Great excitement in the kennels, as we announce TWO new anthologies of weird fiction opening for submissions this year and due in 2024 from Belanger Books. Both are being edited by John Linwood Grant, whose previous editorial work for Belanger includes four volumes in the popular Sherlock Holmes & the Occult Detectives anthology series, and The Book of Carnacki.

The short version is that Alone on the Borderland: Tales of Edwardian Dread will open for submissions on 1 February 2023. A Darker Continent: Strange Tales of Europe at War will NOT open until 2 April 2023, and earlier submissions are unlikely to be read. Detailed guidelines for both are given in separate sections below. PLEASE READ THE GUIDELINES CAREFULLY. They exist to encourage submissions which are already, to some degree or other, a fit with what we’re seeking in the final anthology, and thus to help you. If you follow them, you are FAR more likely to have your story shortlisted. If you don’t follow them, well, we did warn you…

ALONE ON THE BORDERLAND

Tales of Edwardian Dread

SUBMISSION PERIOD: 1 FEBRUARY 2023 – 30 JUNE 2023 inclusive. GMT.

CORE CONCEPT: An anthology of new weird and strange fiction set between 1901 and 1919 – from the death of Queen Victoria to the immediate aftermath of the Great War and the Spanish Influenza epidemic. Weird fiction is a mode of writing which includes the subversion of many standard tropes, or more imaginative interpretations, and has a strong psychological component, so please bear that in mind.

“There are millions and millions and millions… with their lives, their hopes and fears, their suffering and chance of happiness, all intertwined with our lives, and what we think and say and do. We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they well be taught it in fire and bloody and anguish.”

An Inspector Calls, J B Priestley (set in 1912)

SETTING: The broad Edwardian period was a time of huge changes in society, including developments in science, religion, psychiatry, suffrage, class roles, labour, and the nature of warfare. Consider desperate attempts to cling to outdated ‘Victorian’ values, or a blind rejection of change — even an eager embrace of new concepts, with worrying results. Consider the worm inside this last ‘summer’ apple of grand houses and disenfranchised masses in Britain; remember the industrialisation of Japan and the growing revolutions in Russia. Hint at war to come, if you wish, or explore the weird through a war which changed many societies forever (please note, though, this is NOT a book of war stories, just that the setting may be relevant for a few.) Stories may occur anywhere in the world as long as the events fall within this period — do not feel confined to Western Europe.

You might also find this short piece by Lucy Burgess relevant in terms of broad background:

https://www.historic-uk.com/CultureUK/Edwardian-Literature/

APPROACH: In specifying ‘weird and strange fiction’, we are seeking stories which are disquieting and disturbing — tales of troubled minds and disjointed or illogical events. The psychological, the ab-natural, and even outright horror, but not blunt gore or shock horror. We are certainly interested in Cosmic Horror — the realisation that we are potentially insignificant in the cosmos, that our understanding of the world around us may be at best partially, and even entirely, wrong. Some aspects of Folk Horror — the insidious blend of landscape and isolation — may also work. Try to be original in your voice where possible, rather than employing simply pastiche.

As H P Lovecraft’s themes and the subsequently developed ‘Cthulhu Mythos’ are obviously a major element of weird fiction and Cosmic Horror in literary history, Mythos-adjacent stories are welcome, but we do NOT want stories simply of Mythos monsters raging around. References to or derivations from the Mythos, if used, should be subtle — go for mood and philosophic dread. Think more ‘The King in Yellow’, ‘The House on the Borderland’ and ‘The Yellow Wallpaper’ than ‘Call of Cthulhu’, more Algernon Blackwood in weird ‘tone’ than August Derleth.

Subtle and insidious would be good watch-words. If you’re interested in matters Hodgsonian, which are relevant to the background of this anthology and to the roots of weird fiction, there’s a partial index of articles and snippets we’ve published here:

http://greydogtales.com/blog/william-hope-hodgson-the-secret-index/

WHAT WE DON’T WANT: We do NOT want the usual vampires, zombies, werewolves, or tentacles and mad cultists, nor do we want simplistic period ghost stories. NO glorifications of war; no espousing Imperialism or colonialism. No steampunk, or alternative histories — twist the existing historical world to disturb us. Time travel will be a hard sell. No Sherlock Holmes or Thomas Carnacki for this particular volume, please. And absolutely NO Jack the Ripper sequels.

Sexual violence, violence against children and so on are out, unless you have an excellent contextual reason for alluding to them.

Personal Note: The editor has taken in rescue dogs for many years, and is unlikely to accept anything which includes serious on-stage harm occurring to dogs.

INCLUSIVITY: We actively encourage contributors from traditionally less-published backgrounds of any nature. Non-white characters and settings are very welcome, as are stories with LGBTQ+ characters, and those with differing levels of physical ability. If you are writing about Britain, for example, there were plenty of Black and other non-white people in the country during this period, working or studying, especially in the larger cities. And despite draconian official laws, there were plenty of people who were LGBTQ+. Whilst limited situational discrimination may occasionally be relevant in the context of the period – in order to reflect characters’ life histories and the prevailing social standards – sexism, homophobia, racism etc. in general will result in immediate rejection.

TECHNICAL STUFF: Stories should be between 5,000 and 10,000 words. These are FIRM LENGTHS. Use any standard 12 point font. Indents by style, NOT Tab or Space-bar. Submit in .doc or .odt format, attached to your email, not pasted in it. NO .pdfs, Google Docs links or anything like that. Brief cover note only — no need for bios or achievements – open with ‘Hi’ or ‘John’.

Submissions must have the subject line Borderland-Story title-Author’s name. You can trim your story title down if it’s rather long.

NO REPRINTS; simultaneous submissions aren’t ideal, but are acceptable if you must. Please inform us immediately if your story sells elsewhere.

ALL SUBMISSIONS TO: linwoodweird@gmail.com

If you do not think your submission got through, query the same email address. If you have had no response within a week, please contact John Linwood Grant on Messenger. Do NOT send stories to Belanger Books, as they would have to be re-routed, and may go astray.

PAYMENT: Authors shall receive a percentage of the Kickstarter net profits, a percentage of first year royalties (percentage determined by number of contributing authors), and a paperback copy of the anthology. Belanger Books have an excellent long-term track record with Kickstarters, and with decent remuneration for their writers. Publication of the final book is expected Spring 2024.

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A DARKER CONTINENT: Strange Tales of Europe at War

SUBMISSION PERIOD: 2 APRIL 2023 – 31 AUGUST 2023 inclusive. GMT.

CORE CONCEPT: An anthology of new, original weird and strange fiction set between 1938 and 1946 – from (and including) the Spanish Civil War to the immediate winding down of conflicts after World War Two. Weird fiction is a mode of writing which includes the subversion of many standard tropes, or more imaginative interpretations, and has a strong psychological component, so please bear that in mind.

SETTING: Geographically, stories should fall in the zone from Ireland to Russia, the Arctic Circle to the Mediterranean shores. Stories can be set during direct military conflicts or far from battle, where distant wars have local repercussions for society or individuals. We’re not looking for ‘war stories’ so much as stories set DURING the war across Europe and showing some awareness of its impact. This was a bleak time for most. Go inventive with this one, such as (a few throwaway illustrations):

• Something unnatural walking through the fires of the London Blitz
• German occupiers learning terror in an isolated Norwegian village
• Dread and disquiet amongst the Free French in Tunisia
• US troops lost in the Ardennes
• Families in Britain sensing a wrongness about returnees
• Torn loyalties and minds in Ireland
• Horror in the snows of the Eastern Front
• An Italian soldier dealing with fear by disassociating from reality
• Balkan partisans trapped in the mountains
• Communities trying to pretend that there is no war

APPROACH: Submissions could cover themes such as the intrusion of the ab-natural into the natural, the changing nature of society, and psychosocial issues at any level. Cosmic Horror is very relevant — explore the realisation that we are potentially insignificant in the cosmos, and that our understanding of the world around us may be at best partially, and even entirely, wrong. Mythos-rooted stories are possible, but should be subtle or different. Folk Horror stories, if affected by or affecting the wars, are also possible, as is dark Magical Realism. Submissions which focus only on the fighting itself are less likely to be of interest, unless the circumstances of combat are unusual and unnerving, or the participants themselves bring something disquieting to the events.

WHAT WE DON’T WANT: We do NOT want the usual vampires, zombies, werewolves, or tentacles and mad cultists, nor do we want simplistic ghost stories. NO gung ho war stories full of brave GIs battling horrid Nazis, ‘Boy’s Own’ battle tales, or glorifications of war; NO espousing Imperialism or colonialism; NO ‘Tom Clancy’ lists of weapon calibres or military specifications (unless your protagonist has become obsessed with them!). NO steampunk or alternative histories — twist the existing historical world to disturb us. Time travel will be a hard sell.

Sexual violence, violence against children and so on are out, unless you have a strong contextual reason for alluding to them.

Personal Note: The editor has taken in rescue dogs for many years, and is unlikely to accept anything which includes serious on-stage harm occurring to dogs.

INCLUSIVITY: We actively encourage contributors from traditionally less-published backgrounds of any nature. Non-white characters and settings are very welcome, as are stories with LGBTQ+ characters, and those with differing levels of physical ability. Remember, for example, that large numbers of Black, Asian sub-continent and North African personnel fought in Europe. Whilst limited situational discrimination may occasionally be relevant in the context of the period – in order to reflect characters’ life histories or period attitudes – sexism, homophobia, racism etc. in general will result in immediate rejection.

TECHNICAL STUFF: Stories should be between 5,000 and 10,000 words. These are FIRM LENGTHS. Use any standard 12 point font. Indents by style, NOT Tab or Space-bar. Submit in .doc or .odt format, attached to your email, not pasted in it. NO .pdfs, Google Docs links or anything like that. Brief cover note only — no need for bios or achievements – open with ‘Hi’ or ‘John’.

Submissions must have the subject line Darker Continent-Story title-Author’s name. If you do not adhere to this, we may misplace your submission. You can trim your story title down if it’s rather long.

NO reprints; simultaneous submissions aren’t ideal, but are acceptable if you must. Please inform us immediately if your story sells elsewhere.

ALL SUBMISSIONS TO: linwoodweird@gmail.com

If you do not think your submission got through, query the same email address. If you have had no response within a week, please contact John Linwood Grant on Messenger. Do NOT send stories to Belanger Books, as they would have to be re-routed, and may go astray.

PAYMENT: Authors shall receive a percentage of the Kickstarter net profits, a percentage of first year royalties (percentage determined by number of contributing authors), and a paperback copy of the anthology. Belanger Books have an excellent long-term track record with Kickstarters, and with decent remuneration for their writers. Publication of the final book is expected Fall 2024.

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PHEW!

John Linwood Grant’s own recent second collection is Where All is Night, and Starless (Trepidatio). It’s not bad.

AVAILABLE NOW THROUGH AMAZON UK & US, AND THROUGH THE PUBLISHER, JOURNALSTONE

Amazon US: Where All is Night, and Starless

Amazon UK: Where All is Night, and Starless

After a long absence, we return, dear listeners! Today we take a look at early zombie and voodoo films, gape at how bad some of them were, and point you to the campaign for an innovative new anthology of zombie tales by Black writers, called Blackened Roots…

VOODOO ON SCREEN

Although there had been literature which included voodoo before the 1920s — for example, Henry Francis Downing, an African-American politician and writer, wrote a play called Voodoo in 1914 — it was mainly William Buehler Seabrook’s book The Magic Island (1929) which threw voodoo and zombies into the wider world’s imagination, and surely primed the imagination of the movie studios.

Sometimes sympathetic, sometimes sensationalised, and supposedly factual, the book, based on his experiences in Haiti, was a bestseller:

“I learned from Louis that we white strangers in this twentieth-century city, with our electric lights and motor cars, bridge games and cocktail parties, were surrounded by another world invisible, a world of marvels, miracles, and wonders — a world in which the dead rose from their graves and walked, in which a man lay dying within shouting distance of my own house and from no mortal illness but because an old woman out in Leogane sat slowly unwinding the thread wrapped round a wooden doll made in his image; a world in which trees and beasts talked for those whose ears were attuned, in which gods spoke from burning bushes, as on Sinai, and sometimes still walked bodily incarnate as in Eden’s garden.”

It seems no coincidence that within a couple of years of The Magic Island being published, the studios began producing a whole slew of low budget films featuring voodoo and/or zombies (another contributory factor may have been the questionable United States occupation of Haiti from 1915–1934, when US troops and administrators were exposed to aspects of local customs and practices – and brought stories home).

 

There were film offerings such as White Zombie, Black Moon, Drums O’ Voodoo, Chloe Love Is Calling You, Ouanga, Revolt of the Zombies, The Devil’s Daughter, The Ghost Breakers, King of the Zombies, Revenge of the Zombies, I Walked with a Zombie, Voodoo Man, and Zombies on Broadway (all these were made between 1932 and 1945).

Voodoo* on screen was splattered over a whole range of real and fictional islands, usually with white stars parachuted in for the big audiences. ‘Inter-racial’ romance was a no-no, lighter coloured Black people often got the better parts, with darker skinned actors frequently relegated to the role of servant (scary or comedic) or supposed savage. And voodoo itself was generally shown as a wild, primitive hangover from the ‘jungle’, rather than a syncretised religion drawing on both Catholic and West African beliefs.

Despite this, the films are still important in their way, both as film history and for giving access to how Black people and their beliefs, especially those of the Caribbean and Deep South, could be represented on screen at the time. Sometimes it’s positive and interesting; sometimes it’s either offensive or bloody awful.

*Although we would normally use ‘vodou’ to refer to the Haitian-based religion, or other terms depending on what, where, and when, the prevalent blanket term in the media back then was voodoo (don’t get us started on American hoodoo, which is another matter — see http://greydogtales.com/blog/aint-no-witch-caroline-dye-hoodoo-blues/ . So we’ll mostly stick to ‘voodoo’ here.

TRIVIA: In 1914 the Black composer Harry Lawrence Freeman (the first African-American to have an opera successfully produced — Epthalia, 1891) also wrote an opera called Voodoo, though it wasn’t performed until 1928. The work includes rituals to removed a love rival, including, apparently, a powerful voodoo ceremony in the Third Act.

In those days, you got proper zombies on your screens. None of these rotting, running-around, flesh-eating pretenders, with their viruses and suchlike. You got intact zombies who lumbered and stared, who obeyed houngan and papaloi, mambo and mamaloi (or Bela Lugosi, of course), stolen shamelessly from Black culture. They were thrust onto the big screen to scare the bejaysus out of audiences, stock cinema figures just as Catholic exorcists later became in the seventies. They were the real fake thing. Seabrook wrote:

“The zombie, they say, is a soulless human corpse, still dead, but taken from the grave and endowed by sorcery with a mechanical semblance of life. People who have the power to do this go to a fresh grave, dig up the body before it has had time to rot, galvanize it into movement, and then make of it a servant or slave, occasionally for the commission of some crime, more often simply as a drudge around the habitation or the farm, setting it dull heavy tasks, and beating it like a dumb beast if it slackens.”

In fact, there has always been controversy as to whether ‘zombies’ were dead bodies, or bodies lacking souls, or just the living in thrall:

“Zombis,” said Crawfish Jonny. “You gotten yerself dead men, grave-goods, and the Lord won’t let you rest for that.”

Lyall grinned. “Zombis, huh? Well, some would agree there, and some wouldn’t. There’s bodies like my boys used to work the big fields in Haiti – tireless bodies, making no complaint. A fine change from ‘Mistuh Lyall, this ain’t what I’s owed’ and ‘Mistuh Lyall, I cain’t do a stroke ‘til I’ve slept a mite.’ Those voices, they can aggravate a man.”

“But these ain’t dead men walking, are they Barnard Lyall?” Mamma Lucy eased back the arms which held her, standing almost free. “They’re goofered and tricked, and iffen they die like this, it’s you who’ll be payin’.”

A dismissive snort from the man. “Peh. A few pieces of trash, picked here and there, brought up to the big house to take their medicine and listen to Uncle Lyall. They don’t know they’re alive, so it makes no matter to them. No pain, no hunger – nice change for colored boys like these.”

Mamma Lucy felt her neck muscles knotting in anger…

Pine in the Soul, John Linwood Grant

But born of sorcery, hypnosis, mental illness or dark pharmaceuticals, zombies — and voodoo — were here to stay. Are these films any good as pieces of cinema? Er… well, many are not (The Devil’s Daughter is just so tedious that we almost didn’t list it). However, some do have notable aspects or moments where it’s informative to see how the subject is handled (we’ll say nothing about White Zombie (1932) today, because that one’s been covered so many times before, elsewhere). Instead, here are six specific films, with reasons why you might want to check them out:

1) DRUMS O’VOODOO (1934)

An all-Black cast deliver an earnest morality play, punctuated by an over-extended debate scene in a Black church. This one is definitely worth a look, though, if you want to see a rare attempt to portray both church and voodoo as relevant and even complementary spiritual systems/religions for Black people, and is far more nuanced than usually seen in these films. Ignoring the obvious plot of the Conflicted Preacher, the Innocent Girl, and The Baddie, the core question here is how Christianity and voodoo serve the Black community.

The very fact that no white actors suddenly barge into the spotlight helps, and you also get a mamaloi in the spotlight, Auntie Hagar, played by Laura Bowman. Admittedly, the way she alternates between wise old woman and over-the-top rhyming voodoo priestess is a bit odd, but still… Oh, and this one’s set in Louisiana, not the Caribbean or elsewhere (it was based on the play Louisiana by African-American actor/playwright J Augustus Smith.

TRIVIA: The film was re-released in 1940, using the even more lurid and ludicrous title She Devil.

2) CHLOE, LOVE IS CALLING YOU (1934)

A fairly uninviting film which focuses on miscegenation, the ‘one drop’ rule, and where it turns out (SERIOUS SPOILER) that a vengeful woman raised in the Black community is in fact white but didn’t know it — which makes everything right for her, as she suddenly gets a ‘white’ name and a new frock. Lots of ‘you’ll never marry X because of your blood’ stuff. Hmm. Reflecting the racism of the time — and not helping at all — this is one to make yourself sit through if you want to see how the subject was portrayed at the movies. Banned in Ohio, possibly because the Film Board fell asleep.

TRIVIA: This was the last film of Olive Mary Borden (1906 – 1947) who was a fourth cousin of Lizzie Borden, the woman tried and acquitted after the axe murders of her father and stepmother in Fall River, Massachusetts 1892.

3) REVOLT OF THE ZOMBIES (1936)

Peculiar zombie nonsense which gets you scratching your head, so has to be included. Notable as a period film which completely ignores African and Caribbean roots for no apparent reason. In an unexpected and frankly bizarre twist, during World War One a French Cambodian regiment bring back to Europe a Cambodian high priest who has the black magic (sic) art of making zombies. Yep… it all comes down to the secrets of a Hindu temple somewhere near Phnom Penh. So that’s where a European expedition heads. Who’d have thunk it? With a few powders and rituals thrown in, zombification turns out to be the mind control of the ‘Mystic East’. With a plot which wavers between destroying the secret and harnessing it for the Allies, who knows how they dreamt this one up?

 

TRIVIA: Uses the shots of Bela Lugosi’s eyes from White Zombie, to symbolise the mental power of he who makes and controls the zombies.

4) THE DEVIL’S DAUGHTER (1939)

If it is possible to be really bored by something in which you’re really interested, this film achieves it. A dull dispute over an island estate between half-sisters, it has an all-Black cast (though some of the actors are quite light, as noted above), and stars the now-forgotten major African-American movie star Nina Mae McKinney (1912 – 1967), once known in Europe as ‘The Black Garbo’. Despite mention of running from the dead, a ritual, and a drug-induced trance, it doesn’t advance the topic. The key interest is that this film uses the term obeah, not the more common voodoo. Compared to voodoo, obeah is more a range of folk beliefs and practices than a religion, and is present in both West Africa and the Caribbean.

TRIVIA: Nina Mae McKinney also featured in 1929’s Hallelujah, the first Black musical, and in 1935’s Sanders of the River, alongside Paul Robeson — who later found to his disgust that the film had been altered to portray the white colonials in a better light. Another of the film’s stars, Jack Carter, was perhaps most well-known for playing Macbeth in Orson Welles’s 1936 all-Black version of Macbeth, often called the Voodoo Macbeth. Welles set this version on an imagined Caribbean island, and the play earned its later name because the witches were replaced by Haitian vodou, including a male priest instead of Hecate.

MORE TRIVIA: Henry S Whitehead, a friend of H P Lovecraft, served as Archdeacon of the Virgin Islands from 1921 to 1929 and wrote a large number of supernatural tales linked to obeah. Whilst the stories do have some racist content, Whitehead had really been among these island communities, and treated local beliefs with more respect, even sympathy, than most white writers of the time.

5) KING OF THE ZOMBIES (1941)

A comedy-horror film which has the peculiarity of trying to blend ‘evil white man who learns zombification secret’ with hypnosis and some actual zombie lore, including the concept of not feeding a zombie salt, which will break the ‘spell’. There is a mamaloi/mambo to hand as the white villain’s henchwoman, and plenty of proper zombies. In an odd way, this one’s almost enjoyable – except it’s still racist. Prolific Black comedian Mantan Moreland, as “Jeff” Jackson, has all the best ‘Scooby Doo’ lines, although he is in the tiresome stock role as hapless Black valet – which means that he’s supposedly a superstitous scaredy-cat because he’s Black.

TRIVIA: Although work dried up a bit as the eye-rolling Black sidekick role became less popular, Moreland (1902 – 1973) was later considered as a strong candidate to join the Three Stooges after one of the original Stooges died.

6) I WALKED WITH A ZOMBIE (1943)

The best of them all, even with its main focus on the white nurse and the woman she comes to tend. Here we’re offered voodoo, zombies and all, with references to slavery, and some disturbing cinematic images. Despite talk of fakery and pseudo-medical arguments, there is genuine voodoo at work — the moment when the ‘mad woman’ is drawn out of her room and into the night is terrific.

It’s all a potent blend of Jane Eyre, misguided colonialism, and Black sorrows. The presence of a scarred slave-ship figurehead and Carrefour — a magnificently silent, forbidding figure who is zombie, god and guardian — push this one right up the list (‘Carrefour’ being French for crossroads, an abiding element of vodou, voodoo and hoodoo beliefs). Themes of injustice and bondage abound, and it includes detailed scenes at a houmfort, a voodoo place of worship. And the white men are guilty of their own personal failings. Well worth seeing.

https://www.dailyscript.com/scripts/i-walked_with_a_zombie.html

TRIVIA: I Walked with a Zombie was directed by Jacques Tourneur, who did such magnificent work on 1957’s chilling The Night of the Demon, adapted from M R James’s story ‘Casting the Runes’. The 1943 film was based on the work of writer/reporter, Inez Wallace (1888 —1966), who had travelled to various Caribbean islands and written about voodoo and obeah. You can read a contemporary piece about her here:

https://www.newspapers.com/clip/50177534/inez-wallace/

END-WORD

As far as films go, the whole voodoo and zombie on screen thing went fairly pear-shaped after the mid-1940s. Over the decades, the zombie turned into the only incarnation that most people know nowadays, caused by anything from cosmic waves and radioactive waste to medical experiments run amok and fungi. The voodoo connection was almost totally abandoned, but the stolen Z Word remained. Some might blame George Romero and his landmark 1968 film Night of the Living Dead, though Romero didn’t refer to his creatures as zombies, but as ‘ghouls’, and stated that part of his inspiration was Richard Matheson’s book I Am Legend (1954), where the creatures are more vampiric.

And thus have generations been nurtured on these modern so-called zombies who dash around like they’re on amphetamines, or shuffle after brains, not remembering that brains are ludicrously high in cholesterol — we’re pretty sure that such an exclusive diet would lead to these undead fellers having serious cardiac events. What such creatures should be called nowadays, we don’t know…

But they probably ain’t zombies.

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Blackened Roots

Time for a last reminder that the campaign for Mocha Memoirs’ latest project Blackened Roots — “an anthology of stories written by Black writers from all over the world featuring tales of non-traditional zombies” — has only a few days to run. MM did a fantastic job with their anthology SLAY: Stories of the Vampire Noire, and we expect this one to be just as cool. Pledge and get in there.

https://www.indiegogo.com/projects/blackened-roots-an-anthology-of-the-undead–2/x/13985334#/

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Whilst you’re pondering the above, why not have a look at John Linwood Grant’s own recent second collection,Where All is Night, and Starless (Trepidatio 2021). A Shirley Jackson Award Nominee, it’s not bad.

AVAILABLE NOW THROUGH AMAZON UK & US, AND THROUGH THE PUBLISHER, JOURNALSTONE

Amazon US: Where All is Night, and Starless

Amazon UK: Where All is Night, and Starless

Short story deadlines, anthologies and collection have rather consumed my time so far this year, but today we’re fortunate to have one of Dave Brzeski’s in-depth reviews covering, well, quite a lot. New Meteor House publications, and the strange worlds of Philip José Farmer, especially that of the Secrets of the Nine…

SECRETS OF THE NINE

by Dave Brzeski

It’s that time again, when I review the new books from Meteor House. This year, they’re pretty special.

Two out of the three are follow-ups to Philip José Farmer’s classic Secrets of the Nine series, which comprise: A Feast Unknown (1969), Lord of the Trees (1970) & The Mad Goblin (1970).

The series as a whole, and the new books, It’s Always Darkest, by Frank Schildiner, and The Monster on Hold, by Philip José Farmer & Win Scott Eckert, were discussed at length on the Secrets of the Nine panel at Farmercon XVI (2021). It’s well worth watching. It can be found on YouTube, here: https://www.youtube.com/watch?v=73cKxYR2PSI

FRANK SCHILDINER – IT’S ALWAYS DARKEST

I’m very familiar with Schildiner’s work, both in, and outside of Farmer’s Wold Newton Universe, so I had no doubt I’d find this short novel of interest.

The original three books by Farmer tell the story of how Lord Grandrith and Doc Caliban (unashamed pastiches of Tarzan and Doc Savage) turned against the mysterious Nine – a group of immortals who have manipulated World events in the background, since pre-history. I don’t really want to go into too much detail about that, as it’s all well-covered in that video. Do go watch it.

Whereas Grandith (pronounced Grunith), and Doc Caliban are fighting directly against the Nine, Schildiner’s Langston Dupont takes a more street level approach, in battling the various organisations which support them – be it knowingly, or otherwise.

Dupont is not so much a pastiche of any particular character. He’s more of a conglomerate of all the many dozens of Dark Avenger type heroes of the pulps, and comics, such as The Shadow, Batman etc. Dupont, however, does not operate under a codename, nor does he have a team of aides, in the way that the Shadow and Doc Savage do. He appears to work alone, for the most part, but his martial arts skills, and part-Asian heritage set him apart.

When it comes to battling The Nine themselves, Dupont quickly realises that he’s outclassed, so he goes to work chipping away at their organisation at the lower levels, taking out their agents as and when he can. As with all such pulp heroes, he has a nemesis, but this time it’s the woman he loves. Like Grandith & Caliban, Dupont also served the Nine for a very long time, before all three defected. Dupont’s criminal mastermind ex, Seiko Midori, sadly still follows her evil masters.

As I have come to expect from Schildiner, It’s Always Darkest is a fast-paced and very enjoyable pulp adventure. It is, it can’t be denied, rather violent, just as the Farmer series (especially A Feast Unknown) was. It’s also set in the 70s, and the author has intentionally styled it after the popular men’s adventure magazines, and paperback series of that period. Schildiner is, in fact, a mixed martial arts instructor by profession, so his fight scenes couldn’t be any more authentic. The man knows what he’s talking about!

If I really, really wanted to nitpick, it would be that I noticed some repetition in that Dupont comments on the woeful lack of taste of no less than three people, despite their advantages in looks/wealth and power. I can’t see that having passed the notice of the editors, so I’m going to assume it’s simply a character trait of Dupont’s – perhaps he’s a bit of a snob.

The book does work perfectly well as a stand-alone, but there is one seemingly minor scene, which might not mean much to those who don’t also read The Monster on Hold.

I do rather hope to read more of Dupont’s adventures in the future, whether, or not they involve The Nine.

The gorgeous cover and interior art are by Keith Howell!

Find it here: https://meteorhousepress.com/its-always-darkest/

NB: This is a limited (150 copies) signed hardcover only, so if you want it, you should order it quickly!

PHILIP JOSÉ FARMER – THE MAN WHO MET TARZAN

The second book I’m covering here is a bit different, in that The Man Who Met Tarzan is non-fiction. I’ll save myself some typing by cut & pasting directly from the press release…

“Most people familiar with Philip José Farmer know of his Tarzan Alive: A Definitive Biography of Lord Greystoke. In fact many became fans of Farmer because of this book. Less well known are the many other articles, essays, letters, and speeches Farmer wrote about Edgar Rice Burroughs and Tarzan over a span of several decades. This collection, The Man Who Met Tarzan, brings many of these together culminating in the high point of his actually interviewing Lord Greystoke himself!”

I’m not going to individually cover every separate piece presented here. That would take too long. Let me start, however, with a warning!…

If you’re one of those people who’ve never read Farmer’s Tarzan Alive: A Definitive Biography of Lord Greystoke, or Doc Savage: His Apocalyptic Life, you may not be aware of the danger. This book will suck you in! Of particular note are the two connected pieces, ‘Some Problems in Writing the Tarzan Biography’ and ‘The Great Korak Time Discrepancy’. If you didn’t previously consider yourself anal enough to care about discrepancies in the works of Edgar Rice Burroughs, then there’s a good chance this will change your mind. And once you then inevitably buy a copy of Tarzan Alive… believe me, the list of books, by a multitude of authors, about a multitude of characters, that you absolutely need to get and read will grow exponentially. I write as one who fell into this trap back in the mid-seventies.

It can’t be denied that this book is a geek’s paradise. But don’t be put off if you don’t consider yourself to be all that nerdy. It is, in fact, far more entertaining a read than the concept suggests. I admit that I found ‘From ERB to Ygg’, which traces Edgar Rice Burrough’s family tree all the way back to the Norse god Woden (aka Odin, or Ygg), a little dry, and ended up skimming it, but that was just 9 pages out of over 250.

By the time we got to the real meat of the book, in the second half, I found it hard to put down, especially the ‘Extracts From the Memoirs of Lord Greystoke’, which clarified so much of the more unlikely elements of ERB’s novels, and ‘An Exclusive Interview with Lord Greystoke’, in which you can cut the tension between Farmer and the jungle lord with a knife.

It’s fascinating to follow the trains of thought of Farmer and others as they argue over the discrepancies in the fictionalised accounts, and try to rationalise them with the real life man who was Tarzan.

I was intrigued to read between the lines of some of the material written by Win Scott Eckert, and others which almost suggested that they didn’t really believe Farmer’s stance on Tarzan having been based on a real, living person… but I put that down to a continued effort to protect the jungle lord’s privacy.

This book is available in a Trade Paperback as well as a Signed Hardcover Limited Edition (signed by Christopher Paul Carey, Win Scott Eckert, Henry Franke, Keith Howell, and John Solie)!

The hardcover features a leatherette cover with gold foil stamping, colored end papers and two interior color images. A fine quality collectible edition to be sure.

As with It’s Always Darkest, there’s an interesting panel discussion of the book on YouTube, here. https://www.youtube.com/watch?v=j9BBYl6N9vs I encourage you all to go watch it.

It can be ordered in paperback, and hardcover here: https://meteorhousepress.com/the-man-who-met-tarzan/

PHILIP JOSÉ FARMER & WIN SCOTT ECKERT – THE MONSTER ON HOLD

Which brings me to the main event. The Monster on Hold is an almost legendary planned, but unwritten, fourth novel in the Secrets of the Nine series, by Philip José Farmer. It fell to Win Scott Eckert to complete the work from Farmer’s outline and notes, and I doubt the task could have fallen to anyone better suited.

Eckert stresses in the panel video linked at the top of this article that you really don’t need to read all the earlier material… but it does help. It doesn’t really matter which order you read them in (apart from the Secrets of the Nine series, which should be read in order), much in the way it doesn’t matter which areas of a jigsaw you fill in first, but reading them all does eventually lead to a clearer, bigger picture.

For my part, I had read some of the relevant works fairly recently – Escape to Loki (Farmer’s novel of the earliest adventure of Doc Savage), and The Other Log of Phileas Fogg (in which we learn much about the Eridani and the Capellas), and some so long ago that I decided a reread was in order. So I read the original Doc Savage pulp story, Up From Earth’s Center (it’s fairly easy to find this in a reprint, or even a free download if you hunt around), A Feast Unknown, Lord of the Trees and The Mad Goblin again.

The Multiverse concept is pretty popular in the media these days. Both Marvel and DC have long used it to great effect in their comics, and this trend has increased dramatically in recent years. The idea has also now been embraced by the film and TV franchises based on their properties. The cynic in me does see this as a method by which they can justify the constant rebooting, and changing things from comic series to comic series, film to film, and TV series to TV series that we’ve – would ‘suffered’ be too strong a word? – over the last couple of decades.

Farmer and Eckert have put rather more thought into things. While it has been employed as a clever method to rationalise Farmer’s various Edgar Rice Burroughs pastiches, and tie in several of his other ideas, in this case it very much serves the tale they wanted to tell… and it works so well. I think one of Eckert’s best contributions is in the subtle ways he highlights the differences between Doc Caliban, and Doc Savage (or I should probably refer to him as Doc Wildman – his real name).

The first part of this novel – Some Unspeakable Dweller (1977) – follows Doc Caliban in his continued fight against his former masters, The Nine. His position is now quite tenuous, as he is in constant threat of assassination if the agents of The Nine can track him down. Caliban and his companions beard one of the five remaining Nine in his den, and soon find themselves fighting for their lives. They also suffer some quite severe hallucinatory experiences.

In Part II – The Guardian at the Threshold (1984), Doc Caliban captures an agent of The Nine, who turns out to be his universe’s version of a character from that pulp adventure (he apparently having shared a similar story to that of Doc Wildman in the late 1940s). Now he began to understand the truth behind that first adventure. In the eighteenth century, The Nine had summoned an entity from an alternate dimension to help them quell a previous insurrection. Once done, they found they couldn’t banish it back from whence it came, so they now kept it in abeyance in a deep cave in New England, in a place which was in neither of Caliban and Wildman’s universes, but a bridge to both. Caliban is told that what remains of The Nine plan on making further use of this entity… until they finally put an end to Caliban, Grandrith and their friends. He also learns that it’s the source of the hallucinogenic visions that he, and his companions have been suffering from ever since the events of the first part. He doesn’t know what to believe for sure, but he knows he has to go back into that cave.

I was quite surprised at how strong the ties to the Doc Savage pulp, Up From Earth’s Center, were to The Monster on Hold. This seems to be in some ways an attempt by Farmer to rationalise what was really one of the weakest (and the last to be published in the pulp magazine) of the Doc Savage stories, which has been up to now pretty much dismissed as an imaginary tale, in that it just didn’t really work within the Doc Savage universe. The idea of the very rational science hero, Doc Savage, discovering that Hell really existed in the bowels of the Earth, and was accessible via some caves in New England was just a bit too silly. Farmer makes it work, though, and in the process, ties it all in to H.P. Lovecraft’s Chtulhu Mythos.

The third part – Down to Earth’s Centre (1984) – takes us with Caliban as he ventures back down into the caves which had so terrified him back in 1948 (I couldn’t help but wonder if the two dates were a nod to the original title, and publishing date, of Orwell’s 1984). Both hindered and helped by visions, in which he seems to be able to see through the eyes of the other, while that other can see through his eyes, he faces the most frightening experience of his long life.

It’s an exciting page-turner of an adventure to be sure, and great fun for all the Farmer fans who love to work out all the connections, but it’s so much more than that. The Monster on Hold, indeed the entire series, is also a fascinating look at the effect their extreme upbringing had on the psyches of young Grandith, and Caliban. They are immensely powerful, and intelligent heroes to be sure, but they are also so very damaged by their extremely unusual upbringings. This sort of thing has been attempted before with other heroes, most notably Batman, but never have I seen it done so well as Farmer (and Eckert) have done here. It’s quite an achievement. The moral implications of the methodology Doc Savage employed, in the earlier Doc Savage pulp adventures, to cure his enemies criminal tendencies is also brought into question.

The Monster On Hold does not end there, however. There’s a plethora of bonus material in the book, staring with a reprint of Win Scott Eckert’s ‘The Wild Huntsman’, originally published in The Worlds of Philip José Farmer, Volume 3: Portraits of a Trickster (Meteor House 2012). I’d read it in that original appearance, and while I did enjoy it, I have to say it worked so much better, re-reading it after reading all four of the Secrets of the Nine series, of which it’s an important part. Here, we discover how the Xaoxaz of one Earth discovered the existence of his counterpart on another, what he did next and how that ties in to the struggle between the Eridani and the Capellas on one Earth and the fall to Earth of a certain meteorite on another, bringing in the events of Time’s Last Gift, and so many other works along the way. Re-reading this story at this point took it from being a good Wold Newton tale to an essential, and excellent piece of a larger puzzle. It really needed to be included in this book.

The rest of the book is devoted to the various sources Eckert used to complete The Monster on Hold, from Farmer’s notes etc., which were found in what has become known as his ‘Magic Filing Cabinet’. First we get material scanned from Farmer’s handwritten notes, and typescripts. The handwritten notes are very interesting to see, but frankly, Farmer’s handwriting is almost as bad as mine, which makes it quite difficult to read. The typescripts are easier, of course, but they were presented as scans of the original pages, which means the text size is reduced considerably from the original letter-sized (8.5”x11”) pages. Of particular interest is a letter from Farmer to the Scott Meredith Literary Agency, discussing his plans for writing Escape From Loki, his canonical Doc Savage novel. It’s fascinating to see how his thoughts on The Monster on Hold were gradually taking shape, and how they changed over time.

‘Philip Jose Farmer’s Original Prose and Outline’ is pretty much what it says on the tin. First we get three chapters that Farmer wrote sometime in the 1970s – ‘Up From the Earth’s Centre’ (an earlier title for The Monster on Hold, used here to avoid confusion). Here we follow a character using the codename ‘Lacewing’ (a golden-eyed insect), as he takes a familiar trip into the bowels of the Earth. Given the similarities, and differences with the final novel – in fact Doc Wildman also uses that codename in one of Caliban’s visions – one could assume this took place in yet another alternate universe.

Following this, we get the remainder of Farmer’s comments from the 1983 World Fantasy Convention program, outlining the novel, followed by his original version of a first chapter.

At this point, dear reader, you may be forgiven for thinking that this is all much too complicated to deal with. But fear not; in ‘A Tale of Two Universes’, and ‘A Feast Revealed: A Chronology of Major Events Pertinent to the Secrets of the Nine Series’, Eckert goes to a lot of effort to clarify it all for us. Finally, in ‘A Note from the Coauthor’, he acknowledges his many sources, and lists all the pertinent books that we may want to read… and, yes, this does include a few I have yet to get to myself!

Featuring an introduction by Bronze Gazette editor Chuck Welch, The Monster on Hold is available in a Trade Paperback (featuring cover art by Doug Klauba – included in the hardcover as a full-colour frontispiece) and a Signed Hardcover Limited Edition (featuring a wraparound jacket by Mark Wheatley). Each edition also includes interior artwork by both artists. The hardcover is signed by Win Scott Eckert, Chuck Welch, Doug Klauba, and Mark Wheatley!

Find it here: https://meteorhousepress.com/the-monster-on-hold/

At the time of writing, all of the limited, signed hardcovers are almost sold out.

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Whilst you’re pondering the above, why not have a look at John Linwood Grant’s own recent second collection,Where All is Night, and Starless (Trepidatio 2021). It’s not bad.

AVAILABLE NOW THROUGH AMAZON UK & US, AND THROUGH THE PUBLISHER, JOURNALSTONE

Amazon US: Where All is Night, and Starless

Amazon UK: Where All is Night, and Starless

As any fule kno, we do not cover the Beast That Is Poetry at greydogtales. Except when, occasionally, we do. Which is all very strange. However, we have two fine examples of this vexing animal in hand – Jessica McHugh’s Strange Nests, and Paul St John Mackintosh’s The Great Arcana, and they crept far enough into our kennel to deserve mentioning. These are two books of verse, but they’re as different as chalk and something which is definitely not chalk. Here’s a taste of them, both widely available now…

STRANGE NESTS by Jessica McHugh

Following her Bram Stoker and Elgin Award nominated collection, A Complex Accident of Life, Jessica McHugh draws this time on the Frances Hodgson Burnett classic, The Secret Garden, for a new collection of her blackout poetry*. What’s that, then? Essentially, blackout poetry is sculptural, carving away at an existing text until you’re left with the words you want.

A Complex Accident of Life, inspired by Mary Shelley‘s Frankenstein, was our first extended exposure to the form, and we were sold – if not on everything about blackout poetry in general, certainly on McHugh’s remarkable ability to carve new and evocative meanings from literary monoliths. It’s a fascinating read, and now we have Strange Nests, which McHugh described to us as:

“A collection of horror blackout poetry exploring the consumptive and transformative power of grief.”

The Secret Garden is an interesting choice as a source text, and one of which we approve, as it is set in Yorkshire. We ourselves have a secret garden at the back of our Yorkshire hovel, but unlike that of Misselthwaite Manor, ours is a quagmire created by too many dogs digging and peeing on everything.

Here’s a sample of the unadorned text…

And here’s the graphic way in which McHugh works and presents the full form alongside the extracted core:

The venerable Ginger Nuts of Horror review site said of Strange Nests:

“A thought-provoking and powerful collection of short poems exploring a range of emotions and experiences that even a novice poetry reader can appreciate and learn from. It is worth a look, even if it is just to get a glimpse at the fascinating world of blackout poetry.”

https://gingernutsofhorror.com/fiction-reviews/book-review-strange-nests-by-jessica-mchugh

We agree. McHugh is a textual sculptress, and the reviewers are right, this one is definitely worth a look.

*If you’d like to know more about the form, there’s quite a lot of detail here:

the history of blackout poetry

And there’s an Amazon link here:

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Given our second book of the week, mentioned below, we would like to have linked Frances Hodgson Burnett, and the tarot, but the chain is thin. Her own interest in the occult and spiritualism, which developed in later life, seems to have been more centred around theosophical concepts. She stated:

“I am not a Christian Scientist, I am not an advocate of New Thought, I am not a disciple of the Yogi teaching, I am not a Buddhist, I am not a Mohammedan, I am not a follower of Confucious. Yet I am all of these things” (New York Times, Oct. 12, 1913).

However, the Brink Literacy Project, a non-profit organization dedicated to changing the world through storytelling ran a campaign last year for The Literary Tarot, a project due in 2022 which includes both The Secret Garden and Frankenstein:

“We reached out to some of the greatest authors and cartoonists of our time and asked them to pair a tarot card with a seminal book that embodies the meaning of the arcana.”

Bestselling author Leigh Bardugo (Ninth House and Shadow and Bone) pairs the Ace of Parchment (Pentacles) with Frances Hodgson Burnett’s The Secret Garden, and Isaac Marion (Warm Bodies) brings Mary Shelley’s Frankenstein to life in the iconic major arcana card The Hermit.

So maybe McHugh is onto something…

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THE GREAT ARCANA by Paul St John Mackintosh

“A visionary cycle of 22 sonnets for the 22 trump cards of the traditional Tarot pack, with accompanying classic Tarot cards to illustrate them, delving into the symbolic, cultural and historical heritage of the Tarot.”

Our other rhythmic offering today is both ancient and modern, a set of sonnets based on the Major Arcana of the tarot.

The entire matter of the tarot is something which has been subject to an astonishing number of interpretations – considering that in the fifteenth century, it was merely a card game played by idle apprentice Italian builders when rain stopped yet another bout of civic piazza construction.

“ ‘Ere, Giovanni, how come this pack’s got more than one Pope in it?”

“Ecumenical schism, innit? And stop lookin’ up me sleeve.”

On the other hand, maybe the tarot does contain the hermetic, transcendental wisdom of Thoth. What would we know? The theosophist Helena Blavatsky said:

“The real Tarot, in its complete symbology, can be found only in the Babylonian cylinders, that anyone can inspect and study in the British Museum and elsewhere. Anyone can see these Chaldean antediluvian rhombs, or revolving cylinders, covered with sacred signs; the secrets of these divining ‘wheels,’ or, as de Mirville calls them, ‘the rotating globes of Hecate,’ have to be left untold for some time to come.”

Paul St John Mackintosh, accomplished writer, poet and journalist, knows more than we do about all sorts of stuff, and has written his sonnets in order to reflect on each of the tarot trump cards. He says of The Great Arcana:

“The Tarot I based these sonnets on, almost entirely, is the Tarot de Marseille, purely because it’s the oldest complete suite of designs and motifs for the Major Arcana. I was very concerned with authenticity and origins when working on this cycle, on the basis that, if the Tarot has anything to teach or reveal, it probably is found most authentically in its earliest forms, not in the later rewritings and interpretations of the system by A.E. Waite and his ilk. I’ve only drawn heavily on the Rider-Waite Tarot deck for one poem — II, The High Priestess — and I don’t particularly care for any of Waite’s readings of the cards. However, imaginative inspiration has been my real guide all the way through, pulling me away from being too much of a dogmatist in any particular direction.”

Here’s a sample – which does not do justice to the style and layout in the actual book:

The Magician

Charlatan, mountebank, you stand,
behind your table set out on the green,
minor arcana laid in your demesne;
cups, coins and swords ready under your wand,
answering to your oh so puissant hand,
your prestidigitation passed unseen,
and so arcane we can’t tell what they mean
and leave the spread for you to understand.
Yet is that rakish hat Infinity,
the cryptic symbol of Eternity,
and Ouroboros wrapped around your waist?
Your Moebius brim, your artfulness proclaim
the occult wisdom hid in your shell game,
as you divine from squares of pulp and paste.

(c) Paul StJohnMackintosh, 2022

It’s a stylish and thoughtful work which both informs and teases, with each sonnet set against a classic image of the card to which it relates.

Find it on Amazon here:

The Great Arcana

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ALSO IN BOOKS NEWS…

The Kickstarter campaign for Sherlock Holmes and the Occult Detectives volumes 3 & 4, and The Book of Carnacki, all three coming from Belanger Books and edited by John Linwood Grant, began on the 21^st February. It greatly exceeded its initial goal within hours, but is a good way to pick any or all of the books concerned, singly or as bundles. E-book, paperback, and hardback formats are available. Lots of detail about the books themselves on the Kickstarter page:

The Book of Carnacki/Holmes & the Occult Detectives