BOOKS WORTH READING

BOOKS WORTH READING
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Showing posts with label pulp magazines. Show all posts
Showing posts with label pulp magazines. Show all posts

Thursday, May 21, 2026

Short Story Genre Survey, Part 3

 


Today, we tackle a fantasy tale:

Sports
Adventure
Mystery
Horror
Science Fiction
Fantasy
Western
War

In the 1930s, Clark Ashton Smith wrote his Zothique tales--stories set in the far future. This dying Earth is lit by a dim, red sun and the world is infested with magic and monsters. They are fantastic stories full of vivid imagery, ornate prose and sardonic humor.


In the 1950s, Jack Vance began writing his version of a Dying Earth. In a 1981 interview, he freely admitted Smith's influence. Though Vance (like Smith, an extraordinary writer) gave his Dying Earth its own feel, it was very similar to Zothique in many ways. Dim, red sun, magic and monsters, ornate prose, vivid imagery and sardonic humor.


One of Vance's best characters lived in his Dying Earth setting. Cugel the Clever was a thief and con artist who wasn't necessarily as clever as he thought he was. His plans to make a less-than-honest living pretty nearly always went awry or led to unplanned consequences.


In 1974, Vance returned to Cugel after the thief had disappeared into Fiction Limbo for some years. "The Seventeen Virgins." first appeared in the October 1974 issue of Fantasy & Science Fiction Magazine. 


It takes a while for the virgins to come into the picture. Cugel is fleeing one location and comes across a village whose people and customs are unknown to him. He makes some money running a dishonest card game and a fake fortune teller scam. 


It's here the titular virgins appear. Wanting to move on, he uses a less-than-ethical plan to get a job as the night guard on a caravan transporting the virgins to another city for a religious ceremony. But Cugel is the only night guard, which means he's free to secretly visit some of the virgins. Not all of them qualify for their roles when the caravan reaches its destination. 


This city bases its culture on altruism and redemption, so Cugel is given an opportnity to redeem himself. This, unfortunately, involves giving Cugel the task of talking to a captured demon and giving it a chance to give up evil. This is not likely to end well.


Like all the Cugel stories, this one is just plain fun to read. Like Clark Ashton Smith, Vance had a love for obscure words and a talent for picking just the right words to make any particular sentence a delight to read. 


This story isn't quite as old as most of the prose fiction I discuss on this blog, but what the heck. It's definitely worth reading. You can find it online HERE

Thursday, May 14, 2026

Short Story Genre Survey, Part 2


cover art by Alexander Leydenfrost


Sports
Adventure
Mystery
Horror
Science Fiction
Fantasy
Western
War

Last week, we looked at a Sports story. This week, we jump from the baseball diamond to the planet Vulcan.


No, not that Vulcan. During the 17th to 19th centuries, there was a theory that another planet, tentatively named Vulcan, was orbiting inside the orbit of Mercury. This was to explain some anomalies in Mercury's orbit that Newtonian physics couldn't explain. Eventually, Einstein's relativity theory did explain Mercury's orbit, eliminating the need for Vulcan.


It was only logical.


In her short story "Child of the Sun," Leigh Brackett (who was always making the Solar System more interesting than it is in real life) brought Vulcan back. In the story (published in the Spring 1942 issue of Planet Stories), three people are in a spaceship, fleeing the forces of the tyrant who rules the Solar System.


That tyrant uses a machine to make everyone "Happy"--content with his rule and without any desire to ever improve or advance. Those who refuse to be "Happy" are called the Unregenerates. Most of them are hidden in the outer rim of the system, slowly dying out from the harsh conditions there.


Paul Falken, a leader among the Unregenerates, and two companions are being chased by the tyrant's ships. They pull a dangerous maneuver to escape, skimming past Mercury and coming dangerously close to the sun. There, they stumble across the previously undiscovered planet Vulcan.


They land and explore. They see visions of creatures that could not possibly exist on this airless world. And then they discover a nearly immortal being who was literally born from the sun and who has incredible powers.

Will this child of the sun help them and the other Unregenerates? Or will it prove to be even more dangerous than the tyrant?


This is a great story. Brackett gives us strong characterizations among the three humans, takes the story in some unexpected directions, and creates an alien menace that is truly... well, alien. And she brings the tale to a satisfying resolution. Brackett's stories always gave us a satisfying combination of character, imagination and pure wonder. "Child of the Sun" is a prime example of her extraordinary skill as a storyteller.


Also, as I said, she made the Solar System so much more interesting than it is in real-life. Life on Mars, life on Venus, life on the moons of the outer planets. And now, life birthed in the sun!!! WHY ISN'T OUR SOLAR SYSTEM MORE LIKE THIS?

Click HERE to find the story online.



Thursday, May 7, 2026

Short Story Genre Survey, Part 1

cover art by George Gross

Recently, my Thursday posts have proportionally been concentrating on short stories more than movies or other subjects I normally cover. I didn't plan it that way, but what the hey. It happened.


So I thought "Why not give the short story reviews more structure?" Because if there is one thing that is lacking in the world, it's more structure on obscure blogs in coverage of short stories. It is, I think, the greatest failing of our civilization.


So I decided to make a list of genres, then--over the course of the "Short Story Genre Survey" I am starting today--cover one story from each of these genres.

Here's the Genre List:

Sports
Adventure
Mystery
Horror
Science Fiction
Fantasy
Western
War

Sports is crossed off because we are knocking the sports story out of the park today.

"Ol' Knucklehead," by Paul R. McCully, was published in the Summer 1946 issue of Baseball Stories. According to the FictionMag index, this is his only published work.



But it's a good one. In fact, the baseball stories (and sports stories in general) from this era were always a lot of fun. Written without cynicism, they tell straightforward tales that usually depend on inning-by-inning accounts of key games to generate tension. I love 'em.

The story involves a fictional National League team called the Barons that brings up a new catcher from the minors. The new guy is an extremely confident hotshot who soon gets on everyone's nerves. But he's a good hitter and he has an uncanny ability to signal for just the right pitch.

But he screws up, once with an embarrassing fielding error and, in another game, with an even more embarrassing running error. This gets him benched and earns him the nickname "Knucklehead."

It's only when the Barons play the Cubs in the last game of the series that "Knucklehead" might have a chance to redeem himself when he improvises a brilliant plan during a key at-bat. It's a plan that is perfectly within the rules, but I can't find an example of it being done deliberately. Kudos to the writer for coming up with something both original and plausible. 


As I said, it's a fun story--hitting all the right vibes that make the sports stories from the first half of the 20th-Century so gosh darn entertaining.


It's also fun to think about another aspect of the story. Or at least it's fun if you are a total nerd: Why was the protagonist put on a fictional team rather than a real one?

As far as I can determine (and I'm not an expert, so take this with a grain of salt), it was (and is) okay for writers to use real-life teams in fiction as long as it's for story purposes and not marketing. John Tunis' classic 1943 baseball novel The Keystone Kids, for instance, put its main characters on the roster of the Brooklyn Dodgers. There's no evidence that Tunis had to obtain permission to do this. He just did.


But the pulp magazines often used fictional team names. Part of the reason, I think, was to stay neutral and not alienate any fans. If you put your hero on the Yankees, you might drive Red Sox fans away from buying your magazine in the future. A fictional team avoids this problem and also allows the writer to ignore real-life schedules, pennant results and so on.


Also, I thought I caught the writer of "Ol' Knucklehead" in a slight error, but when I looked it up, I discovered there was no error AND there was actually a factoid from baseball history I actually DIDN'T KNOW!!! I hang my head in shame, of course. The "error" is that the Barons and the Cubs end the season with 1/2 game difference in the standings. This means they didn't play the same number of games, which in turn means someone had a game cancelled (likely a rain delay) that was not made up. With the pennant at stake, I thought, wouldn't the league have made a point of getting that game played?


The answer is NO: Unless the game needed to be played because of a tie for first place, the League would allow the 1/2 game lead to stand. Travel restrictions and other logistical matters made playing the game impractical. In 1908, for instance, the Detroit Tigers had a never-made-up rainout and finished 90-63. This put them one game over the Cleveland Naps, who finished at 90-64. Gee whiz--why didn't I know this? I pride myself on my impeccable knowledge of baseball history, but didn't know this! WHY, UNIVERSE? WHY DO YOU DO THIS TO ME?

Anyway, you can find this story online HERE. If you like baseball, I can pretty much promise you'll enjoy reading it. 


Next week, we will look at a story from another genre. 

Thursday, April 23, 2026

Yet another Werewolf

 

cover artist uncredited

Last November, I wrote about a werewolf story by Karl Edward Wagner. I mentioned at the end of that post that it would be interesting to look at another classic werewolf tale--James Blish's "There Shall Be No Darkness." Well, it took me several months, but I finally got around to it.


The story first appeared in the April 1950 issue of Thrilling Wonder Stories. Blish usually stuck to science fiction, as opposed to fantasy. So when he tackled the werewolf trope, he introduced an explanation for the condition that strips it of the supernatural. Lycanthropy, we learn, involves a disease that affects the pineal gland, allowing the person suffering from it to shape change (including changing his clothes) and be unaffected by non-silver weapons. Silver, on the other hand, works as a poison. Wolfsbane activates a strong allergic reaction.


It's an explanation that does work quite well within the story, though it's so far-fetched that the story might as well be treated as a fantasy. That's not a criticism, by the way. The "rational" veneer does give the story a unique feel and works quite well. Blish opted to come up with a rational explanation for something that is inherently irrational and did as well as anyone could.



The story is set in then-modern day, when an artist named Paul Foote realizes a fellow guest at a house party is in fact a werewolf. He soon turns out to be correct and soon after manages to chase the werewolf off by wielding a silver candlestick.


A doctor also staying at the house backs up Foote's claim that a werewolf exists. This, along with tracks in the snow, quickly does away with initial skepticism. Silver is melted down and molded into bullets and the party goes a-hunting.


Stopping a werewolf is not that simple, though. He escapes this initial attempt to get him and--well, what happens to a normal human who is bitten by a werewolf? The situation quickly grows more complicated.


I don't want to give more details because Blish does an excellent job of building suspense and tossing in a few plot twists. "There Shall Be No Darkness" is a great werewolf tale and well worth tracking down to read.

You can read it online HERE


Thursday, March 5, 2026

The Coming of the Ice

 

cover art by Frank R. Paul

It continues to be a universal truth: No matter how familiar one is with pulp magazine authors, you will regularly stumble over one you hadn't heard of before and discover he or she was quite a good storyteller.


For instance, I just read "The Coming of the Ice," by G. Peyton Wortenbaker, published in the June 1926 issue of Amazing Stories. It was the magazine's third issue and was still relying on reprinting classics and stories first published in other pulps to fill the pages. Aside from Wells and Verne, Otis Adlebert Kline and Murray Leinster each had a story included that were reprinted from Weird Tales and Argosy respectively.


But editor Hugo Gernsback was beginning to see original science fiction showing up in his mail box. "The Coming of the Ice" is, in fact, the first original SF story that appears in the magazine. And Wortenbacker, darn him, was only 19 years old when he wrote it. 



The first person narrator is friends with a scientist who has accidentally stumbled over the secret of immortality. It involves an operation that will ensure you never physically die, but will have your emotions deadened. Despite this flaw, the narrator and his girlfriend both choose to give it a go.


The narrator goes first and the operation is a success. Then the scientist and the girl are killed in a car accident before she has the procedure.


The narrator, by the way, is telling us this in the far future--hundreds of thousands or perhaps millions of years from now. He's lost count. His story of living on through the centuries as mankind evolves around him--becoming physically weaker but mentally stronger--is filled with melancholy. Those around him gradually forget about the past, concentrating only on the future.


So when a second Ice Age gradually engulfs the Earth, it catches humanity by surprise and the narrator is the only person fit enough to survive. 


This is a great story--hitting just the right note of melancholy to make it work and even injecting a small measure of hope in at the end. It's worth reading and can be found online HERE

Thursday, January 22, 2026

Lovecraftian Horror

 

cover art by Lee Brown Coye

Of the many authors who dipped their pens into the universe of H.P. Lovecraft, one of the best is the short story "The Will of Claude Ashur," by C. Hall Thompson, published in the July 1947 issue of Weird Tales.


The narrator of the tale is Claude Ashur, who is confined to an insane asylum while his body is being eaten away by incurable leporsy.


Well, except he's NOT Claude Ashur. He's Claude's brother Richard. The body belongs to Claude, but it's Richard who the unwilling occupant. 



The story flashes back to explain how this happened, starting with Claude's birth. The mother died during the process and the doctor says it was as if the baby were taking all the strength of will from her for himself. 


Claude is a creepy child. His father hires tutors, but all quit very quickly. After Richard's dog bites him, the dog is later found dead as if killed by a wild animal. 


When he gets older, Claude attends Miskatonic University, which firmly sets this story within Lovecraft's universe. He supposed to be studying medicine, but instead delves into the rare literature kept by the college--books like the Necromonicon or "the loathsome Book of Eiban." He's eventually expelled, but apparently not before he learns what he wants to learn.


When Richard and Claude's father dies, Claude takes his portion of the inheritence and begins to travel to places where he can learn voodoo and magic. When he returns home, he has a wife.


Richard begins to suspect that the wife isn't acting of her own free will and that Claude has nefarious designs on her. Richard's correct, of course, but it turns out to be a little too late to do anything about it. Things don't end will for either Richard ot the girl. Claude, on the other hand, seems to have found a way to live forever.


Thompson is an excellent writer who effectively emulates Lovecraft's style. The story is scary and creepy in all the right ways.


Which makes me think: Why do I like Lovecraftian cosmic horror. As a Christian, I believe that we live in a world broken by sin, but is is still a purposeful creation, with divine love and human diginty both being realities. Lovecraft created a universe where there is no purpose and human beings are less than nothing in the cosmic scope.


So why do I like reading stuff with themes antithetical to my own beliefs?


Well, part of it is simply an appreciation that the stories are told so well--Lovecraft, Thompson and others knew how to craft a tale effectively, with style and perfect word choices. 


Another reason is perhaps a glimpse into a universe without a loving God makes me more appreciative that there IS a loving God around.


Or perhaps I'm overthinking it. Perhaps its just fun to have the bejeebers scared out of me from time to time.


You can find "The Will of Claude Ashur"  HERE

Thursday, October 23, 2025

Prince Raynor, Part 2

cover art by E.K. Bergey

 Read/Watch 'em In Order #187


Just five months after the first of Henry Kuttner's Prince Raynor stories appeared in Strange Stories, the second would appear in the August 1939 issue of that magazine.





"The Citadel of Darkness" is set just a short time after the end of Raynor's previous tale. He, his Nubian servant Eblik and the woman warrior Delphia have fled their decimated homeland. They've found a band of addition survivors, but those guys were apparently wearing Red Shirts and they are all dead and dying when the new story begins.


They've been killed by a bandit gang led by Malric. Delphia was captured and taken to a nearby castle. Raynor and Eblik pursue, meeting a wizard named Ghiar along the way, who gives Raynor a magical talisman to aid him. 


But Ghiar has his own agenda. After bloodshed and magical shenanigans in the castle, Ghiar takes possession of Delphia and takes her to his own fortress--intending to drain her life force to extend his own life span. Raynor and Eblik pursue.

But breaking into that fortress means passing through a succession of dangers that will test Raynor's endurance, his loyalty to his friends and his courage. Along the way, Malric and his remaining bandits show up to throw off everyone's calculations. 

But along the way, Raynor has gained a very... well, unusual ally that might just allow he and his companions to get out of magical fortress alive.


It's a great story--full of action and tinged with horror in a way that is reministant of fiction by Robert E. Howard and Clark Ashton Smith. Eblik and Delphia don't get to do much themselves, which is a bit of a disappointment. But I'm sure they'll get to be more active in later stories.

Oh, wait. There were no later stories. Why weren't there more Prince Raynor stories, Kuttner? You had a good thing started here! Gee whiz!

Read the story for yourself HERE

Thursday, October 9, 2025

Prince Raynor, Part 1

 

cover art by Rudolph Belarski

Read/Watch 'em In Order #186


A few years ago, I took a look at Henry Kuttner's four stories about Elak of Atlantis. But Elak isn't the only Sword and Sorcery hero Kuttner brought us. In the April 1939 issue of Strange Stories, we are introduced to Prince Raynor. The story is titled "Cursed be the City."



Kuttner gives Prince Raynor an interesting world in which to go adventuring. It's set in a civilization that existed many of thousands of years ago in what is now called the Gobi Desert. The setting serves the same purpose that Robert E. Howard's Hyborian Age--a civilization that existed before recorded history that allows for the inclusion of magic, ancient gods and now-forgotten cultures.


Raynor is the son of the king of Sardopolis, a city that was called the Jewel of Gobi. At least until it was conquered by the brutal Cyaxares, a rival king. Raynor is sent off to be tortured--but not before he watches Cyaxares murder his dad.


Fortunately, his friend Eblik the Nubian is still free. He springs Raynor. The two men find a dying priest--the last surviving priest of the sun god Ahmon. From the priest, they get a talisman that can be used to release an even more ancient god--the god that Ahmon had displaced when Sardopolis was founded millennia ago. 


If they can release the ancient god, they will have vengeance against Cyaxares.


It's a great story. Raynor and Eblik are a good team and they are eventually joined by a woman warrior named Delphia. The quest to release the god is both exciting and spooky and there are aspects to Cyaxares' character that make him interesting--and possibly a returning villain for the next story.


Click HERE to read it. 

 

Thursday, October 2, 2025

The Martian Horrors of Clark Ashton Smith, Part 4

 

cover art by Margaret Brundage

Read/Watch 'em In Order #185


Smith's last trip to Mars takes us to the same version of the Red Planet as we visited in "The Vaults of Yoh-Vombis" and "Dweller of the Gulf." In other words, it's a planet you don't necessarily want to visit.


But it's fun to read about other people visiting it. "Adventure is bad luck happening to someone else," after all.


"Vulthoom" was published in the September 1935 issue of Weird Tales.  The two protagonists are two Earthmen stranded on Mars. They are lured down into vast underground chambers, where they are sort-of introduced to Vulthoom, an alien who came to our solar system many millennia ago. Vulthoom, who often takes thousand-year-long naps, has become a sort of legend in Martian culture--an representation of evil.  There is good reason for this.


Vulthoom is now awake and has plans. He wants the help of the two Earthmen to carry out these plans, which would result in thousands of deaths and the horror of Vulthoom moving from Mars to Earth.


The protagonists are apparently helpless to either refuse to help or escape. In the end, Smith telegraphs the one way they can stop Vulthoom perhaps a little too obviously, but the story overall achieves its purpose in generating a sense of real dread.



In the end, the lesson we learn from Clark Ashton Smith is DON'T GO TO MARS! Maybe take a trip to Venus instead. 


You can read the story HERE

Thursday, September 25, 2025

The Martian Horrors of Clark Ashton Smith, Part 3

 

cover art by Frank R Paul

Read/Watch 'em In Order #184

Smith's third trip to Mars can, I think, be considered to be in the same universe as the story "The Vaults of Yoh-Vambis." And like that story, it went through some pre-publication shenanigans before being published in a diluted form.


Before being published in the February 1933 issue of Wonder Stories, it had been rejected by Weird Tales. Strange Tales was his next try, but that magazine folded. He then tried Wonder Stories, but the editor there demanded the story be expanded to give it more "scientific explanation." The ending was also, as Smith himself put it, "cruel and monstrous."



Smith didn't want to make these changes. He felt (and he was right, by golly) that the story worked best if the horrors encountered on Mars were inexplicable rather than given a psuedo-scientific explanation. He was convinced that the horrific ending was appropriate to the story. He was right about that as well.


Smith tried and failed one more time to sell the story to Weird Tales. He then reluctantly the revisions needed to get it published in Wonder Stories. He refused to change the ending, but when it was published, he was shocked to discover that the ending had been toned down with an editorial re-write.


The story in its original form is great. Three human prospectors on Mars take shelter in a cavern during a sandstorm. They find an apparently bottomless abyss with a path running down the side. Unwisely, they decide to explore the path. What happens next... well, this is another case where I don't want to spoil anything.


Here's a link to the original story, titled "The Dweller in the Gulf." I also got the background information about the publication history from this site. Anyway, make sure the lights are on when you read this one. And, for gosh sake, don't go spelunking on Mars!

Thursday, September 18, 2025

The Martian Horrors of Clark Ashton Smith, Part 2

 

cover art by C.S. Senf

Read/Watch 'em In Order #183

 
Smith's second trip to Mars was a vast improvement over his first. Perhaps because this was purely his own story--he didn't have to work from someone else's plot this time. But regardless of the reason, "Vaults of Yoh-Vombis," published in the May 1932 issue of Weird Tales, is fantastic. 


Well, the original version is fantastic. When Weird Tales editor Farnsworth Wright first received the manuscript, he asked for some revisions. He wanted faster pacing. Smith, in a letter to H.P. Lovecraft (whose At the Mountains of Madness is an obvious influence on Martian tale), wrote "I suppose I can throw out a lot of the descriptive matter, but it's a crime all the same."


Smith was right, of course. Smith's vivid description of Mars is a vital part of generating the proper atmosphere. Without it, it's still a good story. But it's not a GREAT story.





The story is a first-person account of the only survivor of an archeological expedition to the ruins of the ancient Martian city of Yoh-Vambis. The scientists are all Earthmen, but they know a far amount about Martian history and legends. For instance, they know the race that built Yoh-Vambis died off forty thousand years ago. They also know the legend that suggests the race was killed by "something too horrible and outre to be mentioned even in a myth."


Here's a teaching moment: If you are about to enter the vaults of an ancient alien city AND there's a legend about something horrible having once been in the area AND if the Martian natives you've hired refuse to enter the vaults with you.... DON'T GO IN. It won't end well for you.


They do go in, of course. They find a mummy. When the mummy collapses into dust, "the strange cowl it was wearing began to curl and twitch upward at the corners, it writhed with a verminous motion, it fell from the withered cranium, seeing to fold and unfold convulsively in mid-air as it fell. Then it dropped on the bare head of [one of the scientists]..."


Agony, screaming and the apparent control of dead bodies by the parasitic creature follows. I don't want to give too much away, because you should experience it for yourself. Just remember--DON'T GO INTO THE VAULTS!

You can read the proper complete version of the story HERE, which is also where I got the background information about its writing and publication. 

Smith will return to Mars twice more. Next week, we'll look at his third trip to the Red Planet and examine another case in which bad editing decisions lessen the impact of a good story. 

Thursday, September 11, 2025

The Martian Horrors of Clark Ashton Smith, Part 1

 

cover art by Frank R. Paul


Read/Watch 'em In Order #182


In 1931, Wonder Stories had an Interplanetary Plot contest. A reader could send in a plot for a story involving another planet, with the chance of winning money AND having the plot expanded into a full-blown story by one of Wonder Stories regular writers. Johnston got 25 bucks and Clark Ashton Smith got a paycheck for turning Johnston's plot into a story.



"The Planetary Entity," sometimes reprinted as "Seedling of Mars," saw print in the Fall 1931 issue of Wonder Stories Quarterly.


Now I am a huge fan of Smith's work. His dark fantasy and horror stories are written with style, wit and a wonderful fondness for obscure words.




But when I decided to review the four C.A.S. stories involving Mars, it meant starting with the first one published. I'd never read "The Planetary Entity" before and was curious to do so.


And the story just falls flat. Maybe--being someone else's idea--Smith's heart wasn't in it. I don't know. But where his stories are normally a joy to read, this one (dispite being only novella-length) took me three days to work through. I didn't dislike it, but it didn't engross me and I found myself easily distracted from it. 




In addition to the plodding nature of the prose, I had a few problems with the story that means I won't be able to avoid spoilers. So, if you want to experience it spoiler-free, click HERE to read it before continuing on. Let me know if you agree or disagree with my opinon.


An unmanned ship from Mars land on Earth. When a party of scientists, politicians and reporters climb aboard, the ship takes off and takes the to Mars.


They discover that the one life form on Mars is a giant plant stretching itself around the planet. They ship takes them to a sort-of central mode for the plant, which includes a couple of enormous eyes and the ability to build more ships.


The plant learns to communicate with the humans. It wants to set up a teleportation device on Earth that would send him water. In exchange, he'll teach the humans advanced science and social skills, ending war and bringing a utopia on Earth. But the plant compares itself to a god and talks of humans being his servant.


Half the scientists want to go for this. The other half is suspicious and manages to bring the ship back to Earth. Soon, civil wars are waging across the Earth. Finally, people in the pro-plant faction are given transport to Venus, where they eliminate the Venusian dinosaurs and set up a transmitter to send water to Mars.


On Earth, a giant seed crashes and a plant quickly grows to engulf the planet, emitting a gas to wipe out anti-plant humanity. 


And--well, that's it. Are the humans on Venus happy? Are they allowed personal freedom? Are they under the rule of the plant? Do they regret the planetary genocide carried out back on Earth? I dunno! The story fails to dive deeply (or even superficially) into the issues being raised. 


It's all very unsatisfying. But Clark's future Martian stories, set on another version of Mars, will be very, very satisfying (as well as bizarre). Next week, we'll see what we think of one of them.



Thursday, July 31, 2025

Six Men of Evil

 

cover art by George Rozen

Six Men of Evil (from Feb. 15th, 1933 issue of The Shadow Magazine)


This is a weird one, even in the context of the Shadow's often weird universe. Six men, after an attempt to steal a priceless jewel from a remote tribe in Mexico, end up with identical faces. They plan to use this to commit crimes, establish perfect alibis for those crimes and frame someone else. Within a few chapters, they have murdered a man, stolen some valuable bonds, embezzled money from a bank, and pulled off a marry-the-rich-girl-then-murder-her scheme.





But crimes take place in different locations around the country, but the Shadow notices the pattern: Each time, the person arrested for the crime accusses someone who has a perfect alibi. The Master of Mystery deduces that the real criminals used doubles, though he doesn't at first know how this is possible.



The Shadow and his agents investigate. He eventually finds out how they all ended up with the same face--a process that would strain credulity in a more realistic universe, but makes perfect sense in a pulp universe.


He also discovers how the mastermind communicates with the other members of the gang, using this to track them down just as the next crime is about to be committed. This leads to an awesome car chase and the apparent death of the ringleader.





But the Shadow knows all. One last confrontation with the surviving Men of Evil takes place in San Francisco's Chinatown. 


This novel is a little lighter on action than most other Shadow tales, but it still has several great action moments. And the mystery is a good one, with the Shadow using clever and logical methods to track down the bad guys and figure out how they somehow become identical sextuplets.  The villians overlay the novel with a strong weirdness vibe that works quite well, giving this one an eerie individuality among other Shadow novels.




Thursday, July 10, 2025

The Soul of a Regiment

 

cover art by David Robinson

I've been a big fan of Talbot Mundy all my life, so when a friend of mine recommended his 1912 story "The Soul of a Regiment" AND mentioned that it had been voted by the readers of Adventure as the best story ever appearing in that superb magazine, I was embarrassed to discover this gap in my reading history. (It appeared, by the way, in the February 1912 issue.)










In the 1880s, a new native regiment--the First Egyptian Foot--is formed. An experienced sargeant named Billy Grogram is brought in to train them.


This isn't an easy job, because they are an undisciplined mob, Grogram has to learn their language WHILE trying to train them, and the officers commanding the regiment could care less about it.


But Grogram is a pro. Gradually, he molds them into a coherant military unit. He has trouble at first getting them to march in step, but spends some of his own money for some fifes and a drum. He then teaches a make-shift band the only two songs he knows well enough to whistle--"God Save the Queen" and "The Campbells are Coming."


Eventually, Grogram senses that a soul is forming in the regiment:

And Billy Grogram, who above all was a man of clean ideals, began to feel content. He still described them in his letters home as "blooming mummies made of Nile mud, roasted black for their sins, and good for nothing but the ash-heap." He still damned them on parade, whipped them when the Colonel wasn't looking, and worked at them until he was much too tired to sleep; but he began to love them. And to a big, black, grinning man of them, they loved him. To encourage that wondrous band of his, he set them to playing their two tunes on guest nights outside the officers' mess; and the officers endured it until the Colonel returned from furlough. He sent for Grogram and offered to pay him back all he had spent on instruments, provided the band should keep away in future.



The regiment's soul, like the souls of all regiments, is symbolized by its colors. So when General Gordon marches to Khartoum, the First Egyptian Foot marches with him with pride, holding their flag high while the band plays its barely recognizable versions of its two-song repertoire.





Well, Gordon and his men are all killed at Khartoum. It's said the Billy Grogram went down fighting with his regiment. Then he's forgotten. 


But there are rumors--rumors of a small band of fifers and a drummer. Rumors of a dancing madman whom the natives leave alone because the insane are protected by God. 


And one day, perhaps those who have forgotten Billy Grogram and the First Egyptian Foot will be reminded that a regiment has a soul and the regiment's colors are the symbol of that undying soul.


Some modern critiques of the story point out imperialist and racists attitudes that run through the story. This is fair and proper. But, though the story is indeed a product of its time, its comments on courage, honor and discipline are still universal. Also, I'm not sure I completely buy into one particular criticism I ran across--the idea that the native troops only became effective when a white man was in command. But any group of men training to be soldiers--regardless of skin color--is going to start out as an undisciplined mob. And any such group of men is going to NEED an experienced soldier like Grogram (regardless of his skin color) to whip them into shape. That's not saying that the racial attitudes of 1912 don't seep into the story--I'm just not completely aboard with that one particular criticism.


"The Soul of a Regiment" really is a great story, dripping with bittersweet commentary on how quickly the world forgets those who died, but also dripping with reminders that courage and honor always lives on.


You can read it for yourself HERE.



Thursday, July 3, 2025

Bitterness, Lonliness, and Death

 

cover art by Margaret Brundage

"The Lord of Samarcand," (also published as "The Lame Man") by Robert E. Howard, was published in the Spring 1932 issue of Oriental Stories. It is, I think, one of the grimmest tales that Howard ever told. And, by golly, it works. It's a vivid example of how Howard could use descriptive prose together with strong characterizations to keep his reader engrossed from start to finish.


It's set in the late 14th and early 15th Century. A Scotsman named Donald MacDeesa is the protagonist and his life has indeed been grim. He fought in Scotland until he was forced to flee for his life. He eventually ends up in the Middle East, where the army he's a part of is wiped out by the Turks. 


Anxious for revenge, he enters the service of Timour, also known as Tamarlane. This is a real-life emperor--a Turco-Mongol who founded the Timurid Dynasty that ruled much of what today is Afganistan, Iran and Central Asia.


Donald helps Timour defeat the Turks, satisfying the Scotsman's lust for revenge in that quarter. Then, with nowhere else to go, he serves Timour as the head of a sort-of Special Forces unit. Timour, a somewhat narcissitic ruler who desire only to expand his empire, recognizes Donald's usefullness, but feels no friendship or appreciation towards him:


Timour hurled Donald against his foes as a man hurls a javelin, little caring whether the weapon be broken or not. The Gael's horsemen would come back bloodstained, dusty and weary, their armor hacked to shreds, their swords notched and blunted, but always with the heads of Timour's foes swinging at their high saddle-peaks.




As the years go by, Donald's lonliness and friendlessness causes him to grow attracted to a Persian slave-girl. But the girl has a tendency to get involved in courtroom conspiracies. And if she gets on Timour's bad side, she might not live long. And if she doesn't live long, Timour might find out there can be consequences for treating people like disposable insects. It's not good to be on Timour's bad side, but it's definitely not good to be on Donald MacDeesa's bad side.


History has a different version of Timour's death in 1405 than we get here, but the story actually accounts for that. Much like "The Lion of Tiberias," which I reviewed a few weeks ago, Howard improves upon real-life in regards to the death of a tyrant. 


Getting to the grim end of this tale is a wild ride. Here's a brief passage describing one of Donald's many battles. The word "vivid" doesn't really do it justice.


AND AT ORDUSHAR the siege dragged on. In the freezing winds that swept down the pass, driving snow in blinding, biting blasts, the stocky Kalmucks and the lean Vigurs strove and suffered and died in bitter anguish.

They set scaling-ladders against the walls and struggled upward, and the defenders, suffering no less, speared them, hurled down boulders that crushed the mailed figures like beetles, and thrust the ladders from the walls so that they crashed down, bearing death to men below. Ordushar was actually but a stronghold of the Jat Mongols, set sheer in the pass and flanked by towering cliffs.

Donald's wolves hacked at the frozen ground with frost-bitten raw hands which scarce could hold the picks, striving to sink a mine under the walls. They pecked at the towers while molten lead and weighted javelins fell in a rain upon them; driving their spear-points between the stones, tearing out pieces of masonry with their naked hands. With stupendous toil they had constructed makeshift siege-engines from felled trees and the leather of their harness and woven hair from the manes and tails of their warhorses.

The rams battered vainly at the massive stones, the ballistas groaned as they launched tree-trunks and boulders against the towers or over the walls. Along the parapets the attackers fought with the defenders, until their bleeding hands froze to spear-shaft and sword-hilt, and the skin came away in great raw strips. And always, with superhuman fury rising above their agony, the defenders hurled back the attack.

A storming-tower was built and rolled up to the walls, and from the battlements the men of Ordushar poured a drenching torrent of naphtha that sent it up in flame and burnt the men in it, shriveling them in their armor like beetles in a fire. Snow and sleet fell in blinding flurries, freezing to sheets of ice. Dead men froze stiffly where they fell, and wounded men died in their sleeping-furs. There was no rest, no surcease from agony. Days and nights merged into a hell of pain. Donald's men, with tears of suffering frozen on their faces, beat frenziedly against the frosty stone walls, fought with raw hands gripping broken weapons, and died cursing the gods that created them.

The misery inside the city was no less, for there was no more food. At night Donald's warriors heard the wailing of the starving people in the streets. At last in desperation the men of Ordushar cut the throats of their women and children and sallied forth, and the haggard Tatars fell on them weeping with the madness of rage and woe, and in a welter of battle that crimsoned the frozen snow, drove them back through the city gates. And the struggle went hideously on.


You can read the entire story yourself HERE

Thursday, June 26, 2025

Kings of Crime

 

cover art by George Rozen

Kings of Crime was originally published in the December 1932 issue of The Shadow Magazine. This one takes the Shadow out of the Big Apple to Seaview City--an obvious expy for Atlantic City. Four "Kings of Crime" are planning to bring crime to the resort town--gambling, drugs, blackmail and kidnapping.


It's a great Shadow novels in several ways. First, there are several superb action scenes--most notably a gunfight between the Shadow and a gang of thugs in a pitch-dark hotel room. At the climax, the Shadow makes judicious use of a sniper rifle and a rifle-grenade to ensure the bad guys come to a... well, an explosive end.


The other strong feature of the novel is some nuanced characteriztions, particular the redemption arc of one of the Kings. Throughout his career, the Shadow went up against some pretty ruthless and bloodthirsty villains and most of them are six feet under by time any one Shadow novel ends. But in this case, one of the Kings of Crime swerves away from this. His part of the crime empire is foiled by the Shadow early on and the guy is sent to prison. But he now worries about his family--who didn't know he was a crook and are now destitute. His fellow crooks were supposed to look after them, but they've pretty much thrown the family to the wolves. 


The captured crook breaks out with a vague plan to take vengeance on the other Kings of Crime, but circumstances lead him to continue to examine his life. In a realistic, step-by-step transformation, he ends up being allied with the Shadow, helping destroy crime that he now hates and perfectly willing to return to jail and pay for his own crimes afterwards.


There's a lot of honestly-earned emotion in his character arc. In a world where bad guys are much more likely to take a .45 from one of the Shadow's blazing automatics, it's nice to see someone change his ways.

cover art by Jim Steranko



He's not the only cool supporting character. Seaview City's police chief is a great guy. In the end, he needs the Shadow to figure out who the bad guys actually are, but he's honest and courageous, bringing the police force to the front lines when necessary. He's a pretty cool guy. 


Finally, there's a good mystery at the heart of the story. There's an "Ace" who is the brains behind the four kings. His true identity is a secret through most of the story. An astute reader will guess he's a member of the town council, but which one? The book's third person narrator refers to the police chief has having an honest heart, so its not him. But that leaves a quartet of other suspects.


 The answer to this might catch a few readers by surprise--though readers familar with Walter Gibson's plot twists have a fair chance of guessing correctly.



So--a strong story; a nice change-of-location from the usual streets of New York City; a few fantastic action scenes; and some strong secondary characters. Kings of Crime is yet another wonderful Shadow adventure.

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