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    Carnacki, the Ghost Finder
    Carnacki, the Ghost Finder
    Carnacki, the Ghost Finder
    Ebook256 pages4 hours

    Carnacki, the Ghost Finder

    By William Hope Hodgson

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    About this ebook

    Detective stories in which the great Thomas Carnacki investigates the supernatural using scientific tools, such as photography, and tools that are augmented by theories of the supernatural, such as the electric pentacle, which uses vacuum tubes to repel supernatural forces.
    LanguageEnglish
    PublisherJovian Press
    Release dateDec 2, 2017
    ISBN9781537803173
    Author

    William Hope Hodgson

    William Hope Hodgson (1877–1918) was an English author whose writing spanned genres from horror to fantasy to science fiction. His best-known works are The House on the Borderland and The Night Land, a futuristic novel depicting a grim vision of an earth without sun. 

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    Reviews for Carnacki, the Ghost Finder

    4/5

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    • 4/5
      A very esoteric & seemingly aged collection of both ghost and crime stories, with a couple being positively Lovecraftian in character. Very formulaic with a lot of haunted house phenomena being the main story point which the stories rotate around these make for, in the main, fairly enjoyable reading. I liked them. I'm not sure if want to read them again and there are no real classics here. I enjoyed "the hog", particularly for its Cthulhoid referencing but I wasn't over awed but this one.
    • 4/5
      Carnacki can be described as the Sherlock of the occult world. This collection of 9 stories brings us tales of weird supernatural phenomena, some of which are genuinely perplexing while the rest are a result of devious human enterprise. All these stories were published in The Idler Magazine between 1910-1912.

      The stories are decently engrossing, though a little repetitive in style. You will find quite an odd assortment of tools being used by Carnacki to detect/fight the ghostly phenomena: pentacles, chalk and garlic circles, human hair barriers, vacuum tubes, cameras,... Some arcane references he makes include vowel-intensive names such as Aeiirii, Saiitii, and the Saaamaaa Ritual. These make the reading experience quite different from modern horror stories. The combination of supposedly traditional rituals along with modern scientific methods is quite unique considering the time period in which these stories were published.

      The stories follow a preset format.
      - Carnacki sends notes of invitation to four friends, asking them to come to dinner.
      - After dinner, Carnacki lights his pipe, everyone settles into their favourite chairs, and he tells the tale without interruption.
      - Each of Carnacki's tales tells of an investigation into an unusual haunting, which Carnacki is charged to identify and to end.
      - He always uses evidence to draw his final conclusions, so that in some stories he decides the haunting is real, while in others it is staged or faked by an adversary for various reasons. So you won't know till the end if the haunting was genuine or man-made or sometimes, a combination.
      - After the tale is complete, Carnacki answers a few questions from his guests and then dismisses them with the phrase, "Out you go!"

      Every story is written in first person. One of the four invited friends, Dodgson, serves the actual narrator of the story, though his role is quite minimal as Carnacki soon takes centre-stage and begins his own narration. You might equate this with Watson's recounting of Sherlock's adventures but there are two crucial differences.
      1. Watson was a part of Sherlock's adventures. Dogdson merely narrates what Carnacki recounted and has no direct role to play in the paranormal adventures.
      2. Unlike in Sherlock where Watson is the narrator and Sherlock the 3rd party, here Carnacki himself recounts his adventures. So the stories have more of a personal touch but sometimes sound pompous and abrupt.

      If this were written in the modern era, I might have rated it a 3 because of the repetitive tropes and the simplistic writing. But keeping in mind that this would have been a trendsetter a century ago, and that I can't use modern sensibilities to judge old fiction, I'll go with a 3.5 star rating. Do give it a try if you want to try out a really different kind of horror anthology.

      Trigger warnings: brutal animal cruelty in a couple of the tales.
    • 4/5
      I wasn't expecting much from these stories, but was pleasantly surprised. Although they did have an old fashioned feel to them, I found them overall entertaining and they kept my interest. It helped that they weren't just a bunch of ghost stories and some of them turned out to have at least mostly worldly explanations. I'm sure these were really ahead of their time and created a lot of buzz when they were originally published in the early 20th century.
    • 4/5
      It’s easy to mock the Carnacki tales.

      They are not the first occult detective series. Hodgson seems to have created the character to cash in on the potential of a series character. The large number of magazines in 1910, when the first story was published, meant, unlike today, short fiction was usually better paying than writing novels. Carnacki was inspired by the success of Algernon Blackwood’s John Silence stories, another occult detective series.

      Carnacki’s tools seem somewhat ludicrous, even for the time. There’s a heavy patina of pseudoscience what with the occult significance of various colors and Carnacki’s famous Electric Pentacle, essentially a string of colored lights for magical defense.

      The otherworldy is often signified by strings of repeated vowels: Carnacki’s go-to reference the Sigsand Manuscript and its Saaamaaa Ritual, the Incantation of Raaaeee, and the Aeiirii “forms of materialization”.

      Yet the stories work.

      A lot of that, as editor Davies notes in his concise and useful introduction, is that the nine stories are not formulaic. The solutions to the mysteries Carnacki is called into investigate are sometimes supernatural, sometimes involve human actions, and sometimes a combination of both. One story, “The Find”, doesn’t even have a hint of the occult or supernatural about it since Carnacki investigates the improdn bable appearance of a second copy of a very rare book.

      There is a general formula to the stories. Each story has Carnacki relating his latest adventure in his house at 472 Cheyne Walk, Chelsea on London’s Embankment to his friends Jessop, Arkright, Taylor and the narrator Dodgson. At the end of each story, Carnacki kicks them out with some variation of “Out you go.”

      Carnacki approaches all his investigations with the assumption human beings are behind the mysteries. Often that involves days, sometimes weeks, long investigation of buildings and, in “The Haunted Jarvee”, a ship. Carnacki makes heavy use of photography in his investigations, and Hodgson, before he turned to writing, was a keen photographer himself, sometimes lecturing on the subject. He frequently packs a revolver too, at one point contemplating shooting himself and another man to keep their souls away from malevolent forces from the “Outer Circle” in “The Hog”. That’s the longest Carnacki tale and another example of a weird, porcine menaces in Hodgson’s writings. It’s also the one where he develops his own cosmic mythology the most.

      The occult mysteries are varied. A tale from Carnacki’s younger days, “The Searcher of the End House”, has the house where he lives with his mother seemingly haunted. A butler is stabbed by inhuman forces in “The Thing Invisible”. “The Gateway of the Monster”, “The House among the Laurels”, and “The Whistling Room” are all haunted house investigations. A spectral horse and a curse are the subjects of “The Horse of the Invisible”.

      As Davies notes, to give too much away about these stories with plot summaries would take away the pleasure of Carnacki’s investigations and revelations.

      Carnacki is an engaging narrator. He uses jaunty Edwardian slang. He’s not afraid to admit when he loses his nerve or bolts from the scene. After offering some explanation of events, he flatters his friends and the reader by often asking “Do you understand?” though I didn’t always. He’s perfectly willing to say when he doesn’t really have a complete explanation.

      And, as John Linwood Grant has noted, all the technology and action of the Carnacki tales makes them much more readable than Blackwood’s John Silence series.

      So spending time with the 174 pages of the Carnacki stories wasn’t boring or painful at all, so I’d recommend them if you’ve ever been curious about them.
    • 4/5
      "I turned-to now to fit the Electric Pentacle, setting it so that each of its 'points' and 'vales' coincided exactly with the 'points' and 'vales' of the drawn pentagram upon the floor. Then I connected up the battery, and the next instant the pale blue glare from the intertwining vacuum tubes shone out.

      This book contains four of the Carnacki stories, in which he investigates reports of hauntings and demons not all of which have a supernatural explanation. He gets into some frightening situations but with his knowledge of magic and his new-fangled electric pentacle to protect him he sees off the strongest of demonic opponents.

      You always know that he will prevail since the stories are narrated by one of the friends he invites for dinner after each case is concluded. The stories would be more frightening without the dinner party framing.
    • 4/5
      I'm giving the book a four-star rating overall, but two of the stories, "The Gateway of the Monster" and "The Whistling Room," deserve five stars, and a few I'd give only three. In Carnacki's investigations he comes across fakes, fakes combined with the ghosts, and Very Dangerous Supernatural Menaces that should make today's ghost hunters flee for their lives. (Of course, they couldn't flee for their lives in the story that takes place on an old ship, but they could choose whether to let whatever is there kill them or to jump overboard and drown. ) One story has no supernatural elements whatsoever, but it is a nice piece of detection. "The Hog" puzzled me because I couldn't figure out why hogs were supposed to be so horrifying. Now that I've read the author's earlier work, THE HOUSE ON THE BORDERLAND, with its humanoid swine monsters; Mr. Hodgson's choice of supernatural hogs is scarier. Given when this book was written, it's nice that in the one story in which Carnacki's mother appears she's not shivering in a corner and wringing her hands while her son investigates. I love the thought of little Mrs. Carnacki with her fireplace poker in one hand and candle in the other, providing a rearguard to her son. I'm glad there are plenty of reprint copies around now. It's certainly worth reading even though the stories are uneven in quality. I really, really wanted the book after reading the two best stories in anthologies and this was one of two editions I knew existed back in those pre-world wide web days. The only reason I was able to afford the copy I found was that it had some water damage and was on sale for a third off. If you like stories about hauntings and don't mind slightly old-fashioned language, this is a book you'll want in your collection.

      By the way, if you read Bluetyson's review, he is using "fag" as slang for "cigarette," not as an insulting term for a homosexual man, so please don't complain. That review is written in British English, not American English.
    • 5/5
      This is one of the scarier anthologies I own - the irony being at least half the time the scares are fake!

      Carnacki is probably the first ghost investigator - fictional or otherwise. The stories basically involve him going to a haunted place, camping out, and figuring out whether it's real or not.

      The scares come, not just from Hodgson's solid prose, but because of the randomness of the hauntings. Without having to bend his ghosts to a greater narrative arc or metaphor, Hodgson make for some terrifically macabre scenes. The randomness and inexplicability of the ghosts - plus the fact you never know if they are "real" or not - adds to the suspense in a really effective way.

      Carnacki himself is a fine enough character - albeit not a particularly intriguing one, but really he's just a canvas for Hodgson's fevered imagination.

      This is a great anthology and arguably stronger than any of Hodgson's novels, with their more lovecraftian, inter-dimensional bent.
    • 4/5
      Carnacki is not just a ghost hunter he is a consultant for people with weird happenings. He is called in to help those with cursed objects, strange dreams, and unexplainable nightly occurrences. He relates his adventures to his friends in his parlor after dinner, then answers questions and ushers his friends out into the cold night.

      Hodgson creates high tension when his Carnacki character first encounters the phenomenon. This is the best part of the short stories. Carnacki's investigations unveil either a real psychic threat or a hoax and he then acts accordingly. When it is real, the phenomenon goes beyond the normal ghost haunting and into the weird. His explanations at the end of the stories are sometimes a disappointment. At the end of the tale "The Hog", one of the tensest and strangest stories, he goes into a verbose explanation of the psychic world that should have caused his friends to either yawn and squirm or leave his home in utter bewilderment. I had to scan through those paragraphs which lasted about five kindle pages.

    Book preview

    Carnacki, the Ghost Finder - William Hope Hodgson

    CARNACKI, THE GHOST FINDER

    ..................

    William Hope Hodgson

    JOVIAN PRESS

    Thank you for reading. If you enjoy this book, please leave a review or connect with the author.

    All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.

    Copyright © 2016 by William Hope Hodgson

    Interior design by Pronoun

    Distribution by Pronoun

    TABLE OF CONTENTS

    THE GATEWAY OF THE MONSTER

    THE HOUSE AMONG THE LAURELS

    THE WHISTLING ROOM

    THE HORSE OF THE INVISIBLE

    THE SEARCHER OF THE END HOUSE

    THE THING INVISIBLE

    THE HOG

    THE HAUNTED JARVEE

    THE FIND

    THE GATEWAY OF THE MONSTER

    ..................

    IN RESPONSE TO CARNACKI’S USUAL card of invitation to have dinner and listen to a story, I arrived promptly at 427, Cheyne Walk, to find the three others who were always invited to these happy little times, there before me. Five minutes later, Carnacki, Arkright, Jessop, Taylor and I were all engaged in the pleasant occupation of dining.

    You’ve not been long away, this time, I remarked as I finished my soup; forgetting momentarily, Carnacki’s dislike of being asked even to skirt the borders of his story until such time as he was ready. Then he would not stint words.

    That’s all, he replied with brevity; and I changed the subject, remarking that I had been buying a new gun, to which piece of news he gave an intelligent nod, and a smile which I think showed a genuinely good-humoured appreciation of my intentional changing of the conversation.

    "As Dodgson was remarking just now, I’ve only been away a short time, and for a very good reason too - I’ve only been away a short distance. The exact locality I am afraid I must not tell you; but it is less than twenty miles from here; though, except for changing a name, that won’t spoil the story. And it is a story too! One of the most extraordinary things I have ever run against.

    "I received a letter a fortnight ago from a man I must call Anderson, asking for an appointment. I arranged a time, and when he came, I found that he wished me to investigate, and see whether I could not clear up a long standing and well - too well - authenticated case of what he termed ‘haunting.’ He gave me very full particulars, and finally, as the thing seemed to present something unique, I decided to take it up.

    "Two days later, I drove to the house, late in the afternoon. I found it a very old place, standing quite alone in its own grounds. Anderson had left a letter with the butler, I found, pleading excuses for his absence, and leaving the whole house at my disposal for my investigations. The butler evidently knew the object of my visit, and I questioned him pretty thoroughly during dinner, which I had in rather lonely state. He is an old and privileged servant, and had the history of the Grey Room exact in detail. From him I learned more particulars regarding two things that Anderson had mentioned in but a casual manner. The first was that the door of the Grey Room would be heard in the dead of night to open, and slam heavily, and this even though the butler knew it was locked, and the key on the bunch in his pantry. The second was that the bedclothes would always be found torn off the bed, and hurled in a heap into a corner.

    "But it was the door slamming that chiefly bothered the old butler. Many and many a time, he told me, had he lain awake and just got shivering with fright, listening; for sometimes the door would be slammed time after time - thud! thud! thud! - so that sleep was impossible.

    "From Anderson, I knew already that the room had a history extending back over a hundred and fifty years. Three people had been strangled in it - an ancestor of his and his wife and child. This is authentic, as I had taken very great pains to discover, so that you can imagine it was with a feeling that I had a striking case to investigate, that I went upstairs after dinner to have a look at the Grey Room.

    "Peter, the old butler, was in rather a state about my going, and assured me with much solemnity that in all the twenty years of his service, no one had ever entered that room after nightfall. He begged me, in quite a fatherly way, to wait till the morning, when there would be no danger, and then he could accompany me himself.

    "Of course, I smiled a little at him, and told him not to bother. I explained that I should do no more than look around a bit, and perhaps affix a few seals. He need not fear; I was used to that sort of thing. But he shook his head, when I said that.

    "‘There isn’t many ghosts like ours, sir,’ he assured me, with mournful pride. And, by Jove! he was right, as you will see.

    "I took a couple of candles, and Peter followed, with his bunch of keys. He unlocked the door; but would not come inside with me. He was evidently in a fright, and renewed his request, that I would put off my examination, until daylight. Of course, I laughed at him again, and told him he could stand sentry at the door, and catch anything that came out.

    "‘It never comes outside, sir,’ he said, in his funny, old, solemn manner. Somehow he managed to make me feel as if I were going to have the ‘creeps’ right away. Anyway, it was one to him, you know.

    "I left him there, and examined the room. It is a big apartment, and well furnished in the grand style, with a huge four-poster, which stands with its head to the end wall. There were two candles on the mantelpiece and two on each of the three tables that were in the room. I lit the lot, and after that the room felt a little less inhumanly dreary; though, mind you, it was quite fresh, and well kept in every way.

    "After I had taken a good look round I sealed lengths of baby ribbon across the windows, along the walls, over the pictures, and over the fireplace and the wall-closets. All the time, as I worked, the butler stood just without the door, and I could not persuade him to enter; though I jested with him a little, as I stretched the ribbons, and went here and there about my work. Every now and again, he would say: - ‘You’ll excuse me, I’m sure, sir; but I do wish you would come out, sir. I’m fair in a quake for you.’

    "I told him he need not wait; but he was loyal enough in his way to what he considered his duty. He said he could not go away and leave me all alone there. He apologised; but made it very clear that I did not realise the danger of the room; and I could see, generally, that he was in a pretty frightened state. All the same, I had to make the room so that I should know if anything material entered it; so I asked him not to bother me, unless he really heard something. He was beginning to get on my nerves, and the ‘feel’ of the room was bad enough, without making it any nastier.

    "For a time further, I worked, stretching ribbons across the floor, and sealing them, so that the merest touch would have broken them, were anyone to venture into the room in the dark with the intention of playing the fool. All this had taken me far longer than I had anticipated; and, suddenly, I heard a clock strike eleven. I had taken off my coat soon after commencing work; now, however, as I had practically made an end of all that I intended to do, I walked across to the settee, and picked it up. I was in the act of getting into it when the old butler’s voice (he had not said a word for the last hour) came sharp and frightened: - ‘Come out, sir, quick! There’s something going to happen!’ Jove! but I jumped, and then, in the same moment, one of the candles on the table to the left of the bed went out. Now whether it was the wind, or what, I do not know; but just for a moment, I was enough startled to make a run for the door; though I am glad to say that I pulled, up before I reached it. I simply could not bunk out, with the butler standing there, after having, as it were, read him a sort of lesson on ‘bein’ brave, y’know.’ So I just turned right round, picked up the two candles off the mantelpiece, and walked across to the table near the bed. Well, I saw nothing. I blew out the candle that was still alight; then I went to those on the two other tables, and blew them out. Then, outside of the door, the old man called again: - ‘Oh! sir, do be told! Do be told!’

    "‘All right, Peter,’ I said, and, by Jove, my voice was not as steady as I should have liked! I made for the door, and had a bit of work, not to start running. I took some thundering long strides, as you can imagine. Near the door, I had a sudden feeling that there was a cold wind in the room. It was almost as if the window had been suddenly opened a little. I got to the door and the old butler gave back a step, in a sort of instinctive way. ‘Collar the candles, Peter!’ I said, pretty sharply, and shoved them into his hands. I turned, and caught the handle, and slammed the door shut, with a crash. Somehow, do you know, as I did so, I thought I felt something pull back on it; but it must have been only fancy. I turned the key in the lock, and then again, double-locking the door. I felt easier then, and set-to and sealed the door. In addition, I put my card over the keyhole, and sealed it there; after which I pocketed the key, and went downstairs - with Peter; who was nervous and silent, leading the way. Poor old beggar! It had not struck me until that moment that he had been enduring a considerable strain during the last two or three hours.

    "About midnight, I went to bed. My room lay at the end of the corridor upon which opens the door of the Grey Room. I counted the doors between it and mine, and found that five rooms lay between. And I am sure you can understand that I was not sorry. Then, just as I was beginning to undress, an idea came to me, and I took my candle and sealing-wax, and sealed the doors of all the five rooms. If any door slammed in the night, I should know just which one.

    "I returned to my room, locked the door, and went to bed. I was waked suddenly from a deep sleep by a loud crash somewhere out in the passage. I sat up in bed and listened, but heard nothing. Then I lit my candle. I was in the very act of lighting it when there came the bang of a door being violently slammed, along the corridor. I jumped out of bed, and got my revolver. I unlocked my door, and went out into the passage, holding my candle high, and keeping the pistol ready. Then a queer thing happened. I could not go a step towards the Grey Room. You all know I am not really a cowardly chap. I’ve gone into too many cases connected with ghostly things, to be accused of that; but I tell you I funked it; simply funked it, just like any blessed kid. There was something precious unholy in the air that night. I backed into my bedroom, and shut and locked the door. Then I sat on the bed all night, and listened to the dismal thudding of a door up the corridor. The sound seemed to echo through all the house.

    "Daylight came at last, and I washed and dressed. The door had not slammed for about an hour, and I was getting back my nerve again. I felt ashamed of myself; though in some ways it was silly, for when you’re meddling with that sort of thing, your nerve is bound to go, sometimes. And you just have to sit quiet and call yourself a coward until daylight. Sometimes it is more than just cowardice, I fancy. I believe at times it is something warning you, and fighting for you. But, all the same, I always feel mean and miserable, after a time like that.

    "When the day came properly, I opened my door, and, keeping my revolver handy, went quietly along the passage. I had to pass the head of the stairs, on the way, and who should I see coming up, but the old butler, carrying a cup of coffee. He had merely tucked his nightshirt into his trousers, and he had an old pair of carpet slippers on.

    "‘Hello, Peter!’ I said, feeling suddenly cheerful; for I was as glad as any lost child to have a live human being close to me. ‘Where are you off to with the refreshments?’

    "The old man gave a start, and slopped some of the coffee. He stared up at me and I could see that he looked white and done-up. He came on up the stairs and held out the little tray to me. ‘I’m very thankful indeed, Sir, to see you safe and well,’ he said. ‘I feared, one time, you might risk going into the Grey Room, Sir. I’ve lain awake all night, with the sound of the Door. And when it came light, I thought I’d make you a cup of coffee. I knew you would want to look at the seals, and somehow it seems safer if there’s two, Sir.’

    "‘Peter,’ I said, ‘you’re a brick. This is very thoughtful of you.’ And I drank the coffee. ‘Come along,’ I told him, and handed him back the tray. ‘I’m going to have a look at what the Brutes have been up to. I simply hadn’t the pluck to in the night.’

    "‘I’m very thankful, Sir,’ he replied. ‘Flesh and blood can do nothing, Sir, against devils; and that’s what’s in the Grey Room after dark.’

    "I examined the seals on all the doors, as I went along, and found them right; but when I got to the Grey Room, the seal was broken; though the card, over the keyhole, was untouched. I ripped it off, and unlocked the door, and went in, rather cautiously, as you can imagine; but the whole room was empty of anything to frighten one, and there was heaps of light. I examined all my seals, and not a single one was disturbed. The old butler had followed me in, and, suddenly, he called out:- ‘The bedclothes, Sir!’

    "I ran up to the bed, and looked over; and, surely, they were lying in the corner to the left of the bed. Jove! you can imagine how queer I felt. Something had been in the room. I stared for a while, from the bed, to the clothes on the floor. I had a feeling that I did not want to touch either. Old Peter, though, did not seem to be affected that way. He went over to the bed-coverings, and was going to pick them up, as, doubtless, he had done every day these twenty years back; but I stopped him. I wanted nothing touched, until I had finished my examination. This, I must have spent a full hour over, and then I let Peter straighten up the bed; after which we went out and I locked the door; for the room was getting on my nerves.

    "I had a short walk, and then breakfast; after which I felt more my own man, and so returned to the Grey Room, and, with Peter’s help, and one of the maids, I had everything taken out except the bed, even the very pictures. I examined the walls, floor and ceiling then, with probe, hammer and magnifying glass; but found nothing suspicious. And I can assure you, I began to realise, in very truth, that some incredible thing had been loose in the room during the past night. I sealed up everything again, and went out, locking and sealing the door, as before.

    "After dinner that night, Peter and I unpacked some of my stuff, and I fixed up my camera and flashlight opposite to the door of the Grey Room, with a string from the trigger of the flashlight to the door. Then, you see, if the door were really opened, the flashlight would blare out, and there would be, possibly, a very queer picture to examine in the morning. The last thing I did, before leaving, was to uncap the lens; and after that I went off to my bedroom, and to bed; for I intended to be up at midnight; and to ensure this, I set my little alarm to call me; also I left my candle burning.

    "The clock woke me at twelve, and I got up and into my dressing-gown and slippers. I shoved my revolver into my right side-pocket, and opened my door. Then, I lit my dark-room lamp, and withdrew the slide, so that it would give a clear light. I carried it up the corridor, about thirty feet, and put it down on the floor, with the open side away from me, so that it would show me anything that might approach along the dark passage. Then I went back, and sat in the doorway of my room, with my revolver handy, staring up the passage towards the place where I knew my camera stood outside the door of the Grey Room.

    "I should think I had watched for about an hour and a half, when, suddenly, I heard a faint noise, away up the corridor. I was immediately conscious of a queer prickling sensation about the back of my head, and my hands began to sweat a little. The following instant, the whole end of the passage flicked into sight in the abrupt glare of the flashlight. Then came the succeeding darkness, and I peered nervously up the corridor, listening tensely, and trying to find what lay beyond the faint glow of my dark-lamp, which now seemed ridiculously dim by contrast with the tremendous blaze of the flash-powder… . And then, as I stooped forward, staring and listening, there came the crashing thud of the door of the Grey Room. The sound seemed to fill the whole of the large corridor, and go echoing hollowly through the house. I tell you, I felt horrible - as if my bones were water. Simply beastly. Jove! how I did stare, and how I listened. And then it came again - thud, thud, thud, and then a silence that was almost worse than the noise of the door; for I kept fancying that some brutal thing was stealing upon me along the corridor. And then, suddenly, my lamp was put out, and I could not see a yard before me. I realised all at once that I was doing a very silly thing, sitting there, and I jumped up. Even as I did so, I thought I heard a sound in the passage, and quite near me. I made one backward spring into my room, and slammed and locked the door. I sat on my bed, and stared at the door. I had my revolver in my hand; but it seemed an abominably useless thing. I felt that there was something the other side of that door. For some unknown reason I knew it was pressed up against the door, and it was soft. That was just what I thought. Most extraordinary thing to think.

    "Presently I got hold of myself a bit, and marked out a pentacle hurriedly with chalk on the polished floor; and there I sat in it almost until dawn. And all the time, away up the corridor, the door of the Grey Room thudded at solemn and horrid intervals. It was a miserable, brutal night.

    "When the day began to break, the thudding of the door came gradually to an end, and, at last, I got hold of my courage, and went along the corridor, in the half light, to cap the lens of my camera. I can tell you, it took some doing; but if I had not done so my photograph would have been spoilt, and I was tremendously keen to save it. I got back to my room, and then set-to and rubbed out the five-pointed star in which I had been sitting.

    "Half an hour later there was a tap at my door. It was Peter with my coffee. When I had drunk it, we both went along to the Grey Room. As we went, I had a look at the seals on the other doors, but they were untouched. The seal on the door of the Grey Room was broken, as also was the string from the trigger of the flashlight; but the card over the keyhole was still there. I ripped it off and opened the door. Nothing unusual was to be seen until we came to the bed; then I saw that, as on the previous day, the bedclothes had been torn off, and hurled into the left-hand corner, exactly where I had seen them before. I felt very queer; but I did not forget to look at all the seals, only to find that not one had been broken.

    "Then I turned and looked at old Peter, and he looked at me, nodding his head.

    "‘Let’s get out of here!’ I said. ‘It’s no place for any living human to enter, without proper protection.’

    "We went out then, and I locked and sealed the door, again.

    "After breakfast, I developed the negative; but it showed only the door of the Grey Room, half opened. Then I left the house, as I wanted to get certain matters and implements that might be necessary to life; perhaps to the spirit; for I intended to spend the coming night in the Grey Room.

    "I got back in a cab, about half-past-five, with my apparatus, and this, Peter and I carried up to the Grey Room, where I piled it carefully in the centre of the floor. When everything was in the room, including a cat which I had brought, I locked and sealed the door, and went towards my bedroom, telling Peter I should not be down to dinner. He said, ‘Yes, sir, and went downstairs, thinking that I was

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