Admittedly there's nothing enigmatic about "Call First" or "Heading Home," both from early 1974. They're perhaps the best of a handful of pieces written for a Marvel comic that originally proposed to print terse tales of traditional terrors with a twist as text `twixt the strips. By the time this proved not to be, I'd had fun writing stories in emulation of the EC horror comics of the fifties. I've long felt that a story that ends with a twist needs to be rewarding even if you foresee the end, and I hope that's true of this pair.
"In the Bag" (1974) is a ghost story I submitted to the Times ghost story competition, though it wasn't written with that in mind. I rather hoped it might appear in the anthology derived from the competition, but the judges (Kingsley Amis, Patricia Highsmith, and Christopher Lee) must have decided otherwise. However, it did gain me my first British Fantasy Award. As David Drake has pointed out, the punning title is inappropriately jokey--a lingering effect of writing the horror-comic tales, perhaps--but I try not to cheat my readers by changing titles once a story has been published.
"Baby" (1974) is set around Granby Street in Liverpool, later one of the locations for The Doll Who Ate His Mother. It owes its presence in this book to my good friend J. K. Potter, who designed and illustrated the Arkham House edition. He expressed amazement that Jim Turner and I had omitted the tale, and provided an image to justify his enthusiasm.
"The Chimney" (1975) is disguised autobiography--disguised from me at the time of writing, that is. Was it while reading it aloud at Jack Sullivan's apartment in New York that I became aware of its subtext? It was certainly under those circumstances that I discovered how funny a story it was, though the laughter died well before the end. Robert Aickman described it as the best tale of mine that he'd read, but his correspondence with Cherry Wilder betrays how little he meant by that. Still, it gained me my first World Fantasy Award, and Fritz Leiber told me this was announced to "great applause." Harlan Ellison (also present, I believe) had no time for it. "It was a terrible story," he wanted the readers of Comics Journal to know, "and should not have won the award."
"The Brood" (1976) had its origins in the view of streetlamps on Princes Avenue from the window of Jenny's and my first flat, which we later lent to the protagonists of The Face That Must Die. When my biographer, David Mathew, recently attempted to photograph me in front of the building, a tenant demanded to know what we were up to. This was one of the rare instances where I found myself assuaging someone's paranoia.
"The Gap" (1977) indulges my fondness for jigsaws. You'll find me playing cards and Monopoly too, not to mention Nim, at which only my daughter can beat me. Role-playing games (I leave aside the erotic variety) have never tempted me, however, though in my inadvertent way I generated a book of them (Ramsey Campbell `so Goatswood) published by Chaosium. As for the tale, it depressed Charles L. Grant too much for him to publish, although he did anthologise some of the others herein.
"The Voice of the Beach" (1977) was my first concerted attempt to achieve a modicum of Lovecraft's cosmic terror by returning to the principles that led him to create his mythos. The setting is a hallucinated version of the coast of Freshfield, a nature reserve almost facing my workroom window across the Mersey. Recently I made a book-length attempt at the Lovecraftian in The Darkest Part of the Woods. I continue to believe that the finest modern Lovecraftian work of fiction--in its documentary approach, its use of hints and allusions to build up a sense of supernatural dread, and the psychological realism of its characters--is The Blair Witch Project.
"Out of Copyright" (1977) had no specific anthologist in mind, but Ray Bradbury thought it did, and enthused about it on that basis. "Above the World" (1977) derived much of its imagery and setting from my one wholly positive, not to mention visionary, LSAID experience. The hotel is the very one where Jenny and I spent our belated honeymoon and some other holidays. In the early nineties, a short independent film, Return to Love, was based on the story, though without reading the final credits you mightn't realise; indeed, the title gives fair warning. "Mackintosh Willy" (1977) was suggested by graffiti within a concrete shelter in the very park the story uses. When I approached I saw that the letters in fact spelled MACK TOSH WILLY. Close by was an area of new concrete, roped off but with the footprints of some scamp embedded in it, and these two elements gave birth to the tale. When J. K. and I were visiting Liverpool locations for the first edition of this book I took him to the shelter, but alas, the legend had been erased from it.
The entire location of "The Show Goes On" (1978)--the cinema, I mean--is no more. It was the Hippodrome in Liverpool, and I thought I'd failed to do it justice in an earlier tale, "The Dark Show". It was built as a music hall, and behind the screen was a maze of passages and dressing-rooms, as I discovered with increasing unease one night when I missed my way to a rear exit. Eventually I reached a pair of barred doors beyond which, as I tried to budge them, a dim illumination seemed to show me figures making for them. Homeless folk, very possibly--they didn't look at all well--but when, years later, I was able, as a film reviewer, to attend the last night of the cinema and explore its less public areas, I never managed to find those doors again.
Only global warming is likely to do away with the location of "The Ferries" (1978), though the spring tides drive small animals out of the grass onto the promenade--at least, we must hope they're small animals. "Midnight Hobo" (1978) also had a real setting, a bridge under a railway in Tuebrook in Liverpool. As for Roy and Derrick, they were suggested by a relationship between personnel at Radio Merseyside: Roy was my old producer Tony Wolfe, and Derrick--well, I really mustn't say. Roy's grisly interview with the starlet was based pretty closely on one I had to conduct with a member of the cast of a seventies British sex comedy. According to the Internet Movie Database, she made one more film.
Angela Carter has suggested that the horror story is a holiday from morality. It often is, especially when it uses the idea of supernatural evil as an alibi for horrors we are quite capable of perpetrating ourselves, but it needn't be, as I hope "The Depths" (1978) and others of my tales confirm. I've always thought of this one as a companion piece to my novel The Nameless. Jaume Balaguero's fine film demonstrates how much of that can be stripped away, but I think the central metaphor of giving up your name and with it your responsibility for your actions and your right to choose is more timely than ever--indeed, perhaps it's time I wrote about it again. "The Depths" is concerned with the process of demonisation, another way of finding someone else to blame. I'm sure I'm guilty of it myself; the worst writing in my field gives me any number of excuses.
"Down There" (1978) very nearly joined my other unfinished short stories. I tried to write it when our daughter was just a few weeks old. I felt compelled to write even under those circumstances, but my imagination couldn't grasp the material for several days. I was about to abandon the effort when the image of a fire escape viewed from above in the rain came alive, and so did the tale. The early pages of the first draft had to be taken apart and thoroughly reworked, but there's no harm in that--in fact, it has become increasingly my way. Alas, it wasn't when I wrote "The Companion".
With a little more sexual explicitness "The Fit" (1979) might have found a place in Scared Stiff (two stories from which have been deleted from the present book, but you can find them in the expanded Tor edition of my tales of sex and death). Whereas those stories explore what happens to the horror story if sexual themes become overt, "The Fit" may be said to squint at the effects of Freudian knowingness. Fanny Cave indeed! I'd originally written "The Depths" for my anthology New Terrors, but when Andrew J. Offutt sent in a story that seemed to share the theme, I wrote "The Fit" as a substitute for mine.
My memory suggests that "Hearing is Believing" (1979) was an attempt to write about a haunting by a single sense. "The Hands" (1980) came out of an encounter in the street with a lady bearing a clipboard. I'm reminded of the slogan on the British poster for Devils of Monza: "She was no ordinary nun." Indeed, the real lady wasn't
one at all--I suppose some lingering Catholicism effected the transformation for the purposes of the tale. This seems as good a point as any to mention my forthcoming novel Spanked by Nuns.
"Again" (1980) appeared in the Twilight Zone magazine under T. E. D. Klein's editorship, although I gather Rod Serling's widow took some persuading. One British journal found the tale too disturbing to publish, while a British Sunday newspaper magazine dismissed it as "not horrid enough." Who would have expected Catherine Morland to take up editing? The story saw a powerful graphic adaptation by Michael Zulli in the adult comic Taboo, which was apparently one reason why the publication was and perhaps still is liable to be seized by British Customs.
Two novels occupied my time for the next three years, to the exclusion of any other fiction. While picnicking with the family in Delamere Forest to celebrate having finished Incarnate I thought of the basis for "Just Waiting" (1983), and the genesis of a new short story felt like a celebration too. My touch here and in "Seeing the World" (1983) is lighter than it used to be, or so I like to think. That doesn't mean what's lit up isn't still dark.
"Old Clothes" (1983) was an attempt to develop the notion of apports. I'm as loath as Lovecraft ever was to use stale occult ideas, but I think this one let me have some fun. In 1984 Alan Ryan asked me for a new Halloween story, and "Apples" was the result. It became the occasion of one of my more memorable encounters with a copy-editor, though only after the American edition had respected my text. The British paperback version of the tale proved to have suffered something like a hundred changes. The excellent Nick Webb, the managing director of Sphere, had the edition withdrawn and pulped. Had I not written "Out of Copyright" by then, I might well have turned it into a tale about a copy editor. Of course not all such folk are interfering bloody fools, but perhaps an example of what befell "Apples" is in order. Where I'd written:
His dad and mum were like that, they were teachers and tried to make him friends at our school they taught at, boys who didn't like getting dirty and always had combs and handkerchiefs ...
The copy editor thought I should have written
His mum and dad were like that. They were teachers and tried to make friends for him at our school, where they taught boys who didn't like getting dirty and always had combs and handkerchiefs ...
I rest my case, and my head.
"The Other Side" (1985) was an attempt to equal the surrealism of J. K. Potter's picture on which it was based. The last thing I wanted to do was end the story with his image, since the combination would have had much the same effect as the infamous Weird Tales illustration that gave away one of Lovecraft's best endings. The image can be found on page 97 of J. Kdd`so superb Paper Tiger collection Horripilations, which also contains (among much else) his illustrations for the aborted limited edition of The Influence.
Kathryn Cramer asked me to write a story in which the building in which it took place would (I may be paraphrasing) itself figure as a character. She certainly didn't mean her letter to potential contributors to be disconcerting, but she pointed to several stories of mine as epitomising her theme, which made me feel expected to imitate myself and daunted by the task. I struggled to come up with an idea until circumstances gave me one, as happens often enough to let me believe in synchronicity. The Campbell family had just moved into the house in which I now write, but we hadn't yet sold the previous one, to which I daily walked. I forget how long it took me to notice that here was the germ of "Where the Heart Is" (1986).
"Boiled Alive" (1986)--a title I hoped folk would recognise was meant to be intemperate--was also conceived in response to an invitation, this time from David Pringle of Interzone. When I try to write science fiction my style generally stiffens up, and so I attempted to be ungenerically offbeat instead. That isn't to say I don't think it's a horror story: I think all the stories in this collection are. I'd certainly call "Another World" (1987) one, and it too was invited, by Paul Gamble ("Gamma") when he worked for Forbidden Planet in London. His idea was an anthology of tales on the theme of a forbidden planet, though when Roz Kaveney took over the editorship she chose stories simply on the basis that the author had signed at the bookshop. I had, but I cleaved to the theme as well.
As for "End of the Line" (1991), what can I say? It is, but may also have begun a lighter style of comedy in my stuff. Whatever the tone, though, it's still pretty dark in here. I hope the jokes are inextricable from the terror. However, it was less with laughter than with a sneer that a hypnotist who claimed to reawaken people's memories of their past lives once advised me to study his career for when I "started writing seriously," rather as if those responsible for The Amityville Horror had accused, say, Shirley Jackson of having her tongue in her cheek when she wrote The Haunting of Hill House. I see no reason why dealing with the fantastic requires one to write bullshit, and I submit this collection as evidence.
In the thirty years covered by this book I saw horror fiction become enormously more popular and luxuriant. I use the last word, as tends to be my way with words, for its ambiguity. There's certainly something to be said in favour of the growth of a field which has produced so many good new writers and so much good writing. One of its appeals to me, ever since I became aware of the tales of M. R. James, is the way the best work achieves its effects through the use of style, the selection of language. On the other hand, the field has sprouted writers whose fiction I can best describe as Janet and John primers of mutilation, where the length of the sentences, paragraphs, and chapters betrays the maximum attention span of either the audience or the writer or more probably both. There are also quite a bunch of writers with more pretensions whose basic drive appears to be to outdo one another in disgustingness. "It is very easy to be nauseating," M. R. James wrote more than sixty years ago, and the evidence is all around us. However, I hope that in time the genre will return to the mainstream, where it came from and where it belongs.
What to do? Nothing, really, except keep writing and wait for the verdict of history. The field is big enough for everyone, after all. I came into it because I wanted to repay some of the pleasure it had given me--particularly the work of those writers who, as David Aylward put it, "used to strive for awe"--and I stay in it because it allows me to talk about whatever themes I want to address and because I have by no means found its limits. Perhaps in the next thirty years, but I rather hope not. I like to think my best story is the one I haven't written yet, and that's why I continue to write.
Ramsey Campbell
Wallasey, Merseyside
1 December 2002
Foreword To Cold Print - Chasing the Unknown (1984)
The first book of Lovecraft's I read made me into a writer. I found it in the window of a Liverpool sweetshop called Bascombe's. I was fourteen years old then, and went there every Saturday to search through the secondhand paperbacks at the rear of the shop once I'd made sure there was nothing in the window. Sometimes, among the covers faded like unpreserved Technicolor in the window, there would be a bright new book on which to spend my pocket money: an issue of Supernatural Stories written by R. L. Fanthorpe under innumerable pseudonyms (Pel Torro, Othello Baron, Peter O'Flinn, Oben Lerteth, Rene Rolant, Deutero Spartacus, Elton T. Neef were just some of them), a Gerald G. Swan Weird and Occult Miscellany whose back cover advertised studies of torture and flagellation and execution 'for the nature student.' But that Saturday, among the yellowing molls and dusty cowboys, I saw a skeletal fungoid creature, the title Cry Horror, the author's name I'd been yearning for years to see on a book. For a panicky moment I thought I hadn't half a crown to buy the book, dreaded that it would be gone when I came back with the money. I read it in a single malingering day off school; for a year or more I thought H.P. Lovecraft was not merely the greatest horror writer of all time, but the greatest writer I had ever read.
Some (Stephen King and Charles L. Grant among them) would take that to prove that Lovecraft is an adolescent phase one goes through - certainly a writer best read when one is that age.
I can only say that I find his best work more rewarding now than I did then. Grant claims that 'when you grow up you discover that what attracted you when you were fourteen was his rococo style and very little else,' but I don't think it was so in my case; certainly I don't agree that 'the style makes the stories.' Indeed, I think that's precisely the trap into which too many imitators of Lo veer aft fall.
I was one of them, of course, having already done my best to imitate Machen and John Dickson Carr. If I avoided the trap to some extent, I did so unconsciously -did so because I didn't merely admire Lovecraft, I was steeped in his work and his vision throughout the writing of my first published book. I began it as a way of paying back some of the pleasure his work had given me, some of the sense of awesome expectation that even reading some of his titles - 'The Colour out of Space,' 'The Whisperer in Darkness' - could conjure up. No other writer had given me that so far. I wrote my Lovecraftian tales for my own pleasure: the pleasure of convincing myself that they were almost as good as the originals. It was only on the suggestion of two fantasy fans, the Londoner Pat Kearney and the American Betty Kujawa, that I showed them to August Derleth at Arkham House.
'There are myriad unspeakable terrors in the cosmos in which our universe is but an atom; and the two gates of agony, life and death, gape to pour forth infinities of abominations. And the other gates which spew forth their broods are, thank God, little known to most of us. Few can have seen the spawn of ultimate corruption, or known that centre of insane chaos where Azathoth, the blind idiot god, bubbles mindlessly; I myself have never seen these things - but God knows that what I saw in those cataclysmic moments in the church at Kingsport transcends the ultimate earthly knowledge.'
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