books, page 54 of 137

In some ways, John Cowper Powys’s massive 1933 novel A Glastonbury Romance bears comparison with David Lindsay’s massive 1932 novel Devil’s Tor. Both are set in rural South West England, where mystical visions seem to presage a worldwide spiritual or religious revival; both spend a lot of time examining, in intense detail, the inner lives of their characters; and both are, as already said, massive (A Glastonbury Romance being more than twice the length of David Lindsay’s 200,000-word “monster”). And this massiveness is part of their point — they want to come across as major statements, their physical heft a corollary to the weight of what they’re trying to say. But Lindsay’s and Powys’s intents are poles apart. Lindsay’s fundamental urge was world-rejection; his need was for a radical re-understanding of the universe’s troubling core mystery. Powys, on the other hand, was all about acceptance of life. To him:

“There is no ultimate mystery! Such a phrase is meaningless, because the reality of Being is forever changing under the primal and arbitrary will of the First Cause. The mystery of mysteries is Personality, a living Person; and there is that in Personality which is indetermined, unaccountable, changing at every second.”

But Powys isn’t the sunny-minded optimist you’d imagine as Lindsay’s opposite. He doesn’t turn away from (Lindsay’s touchstone) pain. He believed in accepting all of life, from the sublime and mystical to the crude and rude, and not merely with a stoic shrug, but by seizing it with an almost pagan ferocity. As one of the central characters of A Glastonbury Romance, the unconventional preacher, faith-healer, and (for most of the novel) Mayor of Glastonbury, “Bloody Johnny” Geard, says of his (very personal and idiosyncratic) beliefs:

“It matters not at all from what cups, from what goblets, we drink, so long as without being cruel, we drink up Life. The sole meaning, purpose, intention, and secret of Christ, my dears, is not to understand Life, or mould it, or change it, or even to love it, but to drink of its undying essence!”

The novel starts with the reading of a will. Canon Crow has died, and his family, with members ranging from the trampish rogue John Crow to the opportunistic industrialist Philip Crow, gather to learn that none of them has inherited anything. The whole £40,000 has been left to “Bloody Johnny” Geard of Glastonbury. Geard, though, does not see this as a personal bequest. He believes it’s his mission to turn his home town of Glastonbury — resting place of the Holy Grail and the Blood of Christ — into a world-class site of spiritual pilgrimage, “a mystical rival to Rome and Jerusalem”, and sets about doing just that. His first act is to announce a Passion Play, with mixed-in Arthurian elements, and he hires John Crow to organise it and advertise it to the world.

But really, Powys is almost wilfully uninterested in plot. His intent, as stated in a 1953 preface to a later edition, was to examine:

“Nothing more and nothing less than the effect of a particular legend, a special myth, a unique tradition, from the remotest past in human history, upon a particular spot on the surface of this planet together with its crowd of inhabitants of every age and of every type of character.”

Which reminds me of Alan Moore’s intent with From Hell, to take the Jack the Ripper murders and examine them as a “human event” that touches the lives of many different people in many different ways. Powys is doing the same with the myth of the Holy Grail. But even this is to imply A Glastonbury Romance has more focus than it has, and I’d say a better guide to the sort of thing this novel is doing is a quote from the critic George Santayana, who said of Dickens (in a 1921 essay called “Dickens”):

“…what he had was a vast sympathetic participation in the daily life of mankind.”

And that seems more like what Powys is doing. With the excuse of following the events (very loosely, and often only as background or rumours) surrounding the putting-on of Geard’s Passion Play (in the first half of the novel) and, in the second half, the conversion of Glastonbury to a Socialistic commune, and Geard’s use of the healing powers of its “Grail Fountain” to turn the town into a British Lourdes, Powys dips into the inner lives of his many and varied characters, some of whom have nothing to do with the Play or those later events, or who only touch them lightly. Even major-seeming plot events are brushed aside offhand. In one chapter, Geard takes Tittie Petherton, who has been suffering awful pains from cancer, to the Grail Fountain, to cure her and provide his Glastonbury with its first miracle. We leave them there, mid-cure, and hear nothing for several chapters, then all-too-briefly glimpse Tittie Petherton, apparently fully cured, enjoying scones at a tea. It’s never stated that she’s cured, though she’s obviously better, and we don’t get the sort of disbelieving or believing reactions you want to hear. It’s almost as if the actual relation of plot is an embarrassment to Powys, and best brushed under the carpet. (Though it has to be said that in four of the book’s longest chapters — that dealing with the Pageant itself, and the final three which round off the book — Powys resolves his major plot strands with the same sort of dramatic brio as Peake displays in his Gormenghast novels’ major set-pieces.)

Powys is interested, most of all, in inhabiting the lives of his multitude of characters, in sampling their peculiar ways of experiencing the world, of thinking about it, of feeling about it, of relating to it. And he isn’t only interested in human characters. His is “a universe so thrilling and so aching with teeming consciousness” that, in wandering from one character to another, he occasionally brings in a non-human consciousness, including at one point a tree, or the sun (which takes a particular dislike to the Vicar of Glastonbury, though this only results in his feeling the heat a little more than others if he goes outside without a hat), the dead Canon Crow freshly laid in his grave (who has an ethereal though down-to-earth conversation with his wife, who’s buried in another country), and the “First Cause” — the God of Powys’s universe, a being whose nature generates all the good and all the evil in our world. (For Powys, it’s only human beings who can actually “produce good out of evil” as “this they do of their absolute free-will”; the First Cause just pours both good and evil out, constantly.)

In this way, Powys seems to stand in an odd relation to the modernist writers of his time. On the one hand, he employs the stream-of-consciousness technique of dipping into his characters’ minds, to relate both their consequential and their inconsequential thoughts, just as Virginia Woolf does in Mrs Dalloway. (Also her technique of shifting from one character to another as they pass in the street, or glance one another across a field.) On the other hand, he has no interest in the concept of the unreliable narrator, or of giving up any of the authorial authority the likes of Dickens took for granted. Which isn’t to say he comes across as dictatorial. Rather, he’s convincing through the sheer novelty and strangeness of the inner worlds he presents us with. In a way, Powys, as narrator, is like one of the “invisible anthropologists” he sometimes mentions as witnessing the events of his novel — the disembodied inhuman entities he tells us are lingering around his many characters, watching what they do with mild, dispassionate interest. Powys actually gets a mention in Colin Wilson’s monumental study The Occult for his having “deliberately set out to cultivate ‘multi-mindedness’, to pass out of his own identity into that of people or even objects”, and not just in his novels, but in his daily life.

There’s a quote from Wilson on the back of my 1975 paperback edition of the novel, calling it “Possibly the greatest novel of the twentieth century, and one of the great mystical masterpieces of all time”. Powys’s mysticism, though, isn’t anything like Lindsay’s. With Lindsay, visions give his characters a glimpse of another reality, and when they return to this world it’s with a feeling they’re sinking back into a second-rate or false reality. With Powys, visionary experiences are just one part of the vastness of the one, single reality — a rare part, yes, but still a part of this world, not a glimpse of another. And his characters’ visionary experiences don’t, in the end, turn out to be that important. Three of his main characters, the roguish John Crow, the would-be-saint Sam Dekker, and the would-be-sinner Owen Evans, have visions. Evans, who thinks playing the part of Christ on the Cross in the Pageant will cure him of his obsessive sadistic fantasies, does have a vision of Christ, but the effect of that vision wears off, and what actually saves him, in the end, is the love of his wife. Sam sees the Holy Grail, and feels the need to rush around telling everyone, but where he expects to have to overcome disbelief, he’s instead faced with indifference. John Crow has a vision of Excalibur, but this has even less effect; chapters later he’s disgusted with Geard’s peddling the reality of the Arthurian myths as “lies”. Geard, the most mystically-minded character in the book, is more childlike than saint-like, and in place of Lindsay’s need, in Devil’s Tor, for his characters to give themselves up to serve that book’s demanding, tragic Goddess, Geard sees Christ more as “a Power to be exploited”:

“He [Christ] was the Mayor’s great magician, his super-Merlin… Never once had it crossed the threshold of Mr Geard’s consciousness that it was his duty to live a life of self-sacrifice.”

(I like that fact that, ultimately, the source of Geard’s force of personality is “the man’s complete freedom from self-consciousness”.)

Powys’s mysticism is not about glimpses of other worlds, but more an awed appreciation of this one. Every moment, for him, however quotidian, is imbrued with a sort of mystical light, and he loves to let us into the mind of a minor character and reveal that, in some quiet way, they have the secret of life’s true meaning, and have had it, quite naturally, since they were born:

“When not in acute physical pain, or in the presence of acute physical pain, Nancy Stickles enjoyed every moment of life. She liked to touch life, hear life, smell life, taste life, see life…”

It’s an odd thing, though, that for a book published in 1933, and ostensibly set in “the present” — and which features an aeroplane, and cars, and I think at one point someone suggests using a telephone, though nobody has a radio, but evidently it is the 1930s — it makes absolutely no mention of the First World War. None of the characters thinks of it, or recalls having served in it, or has lost anyone to it, or been wounded in it. If Powys is a modernistic writer in the techniques he employs, he seems utterly indifferent to the driving force behind such works as The Waste Land or Mrs Dalloway (with its shell-shocked Septimus Smith). Powys doesn’t even present his life-acceptance as an answer to the worldwide trauma of the Great War, and the widespread loss of belief of the 20th century; it’s as though it just doesn’t affect him, so he doesn’t mention it. (Which is doubly odd, because Powys obviously has a real hatred of cruelty. He apparently had a belief that, early in life, his thinking ill of others caused them actual ill, so he practised a sort of generalised benevolence, so as not to magically cause anyone harm.)

It could be that, as I said with Peake’s Gormenghast, the war makes itself felt in the way both that book and this one ends with a flood. In A Glastonbury Romance, the army even turns out to help, but there’s just not the same feeling, as with Peake, of this being a terrible disaster thrust upon all its characters in the same way the war was thrust upon the real world. With Powys, it feels more as though he just needed to find a way to end his massive book, so came up with a flood, as a sort of watery full-stop.

Reading A Glastonbury Romance is like taking a holiday, not just in another place, but in a timeless time. It’s a glimpse into Powys’s own worldview, one obviously nurtured in a rural upbringing, free of the modern world’s onslaught of communication and networking, a world in which one could really develop an eccentric inner life, an individualistic and even mystic way of experiencing one’s own existence and the quiet, slow-paced, characterful worlds of nature, and other people. That, more than anything, is what lingers, having read this book. It’s less about getting from page 1 to page 1,120, than it is about switching to a different mode of existence whilst being nestled between its capacious pages — a subtler, stranger, and perhaps now-lost mode of existence, but certainly one I’m glad to find preserved in Powys’s novel.

Kids with psychic abilities are kidnapped and taken to the Institute, where they’re put through a series of demeaning and abusive medical procedures in “Front Half” before being taken to “Back Half”, where their abilities are put to use. They’re told that, once they’ve served their term, they’ll have their memories of the Institute wiped and be set free, but none of the kids are buying that. There’s rumours of a back half to Back Half, where the burn-outs are kept. And after that, well, the Institute has its own cremation facilities.

My first reaction on reading about The Institute was, “Ah, Stephen King does Stranger Things,” because of the psychic-kids-in-an-institute idea, though of course Stranger Things is the Duffer Brothers doing Stephen King, so really it came down to Stephen King doing Stephen King. Kids with psychic powers have been there in his fiction from the start (Carrie), and Firestarter was a key influence on both the character of Stranger Things’ Eleven, and Hawkins Labs where she’s held, but I wonder if watching the show sparked King off with a need to revisit the idea. (According to an article in the New York Times, he began writing the novel in March 2017, so that would have been between Stranger Things’ seasons 1 and 2.)

But the Institute is no Hawkins Labs, and its kids are nothing like Eleven. Most of the children have no conscious control of their powers, and even those that do, know how weak they are — the best of them can, by really concentrating hard, just about hold back the midges that hang around the rundown Institute playground, or get a vague telepathic sense when someone’s lying. So it’s a mystery why anyone would go to such an effort to kidnap a bunch of children with “psychic abilities that wouldn’t even pass an America’s Got Talent audition”.

The Institute itself is hardly hi-tech. It’s tired and rundown, and mostly just going through the motions. It’s not interested in scientific discovery. (One doctor’s allowed to experiment on the less promising subjects, but it’s strictly a side project.) The main purpose is to get the kids through a well-worn process — give them the necessary jabs, put them through the standard tests — and most of the staff have long since ceased to regard their charges’ humanity as anything but a nuisance. Most are casually cruel; the few who aren’t are outright nasty.

There’s a weird air about the Institute of belonging to another age. The snacks in the vending machines (which kids can purchase with tokens they’re given for good behaviour) include sweets from decades past (candy cigarettes, for instance), though I wasn’t able to pick up on all of King’s hints about this as, to me, all American snacks sound made up. The TVs in Back Half, meanwhile, show “only prehistoric sitcoms like Bewitched and Happy Days”. I was wondering if this was going to be a plot point, or even a joke about Stranger Things’ retro appeal, but in the end I think it was just King connecting these kids’ experience to his own childhood.

The main character we follow in The Institute is Luke Ellis, a twelve-year-old prodigy who has minor, unconscious telekinetic abilities. He’s super clever, but the Institute doesn’t care about that. To them, he’s just another kid to be put through the grinder — to be processed, but also humiliated, controlled and broken along the way. One thing that really came through in the first half of the novel is how powerless these children are in a world where the adults don’t give a damn about them. Luke’s first task is to fight as hard as he can not to be institutionalised — not to give in to that sense of powerlessness and simply accept the situation, but also not to pointlessly rebel for the sake of it, which just ends in pain.

I haven’t read much criticism of King’s work taken as a whole, so it was only when I was halfway into the book that I realised how often the theme of incarceration, and escape at great odds, occurs in his work (in, for instance, “Rita Hayworth and the Shawshank Redemption”, Misery, and Gerald’s Game, as well as being an early rite of passage for a number of characters in The Stand). All of these stories are about characters fighting unfair and often life-threatening imprisonment with a combination of cleverness and patient determination, and King seems to have a particular penchant for that sweet feeling of pure, abstract freedom which follows.

As the book goes on, there are growing hints that the Institute is doing what it does out of a genuine belief in a greater good, and not just the standard thought-stopper of “national security”. It made me feel the novel was heading towards an outright moral argument — could any ends ever justify such means? — but it never did, not in such abstract terms, anyway. Which is a pity, because I think it’s good to have even such basic moral arguments aired every so often. (Virtually every review and interview I’ve read about The Institute brings up the incarceration and separation of children from their families on the U.S.-Mexican border that started in 2018, so it’s not as if the novel needs to evoke the horrors of the past to find any relevance.)

The Institute is the best King novel I’ve read in a while. It may be in part thanks to its having only a very light touch of the supernatural — meaning King couldn’t indulge in the sort of over-the-top horrorshow pyrotechnics that have put me off reading him in the past (Duma Key, for instance) — but also thanks to some very tight plotting, with a large chunk of the novel switching between three very suspenseful situations all playing out at the same time. It made The Institute into a real page-turner.

Although she’s more well-known nowadays for her modern-Gothic/psychological suspense novels such as Rebecca (1938) and My Cousin Rachel (1951), both of which have been filmed several times, Daphne du Maurier produced some good shorter fiction that can be classed as weird, supernatural, or science-fictional — in a couple of cases all three at once — some of which have also been filmed, including The Birds (by Alfred Hitchcock in 1963), Don’t Look Now (by Nicolas Roeg in 1973), and The Breakthrough (adapted for TV in 1975, and then filmed as The Lifeforce Experiment by Piers Haggard in 1994).

Hitchcock said that, when adapting, he would read the book or story once, then never look at it again, and it can seem that, with his film of The Birds (scripted by Evan Hunter), it’s only the basic idea of mass bird attacks on humans that the two have in common. Du Maurier’s story (in The Birds and Others, 1952) is set in rural Cornwall and has a male working-class protagonist; Hitchcock’s is set in Bodega Bay, north of San Francisco, and has a female upper-class lead. But there are moments of similarity, including a bird attack on school children, and a visit to a neighbouring farm where the farmer is found pecked to death. Both end without any solution or explanation. I’d say, though, that the roots of du Maurier’s story are more evident, in the way it draws so many parallels with the then still-recent Second World War. Her story is full of scenes of the family huddled round a wireless set, tuning in for news from the authorities, or blocking out the windows just as they’d have blacked them out during the war. As the bird attacks increase, the family bed down together in the kitchen, just as they might have in an air-raid shelter, and the wife says, “Won’t America do something? … They’ve always been our allies, haven’t they? Surely America will do something?” The main character thinks about the birds as he would an enemy army (“A lull in battle. Forces regrouping.”). At the end, as the attacks continue and the authorities struggle to do anything, it’s as though the state of how things were in the Second World War has somehow seeped out from the human world to become the natural order.

None of these are short stories — du Maurier preferred novella length, it seems — meaning that even when she’s working at an idea another weird-fiction writer might turn into a quick twist story, she explores it at greater depth. An example of this is “The Apple Tree” (also from The Birds and Others), about a man who can’t help being a little relieved at the death of his eternally hard-done-by wife, but who starts to notice a resemblance between a stunted tree in his garden and his late wife’s slouched posture, after which he suspects she’s using the tree to haunt him. It’s an idea that’s been used before (Lovecraft’s “The Tree”, for instance), but writing it at length, du Maurier really brings out the relentlessly stifling nature of the marriage, and the desperate futility of the husband’s attempts to find some joy in life now he’s no longer burdened by such a negative spouse. The supernatural element is just the icing on the cake — the final twist to a man who’s already haunted in a purely psychological sense.

Difficult marriages feature in a lot of du Maurier’s tales, and her own was, it seems, troubled at times. There were affairs on both sides (in Daphne’s case, with both men and women), and the couple seems to have been happier living apart — he in London, where he worked after his military career (he became Treasurer to the Duke of Edinburgh), she in Cornwall. When her husband had a nervous breakdown, Daphne, learning he’d been having an affair, decided to do her best to save the marriage, but soon found the loss of creative solitude brought her to the edge of her own breakdown. Writing her next collection, The Breaking Point (1959), was her means of recovery.

Two of its stories stand out, for me. In “The Blue Lenses”, a woman who’s had an operation to implant new lenses into her eyes wakes to find she sees everyone with animals’ heads in place of their own, and seemingly the more she cares for them, the worse the head. (Her husband has a vulture’s.) It’s an unconventional idea for a horror story, at first absurd, but du Maurier quickly builds up the sense of inescapable isolation as her protagonist finds herself unable to hide her horror at what she sees. “The Pool”, meanwhile, is about a girl spending the school holidays with her brother at their grandparents’ house, for whose extensive garden she has an almost mystical reverence. She sneaks out at night to perform made-up rituals to bind herself, once more, to the garden, and to the strange world she can access through a pool in a thicket of trees. It reminded me of Arthur Machen’s “The White People”, which is also about a girl drunk on her own mix of nature-mysticism and fairy lore. But du Maurier brings in an element Machen, I think, never would, as this heady mix of fantasy and weirdness is linked to the girl’s first period. (I wonder how transgressive this was for a book published in 1959? Other stories in the same volume deal with pederasty, incest, madness, and the disposal of a dead baby — all of which, I can’t help feeling, must have felt incredibly shocking at the time.)

For me, du Maurier’s most satisfying single collection is Don’t Look Now and Other Stories (which came out in 1971, initially as Not After Midnight). It’s a collection dominated by recent deaths and troubled mourning, with three of its five stories being about people dealing with grief.

“Don’t Look Now” has a disturbing circularity to its plot. Its main character has unacknowledged clairvoyant powers, and his own death only occurs because he has a vision of what happens as a result of that death. If he hadn’t seen it — if he’d not looked now — he wouldn’t have died. It’s quite a subtly-balanced tale, and I have to admit it’s one I don’t think (though I may be the only person who thinks this) works as well in Nicolas Roeg’s film, which brings even more ambiguities to a story that’s rich enough in them already. Writing of du Maurier in The Penguin Encyclopedia of Horror and the Supernatural, Gary Crawford says “All du Maurier’s tales are symbolic and elegant, but they are less terrifying than simply strange, almost in the manner of Robert Aickman.” I don’t think du Maurier is often as outright surreal as Aickman, but “Don’t Look Now” may be her at her most dreamlike.

(And there’s a scene in the 1940 film of Rebecca, where the sinister Mrs Danvers urges the new Mrs de Winter to fondle her predecessor’s clothes, which seems straight out of Aickman’s “Ravissante” — only, of course, preceding it by nearly three decades.)

For a writer I most closely associate with Rebecca and the black & white Hitchcock/Selznick film based on it, “The Breakthrough” (which is copyrighted 1966, though I haven’t been able to find if it appeared before its inclusion in Don’t Look Now and Other Stories [but see addenda below]) feels very modern — or 1970s-modern, anyway. An electrical engineer is sent to help with an experimental government project to develop the use of sound as a weapon, but whose leader has co-opted the project to investigate what he calls “Force Six” — essentially, the sixth sense, and its possibility of providing “the explanation of telepathy, precognition, and all the so-called psychic mysteries.” This project leader, James MacLean, also believes that “Force Six” is released as pure energy when we die. Unconcerned with the idea of “souls”, MacLean believes that by trapping and using that energy, “We shall have the answer at last to the intolerable futility of death.”

This mix of secret research, up-to-date electronic gadgetry, and psychic phenomena recalls Nigel Kneale’s The Stone Tape (1972) and the episode of The Omega Factor (1979) which was also about the military use of sound. (And I can’t help wondering if it was one of these that inspired Kate Bush’s “Experiment IV” (1986), also about the military use of sound.) It’s a satisfying tale, and the BBC2 adaptation (which you can watch on YouTube), is a good take on it.

Daphne du Maurier’s short story/novella output is quite varied, ranging from crime to satire to some outright strangeness (as with “The Lordly Ones” from The Breaking Point in which — I can’t be sure — a boy runs away from his indifferent parents and is briefly adopted by some ponies). My favourite non-fantastic story of hers is, I think, “The Way of the Cross” (from Don’t Look Now and Other Stories), in which a mismatched bunch of pilgrims visit Jerusalem and suffer their own betrayals, redemptions and resurrections in the space of a hectic twenty four hours. But overall my favourites are, of course, the weird ones, and generally those that have been adapted: “The Birds”, “Don’t Look Now”, “The Breakthrough”, and, among the un-adapted, “The Pool” and “The Blue Lenses”. I think a good single-volume collection could be made from her weird fiction, but perhaps they’re better left where they are, as the strangeness of her strange tales seems all the stranger for being couched amongst her other, more normal — though never mundane — stories.

Addenda: “The Breakthrough” was first published in The Ladies Home Journal, March 1966, with some suitably sixties-style illustrations by Marbury Brown. You can see some not-great scans at Archive.org here. Meanwhile, du Maurier’s weird fiction has been collected into a single volume, After Midnight (2025), with an introduction by Stephen King that you can read here.