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The black kiss

by Robert Bloch

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Description

This work is a horror short story composed with a narrative structure that combines supernatural folklore with personal psychological tension. It follows an artist, Graham Dean, who inherits an old house on the California coast once inhabited by a figure of local legend. As Dean's seascape dreams grow more vivid, he becomes increasingly aware of the legend's supernatural elements, involving sea-dwellers and ancient possessory rites. The story incorporates elements of occult knowledge through a character named Doctor Yamada, who explains the potential for beings from the depths to claim human bodies through a kiss, blending folklore with supernatural horror.

Written in the early 20th century, the story exemplifies American horror fiction that emphasizes regional legends and supernatural themes. Its setting on the California coast and focus on ancestral legends reflect the genre's interest in mysterious local histories. The narrative examines the blurring of dreams and reality within a supernatural framework, characteristic of its period's horror literature.

From the opening pages

Two popular writers of weird fiction join forces to produce one of the eeriest sea-stories ever written—a story of the thing that swam in the black waters off California, and called itself Morella Godolfo. [Transcriber's Note: This etext was produced from Weird Tales June 1937. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] They rise in green robes roaring from the green hells of the sea, Where fallen skies and evil hues and eyeless creatures be. —Chesterton: Lepanto . 1. The Thing in the Waters Graham Dean nervously crushed out his cigarette and met Doctor Hedwig's puzzled eyes. "I've never been troubled like this before," he said. "These dreams are so oddly persistent. They're not the usual haphazard nightmares. They seem—I know it sounds ridiculous—they seem planned ." "Dreams planned? Nonsense." Doctor Hedwig looked scornful. "You, Mr. Dean, are an artist, and naturally of impressionable temperament. This house at San Pedro is new to you, and you say you've heard wild tales. The dreams are due to imagination and overwork." Dean glanced out of the window, a frown on his unnaturally pale face. "I hope you're right," he said, softly. "But dreams shouldn't make me look like this. Should they?" A gesture indicated the great blue rings beneath the young artist's eyes. His hands indicated the bloodless pallor of his gaunt cheeks. "Overwork has done that, Mr. Dean. I know what has happened to you better than you do yourself." The white-haired physician picked up a sheet covered with his own scarcely decipherable notes and scrutinized it in review. "You inherited this house at San Pedro a few months ago, eh? And you moved in alone to do some work." "Yes. The sea-coast there has some marvelous scenes." For a moment Dean's face looked youthful once more as enthusiasm kindled its ashy fires. Then he continued, with a troubled frown. "But I haven't been able to paint, lately—not seascapes, anyway. It's very odd. My sketches don't seem quite right any more. There seems to be a quality in them that I don't put there——" "A quality, did you say?" "Yes. A quality of malignness , if I can call it that. It's indefinable. Something behind the picture takes all the beauty out. And I haven't been over-working these last weeks, Doctor Hedwig." The doctor glanced again at the paper in his hand.

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