Future Treasures: The Human Chord/The Centaur by Algernon Blackwood
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I’m embarrassed to admit that I’ve not read much Algernon Blackwood. But I’ve been educated on his substantial contributions to the American horror genre by my fellow Black Gate writers, especially Ryan Harvey and Bill Lengeman. In his 2009 post “The Incredible Adventures of Algernon Blackwood,” Ryan wrote:
Of all the practitioners of the classic “weird tale”… none entrances me more than Algernon Blackwood. Looking at the stable of the foundational authors of horror — luminaries like Poe, James, le Fanu, Machen, Lovecraft — it is Blackwood who has the strongest effect on me. Of all his lofty company, he is the one who seems to achieve the most numinous “weird” of all.
Blackwood is often referred to as a “ghost story” writer… But true ghosts rarely appear in his fiction. Blackwood liked to dance around the edge of easy classification, and as his work advanced through the 1900s and into the teens, it got even harder to pinpoint. Blackwood’s interest in spiritualism, his love of nature, and his pantheism started to overtake his more standard forays in supernatural terror. His writing turned more toward transcendentalism and away from plot. The most important precursor to this development is his 1911 novel The Centaur, which critic S. T. Joshi describes as Blackwood’s “spiritual autobiography.”
And in his 2015 review of Algernon Blackwood’s The Empty House and Other Ghost Stories, Bill Lengeman clearly agreed.
