The Valancourt Book of Horror Stories, Volume Two

by James D. Jenkins

  THE VALANCOURT BOOK OF

  HORROR STORIES

  VOLUME TWO

  edited by

  James D. Jenkins & Ryan Cagle

  VALANCOURT BOOKS

  The Valancourt Book of Horror Stories, Volume Two

  First published October 2017

  This compilation copyright © 2017 by Valancourt Books, LLC

  The Acknowledgments page on p. 6 constitutes an extension of this copyright page.

  All rights reserved. In accordance with the U.S. Copyright Act of 1976, the copying, scanning, uploading, and/or electronic sharing of any part of this book without the permission of the publisher constitutes unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher.

  Published by Valancourt Books, Richmond, Virginia

  http://www.valancourtbooks.com

  Cover by M. S. Corley

  ACKNOWLEDGMENTS

  The Editors acknowledge with thanks permission to include the following stories:

  ‘Samhain’ © 1991 by Bernard Taylor. Originally published in Final Shadows, edited by Charles F. Grant. Reprinted by permission of the author and A.M. Heath, Ltd.

  ‘The Bell’ © 1946 by Beverley Nichols. Originally published in Strand Magazine. Reprinted by permission of Eric Glass, Ltd.

  ‘The Elemental’ © 1974 by R. Chetwynd-Hayes. Originally published in The Elemental and Other Stories. Reprinted by permission of the author’s estate.

  ‘The Creatures in the House’ © 1980 by Robert Westall. Originally published in You Can’t Keep Out the Darkness, edited by Peggy Woodford. Reprinted by permission of the Laura Cecil Agency.

  ‘Halley’s Passing’ © 1987 by Michael McDowell. Originally published in Twilight Zone. Reprinted by permission of The Otte Company.

  ‘The Nice Boys’ © 1965 by Isabel Colegate. Originally published in Horror Anthology, edited by Syd Bentlif. Reprinted by permission of the author and Janklow & Nesbit.

  ‘Tudor Windows’ © 2017 by the Trustees of the Estate of the late Nevil Shute Norway. Published by permission of A.P. Watt, Ltd.

  ‘Camera Obscura’ © 1965 by Basil Copper. Originally published in The Sixth Pan Book of Horror Stories. Reprinted by permission of the author’s estate.

  ‘The Boys Who Wouldn’t Wake Up’ © 2017 by Stephen Gregory. Published by permission of the author.

  EDITORS’ FOREWORD

  Our first collection of horror stories received such a positive response that we decided to assemble a second volume of tales by Valancourt authors, and, if possible, to make this one even better than the last.

  The fourteen tales in Volume Two span almost two hundred years – Thomas De Quincey’s Gothic story of a demonic pact, ‘The Dice’, dates from 1823, while Stephen Gregory’s quiet ghost story ‘The Boys Who Wouldn’t Wake Up’ is a brand new tale appearing for the first time in this volume – a period during which horror has developed and evolved into numerous permutations: Gothic horror, penny dreadfuls, Sensation fiction, ghost stories, monster tales, Lovecraftian or cosmic horror, contes cruels, tales of unease, quiet horror, folk horror, weird fiction, and countless others. In this book we have taken a broad view of the term ‘horror stories’, so readers will find many different modes of horror represented and that no two stories here are alike.

  As in the first volume we have tried to assemble a mix of both well-known horror authors and literary writers not ordinarily thought of as contributors to the genre. Fans of the rich period of horror fiction that arose in the 1970s and ’80s will find rare stories by authors whose names are readily recognizable, such as Michael McDowell, Bernard Taylor, Basil Copper, and R. Chetwynd-Hayes. But readers will also discover excellent and creepy tales by Isabel Colegate, an award-winning literary novelist, Beverley Nichols, best known for his light-hearted gardening books, and a never-before-­published story by Nevil Shute, the bestselling author of novels of aviation and adventure. Reflecting Valancourt Books’ commitment to unearthing and republishing works from the more distant literary past, we have also selected Romantic and Victorian-era gems by De Quincey, Mary Elizabeth Braddon, and John Buchan, as well as forgotten tales from the early twentieth century by John Metcalfe and Russell Thorndike, neglected masters of the genre.

  Of the fourteen stories in the book, two have never before been published anywhere and four others have never previously been reprinted; most of the rest have not been available in print for at least the past quarter-century. Each story is prefaced with a brief introduction about the author and his or her other works, including titles available from Valancourt. If you’re at all like us, you’re constantly looking to expand your reading horizons and discover new authors whose works you’ve previously missed, and we hope that this book – in addition to supplying some welcome Halloween shivers­ – also helps you find a new favourite author or two.

  Meanwhile, while you prepare to sit back and enjoy these fine horror stories, we had better get back to work on Volume Three . . .

  James D. Jenkins & Ryan Cagle

  Publishers, Valancourt Books

  July 2017

  SAMHAIN by Bernard Taylor

  One of the finest authors to emerge from the horror publishing boom of the late 1970s and early ’80s, Bernard Taylor is the author of ten novels and several nonfiction true crime books. His first novel, The Godsend (1976), the story of the horrible things that happen to an ordinary family who adopt a sweet-looking little girl, was a bestseller and adapted for a film. Sweetheart, Sweetheart (1977) was chosen for inclusion in Horror: 100 Best Books (1990) and was named by Charles L. Grant as the best ghost story he had ever read. Both of these novels, along with The Moorstone Sickness (1982), are available from Valancourt Books. ‘Samhain’ first appeared in Grant’s anthology Final Shadows (1991), and is reprinted for the first time here. As with Taylor’s ‘Out of Sorts’, which appeared in Volume One, it is a wicked little tale laced with dark humour and with a surprising – and surprisingly nasty – ending.

  Wearing her track suit, Doris stood gasping for breath as the lift took her up to the fifth floor, the top of the apartment building. A minute later at the door of the flat she discovered that she’d come out without her keys and she rang the bell and waited impatiently for Arthur to answer. Then at last, after the fourth ring, the door was opened. She helped it aside with an angry shove and stepped into the hall.

  ‘Arthur,’ she gasped (she still hadn’t got her breath back), ‘didn’t you hear me ringing?’

  He shook his head. ‘No, I’m sorry, dear; I was in the bedroom going through my underwear. You know – I think I need to get some more.’

  ‘You need to get a hearing aid, that’s what you need.’ With her words she turned away and strode into the kitchen where she poured herself a glass of water. She would have liked a Coke but there was no sense in half killing yourself to take off a few pounds and then put it all straight back on again. As she stood there slowly sipping the water Arthur came to the open doorway and stood looking at her with the inane smile that always infuriated her so.

  ‘How was the running?’ he asked.

  Her answer was clipped, cold. ‘If you mean the jogging, it was fine.’

  ‘Yes. Yes, of course – jogging.’ He nodded. ‘I have to hand it to you – you’ve got more energy than I have. If I tried a run round the park I’d be dead before I got halfway.’

  It’s a pity you don’t try it then, a voice inside her head snapped, and save me all the trouble you’re p
utting me to. She kept silent, though, and turned and rinsed the empty glass under the tap.

  As she dried the glass and put it away Arthur said solicitously, ‘I’ll bet you’re hungry, are you? Would you like me to make you some breakfast?’

  ‘You?’ She looked at him with contempt. ‘You know very well you’re useless in the kitchen. You’re as incompetent there as you are everywhere else.’ She paused. ‘Besides, I’m trying to lose weight, you know that. I’ve got some pride – even if you haven’t.’

  He looked hurt. ‘What does that mean?’

  ‘It means it wouldn’t hurt you to lose a few pounds, either. You do know what this weekend is, don’t you?’

  He nodded. ‘Of course. The thirty-first. Halloween.’

  ‘Halloween?’ There was disgust in her tone. ‘Yes, that’s what they call it, those idiots out there.’ She gestured with an impatient hand, taking in the rest of the world. ‘I prefer to call it by its proper name.’

  ‘Samhain?’

  ‘Of course Samhain.’

  ‘All right – Samhain – but so what?’

  She made a short, mocking sound of derision. ‘So what? he asks. So what? Maybe it doesn’t bother you, the thought of stripping off and dancing around in the nude in front of all our friends. Maybe you don’t give it a second thought. Maybe you’re happy with your body the way it is. If so, then you’ve got a lot to be happy about – because there’s a lot of it. Personally, if it were me, I’d want to do something about it.’

  He frowned. ‘Oh, come on, Doris, what can I do about it? I’m fifty-six years old. I’m not a young man anymore. Besides, there’ll be plenty there older than I am. Plenty.’

  He looked hurt and she gave a sigh. ‘Oh – forget it, Arthur. I won’t say anything else. It doesn’t make any difference anyway. You never listen.’

  She pushed past him and went into the lounge where she flopped down into her easy chair, took off her shoes, put her feet up on the footstool and closed her eyes. After a few moments she heard him come into the room, and then she heard his voice again, irritatingly considerate as always:

  ‘Are you asleep?’

  Without opening her eyes she said, ‘Of course I’m not asleep.’

  ‘I just wondered.’ A pause. ‘Would you like a cup of coffee?’

  She opened her eyes, about to say no, then gave a grudging shrug. ‘Yes, why not. If you think you can manage it.’

  ‘Doris, of course I can manage it.’ He started off across the room. ‘You want it black?’

  ‘Of course black. I always have it black.’

  ‘Yes, of course.’

  She turned her head and watched his thick, heavy body move through the doorway, then she sighed, got to her feet and stretched. There was a mirror near the window and she stepped in front of it and looked at herself. She didn’t look at all bad for her forty-three years, she thought. And holding herself like this – erect and with her stomach drawn in – she looked years younger. Trouble was, it was impossible to sustain the effort. You forgot, and with the forgetting everything sagged again. She must get into the habit of holding herself well; work on her posture as well as everything else. After all, soon she’d be free again . . .

  As she looked at her reflection she thought again of the thirty-first. Tomorrow. Everything depended on tomorrow. Tomorrow would see the end to her problems and the beginning of a new life. And the day would bring other bonuses too: at the meeting she’d see that young male witch, the new initiate from Lyddiard, Steve Walker. She hadn’t seen him since the initiation ceremony back at the end of April, the Feast of Beltane, but she remembered him well enough: tall, tanned, good-looking and with an obvious taste for older women. Not that she regarded herself as old, Satan forbid, but when he was only in his late twenties one had to acknowledge the age difference. Thinking of him now she remembered how he had smiled at her – and in such a very special way. He’d had his clothes on then, of course, but even so they hadn’t been able to disguise the firmness, the clean, muscular lines of his body. Not like Arthur with his pale flab.

  She pictured Arthur as he’d be at the dance – as usual making a complete idiot of himself. Some people had no dignity at all. Well, at least she knew how to go on. And when she danced nobody was going to snigger or look the other way. With the thought she did a couple of steps in front of the mirror. It looked good – and she looked pretty good too – a damned sight better than that stupid Shirley Goldberg. Sure Shirley Goldberg’s figure was a lot firmer and more up-together these days – but so it should be – she’d spent enough on cosmetic surgery. And it showed, of course. There was no way of disguising those scars. Those scars – good Satan, in the cold weather Shirley Goldberg looked as if she’d been pressed against a wire fence.

  Arthur came back into the room then and she sat down and took the cup of coffee he handed her. Looking down at it, she said impatiently, ‘I said black, Arthur. Can’t you ever get anything right?’

  As he moved back to the kitchen with the offending cup of coffee she reflected on her loathing of him. And it would never change now, she knew that – which was one reason she had decided to get rid of him and look out for a newer model. Well, she had to. They couldn’t go on as they were. With him around she had no future at all. Oh, yes, she could leave him, of course – but what good would that do? She’d just be giving up her home in this flat to go and find someplace on her own – and someplace not nearly as comfortable – and almost certainly she’d have to get a job of some kind too. No, she couldn’t afford to leave Arthur – and as she couldn’t bear the thought of continuing to live with him either, then there was only one thing to be done.

  Which she was in the process of taking care of right now. And so much trouble it was, too. She had never dreamed. All those sessions in the coven’s library for a start, doing all that research. It was mind-blowingly tedious – but it was the only way to do things, she had no doubt of that.

  Thinking of the library, she thought of the books she’d been studying. It hadn’t been easy getting access to them. It had surprised her just how closely they were guarded. She had told the coven librarian that she was taking a degree course on the ancient arts. And he had believed her, the fool. She remembered his grave expression as he had brought the old, leather-bound volumes and placed them before her. ‘Be careful with them, won’t you?’ he had said. ‘And do remember that they mustn’t be taken out of this room. We wouldn’t want them falling into the wrong hands, would we? If that happened, there’s no telling where the mischief would stop.’

  Mischief. Mischief – it seemed such a pathetic little word when applied to the act of murder. Not that anyone was going to construe it as murder. It would be put down to heart failure. Simple. She smiled to herself. And now her researches were finished, and she had all the answers she wanted. And now, too, she had the stone and the nail. And this evening she’d have the clay portrait as well.

  After a few moments Arthur approached with a fresh cup of coffee – black this time – in his hand. As she took it from him she said, ‘I’ll be out this evening, you haven’t forgotten that, have you?’

  ‘Oh, yes, of course.’ He nodded. ‘Your art class. I wasn’t sure that you’d still be going – what with the feast and everything tomorrow.’

  Still going? ‘Of course I’m still going,’ she said witheringly. Wild horses wouldn’t keep her away.

  ‘How are you getting on?’ he asked.

  ‘Fine. I’m getting on fine.’

  ‘You must really enjoy it, your clay modelling – these past few weeks you’ve been so keen.’

  She shrugged. ‘Yes – I do enjoy it.’

  ‘Maybe I could come with you one evening. It might be interesting.’

  She tried to picture him in the art studio, making a hash of everything. What an embarrassment he would be. ‘Oh, I don’t think it would appeal to you at all,’ she said.

  ‘Oh . . . What are you making?’

  ‘This and that.’


  ‘What, exactly?’

  ‘I’ve been modelling a figure.’

  ‘All this time? Just one? It must be huge.’

  ‘No – it’s quite small.’

  ‘But it’s been weeks.’

  ‘I’ve been trying to get it right.’

  ‘I see. And are you nearly there, you think?’

  ‘Nearly there. This evening it’ll be finished.’

  ‘Well, that’s nice.’

  Well, that’s nice, the voice in her head mimicked. You wouldn’t think it was so nice if you knew whose figure I was modelling, you old fool. She wondered for a moment how he would react if she told him that the model was of him . . . She frowned momentarily at the thought of her work in the class. Getting his likeness had proved so difficult. It would have been easy if she had some real artistic ability – but she hadn’t and that was it. Anyway, after several poor starts she’d been getting on better over the past few sessions and now, this evening, at last, it would be done.

  The idea for the clay model was one of the things she’d got from her researches in the library. Not that such means were that secret. On the contrary, she supposed it must be one of the most commonly known methods of disposing of someone. Even so, however, she didn’t intend relying on some half-baked old wives’ tales handed down; she meant to get it right – which was why she’d gone to the experts.

  And that, too, was why she had chosen the thirty-first – that was the day when the spells would be at their most potent. Strange, really, she thought, most people today had no idea what the day really meant – and what it had meant since early times. Samhain – that was the real meaning of the thirty-first of October. Samhain, one of the two great witches’ festivals of the year – a celebration of fire and the dead and the powers of darkness. In the modern world the thirty-first was generally recognized only as All Hallows’ Eve, and celebrated only by children with turnip lanterns, silly masks, games and dressing up. Still, it could be worse, she supposed; in America they made even more nonsense out of the whole thing with their ridiculous trick-or-treating. Huh – if any children came to her door carrying bags of flour or whatever and begging for sweets, they’d get something they weren’t prepared for, the little monsters. Mind you, that’s what came from too much civilization. Thank Satan England hadn’t gone that far – yet. Though it probably would in time. They did say that what America had one day England got the next.