Aklo: A Journal of the Fantastic, Spring 1988 edition, edited by Mark Valentine & Roger Dobson. Illustration by Alan Hunter.
1: The White People
The White People by Arthur Machen was written in 1899 but not published until it appeared in Horlick’s Magazine, January 1904. The magazine, which ran for just over a year, was edited by Machen’s Golden Dawn colleague AE Waite which no doubt explains the unlikely venue. HP Lovecraft enthused about the story in Supernatural Horror in Literature (1927):
Less famous and less complex in plot than The Great God Pan, but definitely finer in atmosphere and general artistic value, is the curious and dimly disquieting chronicle called The White People, whose central portion purports to be the diary or notes of a little girl whose nurse has introduced her to some of the forbidden magic and soul-blasting traditions of the noxious witch-cult — the cult whose whispered lore was handed down long lines of peasantry throughout Western Europe, and whose members sometimes stole forth at night, one by one, to meet in black woods and lonely places for the revolting orgies of the Witches’ Sabbath. Mr. Machen’s narrative, a triumph of skilful selectiveness and restraint, accumulates enormous power as it flows on in a stream of innocent childish prattle, introducing allusions to strange “nymphs,” “Dols,” “voolas,” “white, green, and scarlet ceremonies,” “Aklo letters,” “Chian language,” “Mao games,” and the like. The rites learned by the nurse from her witch grandmother are taught to the child by the time she is three years old, and her artless accounts of the dangerous secret revelations possess a lurking terror generously mixed with pathos. Evil charms well known to anthropologists are described with juvenile naiveté, and finally there comes a winter afternoon journey into the old Welsh hills, performed under an imaginative spell which lends to the wild scenery an added weirdness, strangeness, and suggestion of grotesque sentience. The details of this journey are given with marvellous vividness, and form to the keen critic a masterpiece of fantastic writing, with almost unlimited power in the intimation of potent hideousness and cosmic aberration.
Lovecraft borrowed Machen’s naive narrator a year later for The Dunwich Horror: Wilbur Whateley’s diary is written “by a child of three-and-a-half who looked like a lad of twelve or thirteen”, and makes reference to “Aklo”, “the Dho formula” and “the Voorish sign”. (The journal in The White People refers to “a wicked voorish dome”.)
Lovecraft wasn’t alone in being impressed by the story, it’s long been regarded as Machen’s greatest piece of short fiction with good reason:
…it remains the purest and most powerful expression of what Jack Sullivan has called the “transcendental” or “visionary” supernatural tradition. Most other tales in that tradition, Blackwood’s The Wendigo, EF Benson’s The Man Who Went Too Far, and Machen’s own The Great God Pan, merely describe encounters with the dark primeval forces that reign beyond the edge of civilisation; The White People seems an actual product of such an encounter, an authentic pagan artefact…
TED Klein, The Penguin Encyclopedia of Horror and the Supernatural (1986)
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