Carnforth: Bookish Encounters

The railway town of Carnforth, Lancashire celebrates its association with Brief Encounter directed by David Lean (1945): key scenes were filmed at the station here, which now has a tea room of that name. During wartime, the town was thought a safer location for filming than the Home Counties, where the story is actually set. The station is on the little-known Lune Valley line from Skipton to Lancaster and beyond that to the seaside resort of Morecambe, and passes through lonely, dreaming country of green hills and woodland and old stone villages and manors.  

But Carnforth also has another attraction, a large second-hand bookshop which bears the painted announcement that it has 100,000 books. I have been calling there for many years. Originally it had three rooms of vintage hardback fiction, row upon row of forgotten authors. It was here, for example, that I found the unusual World War Two novel House in the Country by Jocelyn Playfair, later reprinted at my suggestion by Persephone Books: here too were a number of Ronald Fraser books, when I began collecting them. They were all very reasonably priced too. I also once found here a rare and strange slim volume, Mayvale (1915) by H.E. Clifton and James Wood, notable for a preface by Wyndham Lewis.

Alas, old hardbacks now only occupy half a room, but there are still odd finds to be made, and there are good selections in other fields. Usually I manage to turn up unexpected titles, such as on one occasion Sherard Vines’ Green to Amber. He is an interesting character known, if at all, for his fantasy Return, Belphegor!, a satire about a demon sent to stir things up on Earth in the contemporary Thirties, which incidentally involves the Holy Grail. The novel I found is not a fantasy but has satirical aspects, so I thought it might be worth a look. There was also on that visit a rather louche novel by Richard Aldington, two Bertie Wooster paperbacks, an Evangeline Walton fantasy, and a book on Rockall, the island out in the Atlantic best known for giving its name to a zone in the Shipping Forecast. In the late Fifties, the Royal Navy landed and stuck a flag on this remote outcrop to claim it for Britain, and this book recounts the expedition and the history of previous sightings of the island.

At a later visit, after some steady, thorough searching, I had three worthwhile finds here. One was a thriller, Highly Unsafe (1936), in the Buchan style by Max Saltmarsh, who was actually Marian Winifred Saltmarsh, nee Maxwell (1893-1975), the author of just four such thrillers in the Thirties, and then apparently nothing else. Another was a quite scarce vintage crime novel, The Red Dwarf (1928) by Molly Thynne, a writer who has recently been rediscovered by crime buffs, and who sometimes uses folklore and the macabre in her work. The third was a signed copy of The Mocking Star (1931) by Michael Maurice, a Cambridge author of quite strange books I had been researching.

It was on one hot summer’s day that I also found here The Serpent and the Butterfly by Sue Mallinson, a heady 1980 occult thriller that I had never heard of when I chanced upon it, but something of the sultry intensity of the weather seemed to radiate from the book too. A young woman who has been a lifestyle journalist has saved up enough to take a year off and rents a cottage in the West Country: “On her first evening, she and her gypsy dog Imp go for a walk on the moors and are drawn towards a giant Menhir, upon whose face is the ancient carving of a Serpent. The great stone gives Lisa an uneasy feeling and inexplicably she shudders. Just then a butterfly lands upon a small pebble at her feet which takes on a strange, purplish glow." 

Soon she sees signs of a living pagan worship still in play and finds it disturbing and yet alluring. She befriends a young man who is a local bookseller, though he doesn’t seem to spend much time actually in his bookshop:  some rueful browsers might regard this as accurately observed realism. Together they explore ancient sacred sites and stumble upon more signs of something going on.

The book is very much of its time, a curious blend of Dennis Wheatley shockery and the period’s strong interest in ancient mysteries and ancient monuments. On the face of it, the plot follows the traditional lines of many occult thrillers, now seen as ‘folk horror’, where a cosmopolitan city-dweller encounters primitive rustic rituals: however, it goes some way beyond that into wider dimensions. The author’s preface says it was inspired by Castaneda, but also by her researches in mythology, magic and mystery. The novel describes and quotes enthusiastically from a noted ancient mysteries book of the period, Atlantean Traditions in Ancient Britain (1977) by the Glastonbury mage Anthony Roberts.

According to a brief note by David Langford at the SF Encylopedia, this is Sue Mallinson’s only published novel: a sequel, Atlantis Reborn, remains unpublished. There seems to be no information whatever about her to be found, nor did Mr Langford, when I asked him, have any more to offer. Unfortunately, it seems to be quite scarce. But now that there is a revived interest in Nineteen Seventies culture, particularly in the field of the fantastic and uncanny, it seems to me that the book would be greatly enjoyed by a new readership if reprinted.

(Mark Valentine) 

Ritual & Chivalry: Peter Vansittart's 'The Lost Lands'

  

 In a copy of Peter Vansittart’s The Lost Lands (1964), loosely enclosed, there is a letter from the historian Peter Green:

 “I read you novel in TS [typescript] before I left the Bodley Head, & did an immensely enthusiastic report on it, entre nous: but seriously, an extraordinary tour-de-force I think, & the atmosphere of decaying, plague-ridden, obsolescent ritual & chivalry as good as anything Charles Williams ever did—flavour rather the same too.” (Peter Green, letter to Peter Vansittart, 29^th December 1957, from Lyn Cottage, Harlton, Nr Cambridge).

Green was himself a historical novelist, of the classical period, the author of Achilles His Armour (1955) and The Sword of Pleasure (1957), and was also a leading biographer of Kenneth Grahame.

Williams did not write historical novels, but most of his plays are historical. Green may have had these in mind as to theme, and the novels as to atmosphere. It is an unusual perspective, but I think I can sense what he means, and it is an approach worth further exploration. I don’t think I asked Peter in our several meetings whether he had read Williams, but I think it likely he might at least have read the Grail novel War in Heaven, since he also wrote on Arthurian themes and was knowledgeable of the earlier fiction in this field. Charles Williams, of course, intentionally wrote fiction in the thriller form, inspired by Sax Rohmer, whereas Vansittart’s novels could not be further from this style.

The Lost Lands was the first book by Peter Vansittart I discovered, in Northampton public library, and I was entranced. I had never read anything remotely like it. I found it glimmering with precise, iridescent detail, and also oblique in technique and frankly sometimes baffling, in the sense that I did not quite know what was going on. The reader has to infer a lot, but I did not mind that. It was because of this find that I looked out for the author’s other books and eventually wrote to him, and then wrote about his work in several essays.

The publisher lauds Vansittart’s “uncanny ability to recreate not only the external features of periods remote from us in time, but their intellectual and emotional climates as well.” His success as a historical novelist was that he did not depict ‘ourselves in fancy dress’, but imagined deeply how people of the time would think, and what myths, beliefs, superstitions and rumours shaped their lives. This was his third major historical novel, starting with The Tournament (1961), which won high critical acclaim and became a sort of signature novel of his, and followed by The Friends of God (1963).

The Lost Lands is set in a 13^th century province in the marcher land between France, Burgundy and what is left of the Holy Roman Empire. Here, the Count must preserve the independence of his land in uneasy balance with these powers, the Bishop, the Dominicans and their Inquisition, and the increasingly powerful Knights Templar. The conventional faith operates alongside popular folklore, irrational, primitive, often brutal, obsessed by ritual, still semi-pagan. And some aristocrats, courtiers and scholars are drawn to a clandestine dualist faith, perhaps of Persian origin, which sees the world governed by two equal competing divine powers, neither necessarily all good or all evil. It seems to them a truer explanation of their everyday experience, in a time of war, plague, cruelty and corruption.

The novel includes richly detailed chapters on the rituals and mysticism of the Templars. While it is also clear-eyed about their ruthlessness and lust for power, Vansittart is adept at imagining the inner world of a Templar Grand Prior influenced by faiths encountered in the Crusades: Gnostic, Neoplatonist, Ishmaelite and Kabbalistic. 

There is a sort of psychic lineage here with the 20^th century dark magicians, occultists and visionaries in Charles Williams’ metaphysical thrillers, who invoke esoteric symbolic systems such as the Grail mythos, the Tarot, Alchemy and the Platonic Images. Both authors depict the strong allure and the spiritual perils of such paths, but in both cases this is also set within a fully worldly context: The Lost Lands moves among high figures of state and church, just as Williams relished including eminences of state and church in his thrillers.

Ultimately, a historical novel seems to me a different sort of beast to the metaphysical thrillers of the Twenties and Thirties with a contemporary setting, but Green’s insight into some shared timeless aspects in the work of of Vansittart and Williams is still worthwhile.

The Lost Lands, like many of Peter’s novels, is hard to find. Slightly easier is The Tournament and that will give a flavour of his style, his flair for strange imagery, and his immense learning in recondite byways.

(Mark Valentine) 

A Diary of Disappearances

Photographer, writer and psychogeographer Julian Hyde has announced  pre-orders for a new limited edition  chapbook,  A Diary of Disappearances: Disconnected Works. 

He describes this as: ‘full of mysterious texture. Essentially: it's a notebook left on a bus seat...fragments about an unnamed small town...forgotten ginnels, derelict swimming pools, empty bars, ghosts everywhere, nothing/everything happening. A collision of beauty and sadness.’

In his previous work, he has recorded images and notes that are attentive always to the unregarded, the ruinous, the marginal, and to the strange heady witchery of the everyday.  

To order or enquire, please contact j_kane001[at]hotmail[dot]com  

'Paris Letters: An Anthology December 1935-July 1940'

Paris Letters: An Anthology December 1935-July 1940 edited by Chris Harte collects columns by the journalist and bohemian David Arkell. I knew of him previously because of his enjoyable Looking for Laforgue: An Informal Biography (1979), a Quest for Corvo style book about the French symbolist poet who influenced the Imagists, Eliot and others, and his Alain Fournier: A Brief Life 1886-1914 (1986). These reveal his interest not only in French literary classics but in the elusive and transient. 

Chris Harte provides a helpful and interesting introduction which explains Arkell’s fluency in French due to family links and a literary background. He entered journalism, starting with local papers, but was spotted and recruited by the Rothermere empire and was sent to Paris as a correspondent and editor.

The columns are lively, bubbling with information about the byways of the French capital, including hotels, bars, revues, theatres and night-life. The tone is hectic, brisk and practical (giving, for example, prices and routes) but also lets the reader feel they are in on the modish high life. There are some good Parisian jokes and stories, some tips about handling taxi drivers, waiters and porters, and brief character sketches both of the notable and the unknown. He notes the number of Russian exiles in the city, and also the American style jazz clubs. I was reminded of the contemporary journals of Mary Butts in her swirling Parisian days and of the way Paris features in the fiction of the Roaring Twenties as a glittering cosmopolitan capital spinning like a roulette wheel. 

The selection gives a vivid background for those interested in the literary and artistic circles of interwar Paris, but is also a swiftly moving, cinematic portrayal of a legendary time, when the high-spirited young and the fashionable cognoscenti danced, drank, drugged and loved from midnight to dawn, until the lights went out all over the continent. The editor provides an afterword about Arkell’s internment in Occupied Paris and his later career after the Liberation. The book, ISBN 978-1-898010-22-7,  is available from the usual outlets.

(Mark Valentine)