The Swan River Press

In her third collection, Lynda E. Rucker reminds us that mystery lurks even in the most banal settings—a British holiday park, a Moldovan tower block, a stretch of industrial wasteland—but as these ten stories reveal, there can also remain a dreadful beauty amidst the horror.

Published in September 1935, just two months after his death, A.E wrote of Selected Poems, “If I should be remembered I would like it to be for the verses in this book.

At the edges of everyday life, on geographical boundaries and in the margins of society, certainties and realities can wear thin. And if we find ourselves in such occult and outland territory late at night, we might glimpse phenomena out of the corner of our eye that cannot possibly be there. At such times even the past, apparently fixed and unchanging in memories and dreams, cannot be relied upon. But what happens if we find ourselves passing beyond even these frayed perimeters of life? Can others follow us, or are we on our own? And just where will our final journey take us? How can we perceive or understand the changes that death will bring?

For the first time in over 150 years, “The Watcher”, Le Fanu’s classic tale of supernatural menace, is reissued from the pages of the Dublin University Magazine along with its original companion piece “The Fatal Bride”, a brooding gothic novella not reprinted since its first publication in 1848.

his issue is another selection of profiles from our tentatively named Guide to Irish Writers of Gothic, Supernatural and Fantastic Literature. The keen-eyed will spot one name that might seem out of place: Harry Clarke (1889-1931). Clarke, of course, was not a writer, but an artist who worked in watercolour, pen and ink, and stained glass. As an illustrator, Clarke put his indelible mark on literature of the macabre and fantastic. His best-known illustrations are those accompanying Edgar Allan Poe’s Tales of Mystery and Imagination (1919/23), though his illustrations for Andersen, Perrault, and Swinburne also bear hallmarks of the strange. So too do goblins and grotesques leer from the corners of his stained glass work. Writing in The Irish Statesman on Clarke’s illustrations for Goethe’s Faust, the poet A.E. was clearly taken with the artist’s power.