Glad ghosts — Themes and Context
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This digital edition of Glad ghosts — Themes and Context is described by source-level measurements including 18,488 words, 1 hr 21 min estimated reading time, and 2 detected text sections.
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Project Gutenberg metadata also associates the work with “England -- Fiction,” connecting these edition facts with the source record’s subject description.
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She was by way of being a beauty, too. Her family was not rich, yet she had come into five hundred a year of her own, when she was eighteen; and that, to us, was an enormity. Then she appeared in the fashionable papers, affecting to be wistful, with pearls, slanting her eyes. Then she went and did another of her beastly still-lives, a cactus-in-a-pot.
At the Thwaite, being snobs, we were proud of her too. She showed off a bit, it is true, playing bird of paradise among the pigeons. At the same time, she was thrilled to be with us, and out of her own set. Her wistfulness and yearning "for something else" was absolutely genuine. Yet she was not going to hobnob with us either, at least not indiscriminately.
She was ambitious, in a vague way. She wanted to coruscate, somehow or other. She had a family of clever and "distinguished" uncles, who had flattered her. What then?
Her cactuses-in-a-pot were admirable. But even she didn't expect them to start a revolution. Perhaps she would rather glow in the wide if dirty skies of life, than in the somewhat remote and unsatisfactory ether of Art.
She and I were "friends" in a bare, stark, but real sense. I was poor, but I didn't really care. She didn't really care either. Whereas I did care about some passionate vision which, I could feel, lay embedded in the half-dead body of this life. The quick body within the dead. I could _feel_ it. And I wanted to get at it, if only for myself.
She didn't know what I was after. Yet she could feel that I was It, and being an aristocrat of the Kingdom of It, as well as the realm of Great Britain, she was loyal--loyal to me because of It, the quick body which I imagined within the dead.
Still, we never had much to do with one another. I had no money. She never wanted to introduce me to her own people. I didn't want it either. Sometimes we had lunch together, sometimes we went to a theatre, or we drove in the country, in some car that belonged to neither of us. We never flirted or talked love. I don't think she wanted it, any more than I did. She wanted to marry into her own surroundings, and I knew she was of too frail a paste to face my future.
Now I come to think of it, she was always a bit sad when we were together. Perhaps she looked over seas she would never cross. She belonged finally, fatally, to her own class. Yet I think she hated them. When she was in a group of people who talked "smart," titles and _beau monde_ and all that, her rather short nose would turn up, her wide mouth press into discontent, and a languor of bored irritation come even over her broad shoulders. Bored irritation, and a loathing of climbers, a loathing of the ladder altogether. She hated her own class: yet it was also sacrosanct to her. She disliked, even to me, mentioning the title of her friends. Yet the very hurried resentment with which she said, when I asked her. Who is it?--
"Lady Nithsdale, Lord Staines--old friends of my mother," proved that the coronet was wedged into her brow, like a ring of iron grown into a tree.
She had another kind of reverence for a true artist: perhaps more genuine, perhaps not; anyhow, more free and easy.
She and I had a curious understanding in common: an inkling, perhaps, of the unborn body of life hidden within the body of this half-death which we call life; and hence a tacit hostility to the commonplace world, its inert laws. We were rather like two soldiers on a secret mission in an enemy country. Life, and people, was an enemy country to us both. But she would never declare herself.
She always came to me to find out what I thought, particularly in a moral issue. Profoundly, fretfully discontented with the conventional moral standards, she didn't know how to take a stand of her own. So she came to me. She had to try to get her own feelings straightened out. In that she showed her old British fibre. I told her what, as a young man, I thought: and usually she was resentful. She did so want to be conventional. She would even act quite perversely, in her determination to be conventional. But she always had to come back to me, to ask me again. She depended on me morally. Even when she disagreed with me, it soothed her, and restored her to know my point of view. Yet she disagreed with me.
The narrator of Glad Ghosts recalls his acquaintance with Carlotta Fell from their days at the Thwaite School of Art, where she won still-life prizes and he was 'diligently murdering my talent.' The opening establishes a sharp class contrast: Carlotta is an Honourable with five hundred a year, yet she yearns 'for something else.' The narrator, poor and indifferent to money, is after 'some passionate vision' he senses 'embedded in the half-dead body of this life.' This phrase—'the quick body within the dead'—recurs as a key image, linking artistic ambition to a ghostly vitality that later manifests in the country-house séance.
Recurring Images of Cold and Paralysis
Throughout the excerpts, cold functions as a physical marker of supernatural presence. When the narrator dances with Carlotta, he feels a chill that persists even after checking the radiator. Lord Lathkill confirms, 'It seems to me it has,' and the Colonel sits 'abjectly on the music stool, as if broken.' The cold is not merely atmospheric; it creaks and seems to 'touch my vitals.' Later, the narrator describes 'a rushing, cold dark current' he must resist. This sensory detail—cold that penetrates and paralyzes—ties the ghostly to bodily sensation, making the supernatural tangible without explicit apparitions.
Movement Between Art School and Country House
The narrative shifts from the Thwaite's 'famous but uninspired' art school to a country-house dance, a structural move that mirrors the narrator's own trajectory from observer to participant. At the Thwaite, Carlotta is a 'bird of paradise among the pigeons,' admired yet separate. In the country house, she becomes a medium of sorts, shivering and speaking to spirits. The dance itself—a tango attempted despite the cold—becomes a ritual that blurs social performance and occult invocation. The Victrola's 'monstrous barking howl' of jazz contrasts with the 'bell-like ringing' of Lady Lathkill's voice, juxtaposing modern technology with spiritualist theatrics.
Voice and Retrospective Distance
The narrator speaks from a later time—'I knew Carlotta Fell in the early days before the war'—creating a gap between the events and their telling. This retrospective voice allows for ironic commentary: he describes the art school as 'snobs' who were 'proud of her too,' and later, when Lady Lathkill addresses the spirits, he feels 'a jump of laughter' before going 'inert again.' The narrator's detachment contrasts with the other characters' hysteria, positioning him as a skeptical yet affected witness. His language is precise and understated, avoiding melodrama even as he reports thuds and crashes.
The Séance as Social Performance
The séance scene is structured like a theatrical set piece, with stage directions embedded in the prose. Lady Lathkill 'lifted her face, staring to the other side' and speaks 'in a clear, cruel sort of voice.' The Colonel's 'terrible hang-dog look of guilt' suggests the spirits are tied to personal secrets. Yet the narrator insists the phenomenon is 'on a par with hysteria,' implying a psychological rather than supernatural explanation. Lord Lathkill's calm suggestion to 'turn on the Victrola' undercuts the tension, treating the ghostly thuds as a nuisance to be drowned out by jazz. The scene thus oscillates between genuine dread and social farce.
Readers should attend to how Lawrence uses the narrator's limited perspective—he never claims to see a ghost, only feels cold and hears thuds. The story's power lies in this restraint, leaving the supernatural ambiguous. The recurring phrase 'the quick body within the dead' may be read as a metaphor for the narrator's artistic quest, but it also literalizes the ghostly as a bodily presence. The dance, the cold, and the Victrola all become instruments of a tension that is never fully resolved.
Years among the stacks have taught me that Glad Ghosts leaves a particular chill—that sense of rooms breathing with what we cannot see. The Amateur Inn — Edition Insights carries a similar warmth hidden in its walls, a quiet hum of lives layered over one another, much like Lawrence’s dancing shadows. I often find them resting together, two old friends sharing a draft.
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