It has been a recent tradition of mine these past few Christmas' to read a vintage ghost story published in Seth's illustrated range of books. Last month's title I chose to read was The Captain of the Polestar by Arthur Conan Doyle.
Reading the story reminded me of another tale I read a few years back - the more modern and longer Dark Matter (2010) by Michelle Paver, which also navigates themes of isolation and fear within an Arctic setting. In this later book, the protagonist, Jack Miller, part of a doomed scientific mission, faces spectral occurrences as the endless Arctic night envelops him. Despite the gap of over a hundred years between the two works, both stories resonate with thematic parallels, and generate an atmosphere of dread stemming from human vulnerability in unforgiving environments.
In Doyle’s narrative, the brevity of the story shapes its characters; Captain Craigie remains an enigmatic figure, and Ray largely serves as an observer. In contrast, Paver’s Dark Matter provides a more profound emotional connection to Jack, whose personal fears and ambitions enrich his character's descent into madness. Paver, in developing her story to novel length, also creates a more robust cast of supporting characters, intensifying the story's tragic stakes.
Doyle’s prose, reflective of the Victorian era, possesses an elegance that may seem restrained by modern standards, favouring suggestion and ambience over explicit horror. In contrast, Paver's writing employs contemporary storytelling techniques, intertwining psychological tension with vivid sensory descriptions that immerse the reader in the protagonist's dread and isolation. The Captain of the Polestar stands as a notable example of Victorian ghost literature, infused with mystery and understated terror, while Dark Matter offers a more immediate and visceral horror experience, highlighting psychological intricacies and the unyielding threat posed by its Arctic setting. Readers drawn to ambiguous, atmospheric ghost stories may find resonance in Doyle’s work, whereas those in search of a harrowing, immersive narrative may gravitate towards Paver’s contemporary interpretation. Both tales, however, masterfully illustrate the lasting impact of the Arctic as a canvas for examining human vulnerability amidst extreme conditions.
Both narratives effectively employ the Arctic landscape as a backdrop for psychological and supernatural horror. In Doyle's The Captain of the Polestar, the frozen sea becomes an unforgiving force, mirroring Craigie’s troubled mind. Conversely, Paver's Dark Matter delves into the suffocating isolation of the Arctic, using the perpetual darkness to symbolize the encroaching fears of the unknown. While Doyle's writing is richly evocative, Paver creates a more visceral experience, vividly illustrating the relentless cold and silence that amplify the tension.
At the heart of both stories lies the fragile human psyche under extreme duress. Captain Craigie’s visions and unstable behaviour in The Captain of the Polestar echo Jack’s growing paranoia in Dark Matter. However, while Doyle leaves the supernatural elements open to interpretation—raising questions about the reality of the apparitions—Paver confirms the existence of sinister forces. This difference positions Doyle’s tale as a more enigmatic reflection of Victorian doubt, whereas Paver presents a contemporary psychological horror grounded in tangible threats.
Doyle’s prose, reflective of the Victorian era, possesses an elegance that may seem restrained by modern standards, favouring suggestion and ambience over explicit horror. In contrast, Paver's writing employs contemporary storytelling techniques, intertwining psychological tension with vivid sensory descriptions that immerse the reader in the protagonist's dread and isolation. The Captain of the Polestar stands as a notable example of Victorian ghost literature, infused with mystery and understated terror, while Dark Matter offers a more immediate and visceral horror experience, highlighting psychological intricacies and the unyielding threat posed by its Arctic setting. Readers drawn to ambiguous, atmospheric ghost stories may find resonance in Doyle’s work, whereas those in search of a harrowing, immersive narrative may gravitate towards Paver’s contemporary interpretation. Both tales, however, masterfully illustrate the lasting impact of the Arctic as a canvas for examining human vulnerability amidst extreme conditions.
I would highly recommend both tales to ghost story enthusiasts. And, given their chilly settings, the pair make for a fantastic supernatural Christmas reading treat.
And whilst Doyle's short story can be easily found in numerous anthologies, I do suggest you find the version I read over Christmas, if only for the small book's cool design, and Seth's cool minimalist yet highly evocative illustrations.
Watch this space for more info on Seth's range of Christmas ghost stories...
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