17, 1849 in the Flag of our Union magazine, about six months before the death of Edgar Allan Poe. When “Hop-Frog” was published, Poe and his wife Virginia (now deceased) had suffered many years of rumors and untruths spread by his enemies. Nearly a month earlier, on February 14, 1849, Poe wrote his good friend Frederick William Thomas: I have been quite out of the literary world for the last three years, and have said little or nothing, but, like the owl, I have “taken it out in thinking”. By and bye I mean to come out of the bush, and then I have some old scores to settle. . . . The fact is, Thomas, living buried in the country makes a man savage– wolfish. I am just in the humor for a fight.

“Hop-Frog” is Poe’s tale of ultimate revenge against his male literary detractors, most of whom he panned in his “The Literati of New York City” series in 1846. "Hop-Frog" makes you feel for Tripetta and Hop-Frog more than a lot of Poe short stories. It is, however, by no means his best horror short story as you will see in the coming weeks, but it still rises above most in this nascent genre from 1800-1850. Consider this passage as Poe extracts his revenge on his literary detractors:
Owing to the high combustibility of both the flax and the tar to which it adhered, the dwarf had scarcely made an end of his brief speech before the work of vengeance was complete. The eight corpses swung in their chains, a fetid, blackened, hideous, and indistinguishable mass. The cripple hurled his torch at them, clambered leisurely to the ceiling, and disappeared through the sky-light.
On the minus side, the story itself feels a bit forced and the outcome, though surprising and horrific, lacks a certain thoroughness of design that prevents this tale from being in the Top 10 or even the Top 20 classic horror short stories from 1800-1849.