NORTHWEST PASSAGES
Barbara Roden
Copyright © 2009 by Barbara Roden.
Introduction © 2009 by Michael Dirda.
Cover art by Elodie Bailly / Lizard / Rolffimages.
Cover design by Telegraphy Harness.
Ebook design by Neil Clarke
ISBN: 978-1-60701-338-9 (ebook)
ISBN: 978-1-60701-205-4 (hardcover)
ISBN: 978-1-60701-206-5 (lettered hardcover)
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CONTENTS
INTRODUCTION by Michael Dirda
THE APPOINTED TIME
ENDLESS NIGHT
THE PALACE
OUT AND BACK
THE WIDE, WIDE SEA
THE BRINK OF ETERNITY
TOURIST TRAP
NORTHWEST PASSAGE
THE HIDING PLACE
AFTER
STORY NOTES
ACKNOWLEDGEMENTS
INTRODUCTION
Michael Dirda
There are three qualities to Barbara Roden’s Northwest Passages that any reader is sure to notice: the sheer variety of its ten stories, the clarity and assurance of the prose, and the theme of madness, of people gradually surrendering to a fever-dream that destroys, or justifies, their lives.
Roden most obviously reveals her mastery by setting her unsettling stories in a wide range of locales: a used bookstore, the Antarctic, a Vancouver hotel, a cabin in the Canadian woods, an abandoned amusement park, a modern hospital, a large Victorian household. There are, moreover, seemingly no limits to her imaginative sympathies, as these stories convincingly present elderly widows and widowers, abused children, contemporary young people, nineteenth century visionaries, serial killers, and even a world-weary vampire. Roden also possesses an accomplished talent for pastiche: she brilliantly mimics nineteenth century scientific tracts, the diary of an early Antarctic explorer, and the old-fashioned diction of the polite and diabolical Mr. Hobbes. When Roden cites passages from Kenneth Turnbull’s We Did Not All Come Back: Polar Explorers, 1818–1909, both book and extracts sound absolutely authentic. She’s that good.
Besides these gifts, one other aspect to Roden’s imagination should be underscored. Along with a flair for creating atmosphere and feelings of increasing apprehension, her work is consistently pervaded by a quiet sadness about the human condition. Monsters and murderers, the innocent and the guilty, are all presented with real sympathy and understanding. There but for the grace of God, Roden would seem to say, go you or I.
Because all her stories, whatever their plots or backgrounds, are distinctly Rodenesque in that mix of pathos and uneasiness, they don’t fit readily into any of the classic genre pigeonholes. Roden draws, as needed, on fantasy and horror, classic ghost story and dark psychological thriller. In this respect, she’s in the tradition of the more subtle masters of the supernatural tale: Walter de la Mare, for instance, and Elizabeth Bowen. As the longtime editor of All Hallows, the journal of The Ghost Story Society, Roden has certainly read more dark fantasy and horror than most of us ever will, and you might expect her to produce tales in the manner of M. R. James. Yet her literary taste is far more extensive. She knows the corpus of Victorian fiction, especially Dickens (see, for instance, “The Appointed Time”), as well as the Sherlock Holmes canon (Roden is a member of the Baker Street Irregulars), the literature of Arctic and Antarctic exploration, a good deal of modern literature, and, seemingly, every film ever made.
In particular, Roden deeply admires The Strange Last Voyage of Donald Crowhurst, and that book may be a key to her imagination. In its pages, Nicholas Tomalin and Ron Hall re-create, from journals and other evidence, how Crowhurst, attempting to sail alone around the world, gradually loses his grip on reality and succumbs to madness, then suicide. Its influence—along with that of Poe—can be most strongly detected in “The Brink of Eternity”. Still other Roden stories glancingly recall Arthur Conan Doyle’s “The Captain of the Pole-Star”, Algernon Blackwood’s “The Wendigo”, Ray Bradbury’s tales of haunted or demonic carnivals, the urban horrors of Ramsey Campbell and the early Peter Straub. The last story in Northwest Passages, “After”, is a double homage: to both the strange Constance Kent murder case and to James Hogg’s chilling, and still underappreciated, Memoirs and Confessions of a Justified Sinner.
Of these ten stories, “Northwest Passage” is probably the best known, having been nominated for the World Fantasy Award. “The Palace”, a real marvel, offers a highly original explanation for why its victim should be haunted by just these three revenants. Indeed, the psychology of her characters interests Roden as much as the working out of a plot. The two stories about young girls—“The Hiding Place” and “After”—frighten by the convincingness of the girls’ inner lives. A personal favourite, if only because of its wintry melancholy, is “Endless Night”—a tale that blends the mythology of undying vampires, the Wandering Jew, and Frankenstein’s abused monster. It also makes brilliant use of that unnerving phenomenon mentioned by T. S. Eliot in one of his notes for The Waste Land: “It was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted.”
Northwest Passages is Barbara Roden’s first collection, all but one of the stories having been written during the last three or four years. Yet, as I’ve emphasised, the collection avoids even the least hint of sameyness. One looks forward to each successive story with eagerness, never quite sure what to expect. Yet they all fit unobtrusively together as ten facets of a single and singularly elegant imagination.
Any reader of Northwest Passages will be eager for more Barbara Roden. Happily, there are a number of as yet uncollected stories out there—for instance, “Association Copy” in Bound for Evil, edited by Tom English—and new ones should be appearing soon in various anthologies. Lately, there have even been rumors about a possible novel. Be that as it may, Barbara Roden’s Northwest Passages is an altogether masterly collection, proof that a writer with truly scary talent is at work in Ashcroft, British Columbia.
THE APPOINTED TIME
It is night in Lincoln’s Inn—perplexed and troublous valley of the shadow of the law, where suitors generally find but little day—and fat candles are snuffed out in offices, and clerks have rattled down the crazy wooden stairs, and dispersed. The bell that rings at nine o’clock, has ceased its doleful clangor about nothing; the gates are shut; and the night-porter, a solemn warder with a mighty power of sleep, keeps guard in his lodge.
Henry Anderson looked up from his book with a start. A noise had caught his ear; something outside the normal range of sounds that he had, after more than thirty years in the shop, come to know and expect and even, at times—especially lately—welcome. It was a thin, dusty sound, almost a sigh, and Henry glanced behind him, half-expecting to see a figure standing over his shoulder. Impossible; there had not been a customer in the shop for at least an hour, and he was all too aware that the apartment behind was painfully empty.
He kept his head up for another moment, listening. Around him stood row upon row of books, which seemed to be listening, too; holding their collective breath, watching, waiting, as if in anticipation of something which was hovering just outside Henry’s vision. As indeed it was, had Henry but known; had he, as he gazed about him, been able to see beyond the front wall, into the street, where a figure stood, wrapped in evening shadows, its whole attention fixed on the dim light spilling out of t
he door of the shop.
In the ordinary course of things, Henry would have had the shop closed and locked now, the lights extinguished; but he had become engrossed in his book, and lost track of time. This was by no means unusual with Henry, and on most evenings no harm would have come of it. But this was an evening unlike any other in his life, although he did not yet know it. And so, after assuring himself that all was well inside the shop, his head dipped irresistibly back down towards his book, and the light continued to shine out into the damp streets, a lone beacon in an otherwise dark stretch of shops. And outside, the figure, after a moment of hesitation, drew nearer.
This was not the figure’s usual habitat; it was used to more garish surroundings, louder streets. Chance had taken it further afield than usual, and in this unaccustomed environment it was cautious, wary. But cold and hunger and other, darker needs spurred it on, drawing it inexorably, inevitably closer to Henry and his quiet, tidy world.
It is a close night, though the damp cold is searching too; and there is a laggard mist a little way up in the air. It is a fine steaming night to turn the slaughter-houses, the unwholesome trades, the sewerage, bad water, and burial grounds to account, and give the Registrar of Deaths some extra business.
The noise again, louder this time. Henry’s head jerked up, and he cocked it on one side, trying to determine what the sound was and where it came from. It had definitely sounded like a sigh; no mistaking it. It was followed by a silence which sounded expectant, as if awaiting some action on his part at which he could not guess.
Perhaps, thought Henry, it was time to start thinking about selling up and moving on. He had thought about it before; he and Mary had discussed it before she died, but lightly, as something that would not happen for a good many years yet. Then for some time he had not thought about very much of anything, selling the shop least of all. He had kept it going because not keeping it going had seemed unthinkable, another blow to the fabric of his life which would have been unbearable. Mary and the shop had been part of him for so long that to lose both would have been to lose every reason he had for getting up in the morning.
So he had clung to the shop, finding a kind of solace in the ordered ranks of books in their neatly labelled sections. It had not always been thus. When he had first bought the shop it had been little better than a junk-heap, a dispirited shambles of discarded, unwanted books, and he had had to spend a good deal of time patiently weeding out the multiple copies of battered paperbacks, their broken spines and chipped covers an affront to his notion of what books should be. Slowly he had built up a quietly successful bookstore, filled with the sorts of books he liked reading, all lovingly tended, neatly shelved, easily accessible. The shop itself attracted a loyal group of regular and semi-regular customers, who found a safe and companionable haven amongst the shelves and racks, a friendly and knowledgeable proprietor in Henry. “It’s Mary’s cookies people come for, really,” he would say with a smile, and it was true that the plate of cookies put out every morning by the coffee machine had always been empty by day’s end, the crushed cushions on the comfortable armchairs bearing silent witness to those who had found a home there. The cookies were from a box now, but the customers still came.
Outside the rain continued to drizzle, stretching damp fingers along the sidewalk. The figure in the shadows shivered, and gazed greedily at the light from the shop. It drew nearer still, eyes fixed on the door. The sound of a car in a nearby street caused it to hesitate, and draw back from the light momentarily; and that pause bought Henry Anderson a few more moments of life.
“It is a tainting sort of weather,” says Mr Snagsby; “and I find it sinking to the spirits.”
“By George! I find it gives me the horrors,” returns Mr Weevle.
“Then, you see, you live in a lonesome way, and in a lonesome room, with a black circumstance hanging over it,” says Mr Snagsby, looking in past the other’s shoulder along the dark passage, and then falling back a step to look up at the house. “I couldn’t live in that room alone, as you do, sir. I should get so fidgetty and worried of an evening, sometimes, that I should be driven to come to the door, and stand here, sooner than sit there.”
The sound had become louder, as if uttered by someone—or something—that was gaining strength, rallying for one supreme effort. The cry—for it was a cry, no doubt of it—startled Henry so much that he pulled himself out of his chair with a suddenness that made the bones and joints in his legs and back protest at the effort. He walked around the desk and peered into the depths of the shop, while his mind tried and failed to analyse and define the exact nature of the sound. He was forced back to his first, instinctive thought: a cry, and of pain, too. No; not pain, exactly: the expectation of pain, as of someone who cried out in anticipation of a cruel blow.
He shook his head. Definitely time to start thinking seriously about selling up, moving out, going somewhere warmer and drier. He was getting too old to manage the shop on his own, and the trade was changing too fast for him to keep up. Every day, it seemed, people asked him when he was going to take his stock on-line, and he would shake his head and say ruefully, “Ah, well, you can’t teach an old dog new tricks.” Now, standing in the familiar quiet of the shop, he shook his head again. “Old dog?” he muttered under his breath. “Old dinosaur, more like. Hearing things, too. What would Mary say?”
And yet the thought of leaving the shop, turning it over to another person, closing the door behind him forever, was one that he persisted in putting off. There were too many memories bound up within the four walls, jostling for space on the shelves, surrounding every bookcase, each piece of furniture. The armchairs, now; they were not the height of fashion, never had been—“But Mary, they’re comfortable,” he had said when he brought them back, and she had surveyed them with a look half-tolerant, half-exasperated. She had had the same look on her face every time Henry, faced with a need to create more space, had brought back another bookcase, discovered at a sale or in the dusty recesses of a used furniture shop. “If your goal was to not have any two bookcases in the shop matching, Henry,” she had said once, “then you’ve certainly succeeded.” But there was a smile on her face as she said it.
Henry smiled at the memory. Yes, the shop was full of memories, and he could laugh at most of them. “If these walls—no, if these books could speak,” he thought, “they would certainly tell a tale or two!”
He glanced out the front window, vaguely surprised to see how dark it was. Time to close up for the night; more than time, in fact. Lock the doors, turn out the lights, then go and make some dinner, listen to the news, read for a time. A night like any other. But this was not to be a night like any other.
Had he gone to the door even then, he might have been in time, for the figure outside was still hesitating in the shadows, and the sight of Henry at the door, pulling down the blinds, turning the lock, would have been enough to send it scuttling back into the darkness. But he paused, and stretched, trying to relieve the ache in his back; and he was lost.
“Seems a Fate in it, don’t there?” suggests the stationer.
“There does.”
“Just so,” observes the stationer, with his confirmatory cough. “Quite a Fate in it. Quite a Fate.”
At the sound of the door opening and shutting, Henry turned so quickly that his back gave a more violent spasm than before, causing him to draw his breath in sharply. A swift glance took in the—no, not customer, this was no customer come late, this was Trouble with a capital T, right here in his shop. Be calm, think, think, think. . . .
“Yes? What can I do for you?” He tried to make his voice sound curt, no-nonsense, but Henry was not used to being curt, and his voice wavered slightly. The figure moved forward, and Henry could see it more clearly. A youngish man, unruly dark hair framing a sullen face, a cheap imitation leather jacket zipped up to his chin, one hand visible, the other balled up in a pocket, clutching—what? Henry realised he did not want to know.
“What
can you do for me? What can you do?” said the other, as if seriously pondering the question. “I’ll tell you what you can do, old man—you can give me any money you’ve got, and quick, too, ’cause I don’t like having to ask for things more than once.”
Henry thought quickly, weighing his options. What options? said a voice in his head. Don’t try to be a hero. Give him what he wants and maybe he’ll leave. “All right, yes, money, by all means,” he said, trying to keep the fear out of his voice. “I don’t have much, but you can take it all, yes . . . ” He moved to walk around the desk, and the other man stepped forward, closing the distance between them so suddenly that Henry pulled back.
“No tricks, old man,” whispered the intruder. “See? I don’t like tricks, and neither does my friend.” He withdrew the hand that had been in his pocket, and Henry saw the gleam of a knife blade as it caught a ray of light from overhead. “Just move nice and slow.”
Henry nodded. “The cash—I keep it there.” He gestured towards the desk.
“Get it, then.” The intruder’s eyes left Henry for a moment and swept around the shop. “Anyone else here?”
“No. No one. I live by myself,” said Henry, profoundly grateful—I’m sorry, Mary—that this was true.
“Great. Get the money, then.”
“Yes.” Henry moved behind the desk to the cash register and fumbled at the keys with fingers which seemed to have grown stiff and useless. How does this thing open . . . please, please . . . let it be all right, oh, let it be all right . . .
“Come on, old man, stop jerking me around. I don’t have all day.”
“No . . . yes, yes, I’m trying . . . just be a minute . . . ”
“I don’t have a minute!” the other exploded, thrusting himself across the desk so that he was inches away from Henry’s trembling frame. “Aren’t you listening?” He moved his hand so that the knife was between them. “I want that money now, old man, or I’ll use this!” He grabbed Henry’s shirt, pulling him halfway across the desk; and Henry, feeling himself losing his balance, flailed his arms, trying to stop himself from falling. One of his hands caught the intruder’s arm; not a blow, not by any stretch, but unexpected, and feeling himself threatened the intruder lashed out, sending Henry reeling backwards, hands to his throat, staring uncomprehendingly at the redness which was covering them, covering his shirt, covering everything, even his eyes, which were straining into darkness, straining, trying to see, trying—and then there was silence, and Henry Anderson saw and heard no more.
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