Four stars for the collection of stories, but the full five for Editor and Introduction writer David Stuart Davies for being just about the only Academic in living memory to assume the Commentator role in a volume of Vicwardian Supernatural Literature without imposing the usual socio-political guff on our collective past.
Davies enjoys the Fiction of the Fantastic in and of itself and sees no reason why the past should be judged and condemned in terms of how far short it falls of contemporary mores - he is a true scholar in fact, but can also point up how Conan Doyle pretty well set up the literary template for the Mummy horror film genre.
Davies writes with authority in good Plain English and his judgement is sound (but on no account read the second section of the introduction before reading the stories themselves).
The stories collected together here pretty well sum up Doyle's potential, both fulfilled and squandered; perhaps the most versatile but thinly spread of major British Writers, he could have undoubtedly assumed Poe's coronet if he had focussed more on the Fantastic (never neglecting Holmes, of course) but the multi-faceted Doyle never could stay in one place for very long in any area of his life.
Any Holmes aficionado will also be aware of the extraordinary chronological range of Doyle's work, and we journey here from the text book Victorian atmospherics of the 1880s to a final 1921 story that, if you were to blind test it, I am sure would leave everyone failing to guess which apparent contemporary of Scott Fitzgerald wrote it.
A mini strand I found particularly interesting were a couple of `spiritualist' short stories - `Playing with Fire' sets up with expert economy a typical cross section of Victorian Séance enthusiasts (I had read Ronald Pearsall's excellent factual account `Table-rappers: The Victorians and the Occult' immediately prior to this volume - it dovetails) before embarking on a very interesting spirit dialogue (I found this the most fascinating part of the book) leading to the alarming dénouement. This is followed by `The Leather Funnel', which in the first few paragraphs describes the character, career and demise of a Parisian Black Magician that another accomplished writer could and should turn into an entire novel. And THEN the story starts.
In fact, as the ever reliable Davies points out, Conan Doyle was a cinematic writer before (mainly) Cinema, and this volume, from its haunted Polar landscapes to the Occult abodes of sinister scholars, would, I am sure, provide a marvellously rich little source volume for any putative Horror/Supernatural Cine-Director.