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Sunday, 4 October 2015

Pulp Sleaze

A few weeks ago I received a gift code to spend on the U.S. Amazon site, so I decided to buy something archetypally American in the form of a replica edition of Vice Squad Detective from 1935. This is arguably the sleaziest pulp magazine ever published. According to the FictionMags database, “it is believed that most copies were seized by police prior to distribution” (I assume this was the work of the vice squad, operating with or without deliberate irony). There’s nothing Fortean about the magazine’s contents, but since I’ve run out of blog ideas and it’s definitely retro, I’ll go ahead with a brief review of it.

The archetypal sleazy pulps were Spicy Detective, Spicy Adventure and Spicy Mystery (as you can see from the photo above, I’ve already got replica editions of one issue of each of these). The basic concept was to combine traditional pulp genres with large quantities of female nudity (or near nudity) – on the covers, in the interior artwork (of which there was a generous amount) and in the stories themselves. Spicy Detective first appeared in April 1934, and the formula proved so popular with readers that it was soon followed by other Spicy titles from the same publisher (aptly known as Culture Publications), as well as competitors with titles like Sizzling Detective Mysteries. As the popularity of such magazines grew, they inevitably came to the attention of people who hate to see other people enjoying themselves – resulting in police raids, prosecutions and calls for increased censorship. As Peter Haining wrote in The Classic Era of the American Pulp Magazine, by 1938 “nudity was being cut out and the bras were going back on”.

Reading Vice Squad Detective today it’s not obvious where all the moral outrage came from. The police are always portrayed as heroes, while drug dealers, pimps and gangsters are portrayed as villains. Descriptions of female nudity tend to be short and vague, not long and detailed. Descriptions of sexual intercourse are likewise brief, and only ever a background activity observed by a POV character. Protagonists do their fair share of kissing and anatomy-squeezing, but they never get as far as actual shagging. Characters who indulge in violence against women invariably end up dead. Women are never portrayed as nymphomaniacs – all the villains, whether male or female, are motivated by greed rather than lust. Two of the stories contain seemingly “sinister” ethnic stereotypes, but in both cases the character in question turns out to be one of the good guys, and the real villain is a white male. Vice Squad Detective may not be Sunday School material, but it’s a lot less morally objectionable than a lot of low-end fiction today.

The magazine contains 12 short stories, all about 10 pages long. In terms of quality, it’s comparable to any other pulp of this period – approximately a third of the stories are really quite good, a third are OK and a third are pretty awful. My favourite story also happens to have the best title – “The Amazing Case of the Blonde Dope Queen”, by J. P. Carroll. It’s a well written story, with interesting characters and a nice twist at the end. Other decent stories (also with good titles!) are “The Nudist Gym Death Riddle” by Jack Gray, “The Call Girl Murder Mystery” by Peter Abbott and “Marijuana Vice Trap” by L. S. Worth. This last one is rather clunkily written, but makes a very strong point. The rich college kids who indulge in all-night sex and drug orgies may be doing it for kicks, but the middle-aged men who sell them the drugs, photograph them in compromising situations and blackmail them into stealing from their parents aren’t interested in kicks at all – just in making money.

Possibly “Marijuana Vice Trap” wasn’t considered a particularly offensive story anyway, because it was reprinted as the cover story of another magazine, Pep Tec Tales, in April 1937. The following issue of that magazine has another of the Vice Squad Detective stories on the cover – “The Pajama Party Killer” by Don Lawrence.

The last story in Vice Squad Detective is “The Beach Racket Murder” by Tom Pennell. On the penultimate page of that story, I was interested to see the hero refer to the villain as “deader than the Republican party”. In hindsight that’s not a particularly good choice of simile, but it does provide food for thought. Wouldn’t the world be a different place if Nixon, Reagan and the two Bushes had never made it into the White House?

Sunday, 27 September 2015

A Weird Offer!

As mentioned last week, Weird Wessex: A Tourist Guide to 100 Strange and Unusual Sights by Paul Jackson and me (*) has just been published by the CFZ Publishing Group. Lavishly illustrated with over 200 full-colour photographs, the book takes you on a journey across the counties of Wiltshire, Hampshire, Dorset, Somerset, Devon and Berkshire in search of some of the weirder and sometimes little known sights waiting to be discovered.

For a limited time, you can order your copy of Weird Wessex direct from the publisher for just £10 – a massive discount of 18% on the recommended retail price of £12.50. What’s more, for customers in the UK postage is absolutely free, and the first 16 copies sold will include a bookplate signed by both Paul and me (*).

So what are you waiting for? It’s the perfect opportunity to add to your “Weird” collection (mine is pictured above). For full details, click here to visit the CFZ Publishing website.

You should also be able to get Weird Wessex (ISBN 978-1-909488-35-9) from any other book retailer, such as Amazon UK, or as a Kindle ebook.

(*) Until a week ago I would never have written “by Paul and me”, but “by Paul and myself” – which sounds more elegant, more polite and more grammatical to my ears. But when I used that phrase on Facebook, someone pointed out to me that “myself” is a reflexive pronoun. That means it can only ever be used in a sentence where the subject is “I”. You can say “I wrote the book myself” but you can’t say “The book is by myself”. You have to say “The book is by me”. Putting another person in the mix doesn’t change things – so “The book is by Paul and myself” is equally wrong. I will probably forget this almost immediately, but at least I got it right in this post.

Sunday, 20 September 2015

Weird Wessex

The latest book to feature my name on the cover is a collaboration with Paul Jackson of the
Random Encounters with the Unusual blog. It’s called Weird Wessex: A Tourist Guide to 100 Strange and Unusual Sights. Here is the blurb:
At its height, the Saxon kingdom of Wessex sprawled across Southern England, encompassing Wiltshire, Hampshire, Dorset, Somerset and parts of Devon and Berkshire. Even before the Saxons arrived the area had a reputation as a weird place, with Stonehenge and its Druids, Glastonbury and the Holy Grail, the bizarre chalk figure of the Cerne Giant and the reputed location of King Arthur’s Camelot. In more recent times the tradition of weirdness has continued, with flying saucers sighted over Warminster, intricate Crop Circles popping up around Alton Barnes and hordes of spaced-out hippies converging on the mystical hubs of Glastonbury and Totnes.

This book is a tourist guide with a difference. It describes 100 of the weirdest sights in Wessex, ranging from world-famous places like Glastonbury and Stonehenge to hidden oddities that may even surprise the locals. Divided into ten thematic chapters, it is lavishly illustrated with over 200 full-colour photographs.
The ten chapters, each featuring ten sites, are arranged thematically as follows:
  • Weird Archaeology
  • Weird Buildings
  • Weird Constructions
  • Weird History
  • Weird Landscape
  • Weird Legends
  • Weird Religion
  • Weird Science
  • Weird Secrets
  • Weird Tales
In terms of content, the book is pretty close to a 50:50 collaboration. Paul lives towards the eastern end of the area, on the border of Wiltshire and Hampshire, while I live further west near the Somerset-Dorset border. So it was quite easy to divide the legwork between the two of us!

The book is published by Jon Downes at CFZ Publishing, under the Fortean Words imprint (although most of the sites are “quirky” rather than out-and-out Fortean). The book is in full colour, 200 pages long, with an average of one photograph per page. I’m amazed, and very pleased, that Jon has managed to keep the cover price down to £12.50 (it would have been more like £18 if we’d used CreateSpace).

There are several ways you can get hold of your copy of Weird Wessex:
  • You can buy it from Amazon UK (or any other Amazon site). The book is print-on-demand, so don’t worry if Amazon says “out of stock”. As soon as you order it, the printer will run a copy off for you.
  • You should also be able to order the paperback through any other book retailer – the ISBN is 978-1-909488-35-9.
  • The book is available in a Kindle edition, though unfortunately not in any other ebook format.
  • In the near future (probably about a week from now) the CFZ website will be running a special offer on Weird Wessex. If you order the book direct from the publisher it will cost just £10 plus p&p, and include a bookplate signed by both authors (wow!)
  • People in the local area who cross paths with either of the authors can order a copy direct from us. We will be happy to sign it for you, and may even offer a discount (depending how generous we’re feeling).

Sunday, 13 September 2015

Pound-Shop Forteana

Here are two DVDs I bought for just a pound each (obviously) in a Poundland store last week – The Dyatlov Pass Incident and Skinwalkers. Both movies are based on true events of the Fortean kind. I first heard about Skinwalker Ranch at a talk by Ian Simmons at the Fortean Times Unconvention in October 2004, while the Dyatlov Pass incident made the cover of FT245 in February 2009. Both films were released in 2013, so the fact they’re already being sold at a massive discount suggests that perhaps they’re not very good. In the case of Skinwalkers that’s true – it might have made an enjoyable video game, but as a feature film it’s simply atrocious. On the other hand, The Dyatlov Pass Incident is a brilliant, five-star, film – the best low-budget horror movie I’ve seen in a long time.

Both films take the form of “found footage” following the disappearance of a team that set out to investigate the mystery in question. In the case of Skinwalker Ranch it’s essentially a modern take on the “haunted house” theme – with the usual ghosts, poltergeist phenomena and spectral hounds joined by UFOs, ancient aliens and animal mutilations. In the movie the ranch is being investigated by a group of professional paranormal researchers, and one of the few positive things I can say about it is that the entire cast looks the part (i.e. unattractive social misfits with no discernable personality). Their behaviour is anything but professional, though – the film belongs to the visceral school of horror, with large amounts of screaming and very little in the way of ratiocination.

The Dyatlov Pass Incident is a different matter altogether. To start with, the central mystery is far more intriguing. Instead of a rambling mashup of subjective phenomena occurring over an extended period of time, it’s tightly focused on one specific incident that left real physical evidence (nine dead bodies, to be precise). The aforementioned Fortean Times article, from 2009, began as follows:
The story sounds like something out of a low-budget horror movie: nine young students go on a skiing holiday in Russia’s Ural Mountains but never return. Eventually, their bodies are discovered – five of them frozen to death near their tent, four more bearing mysterious injuries – a smashed head, a missing tongue – buried in the snow some distance away. All, it seems, had fled in sudden terror from their camp in the middle of the night. [...] At the time, seemingly baffled investigators offered the non-explanation that the group had died as a result of “a compelling unknown force” – and then simply closed the case and filed it as “Top Secret”.
The incident took place in February 1959; the FT article coincided with its 50th anniversary. There are several factors that make Dyatlov Pass one of the 20th century’s most intriguing Fortean mysteries. What was the “compelling unknown force” that caused the students such terror? Why did the deaths from hypothermia occur before – not after – the deaths from crushing physical injuries? Why did several of the bodies show signs of radiation damage? What were the mysterious orange lights seen in the sky around the time of the incident? Most intriguingly of all – why did the Soviet military (this was during the Cold War, remember) stamp the case Top Secret and close the area off to civilians?

The film follows a group of American students who attempt to follow in the footsteps of their Russian predecessors – only to suffer the same fate. This is a much more cerebral film than Skinwalkers – with intelligent, educated characters who think things through and don’t do very much screaming at all. It has a strong plot – unexpectedly so for this type of film. The viewer is presented with a number of obvious choices (Was it a UFO encounter? Was it a Yeti-like creature? Was it a natural accident that has morphed into something more sinister through folklore and misinterpretation?)... and then – culminating in one of the most perfect twist endings I’ve ever seen – the movie comes up with a completely different, even more satisfying, explanation of its own. There’s a fine line between whetting the appetite and spoiling the plot, so I’ll just say “Philadelphia Experiment” and leave it at that.

Sunday, 6 September 2015

Jill Trent and the Flying Saucer Mystery

Jill Trent, Science Sleuth was a golden-age comic book heroine who appeared as a back-up feature in Wonder Comics #8-14 between October 1946 and 1947. Those comics are now all in the public domain, and can be read online (the Jill Trent stories start around page 16 in each issue). The character herself is also in the public domain, and last year I saw an online competition to write a 5-page script featuring the character. The winners (of which there were several) had their stories drawn by artists and published. Sadly my entry didn’t make the cut – presumably because it won’t make sense to anyone who isn’t an aficionado of Retro-Forteana.

I couldn’t help noticing that Jill’s career overlapped with the Kenneth Arnold sighting and the start of the Flying Saucer mystery, so I took that as my cue. To make the story visually attractive I set it amid the science fiction fandom of the time (Yes, they did have cosplay in the 1940s – see Anthony Boucher’s description of the 1941 Denver Worldcon in Rocket to the Morgue: “They had a costume party on the last night. Come as your favourite SF character. Berni wanted to go as Dale Arden, but I’m afraid it was an overambitious project.”).

I thought the script came out OK, but unfortunately it’s way beyond my artistic abilities to take it any further (the cover above is a paste-up job using public domain images). So I decided I might as well post the whole thing here...


Full page splash. A bustling street scene with people converging on a large big-city hotel, possibly Art Deco style. Vehicle designs indicate this is the late 1940s. There is a large banner on the hotel: “SCIENCE FICTION CONVENTION”. On the sidewalk, there is a newsstand with the headline: “FLYING SAUCERS SEEN OVER CITY”. Most people are in 1940s cosplay – think Buck Rogers, Startling Stories etc. Lots of brass brassieres and impractically skimpy spacesuits. JILL and DAISY, however, are in regular clothes of 1947... and getting a few strange looks as a result.


DAISY: They all look like loonies! What on Earth made you agree to demonstrate your latest invention at a convention full of wackos?

JILL: Take it easy, Daisy, everything will be fine!

JILL (continued): I do feel a little overdressed, though...


JILL is at a stall inside the convention, looking at a dealer’s display – “SPACESUITS $2.95”. The spacesuits look more like metallic bikinis and fetish gear (some of the kinkier accessories may only become apparent in later panels).

CAPTION: A few minutes later...

DAISY is looking at something a little more flattering for her fuller figure – e.g. a nylon see-through Space Princess gown.

JILL and DAISY head to the Ladies’ Restroom with their purchases.

DAISY: And you’re sure this is a good idea, right?

JILL: When in Rome...

They change into their costumes, looking like something straight off the cover of a 1940s science fiction magazine.

On stage in an empty lecture theater. DAISY poses in front of a big old-fashioned TV camera. JILL tinkers inside a large retro-futuristic TV receiver.

CAPTION: Before the audience arrive, Jill and Daisy give their equipment a final test...

DAISY: This new color television of yours will really impress those freaks!

JILL holds up a small, blackened vacuum tube (a kind of fancy light-bulb). She looks pissed off.

JILL: Darn it! The 3K55 triode has blown! We need to get a replacement – and quick!


A street with a storefront labeled “GOVERNMENT SURPLUS”. JILL and DAISY are running toward it (still in their sci-fi getup). There are various 1940s-era gadgets in the window.

Inside the store, JILL rummages through a box of vacuum tubes.

JILL: 3K55... Got it! I’ll pay for it and we can get back to the hotel!

Silent close-up of the vacuum tube. The reader sees it is actually marked 3K55X, and has “EXPERIMENTAL” stamped on it.

Wide view of the street outside the Surplus store. Clearly a sleazy part of town – adult theaters and massage parlors etc. A pair of provocatively dressed hookers stare at our cosplay-clad heroines as if they are unwelcome competition (nothing too explicit – just enough to raise the blood pressure of any budding Fredric Werthams out there).

Close up of one or both of the hookers suddenly looking up at the sky in alarm. A strange sound is coming from there.


Close up of JILL and DAISY also looking up in amazement.


JILL: Look – a flying saucer!


Full page-width image of flying saucer hovering over the street, projecting a bright beam of light downward. It looks really sinister, but doesn’t actually do any noticeable damage.


JILL and DAISY pull their weapons from their holsters and aim them at the UFO. They may not realize it in the heat of the moment, but the reader can see they are only toy ray-guns that came with their sci-fi costumes.

They pull their triggers to no great effect.

SFX: Klik! Klik!

JILL: Darn it, these are just the toys that came with our costumes!

DAISY: We left our real guns back at the hotel!

They gaze back up at the sky. There are no sounds coming from there now.

DAISY: The flying saucer is gone!

JILL: Never mind that now! We need to get back to the convention or we’ll miss our time slot!


Wide view of the lecture theater, showing the audience of 1940s-era sci-fi geeks. JILL and DAISY are on stage with the TV camera and receiver.

CAPTION: Back at the hotel, Jill and Daisy are just in time for the start of their demonstration...

Closer view of JILL speaking on stage, with the TV receiver next to her. DAISY is off to one side, looking into the TV camera.

JILL: The black-and-white television you’re all familiar with will soon be a thing of the past!

JILL (continued): Ladies and gentlemen, welcome to the future... welcome to color TV!

The image on the TV is in color all right, but it shows the flight deck of the flying saucer with two men in 1940s-era flying suits. JILL and DAISY look gobsmacked.

VOICE FROM TV: ...Mission accomplished! Flying Saucer #1 returning to base...

DAISY: That’s not me! The TV is supposed to show me!

Same angle, closer view of JILL.

JILL: It’s because we used the government surplus tube! It’s picking up a government frequency!

JILL (continued): So the government was behind the flying saucers all along! They won’t get away with it now we’ve blown their secret!

Full page-width image. Wide angle view showing the audience – everyone is laughing and applauding. They think it’s all a big joke – just the thing for a sci-fi convention! Daisy sweeps her arm toward them.

DAISY: So why do I get the feeling no-one believes us?


Sunday, 30 August 2015

The Number of the Beast

Over the years I’ve read a dozen or so books by Robert A. Heinlein, including novels and short story collections, but I wouldn’t count myself as a Heinlein fan. And The Number of the Beast – a huge, 556-page novel he wrote when he was over 70 – is really a book for die-hard fans only. It’s got a reputation as a dull and slow-moving novel, overloaded with Heinlein in-jokes and self-references. On the other hand, its basic premise is pretty fascinating – so I picked up a second-hand copy for a couple of pounds when I saw it in a bookshop earlier this year. I just got round to reading it – and while I can’t pretend it was an enjoyable experience, it was thought-provoking enough to be worth a blog post (plus I can’t think of anything else to write about this week).

The idea of “the number of the beast” – 6 6 6 – comes from the Book of Revelation. It’s one of the few things in the Bible that even non-Christians (and Satanists, for that matter) agree is quite cool. It’s normally rendered as “six hundred and sixty-six”, but in Heinlein’s novel it’s “six to the power of six to the power of six”. Written like that it’s mathematically ambiguous. 66 is 46656, but there’s a big difference between 466566 and 646656. Heinlein makes it clear that he means the first of these, which he multiplies out as 10,314,424,798,490,535,546,171,949,056. That may look like a big number, but the second number is MUCH bigger. It starts with 223,872 followed by another 36,300 digits. I guess the reason Heinlein didn’t go for that one is because it would have taken at least 20 pages to write out in full!

In the novel, the significance of 6^6^6 comes from a six-dimensional theory of space-time developed by one of the four main protagonists. It’s supposedly the number of different universes “possibly accessible to us either by rotation or translation”. That’s pure technobabble, of course, but it’s an excellent starting premise for a science fiction novel. Unfortunately, however, Heinlein’s narrative doesn’t go the way most SF readers would expect it to.

That much was science – now for the philosophy. I like playing with words just as much as I like playing with numbers – especially if they’re really big words. There are three lovely big words on the back cover of the book – “Multiperson Pantheistic Solipsism” (that’s one of the reasons I had to buy it). Solipsism is the philosophical theory that the human mind creates its own reality. Pantheism, strictly speaking, is the theological belief that God is all-pervasive throughout the universe. But coupled with solipsism I guess you could substitute “the human mind” for “God”. The third big word, multiperson, is self-explanatory – the relevance here being that the book has four protagonists who are very much in tune with each other. Putting it all together, “Multiperson Pantheistic Solipsism” means that a whole universe can be created as a mental projection by a group of like-minded people.

This still sounds like a good idea – although closer to fantasy than science fiction – but again Heinlein doesn’t handle it the way most people would expect. I’d read in several places that the “universes” the characters create are based on pulp fiction, which immediately creates certain expectations in the reader’s mind. Even Wikipedia says “The novel lies somewhere between parody and homage in its deliberate use of the style of the 1930s pulp novels”. Having read the book I have to say that’s just plain wrong.

At its peak in the 1930s and 40s, pulp fiction encompassed a whole range of genres. The most popular of these were hardboiled crime (as typified by Black Mask magazine), supernatural fantasy (typified by Weird Tales), the “hero” pulps (e.g. The Shadow and Doc Savage) and the nascent genre of science fiction (pioneered by Amazing Stories, followed by various similarly titled magazines such as Astounding).

Near the start of The Number of the Beast, the protagonists do get into a brief discussion of pulp magazines – including Weird Tales, The Shadow, Black Mask and Astounding. But that’s pretty much it. When they start visiting “fictional” universes, only one of them has its roots in a pulp magazine. That’s a fairly brief episode involving E. E. “Doc” Smith’s Lensman characters, who originally appeared in the pages of Astounding. As for tough-talking private eyes like Race Williams or Dan Turner, Robert E. Howard’s Conan of Cimmeria, Doc Savage and his trusty aides... there’s no sign of any of them.

The fact is, regardless of what Wikipedia says, The Number of the Beast isn’t even close to being a parody of 1930s pulp fiction. Instead, the dominant thread running through the fictional universes is children’s literature – classic books like The Wizard of Oz, Alice in Wonderland, Princess of Mars and Gulliver’s Travels.

They may not be pulp fiction, but these books are still essentially escapist adventures, with some very basic tropes in common. First and foremost is the idea of conflict. Typically this means protagonists versus villain – either the protagonists are desperately trying to stop the villain doing something bad, or the villain is trying to prevent them doing something good. Even if the story doesn’t have a human villain, it needs an impending natural disaster or other impersonal force to provide the same impetus and sense of urgency. The protagonists shouldn’t have time to catch their breath, let alone do any of the trivial little things you and I spend most of the day doing. If there’s a romantic subplot, then its course can’t be allowed to run smooth. That bit about living happily ever after comes at the end of the story, not the beginning.

Heinlein turns all of that on its head. If you think about it, in a universe governed by Multiperson Pantheistic Solipsism, he pretty much has to. I mean, if you created a universe out of pure thought, you’d give yourself an easy time too, wouldn’t you? Consequently the book is devoid of any sense of urgency. It’s the only novel I’ve read where the protagonists spend most of their time cleaning their teeth, taking a bath, deciding what to wear, eating breakfast, getting a good night’s sleep... and having long conversations in which everyone agrees with everyone else. They carefully plan what they’re going to do next, then do it in their own sweet time. On the rare occasions they come across anything resembling an obstacle or hindrance, they deal with it in half a page, then get back to eating, sleeping and agreeing with each other.

The result is a long and boring book, in which the protagonists thoroughly enjoy themselves but the reader doesn’t. That’s the exact opposite of a traditional escapist novel – it’s more like peeking in on someone else’s daydream. Maybe it is all a dream, in fact. The first two sections are called “The Mandarin’s Butterfly” and “The Butterfly’s Mandarin” – presumably a reference to a story told by the Chinese philosopher Chuang Chou:
Once upon a time, I dreamt I was a butterfly, fluttering hither and thither... conscious only of my happiness as a butterfly, unaware that I was Chou. Soon I awaked, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man.

Sunday, 23 August 2015

Rocket to the Morgue

While I was writing last week’s post about L. Ron Hubbard I suddenly remembered a novel called Rocket to the Morgue, in which one of the characters is based on Hubbard. I bought the copy pictured above (second-hand, as you can tell from the condition) in 2008, and was impressed enough to write about it at the time. It should have featured in my post about Charles Fort in Fiction, since it belongs to the select group of novels that mention Fort by name, but I managed to miss it out. So I thought I’d rectify the omission now.

Rocket to the Morgue was written by a man named William White, and originally appeared in 1942 under the pen-name of H. H. Holmes. White is better known by another pseudonym, Anthony Boucher, which he used on a number of classic short stories including “The Compleat Werewolf” and “The Quest for Saint Aquin”, and as founding editor of The Magazine of Fantasy and Science Fiction. The paperback reprint of Rocket to the Morgue has the name Anthony Boucher on the cover.

The novel is essentially a murder mystery, although that’s secondary to the real interest of the book. The action takes place against the backdrop of science fiction fandom – and prodom – as it existed at the time the book was written. No real-world authors make an appearance, but even Wikipedia acknowledges that many of the characters are based on real people. Most of these will be pretty obscure to modern-day readers – the main exceptions are Robert A. Heinlein (who features as “Austin Carter”) and L. Ron Hubbard (“Vance Wimpole” – described by one of the other characters as “an eccentric, a madman if you will”). Somewhat confusingly, there is also a passing reference to another writer named “René Lafayette”, which as mentioned last week was a pseudonym used by Hubbard.

As an aside, it’s worth emphasizing just how different the world of 1942 was. L. Ron Hubbard was a pulp writer, pure and simple. Scientology and Dianetics still lay in the future, and Hubbard’s name would have meant nothing to the general public. Science fiction fandom would have been equally obscure. There were no blockbuster sci-fi movies in 1942, and the cutting edge of the genre still lay in the pulp magazines. Although the novel is full of characters who conform to the modern stereotype of the science fiction geek, that stereotype would have been unknown to most readers when the book first came out.

The most Fortean character in the book isn’t a science fiction author – he’s a rocket scientist. His name is Hugo Chantrelle, and it’s a mishap with one of his rocket tests that gives the book its title (and is illustrated, in stylised form, on the cover). But Chantrelle is more than just a scientist: “The time-dreams of Dunne, the extra-sensory perception of Rhine, the sea serpents of Gould, all these held his interests far more than any research conducted by the Institute. He was inevitably a member of the Fortean Society of America, and had his own file of unbelievable incidents eventually to be published as a supplement to the works of Charles Fort.”

Surprising as it may seem, Chantrelle too is based on a real person – Jack Parsons, who was one of the founders of NASA’s Jet Propulsion Laboratory. Like his fictional counterpart, Parsons was no ordinary scientist. He was on friendly terms with the real-life L. Ron Hubbard, and with the notorious occultist Aleister Crowley. One of my all-time favourite Fortean Times covers (FT132, pictured below) described him as “Playboy, antichrist and missile messiah”. Here are a few selected passages from the article about Parsons in that issue:

  • Before each test launch, he was in the habit of invoking Aleister Crowley’s Hymn to Pan, the wild horned god of fertility. Parsons was an active member of the California Agape Lodge of the sex magical group Ordo Templi Orientis, and in letters addressed the Great Beast as “Most Beloved Father”.
  • He practised “sex magic” but was so lacking in occult disciplines that his early workings more resembled early free-love orgies than anything else. Outside of these “religious” activities, Parsons was an incorrigible womaniser, who also blithely styled himself the Antichrist.
  • In August 1945, on leave from his less than spectacular naval career, Scientology founder L. Ron Hubbard was introduced to Parsons. Jack was impressed by Ron’s exuberance and energy and wrote in a letter to Crowley: “I deduced that he is in direct touch with some higher intelligence... He is the most Thelemic person I have ever met and is in complete accord with our own principles”.
  • In January 1946, the two commenced a long and complex magical ritual called the “Babalon Working”. This was intended to create nothing less than an elemental being. As far as Parsons was concerned, the invocation worked. The elemental turned up two weeks later in the form of the beautiful blue-eyed, red-haired Marjorie Elizabeth Cameron.
  • In April 1946, Parsons, Cameron and Hubbard, acting as scribe, attempted the second part of the Babalon Working, which was intended to raise a “moonchild” in the manner described in Crowley’s novel of the same name, with Cameron the vessel for Parsons’ magical seed. The mundane world intruded, however, and the tricky Hubbard, despite his intense and apparently sincere involvement with the Babalon working, vanished with $10,000 of Parsons’ money.

Sunday, 16 August 2015

The Pulp Fiction of L. Ron Hubbard

L. Ron Hubbard is most famous (or notorious) as the founder of the Church of Scientology. People may also be aware that he wrote a series of blockbuster sci-fi novels called Mission Earth in his later years. What is less well known is that between 1935 and 1950 he was a prolific writer of escapist adventures for various pulp magazines.

Over the years I’ve read ten of Hubbard’s pulp stories – three short novels, one novella and six shorter works – most of which originated in Astounding Science Fiction and Unknown Worlds. Hubbard’s contributions were well below the best those magazines had to offer (which came from the likes of A.E. van Vogt, Henry Kuttner, Isaac Asimov and Eric Frank Russell)... but on the other hand they’re not the worthless trash that Hubbard’s detractors might expect. Interestingly, in light of his subsequent career, none of the stories I’ve read had any philosophy in them (which may seem an unusual thing to expect in pulp fiction – but it was Astounding magazine that first published van Vogt’s Null-A novels, which are replete with references to Korzybskian General Semantics).

The particular book which prompted this blog post was Slaves of Sleep (top left in the photograph above), which was one of my one-pound purchases at the Bookbarn shop a few weeks ago (see Old Books of the Fortean Kind). The paperback dates from 1967, but the story originally appeared in the July 1939 issue of Unknown. This makes it the earliest long work by Hubbard that I’ve read, and it also struck me as the weakest. It’s basically the sort of blank-check wish-fulfilment fantasy that any starting-out writer might try their hand at. The protagonist is a weedy young nebbish who suddenly (thanks to a genie being let out of a bottle) finds himself transported to an astral dream-world in the persona of a powerful, all-action hero. It’s one of those archetypal themes that every writer is going to handle differently, but I don’t think Hubbard made as much of its potential as he might have ( L. Sprague de Camp did much better justice to the same basic idea in his novella “Solomon’s Stone”, which appeared a few years later in the June 1942 issue of Unknown).

Continuing chronologically (in the order the stories were written, not the order I read them) the next in sequence is Typewriter in the Sky, which appeared in Unknown in two parts in November and December 1940. In one sense this is very similar to Slaves of Sleep – insofar as the protagonist finds himself suddenly transported to a swashbuckling life on another plane of existence – but in another sense it’s far more interesting. Instead of the “other plane” being a dream-world (yawn), it’s a fictional narrative that’s being churned out in real-time by a friend of the hero, who happens to be a hack writer. He is desperately pounding away on his typewriter in an attempt to finish his latest trashy novel, Blood and Loot (the one the protagonist is trapped in), in time to meet the publisher’s deadline. This makes Typewriter in the Sky one of the few examples of pulp metafiction!

Besides these two short novels, I’ve read one other story by Hubbard from Unknown Worlds – a novella called “The Case of the Friendly Corpse”. It originally appeared in the August 1941 issue, but as you can see from the photograph I read it in the British reprint edition for Spring 1947. Yet again this has the protagonist miraculously transported to another plane of existence. In this case it’s a wacky parallel world where he’s a student – not of Ancient Languages as he was in this world – but of Satanic Sciences! Unlike the two previously mentioned stories, this one is played for laughs – and I found it by far the most enjoyable of the three.

Of the various short stories I’ve read by Hubbard, the most memorable were the ones featuring a space-travelling medic called Ole Doc Methuselah and his alien assistant, Hippocrates. These stories (of which I’ve read three) were published in Astounding between 1947 and 1949, under the pseudonym René Lafayette. The only one that made the cover was “Plague” in the April 1949 issue, pictured bottom right in the photograph.

Next in chronological sequence comes the science fiction novel Return to Tomorrow. The paperback (pictured in the middle of the bottom row) was published in 1954, but the novel originally appeared as a two-part serial in Astounding in February and March 1950, under the title “To the Stars”. As space adventures go it’s depressingly downbeat stuff, but it’s notable for one thing in particular. Unlike most science fiction it acknowledges the existence of relativistic time dilation, even including the mathematical formula for it: Tv = T0  1 – v2/ c2 , where T0 is Earth-time and Tv is ship time. In fact this equation is the whole point of the novel (and the reason it’s so downbeat) – the crew travel so close to c that each time they return to Earth (a few months later subjective time) everyone they met last time is either dead or senile.

As I said at the start, Hubbard is best known as the founder of Scientology, which has its roots in a non-fiction book he wrote in 1950 called Dianetics: The Modern Science of Mental Health. To coincide with its publication, Astounding magazine ran a 40-page article by Hubbard called “Dianetics: The Evolution of a Science” in the May 1950 issue. My copy, which is pictured bottom left in the photograph. was purchased a dozen or so years ago in a London shop – for around 4 pounds, if I remember correctly. Last year I saw a copy of the same magazine on one of the dealer tables at a science fiction convention for ten times that price. Maybe the dealer was a scientologist!

Sunday, 9 August 2015

Cambridge Oddities

Cambridge is one of the few tourist hotspots that it actually makes sense to visit in August. There are crowds of tourists, of course, but that’s offset by the fact that there aren’t any undergraduates (and if you stay in your old college, you don’t have to share the lavatorial facilities with half a dozen barely housetrained students). That’s why I decided to spend a couple of nostalgic days there last week. Here is a quick rundown of some of the more unusual sights in the town:

One of the oldest buildings in Cambridge, dating from circa 1130, is the Round Church opposite St John’s College. Round churches are often associated with the Knights Templar (as with the Temple Church in London), but this one seems to have been built by a lesser known order, active at the same time, called the “Fraternity of the Holy Sepulchre”.
As I mentioned a few months ago in Isaac Newton and me, I spent my undergraduate years at Trinity College – as did Newton himself. Standing outside his old rooms in Great Court is an apple tree, pictured below. There probably wasn’t an apple tree there in Newton’s time (it’s clear from his account of the falling apple that it took place at his home in Lincolnshire), but Newton did keep a small private garden on this plot of land. He also had a large wooden shed which he used as a laboratory for his alchemical experiments – it may have been here, or inside Great Court itself.

(For more about Newton and alchemy, see my book Isaac Newton: Pocket Giants).
Sometimes erroneously associated with Newton, but actually nothing to do with him, is the Mathematical Bridge at the back of Queens’ College. The present bridge is the third to occupy this site, all using same timber-framed design. The first was built in 1748; this one dates from 1905. The mathematical nature of the bridge lies in the ingenious way the wooden ribs are arranged so that “each member is in compression with little or no bending moment”.
Cambridge has seen more than its fair share of scientific discoveries, and even one of the pubs claims to have played a part in one of them! Outside the Eagle in Bene’t Street there is a plaque that reads:
DNA Double Helix 1953: “The Secret of Life”. For decades the Eagle was the local pub for scientists from the nearby Cavendish Laboratory. It was here on February 28th 1953 that Francis Crick and James Watson first announced their discovery of how DNA carries genetic information.
One of the newer oddities in Cambridge is the Corpus Clock, dating from 2008 and belonging to Corpus Christi College. It stands at the end of Bene’t Street right opposite King’s College, giving it one of the highest tourist footfalls in England. The clock is unusual for several reasons: it has circles of LEDs instead of hands, and it only tells the correct time every five minutes (the rest of the time it runs erratically fast or slow). It also has a monstrous, animated insect called a Chronophage squatting on top of it.
It was somewhere near Corpus Christi College, back in the 16th century, that a man named Thomas Hobson used to rent out horses from a large livery stable. Although he had dozens of horses, customers always had to take whichever horse he wanted to hire out next. This gave rise to the phrase “Hobson’s Choice” – still used today to mean “no choice at all”. In his old age, Hobson helped to set up a new water supply to the town, which became known as “Hobson’s Conduit”. Cambridge doesn’t seem to have a monument to Hobson’s Choice, but it does have one to Hobson’s Conduit – on the corner of Lensfield Road and Trumpington Street:
From a Fortean point of view, the Haunted Bookshop – tucked away in a narrow alley called St Edward’s Passage – sounds highly promising. I had visions of shelves packed with occult and paranormal books – or horror fiction, at the very least. Unfortunately, however, the stock turned out to be predominantly antiquarian children’s books. The name comes from the fact that the building (previously an alehouse) is supposed to have its own ghost in the form of an occasionally glimpsed “White Lady”.
Cambridge has numerous free museums, of which by far the largest is the Fitzwilliam Museum on Trumpington Street. The quirkiest thing I spotted there was a pair of paintings by William Hogarth called Before and After, dating from 1731. At first sight they look innocuous enough – partly because the eye (my eye, anyhow) tends to be drawn to the girl rather than the bloke. But the latter is worth a second look in both pictures. In Before there is the distinct hint of a “bulge in his trousers” (I’m quoting from the official blurb), while in After “the man’s unbuttoned breeches reveal a tuft of pubic hair and his penis, chafed red from its exertions”. Sleazy stuff for the genteel 18th century!

Here’s Before...
... and After:

Sunday, 2 August 2015

Who Remembers Guru?

I’m sure that everyone who reads Fortean Times will be aware of Hunt Emerson’s perennial Phenomenonix strip (which must qualify as one of the most erudite cartoons of all time – especially the episodes written in collaboration with Kevin Jackson). But when I first started reading the magazine there was another regular cartoon feature as well – “Guru” by Pierre Hollins. According to his own website, the strip ran from 1991 to 1997. The example pictured above (just a single panel, as was often the case) comes from FT95, cover-dated February 1997.

Guru is a bovine-headed philosopher who talks like a 1960s hippie. I can’t say I ever found the punchlines particularly funny (the one above is one of the better ones), but I really enjoyed the strip anyway. I liked the surrealism of the Guru character, and the juxtaposition of deep philosophizing with “let it all hang out” hippie platitudes. I also liked the retro style of the art – in high-contrast black-and-white, with most of the characters wearing Victorian garb. These appear to be clip-art collages – something that probably involved a lot more time and effort in the 1990s than it would do today!

I just discovered that all (or most) of the Guru strips are now online at the Guru Files on Pierre Hollins’s website – reading through them stirred many nostalgic memories! There are also some colour cartoons, which I don’t recall seeing in the magazine. I particularly liked the one shown below. The caption (which is the punchline from one of the earlier black-and-white strips) is printed vertically up the left-hand side, for some reason. It reads: “If everyone knew the secret of the Universe, it wouldn’t be much of a secret”.

Sunday, 26 July 2015

Old Books of the Fortean Kind

Pictured above is a genuine piece of retro-forteana – Phenomena: A Book of Wonders, produced way back in 1977 by John Michell and the founding editor of Fortean Times, Bob Rickard. It’s one of several books I picked up for a pound each from the Bookbarn shop, just off the A37 about half-way between Shepton Mallet and Bristol. Until a few years ago, this was the best bookshop in Somerset – literally a giant warehouse packed with second-hand treasures. Unfortunately the main warehouse was closed to the public after they catalogued all their decent stock and put it online. But visitors can still browse through the leftovers – the books that were too uncommercial to be worth cataloguing – in a smaller warehouse next door. Everything is a pound – which sounds cheap, although I somehow managed to spend a total of £18 on my visit last week!

You can get a pretty good idea of the contents of the Phenomena book from the words on the cover. It’s a pretty standard compendium of all the usual fortean topics – frog and fish falls, spontaneous human combustion, cattle mutilations, levitation, teleportation, cities in the sky, entombed toads, werewolves and so forth. The last two items on the list are rather more cryptic – “Arkeology” is shorthand for the archaeology of Noah’s Ark, while “Accidents to Iconoclasts” refers to mishaps that befall people who dare to interfere with ancient sites. The “Mummy’s Curse” is the best known example of this, but another case described in the book occurred less than five miles from the place where I bought it.

Everyone has heard of Avebury and Stonehenge, but far fewer people know of England’s third largest megalithic site, consisting of three prehistoric stone circles at Stanton Drew in Somerset. The reason for the site’s relative obscurity may be that, in spite of its sprawling size, it’s not really that impressive to the eye – the individual stones are quite small, and the overall plan of the circles is difficult to make out. But perhaps that’s the way it’s meant to be. According to Michell and Rickard, the first person to attempt a detailed survey of the site was the architect John Wood in 1740. The locals told him that merely counting the stones was a bad idea: “Several have attempted to do so, and proceeded until they were either struck dead upon the spot, or with such illness as soon were carried off”. Ignoring such superstitions, Wood continued with his task “and as a great storm accidentally arose just after, and blew down part of a great tree near the body of the work, the people were then thoroughly satisfied that I had disturbed the guardian spirits of the metamorphosised stones.

Here is one of my own pictures of Stanton Drew:

Another of the books I bought for a pound was a 1978 paperback called Explorations of the Marvellous, containing the text of a series of lectures given by various scientists and science fiction writers. Featured among the latter is John Brunner, who I’ve written about on at least one previous occasion. Brunner lived in Somerset for many years prior to his untimely death in 1995, and I suspect that some of his personal library may have found its way to the Bookbarn. On a previous visit there (about ten years ago, before they went onto the internet) I bought a hardback anthology that was neither edited by John Brunner nor had a story by him in it – yet it has his signature inside. So maybe it was his own copy of the book (it was a collection of science fiction erotica, if you must know).

By a further coincidence, Brunner’s lecture is all about forteana. More specifically, it’s about how shockingly sloppy some well-known fortean writers are when it comes to research and fact-checking. One of the most amusing examples he cites relates to a book I’ve never actually read, although it’s a classic of the genre – The Morning of the Magicians, by Pauwels and Bergier. Apparently they make the claim that one Professor Ralph Milne Farley “has drawn attention to the fact that some biologists think that old age is due to the accumulation of heavy water in the organism. The alchemists’ elixir of life might then be a substance that eliminates selectively heavy water.”  Brunner recognised this idea as coming not from a serious scientific treatise but from a science fiction novel he’d devoured when he was 12 or 13! The book in question was called The Immortals, and it was indeed by Ralph Milne Farley... but the latter was neither a professor nor a scientist. In these days of Wikipedia, it’s easy to do the fact-checking that Pauwels and Bergier failed to do:
Roger Sherman Hoar (April 8, 1887 – October 10, 1963) was a state senator and assistant Attorney General, state of Massachusetts. He also wrote science fiction under the pseudonym of “Ralph Milne Farley”.
The other fortean book I acquired last week came via eBay. This was The Fickle Finger of Fate, which I mentioned I’d ordered in last week’s post about Satirical Superheroes. The most fortean thing about the book is its author, John A. Keel – who as I said last time went on to write about Mothman, UFOs and Men in Black. But this novel from 1966 is just a lighthearted superhero parody featuring Keel’s own creation, Satyr-Man. It has a couple of mildly fortean elements – one character believes he is under a “Mummy’s Curse” (see above), and there’s a running joke about swamp gas and weather balloons (the most common ways the authorities used to debunk UFO sightings).

A satyr is a mythological half-man, half-beast with an insatiable sexual appetite. Coupled with the “ADULTS ONLY” warning on the cover, you might imagine this is a somewhat dirty book. But 1966 was still a year before America abolished its obscenity laws (see The Man who Helped to Free the World), so the book is heavily censored. For those who are only interested in such things, here is its one and only explicit sex scene:
“C’mere,” she grunted, pulling him to her as she ****** her **** and ****** ******** until he ***** ******* ***** and they **** *****. He lifted his **** ****** to **** ******, rolling across the rumpled bed with his mouth pressed to her ***** ********. Then she ***** his **** ******* and her hands ***** ***** ***.

“Ooooo,” she said.

“Ahhhhhhhh,” he said.

“Ummmmmmm,” she said.

“Hmmmmmmmmm,” he said.

Finally they **** ********** **** *** ******* **** *******. And then he **** ***** ******* *****. She **** *** ************! Outside the window, the surf continued to pound the beach.

Sunday, 19 July 2015

Satirical Superheroes

Michel Parry produced a number of science fiction anthologies in the 1970s, including the one pictured above – Superheroes, dating from 1978. When I saw it in a second-hand shop a few weeks ago I decided to buy it for two reasons – the intriguing cover, and the fact that the back cover blurb (the book was bagged, so I couldn’t look inside) mentioned that one of the contributing authors was the famous Fortean writer John A. Keel (who popularized Mothman and the Men in Black, as well as the “ultraterrestrial” theory of UFOs). I didn’t have high hopes of the book (for some reason superheroes don’t translate well from comics to prose fiction) – but it turned out to be better than I’d expected.

The cover doesn’t relate to any of the stories in the book, but it’s certainly eyecatching. It’s obviously an amalgam of various Marvel heroes – Spider-Man’s mask, Thor’s helmet and hair, and Captain America’s boots and shield. The rest of the costume appears to be modelled on the 1970s Captain Marvel, which seems an odd choice because it’s a lot less iconic than the other three. The globe symbol on the costume and shield is the logo of Sphere Books – one of the more downmarket British paperback imprints of the time, who published the anthology.

As to the stories themselves – the first half of the book is taken up with three pulp novelettes dating from the early 1940s, including one that first appeared in Martin Goodman’s Marvel Tales magazine (a sister publication to the original incarnation of Marvel Comics). These are followed by nine shorter and more recent stories – four reprints (including Keel’s contribution) from the 1960s and early 70s, and six stories original to this anthology. Most of the latter are by “authors” that have no other entries in the Internet Speculative Fiction Database – suggesting they may be pseudonyms of the editor himself. That’s a shame, because there were plenty of well-qualified authors around who would have contributed something if asked. Two names that come to mind are Ron Goulart (who was a historian of comic books as well as a prolific science fiction author) and Gerard F. Conway (better known as Marvel scripter Gerry Conway).

John A. Keel’s contribution is “Satyr-Man”. It isn’t a self-contained story but the first chapter of a novel, The Fickle Finger of Fate, which was originally published in 1966. The excerpt is very good, though – so much so that I sought out a copy of the novel on eBay and ordered it right away! Keel’s story is tongue-in-cheek satire, which is also true of many of the other stories in the book. This reinforces what I said at the beginning, that it’s rare to find a prose fiction story that deals with superheroes in exactly the same way as a comic book. There are a few “serious” stories in the collection – but although they deal with super-powered humans, they’re not superheroes in the sense of having costumes and secret identities etc. The only exception to this rule – and my second favourite story in the book, after Keel’s – is “The Awesome Menace of the Polarizer” by George Alec Effinger. Although it doesn’t take itself too seriously, Efffinger’s story is far from being an outright comedy, and it has a first-class plot featuring a real superhero and a real supervillain.

The other thing that’s worth mentioning is the shop where I bought the book. It’s in Putney (which is a bit out of my way, which is why I’d never been there before) and it’s called 30th Century Comics. That’s an excellent name for a shop, but it would be more accurate to call it “Mid-20th Century Comics”, because their entire stock seems to date from the 1940s to 1970s. It’s also unusual among comic shops in that it sells British back issues as well as American, and it has a large stock of pre-1960 American comics. The downside is that almost nothing is priced below £10! That’s why I restricted myself to buying paperbacks, which were a lot more affordable. Nevertheless, I was sorely tempted by their unique “Alan Class Printing Plate Sets” – which not only contain a 1960s-vintage Alan Class comic (often featuring Marvel reprints) but also the original lead plates that were used to print the cover of that comic!

Sunday, 12 July 2015

The Ancient Temples of Stourhead

When Henry Hoare II inherited the Stourhead estate on the death of his mother in 1741, he had just returned from a grand tour of Europe. Deeply impressed by the classical architecture he had seen on the continent, with its roots in the mythology of ancient Greece and Rome, he determined to recreate as much of it as possible at Stourhead. The result is probably the most highbrow garden in England!

Although I’ve been to Stourhead many times (it’s now owned by the National Trust, and just over the border from Somerset in Wiltshire), it was only on my last visit, six weeks ago, that it occurred to me to take some photographs. At the risk of being confused with Paul Jackson’s blog, Random Encounters with the Unusual, I thought I’d show a selection of them here (Paul hasn’t done Stourhead yet, although he did do a post about King Alfred’s Tower which is close by and dates from the same period).

The largest of Stourhead’s temples is the Pantheon, seen in the picture at the top of this post. As the name suggests, this is a kind of scaled-down version of the Pantheon in Rome (although with a much more picturesque setting). It was built in 1753 to a design by the architect Henry Flitcroft, who was also responsible for King Alfred’s Tower. In literal terms a “pantheon” would be a temple to “all the gods”, but at Stourhead it’s more a case of “all the classical–looking statues Henry Hoare II could get his hands on”. In pride of place at the centre is the Graeco-Roman hero Hercules, flanked by the Roman goddesses Diana, Flora and Ceres, the Greek hero Meleager, the Egyptian goddess Isis and even the Christian heroine St Susanna! Here is my picture of the Isis statue:
Flitcroft also designed Stourhead’s two other classical style temples. The first, built in 1743, was dedicated to the goddess Flora, and the other, dating from 1765, to the god Apollo. The latter is based on a circular temple at Baalbek (Heliopolis). The Temple of Flora is difficult to photograph because it’s right by the lakeside, but here is my picture of the Temple of Apollo:
Not all the constructions at Stourhead are classical in form. The Grotto, dating from 1748, is a kind of artificial cave, housing the statue of an unnamed “river god”. It also has a statue of Ariadne, from Greek mythology, as seen in the following photograph:
Near the grotto is a small Gothic Cottage, which was added to the garden by Henry Hoare’s grandson, Sir Richard Colt Hoare, in 1806. The German tourists in front of me walked straight past it (presumably thinking there was nothing to see on the path from the Pantheon to the Grotto), but luckily for you I stopped to take a photograph:
The other Gothic feature at Stourhead is genuine mediaeval Gothic. It’s called the Bristol High Cross, and it originally stood in the centre of Bristol. It dates from the 14th century, but by the 18th century it was getting in the way of traffic and had to look for a new home. It was moved to Stourhead, where it now stands at the entrance to the garden. Here it is, with the Pantheon visible in the background on the other side of the lake:

Sunday, 5 July 2015

Finnegans Wake

A few days ago I came across a Twitter account called Finnegans Wake and started following it. As far as I can tell, it’s tweeting the entire novel (written by the Irish author James Joyce between 1923 and 1939) a few words at a time. In an earlier post (Literary name-dropping), I mentioned that “I did go through a phase circa 1975 of trying very hard to read Finnegans Wake”. I can’t believe that was 40 years ago! Sounds like a cue for yet more nostalgic rambling...

Finnegans Wake is a difficult book, and I’m not going to pretend that I read more than a few pages here and there. I probably wouldn’t have managed even that without the assistance and encouragement of other books (some of which are pictured above). Back in 1975 I was 17 years old, and as thoroughly ignorant of history, geography, philosophy, religion, literature and linguistics as it’s possible for a human being to be. After four decades of being a boringly bookish bespectacled bachelor I’m a bit less ignorant, and flicking through the novel just now several things jumped out at me that would have gone over my head as a teenager. But the book is still as difficult to understand as ever!

The most obvious factor that makes Finnegans Wake difficult to read is the sheer number of made-up words it contains. But even if it was written in plain English it wouldn’t be an easy book. Basically it’s supposed to be a dream, which means the author can put anything he wants into it, without needing to be too clear or logical about it. It’s a very erudite dream, too, which flits from one arcane subject to another. There are several recurring themes, including some distinctly Fortean ones – for example Madame Blavatsky and the Theosophical Society, and the metaphysical philosophy of Giordano Bruno (The man who invented aliens). James Joyce seems to have had a soft spot for Bruno, who was born in the Italian city of Nola – thus making him a Nolan, and hence a kind of honorary Irishman!

I had a look through the book for a suitably Fortean passage, and found the following account of a kind of spiritualist séance:
That was Communicator, a former colonel. A disincarnated spirit, called Sebastion, from the Rivera in Januero, (he is not all hear) may fernspreak shortly with messuages from my dead-ported. Let us cheer him up a little and make an appunkment for a future date. Hello, Commudicate! How’s the buttes? Ever-scepistic! He does not believe in our psychous of the Real Absence, neither miracle wheat nor soulsurgery of P. P. Quemby.
P. P. Quimby was an American faith healer and mesmerist in the 19th century – clearly someone to be deeply “scepistical” about, along with miracle-wheat and soul-surgery!

As I mentioned in my post about Literary name-dropping, Finnegans Wake is one of the many literary works referred to in Robert Silverberg’s novel Dying Inside, which I read in Galaxy magazine (pictured above, middle-left) in 1973. But the reference is only understandable with hindsight (“Joycean dream-gabble” and “Earwicker’s borborygmi”), and it was another two years before a number of other things made me decide Finnegans Wake was a book worth looking into.

The first and most important was James Blish’s science fiction novel A Case of Conscience (1958), which I read early in 1975. A subplot running through the first half of the book concerns the protagonist, a Jesuit priest, tackling a literary “case of conscience” which “the church had never cracked”. It comes from pages 572 and 573 of Finnegans Wake (“The procurator Interrogarius Mealterum presends us this proposer...”). Right on the first page of Blish’s novel, Finnegans Wake is described as “diabolically complex (that adverb was official, precisely chosen, and intended to be taken literally)”. Later he describes James Joyce as having a “mighty intellect, easily the greatest ever devoted to fiction in English and perhaps in any language.

That in itself would probably have been enough to make me check out Joyce’s work, but – by the kind of synchronicity that often happens – I came across several other references to Finnegans Wake in SF stories I read around that time. I can’t remember all of them now, but two that stick in my mind are Philip José Farmer’s novella “Riders of the Purple Wage” (which appeared in Harlan Ellison’s 1967 anthology Dangerous Visions, included in the picture above), and the Brian Aldiss novel Barefoot in the Head (1969, also pictured above). The latter deals with the aftermath of the Acid Head War, in which the population of Europe is suffering the effects of Psychochemical Aerosol Bombs – making some chapters read like a kind of spaced-out sixties version of Finnegans Wake!

With one exception, all the books pictured above are my own copies bought in the 1970s. The exception is The Divine Invasion by Philip K. Dick, which wasn’t published until 1981. My copy is the first British paperback edition, which I bought as soon as it came out in March 1982 (sadly, in the few days between buying the book and reading it, I heard the news that Dick had died of a stroke at the age of 53).

Finnegans Wake is referred to in the very first chapter of The Divine Invasion. The protagonist, Herb Asher, interprets Joyce’s word “talktape” (in the line “tuck up your sleeves and loosen your talktapes”) to mean “magnetic audio tape” – the invention of which, he believes, postdates the writing of the novel. That isn’t actually true (and from the context it doesn’t sound like Joyce was thinking about a recording device anyway)... but that doesn’t stop Asher launching into some characteristically Dickian speculation:
It’s impossible that James Joyce could have mentioned talktapes in his writing, Asher thought. Some day I’m going to get my article published; I’m going to prove that Finnegans Wake is an information pool based on computer memory systems that didn’t exist until a century after James Joyce’s era; that Joyce was plugged into a cosmic consciousness from which he derived the inspiration for his entire corpus of work.
At another point Dick says “He also has them sitting around a TV set” – and in this case he’s absolutely correct: television plays an important role in Finnegans Wake. Joyce’s portrayal of TV is quite prescient – not in terms of the technology, which already existed when the novel was written, but in terms of its social acceptance. When Dick says “them” he means the customers in a Dublin pub... and pub televisions were still a thing of the future in 1939. So Finnegans Wake was almost certainly the first mainstream novel to portray TV as a commonplace rather than a newfangled novelty.

Joyce made up so many new words in Finnegans Wake you can find almost anything you look for in there. As an example – after a bit of googling (for googling) I found “Feastking of shellies by googling Lovvey” and “One chap googling the holyboy’s thingabib”!

Sunday, 28 June 2015

Dragon Slayers

I didn’t specifically set out to take pictures of dragon slayers last Wednesday, but by the end of the day I realized I had five of them. Together with another four photos I already had, I decided that was enough for a blog post!

There are plenty of dragon-slaying legends, many of them symbolizing the triumph of good over evil. In this sense the ultimate dragon-slayer must be St Michael – the Biblical archangel who defeats “the great dragon, the primeval Serpent, known as the devil or Satan” (Revelation 12:9). Three versions of this story are depicted above. The one in the middle is a picture I took in the Louvre in Paris two years ago, which featured previously in my post Monsters, Mystery and a Monkey. It’s an early work by Raphael, dating from around 1504.

The other two pictures I took in the National Gallery in London last week. The one on the left is by another Italian painter, Piero della Francesca, and dates from 1469. It’s less dramatic than Raphael’s version, and the dragon looks... well, unimpressive to say the least. The picture on the right was painted the previous year, 1468, by the Spanish artist Bartolomé Bermejo. His dragon is the weirdest-looking of the three – the caption describes it as “a monstrous creature, part-reptile, part-bat”.

The other saintly dragon slayer that everyone has heard of is St George (who is the patron saint of England, despite having no historical or legendary connection with the country). The story of George and the Dragon is essentially a Christianized version of the archetypal dragon-slaying legend (cf. my earlier post on Dragons and Dinosaurs), in which a community regularly appeases their local dragon by feeding it young female virgins. Then they suddenly realize the next in line is the King’s daughter, so it’s time to find themselves a dragon-slayer.

Here are three pictorial versions of St George and the Dragon, all by Italian artists:
The one at top left is by Raphael again – it’s a companion piece to his picture of St Michael and hangs next to it in the Louvre. To its right is a later version (circa 1555) by Tintoretto, which I saw in the National Gallery last week. Interestingly this reverses Raphael’s perspective – it has the fleeing princess in the foreground while St George, on horseback, fights the dragon in the background. I think Tintoretto’s version is much more dramatic – a kind of High Renaissance version of a “damsel in distress” pulp magazine cover!

The third picture is also in the National Gallery. It’s by Uccello, dating from around 1470, and has a more cartoony look than the other pictures. Perhaps the most remarkable thing about it is the strange (and rather Fortean-looking) atmospheric phenomenon looming in the background behind St George.

A less well known dragon-slaying legend is that of Apollo and Python. The latter was a giant serpent-like dragon in Greek mythology (after which the snake genus was named), which according to legend was slain by the god Apollo. I have to admit I’d never heard of this legend until I saw Turner’s painting of it in the Tate Gallery last week (I’ve been rude about Turner in the past, but he’s started to grow on me since I saw the film Mr Turner).

At first sight Turner’s “dragon” looks very snake-like, although if you look closely there is a huge claw-like hand visible. Basically it’s difficult to work out exactly what’s going on, which is a generic problem I have with most of Turner’s work (he painted two other “horror” pictures, one of Death on a Pale Horse and one of Sea Monsters, which are even more confusing).

Finally, here are a couple of mediaeval dragon-slayers from Somerset. The one on the left can be seen on the wall of the church in Stoke-sub-Hamdon, and was featured previously in my post on Dragon Symbolism. As I said in that post, it may be intended to represent St Michael, due to its proximity to a hill called St Michael’s Hill.

I saw the dragon-slayer on the right a few weeks ago in Wells Cathedral, on the wall of the staircase leading to the Chapter House. I don’t think he’s meant to be anyone famous – I’ve seen him described variously as a “peasant”, a “priest” or a “pilgrim”. With his right hand he’s holding one of the pillars which support the roof, while casually using his left hand to slay a small dragon with his walking stick!

Sunday, 21 June 2015

More Fortean Fiction from CFZ Books

Pictured above are three recent releases from the CFZ Publishing Group’s “Fortean Fiction” imprint. Although only one of the books has my name on the cover, I had a small hand in the other two as well. The one on the right is Hyakumonogatari by Richard Freeman – a really excellent collection of 25 Japanese-themed horror stories, which is a kind of a fictional spin-off of his Great Yokai Encyclopaedia. The newest book, shown in the middle, is an equally excellent collection of short stories by Kate Kelly called The Scribbling Sea Serpent.

I worked for the same employer as Kate Kelly for almost 20 years, although mostly at different sites so we never really crossed paths. It was only after I went back there a couple of years ago as a part-time contractor that I discovered she is also an aspiring writer. Her first book, a young adult novel called Red Rock, was published in 2013. It’s marketed as “cli-fi” (a new sub-genre of science fiction dealing with climate change), but with a distinctly Fortean twist – the melting icecap reveals evidence of an ancient high-tech civilization that may or may not have known the secret of limitless free energy.

As I mentioned before (in The World’s Weirdest Publishing Group), it was only after CFZ brought out my own short story collection, The Museum of the Future, that I realized how short-staffed they were. I offered to help out in various ways, and one of the first jobs Jon Downes pushed my way was the reissue of Hyakumonogatari. This was originally published in 2012, but had since been re-edited.

My task here was pretty straightforward – simply insert the newly edited text into the existing page template. But for a couple of reasons I ended up redoing the page layouts completely. Partly this was in response to constructive feedback on The Museum of the Future from Brian Clegg, but also because I just didn’t get on with Jon’s choice of software – I found it easier to start from scratch with a program I was more familiar with!

When I told Kate about my work on Hyakumonogatari, she wondered if Jon would also be interested in publishing a collection of her own stories. To cut a long story short he was, and The Scribbling Sea Serpent is the result. The title comes from Kate’s blog, and the book contains a mixture of previously published stories and brand new ones – 22 in total. In terms of genre the stories are a mix of science fiction and weird fiction – all written in a reassuringly traditional style that wouldn’t have been out of place in Weird Tales or Astounding Science Fiction 60 years ago... but often with a modern twist to the subject matter (Kate has a peculiar enthusiasm for global ecological disasters). The book lives up to the “Fortean Fiction” label, too, with ancient mysteries lurking in the rural English landscape, interdimensional portals opened up by shamanic rituals, archaeologists digging up alien artifacts, restless ghosts... and, as the title suggests, sea monsters!

Because it was a new book and not a reissue, I had more to do on The Scribbling Sea Serpent than on Hyakumonogatari. As well as editing the stories for publication and fitting them into the page template, I also had to design the front and back covers (with assistance from Kate and Jon... not to mention public domain clip-art). It was a lot more work than I’d expected – I always thought producing books was easy, but I’ll know better in future! Fortunately it’s a really first-rate book, so I’m happy to have been involved with it (the same is true of Hyakumonogatari).

At this point you’re probably thinking “No matter how good The Scribbling Sea Serpent is, if Andrew May had a hand in it there’s bound to be at least a minor cock-up.” I’m not sure I completely follow your reasoning, but as it happens you’re right. There’s a small error that crept in at the very final stage of production, which is fairly obvious once it’s pointed out to you. On the other hand, I don’t believe anyone will spot the error unless it’s pointed out to them. To prove me wrong you’ll have to buy the book! Here are the links:
(Kindle versions will be available in a few weeks).