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Was the Son of the Black Dahlia Murderer in Weird Tales?

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Michael P. Hodel
Author, Essayist, Editor, Radio Host
Born July 12, 1939
Died May 6, 1986

Who killed Elizabeth Short has been a mystery for nearly seventy years. One of the suspects was Dr. George Hill Hodel, Jr. (1907-1999). Hodel's son, Steve Hodel, has been investigating the case for more than a decade. He believes that his father killed the woman called the Black Dahlia and deposited the parts of her mutilated body in a vacant lot in Los Angeles early in the morning of January 15, 1947. In their book Exquisite Corpse: Surrealism and the Black Dahlia Murder (2006), Mark Nelson and Sarah Hudson Bayliss suggest that the murder was connected to the art movement of their title. Salvador Dali (1904-1989) is probably the most well-known surrealist. Though primarily a painter, Dali was also a moviemaker. His film Un Chien Andalou (1929) is filled with images of mutilation and death. Man Ray (1890-1976) and Denise Bellon (1902-1999) were also surrealists, primarily photographers. They, too, employed imagery of death, dismemberment, mutilation, and, in their use of manikins, lifelessness. There are indications that Elizabeth Short's murderer intended to make of her body and the scene where it was found a kind of artistic tableau. Dr. Hodel, one of the suspects in the killing, then and now, knew Man Ray and had an interest in surrealist photography.

George Hodel fathered eleven children by five women. He had four sons with Dorothy Harvey Huston, ex-wife of movie director John Huston. Steve Hodel was born in November 1941. (He had a twin brother who died in infancy.) Kelvin Hodel, born in October 1942, is the youngest. The oldest boy was Michael P. Hodel, born on July 12, 1939. According to Steve Hodel, his father and John Huston had questions about Michael's parentage. Finally, Dorothy Harvey Huston told her ex-husband, "Forget it, John, he's not your son." (1)

Tamar Hodel, an older half-sister of the Hodel boys, remembered her father's cruelty towards them. "Michael got it the worst," she said, speaking to Steve Hodel. "It broke my heart to see how he treated you three. Especially how he was with Mike." Steve went in the Navy and became a Los Angeles police detective. In contrast, Michael turned to "his beloved books" (2) and, like his mother, "a script and radio writer," became a writer. (3) 

Throughout his working life, Michael Hodel read fantasy and science fiction, wrote about fantasy and science fiction, and talked about fantasy and science fiction. He had a radio show called Hour 25, and it ran on station KPFK in Los Angeles for twenty-eight years. Mitchell Harding ( Eugene Loring Ware), Katherine Calkin, Mike Hodel, and Michael's wife, Terry Hodel (1937-1999), created the show. It went on the air in January 1972 with Ms. Calkin as host. Michael Hodel came on a few months later and served as host from 1972 to 1986. His co-hosts were Katherine Calkin (1972-1976), Mitchell Harding (1972-1981), and Mel Gilden (1981-1986). Late in his tenure, Hodel became ill and was unable to continue. He was succeeded by Harlan Ellison.

In addition to spending more than a decade on the air and interviewing such luminaries as Theodore Sturgeon, Philip K. Dick, and Harlan Ellison, Michael Hodel wrote for fantasy and science fiction magazines and fanzines. His credits from The Internet Speculative Fiction Database:
  • "Change of Hobbit Benefit" (essay) in Locus #151 (Dec. 1, 1973)
  • "The Group Mind" (essay) in Transmission (Summer 1980)
  • "Second Chance" (short story) in Fantasy Book (Feb. 1982)
  • "Negotiations at a Lower Level" (short story) in Fantasy Book (Nov. 1982)
  • "Native Tongue" by Suzette Haden Elgin (book review) in Weird Tales (Fall 1984)
  • "The Businessman: A Tale of Terror" by Thomas M. Disch (book review) in Weird Tales (Fall 1984)
  • "The Ghost Light" by Fritz Leiber (book review) in Weird Tales (Fall 1984)
  • "The Mainstream That Through the Ghetto Flows: An Interview with Philip K. Dick" (1976) in Missouri Review (Winter 1984)
The version of Weird Tales to which he contributed was published by The Bellerophon Network and edited by Gordon M.D. Garb in 1984-1985. There were only two issues in that incarnation of the magazine. They are exceedingly rare.

In 1979, Hawthorn Books published Enter the Lion: A Posthumous Memoir of Mycroft Holmes"edited" by Michael P. Hodel and Sean M. Wright. It was one of a number of books about Arthur Conan Doyle's characters issued in the 1970s and beyond, including The Seven-Per-Cent Solution (1974) and The West End Horror (1976) by Nicholas Meyer and The Last Sherlock Holmes Story (1979) by Michael Dibdin. The Last Sherlock Holmes Story involves Jack the Ripper, who, like the Black Dahlia killer, mutilated and dismembered his victims.

Enter the Lion was well received. Kareem Abdul-Jabbar read it and liked it. Moreover, he "realised [sic] more could be done with this 'older, smarter'" brother of Sherlock Holmes. (4) In collaboration with screenwriter Anna Whitehouse, Mr. Abdul-Jabbar wrote a new novel of Mycroft Holmes called Mycroft Holmes. The book was released in late 2015 to good reviews.

"Mike died unexpectedly in May, 1986 at the relatively young age of 47," writes Steve Hodel. "His death from lung cancer, followed hard upon the death of our mother, just a few years prior." (5) In 1925, Ted Le Berthon interviewed Michael and Steve's father for a Los Angeles newspaper. In 1932, Le Berthon contributed "Demons of the Film Colony," an unrelated piece, to Weird Tales. In 1947, someone killed Elizabeth Short and left her body in an empty lot in Los Angeles. She had hoped to be in movies. Instead she was mutilated and murdered by a man who might best be described as a demon and who may very well have had connections to the "film colony" of southern California. In 1963, Steve Hodel joined the Los Angeles Police Department. In 1972, Michael Hodel began hosting a radio show about fantasy and science fiction. Probably because of that, he was in a position to review books for Weird Tales in 1984. Michael Hodel died in 1986, George Hodel in 1999. After his father's death, Steve Hodel put his experience with the LAPD to use in investigating his father's role in the Black Dahlia case. He believes he has solved it.

I tell you, this is a strange world we live in. (6)

Notes
(1, 2) Quotes from Black Dahlia Avenger: The True Story, unpaginated online version.
(3) "Social Activities: Palm Valley,"Desert Sun, Palm Springs, October 6, 1950, page 7, here.
(4) Quoted in "Basketball Veteran Kareem Abdul-Jabbar Pens Story of Sherlock Homes's [sic] Brother" by Alison Flood in The Guardian, September 24, 2015, here. By the way, that's a British paper that misspelled Holmes' last name.
(5) From Steve Hodel's blog, here.
(6) Two final connections: First, Tony "The Hat" Cornero is in Steve Hodel's book. He also had a connection to Volney G. Mathison, who also contributed to Weird Tales and through his association with L. Ron Hubbard was connected to other strange happenings in Pasadena, George Hodel's home city. Second, George Hodel was tried for a crime against his daughter, essentially incest. In Chinatown (1974), Hodel's friend John Huston famously played a man who also had an incestuous relationship with his daughter.

From the very day Elizabeth Short's body was discovered, the Black Dahlia case has fascinated the reading public. Writers and publishers have continued to exploit it at every opportunity. (You could say I'm doing the same thing now.) Here is an example, the cover of True Detective from October 1948, with the blurb "The Black Dahlia Murders"--not just one, but more than one.

Michael P. Hodel collaborated with Sean M. Wright on Enter the Lion, published in 1979 and after. Their book inspired Kareem Abdul-Jabbar to write his own novel on Mycroft and Sherlock Holmes.

Text and captions copyright 2016 Terence E. Hanley

Surrealism on the Cover of Weird Tales

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In writing about surrealism, I have realized that Weird Tales had a couple of surrealistic covers. Those two things don't necessarily go together. Surrealism was an avant-garde movement, whereas Weird Tales was generally conservative and oriented towards the past. Both originated at about the same time. Weird Tales began in March 1923. The first surrealist manifesto, Manifeste du surréalisme by André Breton, spilled forth in 1924. Both came in the aftermath of the Great War. Both can be seen as possible responses to war and civilizational disaster. Weird Tales was nostalgic and turned its gaze to the pre-war or even pre-industrial past. As a leftist movement, surrealism had its eyes on the golden age of the future. That orientation towards the future would have made surrealism and avant-garde art in general attractive to the science fiction artist. Richard M. Powers (1921-1996) is the most obvious example of a science fiction artist who worked in a surrealist mode.

By the time the two covers shown below were published, the European avant-garde had arrived on American shores. Here it was often stripped of its theories and ideologies and used only for its technical or pictorial possibilities. You can still see abstract, cubist, or surrealistic pictures hanging on the walls of hotels and doctors' offices. One of the reasons why Europeans think of Americans as a bunch of boobs is that we take their high ideas and make them commercial. While their artists starved, our businessmen were rolling in the dough. As Bitter Bierce once said, "Success is the one unpardonable sin against our fellows."

Weird Tales from March 1946 with cover art by Lee Brown Coye.

Weird Tales from September 1949 with cover art by Michael Labonski, an artist of Syracuse, New York, and an associate of Coye. 

Text copyright 2016 Terence E. Hanley

Michael Labonski (1907?-?)

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Factory Worker, Artist
Born 1907? Pennsylvania?
Died ?

Michael Labonski is an artist about whom little is known, including his dates and places of birth and death. He may have been born in 1907 in Pennsylvania, but those facts might describe a different man. What is known is that Michael Labonski worked at General Electric in Syracuse, New York, before being drafted into the U.S. Army, presumably during World War II. He served in the medical corps for more than four years. By about 1947, he was back in Syracuse where he began taking lessons at the adult arts and crafts workshop at the Syracuse Museum of Fine Arts. His instructor was Lee Brown Coye (1907-1981), who taught him the technique of painting with egg tempera. Over the course of the next two years, Labonski painted hundreds of pictures. "All I do is paint during my spare time," he said. (1) At Coye's urging, he sent a surrealist painting to Weird Tales for consideration as a cover illustration. The magazine bought it for $50 and used it on the front of the September 1949 issue. Although Labonski executed another painting with the idea of submitting it to the magazine, the cover from September 1949 was his only appearance on or in Weird Tales. In 1950, Labonski's "Abstract Construction" was unanimously voted first prize at the inaugural exhibit of the Onondaga Art Guild. The artist went on to exhibit in other shows and at other venues, including at the Camillus Branch of the Syracuse National Bank in 1983. The titles of his paintings for that show--"Dead Tree,""White Shadow,""Ghostly Tree,""Abstract #1,""Spacescape"--indicate that he was still interested in abstract and fantastic subjects.

Note
(1) From"Artist, With Leaning of Weird, Clicks With Pulp Horror Cover," Syracuse Post-Standard, January 6, 1949.

Michael Labonski's Cover for Weird Tales
Sept. 1949

An article from the Syracuse Post-Standard, January 6, 1949, showing artist Michael Labonski and a painting he planned to submit to Weird Tales. Labonski had already had one painting accepted by the magazine. Weird Tales used it on the cover of the September 1949 issue, below. If Labonski indeed submitted this second painting to Weird Tales, the image shown above, such as it is, may be the only extant image of an unpublished cover design for the magazine.

Michael Labonski's only illustration for Weird Tales, the cover of the September 1949 issue.

"Abstract Construction" by Michael Labonski, from the Syracuse Herald-American, September 5, 1950, p. 23. This image puts me in mind of the American artist Charles Sheeler (1883-1965) and the eighteenth century Italian artist Piranesi.

Thanks to Kara Greene, Local History/Genealogy, Onondaga Public Library, Syracuse, New York, for almost all of the information, including the newspaper articles, used in writing this article.
Text copyright 2016 Terence E. Hanley

Weird Tales Features-Weirdisms

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"Weirdisms" was a regular feature in Weird Tales for four years, from July 1947 to July 1951. Lee Brown Coye (1907-1981) was the artist on all seventeen installments (assuming there was not more than one installment per issue). Evelyn Crosby Michel was the writer for the first seven "Weirdisms," from July 1947 to September 1948. Coye wrote the last ten, from November 1948 to July 1951.

"Weirdisms" is a compilation of occult lore, mostly to do with vampires, ghosts, witches, wizards, and witch-hunting. I thought that I might be able to put together a complete catalogue of the series, but that doesn't seem likely without access to the original issues in which it appeared. The Internet isn't up to the task, although the Internet Speculative Fiction Database has very nearly complete information on dates and subjects. Most of what I have here comes from that source.

According to Luis Ortiz in his biography of the artist, Lee Brown Coye's main source for "Weirdisms" was Isis Unveiled by Madame Blavatsky (1831-1891) of Theosophic fame. Originally published in 1877, Isis Unbound is itself a compilation of information from other sources. (Some people call it a work of plagiary.) Mr. Ortiz doesn't tell where Coye got his copy of the book, but the artist had it firmly in hand by the 1940s, when he drew "Weirdisms." In 1974, Coye lent David Drake his copy of Isis Unbound with the idea that Mr. Drake might use it for story ideas. Later that year, Stuart David Schiff, publisher of Whispers, asked Coye if he would draw a new series of "Weirdisms" for Mr. Schiff's magazine. David Drake returned Isis Unbound to Coye, and the artist went to work, completing six more installments published from June 1975 (Whispers #6-7) to August 1977 (Whispers #10).

Lee Brown Coye died in 1981. Three years later, Steven Ward created one "Weirdisms" for the Fall 1984 issue of Weird Tales published by The Bellerophon Network. In 1989, Jason Van Hollander picked up the feature in the new Weird Tales, edited by George H. Scithers, Darrell Schweitzer, and John Gregory Betancourt. If I count right, Mr. Van Hollander drew eight "Weirdisms" in Weird Tales, from Winter 1989/1990 to Fall 1998. Weirdbook (combined with Whispers) dug up four more "Weirdisms" by Lee Brown Coye and printed them in 1997. Finally, artist Randy Broecker drew one "Weirdisms" for Windy City Pulp Stories #7 in April 2007, close to the sixtieth anniversary of the first "Weirdisms" in July 1947. For the complete list, see the Internet Speculative Fiction Database, here.

"Weirdisms" in Weird Tales, 1947-1951
By E. Crosby Michel (writer) and Lee Brown Coye (artist):
Vampires (July 1947)
Vampirism (Sept. 1947)
Vampires (Nov. 1947)
Witches (Jan. 1948)
Sabbat Witches (May 1948)
July 1948
Witches (Sept. 1948)
By Lee Brown Coye (writer and artist):
Witch or Wizard (Nov. 1948)
Imp (Jan. 1949)
Wizards and Witches (Mar. 1949)
Wizards (Sept. 1949)
Edinburgh, Scotland (Nov. 1949)
Witch-finder Matthew Hopkins (Mar. 1950)
Fiddler's Ghost (July 1950)
About Ghosts (Nov. 1950)
Buried Alive (Mar. 1951)
July 1951



The first "Weirdisms" appeared in Weird Tales in July 1947. The featured subject was vampires. Lee Brown Coye was of course the artist. He was also the cover artist for that July issue, and his subject was the same, a vampire. In short, the cover story for the July 1947 issue of Weird Tales was not a story at all, but the first installment of a new feature series. That may have been the only time in the history of the magazine that a feature series was so honored. Score another coup for Lee Brown Coye.

Text copyright 2016 Terence E. Hanley

E. Crosby Michel (b. ca. 1911? b.1925?)

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Evelyn Crosby Michel
Possibly Evelyn Marion Michel
Writer
Born ca. 1911? July 1925

Evelyn Crosby Michel, like Michael Labonski, was an associate of artist Lee Brown Coye. And, like Labonski, she presents a problem to the researcher and biographer. I have found a woman named Evelyn Michel in the Syracuse area of the 1940s and '50s. Her name, however, was given as Evelyn Marion Michel. No Crosby in sight. I wonder if I have the right woman. There was another Evelyn Michel in Syracuse, born in about 1911, making her a near contemporary of Coye and Labonski. Maybe she was the right Evelyn. Whoever she was, E. Crosby Michel wrote the text for the first seven installments of "Weirdisms," published in Weird Tales from July 1947 to September 1948. Lee Brown Coye assumed the writing chores on "Weirdisms" after that and carried it through to its end in July 1951. Coye also drew all seventeen installments.

E. Crosby Michel's Feature Series in Weird Tales
"Weirdisms" (seven installments: July, Sept., Nov. 1947; Jan., May, July, Sept. 1948)

Further Reading
Evelyn Crosby Michel received brief mention in Arts Unknown: The Life & Art of Lee Brown Coye by Luis Ortiz (2005), p. 83.

Thanks to Kara Greene, Local History/Genealogy, Onondaga Public Library, Syracuse, New York, for information on Evelyn Marion Michel.
Text copyright 2016 Terence E. Hanley

Weirdisms in the Bellerophon Weird Tales

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Steven Ward
Writer and/or Artist
Born ?

"Weirdisms" was in Weird Tales from July 1947 to July 1951 and came to an end when Lee Brown Coye moved on to other artistic endeavors (or when the magazine lost interest in the feature). In 1984, however, a revived Weird Tales brought back "Weirdisms." The Bellerophon Network was the publisher of the new Weird Tales, but that incarnation lasted just two issues, Fall 1984 and Winter 1985. The new "Weirdisms" appeared in the magazine just once, in that first Fall issue. The writer and/or artist was Steven Ward, about whom I know nothing. The Internet Speculative Fiction Database knows nothing about him either. And the Bellerophon issues of Weird Tales are so rare that any information about Mr. Ward in those pages might as well be locked in a vault. I wonder if we might hear from him. 

Steven Ward's Feature in Weird Tales
"Weirdisms" (Fall 1984)

Copyright 2016 Terence E. Hanley

Science Fiction Authors in the Bellerophon Weird Tales-Part One

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Recently I wrote about Michael P. Hodel (1939-1986), who contributed to the first of two issues of Weird Tales put out by The Bellerophon Network of California in 1984-1985. In an entry of August 17, 2013, I gave some information about the magazine itself. Depending on how you count, the Bellerophon Weird Tales was about the fifth incarnation of "The Unique Magazine." It followed Lin Carter's four paperback-sized issues of 1981-1983 and preceded the Terminus issues, which were edited by George H. Scithers, Darrell Schweitzer, and John Gregory Betancourt, beginning in Spring 1988. The Bellerophon issues are not indexed in Jaffery and Cook's Collector's Index to Weird Tales (1985). I have compiled a halfway index of those two issues and would like to list the science fiction authors whose work appeared in their pages. Some I have treated or will treat separately because they contributed to earlier incarnations of Weird Tales or because they are writers of special interest. They include:
  • Robert Bloch (1917-1994)
  • Hannes Bok (1914-1964)
  • Ray Bradbury (1920-2012)
  • Stanton A. Coblentz (1896-1982)
  • Michael P. Hodel (1939-1986)
  • Gerald Chan Sieg (1909-2005)
  • Arch Oboler (1909-1987)
  • Steve Rasnic Tem (b. 1950)
  • William F. Temple (1914-1989)
Others I will write about in this three-part series. They appear here in alphabetical order.

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Nathan A. Bucklin
Nathan Allan Bucklin
Born August 11, 1949, Baltimore, Maryland

For Weird Tales
"Ghost Dance" (short story, Winter 1985)

Nathan A. Bucklin is a musician, music teacher, and founding member of the Minnesota "Scribblies" Writer's group. He has worked on the staff of Tales of the Unanticipated and has contributed to that magazine (1987-1988) and to the Liavek anthology series (1986-1988).

Arthur Byron Cover
Born January 14, 1950, Grundy, Virginia

For Weird Tales
"Mamma's Boy" (short story, Fall 1984)

Arthur Byron Cover is an author of novels, short stories, essays, reviews, comic book scripts, and animated cartoon scripts. He has also conducted interviews with other authors. His first professional story was to have been published in Harlan Ellison's anthology The Last Dangerous Visions. In a controversy that's new to me, that book has gone unpublished for more than four decades. Mr. Cover's first published story listed on the Internet Speculative Fiction Database is "Gee, Isn't He the Cutest Little Thing?" in the paperback anthology The Alien Condition, edited by Stephen Goldin (1973). You can read more about Mr. Cover on the Internet Movie Database, the Encyclopedia of Science Fiction, and Wikipedia.

Conda V. Douglas
Born ?

For Weird Tales
"Yellow" (short story, Winter 1985)

Conda V. Douglas is a novelist, editor, screenwriter, cinematographer, and author of short stories. "Yellow" is her earliest work listed in the Internet Speculative Fiction Database. She has her own blog at:


You can also read her credits on the Internet Speculative Fiction Database.

Harlan Ellison
Born May 7, 1934, Cleveland, Ohio

For Weird Tales
"Laugh Track" (short story, Fall 1984)

Harlan Ellison began as a published author in his teen years and has enjoyed a long and successful career as a novelist, short story writer, essayist, editor, comic book script writer, screenwriter, and science fiction personality. He is old enough to have contributed to the original Weird Tales, but it wasn't until the Bellerophon issues that the magazine published one of his stories. Being a Star Trek fan, I have to mention that he is credited with the teleplay for "City on the Edge of Forever," which is one of my favorite episodes of the series.

Terry A. Garey
Born ?

For Weird Tales
"As Lovely as a Tree" (short story, Winter 1985)

Terry A. Garey is a poet, artist, editor, author, and winemaker. She has also conducted interviews of other authors. Here is a link to her website:


Like Nathan A. Bucklin, she is a writer whom Minnesota can claim as its own. And like him, she contributed to Tales of the Unanticipated.

To be continued . . .

Liavek: The Players of Luck (1986), edited by Emma Bull and Will Shetterly and with a short story by Nathan A. Bucklin. The cover artist was Collette Slade.

The Alien Condition (1973) edited by Stephen Goldin and with a short story by Arthur Byron Cover. You will probably recognize the cover art by Mati Klarwein (1932-2002) as the same image used on the cover of the 1970 album Abraxas by Santana. As it turns out, the painting is called "Annunciation," and it dates from 1961. You learn something new every day.

City on the Edge of Forever, first in Bantam's series of Star Trek Fotonovels.

Tales of Magic Realism by Women: Dreams in a Minor Key (1991), edited by Susanna J. Sturgis and with a story by Conda V. Douglas. Tom Trujillo was the cover artist.

Text copyright 2016 Terence E. Hanley

Science Fiction Authors in the Bellerophon Weird Tales-Part Two

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Stephen King
Born September 21, 1947, Portland, Maine

For Weird Tales
"Beachworld" (short story, Fall 1984)

Stephen King is a prolific, award-winning, and very successful author of more than fifty novels, nearly 200 short stories, and many works of non-fiction. He is also a poet and a comic book scriptwriter. As a child, he discovered in an attic a paperback edition of a book he remembered as The Lurker in the Shadows by H.P. Lovecraft. He later said, "I knew that I'd found home when I read that book." (1) Like so many budding authors, Mr. King made his own books in school. His first published work was "I Was a Teenage Grave Robber," a serial in a fanzine, Comics Review, in 1965. His first professionally published story was "The Glass Floor" in Startling Mystery Stories, Fall 1967, edited by Robert A.W. Lowndes. (2) Stephen King became a household name with his novels of the 1970s, including Carrie (1974), Salem's Lot (1975), The Stand (1978), and The Dead Zone (1979). His success has been unabated in the four decades since, even in hard times. Seemingly everything he has written has been adapted to film, including 11/22/1963 (2011), which premiered on February 15, 2016, on Hulu. By the way, there may be more than meets the eye to his Hard Case Crime novel The Colorado Kid (2005): like the dead man in the book, Mr. King's father left home and never came back. To a child, that would have been an unfathomable mystery. It remained so in The Colorado Kid.

Notes
(1) Unfortunately, there isn't a Lovecraft collection called The Lurker in the Shadows. The closest things are The Lurker at the Threshold by Lovecraft and August W. Derleth (1945) and the short stories "The Shadow Over Innsmouth" and "The Shadow Out of Time."
(2) That story was reprinted in Weird Tales in Fall 1990. Mr. King's first story for Weird Tales was "Beachworld," from Fall 1984, as noted above.

The Colorado Kid by Stephen King (2005), a Hard Case Crime novel with cover art by Glen Orbik (1963-2015). I have read complaints on the Internet about this book. Mostly they fall into two categories: 1) The cover illustration has nothing to do with the story, and 2) The mystery is unsolved in the end. My response: 1) If you think the story will always match what's on the cover of a paperback (or comic book), you don't know much about popular culture (or marketing). 2) Waanh.

R.A. Lafferty
Raphael Aloysius Lafferty 
Born November 7, 1914, Neola, Iowa
Died March 18, 2002, Broken Arrow, Oklahoma

For Weird Tales
"The Ninety-Ninth Cubicle" (short story, Fall 1984)

R.A. Lafferty was an electrical engineer and a U.S. Army veteran of World War II, in which he served in the South Pacific and East Indies. He wrote nearly three dozen novels and about 200 stories in the genres of science fiction and historical fiction. He also wrote books of history. His first published story was "The Wagons" in New Mexico Quarterly Review (Spring 1959); his first published science fiction story "Day of the Glacier" in Science Fiction Stories (Jan. 1960, edited by Robert A.W. Lowndes); and his first published novel Past Master (1968). It's worth noting that Lafferty was a Catholic writer.

Arrive at Easterwine: The Autobiography of a Ktistec Machine by R.A. Lafferty (1973). If the cover illustration looks familiar, there's a good reason: you saw one by the same artist, Mati Klarwein (1932-2002), in the first part of this series. 

Walt Liebscher
Born May 7, 1918, Joliet, Illinois
Died February 1985

For Weird Tales
"And No Potatoes" (short story, Winter 1985; previously in Vertex: The Magazine of Science Fiction, Feb. 1974)

Walt Liebscher was a civil servant, a member of science fiction fandom, and a publisher of fanzines long before he moved over to the professional side of science fiction with his first story in a professional magazine, "Alien Cornucopia" in Science Fiction Stories, July 1959. (1) In addition to his one and a half dozen stories, Liebscher wrote poems and essays. His only book-length work was the collection Alien Carnival (1974).

Note
(1) Once again, Robert A.W. Lowndes was the editor. 

Alien Carnival by Walt Liebscher (1974), the first volume in the Fantasy Reader series, with cover art by Robert Kline.

Steve Perry
Born August 31, 1947, Baton Rouge, Louisiana

For Weird Tales
"Peau de Cuir" (novelette, Winter 1985)

Louisiana-born Steven Carl Perry is a versatile writer of novels, short stories, non-fiction, and television scripts. He has written series novels and series characters, including Aliens, Conan, Indiana Jones, Men in Black, Star Wars, Tom Clancy, and his own Matador series. He is the father of science fiction author Stephani Danelle Perry (b. 1970), who writes under the name S.D. Perry. Mr. Perry's first published science fiction story was "With Clean Hands" in Galaxy (Dec. 1977/Jan. 1978).

Matadora by Steve Perry (1986) with cover art by Richard Berry.

David J. Schow
Born July 13, 1955, Marburg, Hesse, West Germany

For Weird Tales
"Visitation" (short story, Fall 1984)

David J. Schow is a novelist, short story writer, essayist, editor, screenwriter, and purveyor of splatterpunk, a term of his own coining. According to the Internet Speculative Fiction Database, his first published science fiction story was "In the Idiom of the Old School" in Galileo, July 1978. Mr. Schow has written screenplays in several of the franchise horror films, including Nightmare on Elm Street, The Texas Chainsaw Massacre, and Critters.

Seeing Red by David J. Schow (1990) with cover art by Thomas Canty (b. 1952).

Henry Slesar
Born June 12, 1927, Brooklyn, New York
Died April 2, 2002, New York, New York

For Weird Tales
"Speak" (short story, Fall 1984; originally in The Diner's Club Magazine, 1965)

I won't go very much into Henry Slesar's career; you can read about him on Wikipedia and other websites. He was an air force veteran and an advertising copywriter beginning at age seventeen. Slesar was the author of scores of stories in the genres of science fiction, mystery, detective stories, crime stories, and thrillers. He won an Edgar Allan Poe Award in 1958 for his first novel, The Gray Flannel Shroud, and an Emmy in 1974 as head writer on The Edge of Night. He also wrote scripts for Alfred Hitchcock Presents, The Twilight Zone, The Man from U.N.C.L.E., Batman, and Tales of the Unexpected. His first published science fiction story was "The Brat" in Imaginative Tales for September 1955.

"Jobo" by Henry Slesar was the cover story for the May 1963 issue of Amazing Stories. The cover art was by Ray Kalfus. The subject was the ever-popular heads on Easter Island, here given the ancient astronauts treatment.

To be concluded  . . .

Text and captions copyright 2016 Terence E. Hanley

Science Fiction Authors in the Bellerophon Weird Tales-Part Three

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Brinke Stevens
Charlene Elizabeth Brinkman
Born September 20, 1954, San Diego, California

For Weird Tales
"The Pandora Principle" with A.E. van Vogt (serial, Fall 1984)

If Brinke Stevens were not a real person, she could be a sidekick to Doc Savage or Buckaroo Banzai. Actress, model, screenwriter, and author, Brinke has degrees in psychology and marine biology, has studied foreign languages, including Esperanto, and is or was a member of Mensa. Known as a scream queen, she has appeared in dozens of horror movies. Her first was Necromancy (1972), starring Orson Welles, but it isn't clear to me whether she was in the original, the 1983 reissue--in which she was billed as Berinka Stevens--or both. In 1980, Brinke married artist Dave Stevens (1955-2008). Their marriage lasted less than a year, but she continued to model for him and other artists. Her only story for Weird Tales was the first part of a serial, "The Pandora Principle," with A.E. van Vogt. Her only other credit for fiction in the Internet Speculative Fiction Database is the novelette "Jacking In," published in Stranger by Night (1995).

I can't say for sure, but that looks a lot like Brinke Stevens on the cover of the first Bellerophon Weird Tales, Fall 1984. The artist was the rare and elusive Ro H. Kim.

Here she is again in Dave Stevens' heading for "The Pandora Principle" in the same issue. With these two illustrations, she joined Edgar Allan Poe, Virgil Finlay, and Hannes Bok as writers who also appeared in illustrations on the cover or in the interior of Weird Tales.

Larry Tritten
Born August 7, 1938, Iowa
Died April 6, 2011

For Weird Tales

"Flecks of Gold" (short story, Fall 1984)

Born in Iowa, Larry Eugene Tritten grew up in Idaho, served in the U.S. Army for two years, and attended North Idaho Junior College. He studied creative writing at San Francisco State University on a scholarship and lived most of his life in San Francisco, minus his frequent travels overseas. Tritten wrote science fiction stories and travel articles, movie reviews, humorous pieces, and more, over 1,500 articles in his lifetime. His first published science fiction story was "West Is West" in If, August 1968. He contributed to the Chicago Sun-Times, Chicago TribuneHouston Chronicle, Los Angeles Times, New York Times, and San Francisco Chronicle, as well as magazines, including Harpers, HustlerThe New Yorker, Playboy, Rolling StoneTravel and Leisure, and Vanity Fair. Like so many of the writers on this list, Tritten had a personal connection to Harlan Ellison, who wrote of him, "I was enormously fond of Larry, of his humor, his goodwill and sense of being proudly, as I am, a simple 'blue collar' artisan."

Larry Tritten's story "Late Night in the Rusty Tiara" was in the third and final issue of the British magazine Beyond Science Fiction & Fantasy in September/October 1995. The cover artists were Boris Vallejo (b. 1941) and Les Edwards (b. 1949).

A.E. van Vogt
Alfred Elton van Vogt
Born April 26, 1912, Gretna, Manitoba, Canada
Died January 26, 2000, Los Angeles, California

For Weird Tales

"The Pandora Principle" with Brinke Stevens (serial, Fall 1984)
"The Brain" (short story, Winter 1985)

A.E. van Vogt is considered a giant among science fiction authors of the Golden Age and was among the last to appear in Weird Tales. He enjoyed a long and productive career writing short stories, novels, poems, and essays. His first published science fiction story was "Black Destroyer" in John W. Campbell's Astounding Science-Fiction, July 1939. His series include Null-A, Rull, Slan, the Space Beagle, and the Weapons Shop of Isher. Like Campbell and others in his circle, van Vogt fell for Dianetics and was an associate of L. Ron Hubbard for more than a decade.

Born in Canada, van Vogt moved around as a child, remembering in adulthood:
Childhood was a terrible period for me. I was like a ship without anchor being swept along through darkness in a storm. Again and again I sought shelter, only to be forced out of it by something new. (Quoted in "Man Beyond Man: The Early Stories of A. E. van Vogt" by Alexei Panshin, here.)
On van Vogt's novelette The Mixed Men, Darrell Schweitzer (an editor of Weird Tales) wrote:
This is the realism, and logic, of a small boy playing with toy soldiers in a sandbox. I'm tougher than you. I’ve got a billion spaceships! They’re brand-new. They only took 800 years to develop. . . . There is no intersection with adult reality at any point, for all van Vogt was able to write was that small boy's sandbox game with an adult level of intensity. (From "Letters of Comment,"The New York Review of Science Fiction, May 1999.)
Others have had different opinions, of course, but if the facts of biography bear upon an author's work, then Mr. Schweitzer seems to have picked up on something of significance, something that might lead to an understanding not only of van Vogt's writing but also of his interest in Dianetics. In any case, van Vogt wrote two stories for the Bellerophon Weird Tales, part one of a serial, "The Pandora Principle," co-authored with Brinke Stevens and never completed in print (Fall 1984), and "The Brain" (Winter 1985). If I read the Internet Speculative Fiction Database correctly (always a problem with its cumbersome system of cataloguing), "The Brain" was his second to last magazine story.

J. N. Williamson
Gerald "Jerry" Neal Williamson
Born April 17, 1932, Indianapolis, Indiana
Died December 8, 2005, Noblesville, Indiana

For Weird Tales

"The Bus People" (short story, Winter 1985)

J.N. Williamson was primarily a writer of horror stories and novels. He also wrote non-fiction. Williamson authored more than forty novels and collections and more than 100 short stories. "The Bus People," his only story for Weird Tales (of which I am aware), came near the beginning of his career. Williamson received a lifetime achievement award from the Horror Writers of America in 2003. He was born in my native city of Indianapolis; graduated from Shortridge High School, as did Kurt Vonnegut (1922-2007); and attended Butler University, as did James Alexander Thom (b. 1933), who, like Williamson, majored in journalism. I wonder if they knew each other, or if my uncle, who sat next to Mr. Thom in English class at Butler, also knew the man who would later become a writer of horror stories.

I always like to show foreign-language editions of writers in English. Here is the cover of the Spanish-language edition of Horrors 7, by "Stephen King y otros," and selected by J.N. Williamson. The illustration, by Michael Whelan, was also published on the front of The Year's Best Horror Stories, Series V, in 1977. I'm not sure how that worked exactly, as Gerald W. Page was the editor of the English-language version.

John Wyndham
John Wyndham Parkes Lucas Beynon Harris
Aka John Beynon, Lucas Parkes
Born July 10, 1903, Dorridge, Warwickshire, England
Died March 11, 1969, Petersfield, Hampshire, England

For Weird Tales

"Vengeance by Proxy" (short story, Winter 1985; originally in Strange Stories, Feb. 1940)

Although Bellerophon was not the miner of old stories that Sam Moskowitz was in the Weird Tales of the 1970s, it nonetheless uncovered works from long-gone authors, including "Vengeance by Proxy" by John Wyndham, originally in Strange Stories in February 1940. Born before the Great War, Wyndham,  Harris, was shaped by that conflict and its sequel, in which he took part as a public servant and a soldier who landed at Normandy after the first wave. By then he had already been contributing to American science fiction and fantasy magazines for more than a decade, his first story, "Worlds to Barter," having been published in Wonder Stories in May 1931. Readers of today might best remember him as the author of The Day of the Triffids (1951) and The Midwich Cuckoos (1957), filmed as The Village of the Damned (1960). The first book has had some influence, consciously or not, on our current mythology of zombies. (Like The Walking Dead, it opens in a hospital when an unaffected man awakes to a post-apocalyptic world.) The second speaks presciently about a current and very real invasion of Europe and the inadequacy of Western liberalism in defending itself against threats from the outside.

Originally published in 1935, John Beynon Harris' novel The Secret People was reprinted by Lancer in the 1960s. Here is the cover to the second Lancer printing (1967), with an illustration by Frank Frazetta.

Text and captions copyright 2016 Terence E. Hanley

LeRoy Ernest Fess (1896-1958)

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Poet, Author, Journalist, Hobbyist
Born September 20, 1896, Darien, New York
Died April 9, 1958

LeRoy Ernest Fess was born on September 20, 1896, in Darien, a small town in western New York State. As a student at Alfred University, also in the western part of the state, he was listed as a resident of Crittenden. Fess paid his way through Alfred University in part with a state scholarship. He matriculated in 1913 but didn't graduate until 1919; induction into the U.S. Army Infantry interrupted his schooling. In 1920, his poem "All" won a place as a poem of distinction in The Poets of the Future: A College Anthology for 1918-1920, edited by Henry T. Schnittkind (Boston: The Stratford Company, 1920).

Leroy E. Fess made his living as a reporter, news photographer, feature writer, and columnist at newspapers in Buffalo, including the Buffalo Evening News and the Buffalo Courier Express, for which he wrote "The Farm Picture" column. He was also a dog lover, serving as editor of The Saint Fancier (1932, about Saint Bernard dogs), president of the Dog Writers Association of America (1954), and compiler and editor of Fifty Years of Irish Wolfhound Registrations in America, 1897-1955. He wrote other non-fiction as well, including "Data Treasure of Past Uncovered" in the newsletter Early Settlers of New York State, Their Ancestors and Descendants (Sept. 1936). His only known work in the genres of fantasy, horror, and science fiction is "The Dream Chair" in Weird Tales, October 1928. He also wrote two letters published in "The Eyrie," the letters column of Weird Tales.

Leroy Fess died on April 9, 1958, at age sixty-three.

Leroy Ernest Fess' Story in Weird Tales
"The Dream Chair" (Oct. 1928)

Letters to "The Eyrie"
Jan. 1929
July 1941

Further Reading
"LeRoy E. Fess, 61, Dead; Farm Editor Specialized in Dog Articles for 40 Years,"New York Times, Apr. 10, 1958.
Note: I have not read this article. It may include information not given here.

Copyright 2016 Terence E. Hanley

Change of Seasons

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     "One has, for some time, seen this coming, as inevitably as the change of seasons . . . ."
* * *
     "We are presented with a moral dilemma of some niceness. On the one hand, it is our duty to our race and culture to liquidate the Children, for it is clear that if we do not we shall, at best, be completely dominated by them, and that their culture, whatever it may turn out to be, will extinguish ours.
     "On the other hand, it is our culture that gives us scruples about the ruthless liquidation of unarmed minorities, not to mention the practical obstacles to such a solution."
* * *
"In a quandary where every course is immoral there remains the ability to act for the greatest good of the greatest number. Ergo, the Children ought to be eliminated at the least possible cost, with the least possible delay . . . . It is the right step . . . . But, of course, our authorities will not be able to bring themselves to take it . . . . Humanitarianism will triumph over biological duty--is that probity, would you say? Or is it decadence? But so the evil day will be put off--for how long, I wonder?"
* * *
Today, Islamic terrorists attacked soft targets in Brussels, killing more than two dozen people. This morning, in the first article I read about the attacks, Reuters shrank from using the words Islam, Islamist, or Muslim except for in the proper noun Islamic State. The author of the article also referred to the attackers as militants rather than terroristsYou can't blame Reuters too much--all of Europe and much of America is also afraid to name the enemy. If we can't name him, how do we expect to defeat him? We can't, of course, but defeating him doesn't seem to be part of the plan. John Wyndham, about whom I wrote recently, saw that more than half a century ago in The Midwich Cuckoos, from which the opening quotes are taken.* His words demonstrate Wyndham's prescience, but I doubt that he foresaw that it would be Islam to arrive within the gates of Europe, threatening its destruction. That doesn't really matter, for if it were not Islam, it would be something else. The key passage, I think, is the question: Is it humanitarian probity or is it decadence that keeps us from defending ourselves? In true Irish fashion, I'll answer a question with a question: If you are filled with self-loathing and loathe what you have come from, why should you defend yourself, your culture, or your civilization? Shouldn't you actually invite your own destruction? John Wyndham foresaw the dilemma in which we find ourselves. He foresaw also that "our authorities will not be able to bring themselves to take" the steps necessary to defend us from outside threats. What he did not foresee, however, is that we would wish ourselves to be destroyed--call it suicide by jihad--or that those same authorities would actually throw open the gates to the people who will gladly oblige us in that desire.

*The Midwich Cuckoos (New York: Ballantine Books, 1973), pp. 180-181

The Midwich Cuckoos by John Wyndham (1973 edition), with cover art, once again, by Mati Klarwein (1932-2002).

Text copyright 2016 Terence E. Hanley

Don't Mind the Explosions

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Every terrorist attack is followed by predictable statements of "This is a wakeup call" or "This time it's different" or "This means war." And in the aftermath of every attack, we return quickly to ignoring--or I should say facilitating--the problem.

Science fiction is extrapolative. It has predictive power, as in John Wyndham's novel The Midwich Cuckoos, about which I wrote yesterday. Our current situation reminds me of another memorable scene from science fiction, though. In the movie Brazil (1985), the main character, a Winston Smith type, is dining with his mother and her friends. There is an explosion in the kitchen. People are killed, maimed, and burned. Half of the restaurant is destroyed. But the music plays on and the restauranteur places a screen between the diners and the chaotic and horrifying scene in the background. They continue as if nothing has happened.

We are of course the diners.

I don't provide many links, but here is one to the video:


Image result for brazil movie restaurant scene

Text copyright 2016 Terence E. Hanley

Leslie Gordon Barnard (1890-1961)

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Author, Editor
Born 1890, Montréal, Québec, Canada
Died October 28, 1961, Toronto, Ontario, Canada

Leslie Gordon Barnard was a prolific author of short stories from the pulp days of 1920 to the era of men's magazines of the early 1960s. He was born in 1890 in Montréal, Canada, and began writing at an early age. Barnard served as an officer in the Canadian military during World War I and was editor of The War Pictorial: The Leading Pictorial Souvenir of the Great War (three volumes, Montreal: Dodd-Simpson Press, 1914-1915). He had stories in leading Canadian magazines, including Canadian Home JournalThe Canadian MagazineFamily HeraldMacLean's, and National Home MonthlyThe FictionMags Index lists scores more published in Adventure, The American Magazine, Argosy All-Story Weekly, Detective Story Magazine, Manhunt, Munsey's, Street & Smith's Detective Story Magazine, Street & Smith's Western Story Magazine, Suspense, 20-Story Magazine, Weird Tales, and one of my favorite magazine titles, The Modern Priscilla, among others. His character Mr. Philibus ran in Detective Fiction Weekly and Detective Story Magazine from 1928 to 1935. 

Barnard was the author of three books, One Generation Away (1931), Jancis (1935), and So Near is Grandeur (1945). His stories were adapted to television on 1958 General Electric Theater ("At Miss Minner's," 1958) and The Loretta Young Show ("Woodlot," 1961). In addition, he served as president of the Canadian Authors Association and of the Montréal branch of the international PEN Club. Leslie Gordon Barnard died on October 28, 1961, in Toronto and was buried at Mount Royal Cemetery in Montréal.

Leslie Gordon Barnard's Story in Weird Tales
"The Man in the Taxi" (Nov. 1937)

Further Reading
"Authorship Joys and Sorrows Told," Montréal Gazette, October 29, 1930, page 6, here.
Obituary, New York Times, October 31, 1961.

Leslie Gordon Barnard was editor of the three-volume War Pictorial published during the Great War.

In happier times, he contributed to pulp magazines. (Cover by John A. Coughlin [1885-1943].)

Barnard's career was long and fruitful. He continued having his stories published into the digest era and even in foreign-language editions.

His stories were also published in British magazines, such as The Strand.

Text copyright 2016 Terence E. Hanley

Wilford Allen (1897-1965)

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Author, Newspaperman
Born May 16, 1897
Died April 10, 1965

Printer's ink ran in the veins of Wilford C. Allen, Jr. His father and two uncles were in the newspaper business. He followed them, even while writing stories for Weird Tales in the 1920s. Nicknamed "Pete," he was born on May 16, 1897, to Wilford C. Allen, Sr., and Frances M. Allen (1872-1960). Pete's grandfather, King Prince Allen (1841-1917), was a proud veteran of the Union Army during the Civil War and a pioneer in the city of Pullman, Washington, now the location of Washington State University (WSU). Pete's father, Wilford C. Allen, Sr. (Oct. 4, 1968-Feb. 1, 1942), was born in Homer, Michigan. He, too, was called a "pioneer in Pullman" and was associated with the Pullman Herald from 1888 to 1909. (1) That paper was established in 1888 by Allen's brother-in-law, Thomas Neill (1861-1938). Born in Ireland, Neill arrived in Pullman by way of Indiana and the Dakota Territory. Neill Hall on the WSU campus is named for him. Karl P. Allen (1885-1941), brother of Wilford Allen, Sr., was the longtime editor of the Pullman Herald.

In 1911, Wilford Allen, Sr., purchased a nine-acre fruit farm in Grants Pass, Oregon, and moved his young family there. He had two sons in school at the time, Niel Richardson Allen (1894-1959) and Wilford C. Allen, Jr. (1897-1965). From 1912 to 1917 and again from 1919 to 1920, the senior Allen was editor of the Rogue River (later Grants Pass) Courier. (2) A former member of the Washington State legislature, he also served as president of the Commercial Club in Grants Pass; Commissioner of the Oregon State Industrial Accident Commission; president of the Izaak Walton League of America in Grants Pass; and with the Southern Oregon Development Company.

Wilford and Frances Allen sent both of their sons to college and to war. Niel R. Allen attended Stanford University and served as an officer in the U.S. Army during World War I. Wilford Allen, Jr., attended the University of Oregon and served in the U.S. Naval Reserve, also during the war. He worked at the same newspaper as his father. In 1922, he left the University of Oregon School of Journalism as a senior "to take over his old position as head of news department at the Grants Pass Courier." Like his father before him, Wilford "Pete" Allen was editor of the paper, from 1926 to 1929. He was also a sheriff's deputy.

Wilford Allen wrote seven stories for Weird Tales. He also had two letters in "The Eyrie." I would like to see the return address on those letters, as I'm not sure the Wilford Allen I have been talking about all this time was the same man who wrote for "The Unique Magazine." I have to admit I have made an assumption based on Pete Allen's involvement in the newspaper business. In any event, "The Hate," from Weird Tales, June 1928, is a story of trench warfare in World War I. I wonder if the idea could have come to the author by his talking to his brother about the war. I have not read Allen's other stories. There may be other clues as to his identity contained therein. I should note that "The Arctic Death" (June 1927) and "On a Far World" (July 1928) are two of a series featuring the character Charles Breinbar.  

Wilford C. Allen, Jr., died on April 10, 1965, and was buried at Hillcrest Memorial Park Cemetery in Grants Pass, Oregon.

Notes
(1) "Wilford Allen Was Pioneer in Pullman,"Spokane Daily Chronicle, February 2, 1912, page 5, here.
(2) Established in 1885, the Rogue River Courier was renamed the Grants Pass Courier in 1919, then merged with the Observer in 1928. The publisher was Amos E. "Boss" Voorhies.

Wilford Allen's Stories in Weird Tales
"The Arctic Death" (June 1927)
"The Swooping Wind" (Dec. 1927)
"On a Far World" (July 1928)
"The Bone-Grinder" (Jan. 1928)
"The Hate" (June 1928)
"Night-Thing" (July 1929)
"The Planet of Horror" (June 1930)
Letters to "The Eyrie"
April 1928
Aug. 1931

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


Text copyright 2016 Terence E. Hanley

A Crisis of Nihilism

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The events of last week have me thinking again about our current situation and how it relates to and was foretold by people in the past. I'll begin with an aside that really isn't an aside and actually gets to the heart of the matter. Of all the gazillions of words written about the terrorist attacks in Belgium last week, no one seems to have considered the fact that they occurred in the week leading up to the holiest day in the Christian calendar. On Thursday--Holy Thursday--a Muslim man in Scotland was murdered by another Muslim man for wishing his Christian friends a Happy Easter. And on Friday--Good Friday--people from ISIS crucified a Catholic priest in Yemen. It's a strange world we live in when only Muslims know what Easter is or attach any significance to it.

* * *

The artist is of course a canary in the coal mine of human society. He or she foresees and foretells. It may not be entirely accurate to call the artist's foretelling "prediction." Nonetheless, we can extract predictions from the artist's work. As Peter Viereck in his book Conservatism (1956) pointed out, even the extreme conservative--the reactionary--"may become in his art the most profound psychologist, the most sensitive moralist." (p. 17) Contrast this with the leftist or progressive who, with his grand, abstruse, and Utopian theorizing about the world, is blind to human nature and consequently very poor at making predictions.

So what does all that have to do with the terrorist attacks in Belgium and the larger European problem of today? Just follow the trail of the artist.

* * *

I have been going to a discussion group about weird fiction, and in our second meeting, we talked about Edgar Allan Poe (1809-1849). Among the works we discussed is the poem "The Conqueror Worm," from 1843:

The Conqueror Worm
byEdgar Allan Poe

Lo! 't is a gala night
   Within the lonesome latter years!   
An angel throng, bewinged, bedight
   In veils, and drowned in tears,   
Sit in a theatre, to see
   A play of hopes and fears,
While the orchestra breathes fitfully   
   The music of the spheres.

Mimes, in the form of God on high,   
   Mutter and mumble low,
And hither and thither fly--
   Mere puppets they, who come and go   
At bidding of vast formless things
   That shift the scenery to and fro,
Flapping from out their Condor wings
   Invisible Wo!

That motley drama--oh, be sure   
   It shall not be forgot!
With its Phantom chased for evermore   
   By a crowd that seize it not,
Through a circle that ever returneth in   
   To the self-same spot,
And much of Madness, and more of Sin,   
   And Horror the soul of the plot.

But see, amid the mimic rout,
   A crawling shape intrude!
A blood-red thing that writhes from out   
   The scenic solitude!
It writhes!--it writhes!--with mortal pangs   
The mimes become its food,
And seraphs sob at vermin fangs
   In human gore imbued.

Out--out are the lights--out all!   
   And, over each quivering form,
The curtain, a funeral pall,
   Comes down with the rush of a storm,   
While the angels, all pallid and wan,   
   Uprising, unveiling, affirm
That the play is the tragedy, "Man," 
   And its hero, the Conqueror Worm.

The metaphor of human existence as an absurd drama or performance made me think of a similar poem from a century later:

The End of the World
by Archibald MacLeish (1892-1982)

Quite unexpectedly, as Vasserot
The armless ambidextrian was lighting
A match between his great and second toe,
And Ralph the lion was engaged in biting
The neck of Madame Sossman while the drum
Pointed, and Teeny was about to cough
In waltz-time swinging Jocko by the thumb
Quite unexpectedly the top blew off:

And there, there overhead, there, there hung over
Those thousands of white faces, those dazed eyes,
There in the starless dark, the poise, the hover,
There with vast wings across the cancelled skies,
There in the sudden blackness the black pall
Of nothing, nothing, nothing--nothing at all. (1)

That same idea leads back to Shakespeare (1564-1616):

Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

from Macbeth (1611)

Note the recurring words and imagery, for example, "Out--out are the lights--out all!" from Poe and "Out, out, brief candle!" from Shakespeare. (2) More to the point: "There in the sudden blackness the black pall/Of nothing, nothing, nothing--nothing at all" from MacLeish and "It is a tale/Told by an idiot, full of sound and fury,/Signifying nothing" from Shakespeare. Hold on to that word, nothing.

* * *

I don't see predictions in these works so much as descriptions or views of the human condition or predicament. Here are a couple of quotes (both from conservatives, by the way) that, taken together, get at the same ideas as in the preceding works:

"Life is not a spectacle or a feast; it is a predicament."
George Santayana (1863-1952)

"Life is a predicament which precedes death."
Henry James (1843-1916)

Note that these two men describe life as a predicament rather than an absurdity or that it means nothing at all, suggesting that there is still some cause for hope.

* * *

So if Poe, MacLeish, and Shakespeare weren't exactly making predictions, can we find an artist who did? Yes, easily enough. Dostoevsky was one of course, but I came here to talk about Nietzsche (1844-1900), who predicted not only the catastrophes of the twentieth century, but also the crisis in which we now find ourselves. And not only did he predict it, he accurately foresaw it for our time.

I am not a philosopher and have barely studied philosophy. Although I have read some philosophical works, I haven't read deeply into the thought of any particular philosopher. (3) And it has been only within the past week that I have encountered Nietzsche's prediction of what is called a crisis of nihilism. But if we aren't currently in such a crisis, I don't know how better to describe our situation.

* * *

This morning, as I began writing, I also began playing music by Maurice Ravel (1875-1937), who was born into the old Europe and died in a new one. He witnessed firsthand the catastrophe of the Great War (and wrote Le tombeau de Couperin in remembrance of some of the men killed). Neither he nor any of the men or women of his generation could easily have foreseen what would become of Europe, a place that is now pretty thoroughly demoralized, de-Christianized, and completely lacking in self-confidence and vigor. Filled instead with ennui and self-loathing, Europeans have ceased reproducing themselves or defending themselves against outside threats. They are essentially atheists, socialists, materialists, and hedonists, but without any great passion or conviction. When they are attacked by people who are not lacking in passion or conviction, they respond with candles, flowers, and songs rather than resolve or righteous vengeance. They speak of the "tragedy" of their countrymen's deaths, as if an accident has occurred or a natural disaster has struck. They stand in so-called "solidarity" with the dead, as if such a thing were a possibility rather than an absurdity. They fail to name the enemy. Worse yet, they excuse the enemy, essentially saying that Western civilization deserves what it gets from the terrorists. Another thing they do is play or sing the song "Imagine" by John Lennon (1940-1980). Here are the lyrics:

Imagine
by John Lennon
(1971)

Imagine there's no heaven
It's easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today . . .

Imagine there's no countries
It isn't hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace . . .

You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will be as one

Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world . . .

You may say I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one

Europe is living the lyrics of "Imagine," which are of course Utopian (and because they are Utopian, they are also necessarily Dystopian). In Europe today, "there's no heaven" because its people have given up on belief in God. There are also "no countries" because they have given up on the ideas of nationhood, national sovereignty, national identity, and national borders. Additionally, Europeans live only "for today" because, being leftists, they have severed themselves from the past, while at the same time severing themselves from the future by throwing away family and the bearing and rearing of children. (4) And--although there are still possessions--private property, personal striving and attainment, and personal freedoms are diminished because of the European embrace of socialism. (Prudhon, one of the heroes of European intellectualism, proclaimed after all, "Property is theft!") In his lyrics, though, John Lennon used a word we have seen before, i.e., nothing:

"Nothing to kill or die for"

That makes me wonder: Is that a commutative expression? Does "nothing to kill or die for" equal "to kill or die"--and by implication, also to live--"for nothing"? It seems to me that Europeans have lost their will to live. They seem to have given up on the idea of there being any significance or meaning in life. In other words, they are deep into a crisis of nihilism, as Nietzsche so accurately predicted. And not only have they lost the will to live, they have lost their instinct for survival. Like Colette de Montpellier in The Day of the Jackal, they have welcomed into their homes the people who will do what they seemingly hope to be done. Proper nihilists that they are, they have invited in their own murderers.

Notes
(1) I haven't been able to find the date of publication of "The End of the World." By the way, MacLeish was not a conservative, although I doubt that he would find much in common with what are today called liberals or progressives.
(2) I sensed in our discussion group how much of Shakespeare there is in Poe. That would make a worthwhile research project.
(3) I have read Camus more than any other. In "The Myth of Sisyphus," Camus asked the question, Is life worth living? His answer was yes. I suppose the nihilist would struggle over that question and likely answer no.
(4) Angela Merkel, for instance, does not have any children and thus has nothing personal at stake in the future of her country. What does she care if it is overrun by non-Europeans? Those weren't her daughters being raped in Cologne at the start of the New Year.

"The Triumph of Death" by  Pieter Breughel the Elder (b. 1526 to 1530; d. 1569).

"The End of the World" José Gutiérrez Solana (1886-1945).

Copyright 2016 Terence E. Hanley

Stanley S. Schnetzler (1893-1955)

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U.S. Navy Man, Author, Civic Worker, City Councilman
Born September 14, 1893, Ohio
Died August 3, 1955, Corona Naval Hospital, Norco, California

Stanley Stolz Schnetzler was born on September 14, 1893, in Ohio. He attended Stanford University and was a member of Phi Delta Theta. Schnetzler was to have graduated with the class of 1915. Instead he graduated in 1917 with a degree in pre-law. His address at the time of graduation was Beaver Dam, Wisconsin. Schnetzler joined the U.S. Navy at around the time of World War I and served on active duty and in the naval reserve, eventually to attain the rank of lieutenant commander. An item from the Stanford Illustrated Review (Oct. 1921, p. 56) states that Schnetzler was "connected with the 'Quality Group' Corporation, which manages six of the leading magazines, Atlantic, Century, Scribner's, Harper's, World's Work, Review of Reviews." The item doesn't say what the connection was, but by the time it was printed, Schnetzler was already a published author. His stories include:
  • "Out of the Depths" in The Stanford Illustrated Review, Nov. 1918
  • "Tackline’s Adventure" in Adventure, Mid-Aug 1921
  • "The Turtle and the Jack-Rabbit" in Adventure, Mid-Sept. 1921
  • "The Deep-Sea Grin" in Boys' Life
  • "Seignior Vanna's Jest" in Weird Tales, May 1925
  • "Willie Barclay Goes on the Air" in The American Legion Weekly, June 11, 1926 
  • "Drowned—Almost!" in The Danger Trail, July 1926
  • "Pippa Passes Out" in McClure’s, July 1927
  • "Torpedoed" in Battle Stories, Sept. 1927
  • "The Parrot Who Talked in Its Sleep" in Sea Stories, Jan. 1929
  • "The Suicide Fleet" in Under Fire Magazine, June 1929
  • "Merry Christmas, Ha! Ha!" in Sea Stories, Jan. 1930
  • "Absent, W.O.C." in Sea Stories, Feb. 1930
  • "Modernized Quotations" in The Saturday Evening Post, Oct. 4, 1930
  • "A Warm Spot in Paris" in La Paree Stories, Apr. 1934
  • "Then You Were Married" in The Household Magazine, June 1935
  • "Drowning Death Clutched My Throat" in Personal Adventure Stories, Sept. 1937
  • "Devil Save the Hindmost" in Breezy Stories, Oct. 1937
  • "We Had to Let 100 Men Drown" in Personal Adventure, Feb. 1938
  • "The Wages of Sin" in 10 Story Book, Sept. 1938
  • "Oh, Love Shall Find Me!" in All-Story Love, June 15, 1941
Schnetzler served as president of the Palos Verdes Community Arts Association and was a city councilman in Redondo Beach, California, prior to World War II. From 1944 to 1954, he and his wife resided at what was once and would became La Venta Inn in Palos Verdes Estates, California. The inn was designated as a historic landmark by the Rancho de los Palos Verdes Historical Society in 1978. Stanley S. Schnetzler died on August 3, 1955, at Corona Naval Hospital in Norco, California. He was sixty-one years old. His grave is located at Fort Rosecrans National Cemetery in San Diego.

Stanley S. Schnetzler's Story in Weird Tales
"Seignior Vanna's Jest" (May 1925)

Further Reading
"Out of the Depths" in The Stanford Illustrated Review, Nov. 1918, is available online.

Stanley S. Schnetzler in 1918.

La Venta Inn, Palos Verdes Estates, California. From 1944 to 1954, it was the home of Stanley S. Schnetzler and his family.

Text copyright 2015 Terence E. Hanley

Verne Chute (1917-1986)

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Aka Dustin C. Scott
Author
Born 1917, near San Francisco, California
Died October 1, 1986, Sun City, Arizona

Verne Chute was born in 1917 near San Francisco. He was a prolific author of crime fiction, science fiction, Westerns, and books for young people and contributed to Ace-High Western Stories, Big-Book Western Magazine, The Blue Book Magazine, Detective Novels Magazine, .44 Western Magazine, LibertyNew Western, Short StoriesThrilling Detective, and other magazines from 1936 to 1955. The Internet Speculative Fiction Database lists just two of his stories (and a letter in "The Eyrie"):
  • "Flight into Destiny" in Weird Tales (Mar. 1943)
  • "The Mad Domneys" in Startling Stories (Fall 1944; reprinted in Science Fiction Yearbook, No. 2,1968)
After World War II, he had three of his novels in paperback (shown below),
  • Flight of an Angel (1946)
  • Wayward Angel (1948)
  • Sweet and Deadly (1952)
plus two children's books in the the Mojave Joe series (1950 and 1952), the second with the pseudonym Dustin C. Scott. In addition, he had two of his stories adapted to television, "The Queen's Bracelet" for Studio 57 (1956) and "Le Funiculaire des anges" (which I believe translates into "Flight of Angels") for the French TV series Série noire (1988).

Verne Chute died on October 1, 1986, in Sun City, Arizona.

Verne Chute's Story and Letter in Weird Tales
"Flight Into Destiny" (Mar. 1943)
Letter in "The Eyrie" (Mar. 1943)

Further Reading
There is an entry on Verne Chute in the French-language version of Wikipedia, here. That entry lists Chute's books and some of his stories. You will find another list of his stories at The FictionMags Index.




Text copyright 2016 Terence E. Hanley

Rex Dolphin (1915-1990)

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Reginald Charles Dolphin
Aka Peter Saxon, Desmond Reid
Author, Accountant
Born March 15, 1915, Pershore, Worcestershire, England
Died February 1990

Reginald Charles Dolphin, who wrote under the name Rex Dolphin and used the pseudonyms Peter Saxon and Desmond Reid, was born on March 15, 1915, in Pershore, Worcestershire, England. He worked as an accountant with a British television and electronics firm. He also wrote science fiction and detective stories:

  • "Easy Money" in Detective Weekly (Nov. 27, 1937)
  • "Off the Map" in Weird Tales (July 1954)
  • The World-Shakers! (as Desmond Reid, 1960)
  • "The Phantom Guest" in Edgar Wallace Mystery Magazine (Aug. 1964)
  • "The Last Bandits" in Edgar Wallace Mystery Magazine (Sept. 1964)
  • "Angel" in Edgar Wallace Mystery Magazine (Oct. 1964)
  • "No Margin for Error" in Edgar Wallace Mystery Magazine (Aug 1965)
  • The Vampires of Finistere #4, The Guardians (as Peter Saxon, 1970)

With his lone story for Weird Tales in July 1954, he squeezed in under the wire, for the magazine ceased publication with its next issue.

Rex Dolphin died in February 1990. I know nothing else about him. I hope a British science fiction fan can dig up more.

Rex Dolphin's Story in Weird Tales
"Off the Map" (July 1954)

Further Reading
None known.

The Vampires of Finistere #4, The Guardians (1970), with Rex Dolphin writing as Peter Saxon and with cover art by Jeff Jones.
Here in a British edition (1972),
Here in French,
And here Dutch (1975).

Text copyright 2016 Terence E. Hanley

Fire or Ice?

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In writing this blog, I am working with the idea that weird fiction and fantasy are genres about the past, while science fiction is a genre about the future. Weird fiction and fantasy are, I think, essentially romantic, also essentially conservative and backward-looking. They are descended in a large part from the Gothic romance, an eighteenth-century genre and a reaction to eighteenth-century reason and rationality. They tend to be about guilt, loss, transgression, moral or physical decay, and a falling away from some previous higher state. At their extreme, they are about extreme decadence, chaos, and catastrophe. The Lord of the Rings trilogy and Strange Eons by Robert Bloch are examples.

Science fiction, on the other hand, is essentially reasoned, rational, forward-looking, and progressive. Though also descended in part from the romance--the genre was called "scientific romance" in its early stages--science fiction pretty well broke with the romantic, Gothic, or non-rational past during the twentieth century. Even when it is set in the past or present, science fiction tends to be about the future--about progress and the limitless benefits of ever-advancing science and technology. At its extreme, it is about Dystopia, apocalypse, or dissolution. Nineteen Eighty-Four by George Orwell and On the Beach by Nevil Shute are examples.

At one time, there wasn't much of a difference between weird fiction or fantasy and science fiction. Frankenstein by Mary Shelley and "The Facts in the Case of M. Valdemar" by Edgar Allan Poe are both Gothic and scientific--or at least protoscientific--in their mood and subject matter. Both came before real-world science was fully developed, however, before the seemingly irreconcilable split between the romantic and the rational occurred. Now, though, there seems to be a synthesis taking place, and it seems to have been going on since at least the early 1980s, about the time, by no coincidence, that science fiction began dying once again as it had done before. That development brings up questions. For example, can the extremes of weird fiction or fantasy lead to the extremes of science fiction? Is it possible for the world to be both decadent and progressive? Can a society be both wildly irrational and thoroughly well ordered? In other words, is a Gothic Dystopia possible?

* * *

On January 7, 2015, the same day that Islamic terrorists murdered the staff of Charlie Hebdo in Paris, the publishing house Flammarion, also of Paris, issued Soumission, a novel by Michel Houellebecq. Soumission is set in the future, the near future to be sure, but the future nonetheless. I believe that makes it a work of science fiction. A year ago this week, Mark Lilla wrote about Soumission in The New York Review of Books. His review is entitled "Slouching Towards Mecca," and it is dated April 2, 2015. You can read it by clicking here. The review is lengthy but rich and readable. I can't say anything more about the book than what Mr. Lilla has said, as I have not read it.

The protagonist of Soumission is named François, and he is a professor of literature at the Sorbonne. In the year 2022, a Muslim political party, aligned with the Socialist party so that the Socialists can thwart the so-called right-wing party, comes to power in France. By turns, the nation is Islamicized, not by violence but by--what else--submission. By Mr. Lilla's description, there is little or no resistance, in fact no will to resist, including and especially in François. There are rumors of fighting between French nationalists and Islamists, but, in Mr. Lilla's words, "newspapers worried about rocking the multicultural boat have ceased reporting such things. At a cocktail party he [François] hears gunfire in the distance, but people pretend not to notice and find excuses to leave, so he does too." I am reminded of the restaurant scene in Brazil--and of our current President, who this week censored the comments of his French--yes, French--counterpart regarding Islamist terrorism.

Mark Lilla describes the protagonist of Soumission:
François is shipwrecked in the present. He doesn't understand why his students are so eager to get rich, or why journalists and politicians are so hollow, or why everyone, like him, is so alone. He believes that "only literature can give you that sensation of contact with another human spirit," but no one else cares about it. His sometime girlfriend Myriam genuinely loves him but he can't respond, and when she leaves to join her parents, who have emigrated to Israel because they feel unsafe in France, all he can think to say is: "There is no Israel for me."
François has a religious or mystical experience but then dismisses it with the impulses of a materialist: a spell of hypoglycemia has brought it on. In the end, he, too, submits, and converts to Islam.
Soumission [Mark Lilla writes] is not the story some expected of a coup d'état, and no one in it expresses hatred or even contempt of Muslims. It is about a man and a country who through indifference and exhaustion find themselves slouching toward Mecca. There is not even drama here--no clash of spiritual armies, no martyrdom, no final conflagration. Stuff just happens, as in all Houellebecq's fiction. All one hears at the end is a bone-chilling sigh of collective relief. The old has passed away; behold, the new has come. Whatever.
The reviewer has a name for it: "Michel Houellebecq has created a new genre--the dystopian conversion tale."

So is a dystopian conversion tale a synthesis of backward-looking and forward-looking, of conservative and progressive, of the Gothic and the scientific? I'll leave that question unanswered.

* * *

In its November 16, 2015, issue, Time reviewed the English translation of Soumission, retitled Submission. The author is Daniel D'Addario. I'll bring up only a few of points from his review. First, Mr. D'Addario quotes the protagonist of Submission: "There was no reason that I should be spared from grief, illness, or suffering. But until now I had always hoped to leave this world without undue violence." (I would suggest that he seeks to leave this world without having lived.) Next, "the book ends with the professor's conversion to Islam, about which he feels little but a nihilistic comfort at having behaved in the socially correct manner." (Emphasis added.) Finally: "It's not Muslims whom Houellebecq is scared of. It's the future." That's hardly the attitude of a proper writer of science fiction, but it's not out of bounds for a conservative writer of weird fiction or fantasy. So which is Soumission, conservative or progressive? Maybe it defies categorization. Or maybe it is in fact a synthesis. By the way, M. Houellebecq has written science fiction. He also wrote an essay called "H. P. Lovecraft: Contre le monde, contre la vie," published in 1991.

* * *

Now another quote from Mark Lilla:
For all Houellebecq's knowingness about contemporary culture--the way we love, the way we work, the way we die--the focus in his novels is always on the historical longue durée. He appears genuinely to believe that France has, regrettably and irretrievably, lost its sense of self, but not because of immigration or the European Union or globalization. Those are just symptoms of a crisis that was set off two centuries ago when Europeans made a wager on history: that the more they extended human freedom, the happier they would be.
Here again, I think, is a difference between the Conservative and the Progressive: Progressivism is essentially a quest for the perfect society, for only in a perfect society can the individual be happy. A perfect society--in other words, a Utopia--requires that the shackles of the past be thrown off. That's what the Progressive or Leftist defines as freedom. A perfect society is also of course a perfectly ordered society--in other words, a Dystopia. To the extreme Progressive, i.e., the Totalitarian seeking perfect order, freedom--true freedom bestowed by our Creator and not by the State--is intolerable because it is disorderly or even chaotic. The Conservative, being essentially non-rational, is not uncomfortable with the disorder or chaos of freedom. The Conservative also understands that there can be no guarantee of happiness in this world, only the right to pursue it.

* * *

I have written in the past week or so about the situation in Europe. I should clarify that I don't think that Muslims in Europe are the problem. They are only a symptom of a problem created wholly by Europeans. As I wrote, if it were not Islam, it would be something else. Here is an enlightening quote from Peter Hitchens, from an opinion piece called "How I Am Partly to Blame for Mass Immigration," dated April 1, 2013, and originally in The Daily Mail (here):
When I was a Revolutionary Marxist, we were all in favour of as much immigration as possible. 
It wasn't because we liked immigrants, but because we didn't like Britain. We saw immigrants--from anywhere--as allies against the staid, settled, conservative society that our country still was at the end of the Sixties. 
As in the novel Soumission, leftists in the 1960s attempted to ally themselves with non-Europeans (or at least non-Britons) so as to deny power to the people for whom they felt real antipathy, i.e., their own conservative countrymen. It seems to me that people like Mr. Hitchens (in his younger days) would sooner see Europe destroyed than for it to live--freely, I might add--with conservatives in its midst, let alone in power. To them, immigrants are the myrmidons to be used for the destruction of the opposition. The mistake that people like Mr. Hitchens (in his younger days) make is to think that they can control a population that: a) Outnumbers them; b) Is reproducing faster than they are (not a hard thing to do); c) Fundamentally disagrees with them on all issues of significance; and, most importantly, d) Is not old, tired, worn out, bored, or lacking in confidence, passion, conviction, or vigor, in other words, not like François in Soumission and countless other Europeans. As I have written before, leftists in Europe are like Mensheviks, and they will be wiped out by the true believers they have invited into their midst.

* * *

I wrote that Europeans appear to be suicidal. I meant that they are suicidal in reference to their society, culture, and civilization. Individually, they are without a doubt suicidal. Here is the abstract of an article called "Give Me Liberty and Give Me Death: Belgium's Brave New Euthanasia Regime" by Robert Carle, dated September 8, 2015, and posted on the website of The Public Discourse of The Witherspoon Institute (here):
Belgium has the most permissive euthanasia laws in the world, and one of every twenty deaths in Belgium is now deliberately caused. Suicide is becoming a moral obligation in a culture that promotes euthanasia as a dignified exit that offers relief to caregivers.
And a quote from the main body:
Jan Bernheim, a professor of medicine at the Free University of Brussels, sees euthanasia as part of a philosophy of autonomy in which people improve the objective conditions for happiness. "There is an arrow of evolution that goes toward ever more reducing of suffering and maximizing of enjoyment," Bernheim wrote. Belgian philosopher Etienne Vermeersch writes that Belgium's efforts to increasing the store of human happiness and decrease suffering places that country, "ethically, at the top of the world."
Note the echoes from previous quotes from and about the novel Soumission. Note also the horrifying moral inversion that places Belgium, because of its embrace of euthanasia, "ethically, at the top of the world." If Belgium is at the forefront of euthanasia, then it is also at the forefront of a nihilist cult of death and self-destruction. It can't be any wonder at all that a suicide bomber would have so little respect or regard for the lives of Belgians--or Europeans at large--when they cannot bring forth even a pisspot full of it for themselves. 

Please excuse my French.

* * *

Finally, more works of the artist:

The Second Coming
by William Butler Yeats

Turning and turning in the widening gyre   
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere   
The ceremony of innocence is drowned;
The best lack all conviction, while the worst   
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.   
The Second Coming! Hardly are those words out   
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert   
A shape with lion body and the head of a man,   
A gaze blank and pitiless as the sun,   
Is moving its slow thighs, while all about it   
Reel shadows of the indignant desert birds.   
The darkness drops again; but now I know   
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,   
And what rough beast, its hour come round at last,   
Slouches towards Bethlehem to be born?

Fire and Ice
by Robert Frost

Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.

Original text copyright 2016 Terence E. Hanley

John Murray Reynolds (1900-1993)

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Author, Shipping Executive, Naval Officer
Born 1900, New York, New York
Died July 6, 1993, Deerfield Beach, Florida

John Murray "Jack" Reynolds is an example of a man who lived in the upper levels of society, yet wrote pulp fiction and was unashamed to do it. He was born in 1900 in New York City and graduated from Princeton University in 1922 with a degree in geology. At Princeton, he was a member of Cloister Inn, Clio Hall, and the rifle and pistol team. Once out of school, Reynolds got a job with the Munson Steamship Line and spent a year in Cuba before moving to the main office in New York City. In 1933, he became vice-president of the Sword Steamship Line. In 1940 he resigned his position for a commission in the U.S. Navy. Reynolds worked in intelligence and counterintelligence and spent three years in London, where he played a role in the Normandy invasion. The Princeton Alumni Weekly said of him, "Jack was also reputed to have had the largest mustache in the navy."

Reynolds separated in 1946 with the rank of commander. Upon leaving the Navy, he entered the ship brokerage business. In 1963, he founded and became first president of the Society of Maritime Arbitrators of New York. He was also associated with W.K. Proom & Company and Harvey Bryant Company, and was owner of the Meridian Marine Corporation.  

And through much of that, he wrote pulp fiction.

According to an obituary (see links below), John Murray Reynolds wrote 150 stories stories. These were published in Adventure, Boys' Life, Cosmopolitan, Five-Novels Monthly, Frontier Stories, Golden Fleece, Indian Stories, Munsey's, Sea Stories, and other magazines. He also authored seven books. A list of his stories is in the collections of the Princeton University libraries. (See below.) The FictionMags Index and the Internet Speculative Fiction Database list his stories as well. One that has seemingly slipped through the cracks is "The Dark Planet," a four-part serial in Boys' Life in 1935.

Reynolds' stories in the genres of science fiction and fantasy:
  • "The Devil-Plant" in Weird Tales (Sept. 1928)
  • "The Celadon Vase" in Weird Tales (Mar. 1929)
  • "The Dark Planet" (four-part serial) in Boys' Life (Mar.-June 1935)
  • "Ki-Gor: King of the Jungle" in Jungle Stories (Winter 1938; reprinted in Summer 1948) 
  • "Puppets of the Murder Master" in Bull's-Eye Detective (Fall 1938)
  • "Forest of Evil" in Weird Tales (Apr. 1938)
  • "Peace on the Sea" in Golden Fleece (Jan. 1939)
  • "The Golden Amazons of Venus" in Planet Stories (Winter 1939)
  • "Goddess of the Moon" in Planet Stories (Spring 1940)
  • "Soul of Ra-Moses" in Weird Tales (May 1940)
His books include Bugles at Midnight (1931), The Guns of Yorktown, illustrated by Manning de Vere Lee (1932), and The Private Life of Henry Perkins (1947).

John Murray Reynolds died on July 6, 1993, at age ninety-two in Deerfield Beach, Florida. His ashes were scattered at sea.

John Murray Reynolds' Stories in Weird Tales
"The Devil-Plant" in Weird Tales (Sept. 1928)
"The Celadon Vase" in Weird Tales (Mar. 1929)
"Forest of Evil" in Weird Tales (Apr. 1938)
"Soul of Ra-Moses" in Weird Tales (May 1940)

Further Reading
"John Murray Reynolds '22 Collection: A Checklist" compiled by Bruce J. Wasser, Princeton University Library, 1968, here.
"John Murray Reynolds, 92, Dies" by Journal of Commerce Staff, Journal of Commerce, July 8, 1993, here.
"John Murray Reynolds, Shipping Executive, 92," New York TimesJuly 10, 1993, here.
"John M. Reynolds ’22," Princeton Alumni WeeklyOct. 13, 1993, here.

The Guns of Yorktown by John Murray Reynolds (1932), with illustrations by Manning de Vere Lee.

A photo of John Murray Reynolds on his eightieth birthday, from the Princeton Alumni Weekly, November 3, 1980, page 32. 

Text copyright 2016 Terence E. Hanley
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