Thursday, November 16, 2017

Dream English by Wilfred Rowland Childe - Centenary

This year marks the centenary of one of the most fey and delicate fantasies ever to be published, Dream English: A Fantastical Romance by Wilfred Rowland Childe. It describes an imaginary England where neither the Reformation nor the Industrial Revolution ever happened, and all is (perhaps somewhat optimistically) an arcadian idyll of old stone cottages, arts and crafts, and a fervid mysticism.

It might perhaps be best described as a mixture of William Morris, Arthur Machen of the Grail romances and the aesthetic Catholicism of the decadent poets and artists of the Eighteen Nineties (such as Ernest Dowson, Lionel Johnson, John Gray, Aubrey Beardsley). Childe’s prose is highly mannered and lyrical and draws upon figures and symbols from medieval romance.

I remember finding my copy, appropriately enough, at the gatehouse to Hay Castle, then in use to sell fantasy books, and at the same time another book which shares some of its qualities and tastes, The Symbolic Island (1925) by Kenneth Ingram. There is a sort of drifty dreaminess about Childe's book which makes it quite exquisite, but it also has a strong determination to exclude modernity and celebrate the author's clear vision of a might-have-been.

Childe was known in his time as a minor poet (using the term in its precise and not dismissive sense), and his volumes The Gothic Rose (1922), The Happy Garden (1928) and a Selected Poems (1936) received a certain amount of respect. They are the work of a singular, scholarly and spiritual individual seeking his own way to express wonderment.

Childe was a friend of J R R Tolkien, and the godfather to his son Christopher. Indeed, if you were looking for a book that has even a hint of a Tolkienish atmosphere, you might do worse than turn to Childe's romance. I seem to recall that Arthur Machen expressed approval of it too. But his books have never received very much attention, and I was delighted to publish (in Wormwood 15) the only significant study so far, ‘Wilfred Rowland Mary Childe, With a First Attempt at a Checklist of His Published Work’ by Jonathan Wood.

I cannot do better, to celebrate the centenary of Dream English, than to quote from Jonathan’s essay (though you really need to read his full evocation of the book):

“Childe’s created landscape is that of the mythic and spiritual Avalon, born of a dedicated reader and dreamer, surrounded by ‘the cream of books on mysticism’, as his brother remembered. It mirrors his deep appreciation of the English landscape, the Cotswolds being its touchstone . . . Dream English is a book of ecstatic visions, enriched by the frailty and humanity of the two central characters . . . To read Dream English is to enter a truly original, playful but complex religious experience.”

Mark Valentine

Picture: the title page of Dream English, with the cover of The Gothic Rose also shown.

Wednesday, November 15, 2017

RIP Carl T Ford, Editor of Dagon

We’re sorry to hear the sad news that Carl T Ford has died. He was the young editor of Dagon, an excellent journal of fantasy and horror literature which ran for 27 issues from 1983 to 1990. Always well-designed, and full of high quality content, this was one of the highlights of the small press in that period. Carl's enthusiasm and knowledge gave the magazine a great spirit.

Carl had started Dagon as a zine devoted to the role playing game The Call of Cthulhu, but from about issue 12 decided to develop it so that it covered Lovecraft, Machen and weird fiction generally. It published several early pieces by Thomas Ligotti, and issue 22/23 (1988) was a Thomas Ligotti special issue devoted to him.

There was also a special issue, 18-19 (1987), devoted to T E D Klein, one of the first places to offer studies of this author’s fine fiction influenced by Machen and Lovecraft. Other contributors included Neil Gaiman, Ramsey Campbell, Brian Lumley, S T Joshi, Mark Samuels, D F Lewis and Mark Morrison. Carl also published my own first essay on Park Barnitz’s The Book of Jade, among other pieces.

Carl was a friendly presence at the British Fantasy Society conventions in the Eighties, slightly fragile looking but often seen in vivid paisley shirts rivalling those of the late Joel Lane. After he gave up Dagon, because of the sheer amount of work involved alongside a day job, we stayed in touch for a while and I remember Carl telling me he was now involved in something quite different – greyhound racing, with his own greyhound.

I heard from Carl again after what must have been around 12-15 years because he was planning either to revive Dagon or to start a new magazine in the field, but unfortunately I think his ill-health prevented this from going any further.

The Yog Sothoth website has a thoughtful interview with Carl here.

Friday, November 10, 2017

The Greenwood Faun - Nina Antonia

“shot through with decadence, poetry, opium and incense . . .this is a beautifully written proem: witty, crepuscular, enchanting, surprising”

On Wednesday 13 December, from 6.45pm to 7.45pm, author and Wormwood contributor Nina Antonia will be reading from her new book, The Greenwood Faun (Egaeus Press), "a beautiful, otherworldy novel which draws on the lost writings of Lucian Taylor and Lionel Johnson, the natural world and the preternatural; blurring facts and fictions.. ."

The free event, with mulled wine, is at Putney Library. It will be followed by a short discussion on how the author's writing about music led to her interest in fiction. To book, ask in the library, call 020 8780 3085, or email Charlene[dot]Coleman[at]

“How thrilling it is to enter anew the world of the obscure curio shop, the clandestine printing press, the exquisite slim volume, the exotic cigarette and the pagan statuette, all graced by the aery tendrils of a rare incense!” –from the Foreword by Mark Valentine

Wednesday, November 8, 2017

The Scarlet Soul - Stories for Dorian Gray

The Swan River Press of Dublin have just announced The Scarlet Soul - Stories for Dorian Gray, edited and with an introduction by Mark Valentine, cover artwork by John Coulthart.

"These new stories, all especially written for this anthology, take us into some of the strangest and darkest places of the psyche. These ten boldly original portraits in the attic take many disturbing forms, revealing strong truths about the secrets of our selves, our society, and our very souls."

Original fiction by Reggie Oliver, Lynda Rucker, John Howard, Caitriona Lally, D P Watt, Rosanne Rabinowitz, Avalon Brantley, John Gale, Timothy J. Jarvis, Derek John, written in response to Oscar Wilde's great decadent romance.

"I had with me a copy of The Picture of Dorian Gray. It was the edition issued by The Unicorn Press of 8 Charles Street, St James’s Square, in 1945, Martin Secker (Director), one of several imprints that discerning bookman ran in his time. The leaf before the title page read simply: OSCAR WILDE/Born 1856/Died 1900. And that stark statement was all the introductory matter there was, apart from the writer’s own Preface of elegant maxims, beginning, “The artist is the creator of beautiful things.” But not only beautiful things, surely? Grotesque things too, even ugly things, curious things and uncanny things, as the book itself showed." - from the introduction.

Saturday, October 28, 2017

Guest Post - Robert Aickman's "Holiday Photographs" - R B Russell

Robert Aickman King at Doniert’s Stone, St Coleer, Oct 1979
(photo by Jean Richardson)

Adam Scovell recently posted on his “Celluloid Wicker Man” blog what he calls “Robert Aickman’s Holiday Photos”. He is entirely right to suggest that the photographs are atmospheric and open to interpretation. We are privileged to see Aickman relaxed, on outings for pleasure, but we can never quite know what he is thinking, or share anything really tangible of his experiences. It is tempting to project our own ideas onto the photographs, informed by our reading of the author’s strange tales. Scovell’s own interpretations are poetic, and he is clearly sympathetic to Robert Aickman and his strange fiction. But the photographs are not quite as mysterious as he would like to make out.

Robert Aickman, Gatehouse, Burton Agnes Hall, Oct 1975
(photo by Jean Richardson)

All of the images have been ripped from Robert Aickman: Author of Strange Tales, a documentary made by myself and Rosalie Parker for Tartarus Press. (You can watch the whole thing here). Despite claims that nobody knows who took the photos, the film makes it obvious that they were all made by Aickman’s close friend, Jean Richardson (who owns the copyright on them.) They document a period from between 1975-1979 and were taken on a number of different “Trust House Forte Bargain Breaks” that Aickman took with Richardson. Jean gives a full account of her relationship with Robert, and context to the photos, in her essay in the Faber paperback reprint of Cold Hand in Mine.

Robert Aickman, Statsfield Saye House, April 1976
(photo by Jean Richardson)

Adam Scovell reproduces the image of Aickman at the Grave of Copenhagen, the Duke of Wellington’s charger, and he is quite right to suggest that “Even writing the phrase ‘the grave of the horse’ seems impossibly Aickman-esque.” As the Duke of Wellington’s charger apparently died of eating too much cake, the whole story becomes even more surreal.

Robert Aickman, Filey, East Yorkshire, October 1975
(photo by Jean Richardson)

Unfortunately, the Copenhagen photograph is used to try and pin down the location of the other photos, and it is assumed that they were all taken on the same trip. Seeing Aickman at the coast, it is assumed that he was somewhere on the South Downs, and it is believed that the image of him relaxing on a menhir was also nearby. However, the seaside photo was taken at Filey in East Yorkshire, while the other was at St Coleer in Cornwall. They are 400 miles from each other, and the photos were taken four years apart. The blogger has been led astray by the hard-wearing nature of Aickman’s blue pullover. (Or am I making erroneous assumptions—did Aickman have more than one blue pullover?) It is just as misleading to use the frequent appearance of Aickman’s tartan thermos flask to link photographs.

Robert Aickman on the sea wall near Bradwell, Essex, September 1975
(photo by Jean Richardson)

Robert Aickman with his thermos flask.
(photo by Jean Richardson)

The suggestion is made that the photos are like Aickman’s stories—faded and impossible for us to understand, but this does an injustice (albeit a romantic one), to both the photographs and the stories. Jean Richardson’s snapshots were taken at very specific places at very identifiable times, in just the same way that Aickman’s stories were often inspired by very precise times and places. Take, for instance, the stories in Sub Rosa, for which Aickman supplied “Story Notes”:

"‘The Unsettled Dust’ is based upon a visit to Wimpole Hall . . . The dust in the story is authentic . . . ‘The Houses of the Russians’ . . . is based upon the Finnish town of Savonlinna. . . . The cathedral in ‘The Cicerones’ . . . was at Antwerp, but the events described in the story happened to me so precisely (almost) that I moved the whole thing, including all the detail, to the cathedral at Ghent . . . There are such establishments as are described in ‘Into the Wood’ . . . The town referred to in the story is Östersund, which, in my opinion, is much as I describe it, and the lake is Lake Storsjön, complete with monster (visit the local museum for further details). . . . Everything in ‘Ravissante’ is topographically correct, and all the Belgian painters named, exist; their works being every bit as remarkable as is implied . . . ‘The Inner Room’ . . . is based simply upon looking into the window of a toyshop in Hounslow . . . About ‘Never Visit Venice’ I can only remark that the ‘large inscriptions daubed by supporters of the previous Italian regime’ were still in the position described when I was there in about 1962. . . ."

Jean Richardson, Mulgrave Oct 1975
(photo by Robert Aickman)

My favourite line in the whole “Celluloid Wicker Man” blog has to be the one in which Aickman is described, in the snapshot taken at the grave of Copenhagen, as “unblinking”. How frightening would it be if, looking out of a photograph from the distance of nearly half a century, the author of such hauntingly strange tales did appear to blink at us?

R B Russell

Saturday, October 21, 2017

An American Bookman in England

R B Russell and Rosalie Parker of Tartarus Press have produced An American Bookman in England, a short film of eminent author, book collector, and Washington Post reviewer Michael Dirda talking about books on a recent visit to England, where he was introduced to second-hand bookshops in York and Carlisle.

With his characteristic lightly-held learning, gentle wit and deep interest in the byways of literature, Michael discusses why he might need more than one copy of certain books (“there’s something about English editions”), the byways of Sherlockiana, the delights of Ronald Firbank, the best humorous books in the language, and much else besides.

Thursday, October 19, 2017

Avalon Brantley and The House of Silence (2017)

The writings of William Hope Hodgson (1877-1918) have inspired a number of later writers, beginning with the first Carnacki, The Ghost Finder (1913) pastiches of “John Nicholson” (pseudonym of Norman Parcell), Costelloe—Psychic Investigator (1954), which have been followed by a growing number of other Carnacki pastiches, most notably those co-written by A.F. Kidd and Rick Kennett and collected in No. 472 Cheyne Walk (1992; expanded 2002).  Hodgson’s The Night Land has been “retold” by James Stoddard in 2011, and Andy W. Robertson edited two volumes of tribute stories, William Hope Hodgson’s Night Lands (Volume I: Eternal Love, 2003, and Volume II: Nightmares of the Fall, 2007). With more originality but still showing Hodgsonian influence, there are Iain Sinclair’s Radon Daughters (1994) and Greg Bear’s City at the End of Time (2008).

Now comes Avalon Brantley’s The House of Silence (Zagava, 2017). This edition is limited to only 170 copies, a frustratingly low number because this book deserves a larger readership.  One hopes that an affordable paperback may be forthcoming.  Yet in general terms The House of Silence is a difficult book to describe and a more difficult book to assess. Some aspects of it are brilliant, while others seem strained by self-indulgence on the part of the author. 

Ostensibly the book is an example of the found-manuscript trope, and the bulk of the story is purported to have taken place sometime in the late 1940s.  It is the first person narrative of Ashley Acheson, who is returning to his boyhood home near Ardrahan in the west of Ireland.  Ashley ran away to go to sea when he was thirteen, and this homecoming is brought about because of the death of his father, an Anglican priest. Here you begin to see the resonances with Hodgson’s own life—he ran away at thirteen to go to sea, and for a short while when he was young, he lived near Ardrahan where his father was an Anglican priest for a few years beginning in 1887. Names recur in the novel from Hodgson’s real family—his father was Samuel, mother Lizzie (plus a sister Lissie), and he had brothers Frank (Francis) and Chris.  In The House of Silence, Ashley has siblings named Samuel, Lizzie, and Francis, and a cousin Chris. Hodgson published in 1917 a silly poem he wrote called “Amanda Panda.”  In The House of Silence, Ashley has written a poem of the same title about a childhood girlfriend named Amanda whom he called Amanda Panda.  What the point of all these casual references are I do not know. 

More seriously, The House of Silence evokes the specifics of two of Hodgson’s novels, The House on the Borderland (1908) and The Night Land (1912).  The locale of Ardrahan and specifically one unique house comes right out of the former novel and finds its way into The House of Silence. There are other resonances taken right out of The Night Land. What is entirely non-Hodgsonian is the way that Brantley tries to bring what might be called the Hodgson mythos in line with early Irish prehistory, its gods and heroes. It’s an intriguing attempt to align the two together, but I don’t think it works. Indeed, what Hodgson set out to do with The House on the Borderland in terms of cosmic significance seems to work very much against the bringing of any of it together with Irish mythology. The attempt seems to me to diminish the power one finds in Hodgson.  Which is not to say that Brantley fails completely. It’s entirely to her credit that she brings it all together as much as she does.

Alas, this book is evidently Brantley’s only novel. Just after publication it was announced that she had passed away. Given the details of her life (1981-March 5, 2017) and residence in West Virginia, I could find no corroborating evidence that such a person really existed. For this and other reasons I assume “Avalon Brantley” was a pseudonym.  She published two other books, a play Aornos (Ex Occidente, 2013) and a collection of short stories, Descended Suns Resuscitate (Zagava, 2014).  I hope sometime we learn the real story behind this author and this book.

Monday, October 16, 2017

Ronald Fraser's Flower Phantoms - A Podcast

At the Hold Fast Network, the first podcast in a series “unearthing neglected texts from outside the mainstream canon” is devoted to Flower Phantoms by Ronald Fraser, which is rightly evoked as “a curious and unique work that deserves a much wider readership”.

This hour long dialogue is probably the most substantial and thoughtful discussion of this overlooked novella in the 90 years since its publication in 1926, and it is good to see Fraser’s work receiving such recognition and close attention. This is supported by some well-chosen passages from Fraser's lyrical and fervent prose.

The commentary gives particular attention to the contrasting characters in the book, bringing out some perceptive insights, and also has a probing and sophisticated understanding of the novel’s subtle and strange eroticism. There is also a sympathetic but not uncritical consideration of how Fraser handles the theme of female social liberation and creativity, and humanity's relationship with nature. The mystical dimensions are also treated with respect and an attunement to what the author was trying to achieve. It will be fascinating to follow the further studies in this series.

Mark Valentine

Saturday, October 14, 2017

An Experiment in the Sensational - Gerald Cumberland's 'The Cypress Chest'

In my account of the author and adventurer Charles Welsh Mason, And I’d Be the King of China (reprinted in Haunted By Books, 2015), I explained that I had first encountered him, under his pen-name Julian Croskey, in a book by Gerald Cumberland. I had been idly scanning the index to his memoir Written in Friendship (1923), when the Croskey entry caught my attention: I had never heard the name before, and so turned to the relevant pages to find out more. That momentary flicker of curiosity was to lead me on a long and strange quest after this most singular figure of the Nineties.

At the same time, I also looked into Cumberland who was, as it turned out, Charles Francis Kenyon (1879-1926), a music critic and minor composer, with a few other books to his name. He had also written a lively and faintly sly earlier memoir, Set Down in Malice (1919), which had achieved a brief notoriety for its candid and mildly scathing portraits of weighty cultural figures of the time.

I also discovered that he had written a macabre thriller. The Cypress Chest (1927) was a posthumous work issued by Grant Richards in the year after Kenyon died, with a slightly odd note explaining that the author had written it for entertainment, presumably as distinct from his other books, which were to be regarded more seriously: “It is of lighter weight—an experiment in sensational fiction in which careful and detailed character drawing comes second to an absorbing plot. In fact, in writing “The Cypress Chest”, Gerald Cumberland had no more serious aim than to amuse.”

He certainly succeeds in that, and the book seems to have been rather more successful than his other work, going into reprints (the dustwrapper here, by Ellis Silas, is from a John Hamilton edition from the 1930s) and also a French translation by Richard de Clerval, Le coffre de cypress (Paris, Librairie des Champs- Elysées, 1930).

The Cypress Chest is a rather gauche but exotic and pacy detective story in which Percival Boris Maxim, just returned from exploring deepest Africa, goes to his Hertfordshire home and discovers, in an unopened antique chest he bought before he went away, the embalmed body of a beautiful golden-haired girl. He suspects his valet, Soulgrave (a name which has a slightly David Lindsay air about it), of complicity, and decides to investigate the mystery himself. His enquiries lead him to encounters with a sardonic aesthete, a young woman strangely like the one in the chest, and an Egyptologist with a secret. The influence of Stevenson, in his New Arabian Nights mode, seems likely, and Cumberland also knew Machen and may well have enjoyed and aspired to emulate some characteristics of The Three Impostors.

The yarn has some supernatural dimensions. Maxim has premonitions and promptings: firstly, to bid for the box at auction, well beyond its value; and again when he passes a country churchyard, to turn in through the lych-gate; so there are hints of the uncanny, as well as the Poe-esque theme. There is also a mystical dimension to the resolution of the plot. This is a briskly written piece of grotesquerie with bizarre characters, a Gothic atmosphere and a certain insouciance in the telling. It may well appeal to readers who enjoyed such tales as R Austin Freeman's The Eye of Osiris (1911), Riccardo Stephens' The Mummy (1912) or the supernatural thrillers of Dion Fortune.

A Checklist Of Works By Gerald Cumberland


Rosalys, and other poems (Grant Richards, 1919)
Set Down in Malice (Grant Richards, 1919)
Tales of a Cruel Country (Grant Richards, 1919)
The Poisoner (Grant Richards, 1921)
A Lover At Forty (Grant Richards, 1922)
Written in Friendship (Grant Richards, 1923)
Striving Fire (Grant Richards, 1924)
With the Great Composers (William Reeves, 1925)
The Cypress Chest (Grant Richards, 1927)

Music (A Selection: as Charles Francis Keynon)

Day and Night (1906), song for tenor and piano
If I Could Speak (1906), song for tenor and piano
When I Lie Ill (1906), song for tenor and piano
Soliloquy Upon a Dead Child (1906), song for soprano or tenor and piano
The Vision of Cleopatra (1907), cantata for soloists, choir and orchestra
Fairies' Song (1906), singing a cappella for two sopranos and two altos.
The Maiden and the Flower Garden (1914), operetta for children's voices and piano
The Moon (1914), song for soprano, viola and piano
The River (1914), song for soprano, viola and piano
Summer Has Come, Little Children (1914), song for soprano, viola and piano

Mark Valentine

Wednesday, September 27, 2017

The Sylvia Townsend Warner Society

The latest newsletter, number Thirty-Five, from the Sylvia Townsend Warner Society, explores her links to other writers and artists. Sylvia was greatly moved by Walter de la Mare’s poem ‘Autumn’, reprinted, and she also notices in her diary that Denton Welch’s A Voice Through a Cloud shows the influence of de la Mare’s prose, a perceptive insight. Other de la Mare connections are noted.

The newsletter also quotes commentary from Conor Mark Jameson about T H White, whose biography STW wrote, which notes that though his “influence has been widely felt, yet he remains curiously marginalised in literary history”.

A further feature discusses the Norfolk “fisherman-turned-artist John Craske”, who was “discovered” by Sylvia's future partner Valentine Acland, and championed by both of them. He created “an embroidery honouring the bravery and skill of the fleet of ‘little boats’ which saved hundreds of thousands of troops at Dunkirk”, a work “like a one-man Bayeux Tapestry”.

As well as the newsletter, the Society also publishes a substantial paperback journal of rare STW work, and commentary and reviews.

(Photograph: Sylvia at Inverness Terrace in the 1920s, from the STW Society website).

Wednesday, September 20, 2017

The Ten Largest Secondhand Bookshops in Britain

What is the biggest secondhand bookshop in Britain? I don’t think anyone holds the undisputed claim and maybe it doesn’t matter. These ten are all very big, and all well worth a visit. I suspect only a trained librarian or archivist could estimate the number of books very cannily. So the following is simply a summary of some of the contenders, either overall or in one country or region. Other suggestions are welcome.

Astley Book Farm, Warwickshire
- “the largest second-hand bookshop in the Midlands” according to its website, and that sounds right. “We hold about 75,000 books” they note. One large former farm building, with two outhouses. Also has a café.

Baggins Books Bazaar, Rochester
– “England’s Largest Secondhand and Rare Bookshop”, it proclaims, though some visitors are not so sure. Note that this doesn’t therefore challenge the two big bookshops in Hay-on-Wye, which is (just) in Wales. “More than half a million…” books says a local press report from November 1996 quoted on the Bazaar’s website. Over two floors.

Barter Books, Alnwick
– cautiously describes itself as “one of the largest secondhand bookshops in Britain” In a former railway station, it has one entrance room and then a great hall stretching out quite a long way (and with a model train set traversing some of the shelves). However, it is only on one floor. Also has a buffet.

Book Barn International, Temple Cloud – an internet seller whose depot is also open to browsers, described as “one of the largest used bookshops in England” with “hundreds of thousands” of books, very cheap. Café. Could certainly claim to be the largest in the West.

Book Case, Carlisle – makes no claim of this kind – the owner was diffident when I said it must be in the running, but it certainly is. Occupies an entire large Georgian house, rambling over three floors, with a warren of rooms. Also has a café, and records in the basement.

The Bookshop, Wigtown – claims to be “the largest second-hand bookshop in Scotland,” (though that is sometimes disputed) “with over a mile of shelving supporting 100,000 books”. An interesting old town house with about four large rooms, some passages and a landing.

Richard Booth’s Bookshop, Hay-on-Wye
– two long floors and a cellar, much brighter and better organised under new ownership and now with a café and cinema, but possibly with a certain loss of quantity.

The Carnforth Bookshop, Carnforth
– has never claimed to be the biggest but has a painted sign announcing 100,000 books. Two floors, though under recent ownership the stock has been winnowed down a bit, particularly the vintage hardback fiction.

Cinema Bookshop, Hay-on-Wye – probably the largest bookshop in Wales, over two very large floors in the town’s former cinema and with no space spared. Their website says the stock “runs to 200,000 volumes on all subjects.”

Leakey’s, Inverness – a characterful bookshop in a former church whose stock has been estimated at over 100,000 books, and which may compete with The Bookshop, Wigtown for the title of Scotland’s largest.

Mark Valentine

Monday, September 18, 2017

Rex Ryan/R.R. Ryan notices

I was in the UK last week to attend a couple of conferences in Oxford and Brighton.  While in Brighton I took the opportunity to spend an hour or so at The Keep, which houses the East Sussex Record Office and other local collections.  Looking through microfilmed newspapers of the Brighton and Hove Herald and the Evening Argus I found the following notices of R.R. Ryan's death:

Brighton and Hove Herald, 21 October 1950

"A retired theatrical manager who had suffered from rheumatism since 1939 and had not been out of the house for five years was stated at a Hove inquest last night (Friday) to have often threatened to take his own life.
"The East Sussex coroner, Dr A.C. Sommerville, recorded a verdict of "suicide while the balance of his mind was disturbed on Evelyn Bradley, aged 66, known as Rex Ryan, of Lansdowne place, Hove, who was found gassed in the bathroom."

Evening Argus, 19 October 1950

"A former music hall artist, Evelyn Hart Bradley, aged 66, was found dead in a gas-filled room in Lansdowne-place, Hove last night."

Evening Argus, 21 October 1950

"Before he gassed himself in the bathroom of his Lansdowne-place, Hove, home, 66-year-old Evelyn Hart Bradley printed a large ink-written notice "gas in bathroom."
"Mr Bradley, who had for 30 years used the name "Rex Ryan" - he was a retired theatrical manager and wrote books under that name - had not been out of the house for years.
"Ann Ryan told the coroner (Dr A.C. Sommerville) at the inquest that he had been crippled for years with rheumatism.  There were financial troubles.  He had many times threatened to gas himself.
"Returning home on Wednesday afternoon, she found him dead in the bathroom.
"A notice warning her of gas was propped on a chair by the bathroom door.
"Verdict: Suicide while the balance of his mind was disturbed."

A sad end to a fascinating life - clearly poor health and financial difficulties had taken their toll.  The last notice refers to his novels and shows that he was known as a writer.

Sunday, September 17, 2017

Where To Find Secondhand Bookshops in Britain

In the previous post I reviewed the factual evidence for the number of secondhand bookshops in Britain and suggested that it showed there had been a rise in these over a reasonable period of time. This was contrary to my own expectation and impression, and also to that of some other readers and collectors, to judge from the response to this post. (There might, however, have been a recent dip from a historical peak.)

I suggested that one reason why it might look like there are fewer is that there are not so many in larger urban areas, but more in smaller towns and cities. Most leading news and commentary is Britain is metrocentric: what happens in London and, a long way behind, the other major cities, is what gets reported. Any trend in the outer reaches of the country or its smaller settlements is less likely to get attention.

Where, then, are all these secondhand bookshops? As an assiduous browser, I offer the following seven suggestions for a bookish weekend break. These are all based on fairly recent personal experience, drawing on the splendid listings at the bookguide.

Norwich and North Norfolk – the city of Norwich, home of the elegant essayist Sir Thomas Browne and the rediscovered spy and thriller writer W.F. Morris, has seven secondhand-bookshops and three charity bookshops. Further afield, but mostly reachable by train or bus from the city, there are at least a dozen in the towns along the North Norfolk coast or in the country around the county town. There is also a large charity bookshop at Blickling Hall, a National Trust property, and two smaller book rooms in other NT properties.

York and North Yorkshire
– the Roman and Viking city of York also has around seven general secondhand bookshops, plus a couple of specialists, and three good charity bookshops. Attractive train journeys from the city will also take you to shops in Harrogate, Whitby and Scarborough, while a motor tour in the Dales will allow you to call in at a few others.

Carlisle and Cumbria
– the city of Carlisle has one bookshop, Bookcase, but it is enormous, and could easily take up most of one day. But if you need a change of scene, take the fine coastal railway to Whitehaven, where Michael Moon has two bookshops, one also large. Or there is the highly scenic Settle-Carlisle railway, which will take you to Settle (three bookshops). Meanwhile a journey through the fells and mountains will take you in short order to Penrith (two bookshops) or Sedbergh (one large bookshop and some smaller outlets).

Wigtown and Galloway
– attempts to emulate Hay-on-Wye, the bookshop town founded by the genius of Richard Booth, haven’t always succeeded, but Wigtown, Scotland’s Book Town, is a quiet former county town in very attractive country in a lesser-known corner of Scotland. It has half a dozen good size bookshops plus a few smaller outlets. Not far away, at Gatehouse of Fleet (scene of Dorothy L Sayers’ Five Red Herrings) is another excellent bookshop in the old watermill. Touring will take you to small shops in Castle Douglas and the artist town of Kirckcudbright.

Aberystwyth and Cardigan Bay
– the leading Welsh university town of Aberystwyth has two excellent bookshops plus a charity bookshop. North up the coast is the alternative centre of Machynlleth, which has antiques, market stall and specialist bookshops. Exploring south along the sweep of the bay will bring you to Aberaeron (one), the county town of Cardigan (three or four outlets) and, just over the border in Pembrokeshire a characterful shop at Newport, and there are a few more inland.

Cheltenham and the Cotswolds – the lovely Regency town of Cheltenham has three general bookshops plus two charity bookshops. Short tours in the Cotswolds will take you to the Roman spa town of Bath (five, two specialist, two charity), the abbey town of Tewkesbury (two, one a good quality charity shop), and the bohemian small town of Stroud (three including one canal charity shop) and it sister settlement of Nailsworth (two, one charity) and several other small towns with one apiece. Don’t forget to visit In Print in Stroud, the bookshop that keeps thebookguide going.

Shrewsbury and the Marches
– the historic county town of Shrewsbury, noted for Charles Darwin, Clive of India and Ellis Peters, has three secondhand book places (including one set of market stalls). From here you can range over Mary Webb and A E Housman country to Much Wenlock (two), Bishop’s Castle, Ludlow, Presteigne (one apiece), and Aardvark, the large book barn at Brampton Bryan. A journey through Marcher country will bring you into Herefordshire, where Leominster and Eardisley are worth a visit for their bookshops. You’re now not far from Hay-on-Wye…

Mark Valentine

Wednesday, September 13, 2017

The Rise of Secondhand Bookshops in Britain

There is a general idea that there are fewer second hand bookshops in Britain than there used to be, and that they are slowly fading away. Until recently, I would have subscribed to this notion too. I tend to remember not only where bookshops are, but where they used to be: and it often seems that there are more absences than presences. However, on the best evidence we have, this impression seems in fact to be quite wrong.

The first thing to note is that, compared with most of the 20th century, the number of second-hand bookshops is now much higher. I haven’t seen definitive figures but I have read accounts of the book trade in the early to mid 20th century that suggest there were few shops outside London, the bigger cities, Oxford and Cambridge. Most readers tended to get their books from private circulating libraries or public libraries. Newsagents and stationers sometimes had a few shelves of used books, but not on any scale. It would be interesting to identify when the picture changed more towards what we see now: my guess would be, in the Sixties, but that is mere surmise.

However, what about the more recent trend? Well, we can make a pretty good comparison between the number of bookshops now and the number thirty years ago. The current total is fairly straightforward. There is a marvellous online guide to second hand bookshops in Britain, thebookguide, run valiantly and voluntarily by the Inprint Bookshop, Stroud, Gloucestershire. This receives not only reviews of bookshops but news from readers about closed or newly opened or discovered examples. It’s about as definitive as you can get.

On 21 August 2017, this website reported: “We list 1217 bookshops in the UK and Ireland, with only 287 of them run by charities.” Of these, about 30 are in the Republic of Ireland, so the UK total is therefore 1187.

To get a similar figure for thirty years ago, we must consult Driff’s Guide to the Secondhand & Antiquarian Bookshops in Britain. Driff was the pen-name of a noted figure in the book trade and his guides won fame (or notoriety) for his pungently-expressed opinions of the bookshops and their owners.

This guide ran through six editions, and I have consulted the 1984 edition, simply because it’s the one I have. Driff was so confident that he had listed every bookshop in the country that he offered a free copy of the next issue of the guide to any reader who sent in details of any he had missed (or any that had closed). He was also obsessively diligent, relating entertainingly his quest for shops where he had only the vaguest details to go on. For this issue, he noted that all of the entries had been double-checked in the last two weeks of July 1984. He lists 942.

So we can see that there are indeed more second-hand bookshops in the UK than there were thirty years ago, in fact about 25% more. That seems fairly conclusive, but there may be some objections. The Inprint guide includes charity bookshops. Note that these are mostly full bookshops, not those that have a few shelves of books among other charity donations such as clothes, records and bric-a-brac. It will be seen that if these 287 charity shops were discounted, there would indeed be rather fewer now than then. But I don’t quite see why they should be excluded: they are second-hand bookshops, and for the reader or collector, who owns them is irrelevant.

It is also true that the Inprint guide includes some private premises only open by appointment, book rooms in antiques centres, some market stalls, and some big book warehouses principally used for internet selling but also open to the public. But all of these seem to me quite valid. The Inprint guide says: “We consider a 'shop' to be any business with a significant stock of secondhand or collectable books, that welcomes visitors at advertised times, or by prior appointment.”

That seems to me a perfectly fair test. And in any case Driff’s guide also included some of these types of entries. Driff’s own definition of a secondhand bookshop was “anywhere that has more than a thousand books and is open more than two days a week.” He added that “Some antique shops have been included” where the owner had a serious interest in books, and some stalls where they were near bookshops. Further, Driff tells amusing anecdotes of shops he has included that seem to be pretty much semi-closed, or with other highly erratic characteristics.

It's also true that Driff lists some bookshops that are not included in his numbering system: some are only rumoured, some are stalls, curio shops etc worth a look if you're in the area, some just seem to be afterthoughts. Overall, I think it is likely that the Inprint guide is slightly more inclusive than Driff’s, but not significantly so.

Why, then, do so many readers and collectors think there are fewer second-hand bookshops, when this is not apparently supported by the evidence? Well, I suspect it is one of those myths that stays current because it sounds right and fits in with our assumptions. We expect online bookselling, electronic books and so on to have made an impact, and it no doubt has, though physical bookshops can sell online too, so they now have another avenue for sales.

There is also, in my experience, often an innate lugubriousness about some second-hand booksellers, who may themselves therefore contribute to the idea that the trade is in irreversible decline. It also seems to be true that there are fewer bookshops in cities, where they might be noticed more. However, there may possibly now be more in smaller towns, especially those with a strong tourist trade.

It’s also possible that over a more recent period – say, the last 10-15 years – there has been a dip from a previous peak. But even if this is so this would not alter the broad picture of a substantial increase over a reasonable span of time. Let us conclude, therefore, by celebrating those doughty, determined, often interesting and independent, individuals who carry on the chancy trade and desperate art of second-hand bookselling.

Note: amended to get the sums right and to note the bookshops Driff mentioned but didn't number.

Mark Valentine

Friday, September 8, 2017

Guest Post - The Aickman Archive by R B Russell & Rosalie Parker

In 2014, after several years wondering why Bowling Green University Library seemed to have such an odd and incomplete collection of material by Robert Aickman, we discovered that the author’s full literary archive was still in private hands here in the United Kingdom. It had been passed on to Heather Smith, a friend of Aickman’s and his literary executor (after the death of his original executor, Felice Pearson).

We visited Heather and Graham Smith to consult the archive and spent many fascinating hours looking through it and talking to them about their friendship and Waterways campaigning with Aickman. We were also able to make a full inventory of the archive which contains, among other material, the finished typescripts of nearly all of the forty-eight strange short stories for which Aickman is acclaimed, as well as his longer works of fiction, autobiography, philosophy and non-fiction. Aickman also kept copies of most of his published and unpublished writings, as well as professional and personal correspondence.

It was through Heather and Graham’s enthusiasm, generosity and friendship that we were able to put together and publish The Strangers (Tartarus Press, 2015), a collection of previously unpublished and uncollected writings by Aickman. Reading the typescript of the title story we felt that it was as good as any of his published tales. (We later learned from Aickman’s friend Jean Richardson that ‘The Strangers’ had probably not been offered for publication because it too closely described living people.) Two stories that we published in the book were subsequently selected for annual ‘Year's Best’ anthologies.

Several years before this, Leslie Gardner at Artellus Ltd (for decades the literary agents for Robert Aickman’s work) had first mentioned to Heather that she might consign the Aickman archive to a library so that it could be properly conserved and made easily available to researchers. Finding a home for the archive was conducted by Leslie’s contact, Peter Grogan (formerly of the Gekoski group), whose knowledge of the international market in this field cannot be underestimated. The result of Peter’s skilful work has been the acquisition of the archive by the British Library — the best possible home for this treasure trove.

It has taken some time for the Aickman archive to be collated and the acquisition announced, but it will soon be available at the British Library in central London. (Aickman’s waterways archive can be likewise consulted at the National Archives in Kew, although there are also a few waterways papers at the Boat Museum at Ellesmere Port.)

To celebrate the acquisition of the archive, the British Library is hosting an evening of readings and discussion with special guests including Ramsey Campbell, Leslie Gardner, and Jeremy Dyson. ‘Even Stranger Things: A Night for Robert Aickman’ will be held on Fri 10 Nov 2017, 19:00 - 20:30. Tickets are available from the box office.

Monday, September 4, 2017

Victor Gollancz's "Connoisseur's Library of Strange Fiction" and Its Successor Series

The London publisher Victor Gollancz (1893-1967) clearly had a soft spot for eclectic books, including fantasy. Twice during his lifetime he published a series of fantasies, though he carefully avoided calling them such. 

The first series he called "The Connoisseur's Library of Strange Fiction," subtitling it "A Series of Reprints."  He announced five books though in the end he published only four.  In numbered order they were:
The 1946 Gollancz edition

1. A Voyage to Arcturus, by David Lindsay.  Published August 1946 at 8s 6d, just a little over a year after Lindsay's death.  Gollancz had bought the publishing rights to Arcturus and The Haunted Woman from Lindsay's widow. This edition includes a one-page "Publisher's Note" by Victor Gollancz, which publishes for the first time the (accurate) statement that of the small 1920 first edition of Arcturus, "596 copies were sold and 824 'remaindered.'" Most rare booksellers have latched on to the first number and ignored the second one, making the first edition of Arcturus seem all the more rare.  But those 1,430 copies were in fact sold, as the original publisher's ledgers confirm.

2. The Haunted Woman, by David Lindsay.  Published in January 1947 at 7s 6d.

3. Medusa, by E.H. Visiak. Published January 1947 at 7s 6d. Gollancz himself had published the first edition of this book in 1929.

4. The Confessions of a Justified Sinner, by James Hogg.  No Gollancz edition was ever published.  The Cresset Press published an edition in September 1947.  Perhaps Gollancz didn't want to publish a book which had a planned competing edition. 

5. The Place of the Lion, by Charles Williams.  Published in February 1947 at 7s 6d. Gollancz himself had published the first edition of this book in 1931.

The second series of reprints came a few decades later, under the title "Rare Works of Imaginative Fiction: A Series of Re-Issues." This time Gollancz published, in three groups, eight of the nine titles that he announced. Three are reissues from the 1946-47 series:

1. The Purple Cloud, by M.P. Shiel. Published 13 June 1963 at 18s.

2. A Voyage to Arcturus, by David Lindsay. Published 13 June 1963 at 18s.

3. Medusa, by E.H. Visiak. Published 13 June 1963 at 18s.

4. Wylder's Hand, by J.S. Lefanu. Published 24 October 1963, presumably at 21s.

5. The Greater Trumps,  by Charles Williams. Announced but never published. Gollancz himself had published the first edition of this book in 1932.

6. The Lord of the Sea, by M.P. Shiel. Published 24 October 1963, at 21s.

7. The Haunted Woman, by David Lindsay.  Published 16 April 1964 at 21s.

8. The Isle of Lies, by M. P. Shiel. Published 16 April 1964 at 21s.

9. The Ghost Ship & Other Stories, by Richard Middleton. Published 16 April 1964 at 21s.

In all, these titles lived up to the advertisements describing the series as "The Connoisseur's Library of Strange Fiction" and "Rare Works of Imaginative Fiction."

Saturday, August 26, 2017

Journey to the West - The Mystic Umbrellas

“On a Summer afternoon in the back bedroom of a Sixties semi-detached house on the western edge of Northampton, over thirty years ago, a boy of twenty improvised melodies on a reed organ and captured them on a cassette recorder….”

Now available, Watch Repair presents Journey to the West by The Mystic Umbrellas: original recordings from the 1980s independent tape scene by Mark Valentine as The Mystic Umbrellas, with beautiful new elaborations by enigmatic contemporary composers Watch Repair, complemented by new texts and images.

“Journey to the West” originally appeared on the sought-after Deleted Funtime cassette (1980) alongside tracks by Stabmental (featuring John Balance, later of Coil), The Door and the Window and The Instant Automatons. Its wistful, melancholy air brought comparisons to Popul Vuh and The Third Ear Band. Artist John Coulthart has written a fine evocation of the project.

As well as the digital album, there is also a special edition comprising two CDRs, four postcards, and texts by Mark Valentine and Anthony Clough, with design by John Coulthart, photography by Deborah Judd, and packaging by RebexLibris. This includes a download code.

Limited to 100 numbered copies, this is available for £10 each plus £2 postage (UK), £4 rest of the world. To order, send a message to lostclub[at]btopenworld[dot]com, replacing the words in square brackets with symbols.

“The silence when the playing ceased, and the thunder faded, was like a crack opening in time: he always remembered how it felt, as if he had caught a glimpse of some un-nameable change in the nature of things.”

Thursday, August 24, 2017

Sorting Out Jonathan Aycliffe / Daniel Easterman / Denis MacEoin

"Jonathan Aycliffe" is the pseudonym, for ghostly novels and short stories, of Denis MacEoin, who writes academic works under his own name, but who is best known for his international thrillers, many set in the Middle East, written under his "Daniel Easterman" pseudonym. Recently I discovered that there was a (new to me) Jonathan Aycliffe novel published a few years ago after a long gap.  This inspired me to sort out his publications, some of which originally appeared in hardcover, others in paperback (listed below as tp = trade paperback or mm = mass market sized).  Some first appeared in England; some in Canada; some in the U.S.  The Aycliffe novels are basically commercial supernatural fiction, but they are very well-done and engaging, though some are better than others.  The best Aycliffe one is (arguably) Whispers in the Dark.

Denis MacEoin was born as Denis Martin McKeown on 26 January 1949, in Belfast, Northern Ireland, the son of David McKeown (1922-1995); he apparently altered the spelling of his surname as a young adult.  He studied at the Belfast Royal Academical Institution, then at Trinity College, Dublin, where he specialized in medieval literature (MA in English Literature, 1971), the University of Edinburgh (MA in Persian and Arabic, 1975), and at King's College Cambridge (PhD in Persian studies, 1979). He married in 1975; his wife, Beth MacEoin, has three degrees, in English, Art History, and homeopathic medicine; she has written many books on homeopathy and natural health. Denis was a lecturer at the University of Fez, Morocco, 1979-80, and lecturer in Islamic Studies at the University of Newcastle, 1981-86, after which he became a freelance writer, though he has more recently been involved professionally with editing the Middle East Quarterly, beginning in 2009, and afterwards becoming (around 2013) a Distinguished Senior Fellow at the Gatestone Institute.

In 1980 MacEoin made a formal break with the Baha'i religion he had converted to at the age of seventeen. In 1994 he wrote:  "I'm very sceptical about religions and occult beliefs, astrology, reincarnation, New Age ideas and so on, but as anyone who has read my novels will know, I am deeply conscious of the importance of the irrational as a factor in human life. Even scientists often adopt an irrational position in defence of pure science just as secularists adopt an irrational stance about secularism."  On the topic of ghosts  he is a non-believer, but is "spooked" by old houses and graveyards:  "Much of this is undoubtedly childhood fears carried into adulthood, although I think ghosts represent much more than that: they represent memories, regrets, remorse, inability to come to terms with the past, the presence of our own past in our present, or the simple sense of continuity with people now dead. I am perpetually puzzled by one curious thing. There are three ghost-story writers closely attached  to King's College: M.R. James, A.N.L Munby and myself. All three of use were, in some measure, bibliographers and antiquarians, and all three of us have published serious studies in that area. But however much I ponder on this, I can never quite work out what significance, if any, to attribute to it."

Of his thrillers, he noted in a 1993 interview that "If you read the Eastermans you will see there is an element of playing with the supernaturala person seemingly coming back from the dead, characters having visions and so oneven though there is an ultimately rational explanation. But always, because they are thrillers, you have to bring them back to reality." In the same interview he said: "The thrillers require all sorts of research to underpin the reality. In order to keep the reader believing them you can't let them go that bit too far. Indeed I've had letters from people who believe them in their entirety. This particularly applied to Brotherhood of the Tomb. An awful lot of people thought I really knew about the secret brotherhood in that book. But if you create something as fanciful as that you've got to try to get your facts right and hope that your reader will go along with you for the duration of the story. You cannot in that context allow yourself the luxury of having genuine supernatural events, But supernatural fiction allows you to break beyond the bounds of plausibility and get away from having to depend on the illusion of reality."

In a biographical note about MacEoin at the Middle East Forum it presents the following impressions of MacEoin:

Denis has a range of interests. He runs a blog entitled 'A Liberal Defence of Israel' and is involved with pro-Israel activity in the UK. He is a huge fan of Portuguese fado music and is currently trying to organize a concert to include Portuguese musicians and British poets reading translations of the poetry used in the songs. He loves French cinema, American films like Metropolitan and Lost in Translation, Persian classical music (Muhammad Reza Shajarian above all), Arabic and Persian calligraphy, and a wide range of British and American novelists. He also loves the best US TV shows, from NYPD and The West Wing to ER and Mad Men, as well as a steady diet of British classical dramas from Austen to Mitford. He is a former President of the UK Natural Medicines Society, and continues to take an interest in the debate over alternative and complementary medicine.

As "Jonathan Aycliffe" he has published nine novels and two short stories, the bibliographical details of which are given below, along with notice of some interviews (with links to the online ones).  As "Daniel Easterman" he has published sixteen novels (one with a different title in the US and UK), and one nonfiction book.  As "Denis MacEoin" he has published seven books and one booklet, some based on his theses; another book was published online (google for Music, Chess and other Sins: Segregation, Integration, and Muslim Schools in Britain, 2009). Most of the bibliographies (online or offline) have conflicting dates for the first publication of Aycliffe's/Easterman's/MacEoin's books. I spent a considerable amount of time sorting them out, and hope that I have the facts (formats, months and years for Aycliffe; just years for the other bylines) and chronology correct. Here are the bibliographies, Aycliffe first, followed by Easterman and then MacEoin.

Books by “Jonathan Aycliffe”

Naomi’s Room
            London: HarperCollins, [November] 1991 [hc 0-246-13892-0,
                        tp 0-246-13926-9]
            New York: HarperPaperbacks, [April] 1992 [mm]
            London: Grafton, [November] 1992 [mm]
            London: Corsair, [October] 2013 [tp]

Whispers in the Dark
            London: HarperCollins [November] 1992 [hc 0-246-13893-9,
                        tp 0-246-13927-7]
            New York: HarperPaperbacks, [May] 1993  [mm]
            London: HarperCollins, [November] 1993 [mm]
            London: Constable, [October] 2014 [tp]

The Vanishment
            London: HarperCollins, [November] 1993  [hc 0-00-224160-9,
                       tp 0-00-224157-9]
            New York: HarperPaperbacks, [June] 1994  [mm]
            London: HarperCollins, [November] 1994 [mm]
            London: Constable, [October] 2014 [tp]

The Matrix
            London: HarperCollins, [November] 1994  [hc]
            New York: HarperPaperbacks, [April] 1995 [mm]
            London: HarperCollins, [November] 1995 [tp]
            London: Corsair, [October] 2013 [tp]

The Lost
            New York: HarperPrism, [June] 1996 [hc]
            London: HarperCollins, [November] 1996 [hc 0-00-225239-2,
                        tp 0-00-649615-6]
            New York: HarperPrism, [August] 1998 [mm]
            London: Constable, [October] 2015 [tp]

The Talisman
            Ashcroft, British Columbia: Ash-Tree Press, [November] 1999
                        [600 copies]
            London: Severn House, [February] 2001 [hc]  
            London: Constable, [October] 2015 [tp]

A Shadow on the Wall
            London: Severn House, [February] 2000  [hc]
            New York: Night Shade Books, [February] 2015 [hc]
            London: Constable, [October] 2015 [tp]
            New York: Night Shade Books, [August] 2016 [tp]

A Garden Lost in Time
            London: Allison & Busby, [January] 2004  [hc]
            Eugene, OR: Bruin Books, [October] 2013  [tp]

The Silence of Ghosts
            London: Corsair, [October] 2013 [tp]
            New York: Night Shade Books, [February] 2015 [hc]
            New York: Night Shade Books, [April] 2016 [tp]

Short Stories:

“The Reiver’s Lament”
            In Blue Motel (1994), ed. Peter Crowther
“The Scent of Oranges”
            In Midnight Never Comes (1997), ed. by Barbara and 
                       Christopher Roden

“Jonathan Aycliffe Prefers the Shadows”
            In Wordsmiths of Wonder (1993), by Stan Nicholls
Interview with Paul MacAvoy
            Prism, 2003
“Exclusive Interview with Jonathan Aycliffe” by Lucy Moore
            FemaleFirst, posted 30 November 2013

Books by “Daniel Easterman”

The Last Assassin (1985)
The Seventh Sanctuary (1987)
The Ninth Buddha (1988)
Brotherhood of the Tomb (1989)
Night of the Seventh Darkness (1991)
Name of the Beast (1992)
New Jerusalems: Reflections on Islam, Fundamentalism and the 
            Rushdie Affair (1993) by Daniel Easterman   [nonfiction]
The Judas Testament (1994)
Night of the Apocalypse (US May 1995), retitled Day of Wrath (UK 
            October 1995)
The Final Judgement (1996)
K (1997), sometimes listed as K Is for Killing
Incarnation (1998)
The Jaguar Mask  (2000)
Midnight Comes at Noon (2001)
Maroc (2002)
The Sword  (2007)
Spear of Destiny (2009)

Books by “Denis MacEoin”

A Revised Survey of the Sources for Early Bābī Doctrine and History 
           (PhD. thesis, King's College Cambridge, 1977)
Islam in the Modern World (1983), ed. Denis MacEoin and Ahmed 
A People Apart: The Bahaʼi Community of Iran in the Twentieth 
            Century (1989) [booklet, 35 pp.]
The Sources for Early Bābī Doctrine and History (1992) 
The Hijacking of British Islam: How Extremist Literature Is 
            Subverting Mosques in the UK (2007) 
Sharia Law or "One Law for All?" (2009)
The Messiah of Shiraz: Studies in Early and Middle Babism (2009) 
            [revision of a 1979 thesis]
Rituals in Babism and Baha'ism (2014)