Okay, let's see if this one works:
Deep Waters, by
William Hope Hodgson (1967)
Okay, finally! (Seems that the final bit of code wasn't copying properly, for some reason, in the other attempts.)
Now... on the "logical explanation" or, more accurately, naturalistic explanation... yes, there are some where that description would apply; Hodgson (and most of his peers) do not belong in that category though, I would say. It's a difference in orientation. You, for instance, have a specific orientation toward the genuinely weird or supernatural, rather than that which is
apparently weird but which still lies within the realm of the natural, or is proven to be natural in the end. The difference is often a philosophical one as much as anything (especially in the early Gothics and those who followed that path); it is as much or more about exploring the susceptibility of the human mind (even the most enlightened) to the irrational as it is telling a "ghost story" (as it is still often called). It's a perfectly valid approach which doesn't
intrinsically indicate any lack on the part of the writer; what shows that is whether or not the given explanation works within the context of the tale itself. With Hodgson, sometimes it does, sometimes it doesn't. But one also has to keep in mind that he was, at the same time, following the trend of the detective (or occult detective) tale here, as well; and in at least the majority of cases, the detective tale relies on a rationalistic view of the world which can, given enough information, explain in such terms that which
seems to be a violation of the natural order.
We are too prone to create a set of limitations for such things based upon our own preferences and prejudices, rather than looking at a writer's work as it is and seeing whether it succeeds or fails
within its own terms. If it succeeds within those terms, then any disappointment we have with it tends to be because of our own expectations or desires, rather than the intrinsic quality of the work itself. If, on the other hand, it violates such terms, or is malproportioned in some way in and of itself, then that is a perfectly valid criticism of the work and the writer's failing within that particular opus. Hodgson certainly has his share of those (the pseudo-archaism mentioned earlier being a prime example), but I wouldn't make a blanket condemnation of his use of the naturalistic explanation; that's more a bias of the reader rather than a fault of the writer.