THE FEMALE OF THE SPECIES & OTHER TERROR TALES By Richard Davis, (“Writers from the Shadows #1”), Shadow Publishing 2012, Paperback 240 pages, Â£7.99
Reviewed by David A. Riley
Richard Davis, who died in 2005, was always far better known as an editor than as a writer, with â€˜The Yearâ€™s Best Horror Storiesâ€™, â€˜Tandem Horrorâ€™, â€˜Spaceâ€™, â€˜Spectreâ€™ and the Armada Sci-Fi series, not to mention his work on television with the BBCâ€™s â€˜Late Night Horrorâ€™ and â€˜Out of the Unknownâ€™. But he was also an extremely good writer, as this collection shows. All the stories here were previously published in anthologies from the 60s and 70s, such as the â€˜Fourth and Sixth Pan Books of Horrorâ€™, â€˜The Ghost Bookâ€™, â€˜New Writings in Horror and the Supernaturalâ€™, â€˜No Such Thing as a Vampireâ€™, and â€˜The Jon Pertwee Book of Monstersâ€™, which contains Richardâ€™s last story in 1978, â€˜The Nondescriptâ€™. The collection is rounded off with an introduction by David A. Sutton, an article that Richard wrote (â€˜What We Were Looking for in Horrorâ€™), an interview originally published in 1969 in the literary fanzine â€˜Shadowâ€™, a further article by Richard (â€˜Horror in Fictionâ€™) and a bibliography.
These constitute all of Richard Davisâ€™s stories, and illustrate the versatility of his subject matter and the easy style of his writing, which reminds me very much of R. Chetwynd-Hayes without the (often unwanted) humour.
The title piece, â€˜The Female of the Speciesâ€™, is written as a journal, detailing the protagonistâ€™s increasing fears about his sinister wife, both before and after her death. Itâ€™s a chilling story that grows increasingly tenser, involving love, death, and witchcraft.
â€˜Elsie and Agnesâ€™ is a straight forward ghost story, though with more than one twist, and involving one of Richardâ€™s recurring themes of a loveless, wasted life.
â€˜A Day Outâ€™ is another ghost story, full of the joys of a 1960s seaside resort but with a final dÃ©nouement that may not come as a total surprise but is nonetheless shocking.
The sadness of a wasted life is again the central theme of â€˜The Lady by the Streamâ€™. Elizabeth is the harried minder for her over demanding wheelchair-bound mother. Never having had the chance to marry and have a family of her own, she finds fleeting warmth from the friendship of a ten year old boy she meets by a stream, fishing. The inability of other people to let this innocent relationship endure, though, results in an appalling climax, perhaps the most violent and chilling in this collection. â€˜The Inmateâ€™ is a tale of bestiality in the truest meaning of the word. I found to be the weakest, least convincing story, though it is well written, with Richardâ€™s customary skills at characterisation.
In â€˜A Nice Cut off the Jointâ€™ Helen Bentley, a surgeon, finds that doing a native chief a favour in saving his life results in a Voodoo curse, presumably from a local witchdoctor put out by her skills, and the growth of a dangerous, all demanding appetite for fresh meat.
â€˜Guy Fawkes Nightâ€™, Richardâ€™s earliest story, originally appeared in the â€˜Fourth Pan Book of Horror Storiesâ€™. A period piece that starts in the 1920s it tells in retrospect what happened one fateful Guy Fawkes Night when the father of the protagonistâ€™s friend disappears. Nearly everyone believed he ran away with his mistress, but thirty years later the horrific truth comes out.
In â€˜The Sick Roomâ€™ Richard returns to the supernatural with a boarding house with a bedroom that may have an evil spirit. A man decorating has already slipped and broken his back for no apparent reason. Everyone who stays there either dies or murders whoever theyâ€™re with. A dark, grittily told story.
â€˜The Clumpâ€™ is set on a small Caribbean island. The clump in question is the local name for a small wood. This one, though, has a sinister reputation. Unfortunately, the young boy who wanders in to explore it when the cruise ship he is on stops by doesnâ€™t know this at the time. Nor does his father, who is more concerned over his plans to poison his wife. The description of the entity that haunts the wood reminds me of the kind of thing depicted in much more recent Japanese horror films.
â€˜The Nondescriptâ€™ is a nineteenth century artefact made of a fish tail and the shaved torso of a monkey, cleverly joined to look like a grotesque creature. Young Bob finds one in the family attic in a glass case. Shortly he comes across another, better preserved, under a large rock close to a local pond. Unlike the first this may not be an artefact at all, as his father finds out when he discovers what happened at a ruined mansion whose owner, a collector of curiosities, died many years ago under suspicious circumstances. This is a rollicking tale, with some great descriptions of the Nondescript and a fittingly action-packed climax.
As Dave Sutton remarks in his introduction these stories are firmly set in the era in which they were written. To me that only adds to their charm. Itâ€™s a shame Richard Davis did not write more, but at least, thanks to Shadow Publishing, what there is have been collected together and made available.
Taking one of his books from the library shelves was a guarantee of humour, pathos and chilling situations, all of which Chetwynd-Hayes considered the ingredients of a good ghost story. Over the years, the formula was put to good use in more than 200 short stories and a dozen novels.
Chetwynd-Hayes was born in Isleworth, Middlesex, and educated locally at Hanworth school. His father, Henry, was a movie theatre manager, and Ronald became an enthusiastic film fan, appearing as an extra in several prewar films, including A Yank At Oxford (1938) and Goodbye, Mr Chips (1939).
With the outbreak of the second world war, he joined the Middlesex Regiment, and was evacuated from Dunkirk, later returning to France on D-Day in the Normandy landings. Demobbed in 1946, he became a salesman, firstly at Harrods, and then at the Army & Navy Stores and Bourne & Hollingsworth, before joining Peerless Build-In Furniture as a showroom and exhibition manager.
He spent his evenings writing, selling a story to the Lady magazine in 1953. His first novel, The Man From The Bomb (1959), was sold to John Spencer for £25, all rights. His next novel, The Dark Man (1964), was the first in a series about Clavering Grange, an ancient dwelling reputedly the most haunted house in England. Chetwynd-Hayes based protagonist Anthony Wentworth, a bachelor showroom manager living in a bedsit in Middlesex, on himself.
The saga of the house down the ages eventually became the focus of three collections, Tales Of Darkness (1981), Tales From The Other Side (1983) and Tales From The Hidden World (1988), as well as two novels, The King's Ghost (1985) and The Haunted Grange (1988), and various other stories in other collections.
In the late 1960s, Chetwynd- Hayes began regularly selling collections of stories, some of which have become classics. Looking For Something To Suck (1969), about an elemental force that feeds off human life energy, and The Gatecrasher (from his fine collection, The Unbidden, 1971), in which Jack the Ripper is summoned by a group performing a séance, show their author at his best. The latter bought him to the attention of Kevin Connor, who directed four of the best for the anthology horror movie From Beyond the Grave (1974).
In 1973, a takeover at Peerless Furniture led Chetwynd-Hayes to turn freelance, and a move to Fontana as his publishers led to even greater prolificacy. He introduced the psychic detective Francis St Clare and his assistant Frederica Masters in the collection The Elemental (1974), and the characters reappeared a number of times, notably in the novel The Psychic Detective (1993), which is under option by Hammer Films. His best-known work is the collection of linked stories set in The Monster Club (1976), which was the basis for the 1980 film starring Vincent Price, John Carradine (as Chetwynd-Hayes), Anthony Steel and others.
Chetwynd-Hayes was also a notable anthologist, producing 12 volumes of The Fontana Book Of Great Ghost Stories (1973-84) and six of The Armada Monster Book (1975-81) for children, as well as stand-alone volumes such as Cornish Tales Of Terror (1971), Scottish Tales Of Terror (as Angus Campbell; 1972) and Welsh Tales Of Terror (1973).
His work continued to appear throughout the 1980s and 1990s, especially in the year's best horror anthologies, edited by Karl Edward Wagner, and has recently been championed by Stephen Jones, who edited The Vampire Stories of R Chetwynd-Hayes (1997) and Phantoms And Fiends (2000). In 1989, he was given a life achievement award by the Horror Writers of America, and won the British Fantasy Society's special award for his con- tributions to the genre.
Towards the end of his life, Chetwynd-Hayes moved into a care home in Teddington, Middlesex, where he died of bronchial pneumonia.
Ronald Henry Glynn Chetwynd-Hayes, author and anthologist, born May 30 1919; died March 20 2001