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Willard E. Hawkins (1887-1970)

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Author, Editor, Publisher, Public Speaker
Born September 27, 1887, Fairplay, Colorado
Died April 17, 1970, presumably in Craig, Colorado

Willard E. Hawkins was born on September 27, 1887, in Fairplay, Colorado, and seems to have lived in Colorado all his life. He was a writer, editor, publisher, public speaker, and proprietor of World Press, Inc., all without benefit of a college degree. According to the The FictionMags Index his first magazine credit was "The Human Factor" in The Blue Book Magazine, September 1912. Hawkins also contributed to Breezy Stories, The Cavalier, Chicago Ledger, The Green Book Magazine, The Red Book MagazineWestern Outlaws, Western Rangers, and Western Trails, among others. The Speculative Fiction Database lists his stories in the fields of fantasy and science fiction:

  • "The Dead Man's Tale" in Weird Tales (Mar. 1923; reprinted July 1934)
  • "The Dwindling Sphere" in Astounding Science-Fiction (Mar. 1940)
  • "Romance Across the Ages" in Thrilling Wonder Stories (July 1940)
  • "Master of Emotions" (1941)
  • "The Rannie" in Super Science Novels (May 1941)
  • "Power for Zenovia" in Thrilling Wonder Stories (June 1941)
  • "The Story Behind the Story: Power for Zenovia" in Thrilling Wonder Stories (June 1941)
  • "The Man Who Was Millions" in Science Fiction (June 1941)
  • "Master of Emotion" in Science Fiction (Sept. 1941)
  • "The Chalice of Circe" in Fantastic Adventures (Apr. 1950)
  • "Look to the Stars" in Imagination (Oct. 1950)
  • "The Green Blood of Treachery" in Amazing Stories (Sept. 1951)
  • "Scratch One Asteroid" in Amazing Stories (Nov. 1952)

Hawkins also wrote a detective novel, The Cowled Menace (1930), and Castaways of Plenty: A Parable of Our Times (1935), which the online Encyclopedia of Science Fiction calls "an anti-capitalist satire set in the near future." Willard Hawkins founded The Student Writer magazine in 1916. His World Press, Inc., of Denver, Colorado, published non-fiction books on the West and Hawkins' own Castaways of Plenty. He was also an editor associated with the Denver Times and Rocky Mountain News, and was editor himself of Rocky Mountain Hotel Bulletin and American Greeter.

I can't let this article go without mentioning Willard Hawkins' wife.

Her name was Queenabelle.

Willard E. Hawkins died on April 17, 1970, presumably in Craig, Colorado, where he was buried.

Willard E. Hawkins Story in Weird Tales
"The Dead Man's Tale" (Mar. 1923; reprinted July 1934)

Note
As the publisher of a magazine for student writers, Hawkins would probably have known about new markets. Maybe that's how his own story ended up in the first issue of Weird Tales.

Further Reading
If you do an online search for Willard E. Hawkins, you will find snippets on his career in places here and there.

Willard E. Hawkins, a native-born Westerner, took naturally to Westerns. He wrote dozens during the pulp era. His byline is on the cover of Western Rangers for December 1930.
Hawkins' own World Press, Inc., reprinted his novel Castaways of Plenty in 1940.

Text and captions copyright 2014 Terence E. Hanley

Hubert La Due (1891-1946)

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Author, Editor, Journalist
Born January 15, 1891, Alameda, California
Died 1946, Omaha, Nebraska

Hubert William La Due was born on January 15, 1891, in Alameda, California. His career in journalism began at Ontario High School in Ontario, California, when he began sending news items to the Los Angeles Express for a dollar or two per day. La Due gave the farewell speech at his graduation in 1909. As an aspiring writer, he joined The Black Cat Club in the pages of The Black Cat magazine and in November 1916 won a $5 prize for the best criticisms of stories in the magazine. Earlier that year he had reported in an article for The Editor that at age twenty-five he had made exactly $12,350.00 from his writing.

Hubert La Due contributed to Action Stories, Argosy, Breezy Stories, Clues, The Dragnet MagazinePeople's Favorite Magazine, Top-Notch, Short Stories, Western Story Magazine, and other titles between 1918 and 1939. A movie called Lovetime, released in 1921, was based on his story. He was also the editor of The Story World and Photodramatist magazine and wrote one story for Weird Tales, "The Soul of Peter Andrus," for the September 1923 issue. He lived in various places in California over the course of his short life, including Upland, Redlands, and South Gate. He died in 1946 in Omaha, Nebraska, and was buried in Redlands.

Hubert La Due's Story in Weird Tales
"The Soul of Peter Andrus" (Sept. 1923)

Further Reading
"Prostituting Talent" by Herbert La Due in The Editor, July 15, 1916, pp. 62-66, here.

A still from Lovetime (1921) with Shirley Mason and Raymond McKee, a movie based on Hubert La Due's story.
Text copyright 2014 Terence E. Hanley

Eric A. Leyland (1911-2001)

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Aka Nesta Grant, Sylvia Little, Elizabeth Tarrant
Author, Librarian, Principal
Born September 22, 1911, Ilford, Essex, England
Died March 28, 2001

Eric A. Leyland was a very prolific British author of series books and other books for young readers. He was born on September 22, 1911, in Ilford, Essex, and was the son of a clergyman. He attended Brentwood School and University College, London, and worked as Chief Librarian in Chingford, Essex (1938-1946), and Walthamstow (1946-1949). Afterwards he shared with his wife the position of principal of Normanhurst School in Chingford.

Leyland wrote more than 100 books, mostly in the following series from 1940 to 1967:
  • Hunter Hawk: Skyway Detective
  • David Flame
  • Abbey School Series
  • Men of Action
  • Steven Gale
  • Nelson Peerless
  • Red Lawson
  • Rip Randall
  • Six Gun Gauntlet
  • Skinny
  • The Captain
Leyland wrote under his own name and under the pen names Nesta Grant, Sylvia Little, and Elizabeth Tarrant. He also adapted and introduced an episode of the television series Fact and Fiction ("The Birds of Thimblepins") in 1960. He wrote just one story for Weird Tales, "The Debt" in the issue for November 1930, published when he was only nineteen years old.

Eric Leyland is still popular in Britain and on the Continent. A simple search for his name will turn up lists of books and other information, including images of his books and a photograph of him. Leyland died on March 28, 2001.

Eric A. Leyland's Story in Weird Tales
"The Debt" (Nov. 1930)

Further Reading
A blog entry called "Eric Leyland-Hack of All Trades" by Jim Mackenzie, dated April 8, 2009, at this URL:


There are other sources on the Internet as well.

I had hoped when I saw this title that it might have a science fiction or fantasy connection, but Gale and the Sword of Mars (1962) appears to be an ordinary thriller, spy novel, or crime novel. Steven Gale is the main character and star of the series by Eric Leyland. 
Text copyright 2014 Terence E. Hanley

A.W. Wyville

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Ainsworth W. Wyville
Author
Born August 5, 1896, Denver, Colorado
Died January 25, 1982, Alameda city or county, California

Ainsworth W. Wyville was born on August 5, 1896, in Denver, Colorado. His father, Marmaduke Wyville, born in Bombay, worked for the railroad. A.W. Wyville moved around when he was young, from Omaha (1910), to Alameda (1910), to Portland, Oregon (1918, 1920, 1930). For a time, Wyville worked for Pike and Markham, photographers, in Portland. By 1940, he was in Alameda again working as a writer on the Northern California Project, presumably under the Works Progress Administration (WPA).

I have found just two credits for A.W. Wyville, the story "The Black Madonna" in Weird Tales (May 1928) and the article "Murder on the Yukon Trail" in Detective Fiction Weekly (Apr. 9, 1932). "The Black Madonna" was reprinted in 100 Wild Little Weird Tales, edited by Robert Weinberg, Stefan R. Dziemianowicz, and Martin H. Greenberg (1994). Ainsworth W. Wyville died on January 25, 1982, in Alameda city or county, California.

A.W. Wyville's Story in Weird Tales
"The Black Madonna" (May 1928)

Further Reading
"The Black Madonna" was reprinted in 100 Wild Little Weird Tales, edited by Robert Weinberg, Stefan R. Dziemianowicz, and Martin H. Greenberg (1994). 

Text copyright 2014 Terence E. Hanley

Happy Birthday to the Second Incarnation of Weird Tales

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Ninety years ago this month, in November 1924, Weird Tales began its second incarnation. The magazine was never on sound footing. That trend appears to be continuing to this day. But in 1924, it very nearly folded. Weird Tales began in March 1923 under the editorship of Edwin M. Baird. Subtitled "The Unique Magazine," it ran for an unlucky thirteen issues until the triple-sized May/June/July issue of 1924. By then Weird Tales was in trouble. That summer, the publisher, Jacob Clark Henneberger, sold his interest in his other publishing ventures to keep his brainchild, Weird Tales, going. Baird was out as editor. In casting about for someone to take his place, Henneberger offered the position to H.P. Lovecraft. We can all wonder how history would have been different if Lovecraft had accepted the position. Instead, Henneberger found Farnsworth Wright, a Chicago writer and music critic, to assume the role of editor. Weird Tales went back into print in November 1924 after a gap of four months. Also new in that issue, Andrew Brosnatch came on as artist, and readers could submit correspondence to "The Eyrie," a new letters column. Weird Tales carried on until September 1954. I wonder if Edwin M. Baird, who died that same month, saw the last issue of a magazine he helped bring into the world.

Weird Tales, November 1924, with cover art by Andrew Brosnatch.
Text copyright 2014 Terence E. Hanley

Two Topics In Search of a Venue

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I have written recently about the question Is science fiction dying? To paraphrase and reverse Doctor McCoy's claim, I'm a blogger, not a doctor. I can't say whether science fiction is dying or not. If it is, I can suggest causes: We have arrived at the future and it ain't what it was cracked up to be. Readers have become disillusioned with science. They are disappointed that all the things that were promised us by science have not come about. They have turned away from the future or have given up hope. Science has become Scientism, atheism, or materialism, beliefs of religious intensity that claim that all things can be explained in purely material terms by the priests of Science. If the religions of Scientism, atheism, and materialism are correct, then nothing can be irrational (except certain numbers), there can be no mystery, and all things can be, must be, and will be explained by science and science alone. Put another way, if the goal of science is to answer all unanswered questions, solve all unsolved mysteries, and explain all unexplained things, and if all questions, mysteries, and unexplained things will in the end yield to scientific inquiry, then where does that leave the very human and very essential need for mystery? If the universe is purely material, then, in the end, we will be living in a kind of experiential entropy, a universe entirely evened out by science, devoid of any further questioning, searching, or striving. Granted, if the universe is purely material (I'm certain that it isn't), it will still take a long, long time for science to answer all questions. But who looks forward to the eradication of mystery from our lives and experience? I prefer--and I believe most people would prefer--mystery to all-knowledge. Maybe that's one reason why fantasy is preferred to science fiction these days. One alternative to having science fiction die is for believers to give up on their faith in Scientism, atheism, and materialism and to allow mystery its essential place in the universe. Another is for people to be hopeful and to turn their eyes once again to the future, disregarding the doom the doomsayers say. A third (which probably overlaps the second) is for people to go on believing in God, humanity, love, and a mysterious universe.

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I have also written about contemporary science fiction as running out of options in that, if you give up hope for the future, you're reduced to either dystopia or apocalypse. There are other options that I didn't consider. One is science fiction about a sort of gray, quotidian misery or despair. That seems to be the course our serious literature has taken. Having given up on faith, hope, and family, many people in the real world have gone down that same path. Another is science fiction about inversion or self-absorption, a dead end if ever there was one, in storytelling as well as in real life. Of course despair and self-absorption can lead to dystopia and apocalypse. We see signs of that in our contemporary culture. Maybe the end point of despair is inevitably apocalypse as it passes through violence and dissolution. Maybe the end point of self-absorption is inevitably dystopia as it passes through self-loathing and a loathing of all humanity. Maybe that's all carrying the theorizing too far.

A third option for science fiction is religious or Christian science fiction, a sub-genre about which I know almost nothing but that seems to me must be built upon hope. You might say that the idea of the future comes from religion, perhaps more specifically from Christianity, which turned history from endless cycles into an arrow flying through time. We hear of scientific, technological, social, political, and economic "progress." Where would any of those things be without the very Christian ideas of progress and faith in the future? In the end, maybe science fiction without Christianity is an impossibility. That's not to say science fiction should be Christian. But how can science fiction--or anything else for that matter--carry on without hope, or, as Donald A. Wollheim called it, faith in an infinite future?

Love in the Ruins (1971) is a post-apocalyptic novel by Walker Percy, ordinarily a writer of what's called "serious" literature, i.e., definitely not science fiction (although the apocalypse in the book is pretty mild as apocalypses go). Percy was a convert to Catholicism, as were G.K. Chesterton, Graham Greene, Tennessee Williams, Dean R. Koontz, and, indirectly, J.R.R. Tolkien. (He joined the Catholic church as a child when his mother converted.) C.S. Lewis was a convert from atheism to Christianity (as is Anne Rice). If you're drawing up a list of Christian science fiction and fantasy writers, his name should probably come first. All wrote genre fiction, including mysteries, spy novels, science fiction, and fantasy. Tennessee Williams contributed to Weird Tales as a teenager.

Copyright 2014 Terence E. Hanley

A Baby's Ear

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Still more on the question Is science fiction dying? I'll begin with a long quote:
One morning in 1938, shortly before leaving the Communist Party, while feeding his young daughter, [Whittaker] Chambers concluded that the shape of her ear could not be explained by Marxist materialism. Something this beautiful and unique, Chambers observed, implied design, which implied the existence of God. Understanding the divine gift of his daughter Ellen, also strangely related to the horrific irruption within Chambers of the "screams" from Communism's suffering victims. He writes "[O]ne day the Communist really hears those screams. [The screams]  . . . do not merely reach his mind. They pierce beyond. They pierce to his soul." A soul in agony, in this case, a person under persecution by Communist authorities, has attempted to communicate with another soul through memory and across time. The crucial significance of both episodes rests in Chambers embracing the presence of his soul, thus denying the false materialism of Communism and the darkness it had covered him in. As Chambers observed, "A Communist breaks because he must choose at last between irreconcilable opposites--God or Man, Soul or Mind, Freedom or Communism."
The quote is from an article called "Two Faiths: The Witness of Whittaker Chambers" by Richard M. Reinsch from Religious Liberty (Vol. 22, No. 1). You can read it by clicking hereWhittaker Chambers was vilified, as the True Believer is always vilified (if not imprisoned, tortured, exiled, or murdered), by his fellows when he finally awakes. In any event, he was not alone, though his conversion may have covered a greater distance than most.

Chambers' thoughts are echoed in popular culture, in the lyrics of "Isn't She Lovely" (1976) by Stevie Wonder, written on the birth of his daughter Aisha:

We have been heaven blessed
I can't believe what God has done
Through us he's given life to one
But isn't she lovely made from love

And in the lyrics of "Heaven" (2003) by Live:

I don't need no one to tell me about heaven
I look at my daughter, and I believe

Ralph Waldo Emerson famously wrote "Hitch your wagon to a star." That exhortation is as good for the science fiction writer as anyone--maybe even better. But if science fiction has hitched itself to science, and science has hitched itself to materialism, which says that parents love their children only because we all have selfish genes, then it can be no wonder why science fiction--or our society as a whole--is in trouble.

While at Columbia University, Whittaker Chambers fell in with likeminded men, among whom was Guy Endore (1901-1970), a translator and a writer of novels and screenplays, including many genre works. The Werewolf of Paris, from 1933, was and is widely admired. The cover art, showing either a were-beagle or a giant-sized woman, is by William Randolph, who I find, through the wonder of the Internet, wrote a letter to Weird Tales, published in August 1928.

If you think I'm done, think again: Unlike Whittaker Chambers, Guy Endore never seems to have come to his senses. He went on believing in Leftist or Statist causes all his life and even became interested (according to Wikipedia, that fount of all information) in mysticism, theosophy, and Synanon. As G.K. Chesterton wrote in "The Miracle of Moon Crescent" (1924):

You hard-shelled materialists were all balanced on the very edge of belief--of belief in almost anything.
I have written before that a decadent society doesn't reach for the stars, but atheists and materialists just might, for they are likely to be forever consumed by the unquenchable need to show that the universe is in essence material (if that's not a contradiction in terms) and that their fervent belief in the non-existence of God will be borne out by their explorations. Remember the rocketship Integral, designed for a mission "to subjugate to the grateful yoke of reason the unknown beings who live on other planets," from the novel We by Yevgeny Zamyatin (1921).

Finally, people from Synanon appeared as extras in George Lucas' dystopian film THX-1138 (1971). I guess if you follow any line long enough, it comes around to make a circle.

Text and captions copyright 2014 Terence E. Hanley

Woman and God or Idol on the Cover of Weird Tales

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Gods and idols figure prominently in weird fiction. The sculpture of Cthulhu from "The Call of Cthulhu" is among the most famous of idols from Weird Tales. Unfortunately, Cthulhu never made it to the cover of the magazine. Instead, there are ten covers (by my count) showing gods or idols. Every one of them also shows a woman as worshipper or supplicant. 

Weird Tales, December 1927. Cover story: "The Infidel's Daughter" by E. Hoffman Price. Cover art by Hugh Rankin. Price and his friend Hugh Rankin were both orientalists. . .

Rankin would have found a model for his cover design close at hand, for the University of Chicago Oriental Institute holds a gypsum (?) relief sculpture of a Lammasu or Šedu, a beneficial deity from Assyrian mythology. This one is from Dur-Sharrukin, the Assyrian capital, now Khorsabad, and dates from the Neo-Assyrian Period, ca. 721-705 BC.

Weird Tales, January 1928. Cover story: "The Gods of East and West" by Seabury Quinn. Cover art by C.C. Senf. I find this cover bizarre, if not ridiculous. Pity the poor artist who got the assignment.

Weird Tales, December 1928. Cover story: "The Chapel of Mystic Horror" Seabury Quinn. Cover art by Hugh Rankin.

Weird Tales, March 1929. Cover story: "The People of Pan" by Henry S. Whitehead. Cover art by C.C. Senf. Senf's composition here is odd and complicated, but I believe it works. This is much more successful than the cover from January 1928.

Weird Tales, September 1932. Cover story: "The Altar of Melek Taos" by G.G. Pendarves. Cover art by Margaret Brundage. This was Margaret Brundage's first cover for Weird Tales. All of the following covers in this category are hers as well.

Weird Tales, June 1933. Cover story: "Black Colossus" by Robert E. Howard. Cover art by Margaret Brundage.

Weird Tales, October 1934. Cover story: "The Black God's Kiss" by C.L. Moore. Cover art by Margaret Brundage. A very similar cover to the one preceding it.

Weird Tales, June 1937. Cover story: "The Carnal God" by John R. Speer and Carlisle Schnitzer. Cover art by Margaret Brundage.

Weird Tales, January 1945. Cover story: "Priestess of the Labyrinth" by Edmond Hamilton. Cover art by Margaret Brundage. I'm not sure that the minotaur in this story is a god, but in the original myth, the Minotaur was the offspring of a gift from the Greek god Poseidon and the wife of Minos of Crete. In this illustration, the Minotaur has an appearance of bronze, like a statue or idol. In any case, this is the only cover in this category in which the woman is clearly superior in power or status to the god or idol. That's Margaret Brundage for you.

Weird Tales, January 1951. Cover story: None. Cover art by Margaret Brundage. Weird Tales recycled Margaret Brundage's illustration from six years before in its issue of January 1951. The first of the ten covers in the category of woman and god or idol shows a bull with a man's head. The last shows a man with a bull's head, and so we come full circle.

Text and captions copyright 2014 Terence E. Hanley

Giants on the Cover of Weird Tales

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This is a loose collection of two giant robots, a dinosaur, a rogue elephant, and a green-skinned demon. They don't have a lot in common, but the people (and demons) on these five covers do: they're all frightened, wide-eyed, and hurrying to get out of the picture as fast as they can go.

Weird Tales, December 1926. Cover story: "The Metal Giants" by Edmond Hamilton. Cover art by Joseph Doolin.

The frightened people in the foreground running from something terrible in the background is a pretty common image in popular culture. Here's an example from comic books, drawn by Basil Wolverton.

Weird Tales, November 1930. Cover story: "A Million Years After" by Katherine Metcalf Roof. Cover art by C.C. Senf. 

Weird Tales, February 1939. Cover story: "Death Is an Elephant" by Nathan Hindin (Robert Bloch). Cover art by Virgil Finlay.

Weird Tales, July 1941. Cover story: "The Robot God" by Ray Cummings. Cover art by Hannes Bok. (The man in the picture is almost certainly a self-portrait.)

Weird Tales, November 1947. Cover story: "The Cheaters" by Robert Bloch. Cover art by Matt Fox.
Text copyright 2014 Terence E. Hanley

Aliens on the Cover of Weird Tales

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Weird Tales was a magazine of fantasy, horror, weird fiction, and the supernatural, but it also published science fiction, especially after World War II, when that genre took over our popular culture and aliens seemed to be watching us. I count eight covers in this category, but only three that came after the war. I assume that all the creatures on these covers are aliens. If anyone knows different, please let me know, too. It's worth noting that neither Margaret Brundage nor Virgil Finlay drew any aliens on the cover of Weird Tales. Note also that six of the eight aliens shown here are green.

Weird Tales, April 1925. Cover story: "When the Green Star Waned" by Nictzin Dyalhis. Cover art by Andrew Brosnatch. If I remember right (not that I was there), in the 1920s there was a discussion among the readers of Weird Tales on whether the magazine should print science fiction. The April 1925 cover seems to have provided an answer, but readers should not have forgotten that the first cover story in Weird Tales, "Ooze" by Anthony M. Rud (Mar. 1923), was also science fiction, before that genre even had the name by which we know it today. (The term science fiction didn't show up in print until 1929.) The "Green Star" in the title is Earth. A year after the publication of Dyalhis' story, in April 1926, Amazing Stories, the first American science fiction magazine, made its debut.  

Weird Tales, May 1928. Cover story: "The Bat-Men of Thorium" by Bertram Russell. Cover art by C.C. Senf.

Weird Tales, Feb. 1929. Cover story: "The Star Stealers" by Edmond Hamilton. Cover art by Hugh Rankin.

Weird Tales, Jan. 1932. Cover story: "The Monster of the Prophecy" by Clark Ashton Smith. Cover art by C.C. Senf, one of his best covers, I think.

Weird Tales, November 1944. Cover story: "The Dweller in Darkness" by August Derleth. Cover art by Matt Fox. This was Matt Fox's first cover for Weird Tales. I'm not sure that these creatures are aliens. They may actually be demons or supernatural monsters. I have put them in this category because the imagery is science-fictional rather than fantastical: beams of light are coming from the sky, like from a flying saucer, illuminating strange creatures who have pointed ears, green skin, multiple limbs, and tentacles, all of which later characterized different species of space aliens.

Weird Tales, November 1948. Cover story: "The Perfect Host" by Theodore Sturgeon (?). Cover art by John Giunta. Now we're into the science fiction era and the imagery and technique are those of the science fiction artist. John Giunta was one of the first science fiction artists to come out of fandom and to see his work in print nationally. This could have been the cover of a science fiction novel from the 1960s.

Weird Tales, November 1951. Cover story: None. Cover art by Frank Kelly Freas. Weird Tales may have had a tight budget for most of its run, but it landed some very fine artists, including a young Frank Kelly Freas. This was the second of his three covers for the magazine.

Weird Tales, July 1953. Cover story: None. Cover art by W.H. Silvey. This is among my least favorite covers for Weird Tales. For decades, the magazine had pretty well avoided cheap, exploitative, or cruel imagery on its covers. The exploitation and cruelty here aren't overt, but when a man or a male character is holding something in his hand, that object can be taken as an extension of his hand or of his body in general. In other words, the spoon in this picture is more than just a spoon.

Text and captions copyright 2014 Terence E. Hanley

Monsters Alone on the Cover of Weird Tales

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There were many monsters on the cover of Weird Tales over the years, but most of those monster covers showed the monster menacing a human being, very often a woman. You can see some of them in my previous postings:


There will be at least a couple of more categories with monsters, but the following three covers don't fit into any of them, for they show monsters alone with nary a human in sight.

Weird Tales, January 1947. Cover story: "The Hog" by William Hope Hodgson. Cover art by A.R. Tilburne. Albert Roanoke Tilburne specialized in depicting animals, but he also had a flare for truly weird monsters. His image of Hodgson's diabolical hog is a perfect example of that.

Weird Tales, July 1948. Cover story: "Twilight of the Gods" by Edmond Hamilton (?). Cover art by Matt Fox. Who else could have created such a phantasmagoria?

Weird Tales, July 1949. Cover story: None. Cover art by Matt Fox. 
Fox's cover reminds me of Grandpa's Ghost Stories by James Flora (1978), a book that might just as easily be called Weird Tales for Kids. It's hard to recommend books to other readers. My list extends to three books for adults, True Grit by Charles Portis (1968), Red Sky at Morning by Richard Bradford (1968), and maybe The Stars My Destination by Alfred Bester (1956). I feel much more confident recommending children's books. Grandpa's Ghost Stories is near the top of the list.

Text and captions copyright 2014 Terence E. Hanley

Vampires and Bats on the Cover of Weird Tales

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Vampires are a very popular kind of monster, so popular that I'm surprised there were so few on the cover of Weird Tales. I count only two images that are obviously vampires and three that look like the popular image of the vampire. The other covers here have a bat motif, some related to vampires, some not.

Weird Tales, September 1926. Cover story: "The Bird of Space" by Everil Worrell. Cover art by E.M. Stevenson. I'm not sure that the male figure here is a vampire, but he's got the look: dark suit, discolored skin, pointy hair, and evil grin. If you were to straighten her out, the woman would probably be taller--certainly larger--than he is, so he's got the super strength, too.

Weird Tales, May 1932. "The Brotherhood of Blood" by Hugh B. Cave. Cover art by C.C. Senf. Red hair, red dress--is this the same woman as in the previous image and in so many pulp covers? And leave it to a guy named Cave to write a story with bats.

Weird Tales, October 1933. Cover story: "The Vampire Master" by Hugh Davidson. Cover art by Margaret Brundage. This is one of the most iconic images ever to appear on the cover of Weird Tales, and without a doubt one of the most striking. The imagery of bats must have been in the air (no pun intended) during the 1930s. I can't help but think that the October 1933 issue of Weird Tales stuck in the heads of Bob Kane and Bill Finger, creators of . . . 

Batman, who made his debut in May 1939, seventy-five years ago this year. The U.S. Postal Service has issued a sheet of postage stamps to commemorate the anniversary. The top row is of no interest, but the next three are. The bottom row represents the Batman of the 1930s and early '40s.

Weird Tales, June 1936. Cover story: "Loot of the Vampire" by Thorp McClusky. Cover art by Margaret Brundage.

Weird Tales, January 1937. Cover story: "Children of the Bat" by Seabury Quinn. Cover art by Margaret Brundage. I have a category called "Red Robes and Cultists," and though the guy in this picture looks like a cultist, he's lacking the red robe. The bat motif is there, however, in the image and in the title of the cover story.

Weird Tales, December 1938. Cover story: "The Sin-Eater" by G.G. Pendarves. Cover art by Ray Quigley. Like the previous image, this one shows what must be a cultist (or maybe a sorcerer), but the motif of the bat makes another appearance. This might be the one and only pulp cover to show an osprey.

Weird Tales, January 1944. Cover story: "Bon Voyage, Michele" by Seabury Quinn. Cover art by Harold S. De Lay.

Weird Tales, July 1944. Cover story: "Death's Bookkeeper" by Seabury Quinn. Cover art by A.R. Tilburne. I don't think the non-skeleton figure on this cover is a vampire, but as in the first cover in this category, he looks the part.

Weird Tales, July 1950. Cover story: None. Cover art by Matt Fox. A conceptual cover from Matt Fox and one of only a few Weird Tales covers showing a writer.

Weird Tales, July 1954. Cover story: None. Cover art by Harold S. De Lay. This is the second to last issue in the original run of Weird Tales. Like the last (by Virgil Finlay, from September 1954), this one is recycled. 

The editors of Weird Vampire Tales recycled the same image again in 1992, but this might be a copy of the original and not the work of Harold S. De Lay at all.

Text and captions copyright 2014 Terence E. Hanley

Weird Tales in Futures Past Magazine

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Writer and publisher Jim Emerson has begun publishing an online magazine called Futures Past: A Visual History of Science Fiction. His plan is to cover fifty years of science fiction beginning in 1926 with the publication of the first American science fiction magazine, Amazing Stories, and ending with the year 1975. The first issue, subtitled "1926: The Birth of Modern Science Fiction," is now available for purchase at the Futures Past website:


One of the highlights of the first issue is a nine-page article by Mr. Emerson entitled "Weird Tales: The Unique Magazine," which tells of the origins of Weird Tales, lists the contents, and shows the covers of all the issues from 1926. There is also a sidebar biographical sketch and photograph of Farnsworth Wright, as well as a brief article on the cover artist, interior illustrator, and designer of the heading for "The Eyrie," Andrew Brosnatch.

Mr. Emerson plans on publishing his magazine quarterly, with each issue covering a year in the history of science fiction, with all the books, films, magazines, people, organizations, and events in detailed chronological order. The next issue will be available in November.


Thanks to Mr. Emerson for information on and the cover image of Futures Past.

More Troubles for Science Fiction

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Within the past week or so, I have read that science fiction is struggling with political correctness. Evidently the controversy has been going on for awhile, but it seems to have come to a head earlier this year. I'm not up to date on these things. I don't fully understand the controversy. If you want to read more, you can do a simple search on the Internet. All I can say is that political correctness is fatal in art and that if science fiction crosses over into political correctness, that will surely be its end. Finally, we should remember that political correctness is a Leftist or Statist--in other words, totalitarian--practice. In one form or another, it made its way into science fiction as thought crime, from the novel 1984. You would think science fiction writers as well as anyone would understand its dangers.

1984 by George Orwell. Cover art by Alan Harmon.
Copyright 2014 Terence E. Hanley

Asimov on Weird Tales and Other Topics

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Forty years have gone by since Doubleday published Before the Golden Age: A Science Fiction Anthology of the 1930s, edited by Isaac Asimov. Fans of Weird Tales might not care very much for what Asimov had to say about "The Unique Magazine":
During the 1930s, there were fantasy magazines of a kind on the market. One was Weird Tales, which was actually older by a couple of years than Amazing Stories itself. Its stories were reminiscent of Edgar Allan Poe and were fearfully overwritten. The author most typical of Weird Tales was H.P. Lovecraft, whose style revolted me. [p. 675]
Nevertheless, in collaboration with Frederik Pohl (writing as James MacCreigh), Isaac Asimov contributed to Weird Tales in September 1950. Their story was called "Legal Rites."

***

Asimov didn't care much for Charles Fort either. Here are his comments on Fort's work:
You see, every once in a while a science fiction magazine would run a non-fiction piece that dealt with some subject the editor conceived to be of interest to science fiction readers [. . . .] Astounding Stories, for instance, published Lo! a book by Charles Fort, in eight installments beginning with the April 1934 issue. It irritated the devil out of me, since to me it seemed to be an incoherent mass of quotations from newspapers out of which ridiculous conclusions were drawn. [p. 815]
Asimov would have been just fourteen years old when Astounding Stories ran those installments in 1934, but he was already leaning towards a career in science. Fort was of course a gadfly of science and scientists--and a favorite of Weird Tales editor Farnsworth Wright and his stable of authors.

***

Presumably, Isaac Asimov drew a line between science fiction and fantasy. August Derleth erased that line in his introduction to Portals of Tomorrow: The Best Tales of Science Fiction and Other Fantasy (Rinehart and Company, 1954) when he wrote:
The development toward more orthodox fantasy in what is called science fiction only demonstrates what every intelligent reader, whose awareness goes beyond the limited field of fantasy, has always known: that science fiction is only another form of fantasy, and not a genre in its own right. [p. x]
August Derleth was an disciple of H.P. Lovecraft and a very prolific contributor to Weird Tales. I wonder what Asimov might have said had he observed the good comte sticking his knife in with this: "science fiction is only another form of fantasy," and twisting it with this: "[science fiction] is not a genre in its own right." By the way, Asimov is not included in Derleth's anthology, though Ray Bradbury, Fredric Brown, and Murray Leinster--all contributors to Weird Tales--are.

***

Speaking of Ray Bradbury, Derleth, in his introduction, quoted from a review of a collection by Bradbury. The quote is by Graham Hough of the London Listener:
Some [of Bradbury's] stories are of magic, some are not supernatural, some of the stories are sociological parables . . . but their morals are always on the side of life and humanity. [The ellipses are as printed in Derleth's introduction, p. x.]
That's a clumsy sentence; my point here is to emphasize that last clause: "but their morals are always on the side of life and humanity." Contrast that with so much in our culture, more specifically in our science fiction, that is against life and humanity.

Portals of Tomorrow (1954) with a cover design by Fiorello and Marmaras.

Original text copyright 2014 Terence E. Hanley

Ghosts on the Cover of Weird Tales

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I count a dozen ghost covers for Weird Tales. Most of these images are conventional to the point of cliché. The exception is the last, by Virgil Finlay, illustrating one of few poems to make it to the cover of "The Unique Magazine."

Weird Tales, November 1923. Cover story: "The Closed Room" by Maybelle McCalment. Cover art by Washburn, the only Weird Tales cover by an otherwise unknown artist.

Weird Tales, January 1924. Cover story: None (?). Cover art by R.M. Mally.

Weird Tales, April 1924. Cover story: "The Spirit Lover" by Harry Houdini. Cover art by R.M. Mally. I don't want to give away too much, but he only looks like a ghost.

Weird Tales, June 1927. Cover story: "A Suitor from the Shades" by Greye La Spina. Cover art by C.C. Senf. There aren't many Weird Tales covers less scary than this one. The female figure is well done, though, as can be expected of Senf. 

Weird Tales, November 1940. Cover story: "The Last Waltz" by Seabury Quinn. Cover art by Margaret Brundage. A non-typical cover by Margaret Brundage.

Weird Tales, July 1943. Cover story: "His Last Appearance" by H. Bedford-Jones. Cover art by Edgar Franklin Wittmack. The man looks a little like Ernie Pyle.

Weird Tales, May 1945, Canadian edition. Cover story: "Bon Voyage, Michele" by Seabury Quinn. Cover art by Unknown. This image also appears in my posting "Woman and Wolf."

Weird Tales, September 1945. Cover story: "The Skull of the Marquis de Sade" by Robert Bloch. Cover art by Peter Kuhlhoff. I assume the headless figure is a ghost, although he looks pretty solid.

Weird Tales, May 1948. Cover story: None (?). Cover art by Matt Fox. How fortunate that Weird Tales discovered Matt Fox during the 1940s. If only he could have found more work in pulps and comics.

Weird Tales, September 1950. Cover story: "Legal Rites" by Isaac Asimov and James MacCreagh (Frederik Pohl). Cover art by Bill Wayne. The man on the right looks like it he could be the co-author, Isaac Asimov. And are those newspaper comics in the lower right corner?  

Weird Tales, March 1951. Cover story: "A Black Solitude" by H. Russell Wakefield. Cover art by Bill Wayne. These two covers are Bill Wayne's only covers for Weird Tales.

Weird Tales, September 1952. Cover poem: "Hallowe'en in a Suburb" by H.P. Lovecraft. Cover art by Virgil Finlay, his last original cover in the original run of Weird Tales.

Text and captions copyright 2014 Terence E. Hanley

Skulls and Skeletons on the Cover of Weird Tales

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You can make a case that the literature of fear is based on a fear of death.* The ghosts and monsters of literature are usually one of two kinds: the undead and the predator (which threatens death). The undead are represented by ghosts, vampires, zombies, and even Frankenstein's monster, all of whom have returned from the grave. The simplest way of showing the undead is to show the human skull or skeleton--an effective way of invoking fear and dread. I have counted fourteen covers of Weird Tales with skulls and skeletons. In some, the skull is a motif. In others, it or the skeleton is a kind of monster. 

*In his essay "Supernatural Horror in Literature," H.P. Lovecraft famously wrote that "the oldest and strongest kind of fear is fear of the unknown." I won't quibble: fear of death and fear of the unknown may be the same thing.

Weird Tales, August 1932. Cover story: "Bride of the Peacock" by E. Hoffman Price. Cover art by T. Wyatt Nelson. The monster here is not quite a skeleton, but he's skeletal enough to qualify for this category.

Weird Tales, February 1937. Cover story: "The Globe of Memories" by Seabury Quinn. Cover art by Virgil Finlay. The male figure is almost certainly a self-portrait. The female figure doesn't seem to be very afraid at all.

Weird Tales, October 1939. Cover story: None (?). Cover art by Harold S. De Lay. According to Jaffery and Cook's index, there isn't a cover story for this issue of Weird Tales. Can anyone say different? (There are more question marks below.)

Weird Tales, November 1941. Cover story: "The Book of the Dead" by Frank Gruber. Cover art by Hannes Bok. There may not have been a Weird Tales cover that captured the spirit of its age more than this one.

Weird Tales, September 1942, Canadian edition. Cover story: Unknown. Cover art by Unknown.

Weird Tales, July 1944. Cover story: "Death's Bookkeeper" by Seabury Quinn. Cover art by A.R. Tilburne. The title echoes that of Frank Gruber's story from three years before. Bok's image is clearly more powerful and compelling.

Weird Tales, January 1945, Canadian edition. Cover story: "The Shadow Folk" (?) by Edmond Hamilton. Cover art by Unknown.

Weird Tales, November 1945. Cover story: "The Cranberry Goblet" by Harold Lawler. Cover art by Lee Brown Coye.

Weird Tales, January 1946. Cover story: "Kurban" (?) by Seabury Quinn. Cover art by A.R. Tilburne.

Weird Tales, March 1948. Cover story: None. Cover art by Lee Brown Coye.

Weird Tales, September 1949. Cover story: "One Foot and the Grave" (?) by Theodore Sturgeon. Cover art by Michael Labonski. Cubism and surrealism come to Weird Tales.

Weird Tales, September 1951. Cover story: "Gimlet Eye Gunn" by H. Bedford-Jones. Cover art by Lee Brown Coye.

Weird Tales, November 1952. Cover story: None (?). Cover art by Anthony di Giannurio.

Weird Tales, March 1954. Cover story: None (?). Cover art by Evan Singer, his one and only cover for the magazine.

Text and captions copyright 2014 Terence E. Hanley

Reading the Pulps

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Here's an advertisement from Country Gentleman, February 1948. The cartoonist was Hank Ketcham (1920-2001), later of Dennis the Menace fame (or infamy, depending on what you think of Dennis the Menace). Reading is definitely good for you, and there's nothing wrong with reading horror tales. Reading horror tales at 3 o'clock in the morning might not be good for you however, especially if you have to get up at six.
Caption copyright 2014 Terence E. Hanley

A.J. Mordtmann (1839-1912)

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August Justus Mordtmann
Aka Dr. Eisenhart, R.A. Guthmann, N.N. Guthmann, R. von A. Duroy-Warnatz (1)
Civil Servant, Journalist, Editor, Author
Born February 27, 1839, Hamburg, Germany
Died April 30, 1912, Darmstadt, Germany

August Justus Mordtmann was a German author, editor, and journalist born in Hamburg on February 27, 1839. He was the son of Andreas David Mordtmann (1811-1879), a diplomat and Orientalist, and the brother of Andreas David Mordtmann II (1837-?), an author and historian, and Johann Heinrich Mordtmann (1852-1932), who, like his father, was a diplomat and Orientalist.

After a short period of study, August J. Mordtmann went to work in a customs office, then in the post office in Constantinople, Hamburg, Metz, and Cologne. I don't know whether his career in civil service overlapped or coincided with his career as an editor and writer, but as of 1870, Mordtmann was still with the post office.

Mordtmann appears to have been friends with or an associate of a German teacher, writer, and journalist named Ernst Otto Hopp (1841-1910). Hopp edited Deutschen (Schorerschen) Familienblatt (translated as Family Blade or Family Paper) beginning in 1881 and founded the weekly Echo in 1882. Mordtmann was an editor with the Familienblatt in 1882-1883 and worked on Echo with Hopp. Mordtmann also edited Görlitzer Nachrichten (Görlitzer News) until 1888 and was editor-in-chief of Münchner Neuesten Nachrichten (Münchner Latest News) until 1902.

August Justus Mordtmann is little known today, but he was a prolific author. His works include the following: Untergang der Hibernia, Kronjuwelen (Crown Jewels), Belladonna, Schlangenring (Snake Ring), Familienschmuck (Family Jewelry), Perlen der Adhermiducht (Pearls of Adhermiducht, 1902), Albumblatt (Album Leaf, Sheet, or Page, 1900), Eine halbe Stunde (Half an Hour), Pater Unselm (2), Das Goldene Vliess (The Golden Fleece), Mass Ingram (2), and Der Vagabund (The Vagabond or The Rover), as well as the following romances: Sonnige Tage (Sunny Day, 1903), Konigin von Golkonda (Queen of Golconda), Jasillü-Tasch: Zwei Geschichten vom "Golden Horn" (Jasillü-Tasch: Two Tales from "Golden Horn"), Märchenprinzessin (March Princess), Die Insel Zipangu (The Island Cipangu, 1899, illustrated by Hugo L. Braune), and a paperback book, Die Abrechnung mit England (The Settlement with England).

Mordtmann wrote one story in Weird Tales. It's called "The Ship That Committed Suicide," and it appeared in the issue for March 1936. I'm fairly certain that the translator was Roy Temple House, who had written a brief review of a German-language collection of ghost stories some years before and who was a regular translator for Weird Tales. The collection of German ghost stories about which he wrote is called Der Untergang der Carnatic: Spukgeschichten (The Sinking of the Carnatic: Ghost Stories), and it was published in 1927 by Deutsche-Dichter-Gedächtnis-Stiftung of Hamburg. The title story, "Der Untergang der Carnatic," is the work of A.J. Mordtmann and was almost certainly the basis for Roy Temple House's translation for Weird Tales. In his review, published in January 1929 in Books Abroad, House called Mordtmann's tale the most realistic of all to appear in the collection. "There are also shudderers by the Grimms, Wilhelm Hauff, Friedrich Gerstäcker, Paul Heyse, and Heinrich Zschokke," wrote House. The illustrations were by A. Paul Weber.

The story "Der Untergang der Carnatic" is an episode in a longer work by A.J. Mordtmann,  Die Perlen der Adhermiducht, which was originally published in the magazine Deutschen Romanbibliothet in 1902, then published in hardback in 1905. In his study of ghost stories, Von Gespenstergeschichten, ihrer Technik und ihrer Literatur (On Ghost Stories, Their Art and Their Literature, Leipzig: Schmidt & Spring, 1903), Dr. Benno Diederich described Deutschen Romanbibliothet as having an inclination for telling stories with a spooky atmosphere, and German adventure stories as being less grotesque than their English counterparts. Dr. Diederich gave "Der Untergang der Carnatic" as an example. The title by the way translates as "The Sinking of the Carnatic." My German correspondent, Axel Weiss, describes it as "a ghostship-story taking place in the Antarctic region." By the way, the SS Carnatic was a real ship that foundered in the mouth of the Gulf of Suez in 1869. In addition to Mordtmann's story, the ship is mentioned in Around the World in Eighty Days by Jules Verne (1872).

August Justus Mordtmann died on April 30, 1912, at age seventy-three. I have found out about him only recently after hearing from Axel Weiss, the editor and layout designer for the German magazine Cthulhu Libria and the co-host of a podcast called Arkham Insiders. (Click on the titles for links.) Mr. Weiss wrote to me regarding A.J. Mordtmann because he would like to read the English translation of "The Ship That Committed Suicide" from Weird Tales. I don't have a collection of Weird Tales myself, so I ask:
Can anyone provide Axel Weiss with a copy or scan of "The Ship That Committed Suicide" by A.J. Mordtmann, from Weird Tales, March 1936?
If so, please contact me and I will put you in touch with him, or I will forward your reply to him.

Now, on to two issues that have come up in this article.

First, "Der Untergang der Carnatic" is an episode from Die Perlen der Adhermiducht, a story originally published in the magazine Deutschen Romanbibliothet in 1902. According to Dr. Benno Diederich, Deutschen Romanbibliothet had an inclination for telling stories with a spooky atmosphere. I don't know what kind of magazine it was. I have found only five references to that title on the Internet, and all are in German--and in Fraktur script! Der Orchideengarten: Phantastische Blätter (The Orchid Garden: Fantastic Leaves, 1919), a German title, is supposed to have been the first magazine in the world devoted to literature of the fantastic. Could Deutschen Romanbibliothet have been a forerunner? Or was Deutschen Romanbibliothet itself the first magazine of that type? I think this question would be a good jumping off point for a German researcher.

Second, "Der Untergang der Carnatic" was reprinted in the book Der Untergang der Carnatic: Spukgeschichten (Hamburg, 1927). The other authors in that book are the Brothers Grimm, Wilhelm Hauff, Friedrich Gerstäcker, Paul Heyse, and Heinrich Zschokke. A. Paul Weber was the illustrator. (Benno Diederich made some contribution as well.) Farnsworth Wright, editor of Weird Tales, had previously used the book Modern Ghosts (1890) as a source of stories from the Old World. It's nice to think that he could have used Der Untergang der Carnatic: Spukgeschichten for yet more stories, translated of course by Roy Temple House. Instead, Weird Tales reprinted Mordtmann's tale and just one story by Wilhelm Hauff, "The Severed Hand," from October 1925. So who were those other authors, the illustrator, A. Paul Weber, and the contributor, Benno Diederich?

Der Untergang der Carnatic: Spukgeschichten (Hamburg, 1927)
August Justus Mordtmann (1839-1912)
The Brothers Grimm--Jacob Grimm (1785-1863) and Wilhelm Grimm (1786-1859), together the Brothers Grimm, are among the most famous storytellers of all time. You can read more about them on your own.
Wilhelm Hauff (1802-1827)--You can read more about him in my posting "Weird Tales from Germany and Austria,"here.
Friedrich Gerstäcker (1816-1872)--A traveler, adventurer, travel writer, novelist, and oddly enough honorary citizen of Arkansas, Friedrich Gerstäcker wrote the story "Germelshausen," upon which the Broadway musical Brigadoon (1947) may or may not have been based.  
Paul Heyse (1830-1914)--Paul Heyse wrote novels, short stories, poems, and plays and for his work was awarded the Nobel Prize in literature in 1910.
Heinrich Zschokke (1771-1848)--Heinrich Zschokke was a novelist, playwright, historian, journalist, teacher, and civil servant. He spent most of his life in Switzerland.
A. Paul Weber (1893-1980)--Commercial artist, illustrator, lithographer, and painter Andreas Paul Weber was an artist whose work can be called weird without hesitation. There is information on him all over the Internet, including on the website of the A. Paul Weber Museum, here.
Benno Diederich (1870-1947)--Benno Diederich was a teacher, scholar, philologist, author, and biographer. Among his works is the aforementioned Von Gespenstergeschichten, ihrer Technik und ihrer Literatur (Leipzig: Schmidt & Spring, 1903) and a biography of Alphonse Daudet. Diederich's daughter was the painter, illustrator, writer, and stage designer Ursula Schuh (1908-1993).

Of all the authors listed here, only August Justus Mordtmann is unrepresented on the Internet by an original work of biography. I hope I have done my part in correcting that oversight. I would like to acknowledge the contribution of Axel Weiss and to thank him for giving me a start on August Justus Mordtmann.

This is probably my last entry on Tellers of Weird Tales for 2014. I hope everyone has a Merry Christmas and a Happy New Year.

A.J. Mordtmann's Story in Weird Tales
"The Ship That Committed Suicide" (Mar. 1936)

Further Reading
Gespenstergeschichten, ihrer Technik und ihrer Literatur by Dr. Benno Diederich (Leipzig: Schmidt & Spring, 1903), p. 176+.
Deutschlands, Österreich-Ungarns und der Schweiz Gelehrte, Künstler und Schriftsteller in Wort und Bild(Leipzig, 1908), p. 321.
Deutsche Biographische Enzyklopädie, [Volume] 7: Menghin-Potel by Walter de Gruyter (Munchen: K.G. Saur, 2007), p. 189.

Notes
(1) Mordtmann apparently also wrote under a pseudonym which is some variation of the name for a traditional Turkish storyteller, Hodscha Nasreddin.
(2) I have transcribed this list from a source printed in German Fraktur. I'm not sure that I have translated these titles correctly from Fraktur to a modern typeface. My task is complicated by the fact that I know only a few words in German and nothing at all about German grammar. The list is from a book called Deutschlands, Österreich-Ungarns und der Schweiz Gelehrte, Künstler und Schriftsteller in Wort und Bild (Leipzig, 1908), found on the Internet by clicking here. I invite corrections and comments.

Der Untergang der Carnatic: Spukgeschichten (Hamburg, 1927).

Die Insel Zipangu (The Island Cipangu, 1899), illustrated by Hugo L. Braune.

A postage stamp showing the work of A. Paul Weber, illustrator of Der Untergang der Carnatic: Spukgeschichten.

Text and captions copyright 2014 Terence E. Hanley

Weird Tales Books

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Ten Tales Calculated To Give You Shudders, edited by Ross R. Olney (1972)

If you grew up any time from the 1940s to the 1970s, you probably remember reading Whitman Books. They were inexpensive hardbound books for children issued by Western Publishing Company of Racine, Wisconsin. The paper is not very much different from that used in pulp magazines. Even Whitman Books from the 1970s have tanned or yellowed with age. Many from the 1940s are brittle and on the verge of falling into pieces. The typical Whitman Book is one of a series starring characters from the comics, movies, or television. Fans of Weird Tales will like Ten Tales Calculated To Give You Shudders, from 1972. The cover art is by Gordon Johnson (1924-1989). Inside are ten stories selected by Ross R. Olney, with his introduction. Four are from Weird Tales.

Ten Tales Calculated To Give You Shudders, edited by Ross R. Olney
A Whitman Book
(Western Publishing Company, 1972, 212 pp.)

"A Forewarning" by Ross R. Olney
"Sweets to the Sweet" by Robert Bloch (Weird Tales, Mar. 1947)
"The Waxwork" by A.M. Burrage (Someone in the Room, 1931)
"Used Car" by H.R. Wakefield (Ghost Stories, 1932)
"The Inexperienced Ghost" by H.G. Wells (Twelve Stories and a Dream, 1903)
"The Whistling Room" by William Hope Hodgson (Carnacki, the Ghost-Finder, 1903)
"The Last Drive" by Carl Jacobi (Weird Tales, June 1933)
"The Monkey's Paw" by W.W. Jacobs (The Lady of the Barge, 1902)
"Second Night Out" by Frank Belknap Long (Weird Tales, Oct. 1933, as "The Black, Dead Thing")
"The Hills Beyond Furcy" by Robert G. Anderson (Alfred Hitchcock's Mystery Magazine, Mar. 1966)
"Floral Tribute" by Robert Bloch (Weird Tales, July 1949)


Text copyright 2015 Terence E. Hanley
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