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The Green Book 15

Green Book 15 EDITOR’S NOTE

In our previous issue, we focused on the lives of writers, featuring as we did reminiscences, interviews, and memoirs. For this issue I’d like to do something different. While we have featured occasional pieces of fiction in previous issues, including “Saved by a Ghost” by Bram Stoker in Issue 6 and “The Boys’ Room” by Dorothy Macardle in Issue 9, I’ve decided this time around to turn over the entire issue to fiction.

Consider this issue a special anthology issue, and an eclectic one at that. There is little to tie these pieces together, save for the fact each author grew from the soil of the same island at the edge of Europe, which is to say they are all Irish by birth. Perhaps, instead, to state the obvious, one might find that each story reflects more so its author than any affinity with one another — and yet they are here between these covers. I hope most, if not all, of these stories will be new to you.

Rosa Mulholand’s “A Priest’s Story” is certainly informed by her own Catholic beliefs, the supernatural elements driven by faith more than fear. Similarly, “The Story of a Star” is a fable that could only have flowed from the pen of the mystical poet and painter A.E.

Robert Cromie is best known for his novel The Crack of Doom (1895), which contains what is thought to be the first description of an atomic explosion in fiction. Published here is his supernatural short story “Squire Grimshaw’s Ghost” — decidedly more gothic than the scientific fiction for which he is now remembered.

Herbert Moore Pim’s “The Madman” is indeed a mad bit of writing from his singular collection Unknown Immortals of the Northern City of Success (1917). Whether the madman in question is based on a real person known to Pim is anyone’s guess. Beatrice Grimshaw’s “Cabin No. 9” is a ghost story set on the high seas, full of the adventure and incident one expects from Grimshaw. Unfortunately it is also marred by her racism, but I hope you will enjoy the tale nevertheless. Cheiro’s “A Bargain Made with a Ghost” purports to be based on true events — insofar as any tale told by Cheiro can be trusted as true. But the story is ably told and certainly entertaining.

Dorothy Macardle’s “The Shuttered Room” was originally broadcast on Radio Eireann on 13 September 1957. It was the sixth and last talk by Macardle in her Days and Places series. The other pieces in the series are reminiscences of her travels and experiences in post-war Europe and her sole trip to America. Though the “The Shuttered Room” was the story’s original title, on the manuscript this is crossed out, and a new title given: “A World of Dream”. This new title is then crossed out with “stet” written beside the original. This is the first time “The Shuttered Room” has appeared in print.

Finally we have Conall Cearnach’s “The Fiend That Walks Behind” from his sole (and slim) volume The Fatal Move and Other Stories (1924); a mixed bag as a collection, this tale of revenge from beyond the grave is perhaps the best of the lot.

And there you have it: I hope an entertaining crop of stories that will keep you amused for an evening. If you enjoy this all – fiction issue, maybe we’ll do another sometime?

Brian J. Showers
Rathmines, Dublin
19 April 2020

You can buy The Green Book here.

Contents

“Editor’s Note”
Brian J. Showers

“A Priest’s Ghost Story”
Rosa Mulholland

“Squire Grimstone’s Ghost”
Robert Cromie

“A Scrap of Irish Folklore”
Rosa Mulholland

“The Madman”
Herbert Moore Pim

“The Story of a Star”
A.E.

“Cabin No. 9”
Beatrice Grimshaw

“A Bargain Made with a Ghost”
Cheiro

“The Shuttered Room”
Dorothy Macardle

“The Fiend That Walks Behind”
Conall Cearnach

“Notes on Contributors”

The Green Book 14

Green Book 14 EDITOR’S NOTE

We encounter and enjoy authors mostly through their writing, forgetting sometimes that there are personalities behind their words, some astonishingly well-known in their time, often now relegated to small press rediscoveries. With sufficient spans of years, these authors and their personalities pass out of memory, becoming less familiar to us as people and more so as names on title pages. But it is important to remember that these authors lived and worked, had careers and relationships; some of them died while relatively unknown, others were widely celebrated for their creations. With this in mind, I’ve decided to focus the current issue on reminiscences, interviews, and memoirs in hopes of summoning the shades of these writers and to show that in some ways their lives were not always so different from our own.

To that end, you will find a number of texts I have been collecting these past few years, now nestled here comfortably beside one another. Each one, I hope, will give you some insight into the lives of these authors, who they were, and a past that is not necessarily so far distant.

There are first-hand accounts by authors with whom I hope you are now familiar. Rosa Mulholland, Cheiro, and Dorothy Macardle all relate anecdotes of their own experiences with the psychical and supernatural. Elsewhere in this issue, you can spend an entertaining evening with Mervyn Wall. In this talk, given to the Bram Stoker Society in 1987, he delves into witchcraft and details the origins of his best-loved novel, The Unfortunate Fursey (1946).

We have a few interviews — “chats” — with those who worked as professionals, and whose names were familiar to the broader public on a weekly basis, as their stories were published and novels serialised in magazines of the day. Among these sketches you’ll be invited to spend agreeable afternoons with L. T. Meade, Charlotte Riddell, and Katharine Tynan. While they may not discuss strictly ghastly material, I hope these interviews bring us that much closer to authors whose works still find admiration of a modern readership.

You’ll also find some brief memoirs, including litterateur William Winter’s reminiscence of his fallen comrade Fitz-James O’Brien, who died in the American Civil War; and Samuel Carter Hall, who conjures two of Dublin’s gothic greats: Charles Maturin and Joseph Sheridan Le Fanu — perhaps reminding us that these authors existed in a wider social world.

However, the issue commences with Albert Power’s appraisal of George Croly’s Salathiel (1828), a novel which Stoker biographer Paul Murray posited as an influence on the composition of Dracula. Although, a tale of the Wandering Jew, Salathiel might have more in common thematically with Charles Maturin’s Melmoth the Wanderer, than Bram Stoker’s more famous book. Power aptly leads us through the life of Reverend Croly and how his book fits into the literary milieu of the dark fantastic.

If you would like to read more about some of these writers among these pages, you’ll find lengthier profiles in earlier issues of The Green Book. In Issue 9: Rosa Mulholland; Issue 12: Mervyn Wall; Issue 13: Cheiro and Beatrice Grimshaw. While this issue and the next will serve as an intermission in our Guide to Irish Writers of Gothic, Supernatural, and Fantastic Fiction, fear not — we will return with more entries in future instalments.

Brian J. Showers
Rathmines, Dublin
15 April 2020

You can buy The Green Book here.

Contents

“Editor’s Note”
Brian J. Showers

“Who Marvels at the Mysteries of the Moon: George Croly’s Salathiel”
Albert Power

“Sketch of Fitz-James O’Brien”
William Winter

“Le Fanu and Maturin: Two Reminiscences”
Samuel Carter Hall

“About Ghosts”
Rosa Mulholland

“How I Found Adventure”
Beatrice Grimshaw

“A Biographical Sketch of Mrs. L. T. Meade”
Helen C. Black

“Sweet Singer from Over the Sea”
A Chat with Katharine Tynan

“A Chat with Mrs. J. H. Riddell”
Raymond Blathwayt

“Extracts from Confessions: Memoirs of a Modern Seer”
Cheiro

“They Say It Happened”
Dorothy Macardle

“Ghost Story of a Novelist”
Katharine Tynan

“Witchcraft and the Origins of The Unfortunate Fursey”
Mervyn Wall

“Notes on Contributors”

The Green Book 13

Green Book 13 EDITOR’S NOTE

One perennial question about genre fiction centres around the notion of “tradition”: the influence authors and their works have on the next generation, and so on down the line. In posing this question, we ask whether or not an unbroken literary pedigree can be established. For example, an excessive amount of energy has been expended exploring links, both legitimate and spurious, between Le Fanu’s “Carmilla” (1871/2) and Stoker’s Dracula (1897) — and believe me, this seems to be an all-consuming pastime for some. But to me, Irish genre fiction has always seemed more a web of thematic shadows, authorial echoes, even social links, rather than a series of linear connections.

Those who read the editor’s note in Issue 12 will recall our endeavour to serialise biographical/critical sketches of Irish writers, which commenced in Issue 11. These entries are the results of an on-going project tentatively called the Guide to Irish Writers of Gothic, Supernatural and Fantastic Fiction, edited by myself and Jim Rockhill. What form this project will ultimately take is still uncertain, but until then we will continue to share the results here. This issue continues with fourteen further such entries, a new crop of names featuring authors with whom readers of The Green Book might already be acquainted, such as Cheiro and A.E., while the likes of Beatrice Grimshaw and Mary Fortune may be less familiar — but whom I hope you will find no less fascinating.

Earlier this year Swan River Press published Bending to Earth: Strange Stories by Irish Women, which I co-edited with Maria Giakaniki. In the introduction to that volume are more musings on the Irish genre tradition, or rather how Irish authors, with their disparate blossomings, are still connected through conversations in the margins. Indeed, with Ireland being such a small country, there are countless such communications between its authors, both direct and indirect. As you read this issue’s entries, along with those in previous instalments, you’ll certainly notice myriad connections and crossovers in the frequently overlapping lives of these authors and their writings.

Back in Issue 12, I outlined the criteria Jim and I used to select authors for consideration. The difficulty in this lies with the definitions of both “Irish” and “fantastical literature” — in the end always a fool’s errand. We continue to err on the side of inclusivity, fully aware that we cannot please everybody.

While editing this issue, the question of inclusivity reared its head when I noticed that, although we’ve a contributor line-up of the usual, impressive quality, there wasn’t a single woman among them. This is a glaring shortfall, one for which I, as editor, take full responsibility. The entries in Issue 13 are the sum total of what was available at the time of publication. Nevertheless, this is not a reasonable excuse for such a discrepancy. So with that in mind, I take this opportunity to remind people that The Green Book is open for submissions. And I would like to urge women in particular to submit. There are still a number of authors for whom we need entries, so please contact me for a current list of availability. General submission guidelines can be found on the last page of this issue, and also on our website. I hope this gender imbalance is something I can begin to redress in future issues.

As with each issue, I hope you will find something of interest, discover new authors, and that your list of books to read will grow ever longer.

Brian J. Showers
Rathmines, Dublin
16 May 2019

You can buy The Green Book here.

Contents

“Editor’s Note”
Brian J. Showers

“Thomas Parnell (1679-1718)”
Albert Power

“Thomas Leland (1722-1785)”
Albert Power

“Mary Fortune (1833-1911)”
James Doig

“Keith Fleming (1858/9-?)”
James Doig

“Dora Sigerson Shorter (1866-1918)”
Richard Bleiler

“Cheiro (1866-1936)”
Edward O’Hare

“George William Russell (AE) (1867-1935)”
Daniel Mulhall

“Beatrice Grimshaw (1870-1953)”
James Doig

“Shane Leslie (1885-1971)”
Derek John

“James Corbett (1887-1958)”
Reggie Chamberlain-King

“Oliver Sherry (1894-1971)”
Richard Dalby

“Francis Stuart (1902-2000)”
Mark Valentine

“Stephen Gilbert (1912-2010)”
Reggie Chamberlain-King

“Peter Beresford Ellis (1943- )”
Mike Ashley

“Notes on Contributors”

The Green Book 12

Green Book 12 EDITOR’S NOTE by Brian J. Showers

“Ireland’s contributions to supernatural literature has been a major one and, like its contribution to literary endeavour generally, out of proportion to the country’s small size.”

– Peter Berresford Ellis, Supernatural Literature of the World

One of the occasional criticisms of The Green Book is that it’s far too niche. That the focus on Irish literature of the gothic, supernatural, and fantastic is too limiting a remit. I could never really understand this assertion, especially not now that the journal has survived twelve issues — and I’m already working on the next.

In fact, I’ve found quite the opposite to be true. The more I look at the island of Ireland’s wide-ranging and far-reaching contributions to fantastical literature, the more I learn and the more I feel excited about further exploration as both a reader and publisher; a sentiment I hope the audience of this publication shares.

So here is my reply to that occasional criticism:

The first point I’d like to make is that literature of the fantastic is incredibly broad and covers a staggering range of authors writing in myriad different modes. Lafcadio Hearn and John Connolly couldn’t be more different from each other as prose writers, and yet they are both welcome among these pages. The same can be said of Lord Dunsany and Elizabeth Bowen, or of Regina Maria Roche and Flann O’Brien — their themes, styles, and preoccupations are strikingly different. But they all belong here, each a writer who has contributed to the genres we explore in this publication.

The second point I’d like to address is — to borrow an academic word — the “problematic” notion of Irish and Irishness. Who gets to be Irish? What does it mean to be Irish? And who do we suspect — gasp! — is merely an interloper? This aspect of The Green Book is, I admit, in some sense almost arbitrary. While writers are free to choose their mode of literary expression, the exact location on the surface of this planet where they are born is nothing more than a geographical lottery. I write this as a Wisconsinite who now identifies as a Dubliner — more so than as Irish or even as American — and, believe me, I’ve been informed many times over the two decades that I have lived here that I cannot possibly be Irish. That I am a mere interloper. And yet here I sit, apparently quite inexplicably, editing this journal. (Would you believe that a Dublin-based artist, in a conversation about Francis Bacon, once told me “Bacon wasn’t really Irish, was he?” This, despite Bacon having been born in Dublin. How does one even begin responding to something like that?)

So where does that leave us?

My own approach to this dilemma — who does and who does not count as “Irish” — is simply to be as inclusive as possible, which is still no easy task, especially given the extent of Ireland’s diaspora. But I always try to fill these pages with as much interesting writing as possible.

A couple years ago Jim Rockhill (who hails from Michigan) and I decided to put together what we’re tentatively calling the Guide to Irish Writers of Gothic, Supernatural and Fantastic Literature. In Issue 11, I started publishing the fruits of this on-going project, and the present issue is filled cover-to-cover with more fascinating results.

Peter Berresford Ellis also writes in Supernatural Literature of the World, “Practically every Irish writer has, at some time, explored the genre for the supernatural is part of Irish culture”. And so I figured, if the Guide is to be of any use, and lest we include unwieldy swathes of the literary canon, it is probably best to set a few limitations, keeping in mind that these limitations might sometimes be ignored . . .

First and foremost, the Irish author in question must have contributed either substantially or uniquely to literature of the gothic, supernatural or fantastic. For example, B. M. Croker wrote enough ghost stories over her career to fill a slim volume and therefore merits inclusion for that reason; Hilton Edwards wrote and directed a single, highly notable ghostly short film: Return to Glenascaul, a strong enough achievement to merit his inclusion for at least a short entry.

Furthermore, to be considered for the Guide — and this is where things get stickier — authors should be either born in Ireland (e.g. Caitlin R. Kiernan), raised/schooled in Ireland (e.g. Lafcadio Hearn), lived a substantial or formative portion of their life in Ireland (e.g. Maria Edgeworth), or have a strong connection with Ireland through their writing (e.g. Peter Berresford Ellis).

I should probably add, with no prejudice, that mythology, folklore, and science fiction, despite the occasional overlap, not only fall slightly outside our expertise, but are already well-served in different corners by those better informed.

Even with these limitations, I estimate our Guide will clock in at a staggering 180k words. Possibly more.

Of course not everyone will agree with our definitions, nor are we asking you to. Instead, I’d like to invite you to make suggestions, naturally backed up with considered reasoning (as opposed to indignantly spitting out a name), regarding authors falling within our scope that we might have missed. Better yet, let me know if you’d like to write the entry too.

Ireland is a small island, simultaneously divided and unified, as it is, to different degrees in its various guises. But I’m constantly amazed, even if only looking at literature of the gothic, supernatural and fantastic, at the broad range of writing and the far-reaching influence that our speck of land has had on world literature. And that’s worth exploring.

You can buy The Green Book 12 here.

Contents

“Editor’s Note”
Brian J. Showers

“Jonathan Swift (1667-1745)”
Albert Power

“Charles Maturin (1782-1824)”
Albert Power

“Brinsley Le Fanu (1854-1929)”
Gavin Selerie

“Robert Cromie (1855-1907)”
Reggie Chamberlain-King

“Clotilde Graves (1863-1932)”
Mike Ashley

“H. de Vere Stacpoole (1863-1951)”
Mark Valentine

“Arabella Kenealy (1864-1938)”
Mike Ashley

“Vere Shortt (1874-1915)”
Mark Valentine

“Lord Dunsany (1878-1957)”
Martin Andersson

“James Stephens (1880/2-1950)”
Derek John

“Herbert Moore Pim (1883-1950)”
Reggie Chamberlain-King

“Mervyn Wall (1908-1997)”
Darrell Schweitzer

“Notes on Contributors”

Our Haunted Year: 2017

The end of the 2017 is upon us and I’d like to take a moment to look back at the books we’ve published over these past twelve months. While I’ve always defined Swan River as an Irish press, this year all of our books were either by Irish authors or have a strong Irish connection.

The publication date of our first book was pre-determined: the Selected Poems of A.E. (George William Russell). Last April was the 150th birth anniversary of Ireland’s under-appreciated mystical poet. And as no other edition of his books were properly in print, I knew it fell upon us to do something to mark the occasion.

The genesis of this book dates a few years back. I was casting around for an A.E. project to mark the sesquicentennial year, and for a brief time considered assembling a collection of my own favourites. That’s when I acquired a first edition of Selected Poems, the dust jacket of which bore a request from the poet himself: “If I should be remembered I would like it to be for the verses in this book.” So that’s exactly what I did. On the boards is reproduced a painting by A.E., and rounding out the book is an excellent afterword by Ambassador Dan Mulhall. If you’re interested in learning more about A.E., we’ve a few past blog posts for you to check out.

Our next book was a real pleasure to work on. Following on from the success of Mervyn Wall’s beloved cult classics, The Unfortunate Fursey and The Return of Fursey, I wanted to bring back into print his equally delightful short story collection A Flutter of Wings, which hadn’t been available for over forty years. To this new edition we added Wall’s nightmarish bureaucratic drama, Alarm Among the Clerks, which had been out of print for an alarming seventy years.I hope people will like this book as much as the Furseys.

What makes this edition even more special are the illustrations by Clare Brennan. In addition to being an excellent artist and designer, Clare has the distinction of being Mervyn Wall’s granddaughter. If you like Clare’s illustrations for A Flutter of Wings, you’ll be delighted to know prints are available to buy from her website. And of course, with an introduction by Val Mulkerns, this book has become one of my favourites of the year.

In November we were happy to publish a new collection by Bram Stoker: Old Hoggen and Other Adventures. It’s not every day a new collection of short stories by Stoker gets published, which is what makes this book extra special. It brings together for the first time a number of adventure tales that have been rediscovered in recent years. You can read more about how the “lost” volume of stories was assembled, and its relationship to Dracula’s Guest and Other Weird Stories, in the Preface. Old Hoggen also provided a joyful opportunity to work with Stoker scholar John Edgar Browning, who has been leading the charge in all things Bram in recent years. The striking cover is by long-time Swan River conspirator Jason Zerrillo, who I’m sure we’ll see more from in the new year.

Alan Hanna's The final book of the year was The Scarlet Soul: Stories for Dorian Gray, an anthology edited by Mark Valentine and including ten new stories of art, obsession, love, lust, and sorcery by Reggie Oliver, Caitriona Lally, Lynda E. Rucker, John Howard, D. P. Watt, Rosanne Rabinowitz, Avalon Brantley, Timothy J. Jarvis, John Gale, and Derek John. In addition to this fine volume of tales, which I hope you will enjoy, this book is the first time I’ve worked with artist John Coulthart, who designed the front cover and boards.

Green Book 09 Turning now to our journal, The Green Book, which has now entered the double digits! Issue nine focused on Irish women writers, with included, among other pieces, two essays by Elizabeth Bowen, an article on Rosa Mulholland by the late Richard Dalby, and an uncollected story by Dorothy Macardle called “The Boys’ Room”. Issue nine was one of the strongest issues we’ve had to date.

Green Book 10 Issue ten, published in the autumn, was devoted to the fantasist Lord Dunsany, and comprised of writings about him by his contemporary Irish peers. With pieces by W.B. Yeats, Francis Ledwidge, Forrest Reid, Elizabeth Bowen, Katharine Tynan, and others, my intention was to remind readers that Dunsany once held a firm position in early-twentieth century Irish literature. I hope people read this issue from cover to cover as it illuminates Dunany over the course of his entire career.

2017-08-05-Irish-Writers-Po While not a book publication, another project that came to fruition this year was the Irish Writers of the Fantastic poster that I designed with Jason Zerrillo a couple years back. The poster showcases twelve writers, spanning three centuries, each of whom made significant contributions to Irish literature.

While the poster was designed in late 2015, it wasn’t until this October that 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, coinciding with the Bram Stoker Festival. Copies of the poster are still available, and I urge everyone (especially if you’re a teacher or librarian!) to pick up a copy. Absolutely free! For those living abroad, there are other ways of procuring a copy.

This post wouldn’t be complete without thanking Meggan Kehrli, Ken Mackenzie, Maurice Healy, and Jim Rockhill for all the work they’ve done this year. For those who don’t know, these are the folks who make Swan River books look so good. Meggan handles all of our design, Ken takes care of the typesetting, while Jim looks after proofreading. Maurice only recently joined us this year, and has proven invaluable. On a sadder note, most will have heard by now that Richard Dalby passed away earlier this year. Richard acted informally as an advisor, as he did for many small presses, and the void that he leaves behind will be sorely missed.

So there you have it! That’s what we got up to this year, and I hope you found something to enjoy. There’s plenty to look forward to next year as well. We recently announced our forthcoming deluxe edition of William Hope Hodgson’s The House on the Borderland, which will be out for April 2018. I’ve spared no expense with this one, which will bear a cover and interior illustrations by John Coulthart, accompanied by a newly commissioned soundtrack by Jon Mueller. Not stopping there, Alan Moore contributed a new introduction, while Iain Sinclair is looking after the afterword. Everyone who participated in this project has a passion for Hodgson’s cosmic masterwork. As an added bonus, the book will be fully signed by all contributors.

And perhaps the biggest new for next year is the return of the Dublin Ghost Story Festival. I’m very excited that the guest of honour will be Joyce Carol Oates, with an opening night performance by Reggie Oliver. Even if next year’s festival is only half as fun as last year’s, we’ll be in for a huge treat. The event is already half sold-out, so if you’d like to attend, please don’t delay! We’ll be announcing further guests in the coming weeks. You’ll not be disappointed!

So that’s everything for now. Thank you again to everyone who contributed to the press this year, be it through buying books, supportive emails, or even coming out to see us at festivals and conventions. I’m looking forward to new books and hearing from everyone in the new year.

Irish Writers of Gothic, Supernatural and Fantastic Literature

I’ve long been a fan of checklists, indicies, bibliographies, literary guides, and genre studies. From Lovecraft’s Supernatural Horror in Literature to E.F. Bleiler’s Guide to Supernatural Fiction, and many more besides. One can spend hours immersed in these books, discovering new avenues for exploration and making mental notes on obscure titles to look out for. My shelves groan with these sorts of volumes, and despite severe bowing in some places, I don’t regret it one bit.

Those of you who regularly peek at this blog might also recall the poster I designed with Jason Zerrillo a couple of years back featuring “Irish Writers of the Fantastic”. It was a reaction to the all-male “Irish Writers” poster and the subsequent all-female response. The goal of the exercise was to promote genre writers from Ireland. Naturally with posters there are some restrictions, and for one reason or another we couldn’t include everyone we would have liked without turning a simple poster into a city block-length mural.

final Well, I decided to do something about that. For the past few months I’ve been in the early stages of assembling an “Encyclopaedia of Irish Writers of Fantastic Literature”. Loosely inspired by E.F. Bleiler’s Supernatural Fiction Writers and Jack Sullivan’s Penguin Encyclopedia to Horror and Supernatural, my first step was to compile a list of authors who I felt in some way contributed to Irish fantastic fiction. This list includes obvious writers such as Bram Stoker and Elizabeth Bowen, but also writers who are less well known, or whose contributions might not have had such a detectable effect on their peers.

Naturally any such list will be highly idiosyncratic. I have chosen to focus primarily on fiction. Generally I’ve erred on the side of inclusion (if only because someone once told me that the Dublin-born painter Francis Bacon “wasn’t really Irish, now was he?”). On the whole I have shied away from oral tradition, mythology, and folklore. No doubt these modes have had a profound impact on Irish literature, but to include them would make scope of the project unwieldy. I am also keeping away from Irish science-fiction, not only due to my lack of knowledge on the subject, but because Ireland’s contribution to that genre could easily fill a book on its own. That said, do expect occasional overlaps.

While I have contributors for most of the entries on my list, there are a handful of yet unclaimed authors who need to be written about. This is where you come in. If you’re interested in and have the ability to write such an article, I would love to hear from you. I’ve currently got a list of 75 writers, with a growing roster of contributors that currently numbers around 25.

Enquiries are welcome. gothicdublin[at]gmail[dot]com

I do appreciate enthusiasm, but when writing please tell me a bit about your background qualifications and interest. I’ll be glad to tell you more about the project and which entries are available. Generally speaking, the deadline for articles is 1 December 2017 and the article length should be around 2,000 words depending on the author. There is payment involved.

If you have any suggestions for authors to include, I would be happy to hear them, along with rationale as to why they should be included. And if you’re interested in writing about your suggestion, all the better! I’m looking forward to hearing from you.

Finally, anyone with an interest in Irish genre fiction might like to know that Swan River Press publishes a twice-yearly journal called The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature. You might find something of interest!

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Our Haunted Year: 2016

Here we are on the first day of 2017, and I realise that Swan River Press hasn’t had a single publication since August 2016. But the end of summer was certainly busy enough: we not only published one collection and two anthologies, but also helped run a festival. I’d feel a little more guilty about it had I not spent most of my holiday working on no less than three forthcoming publications (erm, one of them being the now overdue issue of The Green Book, I admit!) But I thought it would be worth the moment to have a look back at what we accomplished this year.

The first half of the year was overshadowed by Ireland’s 1916 Commemoration. Hundreds of events throughout Dublin and beyond marked the one hundred-year anniversary of the Easter Rising. Our first contribution to the occasion was issue seven of The Green Book, a themed issue that featured writings by genre writers who were affected by or even directly involved with the Rising. As I said in the Editor’s Note, the idea of doing a 1916-themed issue started tongue-in-cheek – especially given the country’s saturation in all things Easter Rising – but the result included pieces by AE, James Stephens, Arthur Machen, and Dorothy Macardle. One of the more poignant elements of the issue, something that makes the Rising seem much closer than a distant 100-years, is the intimate cover image: an x-ray of Lord Dunsany’s skull with the shrapnel embedded from a skirmish near the Four Courts. We reprinted in the issue his vivid recollection of the Rising from his autobiography Patches of Sunlight. For me the issue was a gratifying exploration of the Republic’s early beginnings.

Our second contribution to the national spirit of Ireland was a never-before reprinted collection from 1924 by Dorothy Macardle. The stories in Earth-Bound and Other Supernatural Tales were written while Macardle was incarcerated in Kilmainham and Mountjoy after being arrested at the Sinn Fein offices in 1922. While better known in Ireland for her political writings, and in the rest of the world for her novel ghostly The Uninvited (1941), I was pleased to make her collection of ghost stories available to readers again. And to the original collection we added numerous other tales and poems that Macardle wrote in the 1920s, making this one of the most complete collections of her short supernatural work. Once again, assembling this collection was an absolute pleasure as I got to work with Peter Berresford Ellis (who genre readers might also know as Peter Tremayne). Peter is a long time supporter of Macardle’s work, and his excellent introduction to our edition of Earth-Bound drew on his own archive of Macardle’s personal papers, including the rare photograph of Macardle standing beside a fireplace that we used for the author photo on the jacket. Needless to say, the whole experience was a pleasure, and I hope people enjoy the book.

The next book we did was another dream project: Fritz Leiber’s The Pale Brown Thing, which is an earlier version of his classic novel Our Lady of Darkness (1977). Not only did this book provide a great excuse to re-engage with one of my favourite novels of the supernatural and occult, but it also gave me the opportunity to work with the Californian poet Donald Sidney-Fryer. Donald has proven to be a enjoyable correspondent as well, in addition to being a fine writer of poetry. But his friendships with Fritz Leiber, Clark Ashton Smith, and others provides us with an important and direct link with the our literary heritage. Donald is a fascinating gent and if you’re interested in learning more about him, I suggest you pick up his recent autobiography, Hobgoblin Apollo. Finally, in an unexpected twist, I was able to visit San Francisco this December and made the pilgrimage to the Hotel Union at 811 Geary Street – where Leiber both lived and used as the setting for The Pale Brown Thing/Our Lady of Darkness – and of courseI also climbed to the peak of Corona Heights where Franz Weston first spies the pale brown thing . . . I’m a sucker for literary tourism. (Here’s my earlier post about Donald and The Pale Brown Thing.)

Next up is a book I feel most privileged to have published: Lynda E. Rucker’s second collection, You’ll Know When You Get There. Lynda’s fiction is the sort of stuff I love to read. I’d been hoping to work with her for a long time now, and this was the year. Supernatural fiction is the sort of thing that’s sometimes read with half a mind for nostalgia – who doesn’t love M.R. James? – but Lynda’s stories are fully modern, atmospheric and, above all, disquieting. True, she reaches back to the past masters (one of the best stories in the collection is “Who Is This Who Is Coming?”, a not-so-subtle nod to James), but you’ll also find stories like “The Haunting House”, an inexorable drive into loneliness and darkness. I’m looking forward to what Lynda does next, and even if I hadn’t had the pleasure of publishing this collection, she’s a writer I’d recommend keeping an eye on. Steve Duffy interviewed Lynda just before You’ll Know When You Get There came out this summer. You can read the whole interview here. And when you’re finished, if you haven’t already, pick up a copy of this book. You won’t regret it.

crsuzphvuaa_5zt-jpg-large Also published in August were a pair of books I’d been working on for well over a year. I’m happy to introduce the first two volumes of Swan River Press’s anthology series, Uncertainties (Volume 1 and Volume 2). As with some of the other books we did this year, it was a good excuse for me to work with a number of authors who I’ve admired and wanted to work with for a long time now. And since I’m limited by how many books I can realistically publish in a year, this was a good way to cover some ground, self-indulgent though it may be. With these books I wanted to show where the supernatural genre is at now – a modern and still evolving literary style – and showcase the writers exploring themes of the uncanny in all its myriad guises. You’ll find in these volumes some of my very favourite writers, including Emma Darwin, Reggie Oliver, Rosalie Parker, Timothy J. Jarvis, V.H. Leslie, and others. I was also fortunate to have an introduction by John Connolly in Volume 1. How cool is that? If you want to read my introduction to Volume 2, you can find it online here. And I hope Lynda E. Rucker won’t mind if I announce here that I’ve asked her to edit Volume 3, due out in 2018. (She said yes.)

14067858_1791641691070597_6099664786091069340_o And this post wouldn’t be complete without mentioning the Dublin Ghost Story Festival held at the Freemason Hall on Molesworth Street this past August. Here’s a short piece I wrote for the Irish Times about the genesis of the festival; you can read it here. I co-organised the event with John Connolly, and without his help I don’t think it would have happened at all, or certainly not as successfully. The vibe was casual and intimate, with 170 registered attendees, and for one solid weekend we got to indulge in our mutual passion: the ghost story. Our guest of honour couldn’t have been better, so special thanks is due to Adam Nevill for charming Dublin. Other guests included Sarah Pinborough, David Mitchell, Angela Slatter, John Reppion . . . I could list more, but there were so many people who contributed I’d undoubtedly miss some. Suffice to say I’m grateful to absolutely everyone who helped out, attended, or cheered us on from other countries. The Dublin Ghost Story Festival was a real highlight of the year. Although there are no firm plans just yet, we’re looking at the possibility of doing another festival for 2018. Stay tuned. Or better yet, join our mailing list.

A Flutter of Wings.jpg So there you have it. Those were the Swan River Press highlights of 2016. Let me know if I missed something. The schedule for 2017 is already shaping up to be an intimidating and ambitious enough project. While I wouldn’t want to say too much, I will say that the first book of the year will be Mervyn Wall’s 1974 short story collection A Flutter of Wings – this reprint will additionally include Wall’s play Alarm Among the Clerks (1937) and the opening chapter of an abandoned novel. Our new edition will feature an introduction by Val Mulkerns and illustrations by Clare Brennan (who is Mervyn Wall’s granddaughter).

Once again, I’d like to thank everyone who made 2016 such a successful year, both for myself and Swan River. Running a small press is a pleasure and a privilege, and I’m grateful to all for it. I’d like to wish everyone a happy new year and I hope to hear from you all soon.

Brian J. Showers

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