Elizabeth d’Espérance, one of the star mediums of the Victorian era, penned a fascinating memoir filled with rich descriptions of altered states and otherworldly visitations. An often-overlooked, first-person account of the 19th century seance from the perspective of the medium herself, Shadow Land is the subject of a recent review at VictorianGothic.org:
Elizabeth d’Espérance grew up in a tired old house on the East End of London, filled with dark, oak-paneled halls and desolate, forbidden rooms that compelled her to explore. “I was very fond of wandering about from one empty room to another,” she wrote,
“and of sitting with my dolls on the broad low window seats, whence I would be fetched with an exclamation of horror and wonder by our servant, who considered my liking for the haunted rooms as “uncanny” and unnatural, threatening me with the ghosts and their vengeance if I persisted in invading their domains by myself.
“I could never quite understand nurse’s remarks about the lonelines of the rooms, though her threats about the ghosts frightened me. To me the rooms were never empty nor lonely;—strangers were constantly passing to and fro, from one room to another; some took no notice of me, some nodded and smiled as I held up my doll for their inspection. I did not know who the strangers were, but I grew to know them by sight…”
On this note, d’Espérance sets the tone for Shadow Land, her 1897 memoir of life as a medium during the heyday of Victorian spiritualism.
Her career began, naturally enough, in experiments with table rapping and automatic writing, but before long she was performing full-form manifestations in the manner of Florence Cook, Annie Fairlamb, and other star mediums of the era. Her usual controls were “Walter,” a light-hearted American soldier, and the professorial “Humnur Stafford,” but she is best remembered for manifesting female spirits like the “Yolande:” a playful Arab girl whose favorite trick was to materialize (“apport”) exotic flowers into the room.
Accounts of purported spectral phenomena like these are familiar to any student of spiritualism. What sets Shadow Land apart is that d’Espérance weaves them into a powerful, first-personal narrative that delves into the subjective experience of giving over one’s body as a conduit to the spirit world, together with its attendant doubts, fears and anxieties. Enough has been written about whether it is possible for a medium to lend her substance to strange, otherworldly entities—Shadow Land gives us a basis to imagine what it might actually feel like to do so.
[More at Victorian Gothic]