Whispering Runes

Lore & Background

James originally read the stories to friends and select students at Eton and Cambridge as Christmas Eve entertainments, and received wider attention when they were published in the collections Ghost Stories of an Antiquary (1904), More Ghost Stories of an Antiquary (1911), A Thin Ghost and Others (1919), A Warning to the Curious and Other Ghost Stories (1925), and the hardback omnibus The Collected Ghost Stories of M. R. James (1931). James published a further three stories before his death in 1936, and seven previously unpublished or unfinished stories appeared in The Fenstanton Witch and Others: M. R. James in Ghosts and Scholars (1999). James redefined the ghost story for the new century by abandoning many of the formal Gothic clichés of his predecessors, and is noted for his use of realism and dry humour to ground the stories and contrast with the supernatural elements. He is known as the originator of the "antiquarian ghost story" and "the Father of Folk Horror" for the way his plots and characters drew on his own scholarly interests in ancient folklore and the rural landscapes of East Anglia. This association has continued into the 21st century due to the many adaptations of his stories, which have made him, according to critic Jon Dear, "the go-to folk horror writer".

Reader's Guide

James perfected a method of story-telling which has since become known as Jamesian. The classic Jamesian tale usually includes the following elements: a characterful setting in an English village, seaside town or country estate; an ancient town in France, Denmark or Sweden; or a venerable abbey or university; a nondescript and rather naive gentleman-scholar as protagonist (often of a reserved nature); the discovery of an old book or other antiquarian object that somehow unlocks, calls down the wrath, or at least attracts the unwelcome attention of a supernatural menace, usually from beyond the grave. According to James, the story must "put the reader into the position of saying to himself, 'If I'm not very careful, something of this kind may happen to me!'" He also perfected the technique of narrating supernatural events through implication and suggestion, letting his reader fill in the blanks, and focusing on the mundane details of his settings and characters in order to throw the horrific and bizarre elements into greater relief. He summed up his approach in his foreword to the anthology Ghosts and Marvels: "Two ingredients most valuable in the concocting of a ghost story are, to me, the atmosphere and the nicely managed crescendo. ... Let us, then, be introduced to the actors in a placid way; let us see them going about their ordinary business, undisturbed by forebodings, pleased with their surroundings; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage." He also noted: "Another requisite, in my opinion, is that the ghost should be malevolent or odious: amiable and helpful apparitions are all very well in fairy tales or in local legends, but I have no use for them in a fictitious ghost story." Despite his suggestion (in the essay "Stories I Have Tried to Write") that writers employ reticence in their work, many of James's tales depict scenes and images of savage and often disturbing violence. For example, in "Lost Hearts", pubescent children are taken in by a sinister dabbler in the occult who cuts their hearts from their still-living bodies. In a 1929 essay, James stated: "Reticence may be an elderly doctrine to preach, yet from the artistic point of view, I am sure it is a sound one. Reticence conduces to effect, blatancy ruins it, and there is much blatancy in a lot of recent stories. They drag in sex too, which is a fatal mistake; sex is tiresome enough in the novels; in a ghost story, or as the backbone of a ghost story, I have no patience with it. At the same time don't let us be mild and drab. Malevolence and terror, the glare of evil faces, 'the stony grin of unearthly malice', pursuing forms in darkness, and 'long-drawn, distant screams', are all in place, and so is a modicum of blood, shed with deliberation and carefully husbanded; the weltering and wallowing that I too often encounter merely recall the methods of M G Lewis."

Did You Know?

• He translated the Book of Enoch from Ethiopic, publishing the translation in 1893 after beginning work on it while a student at Cambridge.
• He was admitted to the Order of Merit in 1930.
• James toured France in 1884 on a Cheylesmore tricycle.