Other editions of book Widdershins

Widdershins I The three or four "To Let" boards had stood within the low paling as long as the inhabitants of the little triangular "Square" could remember, and if they had ever been vertical it was a very long time ago. They now overhung the palings each at its own angle, and resembled nothing so much as a row of wooden choppers, ever in the act of falling upon some passer-by, yet never cutting off a tenant for the old house from the stream of his fellows. Not that there was ever any great "stream" through the square; the stream passed a furlong and more away, beyond the intricacy of tenements and alleys and byways that had sprung up since the old house had been built, hemming it in completely; and probably the house itself was only suffered to stand pending the falling-in of a lease or two, when doubtless a clearance would be made of the whole neighbourhood. It was of bloomy old red brick, and built into its walls were the crowns and clasped hands and other insignia of insurance companies long since defunct. The children of the secluded square had swung upon the low gate at the end of the entrance-alley until little more than the solid top bar of it remained, and the alley itself ran past boarded basement windows on which tramps had chalked their cryptic marks. The path was washed and worn uneven by the spilling of water from the eaves of the encroaching next house, and cats and dogs had made the approach their own. The chances of a tenant did not seem such as to warrant the keeping of the "To Let" boards in a state of legibility and repair, and as a matter of fact they were not so kept.

The three or four "To Let" boards had stood within the low paling as long as the inhabitants of the little triangular "Square" could remember, and if they had ever been vertical it was a very long time ago. They now overhung the palings each at its own angle, and resembled nothing so much as a row of wooden choppers, ever in the act of falling upon some passer-by, yet never cutting off a tenant for the old house from the stream of his fellows.

New Complete Edition - Widdershins - By Oliver Onions – A Classic Ghost Story. George Oliver Onions (13 November 1873 – 9 April 1961) was an English novelist who published over forty novels and story collections. Originally trained as a commercial artist, he worked as a designer of posters and books, and as a magazine illustrator during the Boer War. The first editions of his novels were published with dust jackets bearing full-colour illustrations painted by Onions himself. Encouraged by the American writer Gelett Burgess, Onions began writing fiction. [2] He married the writer Berta Ruck in 1909 and they had two sons, Arthur (born 1912) and William (born 1913). Onions legally changed his name to George Oliver in 1918, but continued to publish under the name Oliver Onions. In the book Twentieth Century Authors, Onions described his interests as motoring and science; he was also an amateur boxer as a young man. Onions wrote detective fiction, social comedy and historical fiction; Poor Man's Tapestry (1946) and its prequel, Arras of Youth (1949) are about the adventures of a juggler, Robert Gandelyn, in the fourteenth century. Onions wrote two detective novels: A Case in Camera and In Accordance with the Evidence . Two of his works are science fiction novels: New Moon (1918) about a utopian Britain, and The Tower of Oblivion (1921), featuring a middle-aged man who recedes back to his youth. A Certain Man (1931), about a magical suit of clothes, and A Shilling to Spend (1965), about a self-perpetuating coin, are fantasy novels. Onions wrote several collections of ghost stories, of which the best known is Widdershins (1911). It includes the novella The Beckoning Fair One, widely regarded as one of the best in the genre of horror fiction, especially psychological horror. On the surface, this is a conventional haunted house story: an unsuccessful writer moves into rooms in an otherwise empty house, in the hope that isolation will help his failing creativity. His sensitivity and imagination are enhanced by his seclusion, but his art, his only friend and his sanity are all destroyed in the process. The story can be read as narrating the gradual possession of the protagonist by a mysterious and possessive feminine spirit, or as a realistic description of a psychotic outbreak culminating in catatonia and murder, told from the psychotic subject's point of view. The precise description of the slow disintegration of the protagonist's mind is terrifying in either case. Another theme, shared with others of Onions' stories, is a connection between creativity and insanity; in this view, the artist is in danger of withdrawing from the world altogether and losing himself in his creation. Another noted story from Widdershins is "Rooum", about an engineer pursued by a mysterious entity.

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