Stories by English Authors: Africa (Selected by Scribners) — Key Ideas to Explore

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Doyle, Arthur Conan, 1859-1930 [Contributor], Addleshaw, Percy, 1866-1916 [Contributor], Haggard, H. Rider (Henry Rider), 1856-1925 [Contributor], Landers, J. [Contributor], Scully, W. C. (William Charles), 1855-1943 [Contributor] Project Gutenberg 2006 Not confirmed
Africa -- Fiction; Short stories, English Readers of public-domain and historical texts
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Edition facts

Words 54,265
Reading time 236 min
Text sections 6

For Stories by English Authors: Africa (Selected by Scribners) — Key Ideas to Explore, the stored edition analysis reports 54,265 words, 3 hr 56 min estimated reading time, and 6 detected text sections.

The text analysis averages about 19.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Africa -- Fiction,” connecting these edition facts with the source record’s subject description.

Five stories by English authors set in Africa, including Doyle's mystery of a diamond find, Haggard's hunting tale, and Scully's account of a cannibal clan. The excerpts reveal a focus on survival, colonial encounters, and the supernatural, with narrators often framing the tales as firsthand accounts.
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would say, if one did not know the man. “Had to go,” he replied--“had to go. One of Madison’s cattle was seen straying down Sasassa Valley, and of course none of our blacks would go down _that_ valley at night; and if we had waited till morning, the brute would have been in Kaffirland.”

“Why wouldn’t they go down Sasassa Valley at night?” asked Tom.

“Kaffirs, I suppose,” said I.

“I suppose they didn’t give such a matter-of-fact fellow as you a sight of their charms?” said Tom, from the bunk.

“Yes,” said Dick, seriously, “yes; I saw what the niggers talk about; and I promise you, lads, I don’t want ever to see it again.”

Tom sat up in his bed. “Nonsense, Dick; you’re joking, man! Come, tell us all about it; the legend first, and your own experience afterward. Pass him over the bottle, Jack.”

“Well, as to the legend,” began Dick. “It seems that the niggers have had it handed down to them that Sasassa Valley is haunted by a frightful fiend. Hunters and wanderers passing down the defile have seen its glowing eyes under the shadows of the cliff; and the story goes that whoever has chanced to encounter that baleful glare has had his after-life blighted by the malignant power of this creature. Whether that be true or not,” continued Dick, ruefully, “I may have an opportunity of judging for myself.”

“Go on, Dick--go on,” cried Tom. “Let’s hear about what you saw.”

“Well, I was groping down the valley, looking for that cow of Madison’s, and I had, I suppose, got half-way down, where a black craggy cliff juts into the ravine on the right, when I halted to have a pull at my flask. I had my eye fixed at the time upon the projecting cliff I have mentioned, and noticed nothing unusual about it. I then put up my flask and took a step or two forward, when in a moment there burst, apparently from the base of the rock, about eight feet from the ground and a hundred yards from me, a strange, lurid glare, flickering and oscillating, gradually dying away and then reappearing again. No, no; I’ve seen many a glow-worm and firefly--nothing of that sort. There it was, burning away, and I suppose I gazed at it, trembling in every limb, for fully ten minutes. Then I took a step forward, when instantly it vanished, vanished like a candle blown out. I stepped back again; but it was some time before I could find the exact spot and position from which it was visible. At last, there it was, the weird reddish light, flickering away as before. Then I screwed up my courage, and made for the rock; but the ground was so uneven that it was impossible to steer straight; and though I walked along the whole base of the cliff, I could see nothing. Then I made tracks for home; and I can tell you, boys, that, until you remarked it, I never knew it was raining, the whole way along. But hollo! what’s the matter with Tom?”

What indeed? Tom was now sitting with his legs over the side of the bunk, and his whole face betraying excitement so intense as to be almost painful. “The fiend would have two eyes. How many lights did you see, Dick? Speak out!”

“Hurrah!” cried Tom, “that’s better.” Whereupon he kicked the blankets into the middle of the room, and began pacing up and down with long feverish strides. Suddenly he stopped opposite Dick, and laid his hand upon his shoulder. “I say, Dick, could we get to Sasassa Valley before sunrise?”

“Scarcely,” said Dick.

“Well, look here; we are old friends, Dick Wharton, you and I. Now don’t you tell any other man what you have told us, for a week. You’ll promise that, won’t you?”

I could see by the look on Dick’s face as he acquiesced that he considered poor Tom to be mad; and indeed I was myself completely mystified by his conduct. I had, however, seen so many proofs of my friend’s good sense and quickness of apprehension that I thought it quite possible that Wharton’s story had had a meaning in his eyes which I was too obtuse to take in.

The collection opens with Arthur Conan Doyle's 'The Mystery of Sasassa Valley,' a framed narrative in which a rough speaker recounts how Tom Donahue earned his nickname 'Lucky Tom.' The narrator, a former law student turned adventurer, sets a colloquial tone: 'I’m roughish now, sir; but I was entered at the Middle Temple once.' This voice, blending legal training with frontier experience, recurs across the stories, which often hinge on chance, cunning, and the hazards of the African landscape.

Narrative Frames and Unreliable Tellers

Several stories employ a frame narrator who addresses a listener directly. In Doyle's tale, the speaker invites his audience to 'fill up your glass again, and light another cigar' before launching into a yarn he insists is 'true, sir, every word of it.' This device creates intimacy but also raises questions about reliability—the narrator admits to a 'wildish' past and financial desperation. Similarly, in 'Ghamba' by William Charles Scully, the protagonist Whitson extracts a confession from a cannibal chief through a series of pointed questions, turning the story into a quasi-interrogation. The frame allows the authors to present extraordinary events—diamond discoveries, man-eating clans—as plausible recollections, while the narrators' own biases and limitations color the account.

The Mechanics of Survival: Thongs, Revolvers, and Cartridges

In 'Ghamba,' the cannibal chief explains his family's hunting technique: they catch victims with thongs thrown over the arms, rendering them unable to shoot. The chief describes how he practiced walking up a path repeatedly while his sons threw the thong over him. This attention to practical detail—the removal of cartridges from a revolver, the use of green wood to smoke meat—grounds the horror in mundane logistics. The story's tension arises from the mismatch between the protagonists' expectations (a supernatural legend about Umhlonhlo) and the grim reality of a family that has survived for years by eating human flesh, including their own children. The excerpt's clinical tone, with Whitson asking 'Why not?' about the preference for white flesh, underscores the unsettling rationality of the killers.

Colonial Anxieties and the Supernatural

The catalog subject 'Exploration, Survival & Adventure Tales' aligns with the stories' focus on white men navigating unfamiliar terrain, but the excerpts also reveal deeper anxieties. In Doyle's story, the narrator's luck hinges on a mysterious valley and a 'fairy story' that proves true, blending rational explanation with the inexplicable. Haggard's 'Long Odds' (not excerpted) likely continues this vein. The cannibal tale in 'Ghamba' inverts the colonial adventure: instead of heroic discovery, the protagonists stumble into a trap baited with a false legend. The chief admits he used the story of Umhlonhlo to lure victims, preying on the very curiosity that drives exploration. These stories thus reflect both the thrill of the unknown and the fear of being consumed—literally and figuratively—by the continent.

Readers approaching this collection should attend to the narrative frames and the tension between the exotic and the quotidian. The stories reward attention to how characters justify their actions and how the authors balance adventure with unease. The excerpts suggest that the Africa depicted here is as much a stage for psychological drama as for physical peril.

These African tales brought back my grandfather’s worn copy of King Solomon’s Mines, the smell of dust and adventure. That longing for unexplored places felt so vast. Later, reading Their Silver Wedding Journey — Volume 3 — A Closer Reading, I found the same quiet strangeness in a familiar Europe—distance isn’t always miles, sometimes it’s just time passing.

Jack White
3 weeks ago

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