Oh cosmic
evil, wherefore art thou? Ahh, a deep
pit in the fields of rural Ireland, just where I thought. At least, this is the dish William Hope
Hodgson would serve. His 1908 The House on the Borderland is the story
of an Irish recluse’s encounter with inexplicable forces of the malign in the
fields outside his home. Even stranger
is that the evil bears the head of a pig.
(I would have thought goat given all the pagan stereotypes, red eyes,
horns, etc., but, what do I know of cosmic evil…)
The House on the Borderland opens with two fishermen
going to the countryside for a little sport.
Encountering a strange house at the edge of a small gorge, rifling
through the interior they discover a manuscript, and over a meal begin reading
it. The framing device effective, the
tale the manuscript tells is one that requires that extra bit of narrative
distance to work properly. An unnamed
narrator, living in the countryside with only his sister and dog, experiences
the most bizarre happenstance one day.
Seemingly swept out of the Earthly dimension, he arrives in a massive
field, and in the center sits a house—a house that bears strong resemblance to
his own, yet made of jade and much bigger.
An evil swine entity making its presence felt more than seen in the
ether surrounding the house, the narrator’s return home sees several of the
swine beasts trying to break into his house.
Though defending himself with a shotgun, his inter-dimensional
experiences are only just beginning.
Looking out his window one evening, time begins to shift from fast, to
faster, to dying Earth. And that is only
one stop of the cosmic clock.
Perhaps
the Irish are more stout than the average person, but little of the surreal and
alien horrors that assault the narrator in The
House on the Borderland have any effect.
(Perhaps all the brandy he consumes?) Like a machine he goes about blasting the
swine-men, nary a question as to their origins or alienness, nary a moment of
shock or surprise, and nary a cry of terror as he stares life in the eyes. Like told there are ants on the floor, he
goes about getting the broom with all the passion of a refrigerator. The attack of the swine-men simply incites no
emotion in him.
The result
of this tone is that there is little resonance of fear or horror to the
novel. A more subtle feeling of
bizarreness or strangeness endowed within the text, The House on the Borderland is not Hollywood horror, rather
something much more akin to the weirdness of H.G. Wells The Time Machine or H.P. Lovecraft’s works. The narrator of Wells’ tale likewise unnamed,
each man is placed in an unfamiliar environment with utterly unrelatable
occurrences, and both are subject to immense spans of time. Hodgson’s look at the far-far-far future less
abrupt and more graded than Wells’ (but less socially and politically relevant),
he extends the concept’s arms to take in the broad sweep of galactic existence
and finds (sound the kettle drums and echoing laughter) cosmic evil—in the form
of a pig man.
In the
end, The House on the Borderland is a
nicely constructed novel that drags out something haunting and mysterious from
the dark depths of the universe in phantasmagorical imagery. The character driving the experience comes
off as flat and cold, but in doing so forgoes making the story overt horror
(i.e. blood, monsters, and screams) in favor of something—there go the kettle
drums again—more cosmically evil. (Oink oink.)
Certainly one of the original Weird texts, I imagine the likes of Jeff Vandermeer (and wife Ann), China Mieville, and similar writers have something
of a soft spot for the novel.
Interestingly, Borderland also
forms a sort of intermediary link between Wells’ The Time Machine and Olaf Stapledon’s Star Maker. Stapledon’s
offering infinitely more philosophical, each book nevertheless utilizes the ultra-long
term perspective of The Time Machine to couch their ideas. Another interesting link is William Golding’s
Lord of the Flies. The boys stranded on the island afraid of a
mysterious pig-man they believe haunts the shadows, one can’t help but wonder
whether Golding had read Borderland
and chose to borrow the imagery for his own symbolism of evil. Only the cosmic swine-man knows…
One of the greatest novellas written and you shrug your shoulders
ReplyDeleteIndeed, I am evil. But not as evil as the swine men.
DeleteIf I may ask a favor, rather than criticize my opinion kindly illustrate why this is one of the greatest novellas ever.
Antonyob: I do also like "Borderline" but have You tried Metamorphosis by Kafka, Death in Venice by Thomas Mann or perhaps Heart of Darkness by Joseph Conrad? There are so much more of course; the world litt are big!
DeleteI read it last week, for the först time (well om hardly 63...). I did also The Time Machine & Stapeldon associations; I did think; if he had the litterary powers of Olaf S.? But i liked much. I think Hodgson are more interesting than H.P.
ReplyDeleteAddenda: One gets, when it comes to the main character, the impression of a sort of self portrait; this tuff, outward type, remainding of descriptions of the writer himself.
ReplyDeleteThey say: write what you know. :)
DeleteWell, when it comes to reading and other "esthetic" things it often is about opinion and impression. Am i wrong?
ReplyDeleteAlernatively: It would be to much for You Man! ("Laughter").
ReplyDeleteThe Intermet really gives voice to everyone on everything. I suggest before to write down such stuff read what literary criticism and scholars have said about the novel. And if it's still not enough for you go to read what a giant like Lovecraft said about Hodgson! Read before you write.
ReplyDeleteHow dare the faceless internet man disagree with my sacred and holy opinion of Borderland!! The gall to be even slightly critical of this LITERATURE! How dare he assault these hallowed shores with a view different than my own! There is no space on Earth for two opinions of this novella! There can be only one! Mine!
DeleteYes, you finally understood it! Peace mate but that's not just my opinion. So seriously, go to read what the most important literary critic and seminal authors have said about the Hodgson works. it will be enlightening.
ReplyDelete...this is what Lovecraft writes about Hodgson and his House on the Borderlannd: " Of rather uneven stylistic quality, but vast occasional power in its suggestion of lurking worlds and beings behind the ordinary surface of life, is the work of William Hope Hodgson, known today far less than it deserves to be. Despite a tendency toward conventionally sentimental conceptions of the universe, and of man’s relation to it and to his fellows, Mr. Hodgson is perhaps second only to Algernon Blackwood in his serious treatment of unreality. Few can equal him in adumbrating the nearness of nameless forces and monstrous besieging entities through casual hints and insignificant details, or in conveying feelings of the spectral and the abnormal in connection with regions or buildings.
ReplyDelete...The House on the Borderland (1908) — perhaps the greatest of all Mr. Hodgson’s works — tells of a lonely and evilly regarded house in Ireland which forms a focus for hideous otherworld forces and sustains a siege by blasphemous hybrid anomalies from a hidden abyss below. The wanderings of the Narrator’s spirit through limitless light-years of cosmic space and Kalpas of eternity, and its witnessing of the solar system’s final destruction, constitute something almost unique in standard literature. And everywhere there is manifest the author’s power to suggest vague, ambushed horrors in natural scenery. But for a few touches of commonplace sentimentality this book would be a classic of the first water."