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Rating: 
Summary: Ghost Stories and Beyond
Review: Aickman's books are hard to find in the U.S., but his weird tales are among the best ever written, and it is definitely worth the time involved to scour used bookstores for his stories. Aickman is a ghost story writer in the classic English tradition of M.R. James, E.F. Benson, and H. Russell Wakefield, but his tales are more haunting and mysterious than those of his predecessors. The main difference is that, while the earlier writers often took great pains to leave no loose ends, Aickman seems to delight in ambiguity and uncertainty. For example, in the story "Ringing the Changes," the heroine gets caught up in a dance involving the recently dead in a small town, but it is never made entirely clear what happens. The action is off-screen, as it were, and the main witness really doesn't say much. There's a hit that something sexual may have been involved, but it is never resolved. The story ends: "She seemed to have forgotten Gerald, so that he was able to examine her closely for a moment. It was the first time he had done so since the night before. Then, once more, she became herself. In those previous seconds Gerald had become aware of something dividing them which neither of them would ever mention or forget."There are nine stories in "Painted Ghosts," but only three of them appraoch being standard ghost stories ("The Houses of the Russians," "The Waiting Room," and "My Poor Friend"). "Ravissante" involves a presence, but not really a ghost, and some strange animals. "The View" seems to be heavily influenced by European folktales of men who become enthralled by the fairies. "Ringing the Changes" involves the dead, but in more physical form than mere ghosts. "The School Friend" may involve a ghost, and certainly involves a monstrous baby that is heard but not seen. "Marriage" may or may not even have supernatural elements in it, depending on what you think of the main character's sanity. "Larger than Oneself" involves nothing less than the appearance of God. These pocket descriptions may give some idea of what these stories are about, but they do not hint at the richness and strangeness of the stories themselves. Some of the tales raise more questions than they answer, which is what makes them worth hunting down and reading.
Rating:
Summary: The menacing art of narrative ambiguity.
Review: As a modern virtuoso of atmospheric horror, Robert Aickmaninjects each of his "strange stories" with a lingering, surreal terror. "Painted Devils" is all the more disturbing for the recurring themes that echo down the chilly corridors of this nine story collection. The most pronounced of these themes are doomed romance, communal hauntings, and abominable, monstrous offspring. A typical story begins with the protagonist venturing into the unknown, perhaps going to a new country or city, though sometimes the change is as simple as beginning a new job or visiting the theatre. There an unexpected friendship or love affair forms, and suddenly great gaps appear in the protagonist's conception of reality. In Aickman's world children are not always cute or even harmless, neither sex nor love brings contented bliss, and the dead don't always stay in the ground, nor are their spirits carted conveniently away to either heaven or hell.
In "The View," a man named Carfax is recovering from a vague illness. His doctor suggests taking a long holiday at an island retreat. On the boat Carfax meets a woman who is the sole inhabitant of a small mansion. She opens her home to him, and they slip effortlessly into an affair. Carfax is an artist and attempts several drawings around the mansion, becoming alarmed as the surrounding landscape seems to shift somehow from day to day. Carfax might live forever with his lover in their isolated paradise if only he could accept this disturbing, irrational phenomenon, but of course he can't.
"Ringing the Changes," probably an homage to Lovecraft's "The Shadow Over Innsmouth," tells of a honeymoon couple who choose their destination from a guidebook. This fateful decision leaves them stranded in the small, dreary, seaside town of Holihaven. The town is saturated with a terrible, fishy sea-stench; the water has rolled back far from the town, leaving a deep shoreline of muck; and worst of all, the odd inhabitants are obviously up to something infernal with their late-night bell ringing.
These stories have nothing to do with the heavy-handed, popular, shock horror usually associated with the genre. There are no movie monsters here, no blood-soaked demoniacs or ritualistic serial killers. Aickman's tradition is that of Lovecraft, Henry James, and Joseph Conrad, where the ambient eeriness is enough to stop a heart.
His signature technique is a sort of narrative ambiguity. If Aickman's characters lose their metaphysical footing along the way, so do his readers. For instance, in "The Houses of the Russians" a character has a close brush with fate outside a pub. Apparently he is nearly run down in the street, and his escape is something of a miracle. Yet Aickman never gives a clear picture of the scene. As the man enters the pub, we receive the incident secondhand, just as many of the pub's customers do. Aickman pulls the rug out from under us, initiating a momentum that sends us scrambling ahead for hearsay, conjecture, the smallest of details--anything that might restore balance. Once accustomed to his style, we realize that Aickman has managed to shake our imaginations free of their passiveness and has engaged us in an active relationship with his strange world. Then all that remains is to drift along in an alert but dreamy state with Aickman's voice as our only guide.
Rating:
Summary: The menacing art of narrative ambiguity.
Review: As a modern virtuoso of atmospheric horror, Robert Aickmaninjects each of his "strange stories" with a lingering, surreal terror. "Painted Devils" is all the more disturbing for the recurring themes that echo down the chilly corridors of this nine story collection. The most pronounced of these themes are doomed romance, communal hauntings, and abominable, monstrous offspring. A typical story begins with the protagonist venturing into the unknown, perhaps going to a new country or city, though sometimes the change is as simple as beginning a new job or visiting the theatre. There an unexpected friendship or love affair forms, and suddenly great gaps appear in the protagonist's conception of reality. In Aickman's world children are not always cute or even harmless, neither sex nor love brings contented bliss, and the dead don't always stay in the ground, nor are their spirits carted conveniently away to either heaven or hell.
In "The View," a man named Carfax is recovering from a vague illness. His doctor suggests taking a long holiday at an island retreat. On the boat Carfax meets a woman who is the sole inhabitant of a small mansion. She opens her home to him, and they slip effortlessly into an affair. Carfax is an artist and attempts several drawings around the mansion, becoming alarmed as the surrounding landscape seems to shift somehow from day to day. Carfax might live forever with his lover in their isolated paradise if only he could accept this disturbing, irrational phenomenon, but of course he can't.
"Ringing the Changes," probably an homage to Lovecraft's "The Shadow Over Innsmouth," tells of a honeymoon couple who choose their destination from a guidebook. This fateful decision leaves them stranded in the small, dreary, seaside town of Holihaven. The town is saturated with a terrible, fishy sea-stench; the water has rolled back far from the town, leaving a deep shoreline of muck; and worst of all, the odd inhabitants are obviously up to something infernal with their late-night bell ringing.
These stories have nothing to do with the heavy-handed, popular, shock horror usually associated with the genre. There are no movie monsters here, no blood-soaked demoniacs or ritualistic serial killers. Aickman's tradition is that of Lovecraft, Henry James, and Joseph Conrad, where the ambient eeriness is enough to stop a heart.
His signature technique is a sort of narrative ambiguity. If Aickman's characters lose their metaphysical footing along the way, so do his readers. For instance, in "The Houses of the Russians" a character has a close brush with fate outside a pub. Apparently he is nearly run down in the street, and his escape is something of a miracle. Yet Aickman never gives a clear picture of the scene. As the man enters the pub, we receive the incident secondhand, just as many of the pub's customers do. Aickman pulls the rug out from under us, initiating a momentum that sends us scrambling ahead for hearsay, conjecture, the smallest of details--anything that might restore balance. Once accustomed to his style, we realize that Aickman has managed to shake our imaginations free of their passiveness and has engaged us in an active relationship with his strange world. Then all that remains is to drift along in an alert but dreamy state with Aickman's voice as our only guide.
Rating:
Summary: A true original
Review: The late Robert Aickman is generally considered by aficionados of horror fiction to be the 20th century's greatest writer of ghost stories, if not the greatest of all time. This is understandable, but a bit ironic, as Aickman wrote very few tales that involve the obvious appearance of a ghost, which is probably why he preferred to describe his work as "strange stories." It would be difficult to find a more appropriate label. Strange they are, to put it mildly. They're also dreamlike, unsettling, and completely original. Like a David Lynch film, they speak directly to the subconscious and affect the reader in ways that are difficult to describe. These stories often unnerve you even though you can't explain exactly why. Aickman also posesses a sense of the absurd that is similar to Lynch's, and many of his stories contain oddly humorous moments. Aickman's stories are deeply enigmatic, and cry out for multiple readings, which often dispel some of the mystery, but never all of it. One thing that seems clear is that the events in the stories arise from or are mirroring the psychological states of their protagonists. "Marriage" in particular packs a powerful Freudian wallop. All of the tales in Painted Devils are, to some degree, literally haunting; you'll find yourself turning them over in your mind for days and weeks and months after reading them. Anyone interested in challenging, unique fiction will find this book thrilling.
Rating:
Summary: A true original
Review: The late Robert Aickman is generally considered by aficionados of horror fiction to be the 20th century's greatest writer of ghost stories, if not the greatest of all time. This is understandable, but a bit ironic, as Aickman wrote very few tales that involve the obvious appearance of a ghost, which is probably why he preferred to describe his work as "strange stories." It would be difficult to find a more appropriate label. Strange they are, to put it mildly. They're also dreamlike, unsettling, and completely original. Like a David Lynch film, they speak directly to the subconscious and affect the reader in ways that are difficult to describe. These stories often unnerve you even though you can't explain exactly why. Aickman also posesses a sense of the absurd that is similar to Lynch's, and many of his stories contain oddly humorous moments. Aickman's stories are deeply enigmatic, and cry out for multiple readings, which often dispel some of the mystery, but never all of it. One thing that seems clear is that the events in the stories arise from or are mirroring the psychological states of their protagonists. "Marriage" in particular packs a powerful Freudian wallop. All of the tales in Painted Devils are, to some degree, literally haunting; you'll find yourself turning them over in your mind for days and weeks and months after reading them. Anyone interested in challenging, unique fiction will find this book thrilling.
Rating:
Summary: Aickman's work is Sui Generis
Review: The late Robert Aickman's short stories are usually classed as horror, but really, they are unique and belong to no particular genre. Like filmmaker David Lynch, Aickman had a talent for producing uncanny, bizarre, absurd, unsettling scenarios that speak to you on a subconscious level, which is why their irrationality doesn't seem arbitrary. The precise nature of what is going on in Aickman's stories is often indefinable, which only heightens the sense of menace. For the adventurous, thoughtful reader, Painted Devils is a revelation. It seems clear to me that Aickman was a true original and a literary genius.
Rating: 
Summary: Decent or good but not great-- Start with Wine Dark Sea
Review: Well "Painted Devils" by our esoteric British gentlefriend Robert Aickman is one of his stronger works. It is not so good as "Wine-Dark Sea," but however, this cannot be a fair comparison as the "Wine-Dark Sea" is a collection of previous works, selecting many of the strongest. However, it is better than his most famous work, "Cold Hand in Mine," easily, I believe. If you are looking for an author to scare you out of your wits through pyschological terror, outre' supernatural manifestation, or otherwise gothic elements, Aickman is probably not your man, I fear. Some of your stories just aren't worth your (or anyone's, for that matter) time. I will recommend which stories you should bother to read however. Be advised that they are all abstruse, deliberate, and none of them have a powerful ending, just "an end." "Houses of the Russians" is the best among a decent but unimpressive lot. I won't attempt to describe this one, it is better to just sit down and read it; however it takes a great beginning and middle, but does not follow it up to NEARLY as powerful a conclusion as could be. "Ringing in the Changes" is unique and keeps your interest long enough with its various mysteries, and the ending is probably the most interesting of all the stories in the book. "The Waiting Room" is typical fodder of Aickman's lesser work, and I did not care for this dull piece at all. "The View" while hardly horrifying, probably takes the "second best" prize. No Stephen King, H. P. Lovecraft, or Ramsey Campbell here, folks
Rating:
Summary: Decent or good but not great-- Start with Wine Dark Sea
Review: Well "Painted Devils" by our esoteric British gentlefriend Robert Aickman is one of his stronger works. It is not so good as "Wine-Dark Sea," but however, this cannot be a fair comparison as the "Wine-Dark Sea" is a collection of previous works, selecting many of the strongest. However, it is better than his most famous work, "Cold Hand in Mine," easily, I believe. If you are looking for an author to scare you out of your wits through pyschological terror, outre' supernatural manifestation, or otherwise gothic elements, Aickman is probably not your man, I fear. Some of your stories just aren't worth your (or anyone's, for that matter) time. I will recommend which stories you should bother to read however. Be advised that they are all abstruse, deliberate, and none of them have a powerful ending, just "an end." "Houses of the Russians" is the best among a decent but unimpressive lot. I won't attempt to describe this one, it is better to just sit down and read it; however it takes a great beginning and middle, but does not follow it up to NEARLY as powerful a conclusion as could be. "Ringing in the Changes" is unique and keeps your interest long enough with its various mysteries, and the ending is probably the most interesting of all the stories in the book. "The Waiting Room" is typical fodder of Aickman's lesser work, and I did not care for this dull piece at all. "The View" while hardly horrifying, probably takes the "second best" prize. No Stephen King, H. P. Lovecraft, or Ramsey Campbell here, folks
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