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Welcome, Readers of Weird Tales

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Weird Tales, the magazine that never dies, is still in existence and has recently published two new issues under its new editor, Marvin Kaye. Weird Tales has a website, an innovation that would have been inconceivable ninety-one years ago when the magazine began. I have begun as a guest blogger on that website. My first article, "They Should Have Been in Weird Tales," began yesterday. You can read it at this URL:


"They Should Have Been in Weird Tales" is a three-part article introducing the writers that Jacob Clark Henneberger hoped to have in his magazine but who never contributed to Weird Tales. I have written about Hamlin Garland first. Articles about Emerson Hough and Ben Hecht will follow. Eventually, all the articles I write for the Weird Tales website will show up here. In the meantime, you can follow the link. And for readers who are arriving here from the Weird Tales website, Welcome, and Happy Reading.

Copyright 2014 Terence E. Hanley

Charles Christopher Jenkins (1882-1943)

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Journalist, Editor, Author
Born September 17, 1882, Hamilton, Wentworth, Ontario, Canada
Died November 18, 1943, Toronto, Ontario, Canada

Charles Christopher Jenkins was born on September 17, 1882, in Hamilton, Ontario. At the time of his wedding in 1908, Jenkins was working as city editor of the Chatham Daily Planet. In the early 1920s (perhaps when the Planet ceased publication in 1922), he moved on to the general interest magazine Maclean's, based in Toronto, and from there to the Toronto Globe and Mail newspaper. In addition to his journalistic work, Jenkins wrote fiction. A list of his stories from The FictionMags Index:

  • "The Yap" with Epes Winthrop Sargent in The All-Story (June 1912)
  • "King of the Trails" in Top-Notch (Apr. 15, 1919)
  • "The Traitor Within" in Argosy (Oct. 4, 1919)
  • "The Man Beneath" in Argosy (Oct. 25, 1919)
  • "The Bayonet of Henry Laberge" in Argosy (Feb. 21, 1920)
  • "A Triangle in Sacks" in Maclean’s (Aug. 15, 1927)

Charles C. Jenkins also wrote a novel, The Timber Pirate, published in 1922. He dedicated that book to his wife, Edith Goldworth Eberts (1882-1975), a descendant of Hermann Melchior Eberts (1753-1819), who was himself descended from Austrian nobility. Jenkins wrote one story for Weird Tales, "The Luster of the Beast," from March 1926. He died on November 18, 1943, in Toronto.

Charles Christopher Jenkins' Story in Weird Tales
"The Luster of the Beast" (Mar. 1926)

Further Reading
You can see Jenkins' family tree at this URL:


From there, you can follow a link to a poorly formatted account of the life of Jenkins' wife. That account includes some information on Jenkins and his career.

An undated newspaper photograph of Charles Christopher Jenkins broadcasting on CFRB, a Toronto radio station that started operations in 1927.

Text and captions copyright 2014 Terence E. Hanley

Josie McNamara Lydon (1865-1948)

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Poet, Lyricist
Born September 7, 1865, Canada
Died March 12, 1948, Los Angeles, California

Josephine McNamara, nicknamed Josie, was born on September 7, 1865, in Canada, and  arrived in the United States in 1868. Her husband was Patrick R. Lydon, a West Virginian. The Lydons lived in Denver and Englewood, Colorado, in Silver City, Idaho, and in Glendale, California.

Josie was a poet and lyricist. She wrote the words for "God Guide Our President" (1915). The music was provided by ragtime composer Theodore H. Northrup (1866-1919). She was published in Evenings with Colorado Poets: An Anthology of Colorado Verse, edited by Francis Shanor Kinder and Frank C. Spencer (Denver: World Press, 1926) and in Weird Tales. Her lone poem for the magazine was "White Lilies" from December 1927. Josie McNamara Lydon died on March 12, 1948, in Los Angeles, California, and was buried at Forest Lawn Memorial Park in Glendale.

Josie McNamara Lydon's Poem in Weird Tales
"White Lilies" (Dec. 1927)

Further Reading
None known.

Text and captions copyright 2014 Terence E. Hanley

Grace Keon (1873-?)

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Pseudonym of Mary Grace Wallace Doonan
Aka G.K. Doonan, Mary Wallace
Author, Poet, Playwright, Proofreader
Born October 1873, New York
Died Unknown

Grace Keon was a pseudonym of Mary Grace Wallace Doonan, an American author born in New York to Irish-American parents. Her father was William Wallace, a driver; her mother was Ann Keon, from whom Grace derived her nom de plume. Grace Keon was also known as G.K. Doonan and Mary Wallace. Mary Grace, who went by Grace, was born in October 1873, probably in New York City.

Grace worked as a proofreader early in life and became a published author as early as 1904 with her book The Ruler of the Kingdom and Other Phases of Life and Character. She followed that with Not a Judgment (1906) and The Life on Earth of Our Blessed Lord, Told in Rhyme, Story and Picture for Little Catholic Children (1913). Grace Keon specialized in Catholic literature and had several stories published in Catholic World and Extension Magazine from 1915 to 1933. Her other works included The Ruby Cross (a mystery, 1917), The Tiger of the Desert (a play, 1917), Just Happy: The Story of a Dog--and Some Humans (1920), Broken Paths (1923), The High Road (1930), Stars in My Heaven (1941), The Story of Doctor King (1944), and Love Is Strong (date unknown).

Grace Keon did not contribute to Weird Tales. However, she wrote three stories for Oriental Stories/The Magic Carpet Magazine in 1932-1933. "The Dance of Yesha" was reprinted in The Daily Mail on October 12, 1935.

Grace Doonan was married to James F. Doonan, a sales manager for a publication. I'm afraid I don't know her date or place of death.

Grace Keon's Stories in Oriental Stories/The Magic Carpet Magazine
"The Dance of Yesha" in Oriental Stories (Winter 1932)
"The Maid of Mir" in The Magic Carpet Magazine (Jan. 1933)
"The Gardens of the Nawwab" in The Magic Carpet Magazine (Apr. 1933)

Further Reading
Nothing of note that I could find.


Text and captions copyright 2014 Terence E. Hanley

Marietta Hawley (1836-1926)

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Pseudonym of Marietta Holley
Aka "Josiah Allen's Wife"
Poet, Author, Humorist, Music Teacher
Born July 16, 1836, near Adams, Jefferson County, New York
Died March 1, 1926, near Pierrepont Manor, Jefferson County, New York

I have pored through the list of writers who contributed to Weird Tales, and I thought I had found all of its writers of the nineteenth century. Now another turns up. I guess this is why it's called research.

The November 1927 issue of Weird Tales closed with a long poem called "The Haunted Mansion" by Marietta Hawley. That name would not have been familiar to readers, for it was an old pseudonym of an author who had passed away the year before at age eighty-nine. Her poem would not have been familiar, either, for it was already six decades old, having originally appeared in 1867 in Peterson's Magazine as "The Haunted Castle." The author's real name, Marietta Holley, would likely have been unknown as well. And perhaps only a few readers would have remembered her nom de plume, "Josiah Allen's Wife." Nonetheless, at one time, Marietta Holley was one of the most popular writers in America.

Marietta Holley was born on July 16, 1836, near the town of Adams in Jefferson County, New York. Called "the female Mark Twain," she was younger than old Sam Clemens by just eight months. Like him and other American humorists of the nineteenth century ("Josh Billings,""Petroleum V. Nasby"), Marietta Holley used a pseudonym in her popular writings. She began as "Marietta Hawley," a poet, but with the publication of My Opinions and Betsey Bobbet's (1872), she became known as "Josiah Allen's Wife." Over the next four decades, Marietta Holley wrote more than two dozen books. Ten were in her very popular "Samantha" series, Samantha being Mrs. Josiah Allen and the narrator of the books.

The New York Times called the Samantha series "beloved" by readers of the 1880s through the early 1900s, yet Marietta was little remembered even late in her own lifetime. My library is small, but I have not found her in The Popular Book by James D. Hart (1950) or The Popular American Novel, 1865-1920 by Herbert F. Smith (1980). Nor have I found her in American Humor by Constance Rourke (1931), The Rise and Fall of American Humor by Jesse Bier (1968), or The Comic Spirit in America edited by John K. Massey (1969). Then I looked in the book Laughing Their Way: Women's Humor in America by Martha Bensley Bruère and Mary Ritter Beard (1934), and there she is--though only briefly (and, incidentally, in a section called "Feminists"). The point of all this is that the writings of Marietta Holley, so popular in their day, quickly passed from memory after her death. Kate H. Winter has helped to revive the memory of "Josiah Allen's Wife" in Marietta Holley: Life with "Josiah Allen's Wife", originally published in 1984 and more recently in a paperback edition.

Marietta Holley died on March 1, 1926, thus she lived into the Weird Tales era, though not long enough to see her poem published in the November 1927 issue. That poem, again, originally entitled "The Haunted Castle," was reprinted in Weird Tales as "The Haunted Mansion." I can't say why. In any case, here it is in its entirety.

The Haunted Castle
by Marietta Holley
(reprinted in Weird Tales as "The Haunted Mansion")

It stands alone on a haunted shore,
With curious words of deathless lore
On its massive gate impearled;
And its carefully guarded mystic key
Locks in its silent mystery
From the seeking eyes of the world.

Oft do its stately walls repeat
Echoes of music wildly sweet
Swelling to gladness high-- 
With mournful ballads of ancient time,
And funeral hymns--and a nursery rhyme
Dying away in a sigh.

Pictures out of each haunted room,
Up through the ghostly shadows loom,
And gleam with a spectral light;
Pictures lit with a radiant glow,
And some that image such desolate woe
That, weeping, you turn from the sight.

Shining like stars in the twilight gloom
Brows as white as a lily's bloom
Gleam from its lattice and door;
And voices soft as a seraph's note,
Through its mysterious chambers float
Back from eternity's shore.

In the mournful silence of midnight air
You hear on its stately and winding stair
The echoes of fairy feet.
Gentle footsteps that lightly fall
Through the enchanted castle hall,
And up in the golden street.

And still in a dark forsaken tower,
Crowned with a withered cypress flower,
Is a bowed head turned away;
A face like carved marble white,
Sweet eyes drooping away from the light,
Shunning the eye of day.

And oft when the light burns low and dim
A haggard form ungainly and grim
Unbidden enters the door;
With chiding eyes whose burning light
You fain would bury in darkness and night,
Never to meet you more.

Mysteries strange its still walls keep,
Strange are the forms that through it sweep-- 
Walking by night and by day.
But evermore will the castle hall
Echo their footsteps' phantom fall,
Till its walls shall crumble away.

Original text copyright 2014 Terence E. Hanley

Fiswoode Tarleton (1884-1931)

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Author, Editor, Instrument Maker
Born August 14, 1884, Place unknown
Died April 2, 1931, near Bryson City, North Carolina

The 1929 city directory of Atlanta, Georgia, gives the following listings in exactly this order:
Tarleton Collier spl writer The Georgian Co
" Fiswoode r125 7th NE
The first man was newspaperman Edward Tarleton Collier, better known as Tarleton Collier and born on December 22, 1888 or 1889, in Mobile, Alabama. (1) The second was author and editor Fiswoode Tarleton, born August 14, 1884, in some unknown place. The compilers of that city directory obviously made a mistake, listing a man with the first name Tarleton immediately above a man with the last name Tarleton. Both were writers. Both shared the name Tarleton. The first question that leaps to mind is this: Did they know each other? I'll tell you right now, that question is trivial. A far better question is this one: How did the names of those two men, both of whom contributed to Weird Tales, end up in juxtaposition in a 1929 city directory? Do you see what I mean when I say the world is very often essentially weird? I set out to write about Fiswoode Tarleton. Now I am obligated to write about Tarleton Collier as well. Fiswoode first.

Fiswoode Tarleton was born on August 14, 1884. I have been unable to find him in census records. However, a man by that name filled out a draft card in Boston in 1918. He was then working as an instrument maker. Tarleton's headstone gives a birth date of 1890. That date appears to be merely an approximation, rushed through upon the author's sudden and unexpected death. But is it possible there were two men in the history of this country named Fiswoode Tarleton? It's possible, but an article from Poetry, 1921, announced the arrival of a new magazine of verse, called Voices and published in Boston, with Fiswoode Tarleton as associate editor. I think it's safe to assume that they were one in the same and that Tarleton was born not in 1890 but in 1884.

I don't know Fiswoode Tarleton's place of birth or much about his career, but by 1929, he was in Atlanta, Georgia, listed, if not living, next to Tarleton Collier. In addition to being associate editor of Voices, Tarleton was editor of The Modern ReviewHe also wrote short stories for Adventure, The American Magazine, The Bookman, The Century, Echo, The Golden Book Magazine, Good Housekeeping, McClure's Magazine, The Modern Review, Overland MonthlyPlain Talk, and Weird Tales. His story "Curtains" (or "Bloody Ground"), from McClure's Magazine (May 1928), won an O. Henry Award in 1928.

Fiswoode Tarleton may have been a Southerner, for he wrote a book, published in 1929, about the South. The book is called Bloody Ground, A Cycle of the Southern Hills. The New York Times had this to say about Bloody Ground:
The book flames and writhes. The pictures burn into the brain. One will encounter few books as unforgettable as "Bloody Ground." Fiswoode Tarleton, a Chaucer of the Southern hills [. . .] has transcribed a speech that will soon be lost, transfixed in flight a vanishing race, and written a cycle of stories which are both powerful and distinctive. (2)
Tarleton wrote a second book, Some Trust in Chariots, published in 1930. Unfortunately, his very promising career was nearing its end.

About this time of year in 1931, Fiswoode Tarleton went to visit with another writer named  Horace Kephart at Kephart's North Carolina home. On the evening of April 2, Kephart and Tarleton hired a taxi to drive them to a bootlegger's place near Cherokee. (This was still during Prohibition.) On the way back to Bryson City, the car overturned. The driver survived, but the two authors, Horace Kephart and Fiswoode Tarleton, were killed. Swain High School auditorium in Bryson City was full up on April 5 for the funeral, for Kephart (1862-1931) was a greatly admired writer and a lover of his adopted mountain home. He is remembered even today. And for some reason that may be lost, his guest, Fiswoode Tarleton, who was at the time of his death a resident of Decatur, Georgia, was buried with Kephart at Bryson City Cemetery. He was, then, once again placed next to a fellow writer.

Notes
(1) Collier died on June 4, 1970, in Fulton County, Georgia, and was buried in Fairburn, Georgia.
(2) New York Times, February 4, 1929, p. 63.

Fiswoode Tarleton's Story in Weird Tales
"The Blue Lizard" (June 1928)

Further Reading
If you do a  search for "Fiswoode Tarleton," Tarleton Collier," and especially "Horace Kephart," you will find many articles of interest on the Internet.

A gallery of covers of Adventure, one of the premium pulps, with Fiswoode Tarleton's byline on the cover.  The first is from 1925, the last from February 1, 1931, two months before the author's death.
Text and captions copyright 2014 Terence E. Hanley

Tarleton Collier (1888 or 1889-1970)

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Edward Tarleton Collier
Reporter, Editor, Author, Public Speaker, Penologist
Born December 22, 1888 or 1889, Mobile, Alabama
Died June 4, 1970, Fulton County, Georgia

Edward Tarleton Collier was born on December 22, 1888 or 1889, in Mobile and grew up in Montgomery, Alabama. Collier graduated from Auburn University in 1907, presumably with a bachelor's degree. He also received a master's degree from Auburn and studied at the University of Chicago. Collier was a newspaperman for more than a quarter century: editor of the Selma Journalreporter for, then editor of the Atlanta Georgian; then with the Chicago American, International News Service (I.N.S.), and by the mid 1940s editor of the Louisville Courier-Journal. Collier also worked for the Farm Security Administration in Montgomery, Alabama.

From 1914 to 1938, Tarleton Collier wrote for pulp and story magazines, including Baseball Stories, Breezy Stories, Brief Stories, The Midland, The Parisienne Monthly Magazine, The Smart Set, Snappy Stories, Telling Tales, and Young's Magazine. He wrote two stories for Weird Tales, "The Siren" from June 1923 and "Top of the World" from November 1935. Collier also wrote Georgia Penal System (1938), Penal System: A Reflection of Our Lives and Our Customs (1940), and Fire in the Sky (1941), a novel of the South. He died on June 4, 1970, in Fulton County, Georgia.

Tarleton Collier's Stories in Weird Tales
"The Siren" (June 1923)
"Top of the World" (Nov. 1935)

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


Text and captions copyright 2014 Terence E. Hanley

John Giunta Update

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A reader (also a writer), Christopher M. O'Brien, has kindly provided me with Sam Moskowitz's two-page personalized obituary of John Giunta from Luna Monthly No. 20 (January 1971). Sam Moskowitz may have his detractors, but to his credit, he wrote about people and events about which no one else has written. His obituary of John Giunta has as much personal information on the artist as anyone will ever know.

John Giunta did indeed pass away on November 6, 1970, at age fifty. Unless he was about to turn fifty-one at his death, that would make his birth year 1920. Maybe only the city or state of New York knows his birthdate. Giunta did not die alone, but he lived alone. As Sam Moskowitz wrote:
His death was in the all-too sad tradition of artists which has become almost stereotyped in fiction and moving pictures. He died nearly penniless, receiving public assistance and with art assignments rare and poorly paid. Though only 50, he looked nearly 65, and probably did not weigh much over 100 pounds at the time of his death.
Giunta suffered a stroke in his room at the Village Plaza Hotel in New York. He died eight hours later in the hospital.

"He was a gentle, soft-spoken, kindly, generous individual," Moskowitz wrote, "optimistically striving to better his fortunes throughout his entire life. He was always his own man, losing many important assignments rather than compromise his ideas."

 * * *

I listed Giunta's credits in my previous postings on him. There's one I missed however. In 1949, John Giunta edited a comic book called True Crime Comics. Among the contributors were Giunta's science fiction friends, Sam Moskowitz, Raymond Van Houten, and James V. Taurasi. Also among the contributors was Giunta's nephew, Aldo Giunta. Like his uncle, Aldo Giunta contributed to fan publications. He also had a story, "Jingle in the Jungle," published in If in June 1957.

* * *

In the same issue announcing the death of John Giunta, Luna Monthly also announced the death of the artist Steele Savage. Born in Michigan in 1900, Savage illustrated a number of books, including science fiction books by John Brunner and Robert A. Heinlein. He also contributed to Famous Fantastic Mysteries in the 1940s. Savage died on December 5, 1970. I was researching Savage's life well before I read of his death in Luna Monthly. My sense is that Steele Savage may have been another in a line of artists (or human beings in general) that is entirely too long: men and women who have lived lonely and very often desperate lives. The question is: Must the artist suffer so that he might create? There have been happy artists, artists with families. N.C. Wyeth is one who comes to mind (although he died suddenly and tragically). Even so, does the artist suffer so that the rest of humanity might gain some joy or pleasure from his work? Did H.P. Lovecraft practically starve himself so that we might have his stories to read? I'm not sure that such things are needful. It may be that the artist is a person who finds himself in a box of a certain kind (as we all do), and though he can escape one kind of box, he can't escape another. And so--despite his suffering and desperation, and very often by heroic effort--he creates.

The Rolling Stones by Robert A. Heinlein, with cover art by Steele Savage (1900-1970). Savage painted in a style that is at once dreamlike and hyperrealistic. That peculiar combination is sometimes referred to as magical realism and was popular in the 1930s, '40s, and '50s, especially in illustration and advertising. Simon Greco (1917-2005) was another practitioner of magical realism. If I remember right, The Rolling Stones has Tribble-like creatures, just in case you're putting together a list of influences on the TV show Star Trek

Thanks to Christopher M. O'Brien for providing the article from Luna Monthly.
Text and captions copyright 2014 Terence E. Hanley

Reaching Hands

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Reaching hands are something of a cliché‎, especially in movies. Artists and moviemakers use reaching hands to create a sense of mystery and suspense. But using reaching hands on a magazine cover serves another purpose: it allows the artist to pack a lot of stuff into his or her tableau, and whoever can't fit can at least get his hand into the picture. That's not always the case, but it happens often enough, and when it does, the composition suffers, as in Rankin's cover and Senf's cover from January 1931. Even Margaret Brundage was guilty in an otherwise fine cover from March 1937. In any case, the artists who contributed to Weird Tales relied on reaching hands for eleven covers in all. 

Weird Tales, April 1930. Cover story: "The Dust of Egypt" by Seabury Quinn. Cover art by Hugh Rankin. The first reaching hand cover doesn't quite fit the pattern, for the hand isn't obviously a threat.

Weird Tales, May 1930. Cover story: "The Brain Thief" by Seabury Quinn. Cover art by C.C. Senf. You almost get three for one in this picture: the guy in the turban has not one but two reaching hands. In the background is another reaching hand holding a sword. As you can see, sometimes the reaching hand is the hand of a good guy, but most of the time, it's the hand of a bad guy.

Weird Tales, January 1931. Cover story: "The Lost Lady" by Seabury Quinn. Cover art by C.C. Senf, whose weird menace cover has a little bit of everything: a beautiful and scantily clad woman, a green monster, a bald villain with a cat-o'-nine-tails, a reaching hand holding a pistol, and some bondage for those who favor that kind of thing. There's so much squeezed into the picture in fact that the hero is squeezed out. As always, Senf handled the female form, face, and hair very nicely and with good taste. It's pretty plain to me that Senf liked and respected women, even if he did tie them to a post on occasion. There are entirely too many artists who don't like or respect women, and they show it in their art.

Weird Tales, November 1931. Cover story: "Placide's Wife" by Kirk Mashburn. Cover art by C.C. Senf. From here on out, the reaching hands are bad hands, or at least they appear to be.

Weird Tales, December 1931. Cover story: "The Dark Man" by Robert E. Howard. Cover art by C.C. Senf. This may be the most well composed of all the reaching hand covers.

Weird Tales, July 1932. Cover story: "The Phantom Hand" by Victor Rousseau. Cover art by C.C. Senf. At last, the reaching hand has found its way into the title of a cover story!

Weird Tales, March 1935. Cover story: "Clutching Hands of Death" by Harold Ward. Cover art by Margaret Brundage. Here the reaching hands have become "clutching hands," and not just any clutching hands, but "clutching hands of death." 

Weird Tales, May 1935. Cover story: "The Death Cry" by Craig Kennedy. Cover art by Margaret Brundage. Finally, a man rather than a woman is in peril from the reaching hands.

Weird Tales, March 1937. Cover story: "Strange Orchids" by Dorothy Quick. Cover art by Margaret Brundage. Here the reaching hand is actually a shadow of a reaching hand. The shadow on the cover is a theme for another day. The woman coated in gold showed up later in James Bond's bed in Goldfinger. Margaret Brundage made nice use of the three primary colors here.

Weird Tales, May 1941. I believe the cover story is "There Are Such Things" by Seabury Quinn. The cover artist was Hannes Bok. Here the reaching hand imperils an effigy of the heroine instead of her real self. Bok's cover may fit into the reaching hand category only just barely.

Weird Tales, January 1951. Cover story: The Hand of Saint Ury" by Gordon MacCreagh. Cover art by Charles A. Kennedy. Ten years went by before the reaching hand showed up again. I think it's a bad hand. Just look at those nails. Plus, it's green. But I'm not sure. Note the skulls in the woman's eyes.

Text and captions copyright 2014 Terence E. Hanley

Johanson and the Monster

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The old saying is that life imitates art. In 1926, H.P. Lovecraft composed "The Call of Cthulhu," a story that would become a classic of twentieth century horror and fantasy. Published in Weird Tales in February 1928, "The Call of Cthulhu" is a kind of mystery in which a scientific investigator attempts to reconstruct the events of a time only recently past. The key piece of evidence in his reconstruction is the diary of a Norwegian sailor, Gustaf Johansen, who was there when Cthulhu awoke from his slumbers on the island city of R'lyeh. Johansen was the lone survivor of that encounter, but even he has succumbed to the influence of Cthulhu before the story ends.

The fainting narrator is a cliché in the writings of H.P. Lovecraft. Alternatively, the narrator is driven insane by his experience, sometimes temporarily, often permanently. Even if his insanity is only temporary, the narrator must lie abed before recovering himself. Gustaf Johansen is not the narrator of "The Call of Cthulhu," but of all the characters in the story, he comes in closest contact with its horrors. Made of sturdier stuff than the typical Lovecraftian narrator, Johansen nonetheless falls into a state of depression or despair after encountering Cthulhu. In the end, he dies mysteriously, almost certainly at the hands of cultists.

Four years after the publication of "The Call of Cthulhu," the Swedish overseer of a rubber plantation in the Belgian Congo reported an experience like that of Gustaf Johansen, though admittedly not by degree. His name was J.C. Johanson, and on a hunting trip in the Kasai Valley, he and his bearer encountered a monster out of the past. Described as a lizard sixteen yards long, the creature was devouring a rhinoceros when the two men came upon it. Johanson is supposed to have taken pictures of the creature. The two images circulating on the Internet have been shown to be fakes. In any event, Johanson's reaction is familiar to anyone who has read a story by H.P. Lovecraft:
The experience was too much for my nervous system. Completely exhausted, I sank down behind the bush that had given me shelter. Blackness reigned before my eyes. . . . I must have looked like one demented when at last I regained camp. . . . For eight days I lay in a fever, unconscious nearly all the time. (1)
Even Johanson's expressions--"Blackness reigned before my eyes"--echo writing from the pulps.

I have never seen a Tyrannosaurus rex eating a rhinoceros or for that matter a ham sandwich. I can't say what my reaction would be to such a thing. But pulp writers and moviemakers don't seem to have a lot of faith in the psychological strength and stability of their fellow human beings. If Johanson was laid low by the sighting of a dinosaur in the African jungle, I don't think he should have been in Africa in the first place, so far as it is from a fainting couch. In other words, Johanson's story sounds like a story. I wonder if the man himself ever existed. And if it was just a story, I wonder if the person who thought it up had read "The Call of Cthulhu" not long before.

Notes
(1) Quoted in Monsters and Mythic Beasts by Angus Hall (1975), p. 87.

Copyright 2014 Terence E. Hanley

Whence R'lyeh?-Part Two

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A couple of years ago, I played a little word game in which I derived the name of an imaginary place, R'lyeh, from that of a real place, Brooklyn. H.P. Lovecraft was familiar with both places: He created one and lived in the other. My word game was just that--a game. But for some time now, I have considered the idea that the name R'lyeh came from a certain other source. I may or may not be the first to propose a connection between the two.

R'lyeh is the name of the sunken city in which Cthulhu lies dreaming until the stars are right and he can awaken to reclaim the earth. In "The Call of Cthulhu" (written 1926, published 1928), R'lyeh is heaved up from the ocean floor by a powerful earthquake. Worldwide disturbances ensue before the city sinks again, presumably taking its lone inhabitant with it. For the moment we are safe.

Various people have proposed various sources of inspiration for "The Call of Cthulhu."Wikipedia lists some of them:

  • "The Kraken" by Alfred, Lord Tennyson (1830)
  • "The Horla" by Guy de Maupassant (1887)
  • "The Novel of the Black Seal" by Arthur Machen (1895)
  • The Story of Atlantis (1896) and The Lost Lemuria (1904) by William Scott-Elliott
  • The Gods of Pegāna (1905) and "A Shop in Go-By Street" (1919) by Lord Dunsany
  • The Moon Pool by A. Merritt (1919)

Note that almost all are works of the Victorian Era or by writers of the Victorian Era. Note also that all are works of fiction or verse except for William Scott-Elliott's books, which are pseudo-historical, or, more precisely, Theosophical. A tale hangs by those two notes.

Although Theosophy is supposed to have predated the Victorian Era, it is most closely identified with Madame Blavatsky (1831-1891), a Russian occultist and one of the founders of The Theosophical Society. (1) In turn, Madame Blavatsky is identified with her ideas about previous races and civilizations and about the sunken continents Atlantis and Lemuria. Theosophist William Scott-Elliot mapped those continents in his role as the cartographer and historian of places that never were. Even under Scott-Elliott's scheme, the sunken city R'lyeh would have been in a part of the Pacific Ocean distant from Lemuria.

H.P. Lovecraft knew of Theosophy and referred to its believers in the second paragraph of "The Call of Cthulhu":
Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden eons which chills me when I think of it and maddens me when I dream of it.
Richard S. Shaver (1907-1975) and Raymond A. Palmer (1910-1977), the originators of the so-called "Shaver Mystery," were almost certainly inspired by Theosophy as well. (2) Like Theosophy, The Shaver Mystery is a secret history of the earth and its races of men. And like Theosophy, The Shaver Mystery was inspired by a previous source.

In 1956, a guest interviewer on the Long John Nebel radio show asked Raymond A. Palmer if Edward Bulwer-Lytton's novel The Coming Race (1871) was a possible precursor to Shaver's stories of evil, subterranean Deros and beneficial Teros. Palmer admitted that the novel was in fact one precursor, but that The Coming Race is actually further evidence in favor of The Shaver Mystery and not merely a work of fiction. It's a curious and rather deft move to take a possible swipe and turn into a buttress for your own claims. But that's what Palmer--no fool to be sure--did.

If Shaver and Palmer swiped ideas from The Coming Race, they weren't the first to do so. In Isis Unveiled (1877) and The Secret Doctrine (1888), Madame Blavatsky herself claimed that Bulwer-Lytton's fictional subterranean race and their occult source of energy are essentially real. Through the works of nineteenth century Theosophists, Bulwer-Lytton's ideas were transmitted to the twentieth century, so far in fact that they were supposed to have been studied by Nazi occultists. We know that in part because of Willy Ley's article, "Pseudoscience in Naziland," which appeared in the May 1947 issue of Astounding Science Fiction. The Shaver Mystery was in full swing by then in the pages of Amazing Stories and Fantastic Adventures. Those two magazines were of course the main rivals to Astounding. They were also edited by Ray Palmer. Within a very short time, Raymond A. Palmer and John W. Campbell, the editor of Astounding, would embrace their own versions of pseudoscience (or pseudo-religion), for by the time "Pseudoscience in Naziland" was published, L. Ron Hubbard was already slouching towards Dianetics, and Kenneth Arnold was only a month away from seeing the first flying saucers.

As I have suggested, The Coming Race by Edward Bulwer-Lytton is a novel about a subterranean super-race in control of a powerful source of occult energy. And as I have pointed out, those ideas found their way into the beliefs of the Theosophists and other occultists. They also found their way into the pseudo-religions, pseudo-history, and pseudoscience of the twentieth century. Richard Shaver and Raymond Palmer knew about them. So did John W. Campbell and almost certainly L. Ron Hubbard. And of course they found their way into pulp fiction, more particularly, into "The Call of Cthulhu."The Coming Race by the way was reprinted under a more elaborate title, Vril, the Power of the Coming Race, for Vril was the name Bulwer-Lytton gave his imaginary source of energy. (3) The masters of that energy--Bulwer-Lytton's subterranean super-race--were called Vril-ya, a word echoed in the name of great Cthulhu's island city.

* * *

Before preparing this article, I had never read "The Kraken" by Alfred, Lord Tennyson. Now that I have read it, it's hard for me to believe that Lovecraft never read the poem or was not inspired by it in his writing of "The Call of Cthulhu." You can judge for yourself. Credit goes to Robert M. Price for making the connection.

The Kraken
by Alfred, Lord Tennyson

Below the thunders of the upper deep;
Far far beneath in the abysmal sea,
His ancient, dreamless, uninvaded sleep
The Kraken sleepeth: faintest sunlights flee
About his shadowy sides; above him swell
Huge sponges of millennial growth and height;
And far away into the sickly light,
From many a wondrous grot and secret cell
Unnumber'd and enormous polypi
Winnow with giant arms the slumbering green.
There hath he lain for ages, and will lie
Battening upon huge seaworms in his sleep,
Until the latter fire shall heat the deep;
Then once by man and angels to be seen,
In roaring he shall rise and on the surface die.

Notes
(1) The Theosophical Society was founded in New York City in 1875. Incidentally, Helena Petrovna Bavatsky shared her first two initials with Howard Phillips Lovecraft.
(2) As were Talbot Mundy, Robert E. Howard, and Clark Ashton Smith.
(3) According to William Scott-Elliott, Vril was also used to power aircraft in ancient Lemuria. In the twentieth century, believers in UFOs proposed something similar as the driving force behind flying saucers.


"Lemuria at its greatest extent," a map by or for William Scott-Elliott and The Theosophical Society. R'lyeh would have been in what is now the South Pacific, well south of Lemuria (orange on the map). 

Text and captions copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part One

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"We begin by denying all the old haunts and superstitions. Why shouldn't we? They belong to the era of cottage and castle. They can't take root in the new environment."

"The supernatural beings of a modern city? Sure, they'd be different from the ghosts of yesterday. Each culture creates its own ghosts."

--from "The Hound" by Fritz Leiber (Weird Tales, Nov. 1942)

A year and a half ago, I wrote about the problem of the weird tale, namely: How does an essentially Medieval genre remain relevant in a modern age? Consciously or not, Fritz Leiber, Jr., attempted a solution to that problem, especially in his stories "Smoke Ghost" (1941), "The Hound" (1942), and "The Dreams of Albert Moreland" (1945). (1) Leiber's solution was to recognize that, one, there will always be monsters, and, two, that the people of every age create monsters to suit their age, or, as one of the characters in "The Hound" says, "Each culture creates its own ghosts." To that end, Leiber created monsters for the early twentieth-century city--not the vampire, werewolf, witch, or ghost of the Middle Ages, but a sooty, smokey, black rag of a rooftop urban ghost; a slavering, pursuing hound, symbolic of the alienation, isolation, and horror of city life; and a powerful and terrifying chessplayer, representing a uniquely modern monster, the totalitarian dictator.

So Fritz Leiber, Jr., created monsters for his time. Those monsters represented some of the forces--science, reason, urbanization, mechanization, industrialization, totalitarianism--that slew the Medieval world and the monsters that haunted it. But in writing about Fritz Leiber and the problem of the weird tale, I overlooked something that deserves some scrutiny, for the world in which he and his monsters lived is now long gone. We no longer live in the era of the industrial city, just as we no longer live in the "the era of cottage and castle." Just as the werewolf and vampire of the Middle Ages is ill-suited to the twentieth century, so too are the monsters of the modern age ill-suited to our own time. So if the monsters of the twentieth century are as antiquated as the monsters of the Middle Ages--if "[t]hey can't take root in the new environment"--what will our monsters be? In other words, what is the monster of the twenty-first century?

Notes
(1) The quotes at the heading of this article and many more like them suggest that Leiber's attempts to solve the problem of the weird tale were in fact conscious.

Copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Two

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About half of the stories from Fritz Leiber's book Night's Black Agents (Berkley, 1978) were first published more than seventy years ago, and all but one are from the 1940s. The world in which he and his monsters lived is now mostly in ruins, the ruins mostly swept away and forgotten. If we in the twenty-first century are to have our monsters, they must be monsters for our time, just as Leiber's monsters were the embodiments of the terrors and anxieties of his own time. So if the monsters of a given age embody the spirit of that age, what then is the spirit of our age? That's not an easy question, and I won't hazard an answer just yet. It might be easier to make a list of candidates for monsters of the twenty-first century.

The supernatural monster is a thing of the past. It can't survive in world in which Scientism is the prevailing belief (1) unless it is given a scientific explanation. If that's the case, then our twenty-first century monsters must have scientific origins. (2) The scientific monster goes back as far as Mary Shelley's Gothic romance Frankenstein (1818) and perhaps a little before that, but only so far as the origins of what we call science. Monsters first imagined or encountered in the nineteenth century--robots, androids, cryptozoological creatures (or cryptids), invisible creatures, aliens from other planets--are all scientific in origin. (3) There are at least two other types of monsters made possible by science and by the developments of the nineteenth century. Both are still with us. Both are candidates for the monster of the twenty-first century.

First, the psychopathic killer.


To be continued . . .

Notes
(1) A belief of religious scope and intensity. I have written before about the natural vs. the supernatural and the material vs. the mystical. See my postings on Richard Matheson and Fritz Leiber, Jr.
(2) I'm not sure that is the case, but for the sake of argument, I will just assume that it is.
(3) There were monsters of this type before the nineteenth century to be sure. After all, mechanical monsters appeared as early as the Classical era. However, without science, there can't be a scientific monster, and without a world steeped in science and Scientism, the scientific monster can't displace the supernatural monster.

Copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Three

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When I was a child, I watched monster movies every chance I got. Every Friday night, our local horror host, Sammy Terry, showed monster movies from the 1930s through the 1960s, and on Saturday nights, we were treated to Science Fiction Theater. (1) Then, in the late 1970s and early '80s, a new kind of horror movie showed up at the theater. Mad slashers and hackers--Michael Myers from Halloween (1978), Jason from Friday the Thirteenth (1980), and all their demented offspring--practically monopolized horror movies for years. I objected. My complaint was that these are not horror movies and that slashers and hackers are not monsters. In my mind, a monster is a vampire, a werewolf, a zombie, or a space alien, or a giant ant, tarantula, or preying mantis. A horror movie has a monster, not a human being, as its villain or antagonist. I was not interested in guys with knives. (2) I felt that the essence of horror or terror is not blood and guts but something else. But I was missing something, for the murderous psychopath is in fact a monster, and one of the few real kinds of monsters in human history.

In our scientific age--more accurately, in this age of Scientism--we see psychopathy as a mental illness or as an organic (in other words, material) phenomenon. The psychopath might cut people into pieces, but that's only because there is something wrong with his brain. In the Middle Ages and even into the twentieth century, people who cut, shredded, and consumed other people were called beasts, werewolves, or vampires. They were seen as evil, demonic, or possessed. Only in the nineteenth century, when psychology became a science of sorts, did the psychopath cross over from the realm of the supernatural or metaphysical into the realm of the material or scientific. The psychopath did another kind of crossing over as well. In the Middle Ages, he lived on the fringes of humanity, in a cave, deep in the woods, or in a hovel on the edge of settlement. (3) But in the nineteenth century--not coincidentally, towards the end of the nineteenth century--the psychopathic killer moved to the city, and there he found his natural home.

For most of the history of humanity, we lived on farms and in rural areas. There were cities of course, and people were naturally drawn to cities, but life in the city as we know it was not possible until the mass movements and mass developments of the nineteenth century--mass production, mass transportation, mass education, mass employment, mass organization, mass media, and so on. The psychopathic killer had a hard time of it in his hometown. There would have been little in the way of privacy. Everyone knew everyone else. Moreover, the psychopath would not have easily found prey among people who were intimately connected to family, friends, church, and society. But the developments of the nineteenth gave the psychopath all he needed, for in a city of masses, he found secrecy, privacy, and anonymity for himself, and the loneliness, isolation, and alienation he needed in his prey. By the 1880s, it seems, large cities reached critical mass. In 1888, Jack the Ripper butchered five women in London. Five years later, H.H. Holmes dissected, dissolved, and otherwise mutilated and murdered at least twenty-seven in his Chicago house of horrors. The day of the serial killer had arrived, and as the twentieth century progressed, he became ever more notorious, a true monster for our times. He is still with us and not likely to go away anytime soon, for, again, he thrives on the secrecy, privacy, anonymity, isolation, and alienation of modern life, especially in cities and especially among the lives of the lonely and desperate masses.

To be continued . . .

Notes
(1) Both were on WTTV Channel 4 out of Bloomington and Indianapolis, one of the premiere independent TV stations in the United States. Pay TV of today is basically Channel 4 of old: old movies, old television shows, old cartoons, sports, talk shows, news, etc.
(2) I also objected to the stupidity of the characters, who, when faced with the realization that a crazy guy with a knife is on the loose, decide to split up. And I objected to the subtext for so many of those movies: the independent teenagers, experimenting with sex and other transgressions, must be punished by being cut into pieces. It's a kind of Puritanism that, I suppose, goes back to our origins as a nation.
(3) That at least is the popular notion. There were psychopaths or serial killers among the well born as well. Elizabeth Báthory is the obvious example. In any case, it's worth noting that the historical monster also inhabited the outer edges of the world. It's no coincidence that the psychopath--the Medieval beast, vampire, or werewolf--did as well. I will have more on all that by the end of this series of articles.

Copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Four

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At first glance, the psychopathic killer would appear to be a good candidate for the monster of the twenty-first century, for he embodies to some degree the spirit of the age. In my previous posting, I tied the psychopathic killer or serial killer to the city, a place of loneliness, anxiety, and despair. (1) Jack the Ripper, H.H. Holmes, Peter Kürten (aka the "Vampire of Düsseldorf"), John Wayne Gacy, and Jeffrey Dahmer are examples of the urban serial killer. There are also serial killers in small towns and rural areas. And as Jim Morrison sang, there are killers on the road. Large cities inhabited by masses of isolated and desperate people are the natural hunting ground for the killer, but the anonymity and ease of travel in the United States, moreover, the vastness and loneliness of this great continent, also suit him well. Will Rogers said that we are the first nation in history to go to the poorhouse in an automobile. There are those among us who have driven their cars to houses of horror.

The psychopathic killer is scary for sure, but he has some problems, and not just in the obvious ways. First, there aren't many of him (we hope). He is also alone and isolated, without followers and recruits. And for all the power he exercises upon his victims and all the terror he invokes in the general public, he is in essence weak. As evidence, he preys upon the weakest and most vulnerable in society. Psychopaths may hunt among us, but they are also hunted. Jack the Ripper presumably got away. In today's world, it is harder for a serial killer to escape, especially with the advanced technology we have for catching him, such as DNA evidence, surveillance video, cell phones, and crime databases. Not every serial killer is caught, but those that are usually end up being put to death by a far more powerful State. If a monster is a powerful and enduring creature on the edges of the imagination, the psychopath doesn't amount to much. After he is gone, life goes on, and within a couple of generations, his name is largely forgotten.

There are of course other kinds of killers. They, too, are monsters. The mass murderer is one example. The political terrorist is another. Kermit Gosnell ran his own house of horrors in Philadelphia. He represents another kind of monster, one that operates, perhaps significantly, by the apathy, acquiescence, and even outright support of large numbers of people. All these types of monsters embody the spirit of our times in one way or another. All give warning of some kind, which was the original meaning of the word monster. All are aberrant, though maybe not for much longer. None, however, resonates in the way that the monsters of the past resonate. In the end, they may be too ordinary, even banal, for there have been killers among us since the beginning of time.

To be continued . . .

Notes
(1) I have been using the terms psychopath, psychopathic killer, and serial killer pretty well interchangeably. That may not be entirely accurate, but you get the idea.

Copyright 2014 Terence E. Hanley

Tellers of Weird Tales on the Weird Tales Website

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Douglas Draa, online editor of Weird Tales magazine, asked me some time ago to be a guest blogger on the magazine's website. I have written a series of articles called "They Should Have Been in Weird Tales," all based on the recollections of founder and publisher Jacob Clark Henneberger. Here are the links:





Next is Ben Hecht, and once the series is complete, I will post it here at Tellers of Weird Tales.

Copyright 2014 Terence E. Hanley

Weird Tales #362 Now Available

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Marvin Kaye, current editor of Weird Tales, calls his charge "the magazine that never dies." It's fitting, then, that the theme of the latest issue is "The Undead." Featuring stories by Elizabeth Bear, Ramsey Campbell, Ron Goulart, and Brian Lumley, and with an exclusive interview with Joyce Carol Oates, Weird Tales #362 (Spring 2014) is now available at the Weird Tales website, here. The front cover of the magazine will get plenty of exposure, but the back cover, a tribute to Richard Matheson (1926-2013) by Jeff Wong, is also worth a look.


Text copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Five

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The murderous psychopath has probably been around for as long as there have been people. A way of explaining him is another matter. Before the development of psychology and its promotion to a kind of science, the psychopath was explained as like a supernatural force. It would be silly now to say that Ted Bundy was a vampire or that Jeffrey Dahmer was a werewolf. But because the psychopath can now be explained as a material phenomenon, he has survived Fritz Leiber's "era of cottage and castle" and into the age of science.

It seems to me that the survival of the psychopathic killer as a monster for the modern age was made possible by mass developments of the nineteenth century. In fact, the psychopath has thrived because of mass developments, not least of which is mass disconnectedness of one person to another. There is another monster that has always been with us but was made fully possible only with mass developments of the nineteenth century. That monster, whose face we recognize from the history of the murderous twentieth century, is the totalitarian.

The totalitarian impulse may very well arise from human nature. If that's true, then the totalitarian has always been and will always be with us. However, the totalitarianism of the twentieth century--exemplified in communism and nazism--may not have been possible before the nineteenth. The success of the psychopath, preying as he does upon urban populations, was not wholly possible before those populations reached critical mass during the late 1800s. And of course the existence of the psychopath would not have been tolerated before the explanation for his activities became materialistic or scientific. No one would have tried to understand him or sympathize with him. No one would have blamed his parents or, worse yet, society for his crimes. He would simply have been strung up or burned by an outraged populace. Likewise, the totalitarian, prior to the nineteenth century, would have been largely frustrated in his goal of overthrowing the world and remaking it in the image of his own private Utopia. (1) But with the mass movements of the nineteenth century, moreover, with the perceived triumph of science over faith, the doors to a totalitarian society were thrown open. Karl Marx (1818-1883), "a thorough-going materialist," went beyond Hegel, who "saw the universe as essentially spiritual." (2) Darwin (1809-1882) did away with special creation in favor of random mutation and a directionless process of natural selection. As the century turned, one to the next, Freud (1856-1939) laid the groundwork for a scientific--and ultimately, for some, materialist--interpretation of the human psyche. The fourth great revolutionary of the nineteenth century and the only one trained in the physical sciences, was, in strong contrast to the others, virtually unknown in his time and a man of faith, in fact a man of the cloth. This was Gregor Mendel (1822-1884). (3)

The point of all this is that if the totalitarian was a monster of the twentieth century and is a candidate for the monster of the twenty-first, he would first have been made possible by developments of the nineteenth. Those developments were mass developments involving industrialization, mechanization, and urbanization, as well as mass education, mass media, and so on. Mass developments are not enough, however. In order for the totalitarian to succeed, he must have a philosophy or ideology to support him and his efforts. Rousseau, Hegel, Marx, and men like them provided that philosophy. Also, the individual must be blotted out. He can have no special place in the eyes of God or his fellow men. Mass society has made that possible. More significantly, twin developments in philosophy and science have separated the individual from God and from his family, church, and tribe. He has been reduced to a cipher, submerged as an undifferentiable and easily expendable nobody among the masses, easy prey for the totalitarian and his supreme State, the means by which the totalitarian exercises his monstrousness upon his fellow human beings.

* * *

I would like to quote once more from Lenin by Michael Morgan (1971). Actually, this is a quote from a quote, one from Fathers and Sons by Ivan Turgenev (1862), in which the protagonist, Bazarov, goes with two young serfs to a marsh in search of frogs:

"For what do you want frogs, barin?" asked one of the lads. 
"To make them useful," replied Bazarov. . . . "You see, I like to open them, and then to observe what their insides are doing. You and I are frogs too, except that we walk upon our hind legs. Thus the operation helps me to understand what is taking place in ourselves." 
"And what good will that do you?" 
"This. That if you should fall sick, and I should have to treat you, I might avoid some mistakes." 
"Then you are a doctor?" 
"I am." (4)

Bazarov is in fact a medical student. He is also a nihilist--in the nineteenth century Russian sense of the word. I'm not sure what the connection is between nihilism and communism, but Lenin's biographer, Michael Morgan poses the question and allows the nihilists to answer:
How to rectify the social body? That was the problem. By revolution and science was the nihilist answer. (5)
Morgan continues a few pages later:
Marx always claimed that Marxist socialism was scientific: that it was based on a scientific diagnosis of the facts of life. . . . Correct diagnosis was vital, and just as the Christian doctors had been of great importance to the church in the early centuries of its history, so were Marx and his fellow "doctors" to the workers' international. (6)
It may or may not be symbolic for Bazarov to be a doctor, one who diagnoses problems--and presumably makes prescriptions for their treatment. In any case, when I read that passage, it makes me think of two things. First, it puts me in mind of the reduction of the human to the mere animal ("You and I are frogs too"), which can and should be made available for use by the one who does the reducing. We see that at work in our own society of today. More than that, I hear the voice of the psychopath--"You see, I like to open them, and then to observe what their insides are doing"--for cutting people to pieces is what the psychopath does, all, I sense, to find out what makes us human, in contrast to his own inhumanity. (7) These developments--revolution, nihilism, socialism, materialism, scientism, psychopathy, keen interests in medicine, philosophy, and genetics--ultimately totalitarianism--all came together in one of the most fearsome and horrifying monsters of the twentieth century, Doctor Josef Mengele, the Nazi "Angel of Death."

Notes
(1) The perpetrators of the French Revolution in its later stages gave it a shot, and although they failed, as all leftist revolutionists do in the end, they provided a template for totalitarian revolutions to come.
(2) The quotes are from Lenin by Michael Morgan (1971), p. 20. Both Marx and Hegel believed in the idea of historical "progress." That idea survives today and remains one of the most effective pieces of propaganda for those who wish to subjugate and enslave their fellows.
(3) Although he studied medicine and science, Charles Darwin was more properly a natural philosopher or natural historian. Freud, too, studied medicine, as well as philosophy and zoology, and graduated the university as a medical doctor. Marx was trained in law, though, like Freud, he enjoyed literature and philosophy. Gregor Mendel was a physicist, astronomer, meteorologist, and natural historian. His work alone among the four is scientific, meaning, it is observable, measurable, repeatable, and verifiable. Nazis, in their way, liked genetics. Communists did not, believing as they did that all human problems are caused by an imperfect society. Leftists of today have come around to genetics because it allows them to continue to excuse the individual from responsibility and accountability for his own actions. Nevertheless, leftists also still cling to Lysenkoism in a general sense, using science for political purposes.
(4) From Lenin, p. 12.
(5) p. 13.
(6) p. 22.
(7) If that murderous desire to see what makes us tick is what animates the psychopathic killer, then I think it safe to say that he, too, is a materialist.

Copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Six

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The Totalitarian Monster

"The Dreams of Albert Moreland," a short story by Fritz Leiber, Jr., written in the vein of H.P. Lovecraft, opens with the narrator's remembering the autumn of 1939, "not as the beginning of the Second World War, but as the period in which Albert Moreland dreamed the dream." Albert Moreland is a chess player, and in his dreams of that tragic season, he plays a nightly game against an unseen foe. His foe's key piece is one Moreland calls "the archer." The narrator, Moreland's friend, writes:
He [Moreland] described it as representing a kind of intermediate, warped life form which had achieved more than human intellectual power without losing--but rather gaining--in brute cruelty and malignity. . . .
Later, when the narrator himself sees a representation of the piece, he remarks on its "expression of bestial, supernatural malevolence." In his reaction to the physical appearance of "the archer," Albert Moreland revisits Leiber's thesis about the monsters of the past vs. the monsters of the present:
"God knows how my mind ever cooked up such a hideous entity," he finished, with a grin. "Five hundred years ago I'd have said the Devil put it there."
The significance of Moreland's nightly struggle is not lost on him or his friend. The narrator writes:
He [Moreland again] had traced a frightening relationship between the progress of the game and of the War, and had begun to believe that the ultimate issue of the War--though not necessarily the victory of either side--hung on the outcome of the game.
The game and the story play out to ambiguous endings, but then both take place at the outset of a war, the outcome of which was then entirely in doubt and cause for fear and extreme anxiety. (1, 2)

Leiber's story is set in New York City. Elsewhere in that city, at the same time and with the same non-fictional events as a backdrop, another author was at work. Sitting in a dive on Fifty-second Street, the British poet W.H. Auden (1907-1973) penned "September 1, 1939," which has since become one of his most famous. Some lines from that poem:

Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright 
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.

Accurate scholarship can 
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god . . . .

Linz was the boyhood home of Adolf Hitler. The phrase "huge imago" is supposed to be Jungian in origin and may refer either to Hitler's own father, or something greater, perhaps the German nation or the history of the German people. Robert G.L. Waite used the next phrase in the title of his book The Psychopathic God: Adolf Hitler (1977), called by Publishers Weekly "a powerful dissection" and described by James McGregor Burns as "gripping, immensely revealing and ultimately horrifying." It is, in short, the biography of a totalitarian monster, represented less powerfully and in fictional form--specifically because it is fictional--in Fritz Leiber's cruel and malignant "archer" and the unseen hand behind it. Significantly, Auden saw that the totalitarian (in the person of Adolf Hitler) is a kind of apotheosis of the psychopath.

It has become a cliché to call Hitler a monster, but calling a word or an idea a cliché is not the same as saying it is inaccurate or false. Hitler and the parade of totalitarian dictators that made the twentieth century their own were in fact monsters, and--being human--the only true monsters known to us. The totalitarian, as Leiber suggested, was a new kind of monster for the twentieth century. Although the threat of a certain kind of totalitarianism has receded, the totalitarian monster is still with us and is a candidate for the monster of the twenty-first century. I'll write more about that next time.

To be continued . . .

Notes
(1) The outcome, which would have been so seriously in doubt in 1939, was more certain when "The Dreams of Albert Moreland" was published in The Acolyte in Spring 1945Robert Avrett and E. Hoffman Price, who with Leiber contributed to Weird Tales, also had works published in that issue of The Acolyte. Thomas G.L. Cockcroft, indexer of weird fiction and weird verse, also contributed, in his case, a drawing.
(2) The name Moreland (more land) may or may not be ironic for a story of the Second World War.

Copyright 2014 Terence E. Hanley

What Is the Monster of the Twenty-First Century?--Part Seven

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More on the Totalitarian Monster

It seems to me that there are three conditions necessary for the rise of totalitarianism: mass movements, a removal of all restraints, especially any belief in God or the soul, and most importantly, an animating idea. The nineteenth century provided those conditions. The twentieth put them into action. The result was a period of extraordinary violence and destruction, especially in the period from 1917, when the Bolsheviks came to power in Russia, to the 1970s, when Mao died and the Soviet Union went into rapid decline.

The totalitarians of the twentieth century did all the things monsters do. They threatened and terrified us. They invaded our homes, like Grendel breaking into Heorot. They waged war against us, like the forces of Sauron waged war against elf, human, and Hobbit. Totalitarians murdered, maimed, mutilated, imprisoned, starved, tortured, and even ate us. They gassed us, shot us, drowned us, burned us, and cooked us in ovens. They collected our teeth, hair, glasses, and artificial limbs like trophies, piling them in middens the way a monster piles bones at his doorstep. A great deal of the violence and destruction of the twentieth century came at the hands of four men: Lenin, Stalin, Hitler, and Mao. Their politics are irrelevant, for when you are lined up in front of a ditch, you don't ask whether the bullet fired into your brain comes from a fascist or communist, a leftist or reactionary. The effect is the same.

Chester Gould, the creator of Dick Tracy, was famous for his villains: Pruneface, Flattop, The Mole, Little Face, The Brow, Influence, etc. Each is uglier than the next and for good reason: Gould made them physically ugly to express the ugliness of their souls. Dick Tracy made its debut in 1931 when everyone knew the mugs and monikers of Depression-era gangsters. Most of those criminals were shot or imprisoned by 1940. By then, there was another rogue's gallery to take their place, for like the villains in Dick Tracy and like the monsters of nightmare and folklore, totalitarians were ugly as their souls were ugly: Hitler, with his flatulence, halitosis, and unspeakable sexual perversion, moreover, with his array of psychoses, neuroses, and profound personality problems, all of which led to mass murder and Götterdämmerung; rat-faced Goebbels, among whose many crimes were the murders of his own children; jowly, corpulent, arrogant, self-important Goering; bulging-eyed, neurotic, murderous Himmler. Communists were not much different. Mao never in his life brushed his teeth. He consumed young women like some people eat potato chips and had millions starved and murdered for the sake of his system. Stalin, building the cult of his own personality, maintained a manikin-like public face, almost like his mummified mentor, Lenin. And like Lenin, totalitarians were preserved as if they might survive their own deaths, like the god-kings of ancient Egypt; or as if they should remain objects of veneration, like relict saints; or as if they--like the monstrous undead--might one day return from the grave. Thankfully, their brand of totalitarianism is in retreat. But the totalitarian impulse remains.

To be continued . . . 

Copyright 2014 Terence E. Hanley
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