Merely the Natural Plus: Lucifer and the Child

Swan River Press 2020This is the story of Jenny Flower, London slum child, who one day, on an outing to the country, meets a Dark Stranger with horns on his head. It is the first day of August — Lammas — a witches’ sabbath. Jenny was born on Hallowe’en, and possibly descended from witches herself . . .

Once banned in Ireland by the Censorship of Publications Board, Lucifer and the Child is now available worldwide in this splendid new edition from Swan River Press featuring an introduction by Rosanne Rabinowitz and cover by Lorena Carrington.


Ethel Mannin (1900-1984) was a best-selling author who had written more than one hundred books but is virtually unknown today. Her output included fiction, journalism, short stories, travelogues, autobiography, and political analysis. All of her books have been out of print for decades — until now.

Born into a working-class family in South London, Mannin was a lifelong socialist, feminist, and anti-fascist. In the 1930s she organised alongside the Russian-born American anarchist Emma Goldman in support of the Spanish anarchosyndicalist forces and their struggle against Franco. Later, she agitated for the Indian independence movement along with her husband Reg Reginald. She was an advocate for African liberation movements and one of the few, even on the post-war left, who stood up for the rights of Palestinians. Iraqi critic and educator Ahmed Al-Rawi has described her as a post-colonial writer, which was unusual among British authors of the time.

In her lifetime Mannin was also known for her famous lovers, including Bertrand Russell and W. B. Yeats. In fact, it was the Yeats connection that had me trawling internet archives and second-hand bookshops while researching my tale “The Shiftings” — a ghost story exploring her relationship with the poet — for Swan River Press’s anthology The Far Tower: Stories for W. B. Yeats (2019). But I first discovered Ethel Mannin years ago, when I was a teenaged history obsessive with a special interest in labour and radical history. The figure of Mannin’s comrade “Red” Emma Goldman, described by FBI director J. Edgar Hoover as the “most dangerous woman in America”, held a powerful fascination for me. In the course of my reading I came across a vivid description of Goldman giving a speech, which was an extract from Mannin’s historical novel Red Rose (1941). This brought me to my local library looking for Mannin’s work.

Ethel Mannin
Ethel Mannin (1930) by Paul Tanqueray

While I couldn’t find Red Rose or anything about Mannin’s political activities, I did discover old editions of Venetian Blinds (1933) and Lucifer and the Child, which was first published in 1945. Venetian Blinds is a realist novel about the price paid for upward mobility, starting with the excitement of market day on Battersea’s Lavender Hill and ending with loneliness in the suburbs. It reminded me of early George Orwell novels such as A Clergyman’s Daughter (1935) and Keep the Aspidistra Flying (1936), which were also about crossing class lines — albeit in the opposite direction.

After the relatively straightforward social narrative of Venetian Blinds, the ambiguous supernaturalism of Lucifer and the Child was a surprise. It is a story of witchcraft — or is it? I already had an interest in supernatural fiction but did not expect to find it in this context. Set mainly in the crowded streets of 1930s East London, the story begins when young Jenny Flower strays from a school outing in the countryside where she encounters a Dark Stranger. He could be Lucifer, or he could simply be a very imaginative and charismatic sailor.

In a passage reminiscent of Arthur Machen’s “The Great God Pan” (1894) Mannin portrays the wonder and absolute awe of a city child encountering the forest for the first time: “Sometimes there were breaks in the bird-song and then everything was very still, as though every leaf of all the millions was holding its breath and waiting, and you also waited and listened and heard your own heart beating.”

While observing a dragon-fly Jenny discovers that she is not alone. A Dark Stranger has also been watching; he steadies her as she reels in surprise at its take-off. All adults had been the enemy to her but this one is “the bringer of new things”. For the first time, she sees a life beyond her council estate, her school, and a family that does not know what to make of her. A new world opens up, one where she potentially wields power. Jenny is ushered into the “Goetic life”, a process that evokes another noted work by Machen: “The White People” (1904) in which a curious girl is initiated by her nurse into dark ceremonies and the “most secret secrets” of the countryside.

1945-09-02 Observer Ad1945-09-02 Observer Ad1945-09-02 Observer AdSimilarly, the Dark Stranger introduces Jenny to fairy rings in the grass and tells her how the Little People made them by dancing in the moonlight. He shows her a big yellow toad under a boulder. He reveals deadly nightshade, witches’ bane, hemlock, poisonous mushrooms. He spins her tales of tree-witches and wood-spirits, nymphs and dryads, fauns and satyrs. She also comes to learn that she might be descended from two sisters burned at the stake many centuries ago.

Jenny is a solitary child who joins in the noisy games of the other children but does not have any true friends among them. She would rather spend time with Old Mother Beadle in Ropewalk Alley. Regarded as a witch by the local children, Mrs. Beadle supplements her pension by telling fortunes and selling concoctions of herbs to induce abortions. And in this capacity, she also guides Jenny into a world of magic.

Meanwhile, Jenny’s family views Mrs. Beadle as a bad influence. So too does Marian Drew, a teacher who takes an interest in her pupil and aims to “save” her from a descent into the irrational and ultimately evil “Goetic life”. Though Marian is a vicar’s daughter she’s not entirely straitlaced. She holds progressive notions of educational freedom and creativity, perhaps reflective of Mannin’s interest in the Summerhill school of A. S. Neil, who advocated a libertarian education system in contrast to the more rigid teaching of the time.

Marian and the Dark Stranger form a relationship characterised by sharp physical attraction and equally intense debate. He asks Marian: “Do you really know where reality ends and fantasy begins? Are you quite sure that the images of your mind have no reality?” Indeed, themes regarding the transcendent and the commonplace run throughout the novel, and at one point he says to Marian: “Another drink and you may begin to understand that the supernatural is merely the natural plus.”

Lucifer and the Child is the only full-length work of speculative fiction from Mannin, who usually described herself as an atheist and rationalist. However, she was also a journalist, a seeker of curiosities and always keen to investigate. In one of her many volumes of autobiography, Privileged Spectator (1939), Mannin recollects a visit to a swami that Yeats admired. “For my part I was willing to try at least once my vibrations on a higher plane.” She gives a scathing account of her meeting with a well-fed, well-dressed individual expounding on the virtues of poverty. She had little time for mysticism or the pomp that often surrounded it.

Jarrolds 1946
First Edition, Jarrolds (1946)

Yet a powerful charge of the numinous and strange runs through Lucifer and the Child, despite its realism — or possibly because of it. Like Machen, Mannin also takes inspiration from London itself as well as the natural world. “Its interminable greyness and its high dockyard walls can make it as oppressive as a prison, but it has its moments — the occasional crumbling grace of a Georgian doorway, the sudden impression of a ship crossing the road as it moves into a basin, the unexpectedness of a lamp bracket jutting from a wall, of a capstan marooned in an alleyway, of funnels thrusting up at the ends of streets, and always the smell of the river with its faint, fugitive hint of the sea.”

Within this evocative cityscape we find a toad that is “strange and unknowable, like the moon” and step into Mrs. Beadle’s house: “Ordinariness stopped outside. The dilapidated door opened on to a new world. The world to which she belonged.” And in one of his arguments with Marian, the Dark Stranger suggests how the “spirit of the past” haunts people and places; a kind of spiritualism without the supernatural that would now strike a chord with modern psychogeographers.

The novel even touches on cosmic horror: “Enchantment was for her the deep forest through which she moved with deadly nightshade in her hand and an adder at her foot; it was her head upon the shoulder of the Dark Stranger, and starless night and the hunting cry of the owl; it was earth-light on the moon and no shade from the sun, and no living thing in the desolate volcanic wastes, and loneliness unutterable, the loneliness of space and dead worlds and infinity.”

Arrow Books 1964a
Arrow paperback (1964)

Meanwhile, a dry humour underlies much of the narrative. For example, Marian’s thoughts about two do-gooding colleagues: “She reached the point at which she felt that if either of them referred once more to ‘the paw’, when speaking of the working classes, she would scream . . . ” I also chuckled when reading about the pious antics of local “cadets” joined by Jenny’s brother Les, who dedicates himself to marching and playing trumpet with them. “At the hall the cadets learned ‘First Aid’ and ‘Signalling’; they also did ‘physical jerks’, and took turns on the parallel bars and the ropes. Before they left, Mr. Wilson, their group-captain, a pale young man who was the Sunday-school superintendent, gave them a little talk on manliness and uprightness, clean thoughts and tongues, and the avoidance of something vaguely referred to as ‘bad habits’, and then they marched home again.” Such light-hearted observations grow darker as in the story’s background fascism continues to rise and conflict engulfs the world in the “sinister year 1936, with the dress-rehearsal for the coming world-war taking place in Spain”.

Mannin had been active in groups such as Workers Relief for the Victims of German Fascism and the Spanish Medical Aid Society. Looking back from the mid-1940s — she finished writing Lucifer and the Child in 1944 — 1936 indeed must have seemed an ominous turning point. And though the novel is rooted in the everyday lives of its characters, Mannin shows us that world events are never far away. She makes this connection explicit when Marian tells the cadet captain that she disapproves of “encouraging militarism” and boys “playing at soldiers” instead of creatively expressing themselves as individuals. Marian warns: “It’s only a few steps further on in this direction before they’re wearing jackboots — actually and spiritually!”

Priviledged Spectator 1938b
Privileged Spectator frontispiece (1938) by Paul Tanqueray

Mannin was a contradictory woman shaped by contradictory times, a prolific writer who produced an odd and imaginative book so unlike her others. Lucifer and the Child remains a rich portrayal of inter-war London and an engaging story of a girl who sought to escape it through myth and magic. And at the end of the book, the reader is left with another question: is the Dark Stranger really so “dark” after all? Or is he instead the “bringer of light”, a source of new things and knowledge in a world beset by evil far greater than any mischief wrought by a mythological fellow with horns? In effect, Lucifer and the Child is a story about the desire for a different life than the one we’re allotted and the extraordinary measures some may take to move beyond it.

“There is never any name for the impact of strangeness on the commonplace, that je ne sais quoi that ripples the surface of everydayness and sets up unaccountable disturbances in the imagination and the blood,” Mannin writes. With this sensibility Lucifer and the Child will at last be recognised as a classic of strange fiction and a work to be enjoyed by contemporary lovers of the genre.

Rosanne Rabinowitz
March 2020

Buy a copy of Lucifer and the Child.


Rosanne Rabinowitz lives in South London, an area that Arthur Machen once described as “shapeless, unmeaning, dreary, dismal beyond words”. In this most unshapen place she engages in a variety of occupations including care work and freelance editing. Her novella Helen’s Story was shortlisted for the 2013 Shirley Jackson Award and her first collection of short fiction, Resonance & Revolt, was published by Eibonvale Press in 2018. She spends a lot of time drinking coffee — sometimes whisky — and listening to loud music while looking out of her tenth-floor window. rosannerabinowitz.wordpress.com

Merely the Natural Plus: Lucifer and the Child

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