Today, dear listener, it’s the Day of the Daves, as two of our brave reviewers, Dave Jeffery and Dave Brzeski, dig into books – a novel, The Resurrectionists, by Michael Patrick Hicks, and a collection of novellas, The Immortal Seaton Begg by Simon Bucher-Jones.

And in passing news of greydog-related projects, the editor stuff continues – Occult Detective Magazine #7 (Cathaven Press) is due out in the next week or so, as is the chunky two volume anthology Sherlock Holmes and the Occult Detectives (Belanger Books).

Also, the Kindle edition of Black Dogs, Black Tales, the charity anthology for mental health, is out now, including John Linwood Grant’s story ‘Grey Dog’. A good cause.

uk kindle link

We do have a black dog, but she now has a distinctive white mask and is therefore Ghost Dog, Righter of Wrongs…

More Linwood Grant stories are in the pipeline, but mostly under wraps at the moment, so we can’t bore you with the details. And who wants to hear about him, anyway? After that, maybe enough time to write some new fiction, and more articles here… we shall see!

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N.B. The greydogtales listenership is quite broad and varied, so be warned that we ourselves have not read The Resurrectionists yet, and it is apparently rather gruesome, with various unpleasantnesses in it (check out what Dave J has to say below). Maybe we’ll stick to Miss Marple for now.

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The Immortal Seaton Begg

Author: Simon Bucher-Jones

Publisher: Obverse Press

Format: Paperback/Kindle

Reviewer: Dave Brzeski

 

 

The first thing I noticed on reading the first story in this book was a striking similarity to another character. Initials S.B., office in Baker Street during the Great Detective’s ‘hiatus’. Was this, I wondered, some sort of alternate universe version of Sexton Blake? My inquiries soon led me to discover that this indeed was the case, as the character originated as a pastiche of Blake in a number of stories by Michael Moorcock.

In fact, Seaton Begg gets around a bit. Not only has he featured in quite a few of Moorcock’s novels & stories, but he also appeared in a couple of Alan Moore’s Tom Strong comics. Not being all that familiar with the character myself, I decided to order a copy of The Metatemporal Detective, Moorcock’s collection of Seaton Begg stories. However, I should hopefully have finished this review by the time that arrives…

The first of four novellas in this collection is, ‘The Glove With Six Fingers’, which is set in 1895. Bucher-Jones’ talent for writing in an archaic period style is immediately evident here. He does it so accurately that It’s entirely possible that some modern readers may find it off-putting. Begg is revealed as having no belief in the supernatural, even when presented with evidence of the inexplicable. As he states, “… thing not being understood did not require it to be occult.” In this case, that of a threatened kidnapping/murder being used as possible leverage on an important man, in the attempt to acquire esoteric knowledge, Begg proves himself perfectly capable of working within the beliefs of others to catch his quarry. To some extent, the stranger aspects of this story owe more to weird science than they do to the supernatural. I found myself very intrigued by a mysterious character, who appears here with little explanation.

While I, personally, had no problem with Bucher-Jones’ use of archaic language and phraseology, I did have one small problem with the way this was written. Bucher-Jones uses a lot of footnotes full of references to characters and cases, which I find almost impossible to ignore. I constantly halted my reading of the story to do a search on a name, or a title to see if it was a genuine reference, or spurious detail. This speaks more to my obsession with crossovers and the like than an actual failing in the writing. I contacted the author to ask about the footnotes and was informed that many were disguised (for copyright reasons) references to Sexton Blake stories. Others referred to books that didn’t exist, by authors who did, as a means of better tying the stories to the historical setting. Armed with this useful information, I decided to suppress my usual habits and just read the stories. I could play with the footnotes later.

‘The Case of the Vanishing Mummy’, set in 1912, unsurprisingly involves a murder in a museum and a missing mummy. It’s another more, or less mundane mystery with certain pseudoscientific (alchemical) elements. By ‘mundane’, I refer to the lack of any supernatural factors, not that it’s in any way boring. The criminal plot is a little far-fetched, but this very fact turns out to be the method via which Begg identifies one of the miscreants responsible.

We move forward to 1935 for the third tale, ‘Sign of a Black Shadow’. This time, the fantastic elements are limited to the villain’s incredible mastership of disguise and Begg’s own seeming immortality. It seems to be a common trope in Begg’s adventures that they all feature deeply convoluted plots, but we have to remember the nature of the series it was very much based on was ever so. The daughter of a character from the first story reroutes a planned action to Begg’s home and involves him in a fascinating, if unlikely adventure, involving a secret college society and their bizarre and downright dangerous initiation pranks.

Weird science, rather than the occult is again the focus of the final story in this collection – ‘Seaton Begg vs. the Murder Machines’, set in 1979. Sexton Blake fans will immediately recognise the villain of the piece as a thinly disguised version of Zenith the Albino, one of Blake’s more memorable adversaries and the subject of no less than two novels in his own right. This is the most blatantly Blake under another name tale in the collection, but it’s also my favourite. It has the sort of inconclusive ending that is so typical of tales involving the protagonist’s major nemesis.

The collection doesn’t quite end there, as we’re presented with an epilogue, subtitled ‘Death of a Screen Icon’. Set in 2018, it’s the opening of a further adventure which will only be seen if Obverse Press decide to continue the series. We are advised to petition them to do so, albeit I suspect actual copies sold will be of more value in that respect.

It should be fairly easy for those who wish to read the Sexton Blake stories referenced under different names in the footnotes to work out which ones they represent by matching the publication dates given with the exhaustive list on Mark Hodder’s excellent Sexton Blake website. http://www.mark-hodder.com/blakiana/index.html

Crossover fans will also find much to intrigue them, with references to works by Arthur Conan Doyle, Sax Rohmer, H.P. Lovecraft, P.G. Wodehouse, August Derleth and others. Rest assured, though, one does not need to be familiar with any of these works to enjoy this book. It really makes no difference in that respect.

To pick up a copy, go to:

https://obversebooks.co.uk/product/immortal-begg/

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The Resurrectionists (Salem Hawley Series: Book One)

Author: Michael Patrick Hicks

Publisher: High Fever Books

Format: Paperback/Kindle

Review: Dave Jeffery

 

Hicks’ The Resurrectionists is the first in a series of cosmic horror novellas (at the time of writing there are two available from High Fever Books) to feature Salem Hawley, a free Black American, who has gained emancipation in acknowledgement of his role fighting for the colonies during the American Revolution. The story, set in New York a few years after the end of British rule, centres on a group of doctors who use resurrectionists (unscrupulous thugs who dig up corpses of the recently deceased) to procure cadavers for anatomical and surgical exploratory science. However, some of the medics form part of an occultist society, bent on exacting bizarre and violent rituals, and thus evoke ancient gods from alternative dimensions. To do this, they use living specimens, usually female prostitutes snatched from the streets by people in their employ.

Hawley is brought into the tale when resurrectionists begin to target the graves of the Black Community as repercussions from the governing council are generally tepid, if not non-existent. After a graveside ruckus with the gang who are trying to remove the recently interred bodies of a friend’s family, Hawley finds himself on a collision course with the gang and their occultist employers.

The Resurrectionists has a lot going for it. In a character such as Hawley, the premise is unique, and the first half of the novella is a gripping, fascinating study of racism and hypocrisy in fledgling America. Through Hawley’s eyes we get a perspective of life as a Black American in the 1800s, and the ambiguity around what constitutes being ‘free’ at a time when liberty as a construct was new to all. There is also a huge amount of historical detail that augments the reader with the narrative, making it easy to invest in the story as it rattles along. Hicks’ writing style is assured and effective, not shying away from drawn out, graphic portrayals of sadistic ritualistic torture. In some instances, the descriptions steer into extreme horror territory, and herein lies some of the novellas problems.

The book is short, the graphic scenes of violence – detailed. In the opening scene, we have a toe-curling description of a woman being ritualistically butchered on a surgical table. The scene runs for over six pages. The last act of the novella (a heady riot at the local hospital as cosmic forces break through) takes up over 20 pages. As exhilarating as this undoubtedly is, Hicks has had to sacrifice something key to the whole premise. Namely, his central character. Hawley is a casualty in that he is having to take a back seat to the action. In truth, we know little about him as the series concludes its first episode. It is acknowledged here that this may well be the author’s intention as this is the beginning of a series. However, the mettle of a character is what keeps the reader reading, and their continued investment in a series. There was, in this reviewer’s opinion, not enough Hawley in this Salem Hawley novella.

That said, the real strength of any series is the answer to the question: Will a reader pick up a second book? The scene is certainly set for Borne Of The Deep (Salem Hawley Series Book 2). It is safe to say that there was certainly enough in this first outing to have this reviewer already downloading the second title onto the Kindle. Take from that what you will…

Recommended reading for those who enjoy their cosmic horror graphic and gory.

on amazon uk

on amazon us

And you can find an interview with Michael Patrick Hicks from last year here:

https://gingernutsofhorror.com/interviews/resurrecting-the-demons-an-interview-with-michael-patrick-hicks

Today we look both forward and back, dear listener, and consider tales for all tastes. In memory of Joe Pulver, sadly lost last week, we have a piece by Dave Brzeski on Joe’s The Orphan Palace, adapted from the original BFS review; notice of Hugh Ashton’s excellent pastiche Mapp at Fifty for E F Benson and period fiction fans; a couple of books just out from Alchemy Press, and finally Cliff Biggers gives us the lowdown on F Paul Wilson’s new Repairman Jack graphic novel. So we’d better knuckle down…

THE ORPHAN PALACE

by Joseph S. Pulver, Sr.

Reviewed by David Brzeski

“Cardigan is heading east through the night-bleak cities of America and back to confront the past he has never escaped, as a resident of Zimms, an orphanage-cum-asylum and a true palace of dementia. In the circles and dead-ends that make the maze of his madness, Cardigan meets bounty hunters, ghosts, ghouls, a talking rat, even a merman, and struggles to decide which will lead him to damnation and which to salvation.”

I had to describe this book for a friend recently. This is what I came up with…

Think in terms of an unfilmed noir movie script, revised by H.P. Lovecraft, who worked in references to the work of several of his friends & influences (Robert W. Chambers, Frank Belknap Long etc.). Then it remained, untouched, until Alan Ginsberg was commissioned to pen a script treatment, which then languished in development hell, until it landed on the desk of David Lynch.

Frightening concept isn’t it?

It really shouldn’t work at all…

… but it does! The gorgeous prose sweeps the reader along on an hallucinogenic ride into madness… a road trip (back) to bedlam.

Cardigan, the serial killing, arsonist anti-hero heads east, back to the institution, where the mysterious Doctor Archer inflicted cruel & insidious treatments on his charges. On the way he encounters ghosts, ghouls & a merman & is regularly advised by a talking rat, named D’if. He stays in many identical hotels, all with identical rooms, each one with a book on the night stand. A book with no ending. One of a hundred variant versions of the same book, written by various authors for the mysterious Shadow House press. The TV in the rooms always shows the same movie, an adaptation of one of the books.

This wonderful novel is a roller-coaster ride of lunacy & pop-culture references. There are few books, in my experience, which have off the cuff references to the work of Bulwer-Lytton & Funkadelic in the same chapter!

I read this book until I was too tired to read any more. Then I’d lay, with my eyes closed, unable to sleep, my mind too busy mulling over what I’d just read, theorizing, wondering… until I gave up, put the light back on & started reading again.

If this extraordinary book isn’t at least nominated for a few awards, I’ll be astonished & disappointed.

Addendum – April 2020

Sadly, I was to be disappointed. The Orphan Palace didn’t appear on any awards shortlist as far as I know. Far too few people ever actually read it and, frankly it sold very few copies for Chomu Press. The copy I reviewed was in fact a competition prize from Chomu Press, which I was lucky enough to win (to be honest, not many people entered). It comprised a signed copy of the paperback, with various little extras, including a 2 CDr set soundtrack Joe had put together for the book. I thought his many friends and fans would be interested in seeing a list of music that inspired him while he wrote, so here it is…

• Bruce Springsteen – Born To Run
• Bohren & Der Club Of Gore – Midnight Walker
• David Sylvian – The Boy With The Gun
• Weather report – American Tango
• Current 93 – The Inmost Night
• Robert Fripp – NY3
• Steve Earle – Lungs
• Weather Report – American Tango
• Tim Curry – Cold Blue Steel & Sweet Fire
• Brian Eno – By This River
• The Jimi Hendrix Experience – 1983… (A Merman I Should Turn To Be)
• John Martyn – Solid Air
• Jay Farrar & Benjamin Gibbard – These Roads Don’t Move
• Bohren & Der Club Of Gore – Texas Keller
• Bob Dylan – Things Have Changed (Album Version)
• Weather Report – Unknown Soldier
• David Sylvian – Orpheus
• Weather Report – American Tango
• Iron Butterfly – Iron Butterfly Theme
• Harold Budd – The Place Of Dead Roads
• Neko Case – I Wish I Was The Moon
• Dave Alvin – Thirty Dollar Room
• Women Of The SS – Room Ov Secrets
• Weather Report – American Tango
• Van Morrison & John Lee Hooker – Don’t Look Back
• Jefferson Airplane – White Rabbit
• Kristin Andersen, Spunk – Truly Falling Slowly
• Birthe Klementowski & Vortex – Stille , Silence

I was especially impressed to note that I already had 19 of the 23 tracks in my CD collection. Great minds and all that…

Chomu Press, 2011, p/b, £12.50

http://chomupress.com/

NOTE: It appears almost impossible to get hold of a copy of  The Orphan Palace now, and we feel that someone really needs to make it widely available again, even if only in e-format.

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MAPP AT FIFTY

by Hugh Ashton

“Elizabeth Mapp-Flint of Tilling is approaching her fiftieth birthday, and plans a party to celebrate the event. However, as so often happens in Tilling, things don’t go entirely according to plan, as Major Benjy, her husband, over-refreshes himself at the party, and presents her with an entirely unwelcome birthday gift. Meanwhile, Emmeline (“Lucia”) Pillson and her husband Georgie, together with the rest of Tilling look on as Elizabeth’s sister, the existence of whom had been hitherto unsuspected, visits Tilling and exposes a few family secrets.”

We’re never quite sure how many readers of E F Benson’s Mapp & Lucia stories also associate him with his considerable output of supernatural stories, or vice versa. Whilst Benson (1867-1940) wrote horror stories which vary from the outstanding to the pedestrian, in Mapp and Lucia he found a pace and style which never bores. His stories of village life provide a microcosm in which most of human nature – especially the mean, jealous, petty and trivial aspects – is revealed. Horrendous revenants are replaced by annoying reminders of past transgressions; fear of the unknown is replaced by fear that your little machinations will be discovered. It’s also all very amusing.

Hugh Ashton, already a talented Holmes pastiche writer (amongst other things), has turned his sharp eye on Benson’s tales of the village of Tilling, and in this novella he provides a seamless extension of the original stories.

The book is a pleasure to read even if you know little of the characters – and possibly even more fun if you’re already familiar with the main protagonists. It might easily be one of Benson’s originals. Here you will find dear Georgie, Lobster a la Riseholme, many arch references to their previous exploits, and more. We should note that although complete in itself, the events in Mapp at Fifty do beg a sequel – which we shall await with eager anticipation.

on amazon uk

Mapp at Fifty is also available in audio format directly from the author, and narrated by Hugh himself:

https://hughashtonbooks.com/2020/04/15/mappat50-audiobook/

We talked with Hugh at length here a while back:

http://greydogtales.com/blog/holmes-lichfield-literarian/

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Just space between articles to squeeze in what’s happening at Alchemy Press – two new books by two more jolly good British authors:

A SMALL THING FOR YOLANDA

by Jan Edwards

“The Métro Murder is one of the most famous unsolved crimes of the 1930s. Who was Laetitia Toureaux? What were her links within the murky world of spies and secret political movements? All of those things remain shrouded in mystery, despite the fact that her movements on her final day are well documented. How was she stabbed to death in an apparently empty Métro carriage? And by whom? A Small Thing for Yolanda offers one potential solution.”

on amazon uk

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LES VACANCES

by Phil Sloman

“Monasteries rising and falling. Heretics and stakes and fire. There were rebellions and revolution and tales of abundance and happiness and new beginnings. Within the book there were also lies and omissions and fallacies all designed to gloss over a dark past many had long forgotten. Many but not all. The vacation of a lifetime.”

And we understand that Phil himself posed for the cover, without make-up…

on amazon uk

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REPAIRMAN JACK: THE FIX IS IN AT DYNAMITE

Article by Cliff Biggers

 

Jack is a “fix-it man”—but he’s most definitely not the sort of fix-it man you call when you need minor repairs around the house. Instead, Jack chooses to fix the problems that the authorities can’t deal with, often involving threats that the authorities would never understand or believe in.

That’s why he’s known as Repairman Jack. And if you need his kind of specialized repair—well, he’s absolutely the best at his job.

Jack has appeared in almost two dozen books (including tales set in his teenage years, his early years as a repairman, and in his prime years as a repairman). But until now, he has never made the jump to comics.

That’s about to change, though, with the release of F. Paul Wilson’s Repairman Jack: Scar-lip Redux Original Graphic Novel HC, an all-new story by F. Paul Wilson & Antonio Fuso. This tale pits Jack against his oldest adversaries, a deadly Rakosh known to Jack as Scar-lip.

Dynamite Entertainment sought Wilson out in hopes of bringing his character to comics. “We approached F. Paul about the rights,” Dynamite senior editor Joseph Rybandt said. “Internally, all of the staff at Dynamite is constantly suggesting authors and properties to pursue for comics and graphic novels. This series was known to a staff member, and then we made contact and made the graphic novel.”

For those who haven’t yet crossed paths with Repairman Jack, F. Paul Wilson offered an introduction to the character. “Jack is an urban mercenary who hires out to fix situations. That’s the mystery-thriller part of the stories. He’s also been drafted into a cosmic shadow war where Earth is just one minor prize and all humanity could become collateral damage. That’s the fantastical aspect of the series. (In Scar-lip Redux I offer a primer in Cosmic Horror for those unfamiliar with it.)

“I designed Jack as an anti-Jason Bourne: no black ops training, not an ex-SEAL or ex-CIA, no connection to officialdom. In other words, no safety net. No one in the government he can call on. He has to rely on his own wits and his own network. He’s something of an anarchist who’s never filed a 1040 and lives totally off the grid.

“A big part of his appeal is that he’s a blue-collar hero. Readers can imagine hanging at Julio’s and hoisting few beers with him. Can you imagine that with James Bond or John Wick? As if. Although he hires out to fix situations, he’s got a code. He’s not a hit man, but threaten his life or someone he cares about and you’re dead — no warning, just dead. But he won’t hire out for that.”

Rather than adapting one of his best-selling novels, Wilson is creating an all-new story for his first graphic novel. While the story is designed to be wholly self-contained for readers unfamiliar with the Repairman Jack saga, the tale fits into the greater canon “after The Tomb and All the Rage,” Wilson said. “I’d place it sometime before Harbingers.”

“This is a ground-up story that revisits elements familiar to Jack’s fans (Scar-lip, Oz’s freak show, the pyramid in the Barrens, etc.), but gives new readers a sense of who Jack is and the world he inhabits,” Wilson explained. “It opens with this vicious reptilian creature breaking into a NYC high-rise apartment, killing the occupant, and then carrying the body off. It’s witnessed by a cop who saw this creature years ago and was ridiculed when he reported it. So this time: no report. He seeks out this urban legend known as Repairman Jack to look into the incident off the books. Jack doesn’t laugh at him. He knows the creature the cop’s describing: ‘We have a history.’ That’s just the first few pages that kick off the story. Things get very weird and violent from there.”

The adversary in this tale is a member of a race known as the rakoshi. “The rakoshi were created by the Otherness as the antithesis of humans,” according to Wilson again. “They’re vicious, powerful creatures who thrive on human flesh and were designed to supplant us on Earth. But that didn’t go as planned. Humans learned how to control them. The rakoshi formed the real-life basis of the mythical Hindu demons known as rakshasa.”

As the Redux in the title would imply, this isn’t first time that Jack has crossed paths with Scar-Lip. What’s his background, and where did he first appear? “Scar-lip is the last surviving rakosh,” Wilson said. “He made his presence known in the finale of The Tomb. He reappeared in All the Rage as the source of the street drug known as Berzerk. Scar-Lip’s talons are responsible for the three long, parallel scars across Jack’s chest when he almost killed Jack at the end of The Tomb. He and Jack developed a bit of an Androcles-and-the-Lion dynamic in All the Rage which left Scar-lip at large in the NJ Pine Barrens.

“Jack has never been comfortable with Scar-lip playing the role of the Jersey Devil and feasting on unwary hunters and hikers. (Lots of real people go missing in the Pines every year.) The graphic novel allowed me to address that situation.”

Dynamite is offering the book as a hardcover graphic novel rather than launching it as a comic book series. “We’ve found that the audience for these wants the full story in one go,” Rybandt said. “And for the more casual consumer, the availability and accessibility of original graphic novels in today’s marketplace gives them a satisfying experience overall.”

Scar-lip Redux is just one of several Repairman Jack graphic novels that Wilson has in the planning stages. “If Dynamite wants more, I got ’em,” Wilson said. “I’ve scripted comics off and on since Creepy and Eerie back in the 70’s and I love to put the visual aspect of the medium to work. With the Jack GNs, I’ll allow myself to indulge in stories that are a little more bizarre and off-center than I’d attempt in print. Jack is part of my ‘Secret History of the World’, which has a definite timeline. I’ll let the GNs fall where they will and leave it up to the readers to figure out where they fit in the Secret History.”

F. Paul Wilson’s Repairman Jack: Scar-lip Redux Original Graphic Novel HC, a $24.99 120-page graphic novel by F. Paul Wilson & Antonio Fuso, was released March 11th 2020. Dynamite is also offering the book in a $39.99 edition signed by F. Paul Wilson.

Amazon is offering hardcover and Kindle editions for May 2020 and June 2020 respectively.

pre-order on amazon uk

“Diane, I’ve a feeling we’re not in Kansas anymore.” Today, dear listener, we go both current and retro with a guest review and opinion piece by writer/journalist Paul StJohn Mackintosh, no stranger to these pages, on the entire three series of that iconic television show, Twin Peaks.

Having not watched Twin Peaks ourselves since it originally came out (when we were fairly obsessional over Special Agent Dale Cooper), we were keen to see what Paul made of it all, and as usual, he brings his critical razor with him. As well as interpretations which you may or may not share.  So pour yourself a cup of damn fine coffee, put your feet up on that log, and prepare for the fray…

WARNING – THIS ARTICLE DOES CONTAIN SPOILERS, PARTICULARLY IF YOU HAVEN’T SEEN SERIES THREE

Usual disclaimer: All views expressed by guest writers are their own, not those of the site or owners; photos are copyright their originators, and shared here under fair use for review purposes only.

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Locked Down in the Black Lodge: Twin Peaks 30 years on

by Paul StJohn Mackintosh

 

The calamitous year 2020 marks, among other things, the 30th anniversary of the release of Twin Peaks. As it happens, I spent my coronavirus lockdown in Budapest catching up on the series on HBO. I hadn’t even realised that the 2017 Season 3 sequel/continuation had been released. I hadn’t rewatched the original series since it came out in 1990-91, which gives some idea of my own credentials as a David Lynch fanboy. All the same, after binge-watching all three seasons, I had a few reflections on the series that I thought I’d share.

For one thing, the original Twin Peaks has worn remarkably well with time. It’s amazing how in retrospect the original puzzles, frustrations and longueurs that seemed to gall so badly back in the day now feel relatively straightforward and untaxing. Perhaps televisual narrative technique has just finally caught up with David Lynch, but the original Twin Peaks now feels to me effectively paced and well-judged in bringing off its reveals. Mike the one-armed man reveals the true nature of Bob in more or less completely explicit detail in Season 2 Episode 6, laying to rest the mystery of who killed Laura Palmer aside from the small detail of finding his earthly vessel. Similarly, Windom Earle’s data dumps bring us up to speed pretty fast on the nature of the Black Lodge, and why he’s seeking it (like any James Bond villain, it’s to rule the wuuurld…) Hindsight is always 20:20, but still, Twin Peaks Season 1 and 2 seem far more satisfying and fulfilling on second viewing.

There is much to seriously like in the new Season 3 as well. Many not-so-lesser characters get a healthy slice of the narrative, and in some cases their story arcs and character development are brought to a satisfying resolution. Deputy Hawk gets a fitting share of screen time, although unfortunately often in service to Magical Indian-type cliches about his heritage. Gordon Cole and Albert Rosenfield play a solid double-act alongside new FBI Special Agent Tammy Preston, providing some really meaty investigative scenes. Deputy Andy and his new fellow Deputy Bobby Briggs also mature well as characters with the passage of time, as does Ben Horne, now apparently the man of integrity he set out to become at the end of Season 2. Margaret Lanterman the Log Lady, in Catherine Coulson’s last screen appearance before her sad death from cancer, delivers depth and pathos without even getting up from a chair.

Not everyone comes off so well. Doctor Jacoby and Nadine Hurley have a kind of platonic romance, while Ed Hurley and Norma Jennings finally achieve happiness together after 25 years, but their stories feel hardly worth the screen time devoted to them. The same applies to many of the new characters wheeled on for Season 3, who often come across as rushed ciphers compared to their deeply realized forebears a generation back. One good thing to say about them is that at least the season’s plot doesn’t dwell on them too much.

Laura Palmer herself is back, and apparently resurrected, or at least rediscovered in an alternative timeline, in the last episode of Season 3. There are many hints along the way that “Laura is the One,” still a figure of great metaphysical significance in the cosmology of the Twin Peaks universe, yet her true role, and why she’s back, are still left unclear at the end of the season. However strong a presence she is when she is onscreen, it’s hard to feel much of an emotional charge at her return.

Other aspects of Season 3 are better at delivering the air of spiritual profundity and enigmatic depth that Lynch could often conjure in the first two seasons. The black-and-white scenes in the strange palace above the purple ocean in Season 3 Episode 8 are some of the lushest, richest essays Lynch has ever managed in that personal idiom, and they also tell the origin story of both Bob and Laura Palmer in wordless but completely effective mime. In those scenes, Lynch hasn’t needed to make one single concession towards more explicit, articulated narrative, yet he’s managed to get the point across beautifully and completely. Those scenes work so well that you wish there could have been more like them, not less. For sure, the initial atomic explosion in the episode runs on a tad long, especially compared to the much shorter bursts of fire in the 1990-91 series, like some tribute to the StarGate scenes in Kubrick’s 2001 without space pods.

We also get even more, and better, clarification of the various symbols and tropes aired in the first two seasons. All those electric wires and conduits? Well, electricity, it turns out, is the metaphor for a form of spiritual energy, same as the good or black fire of “fire walk with me.” And the Good Giant of the Black Lodge (or Waiting Room) is the Fireman – a figure who controls, starts, stokes, or puts out fires. And so on. The proliferation of doubles is explained by that old Tibetan trope of tulpas or thought-forms, manufactured people imitating their originals. Even the pyramidal Twin Peaks symbol is revealed as a disassembled figure-of-eight infinity symbol.

THE COOPER CONUNDRUM

With Laura Palmer out of the picture for most of the season, and Twin Peaks timesharing with other settings, it’s time to address another centre of gravity for the original seasons that feels a whole lot more lightweight now that it’s been moved to the axis of the entire narrative. If the new Twin Peaks is the Fantabulous Emancipation of One Dale Cooper, then this one of its least satisfying aspects. Dale Cooper in the original series was already more than a little arch and stereotyped, a woodentop personalization of post-Cold War America’s renewed romance with its image of itself that the whole show captured, with its small-town setting and earth tones. Twin Peaks became a phenomenon partly by channeling that zeitgeist, but that often regressive spirit, and Dale Cooper with it, have arguably aged a whole lot worse than Kyle MacLachlan has. “Kyle plays innocents who are interested in the mysteries of life,” Lynch once said to GQ Magazine.

That whole valorization of innocence was already pretty odd from the creator of Blue Velvet, and it looks even more so now. A recent history of fake news and the lies that American tells itself to feel good about itself is entitled “American Exceptionalism and American Innocence.” Dale Cooper spends much of Twin Peaks 2017 as a Forrest Gump-style holy fool, magically bringing prosperity, uncovering wrongdoing, healing souls, mending marriages and families, redeeming criminals, triggering penitence and confession, and sending the evil to their doom a’whoring with their own inventions. (Remember that Forrest Gump came out in 1994, soon after Twin Peaks, and in 1995, National Review included it in its list of the “Best 100 Conservative Movies.”) Any conservative Forrest Gump fan would be pleased to see that Twin Peaks is still almost pure white, with other ethnic groups, Michael Horse excepted, barely represented at all. And Good Dale or Dumb Dale is a pure-white all-American boy.

Dumb Dale does at least provide quite a few comic moments, deadpan or otherwise, but his intent and his impact on those around him remain consistent throughout. And when Dale finally does wake to full self-remembrance and super-competence, with his “I am the FBI” thumbs-up, he comes across as just as much the cardboard cutout as he was as Dumb Dale. Kyle MacLachlan does a reasonably good, glacial job of his antithesis and nemesis, Doppelganger Dale, but there’s no resolution or even direct confrontation between them. Doppelganger Dale is shot before the Good Dale even arrives on the scene. The Good Dale is given a few final scenes of grittier, less self-conscious heroics in the last episode of Twin Peaks 2017, beating up three churlish Texan rednecks, but I don’t see that they succeed in re-establishing him as the hero figure he was in the Nineties.

If Doppelganger Dale and Good Dale had faced off, Orphan Black style, for a climatic resolution, then perhaps we’d be looking at a finale worthy of Twin Peaks’s past – and its issues. Instead, we get a final confrontation with Bob, Dale Cooper’s ultimate enemy, Laura Palmer’s real killer, the monster behind all the acts and mysteries that brought the entire series into being, which is reduced to a few rounds of volleyball with a green gardening glove. I don’t know whether that busted flush was down to Frank Silva’s sad passing, leaving him no longer available to play out a fitting denouement. But I’m sure that Lynch could have wrapped up the Bob story arc in a more effective style. Instead, we’re left with a sometimes fascinating but ultimately inconclusive concluding episode, wherein Cooper may have engineered some kind of time loop that saves Laura Palmer from her original fate, and certainly meets up with her in a very altered form (or yet another double?) in Texas. So yes, Bob is dead and Laura is alive; hooray. Except there now is supposedly another even bigger, badder nemesis somewhere further down the line, in the shape of Jowday, or Judy, who gets even less of an airing this time round than Bob did in the first two seasons. Once again, I’m denied a climax. My satisfaction is deferred – I can’t reach for the metaphorical tissue of catharsis.

I don’t believe for one moment that this is some kind of post-modernist wet dream of Lynch wilfully, wittily subverting the conventions of conventional narrative and denying resolution as some kind of critique of traditional social and ethical expectations. I do strongly suspect that it has a lot to do with a more fundamental psychological motive that I detect signs of throughout Lynch’s career. Maybe I’m just projecting myself, but see what you think.

Mystification, occultism, obscurantism, delay, evasion, sleight of hand, are all wonderful ways of not letting your left hand know what your right hand is doing. Think of the hackneyed use of masks in fiction, film and drama, to liberate the secret self; or that hoary old trope, the dark twin, double, or doppelganger. And yes, those last Black Lodge scenes in the culminating episode of Twin Peaks season 2 were practically a wall-to-wall parade of doppelgangers. Subsequent to which, the Good Dale gets locked up in the Black Lodge for the next 25 years, while the Bad Dale goes out into the world to wreak Evil (capital letters advised). If you accept that Kyle MacLachlan has been Lynch’s proxy or onscreen alter ego (oops, there goes another doppelganger…) ever since Blue Velvet, how do we read this? The evil Lynch is out there in the world?

Not that I think Lynch has much to feel guilty about – except under simon-pure Puritan-child scarlet-lettered American expectations. But Twin Peaks is still full of hot chicks getting off on having bad stuff done to them, a Fifty Shades theme that crops up in Lynch’s oeuvre all the way from Blue Velvet via Wild At Heart and Fire Walk With Me to Lost Highway. And in Season 3? Well, we get an innocent bobby-socked Sarah Palmer back in 1956 being orally penetrated by a very ugly bug from the same radioactive point of origin that produced Bob. We get Doppelganger Dale stifling and shooting a half-naked vixen who’s working for him. And it’s worth noting that the only woman with any degree of power and agency in Series 3 who isn’t an actual killer, Special Agent Tammy Preston, is still presented very much as a sex object in tight skirts. Bad enough.

You have to wonder if there’s a side of David Lynch which he has never been quite able to accept, and instead projects onto various Icons of Evil, capital E. Maybe he didn’t ever want to make explicit how much he identified with Leo Johnson, or the snaggle-toothed molester in Wild At Heart, or Mr Eddy in Lost Highway, or Frank Booth, or Bob. Does he have wild Bobs in his cellar? In another timeline, like the alternative forks instanced in Twin Peaks 2017, Laura Palmer would be a high-achieving career woman and active member of her local BDSM community, instead of the exemplary sacrifice to David Lynch’s inability to accept and assimilate the dark side of his own nature. For that matter, Bob might be another member of the same group, redeemed by acceptance and self-acknowledgement, his needs safely contained within the bounds of social acceptability and his own wise convenience.

As a counterexample of a more recent televisual masterpiece that absolutely nails its ending after four seasons, while validating the entire principle of endings and resolution, let’s take Mr. Robot. Written by an Egyptian American and starring one – unlike Lynch’s chalk-white team – the show saves its biggest reveal for the very final episode in its run, and presents us with a surprise that, as far as I know, wasn’t predicted by any fan-theory forum, and which completely reframes the entire series, right back to its very first few minutes. Your entire conception of what you’ve been watching for months and years is turned on its head. And Sam Esmail managed to keep it under wraps right until the end. The emotional force and pathos of that resolution is matched by its sheer bravura execution. What supreme mastery of the televisual art – from narrative to fan community management. Now that’s how, and why, things should end.

There are still tantalizing teasers out there from Mark Frost that a Season 4 could happen, but given the many years and immense effort required to film Season 3, I’m not holding my breath. I’m not especially excited at the idea either. Dipping into fan-theory land, I bet you that a final resolution to Twin Peaks 2017 would reveal that Sarah Palmer has been harbouring the evil force Jowday/Judy since that run-in with the ugly bug in 1956, putting Laura Palmer in the unhappy position of having not one but both parents possessed by sadistic, abusive inhabiting spirits. After all, Sarah’s already shown she can take her own face off to rip a guy’s face off. Would it be worth waiting another few years and sitting through another 11 episodes to find that out? Or is David Lynch’s last bow the latest fruit of a career-long failure to own his own shit? If so, how fruitful repression can be. But if he owned up, at least we might get a happy ending. With tissue.

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Paul StJohn Mackintosh is a Scottish poet, writer of weird fiction, translator and journalist. Born in 1961, he was educated at Trinity College, Cambridge, has lived and worked in Asia and Central Europe, and currently divides his time between Hungary and other locations.

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IN UNCONNECTED NEWS, FULLY FUNDED BUT STILL ON THE GO FOR A FEW DAYS: The Kickstarter Campaign for Sherlock Holmes & The Great Detectives, coming from Belanger Books…

https://www.kickstarter.com/projects/belangerbooks/sherlock-holmes-and-the-great-detectives

 

We have to note with sorrow the loss of weird fiction writer Joseph S Pulver Sr, after a long struggle with debilitating illness – and yet sorrow will not be his legacy. We’ve already seen wonderful images of The bEast, with well-deserved recognition of his value to the field, and his encouragement of others, over the last few hours. There is much yet to be said, and Joe will remain a Presence in weird fiction for a long time to come.

Any contribution we might make is negligible compared to the views of those who knew him and his work far more intimately. We dislike sudden gushing pretences of close association – we’ve spilled beer over many noted authors, but didn’t exactly form a life-long bond because of it. So we might have stopped there, but as we reflected on Joe’s passing, we also recalled that this very month four years ago, April 2016, many of us were celebrating his particular gift,  his memorable personality, or his great love for The King In Yellow, that abiding creation of Robert W Chambers.

As a result, a rather neat resource was created at the time – for those who are not that familiar with Joe or his writing, and for those who just want to enjoy remembering. His friend and fellow author Mike Griffin* collated links to a wonderful range of pieces about Joe, and listed them on the GriffinWords website. We recommend browsing though these, written by many leading weird fiction folk.

https://griffinwords.com/2016/04/16/the-new-math/

That’s it, really. You can now go read some Pulver.

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Should you want to carry on below, for our lesser part that same April, we decided to pursue a slightly different route. Intrigued by Joe’s fascination with tKiY – and having long had our own obsession with Chambers’ stories – we explored the literary origins of lost Carcosa itself, and interviewed renowned artist Michael Hutter, who produced his own cycle of stunning Carcosa paintings.

*Almost  a year later, we did interview Mike Griffin as well, concerning his own inspirations and his first novel, Hieroglyphs of Blood and Bone.

The Devouring Hieroglyphs of Michael Griffin

We present this long piece on Carcosa again, slightly edited, in memory of His Yellow Highness, Joe Pulver…

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MUSINGS ON CARCOSA

It’s our great pleasure today to welcome German surreal artist Michael Hutter to the site, especially as his  range of stunning illustrations includes the Carcosa cycle, a theme which crosses into so many works of strange fiction.

Before we interview him, we should say a little about Carcosa itself, Pre-eminent among the classic authors who have written of this haunted city are the Father of Carcosa, Ambrose Bierce (1842-1913?), the Master of the Yellow Sign Robert W Chambers (1865- 1933), and of course H P Lovecraft.

(The question-mark by Bierce’s date of death is due to his disappearance, with a last supposed letter dated December 1913. There is still no satisfactory explanation of when – or indeed where – Bierce died.)

If there is a beginning to our trail today, then it lies in An Inhabitant of Carcosa. This story by Bierce was first published in the San Francisco Newsletter in 1886, and then included as part of his collection Can Such Things Be in1887. It’s a short piece, and appears at first to be about a man who awakens from sickness to find himself in an unfamiliar landscape. You’ll have to read the story to grasp what else might be implied. It can be found online.

Alternatively you can listen to an audio version:

The narrator in the above version is Otis Jiry.

Robert W Chambers built on An Inhabitant in his stories of the Yellow Sign, collectively known as The King in Yellow. He used and re-interpreted some of Bierce’s names, and his stories refer to a play, similarly called The King in Yellow, which says more about Carcosa itself.

Reading this forbidden play brings new insights into the universe, as well as despair or utter madness. People have said the latter about greydogtales, mind you.

Where Bierce placed the city of Carcosa in the apparent past, in Chambers it is to be found on the shores of Lake Hali in the Hyades, either far from our own planet or in a dimension/universe apart from ours.

Along the shore the cloud waves break,
The twin suns sink behind the lake,
The shadows lengthen
In Carcosa.

Strange is the night where black stars rise,
And strange moons circle through the skies,
But stranger still is
Lost Carcosa.

Songs that the Hyades shall sing,
Where flap the tatters of the King,
Must die unheard in
Dim Carcosa.

Song of my soul, my voice is dead,
Die thou, unsung, as tears unshed
Shall dry and die in
Lost Carcosa.

—“Cassilda’s Song” in The King in Yellow Act 1, Scene 2

Some think that Bierce was drawing on an imaginative view of the French medieval city of Carcassonne, which was called in Latin Carcaso. Sadly, although we’ve been to Narbonne, and slept in a public park in Perpignan (the gendarmerie were not amused), we’ve never been to the great walled city itself.

There have even been suggestions that Bierce knew of a song/poem by Gustav Nadaud (1820 – 1893), Carcassonne. This seems questionable, as the nearest date we’ve found so far for Nadaud’s piece is 1887, the year after An Inhabitant was published. However, it is quite possible that the work was in circulation before that. Carcassonne the poem is about a man who will never see that ‘fabled’ city, and is quite interesting in itself in that it evokes a sense of how strange and wonderful the city is.

‘They tell me every day is there
Not more or less than Sunday gay:
In shining robes and garments fair
The people walk upon their way.
One gazes there on castle walls
As grand as those of Babylon,
A bishop and two generals!
I do not know fair Carcassonne,
I do not know fair Carcassonne!’

Check out the full poem by Nadaud if you like to pursue these threads – that’s also easily found online.

A number of gifted contemporary writers have continued exploring Carcosa and related concepts – too many, in fact, to mention here. Joseph S Pulver Sr (1955-2020) alone contributed numerous stories and poems to this ‘area’, as well as encouraging so many other writers to visit the Hyades – and there have been some excellent anthologies in recent years. Amongst other projects, Joe edited the highly-regarded Chambers tribute anthology  A Season in Carcosa in 2012, for Miskatonic River Press.

THE CITY AND THE ARTIST

Relating to the above, our guest is artist Michael Hutter. Despite informing us that he doesn’t talk well about himself or his art (and the fact that our German is very rusty), he was still kind enough to participate in a full interview for greydogtales – and to send us loads of artwork to accompany the interview. We feel somewhat honoured that he was willing to take the time, and have tried to illustrate the post with as many of his works as we could.

Michael Hutter is a German painter, illustrator and author who studied at the University of Applied Sciences in Koln under Professor Marx, a painter himself who produced a number of challenging expressionist works. Michael has had many solo exhibitions in the last thirty years, in addition to providing illustrations for fantasy books, heavy metal albums and other media, and once said of his paintings:

“In my opinion truth is somehow an illusion anyway. I mix that with my obsession, passions, desires and fears and choke what happens in the abyss of my personality back on the surface.”

Let’s get down to our interview.

greydog: Michael, thank you so much for joining us. We, and many of our visitors, are enormous fans of your art. Do you have a central vision for your work, a set of principles, or is it a more unconscious process?

michael: I try to follow the logic of dreams, it’s an unconscious process.

greydog: Much of your art is presented as a number of themes – Inkubi, Carcosa, Games in Purgatory und so weiter. Do you work intensively on a particular theme or concept for some time, or do you collect together pieces with common aspects later on?

michael: One idea or “story” usually has several aspects. I try to find them all and tell it to an end. This is how the work-groups develop. Sometimes I realise during working on it, that it is a series, on other occasions I know it from the beginning. Sometimes I start with the idea of a story and develop the pictures from there, sometimes it is the other way round: I start with one (or a few) picture ideas and realise during painting or drawing that there is a connection, sometimes a story, sometimes just a feeling. You see, it’s a bit complicated…

greydog: We’re not experts, but we see obvious echoes of Hieronymus Bosch, the Surrealists, Tarot art and even non-European elements. Are there particular artists from the past who you feel influence you?

michael: I think influence is overrated. We are all standing on the shoulders of giants. And those giants have been influenced themselves by others who have been before them and so on. Of course Bosch is important to me, but so are many others. If I want to do justice to all, the list would grow much too long (and quite boring as well). The interesting thing about an artist is not where he is coming from, but what he or she might add to the evolution of art.

greydog: Yes, a fair point. Your work is described variously as surreal, magical and visionary. Do you feel part of the Visionary Art movement, as promoted by Laurence Caruana?

michael: I feel part of the evolution of art, but not to any smaller group or sect.

greydog: A number of artists (and aspiring artists) read greydogtales. Could you tell us something about the main techniques you use?

michael: I prefer traditional techniques like oil, tempera or watercolour. I do my ink drawings with a dipping pen and my graphic works are mostly etchings.

Most of my oil paintings are done in a very precise three layer technique, the “Carcosa” cycle is an exception: the pictures are painted in one layer – fast and quite “impressionistic”.

greydog: We’re not very familiar with contemporary German art. Is there much interest in your work in your home country, or do you look more to the international scene?

michael: I’m not very familiar with contemporary German art either. It seems that the official art scene is quite hostile against fantastic art in my country. I’m much more interested in the international scene, and thanks to the web I have good opportunities to show my works in all parts of the world that have free access to the internet.

greydog: This is the first time we’ve seen your photographic work. The Ancestors Gallery and Inkubi and Sukkubi present disturbing and distorted views of humanity. Is this a period from your past, or do you still produce these kind of pieces?

michael: Hmm, it’s rather a period from the past. I really like these photoshop works, they were very inspiring to me and had a big influence on my painting and drawing, but in the end I really prefer the unique character of traditional works. And I prefer the haptic surface, the brushstrokes or the feeling of fine lines that you can feel with your fingertips to what comes out of an inkjet printer.

greydog: We are also great admirers of Santiago Caruso from Argentina, whose pictures share certain aspects of surrealism with some of your own. Are you familiar with him?

michael: I saw some of his works on the internet and liked them a lot.

greydog: Your Carcosa illustrations are absolutely superb. We know many enthusiasts of writers like Robert W Chambers and Ambrose Bierce – do you read much early and weird fiction yourself?

michael: No doubt, weird fiction has a big influence on my work, I have always read a lot. I think I was about sixteen when I discovered Lovecraft and Clark Ashton Smith and it hit me like an epiphany. Literature (specially if it deals with the strange and uncommon) still has a very big influence on me.

Again my “list of influences” would be too long and boring for this short interview. But to mention a few – of course the classic writers like Poe, Lovecraft, Chambers, Smith and so on. Very important is the Bible (maybe the cruellest book I have ever read), the fairy tales of the Grimms, Mervyn Peake’s “Gormenghast”, also I’m a great admirer of Thomas Ligotti… and now I’m so unjust to stop this list.

greydog: And finally, do you have a major direction or project for the year to come?

michael: Doing the paintings, especially the altarpiece for a huge cathedral, sculpting a city of eerie doll-houses, transforming the Book of Genesis into a Lovecraftian graphic novel… there are lots of ideas but the trouble is, that life is not long enough to do everything that I’d like to do…

Currently I’m finishing a project that occupied me for over two years: “The Kranzedan” a cycle of (very) short stories, drawings and oil paintings. I’m trying to put this material together as a book, still not knowing how and where to publish it.

greydog: Many thanks for joining us – we look forward to your new works, and we hope that The Kranzedan will emerge soon.

Another of Michael’s earlier projects was Melchior Grun, five ballads told and drawn by him, tales of a wandering medieval minstrel, Melchior Viridis. With baroque illustrations to accompany the text, Melchior travels areas, “which had never before seen a Christian”, and is confronted with the sins of the flesh and malicious contemporaries. This was a limited edition which is no longer available as far as we know.

You can obtain copies of the following, but only as a German language e-book. Die Dämonenbraut (The Demon Bride) is written as a fragment of the memoirs of Richard Upton Pickman. H P Lovecraft fans will recognise the name from Lovecraft’s 1926 story Pickman’s Model about an artist who creates horrifying images and is banned from his Boston circles.

Die Damonenbraut at Amazon UK

And Michael Hutter’s website is here:

http://www.octopusartis.com/