Tonight, I recorded an episode of the Horror Pod Class with Tyler (my usual co-host) and Adam Roberts, owner of the Screenland, which you’ve no doubt seen me talk about a lot. I’ll edit this to put up a link when the episode goes live later this week. (The current most recent episode talks about Noroi, another of my favorite films.)
As we always do on the Horror Pod Class, we discussed a horror movie. Because he was the guest, Adam got to pick, and so we talked about The Legend of Hell House*, which is one of my favorite haunted house movies, and the adaptation of literally my top number one favorite haunted house novel, Richard Matheson’s Hell House.
If you haven’t seen the movie or read the book, please stop reading this right now and go do so. Both are really quite good, and if you like my work, or if you and I share relatively similar tastes in horror, you are unlikely to regret heeding my advice on this, even if the tale doesn’t hit you where you live quite like it does for me.
For those of you who have read it or seen it and are familiar with my work, you may be unsurprised to know that Hell House had a huge influence on me, and on a lot of my stories. Like Clive Barker, the sadistic and psychosexual themes of the novel aren’t what hooked me or what were reproduced in my fiction, even though they are certainly what’s laying around on the surface.
You can find echoes of Hell House in the figure in the chair in “The Granfalloon,” in the history of the house in “Nearly Human,” and countless stories featuring hauntings that aren’t what they appear to be.
Matheson had a keen scholarly interest in spiritualist beliefs, and his fictionalized depictions of those beliefs factor into just about every story I’ve ever written that features spiritualism or seances or anything of the sort. His uncompleted novel Come Fygures, Come Shadowes, about a family of mediums, was the keystone to my as-yet-unpublished short story “On Blueberry Hill.”
I’ve read plenty of other Matheson novels and short stories. I Am Legend is, of course, a classic, and I remember being quite fond of his locked-room magician mystery Now You See It…
And, of course, Matheson was responsible for the screenplays of many of my favorite films. Not just adaptations of his own work, but movies like The Pit and the Pendulum, The Devil Rides Out, and so on.
But it was Hell House with its matter-of-fact treatment of the supernatural that nevertheless stripped it of none of its gothic grandeur that left the biggest imprint on my own fiction, and continues to do so to this day. Re-watching and talking about Legend of Hell House just reminded me of how much that was true.
* Not to be confused with The Haunting of Hill House or The Haunting or House on Haunted Hill.