Reviewed by Maureen Kincaid Speller. This review first appeared in The BSFA Review.
Winter is a time for ghost stories, Christmas in particular. M.R. James, the doyen of the English ghost story, traditionally read a new story by candlelight to friends who eagerly gathered in his study on Christmas Eve. But James wasn’t the only one writing ghost stories. During the period covered by this book, there were many women publishing ghost stories that equalled if not surpassed those of James and his male contemporaries. As long as publishers have been producing anthologies of ghost stories, women writers have featured in them: during the 1980s, Virago produced several excellent anthologies of ghost stories by women writers. This latest collection, edited by Melissa Edmundson, is a welcome addition to the shelf.
I’m sidestepping the ‘Women’s Weird’ of the title for now, for reasons I’ll come back to later in this review. Instead, I turn to the first story, Louisa Baldwin’s ‘The Weird of the Walfords’. It is a conventional example of period ghost story writing – the narrator believes that his family is blighted by a curse attached to an ancestral family bed and destroys it despite being warned not to. It gives away nothing to say that the curse will strike again. What is notable, however, is that the story is narrated by the Squire himself. And this is not the only story with a first-person male narrator: of the thirteen stories, only two first-person narrators are identifiably female, while most of the third-person narratives also use a male viewpoint figure.
There are many reasons why women might write from a male viewpoint, but it is not difficult to imagine that in some cases it reflects the fact that men often had greater access to the world and its contents, whereas women could follow only in the imagination. In Baldwin’s case, I wonder too if she has not used it as a sly way to comment on how men infantilise women: the narrator refers more than once to his ‘little wife’, as well as blaming her for the death of their son because he acquiesced to her request to turn the room that once held the cursed bed into a nursery.
There are stories here of a woman whose freedom is circumscribed by her husband’s jealousy (Edith Wharton’s ‘Kerfol’), a woman who is drawn into an inexplicable haunting while loyally taking care of a friend’s daughter (E. Nesbit’s ‘The Shadow’), and a more traditional story of a wrong righted when a lost child’s body is finally discovered (‘The Giant Wistaria’ by Charlotte Perkins Gilman). Other stories are more formally experimental, such as May Sinclair’s ‘Where Their Fire is Not Quenched’, where the haunting persists beyond the mortal plane.Continue reading “Women’s Weird: Strange Stories by Women, 1890-1940 edited by Melissa Edmondson”