What Is The Ending Of Best Stories Of Walter De La Mare Explained?

2026-02-18 17:39:25 307

4 Answers

Mason
Mason
2026-02-22 17:23:31
Reading de la Mare feels like holding a handful of smoke—just when you think you've grasped it, the meaning slips away. His endings thrive on ambiguity. In 'Out of the Deep,' the protagonist hears a voice from the sea, possibly supernatural, possibly madness. The story ends without resolution, leaving you to wonder if the horror was external or within. That's his genius: he trusts readers to sit with discomfort. My favorite, 'All Hallows,' ends with a church literally crumbling as ancient forces reawaken. No tidy moral, just sublime unease.
Ruby
Ruby
2026-02-23 19:15:55
What I adore about de la Mare's endings is how they mirror childhood fears—the kind that linger after the lights go out. 'The Creatures' ends with a man realizing the 'monsters' he feared were actually his own repressed emotions given form. It's psychological horror at its finest, wrapped in gorgeous prose. The final lines often feel like a whisper you almost didn't catch, leaving you to question everything that came before. His stories don't end so much as dissolve, like mist at dawn.
Jocelyn
Jocelyn
2026-02-24 02:41:44
Walter de la Mare's stories often linger in that eerie twilight between reality and fantasy, and 'Best Stories' is no exception. The endings aren't just conclusions—they're like waking from a dream where you're not entirely sure what was real. Take 'Seaton's Aunt,' for instance. That final scene where the narrator escapes her oppressive presence, only to later question whether she was ever truly alive or just a specter of guilt and memory? Chills. De la Mare doesn't hand you answers; he gives you a puzzle that rattles in your mind for days.

Then there's 'The Riddle,' where children vanish into a seemingly magical wardrobe. The ending implies they've crossed into another world, but the adults dismiss it as imagination. That duality—wonder versus cold rationality—is classic de la Mare. His endings often feel like a door left slightly ajar, inviting you to peek through but never fully step inside. It's why I keep rereading them; each time, I notice some new shadow lurking in the prose.
Sawyer
Sawyer
2026-02-24 19:00:57
De la Mare's endings are like half-remembered melodies. In 'Miss Jemima,' the titular character's quiet demise is overshadowed by the indifference of others—a commentary on loneliness that stings because it's so understated. There's no grand finale, just the ache of something beautiful and sad slipping away unnoticed. That subtlety is what makes his work timeless; the endings stay with you precisely because they refuse to shout.
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