English Heritage: "Eight Ghosts"

Give eight writers an assignment, and you never know what they’ll come up with. 

The English Heritage organization cares for more than 400 properties, buildings, and monuments, ranging from Roman forts and medieval castles to Cold War bunkers. To help raise funds for conservation work, it asked eight English authors to choose their own English Heritage site, spend time there, including after hours, and write a ghost story involving the site.

 

The result is Eight Ghosts: The English Heritage Book of New Ghost Stories. It’s a small gem of book, with some cracking good stories that each pack at punch.

 

For “They Flee From Me That Sometimes Did Me Seek.” Sarah Perry (After Me Comes the Flood, The Essex Serpent) selected Audley End, a house built on the site of an abbey in Essex. She tells a tale of a young woman who joins a team restoring an old tapestry, who soon finds out that the work will figuratively and literally absorb her. In “Mr. Lanyard’s Last Case,” Andrew Michael Hurley (The Loney, Devil’s Day) visited Carlisle Castle, and spins a historical story of an attorney prosecuting the rebels who fought and lost the Battle of Culloden in 1746.

 

In “The Bunker,” Mark Haddon (The Curious Incident of the Dog in the Night-time, The Pier Falls) selected the York Cold War Bunker, telling the story of a woman caught between present and future. Kenilworth Castle is the setting for Kamila Shamsie’s (Burnt Shadows, Home Fire) “Foreboding,” in which a new guard starts his job and finds what he’s not looking for.

 

Stuart Evers (If This is Home, Ten Stories About Smoking) goes to Dover Castle for his story, “Never Departed More,” about an actress who stays there to soak in the atmosphere and soaks in a bit more than expected. Housesteads Roman Fort is the setting for “The Wall” by Kate Clanchy (Meeting the English, Antigona and Me), in which a mother and father takes her truant teenaged daughter for a day trip – and little is what it seems. 

 

Jeanette Winterson (Oranges Are Not the Only Fruit, Why Be Happy When You Could Be Normal?) selected Pendennis Castle for “As Strong as Death,” about in impending wedding haunted by a ghost of woman who disguised herself as a sailor. And Max Porter (Lanny, Grief is the Thing with Feathers) used Eltham Palace to tell his story “Mrs. Charbury at Eltham,” about an elderly woman who returns to the place where her sister disappeared.

 

The volume also includes a short essay by Andrew Martin (The Somme Stations, Soot), which explains how the castles, abbeys, and houses of England inspired the ghost story. Also included is a gazetteer of English Heritage hauntings, a detailed list of all the places said to have ghosts. 

 

Eight Ghosts is both a collection of some really good (and scary) stories and a clever way to raise funds for a worthy cause.

 

Related:

 

My review of The Porpoise by Mark Haddon.

 

My review of The Essex Serpent by Sarah Perry.

 

My review of Lanny by Max Porter.

 

Top photograph by Joakim Honkasalo via Unsplash. Used with permission.

A Poetic Novel to Turn You Upside Down: “Lanny” by Max Porter

British author Max Porter is at it again.

Not content with his genre-bending first work Grief is the Thing with Feathers, he’s now published a longer novel, Lanny. At least I think it’s a novel. It’s certainly fiction, but it’s still genre-bending. Porter writes fiction like a practiced poet writes fiction. And it’s mind-bending. It’s fiction that turns your head upside down and inside out. It’s about art and artists and the soul of an artist. And it’s about innocence and evil and what fear can unleash.

To continue reading, please see my post today at Tweetspeak Poetry.

Novel, Poetry, Both? Max Porter and "Grief is the Thing with Feathers"

Is Grief is the Thing with Feathers by British writer Max Porter a novel, a collection of poems, both a novel and poetry, neither one, or some new literary genre we haven’t seen before?

It’s officially classified as a novel, but it doesn’t read like any novel you’ve read before. It moves, jumps, shifts, and occasionally leaps between three narrative voices – Dad, Boys, and Crow.

Physically, the text looks like a poetry collection. Sort of. It’s divided into three parts (like Caesar’s Gaul?) but contains no chapters, unless you count a poem as a chapter (I don’t). It begins with a corrected version of an Emily Dickinson poem.

To continue reading, please see my post today at Tweetspeak Poetry.