The Green Book 11

Green Book 11EDITOR’S NOTE by Brian J. Showers

Our previous issue saw a fabulous array of reminiscences of Lord Dunsany — and also some contemporary assessments of his works — written by his Irish colleagues, including Yeats, Bowen, Gogarty, Tynan, A.E., and others. Issue 10 was fascinating to assemble and the process gave me a better understanding of and more insight into Dunsany’s literary standing in Ireland during his lifetime. If you’ve not yet had a look at our Dunsany issue, and you are in any way interested in this important author, I urge you to track down a copy.

The focus on Dunsany’s contemporaries in Issue 10 was an approach that evolved during research and production. However, during that time I also received a handful of modern appraisals of Dunsany and his work that I simply couldn’t fit into that issue. That’s why I’d like to start this instalment with just a bit more Dunsany.

First up we have Dunsany bibliographer Darrell Schweitzer’s career-spanning survey of the fantasist’s considerable body of work — where a new reader could start, what aficionados might have overlooked, and which titles can, perhaps, be left until later. Next, Martin Andersson, co-editor of the posthumous Dunsany collection The Ghost in the Corner (also reviewed in this issue), explores a lesser-known episode in Dunsany’s life: his Nobel Prize nomination. Finally, novelist Mike Carey offers an appreciation of Fifty-One Tales (1915), a collection not as widely celebrated as Dunsany’s other titles, but maybe one that should be given another read.

The remainder of this issue sees The Green Book in a little bit of a transition.

I’ve long had a penchant for bibliographies, indices, literary guides and encyclopaedias: I frequently take down from the shelf E. F. Bleiler’s Supernatural Fiction Writers (1983), wander the pages of Jack Sullivan’s Penguin Encyclopedia of Horror and the Supernatural (1986), and of course Neil Wilson’s Shadows in the Attic (2000) can keep me captivated for hours. I could go on . . .

Last year I commissioned a series of short articles for a book tentatively entitled A Guide to Irish Writers of Gothic, Supernatural and Fantastic Fiction. Over the past twelve months, Jim Rockhill and I have been working with a range of literary scholars, each exploring an Irish author that has in some way contributed to the broader literature of the fantastic. The results have been nothing short of captivating.

Therefore, in addition to the usual essays and reviews, I’d like to present, for the remainder of this issue, a selection of eight entries—some names you will recognise, others won’t be as familiar — but I do hope you’ll discover new writing to explore.

You can buy The Green Book 11 here.

Contents

“Editor’s Note”
Brian J. Showers

“How Much of Dunsany Is Worth Reading?”
Darrell Schweitzer

“Lord Dunsany and the Nobel Prize”
Martin Andersson

“Appreciating Fifty-One Tales
Mike Carey

“Regina Maria Roche (1764-1845)”
Albert Power

“B. M. Croker (1848-1920)”
Richard Dalby

“Edmund Downey (1856-1937)”
Gavin Selerie

“Conall Cearnach (1876-1929)”
Reggie Chamberlain-King

“C. S. Lewis (1898-1963)”
Reggie Oliver

“Denis Johnston (1901-1984)”
Reggie Chamberlain-King

“Louis MacNeice (1907-1963)”
Reggie Chamberlain-King

“Conor McPherson (1971- )”
David Longhorn

“Reviews”
Bram Stoker’s Powers of Darkness (Albert Power)
Lord Dunsany’s The Ghost in the Corner (Jay Sturner)

“Notes on Contributors”

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The Green Book 11

Bram Stoker (1847-1912)

5 Stoker“How blessed are some people, whose lives have no fears, no dreads; to whom sleep is a blessing that comes nightly, and brings nothing but sweet dreams.”   – Dracula (1897)

Bram Stoker (1847-1912) was born in Clontarf, Dublin, and educated at Trinity College. As a young man he worked as a civil servant at Dublin Castle, and as an unpaid theatre critic for local newspapers. He is best known today for his classic horror novel Dracula (1897), but during his lifetime he was known as the personal assistant of actor Henry Irving, and business manager of Irving’s Lyceum Theatre in London. Other notable works include The Jewel of Seven Stars (1903), Personal Reminiscences of Henry Irving (1906), The Lair of the White Worm (1911), and the posthumously published collections Dracula’s Guest and Other Weird Stories (1914) and Old Hoggen and Other Adventures (2017).

13e09088602f1915cef60bed8012b2e9Novels and Collections

The Snake’s Pass (1890)

Dracula (1897)

The Jewel of Seven Stars (1903)

The Lady of the Shroud (1909)

Lair of the White Worm (1911)

Dracula’s Guest and Other Weird Stories (1914)

Old Hoggen and Other Adventures (2017)

Short Stories

“The Judge’s House” (1891)

“Old Hoggen: A Mystery” (1893)

“Burial of the Rats” (1896)

“Dracula’s Guest” (1914)

Find out more about Irish Writers of the Fantastic.


Old HoggenSwan River Press has a number of Bram Stoker publications available, including the limited edition Old Hoggen and Other Adventures, which collects numerous rare and hitherto uncollected stories by the master of the macabre.

We also have three issues of The Green Book that feature Stoker material, including John Edgar Browning’s interview with Stoker’s most recent biographer, David J. Skal, Elizabeth Miller’s fascinating “Shape-shifting Dracula: The Abridged Edition of 1901″, and Carol A. Senf’s essay on The Snake’s Pass and Lady Athlyne.

Finally, there’s our Bram Stoker Series of hand-sewn booklets. The Stoker Series was originally published from 2009 to 2011. We launched the series as a means to investigate some of the more obscure but no less interesting corners of Bram Stoker’s life and literature. The sort of fragments that might otherwise not find their way into publication.

Bram Stoker (1847-1912)

Preface to Bram Stoker’s Old Hoggen

Old HoggenTwo years after his death, the estate of Bram Stoker issued a posthumous collection of short stories by the late author. Published by George Routledge & Sons, Ltd. in April of 1914, Dracula’s Guest and Other Weird Stories is now a frequently reprinted horror collection, a fine showcase of Stoker’s most macabre, grotesque, and sometimes darkly humorous fictions. He included stories previously published in English and American periodicals, many of them now considered classics of the genre, such as “The Judge’s House”, “Burial of the Rats”, and “The Squaw”. With the exception of “The Gipsey Prophecy”, these stories first saw print in the 1890s — although exactly when they had originally been written is still a mystery even to the most ardent Stoker bibliographer.

Despite the collection’s impressive crop of tales, what really entices readers to its pages is undoubtedly the title story. That was probably the intention too. “Dracula’s Guest” is cannily sequenced as the lead story, giving the collection both its title and allure. In her brief preface to the volume, Stoker’s widow Florence notes that she herself had added to the contents this “hitherto unpublished episode from Dracula [ . . . ] originally excised owing to the length of the book”. She most certainly did this with some sense of business acumen. In some ways, “Dracula’s Guest” served as a sort of informal sequel to Dracula, and Florence Stoker was certainly correct to surmise that this addition “may prove of interest to the many readers of what is considered my husband’s most remarkable work.”

DraculasGuest“Dracula’s Guest”, atmospheric and other-worldly in execution, has caused over a century of head scratching in Stoker scholarship circles: How exactly does this excised episode fit into Dracula? What accounts for the inconsistencies between the story and the novel? Did a ghost writer contribute to “Dracula’s Guest” in whole or in part? These questions have been explored sufficiently elsewhere, and there is little point in discussing them again here.

Florence, however, did raise another mystery in her preface, a question not as frequently pondered, but no less provocative: “A few months before the lamented death of my husband — I might say even as the shadow of death was over him — he planned three series of short stories for publication, and the present volume is one of them.” If Dracula’s Guest was the first of three collections, then what were the other two?

Within the past decade, a number of hitherto unknown writings by Stoker have been discovered in British, American, Australian, and Irish periodicals, adding profoundly to the scholarship of the previous century. These discoveries include short stories, interviews, articles, essays, sketches, and poems; some have appeared in disparate Stoker-related publications over the past decades, others remain obscure.

Though usually identified with his seminal horror novel Dracula, Stoker was far from confined to just the horror genre. If one looks at this expanded list of Stoker’s uncollected stories — those not included in Under the Sunset (1881), Snowbound (1908), or Dracula’s Guest (1914) — certain themes begin to emerge. Whereas Dracula’s Guest collects Stoker’s “weird stories”, the uncollected tales can loosely be categorised as tales of romance or tales of adventure. The stories we have gathered for the present volume fall distinctly into the latter group, though as with much of what Stoker wrote, touches of the macabre, grotesque, romantic, and darkly humorous are still to be found throughout.

Jacket PortraitWhile I would not presume to claim that Old Hoggen and Other Adventures is a long-lost classic by Bram Stoker, I do hope that it stands as a tantalising possibility, one of the other two collections Stoker was planning in his final years. Rather, the book you now hold in your hands I hope will be read as the collection that might have been.

Had Bram Stoker lived longer, he might have selected and edited these works differently. But, as fate has entrusted to us their issuance, I hope that it is fitting and proper to let these adventures go forth as Stoker had left them, and for the enjoyment of a new generation of readers.


A hardback, limited edition of Bram Stoker’s Old Hoggen and Other Adventures is available to order from Swan River Press. With a cover by Jason Zerrillo and an Introduction by John Edgar Browning and Brian J. Showers. Order a copy here.

Preface to Bram Stoker’s Old Hoggen

Irish Writers of the Fantastic

2017-08-05-Irish-Writers-PoA good while back I posted the image of a poster designed by myself and long-time Swan River conspirator Jason Zerrillo. It features a line-up of Ireland’s most recognisable and possibly most influential writers of fantastic literature. I explained the impetus for the poster’s creation in an earlier post.

While I’m pleased with the results, it was not easy choosing who to include and who to leave off. Much as I wanted to indulge in the most obscure and overlooked (Oliver Sherry, anyone?), there is also merit in showcasing the luminaries: a reminder of this island’s contributions to worlds of unbridled imagination.

Ultimately, this poster is meant as a gateway for exploration. So you can imagine my delight when Alison Lyons of Dublin City Libraries and Dublin UNESCO City of Literature agreed to produce copies of the poster to distribute for free around Dublin this autumn. The goal had always been to make this poster available to libraries, schools, bookshops, to anywhere that loves to promote good literature, and to anyone who loves to read it.

To augment this poster, I also wrote a series of capsule biographies and recommended reading for each authors. You can find it over on the Dublin City of Literature website.

And so how do you get a copy of the poster? Easy! Go into any Dublin City Library branch and ask! Better yet, have a browse around for these authors’ books. Librarians will be happy to help!

Irish Writers of the Fantastic

Happy Birthday, Mr. Stoker!

11011020_1328033650556286_727792310309265260_nToday is 8 November 2015Bram Stoker’s 168th birth anniversary. To celebrate both his birthday and the launch of the Bram Stoker Bronze Bust Project, we are selling today only for a special price our Complete Bram Stoker Series. That’s all seven hand-sewn booklets for €30.00. (The booklets normally sell for €10.00 each. You can do the math, I’m sure.)

If you’re itching already, you can click here to buy it. Otherwise read on.

The Stoker Series was originally published from 2009 to 2011. We launched the series as a means to investigate some of the more obscure but no less interesting corners of Bram Stoker’s life and literature. The sort of fragments that might otherwise not find their way into publication.

The first booklet is a brief history of Dublin’s Bram Stoker Society, founded by Leslie Shepard in 1980. Among other accomplishments, the Stoker Society paved the way for the installation of the memorial plaque that can still be seen on Kildare Street to this day.

IMG_0008The second booklet, Four Romances by Mr. Bram Stoker, features a quartet of previously uncollected short stories. Don’t be put off by the titlesome of the “romances” are quite startling. The booklet is introduced by Stoker biographer Paul Murray, and features illustrations from the stories’ original magazine appearances.

The third booklet, fully illustrated with first edition book covers and newspaper reviews, is Stoker’s Other Gothics. As the subtitle “Contemporary Reviews” suggests, scholar Carol A. Senf looks at how Stoker’s other Gothic novels (the not-Dracula-ones) were received by the public when they were first published: Lair of the White Worm, Lady of the Shroud, Under the Sunset, etc. The booklet also reproduces the rarely seen dust jacket for The Jewel of Seven Stars.

Booklet the fourth was edited by world-renowned Stoker scholar Elizabeth Miller, who chose extracts from Stoker’s Reminiscences of Henry Irving, in which Stoker details his encounters with luminaries of the day including Ellen Terry, Tennyson, Richard Burton, Buffalo Bill, Franz Liszt, and Walt Whitman. There’s a rare photograph of Stoker in this one too, on board a transatlantic ship. And I think he’s wearing a flat cap.

The fifth booklet is not unlike the secondit features contemporary reviews, only this time you get your Dracula fix. With an introduction by Leah Moore and John Reppion (who wrote a fantastic Dracula adaptation for Dynamite Comics), this booklet aims to explore the myth that Dracula was ill-received on first publication. As with Bram Stoker’s Other Gothics, it features first edition cover reproductions.

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The sixth booklet, To My Dear Friend Hommy-Beg, was edited by legendary anthologist Richard Dalby, and explores the friendship between Stoker and novelist Hall Caineyou’ll recall that Stoker famously dedicated Dracula to Caine. This booklet features reproductions of inscriptions from Stoker to Caine, including a facsimile reproduction of the inscription Stoker wrote in Caine’s own copy of Dracula. The series is worth it for that alone.

The final booklet is another dream come true. For this one we worked with Hellboy scribe and artist Mike Mignola on a definitive edition of Stoker’s haunted house story “The Judge’s House”. Mike not only wrote an introduction to the volume, but also provided an original illustration. How cool is that?

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We’re quite proud of the Bram Stoker Series and hope you’ll take advantage of the special price we’re offering on Stoker’s birthday. The goal of the series was (and remains) to get people to explore Bram Stoker’s life and works in a broader context. We hope we’ve achieved that with these publications.

Oh, and the first ten orders will also receive a special bonus gift (I’ll let you know what that is when you order). Click here to order. And if you’re looking for another unique Stoker item, we’ve also reprinted a newly discovered ghost story by Stoker in issue six of The Green Book. You can order a copy of that here. It’s pretty cool cause it’s not been reprinted since 1873.

And if nothing else, we hope tonight you’ll pull your old copy of Dracula down from the shelf and raise a glass to the memory of Mr. Stoker!

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Happy Birthday, Mr. Stoker!

Irish Writers of the Fantastic

Final

I’m sure you’ve seen the ubiquitous “Irish Writers” poster around Dublin. It depicts the usual suspects: Wilde, Yeats, Joyce, Beckett, et cetera. A while back the Irish Times published a reply to that poster, again entitled “Irish Writers”, but this time featuring only women (as the original featured only men). You can view both posters here.

Despite the strengths of these two posters, I felt there were still a few conspicuously absent faces.

As Swan River Press is Ireland’s only publishing house dedicated to what might broadly be termed “literature of the fantastic”, I felt it up to us to submit our own entry into the cavalcade of Irish literary posters.

As our treat to you this Halloween, I’d like to present Irish Writers of the Fantastic.

The poster was designed to give an overview of these worthy and often overlooked Irish authors. Some you will recognise, others you will not. Some, such as Bram Stoker and Lord Dunsany, have had a profound impact on international literature. Others, like Fitz-James O’Brien and Dorothy Macardle, will be more obscure. But each one is worth discovering or revisiting this Halloween season.

Ultimately I hope you will find something of interest among them. There are both men and women included in our poster. Writers who are world renowned and those who are less well known. There’s horror, fantasy, science fiction, supernatural, satire . . . You’ll find here writers from both the Republic and Northern Ireland, and their contributions to literature span the better part of two centuries.

However, as is the nature of lists, I hope you will disagree with this one. With any luck, you’ll be only too eager to point out someone that deserves to be included, but was not. And I hope you do. And when you do in the comments below, tell us why you think they should be included (and might they bump someone off the list?) Don’t grunt, elucidate! That second part is the most important bit. Because, above all, this poster is meant to get people talking about these writers . . . and then running to the nearest bookshop or library to read their works. In the meantime, Swan River Press will continue to lead the way in their rediscovery.

Anyone with a further interest in Ireland’s contributions to the genre might want to check out our twice-yearly journal The Green Book, which features commentaries, articles, and reviews on Irish gothic, supernatural, and fantastic literature. Until then . . .

Happy Halloween from the Swan River Press!


Some Reading Suggestions from Swan River Press

large_reminiscences1large_gb1Insect Literature

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Irish Writers of the Fantastic

Sorry, lads! Dracula’s Not Irish . . .

11870726_1169355833079619_2823073069956155397_nA few doors down from where I work is a boarding house in which Bram Stoker once lodged for a few months before permanently relocating to London, where he would work for much the rest of his life for the celebrated actor Sir Henry Irving. Other than that, the house is notable as being the only building in Dublin with a plaque on it dedicated to Stoker—and, by the way, some think it might not even be the correct building. But that’s a rant for another day.

Anyway, numerous times per day, tour guides passing on buses proclaim from their crackling loudspeakers that Stoker got the name “Dracula” from the Irish phrase “droch fhola“, meaning “bad blood”. Unfortunately this is complete rubbish and little more than a coincidental homophone. A nice one, I’ll admit that, but . . .

draculabritishfirstissuefirstedition-e4ecce78I usually hear the false “droch fhola” claim repeated in locally-produced documentaries or in pamphlets focused on labouring the well-established biographical fact of Stoker’s Irish origin. I’m guessing this is probably a vain attempt to hitch (and therefore legitimise?) Stoker’s best-known novel to the national identity—as if Stoker simply being a Dubliner isn’t enough, he needs to have written a thoroughly Irish novel, apparently. (By the way, if you’re looking for an Irish novel by Stoker, check out his first book The Snake’s Pass published in 1890. It’s a cracking read!)

As a rule of thumb, however, beware anyone who tells you they know what Dracula is really about. That it is, for example, a veiled commentary on the nineteenth-century Irish absentee landlord system. It’s a fair reading of the novel, sure, but that’s different from declaring such an interpretation as Stoker’s own clever and intentional encoding.

I’d also discard immediately any genealogist who makes the claim that Dracula was inspired by Stoker’s distant relative, the sixteenth-century Irish lord Manus “the Magnificent” O’Donnell. While I won’t dispute that Stoker and O’Donnell share DNA—many of us on the island probably do anyway, not to mention said genealogist also certified Barack Obama as Irish—but I do have a problem with someone making the further claim that this, of course, must then be the true inspiration for Dracula. Notice a trend here? (Cue Carly Simon: ” . . . you probably think this song is about you.”)

Stoker_Dracula_Notes_PersonalFor all of the confusion and misinformation that obscures Stoker’s novel like a thick Victorian fog, there is one primary resource we do have that’s really quite amazing: Bram Stoker’s own working notes for Dracula. The notes were published in a beautiful facsimile edition with transcriptions and annotations by Robert Eighteen-Bisang and Elizabeth Miller. Dr. Miller, by the way, also wrote a book called Dracula: Sense & Nonsense. She wrote it to dispel the enormous mountains of bullshit and fabricated mythologies that have accumulated over the decades and now obstruct the popular perception of the original novel. Crab-induced nightmares, anyone?

But let’s get back to this “droch fhola” bullshit and Stoker’s working notes for Dracula. It’s a fascinating collection of documents and if you’re at all interested in Stoker you might want to have a look at it. Among the extensive notes, Stoker tells us exactly where he got the name “Dracula”. And it’s got nothing to do with Ireland at all. Sorry, lads! Here, have a look for yourself:

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I’d say Stoker’s own notes are a lot more convincing than all that wishful speculation and naval-gazing, don’t you? And just for good measure, here’s the page from Wilkinson’s Principalities of Wallachia and Moldovia (courtesy of the John Moore Collection) that Stoker is referring to in the above note. It’s even the very same edition he would have looked at in the Whitby Library in August 1890 :

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If you’re really interested in Stoker and Dracula, here’s a core list of books I’d suggest you read. The first one might seem a little obvious to state, but when I first read Dr. Miller’s Sense & Nonsense, I noted how many times she upended a spurious assertion simply by quoting directly from the novel. So, first up:

  • Dracula by Bram Stoker. Archibald Constable, 1897.

Next we have some immediate works about Dracula. Anyone serious about investigating the novel needs to borrow these from the library:

  • Bram Stoker’s Notes for Dracula. Annotated and transcribed by Robert Eighteen-Bisang and Elizabeth Miller. McFarland & Co., 2008.
  • Bram Stoker’s Dracula: A Critical Feast [a collection of contemporary reviews] edited by John Edgar Browning. Acryphile Press, 2012.
  • Dracula: Sense & Nonsense by Elizabeth Miller. Desert Island, 2000 (rev. 2006).

These next two are vitally important because they’re the main documents where Stoker gives us any real personal insight, and even then there’s not much:

  • The Lost Journal of Bram Stoker: The Dublin Years. Edited by Elizabeth Miller and Dacre Stoker. Biteback Publishing, 2013.
  • Personal Reminiscences of Henry Irving by Bram Stoker. William Heinemann, 1906.

And see, that’s the main problem. Stoker never really wrote that much about himself. Most of what we know about Stoker is inferred from other sources. That’s why making claims about Stoker’s “true” intentions is problematic. As for biographies, until David J. Skal’s Something in the Blood: The Untold Story of Bram Stoker comes out later next year, I will refer you to:

  • From the Shadow of Dracula: A Life of Bram Stoker by Paul Murry. Jonathan Cape, 2004.
  • “Mr. Stoker’s Holiday” by Christopher Frayling in Bram Stoker: Centenary Essays edited by Jarlath Killeen. Four Courts Press, 2014. [A dazzling investigation of Stoker’s time in Whitby.]

On the other hand, if you’ve got access to some primary source of information that indicates Stoker was familiar with the phrase “droch fhola“, or even that he knew some Irish, you really ought to share it with the rest of usbecause it would be a major literary discovery.

Next week, we’ll be discussing whether or not the mummies of St. Michan’s church were the inspiration for Draculaand the further assertion that the young Stoker used to play amongst the tombstones there as a child. How a child who was an invalid until the age of seven could play in a churchyard is beyond meand why his mother allowed the fragile boy to travel to the other side of Dublin, when there were perfectly good churchyards much closer to the house, is probably a matter for the Department of Child Welfare and Protection. One might as well head to Transylvania on an expedition for the “real” Castle Dracula. (Hint: try the first four chapters instead.)

Until then, class dismissed!


For those with a further interest in Bram Stoker, Swan River Press has recently published a hitherto unknown ghost story by Stoker. It appears in print for the first time since its original publication in 1873 in issue six of our flagship journal The Green Book. You can order a copy here.

Green Book 6

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Sorry, lads! Dracula’s Not Irish . . .