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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..46cd039 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #64893 (https://www.gutenberg.org/ebooks/64893) diff --git a/old/64893-0.txt b/old/64893-0.txt deleted file mode 100644 index a38ec2b..0000000 --- a/old/64893-0.txt +++ /dev/null @@ -1,1397 +0,0 @@ -The Project Gutenberg eBook of The Fantasy Fan, Volume 1, Number 9, May -1934, by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Fantasy Fan, Volume 1, Number 9, May 1934 - The Fan's Own Magazine - -Author: Various - -Editor: Charles D. Hornig - -Release Date: March 21, 2021 [eBook #64893] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Greg Weeks, Mary Meehan and the Online Distributed - Proofreading Team at http://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK THE FANTASY FAN, VOLUME 1, NUMBER -9, MAY 1934 *** - - - THE FANTASY FAN - - THE FANS' OWN MAGAZINE - - Published - Monthly - - Editor: Charles D. Hornig - (Managing Editor: Wonder Stories) - - 10 cents a copy - $1.00 per year - - 137 West Grand Street, - Elizabeth, New Jersey - - Volume 1 - May, 1934 - Number 9 - - [Transcriber's Note: Extensive research did not uncover any - evidence that the U.S. copyright on this publication was renewed.] - - - OUR READERS SAY - -"I was very pleased to note the increased space allotted to Lovecraft's -'Supernatural Horror in Literature.' This unique and fascinating -treatise, scholarly and well written, gives evidence of studious -research and careful compilation. It is an authoritative review of -a most alluring subject and should prove interesting and pleasantly -instructive to every lover of the weird."--Richard F. Searight - -"'The Ancient Voice' rings with laughter all over the pages of the -April issue, and although not strictly and convincingly weird, Eando -Binder's tale is, nevertheless, a joyous relief to one who has just -emerged from a long literary swim in that channel where waters -flow and lap afresh and anew with the many 'eloquent tongues in -cheeks'."--Robert Nelson - -"Robert E. Howard's story 'Gods of the North' in the March issue was -right up to his standard, although it was a bit too short. Clark Ashton -Smith certainly outdid himself in the poem 'Revenant.' The March number -is the best one to date."--F. Lee Baldwin - -"'The Ancient Voice' is a splendid tale, with overtones of subtle -terror and macabre suggestion that lingers disquietingly in one's -memory. It is certainly refreshing to see the shades of opinion -represented in the 'Your Views' department and I feel sure that this -discussion will be much more intellectually fruitful than the earlier -type with its occasionally sharp personal digs. Smith's 'Chinoiserie' -is exquisite."--H. P. Lovecraft - -"'Side Glances' is interesting. The increased length of Lovecraft's -article is relished pleasurably. The diversified views of the section -devoted to the display of one's thoughts on various subjects is worth -while."--Kenneth B. Pritchard - -"The March number is certainly distinguished by Howard's fine -imaginative piece, 'Gods of the North,' a story full of auroral -splendors, with more than a touch of unearthly poetry. I must also -commend Hoy Ping Pong's instructive article, the diverting robot -yarn by Mr. Ackerman, and Barlow's bibliographical note on 'The Time -Machine.' I missed the 'Annals of the Jinns,' however, and trust that -this series will be resumed shortly."--Clark Ashton Smith - -"Smith's poem in the March issue was splendid, as always. By all -means, publish as many of his poems as possible; I would like to see -more by Lumley, and it would be a fine thing if you could get some of -Lovecraft's poetry."--Robert E. Howard - -"Just finished the last FANTASY FAN and in it find an answer to my -query. Does Mr. Ackerman write? He does, and how! Enjoyed his little -article very much; a touch of humor is as odd as it is welcome in the -mostly rather sombre pages of weird and fantastic fiction."--Natalie H. -Wooley - -"Apparently, the only well-known weird tale authors that appear in your -columns are Smith and Lovecraft. Surely with these two as a nucleus, a -much larger following of authors should have been built up during your -seven months of existence. If you cannot contact the horror mags, you -surely should be able to get results from the authors."--William S. -Sykora - -We have several weird authors contributing to THE FANTASY FAN besides -Smith and Lovecraft, among which are August W. Derleth, Robert E. -Howard, R. H. Barlow, and Richard F. Searight. - -"I especially enjoy articles such as the one by Miss Ferguson, and that -written by The Spacehound, which I was sorry to see, did not appear in -the following issue. Barlow's stories have more good thought material -behind them than some of those published by better known authors in -your publication. Here's to everlasting success!"--J. Harvey Haggard - -"The April number is excellent in both appearance and contents, issuing -in, as it does, several new features, the 'Prose Pastels,' a new -weird writer, Eando Binder, and the larger instalments of Lovecraft's -article."--Duane W. Rimel - -"Just a note to tell you how much I enjoyed this THE FANTASY FAN. -Miraculously, it continues to improve. I don't see how you do it! -'Prose Pastels' by Clark Ashton Smith was a very beautiful bit of -word-painting. He has a deftness with the pen that seems to conjure up -visions and make the paper seem alive with scenes he describes."--F. -Lee Baldwin - -As you will notice, readers, we have considerably shortened the -readers' letters in this issue, due to the large amount of excellent -material we have on hand and our limited space. It will continue to be -about this length unless we receive many very strenuous objections. - - * * * * * - - - CELEBRITIES I'VE MET - - by Mortimer Weisinger - -Henry J. Kostkos, who permits his charming wife to okay his stories, -and if the yarn is mediocre, it's "Quick, Henry, the Flit." - -Frank R. Paul, who, when asked to be interviewed, modestly answered: -"There's not much about me to interview." - -Conrad H. Ruppert, whose favorite expression, "Shut up, Weisinger," -became a threat to have my scalp when I promised to mention him here. -And he claims he isn't modest. Goodbye scalp, maybe I can do without -it. - - * * * * * - - - Phantom Lights - - by August W. Derleth - -Of the four men sitting in the captain's cabin on the _S. S. Maine_, -three were listening to Captain Henderson, who was talking of storms in -general, an apt topic, since the _Maine_ had been driven head on into a -raging tropical gale, and was at the moment making very little headway. -The four of them, including the captain himself, were somewhat bored, -though none of them showed it. Wembler, the business man, had begun to -toy with his spectacles, taking them off, folding them, and putting -them back on. Allison, the tall, dark man who was ostensibly a writer, -occasionally whispered in an undertone to his companion, whose name had -been given as Talbot. - -It was Wembler who broke suddenly into the captain's monologue, "Have -we stopped? Doesn't seem as if we were moving at all." - -The captain shook his head. "No, we've been going very slowly on -account of the gale." Then he stopped talking abruptly. "We _have_ -stopped," he said, and got up. - -At the same moment, a sharp rap on the cabin door brought the other -three men to attention. The Captain shouted "Come!" - -A tousled head of red hair first appeared in the small opening, and -after it a youngish face that seemed to emerge from the hair. - -"What is it, Munro?" asked Captain Henderson. - -"The anchor's gone out, sir--torn out of its holdings by the storm. -We can't seem to be able to draw it back. Attached to something, most -likely." - -The captain pondered this a moment, then he made an abrupt gesture with -his hand. "Well, leave it until this infernal storm has passed--we -weren't making time, anyway. Give the order to shut down the engines. -Then try to find out just about where we are, and report back to me." - -"Very well, sir." - -The captain sat down again. "Happens once in a lifetime," he explained. -He shrugged his shoulders and tried to smile genially; his mood was not -for it. "There's nothing to be done." - -His listeners nodded sympathetically. Then the four of them sat in -silence until another rap on the cabin door brought them again to -alertness. - -Again Munro appeared in response to the captain's call. "I've inquired -of the first mate, sir," he said, "as to our bearings. He has no idea -where we are. He's asked the radio operator to broadcast to see what -he can get. We are somewhere about the Moluccas, he thinks, or more -probably Java. Seems to be something wrong with our compasses, sir." - -The captain nodded ponderously. "Most likely the storm, or some other -magnetic influence. You may go, Munro, but if anything crops up, -report to me immediately." - -Munro vanished, drawing the cabin door shut behind him. The captain -shook his head dolefully and waited to see whether one of the other men -might say something. No one ventured; so he began once more. "I didn't -think we had got as far as Java," he said. "But you can't ever tell--" - -Wembler looked up suddenly and spoke. "Say, isn't this the -twenty-seventh of February?" - -"No, the twenty-sixth," said the captain evenly. He looked at his clock -for verification, but found it not. "I'm sorry," he said at once, "it -_is_ the twenty-seventh. I had no idea it was after midnight." - -Wembler nodded. "A year ago this morning the _Cumberland_ went down off -the coast of Java." - -Captain Henderson snatched at the change of subject. "That was quite a -mystery, as I remember it. There were only a few survivors, I think." - -Wembler said, "only one--the first mate. They got some ugly rumours out -about him shortly after he appeared. Said he'd blown up the ship during -the storm." - -"His wife went down, too, if I'm not mistaken," said the captain, as if -questioning Wembler's suggestion. - -Wembler nodded. "They said it was partly because of her that he did it. -There was another man on board, and I understand there'd been bad blood -between the mate and this man on account of his wife. Then, too, the -first mate had had a terrible time with the captain, and wanted to get -even with him. Did the thing in a moment of madness." - -The captain looked at him for a moment without seeming to see him. -Talbot spoke suddenly. "All of which goes to show how oddly unfounded -rumours come up. We know that no one but that first mate survived the -disaster--and yet someone got out those rumours about him." - -The captain nodded. "You speak about it as if you had seen it all," he -said, turning to Wembler. - -Wembler laughed. "I knew the first mate pretty well, and I knew what -he was capable of doing when he got jealous. His wife was a most -attractive woman." - -"You think he really sent the _Cumberland_ down, then?" asked the -captain. - -"I know he did," said Wembler shortly. - -"Nonsense!" snapped Talbot with unexpected sharpness. "Only the first -mate would know that--and unless he's told you, you couldn't know." - -Wembler looked at him curiously. "He didn't tell me--but his wife did." - -Talbot looked as if he might explode; then abruptly he said, "Oh, I -see--spiritualism." And thus he dismissed the subject. - -The door of the cabin opened suddenly, and Munro looked in. "Something -wrong, sir," he said. - -"Eh? What is it?" asked Henderson. - -"Lights on the water. Looks like a ship sinking, or else we're close to -Java." Munro paused. "Will you come, sir?" - -The captain nodded shortly and turned to his companions. "If you -gentlemen would care to come along--? This promises to be interesting. -There are greatcoats in the closet over there." - -Munro led the way to the upper deck; the four men followed after him, -bracing themselves against the gale. On the upper deck they were met by -the first mate. - -Captain Henderson raised his binoculars and stared vainly into the -pall of darkness broken every few minutes by vivid, jagged flashes -of lightning. Huge waves obstructed his vision at regular intervals. -"Can't see a thing," he shouted. Then he swept the raging sea and sky -once more. Abruptly, lights on the water came into view. - -"There they are," shouted the first mate. - -"Java lights," said the captain. - -The first mate shouted again. "No, no, not Java, sir; they wouldn't bob -about like that." - -The lights were coming closer now. The first mate raised his binoculars -and fixed them on the approaching lights. "That's a ship, sure," he -said. - -"Any distress signal?" asked the captain. - -"No." - -"Odd. Ship's in distress--plain as a pikestaff." - -Munro had been peering through his glasses in silence; he lowered them -suddenly and turned to the captain. "Some lettering just now, sir. I -saw it quite clearly. An 'm' and the end of a word, which I took to be -land." - -"English ship, then," shouted the captain. "'M'--yes." - -The first mate raised his glasses. "I can see lettering, but I'm damned -if I can make it out." - -A man came along the deck toward the little group, breasting the -furious wind. It had stopped raining, now, and the lightning flashes -were not as frequent as they had been. Even the wind had lessened -considerably. - -Munro saw the oncoming man and shouted to the captain, "here's our -distress signal, sir." - -The man came up to them, and handed a tightly folded slip of paper to -the captain. Henderson opened the paper, and with the aid of the first -mate's flash light, read: - -"_H. M. S. Cumberland_ calling. Send Harry to us." - -"What's this?" shouted the captain. - -"Mr. Rogers got only those words, sir; nothing more." - -"Must be some mistake!" - -"No mistake, sir. I heard that come in myself." - -The first mate shouted suddenly. "The lights have vanished." Even as he -spoke, there came a sudden brilliant flash in the sky, a flash that was -not made by lightning, followed by a thunderous detonation. - -Then came a sound that held them, fascinated them--a sound fraught with -terror--a woman's voice, clear as a bell, calling from where the lights -had been, the voice distinct above the roar of the wind. - -"_Harry ... Harry ... Harry...._" - -The wind brought the sound to them, magnifying it, subduing it. -Immediately after, came a chorus of voices, calling as if from a great -distance, "_Harry ... Harry ... Come to us ... Come ..._" the woman's -voice yet strong above them all. - -The captain muttered something incoherent. Then he turned to the three -men who had followed him from the cabin and shouted, waving the message -from the radio operator, "_Cumberland_ calling! Something's wrong." - -One of the three launched himself suddenly forward, striking Captain -Henderson, and pushing him violently aside. He sprawled on the deck, -but felt hands helping him to his feet almost immediately. At the same -moment the voice of Munro came to him, shouting, "Man overboard--Man -_overboard_!" - -"Good God!" shouted the captain. "Shut up, Munro. We can't send any -one out there to look for him." He swung about and looked at the men -grouped about him; almost at once he saw that the man named Allison was -missing. - -Wembler pushed himself forward, his face white and drawn. "You wouldn't -find him, Captain," he said, shaking his head. "You'd never find him. -Harry Allison was first mate on the _Cumberland_ a year ago--he wasn't -'Allison' then. And he was my brother-in-law!" - -The captain waved his arm toward the place where the lights had been. -"And that?" he shouted frenziedly. "What was all that?" - -Wembler's hand closed over Henderson's arm. "You heard, Captain. It -was the _Cumberland_ sinking, just as she did a year ago when that -blackguard blew her up. And I heard my sister's voice calling to -Allison--and the others. The souls of those people he killed in his -devilish jealousy came back for him!" - - * * * * * - - - SCIENCE FICTION IN ENGLISH MAGAZINES - - Series Five - - by Bob Tucker - -The first two issues of "Scoops," England's new all-stf weekly, carries -"Master of the Moon," "The Striding Terror," "The Rebel Robots," -"Rocket of Doom," "The Mystery of the Blue Mist," "Voice from the -Void," "The Soundless Hour," "The Battle of the Space Ships," "Z-2--Red -Flyer," and "Space!" - -The first, fourth, eighth and tenth are interplanetary; the second is -about a human King Kong, fifty feet tall. "The Blue Mist" tale is of -invisibility, and the rest are self-explanatory. "The Soundless Hour" -tells of an hour of silence, produced by artificial means. - -The "Modern Boy" magazine carried another scientific "Captain Justice" -tale, "Siege of the Sea-Eaglet" in their latest number. - -"The Skipper," in a late March issue, features a story of a youth who -slept 100 years. He awakens to the super-modern world of tomorrow and -is promptly clanked behind bars and put on exhibition! "The Death -Dust," another story in the same issue, is, as the title indicates, an -artificial dust that kills. - -This column can't resist a modest smirk, and remind you that an all-stf -mag, such as "Scoops," was brought up twice before here. - - * * * * * - -We hope to present another article in this series very soon. - - * * * * * - - - SUPERNATURAL HORROR IN LITERATURE - - Part Eight - - by H. P. Lovecraft - - (Copyright 1927 by W. Paul Cook) - -The Gothic novel was now settled as a literary form, and instances -multiply bewilderingly as the eighteenth century drew toward its close. -"The Recess," written in 1785 by Mrs. Sophia Lee, has the historic -element, revolving round the twin daughters of Mary, Queen of Scots; -and though devoid of the supernatural, employs the Walpole scenery and -mechanism with great dexterity. Five years later, and all existing -lamps are paled by the rising of a fresh luminary of wholly superior -order--Mrs. Anne Radcliffe, (1764-1823) whose famous novels made -terror and suspense a fashion, and who set new and higher standards -in the domain of the macabre and fear-inspiring atmosphere despite a -provoking custom of destroying her own phantoms at the last through -laboured mechanical explanations. To the familiar Gothic trappings of -her predecessors, Mrs. Radcliffe added a genuine sense of the unearthly -in scene and incident which closely approached genius; every touch -of setting and action contributing artistically to the impression of -illimitable frightfulness which she wished to convey. A few sinister -details like a track of blood on castle stairs, a groan from a distant -vault, or a weird song in a nocturnal forest can with her conjure -up the most powerful images of imminent horror, surpassing by far -the extravagant and toilsome elaborations of others. Nor are these -images in themselves any the less potent because they are explained -away before the end of the novel. Mrs. Radcliffe's visual imagination -was very strong, and appears as much in her delightful landscape -touches--always in broad, clamorously pictorial outline, and never -in close detail--as in her weird phantasies. Her prime weaknesses, -aside from the habit of prosaic disillusionment, are a tendency toward -erroneous geography and history and a fatal predilection for bestrewing -her novels with insipid little poems, attributed to one or another of -the characters. - -Mrs. Radcliffe wrote six novels: "The Castles of Athlin and Dunbayne," -(1789) "A Sicilian Romance," (1790) "The Romance of the Forest," (1792) -"The Mysteries of Udolpho," (1794) "The Italian," (1797) and "Gaston -de Blondeville," composed in 1802 but first published posthumously in -1826. Of these "Udolpho" is by far the most famous, and may be taken -as a type of the early Gothic tale at its best. It is the chronicle of -Emily, a young Frenchwoman transplanted to an ancient and portentous -castle in the Apennines through the death of her parents and the -marriage of her aunt to the lord of the castle--the scheming nobleman -Montoni. Mysterious sounds, opened doors, frightful legends, and a -nameless horror in a niche behind a black veil all operate in quick -succession to unnerve the heroine and her faithful attendant Anette; -but finally, after the death of her aunt, she escapes with the aid -of a fellow-prisoner whom she has discovered. On the way home, she -stops at a chateau filled with fresh horrors--the abandoned wing where -the departed chatelaine dwelt, and the bed of death with the black -pall--but is finally restored to security and happiness with her lover -Valancourt, after the clearing-up of a secret which seemed for a time -to involve her birth in mystery. Clearly, this is only the familiar -material re-worked; but it so well re-worked that "Udolpho" will always -be a classic. Mrs. Radcliffe's characters are puppets, but they are -less markedly so than those of her forerunners. And in atmospheric -creation she stands pre-eminent among those of her time. - -Of Mrs. Radcliffe's countless imitators, the American novelist -Charles Brocken Brown stands the closest in spirit and method. Like -her, he injured his creations by natural explanations; but also like -her, he had an uncanny atmospheric power which gives his horrors a -frightful vitality as long as they remain unexplained. He differed -from her in contemptously discarding the external Gothic paraphernalia -and properties and choosing modern American scenes for his mysteries; -but this repudiation did not extend to the Gothic spirit and type of -incident. Brown's novels involve memorably frightful scenes, and excel -even Mrs. Radcliffe's in describing the operations of the perturbed -mind. "Edgar Huntly" starts with a sleep-walker digging a grave, -but is later impaired by touches of Godwinian didacticism. "Ormond" -involves a member of a sinister secret brotherhood. That and "Arthur -Mervyn" both describe the plague of yellow fever, which the author had -witnessed in Philadelphia and New York. But Brown's most famous book -is "Wieland; or, the Transformation," (1798) in which a Pennsylvania -German, engulfed by a wave of religious fanaticism, hears "voices" and -slays his wife and children as a sacrifice. His sister Clara, who tells -the story, narrowly escapes. The scene, laid at the woodland estate -of Mittingen on the Schuykill's remote reaches, is drawn with extreme -vividness; and the terrors of Clara, beset by spectral tones, gathering -fears, and the sound of strange footsteps in the lonely house, are all -shaped with truly artistic force. In the end, a lame ventriloquial -explanation is offered, but the atmosphere is genuine while it lasts. -Carwin, the malign ventriloquist, is a typical villain of the Manfred -or Montoni type. - -(Next month Mr. Lovecraft takes up "The Apex of the Gothic Romance.") - - * * * * * - - - SIDE GLANCES - - by F. Lee Baldwin - -Frank B. Long, Jr. has studied at New York University and Columbia -College. Writing is his sole occupation and he lives with his father -and mother, the former being a dentist. Long Jr. is 31. - - * * * * * - -E. Hoffman Price is 35, a World War veteran, a West Pointer, and -a former cavalry officer; also superintendant of an acetylene gas -machinery plant until 2 years ago. He now has a garage in Pawhuska, -Okla., and writes fiction at leisure. - - * * * * * - - - WEIRD WHISPERINGS - - by Schwartz and Weisinger - -Seabury Quinn has been so busy with his magazine, _Casket and -Sunnyside_, that he hasn't written a story since last September--which -is bad news for the Jules de Grandin enthusiasts.... Jack Holt will -star in a weird picture of voodooism, taken from the story "Haiti -Moon," and titled for screen purposes, "Black Moon".... Donald Wandrei -will break into print in _Weird Tales_ again with "The Destroying -Horde".... His brother Howard, who is also an excellent illustrator, -is due in _Weird_ also with "The Vine Terror".... Elliott O'Donnell's -weird ghost stories are broadcast every Wednesday evening over the WEAF -NBC chain. - -H. P. Lovecraft and Clark Ashton Smith, though living on opposite sides -of the continent, are intimate friends.... Incidently, one of the -characters in Lovecraft's bizarre "Whisperer in Darkness" was named -Klar-Kashton.... Eli Colter, popular weird author, is a woman!... And -Mary Elizabeth Counselman, _Weird's_ new sensational author is only -19!... C. L. Moore, who is creating a hit with the 'Northwest' Smith -stories in W T, is also a woman!... There have been three unsuccessful -attempts to plagiarise Arthur J. Burks' "Vale of the Corbies," an old -_Weird Tales_ yarn of his.... Incidentally, Burks' "Bells of Oceana," -the recent _Weird_ reprint, is actually based on the tingling of bells -that Burks heard on one of his trans-Atlantic voyages. - -Robert E. Howard sustained some very painful injuries, severe cuts, -crushings and wrenchings in an auto accident a few months ago, when he -and two friends ran into a dark-painted and almost invisible flagpole -in the center of a poorly lighted village square. It would have -killed anybody less tough than Howard, but what with his iron-clad -constitution, our favorite slaughter specialist has recovered from his -injuries and is virtually as good as ever.... Hugh Davidson, author of -the recent _Weird Tales_ serial, "The Vampire Master," is the pseudonym -for a well known WT author who has had more than 30 stories published -there!... Paul Ernest's forthcoming serial in _Weird_ describes a -journey thru space that takes millions of years, and tells what the -time travelers find here on their return. - -Seabury Quinn got $17 for English reprint rights to his "House of -Phipps".... But didn't get a cent for his most famous story, "The -Phantom Farmhouse," published in WT when they were bankrupt.... August -W. Derleth's recently published novel, "Murder Stalks the Wakely -Family" was written on a bet that he couldn't write it in seven -days.... He did!... Edmond Hamilton's own favorite stories are "The -Monster-God of Mamurth" and "Pigmy Island".... David H. Keller's is -"The Thing in the Cellar".... H.P. Lovecraft chooses "The Colour Out of -Space".... Clark Ashton Smith picks "The Double Shadow".... And Donald -Wandrei maintains that "The Red Brain" is his best.... Williamson -cops the June WT cover.... "Trail of the Cloven Hoof" gets the July -cover.... We'll be back next month.... - - * * * * * - - - YOUR VIEWS - -"Mr. Lovecraft has stated very lucidly and succinctly the essential -value and validity of the horror story as literary art, and there is -no need to recapitulate his conclusions. It has often occurred to me -that the interest in tales of horror and weirdness is a manifestation -of the adventure impulse so thoroughly curbed in most of us by physical -circumstances. In particular, it evinces a desire--perhaps a deep-lying -spiritual need--to transcend the common limitations of time, place, and -matter. It might be argued that this craving is not, as many shallow -modernists suppose, a desire to escape from reality, but an impulse -to penetrate the verities which lie beneath the surface of things; to -grapple with, and to dominate, the awful mysteries of mortal existence. -The attitude of those who would reprehend a liking for horror and -eeriness and would dismiss it as morbid and unhealthy, is simply -ludicrous. The true morbidity, the true unhealthiness, lies on the -other side."--Clark Ashton Smith - -"Down through the ages from the birth of romance, and the first -emergence of story-telling, comes the horror tale. An inheritance from -the age of the birth of romance, a legacy from our savage forefathers -whose lives were saturated with spirits and beings, is our attraction -to the horror tale. I do not think that people read them because they -are an art; the reading public's first desire is to be entertained, -and in many cases, this is the first and last aim of reading them. -Entertainment!--of the same sort their forefathers had who crouched -around primitive fires, surrounded by invisible conflicting elementals -and unearthly personalities--a heritage from the past! First of all -it must be entertaining, and to be truly entertaining, it must be -'genuine' and 'powerful', as Mr. Lovecraft says, and in this sense it -will be classified as an art."--J. Harvey Haggard - -"I should say that weird fans who have a taste in liking the outre -in literature have a superior taste, rather than a morbid one, a -sign of an inquiring mind, that is not satisfied with Wild West, -Gangster, or sickly mediocre love stories. But to explore the hidden -corners of things, whether it be the universe, the mind, or the -supernatural, is proving that one's mind is not smug or narrow. If this -be madness, insanity, or morbidity, glory in it, you weird and fantasy -fans."--Natalie H. Wooley - -"There are at least three weird story authors I could list as my -favorites ... Merritt, Lovecraft, Smith. The only way I can settle -the problem as to which of these three is my favorite is to say that -I choose Clark Ashton Smith because of the quantity of consistent -high-quality stories he puts out. His stories are readable, and I might -go so far as to say, livable. The quality of making his yarns livable -to the reader is an outstanding one."--Kenneth B. Pritchard - -We would like to know your views on any phase of weird fiction. After -all, this is _your_ magazine and we want your opinions to be put before -other fans. However, we must ask you to limit your comments to less -than 100 words, due to the small space available. - - * * * * * - - - The Flower God - - by R. H. Barlow - - Annals of the Jinns--6 - -Alair, the ruler of Zaxtl, sent a present unto his enemy, the -neighboring King Luud. Now such an act was unlike Alair, and had not -pleasant omens. For more than a decade they had waged bitter warfare, -and therefore Luud was not a little surprised to see the crimson lotus -on a field of _argent_ displayed before his gates. The messengers -came unguarded in their glittering robes, and when the portcullis -was withdrawn, they ascended the steps before the throne and made -obeisance. The guards of Luud would have fain drawn wary swords, -but the king signalled withdrawal, that he might hearken onto the -emissaries. - -Their gift was brought in by swarthy slave men. It proved a -mani-colored flower of alien aspect, whose aromatic perfumes spread -langorously through the room. Alair had sent no message save to state -cryptically that here was the ruler of plants, the Flower-God, and Luud -preferred not to ask the reason for this strange and lovely gift. So -it was he made a long and eloquent speech of surpassing insincerity, -claiming friendship between the countries, and when they had left, -he set artizans constructing a dais. When this had been done, the -Flower-God was set upon it in a jewel-encrusted trough; where he might -lift his eyes from affairs of state and gaze upon it. And it was -admired by the entire court. Only Gra, the counsellor, would have been -unwilling to accept it, but he was not heeded. - -But the land soon found there was something amiss, for gossip spread -thru-out that a madness had come upon the king. He would lock himself -in with the flower for days in succession and be oddly exhilarated -upon resuming his customary life. Whispers were that he was drugged -or hypnotized by the strange plant, that he performed odd and ancient -rites before it--rites that were not good and were avoided by even -necromancers. Truly, he had developed an abnormal passion for it, and -there were obviously mysterious happenings afoot. In time, he was -observed to make unwise decisions after he had been alone with the -Flower-God, and he would pause in the midst of trite affairs and go -over to it, lovingly strolling the tendrils and closing his eyes as if -listening. But there was nothing audible save the rustle of the vibrant -petals. - -The country did not improve through these unusual activities. Affairs -assumed a turbulent state; lawlessness prevailed. After a time, the -traitorous openly denounced Luud, and there were few who did not -sympathize. Those bolder even went so far as to suggest that Alair, -the adjacent ruler, rule in his stead. But the king seemed entirely -apathetic regarding this, or anything save the Flower-God and its -unholy lure. - -Meanwhile, Alair waited, smiling. - -Had not the venerable Chancellor, Gra, chosen to intervene, the land -would have fast gone to ruin. But he was wise, and took heed of the -ultrasensual lure the blossom held for his ruler. Therefore, he saw the -futility of attempting to restrain or interfere in any ordinary manner, -and consequently resolved upon action that would forever break the -reign of the unholy plant. In fine, he determined to destroy the Lord -of Flowers. - -Having made his plans, the following day he noiselessly entered the -throne-room, with a long grim knife concealed beneath his scarlet -robe. The king did not heed him, for he was enthralled, beyond human -affairs. But the plant sensed the presence of the intruder, and perhaps -it half-knew his purpose, for the fleshy leaves writhed animatedly, -and the green spines stood erect. Yet it did not arouse the entranced -supplicant, and the hundred little viper tongues could not ward off the -blows of the blade that Gra wielded so judiciously. The swollen blossom -was rent and gashed in numberless places before the emperor became -aware of it. It was too late then, for great yellow drops of sickening -ickor slowly coursed down the drooping vines and the bloom itself was -purpling fast. - -Then it was the king staggered a moment and stared long at his -Chancellor in a dazed manner. And Gra was thankful, for the light of -madness was dying out, even as the plant faded. - -The Flower-God was dead. - - * * * * * - - - PROSE PASTELS - - by Clark Ashton Smith - - _2. The Mirror in the Hall of Ebony_ - -From the nethermost profund of slumber, from a gulf beyond the sun and -stars that illume the Lethean shoals and the vague lands of somnolent -visions, I floated on a black unrippling tide to the dark threshold -of a dream. And in this dream I stood at the end of a long hall that -was ceiled and floored and walled with sable ebony, and was lit with a -light that fell not from the sun or moon nor from any lamp. The hall -was without doors or windows, and at the further extreme an oval mirror -was framed in the wall. And standing there, I remembered nothing of -all that had been; and the other dreams of sleep, and the dream of -birth and of everything thereafter, were alike forgotten. And forgotten -too was the name I had found among men, and the other names whereby -the daughters of dream had known me; and memory was no older than my -coming to that hall. But I wondered not, nor was I troubled thereby, -and naught was strange to me: for the tide that had borne me to this -threshold was the tide of Lethe. - -Anon, though, I knew not why, my feet were drawn adown the hall, and I -approached the oval mirror. And in the mirror I beheld the haggard face -that was mine, and the red mark on the cheek where the one I loved had -struck me in her anger, and the mark on the throat where her lips had -kissed me in amorous devotion. And, seeing this, I remembered all that -had been; and the other dreams of sleep, and the dream of birth and -of everything thereafter, alike returned to me. And thus I recalled the -name I had assumed beneath the terrene sun, and the names I had borne -beneath the suns of sleep and of reverie. And I marvelled much, and was -enormously troubled, and all things were most strange to me, and all -things were as of yore. - - * * * * * - - - THE WEIRD TALE - - (A Diaglogue) - - by Robert Nelson - - -Gerald: So you say that science fiction has fallen into decay? - -Sidney: Precisely. By its own outlandish and inflated ridiculousness it -has been reduced to the tedium and monotony of everyday life. - -Gerald: Oh, but you make me laugh, Sidney! What of weird fiction? How -can any one endure these everlastingly infernal vampire stories with -their borish waving of crosses to defy and fight off the vampire! I -dare say that if I should fling a putrid tomato at one of the accursed -things it would run helter-skelter! - -Sidney: It is very true. Vampire stories are a bit worn, and deserve to -have gone out of existence long ago. But it is the weird tale, Gerald, -the sort of tale as produced by Lovecraft and Smith, that truly makes -weird literature something far more noble and beautiful than most -modern fiction, with its silly tea-lady romances, modern love, and high -society twaddle. - -For an illustration of weird fiction, Gerald, let us take Clark Ashton -Smith's most superb tale, "The Double Shadow." Here we have one of the -most beautiful weird tales in the English language. When we read it we -experience the sensation of a sweeping and stirring symphony. We read -of Pharpetron, "the last and most forward pupil of the wise Avyctes," -and how he and his master live in the marble house above the "loud, -ever-ravening sea." We see the wind-swept sea, the white towers, the -eerie demonisms and necromancies, the Double Shadow. It creates for -us a life which we would wish to live, and fills us with a sense of -eternal, majestic beauty of which we have been ignorant. All of this is -so beautifully weird. Is not this more appealing than science fiction? - -Gerald: Of course it all depends upon the individual. But I suppose -the weird and macabre is more appealing, and rightfully, perhaps, it -is. But you mentioned and inferred that the weird tale, as executed by -Lovecraft and Smith, is the most worthwhile of the whole. Personally, I -like Robert E. Howard the best of them all. - -Sidney: My dear boy, all three are great writers. We know that, but -it cannot be denied that Smith is a truer artist, and that makes him -the greatest. Oh, Gerald, if more people could only appreciate and -understand the significance of the weird tale! And if scribes could -only emulate Smith or Lovecraft or Howard! If they would only strive -for originality and beauty! But no! We poor and insignificant readers -of the weird tale must continue to be plagued with time-worn vampires, -witches, rituals, and other weird senilities! - -Gerald: Well, why don't you try to write a weird tale, Sidney? You seem -to know all its merits and demerits. - -Sidney: Well, because I--er--well, I just haven't the time. - - * * * * * - -If you have any articles about weird or science fiction which you think -might interest the readers of TFF, send them in, we'll be glad to look -them over. - - * * * * * - - - SHADOWS - - by William Lumley - - There's a city wrought of shadows - That I glimpse at fall of night, - And its streets are filled with phantoms - Flitting furtively from sight. - - They are of no stable semblance - That our fancy might devise, - But a baleful light is burning - In their slanting, almond eyes. - - Every brow is pale and misty, - With a thin-lipped mouth beneath, - And the grinding jaws are ratlike-- - Set with long and pointed teeth. - - Neither rage nor ancient evil - Nor a curse bequeaths its stain, - But each face is wryly twisted - In a silent grin of pain. - - Not a sign of hope or hatred - In that dull grimace is blent-- - Like the fishes four accursed, - With their pain they are content. - - Mother of all elder anguish, - Mighty, sinister and fair, - Great Cathay, with woes of aeons - In the burdens that you bear, - - Tell me of your wrath-built Babel - Piled up from a primal day; - Tell me, too, when late-learned mercy - Shall the shadows sweep away! - - * * * * * - - - DRAGONS - - by A. Nonymous - - The lashing winged bodies, serpent-tailed - Of curious slimy monsters brilliant scaled - Writhe joyously amidst the foaming surf - Of surging oceans yet unsailed. - - * * * * * - - - INHERITED MEMORY - - (A True Experience) - - by Kenneth B. Pritchard - -Unexplored cells of the brain are the links to the past. So have -written some of the authors of the day in their science fiction. How -far from the truth, or how near, are they? Bear with me and you shall -see, although you may not believe what I am about to tell you. - -It occurred during my first trip to the Adirondack mountains in New -York State. I was with my parents going to visit relatives there. I was -about six or seven years of age. - -My mother had not been up there for a number of years; indeed, it -was years before I was born that she had gone there. Never, in the -intervening years, had a trip been made, and I had no conception -whatever of how the place looked. - -We finally arrived at our destination. - -Imagine, if you can, my surprise when I saw the house to which we were -going. I said to my mother in some disappointment, "We've been here -before!" - -It came as a distinct shock when she replied; "No you haven't been here -before. This is the first time we have ever brought you up this far." - -I had recognized the house, the big tree next to it, the porch, and -much of the interior. I had never seen the place in my life, yet it was -entirely natural to my senses that I knew it! - -Does not this make it appear that sight of the past is inherited from -one generation to the next--perhaps, even into the future, so that what -seems to be coincidental in vision is merely the breaking into the -thread of the unknown tapestry of life? Who has the answer? - - * * * * * - - - ABOUT H. G. WELLS - - by Daniel McPhail - -A short while ago, H. G. Wells had a dream of the future which inspired -the writing of his new semi-fantasy book, "The Shape of Things to -Come." It is an outline of the next century and a half, forecasting a -World State eventually after destructive wars. Published by Macmillan. - -Wells writes in an almost invisible small hand. - -A slightly demented person has been suing him for a decade, charging -that he stole his "Outline of History" from an unpublished manuscript -of his. Wells has had all the bills to pay, to say nothing of the -annoyance. - -Wells and Arthur Machen were both asked to contribute to an abortive -magazine published in the '90s, and in one of the few issues appeared -Wells' "The Cone"--Machen's didn't get in because the magazine expired. -Wells' "The Time Machine," and Machen's effective horror story, "The -Three Imposters" were both quite in the limelight at the time. The -short lived magazines were somewhat of a forerunner of the modern -weird magazines. Machen was the subject of many amusing attacks, more -fully reported in his autobiographical "Far Off Things" and "Things -Near and Far," even being accused of being deliberately unpleasant by -some prudish ladies' magazine for his "Great God Pan." - -The three H. G. Wells stories featured in Weird Tales during 1925 and -1926 were reprints, though not mentioned as such when published. They -were written about a quarter of a century before. - - * * * * * - - - ADVERTISEMENTS - - Rates: one cent per word - - Minimum Charge, 25 cents - - -BOOKS, Magazines, bought, sold. Lists 3 cts. Swanson-ff, Washburn, N. D. - - * * * * * - -CLARK ASHTON SMITH present THE DOUBLE SHADOW AND OTHER FANTASIES--a -booklet containing a half dozen imaginative and atmospheric -tales--stories of exotic beauty, glamor, terror, strangeness, irony and -satire. Price: 25 cents each (coin or stamps). Also a small remainder -of EBONY AND CRYSTAL--a book of prose poems published at $2.00, reduced -to $1.00 per copy. Everything sent postpaid. Clark Ashton Smith, -Auburn, California. - - * * * * * - -Back Numbers of _The Fantasy Fan_: September, 20 cents (only a few -left); October, November, December, January, February, March, April, 10 -cents each. - - * * * * * - -I will pay as much as $1.00 for certain back issues of Weird Tales. If -you have any very old issues (1923-4 5 6 7) that you would like to part -with, please communicate with the editor, giving a list of the issues -you have with their conditions. - - * * * * * - - FANTASY - features in its June Issue - - An Interview with Jules de Grandin's - creator, Seabury Quinn - "Cigarette Characterizations" - An unusual novelty by - - Edward E. Smith - Ralph Milne Farley - Otis Adelbert Kline - David H. Keller - H. P. Lovecraft - Harl Vincent - Stanton A. Coblentz - Clark Ashton Smith - - and many other features - - Subscription, $1. a year - Science Fiction Digest Co. - 87-36--162nd Street - Jamaica, New York - - * * * * * - - - MY FANTASY COLLECTION - - by Julius Schwartz - -I'm proud to say that my collection is a large and fairly complete -one. I have every science fiction magazine (printing all-stf) that has -appeared. I have hundreds of fantasy stories that have appeared in -Munsey publications since 1905. I have more than a hundred Weird Tales -lacking only the first two or three volumes. I have hundreds of fantasy -excerpts from magazines that occasionally print fantasies, such as -Blue Book, Popular, Complete, Short Stories, American Boy, etc., etc. -I also have quite a few tales of a fantastic nature that have appeared -in English magazines. All in all, I think I'm justified when I say that -I have one of the best collections of fantasy fiction in the country, -even if it hasn't every science fiction story that ever appeared. - -*** END OF THE PROJECT GUTENBERG EBOOK THE FANTASY FAN, VOLUME 1, NUMBER 9, -MAY 1934 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<table style='min-width:0; padding:0; margin-left:0; border-collapse:collapse'> - <tr><td>Title:</td><td>The Fantasy Fan, Volume 1, Number 9, May 1934</td></tr> - <tr><td></td><td>The Fan's Own Magazine</td></tr> -</table> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Various</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Charles D. Hornig</div> - -<div style='display:block; margin:1em 0'>Release Date: March 21, 2021 [eBook #64893]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE FANTASY FAN, VOLUME 1, NUMBER 9, MAY 1934 ***</div> - -<div class="figcenter x-ebookmaker-drop"> - <img src="images/title.jpg" alt=""/> -</div> - -<hr class="chap" /> - -<p class="ph1">[Transcriber's Note: Extensive research did not uncover any<br /> -evidence that the U.S. copyright on this publication was renewed.]</p> -<hr class="chap" /> - -<h3>OUR READERS SAY</h3> - - -<p>"I was very pleased to note the increased space allotted to Lovecraft's -'Supernatural Horror in Literature.' This unique and fascinating -treatise, scholarly and well written, gives evidence of studious -research and careful compilation. It is an authoritative review of -a most alluring subject and should prove interesting and pleasantly -instructive to every lover of the weird."—Richard F. Searight</p> - -<p>"'The Ancient Voice' rings with laughter all over the pages of the -April issue, and although not strictly and convincingly weird, Eando -Binder's tale is, nevertheless, a joyous relief to one who has just -emerged from a long literary swim in that channel where waters -flow and lap afresh and anew with the many 'eloquent tongues in -cheeks'."—Robert Nelson</p> - -<p>"Robert E. Howard's story 'Gods of the North' in the March issue was -right up to his standard, although it was a bit too short. Clark Ashton -Smith certainly outdid himself in the poem 'Revenant.' The March number -is the best one to date."—F. Lee Baldwin</p> - -<p>"'The Ancient Voice' is a splendid tale, with overtones of subtle -terror and macabre suggestion that lingers disquietingly in one's -memory. It is certainly refreshing to see the shades of opinion -represented in the 'Your Views' department and I feel sure that this -discussion will be much more intellectually fruitful than the earlier -type with its occasionally sharp personal digs. Smith's 'Chinoiserie' -is exquisite."—H. P. Lovecraft</p> - -<p>"'Side Glances' is interesting. The increased length of Lovecraft's -article is relished pleasurably. The diversified views of the section -devoted to the display of one's thoughts on various subjects is worth -while."—Kenneth B. Pritchard</p> - -<p>"The March number is certainly distinguished by Howard's fine -imaginative piece, 'Gods of the North,' a story full of auroral -splendors, with more than a touch of unearthly poetry. I must also -commend Hoy Ping Pong's instructive article, the diverting robot -yarn by Mr. Ackerman, and Barlow's bibliographical note on 'The Time -Machine.' I missed the 'Annals of the Jinns,' however, and trust that -this series will be resumed shortly."—Clark Ashton Smith</p> - -<p>"Smith's poem in the March issue was splendid, as always. By all -means, publish as many of his poems as possible; I would like to see -more by Lumley, and it would be a fine thing if you could get some of -Lovecraft's poetry."—Robert E. Howard</p> - -<p>"Just finished the last FANTASY FAN and in it find an answer to my -query. Does Mr. Ackerman write? He does, and how! Enjoyed his little -article very much; a touch of humor is as odd as it is welcome in the -mostly rather sombre pages of weird and fantastic fiction."—Natalie H. -Wooley</p> - -<p>"Apparently, the only well-known weird tale authors that appear in your -columns are Smith and Lovecraft. Surely with these two as a nucleus, a -much larger following of authors should have been built up during your -seven months of existence. If you cannot contact the horror mags, you -surely should be able to get results from the authors."—William S. -Sykora</p> - -<p>We have several weird authors contributing to THE FANTASY FAN besides -Smith and Lovecraft, among which are August W. Derleth, Robert E. -Howard, R. H. Barlow, and Richard F. Searight.</p> - -<p>"I especially enjoy articles such as the one by Miss Ferguson, and that -written by The Spacehound, which I was sorry to see, did not appear in -the following issue. Barlow's stories have more good thought material -behind them than some of those published by better known authors in -your publication. Here's to everlasting success!"—J. Harvey Haggard</p> - -<p>"The April number is excellent in both appearance and contents, issuing -in, as it does, several new features, the 'Prose Pastels,' a new -weird writer, Eando Binder, and the larger instalments of Lovecraft's -article."—Duane W. Rimel</p> - -<p>"Just a note to tell you how much I enjoyed this THE FANTASY FAN. -Miraculously, it continues to improve. I don't see how you do it! -'Prose Pastels' by Clark Ashton Smith was a very beautiful bit of -word-painting. He has a deftness with the pen that seems to conjure up -visions and make the paper seem alive with scenes he describes."—F. -Lee Baldwin</p> - -<p>As you will notice, readers, we have considerably shortened the -readers' letters in this issue, due to the large amount of excellent -material we have on hand and our limited space. It will continue to be -about this length unless we receive many very strenuous objections.</p> - -<hr class="chap" /> - -<h3>CELEBRITIES I'VE MET<br /> -by Mortimer Weisinger</h3> - - -<p>Henry J. Kostkos, who permits his charming wife to okay his stories, -and if the yarn is mediocre, it's "Quick, Henry, the Flit."</p> - -<p>Frank R. Paul, who, when asked to be interviewed, modestly answered: -"There's not much about me to interview."</p> - -<p>Conrad H. Ruppert, whose favorite expression, "Shut up, Weisinger," -became a threat to have my scalp when I promised to mention him here. -And he claims he isn't modest. Goodbye scalp, maybe I can do without -it.</p> - -<hr class="chap" /> - -<h2>Phantom Lights</h2> - -<h3>by August W. Derleth</h3> - - -<p>Of the four men sitting in the captain's cabin on the <i>S. S. Maine</i>, -three were listening to Captain Henderson, who was talking of storms in -general, an apt topic, since the <i>Maine</i> had been driven head on into a -raging tropical gale, and was at the moment making very little headway. -The four of them, including the captain himself, were somewhat bored, -though none of them showed it. Wembler, the business man, had begun to -toy with his spectacles, taking them off, folding them, and putting -them back on. Allison, the tall, dark man who was ostensibly a writer, -occasionally whispered in an undertone to his companion, whose name had -been given as Talbot.</p> - -<p>It was Wembler who broke suddenly into the captain's monologue, "Have -we stopped? Doesn't seem as if we were moving at all."</p> - -<p>The captain shook his head. "No, we've been going very slowly on -account of the gale." Then he stopped talking abruptly. "We <i>have</i> -stopped," he said, and got up.</p> - -<p>At the same moment, a sharp rap on the cabin door brought the other -three men to attention. The Captain shouted "Come!"</p> - -<p>A tousled head of red hair first appeared in the small opening, and -after it a youngish face that seemed to emerge from the hair.</p> - -<p>"What is it, Munro?" asked Captain Henderson.</p> - -<p>"The anchor's gone out, sir—torn out of its holdings by the storm. -We can't seem to be able to draw it back. Attached to something, most -likely."</p> - -<p>The captain pondered this a moment, then he made an abrupt gesture with -his hand. "Well, leave it until this infernal storm has passed—we -weren't making time, anyway. Give the order to shut down the engines. -Then try to find out just about where we are, and report back to me."</p> - -<p>"Very well, sir."</p> - -<p>The captain sat down again. "Happens once in a lifetime," he explained. -He shrugged his shoulders and tried to smile genially; his mood was not -for it. "There's nothing to be done."</p> - -<p>His listeners nodded sympathetically. Then the four of them sat in -silence until another rap on the cabin door brought them again to -alertness.</p> - -<p>Again Munro appeared in response to the captain's call. "I've inquired -of the first mate, sir," he said, "as to our bearings. He has no idea -where we are. He's asked the radio operator to broadcast to see what -he can get. We are somewhere about the Moluccas, he thinks, or more -probably Java. Seems to be something wrong with our compasses, sir."</p> - -<p>The captain nodded ponderously. "Most likely the storm, or some other -magnetic influence. You may go, Munro, but if anything crops up, -report to me immediately."</p> - -<p>Munro vanished, drawing the cabin door shut behind him. The captain -shook his head dolefully and waited to see whether one of the other men -might say something. No one ventured; so he began once more. "I didn't -think we had got as far as Java," he said. "But you can't ever tell—"</p> - -<p>Wembler looked up suddenly and spoke. "Say, isn't this the -twenty-seventh of February?"</p> - -<p>"No, the twenty-sixth," said the captain evenly. He looked at his clock -for verification, but found it not. "I'm sorry," he said at once, "it -<i>is</i> the twenty-seventh. I had no idea it was after midnight."</p> - -<p>Wembler nodded. "A year ago this morning the <i>Cumberland</i> went down off -the coast of Java."</p> - -<p>Captain Henderson snatched at the change of subject. "That was quite a -mystery, as I remember it. There were only a few survivors, I think."</p> - -<p>Wembler said, "only one—the first mate. They got some ugly rumours out -about him shortly after he appeared. Said he'd blown up the ship during -the storm."</p> - -<p>"His wife went down, too, if I'm not mistaken," said the captain, as if -questioning Wembler's suggestion.</p> - -<p>Wembler nodded. "They said it was partly because of her that he did it. -There was another man on board, and I understand there'd been bad blood -between the mate and this man on account of his wife. Then, too, the -first mate had had a terrible time with the captain, and wanted to get -even with him. Did the thing in a moment of madness."</p> - -<p>The captain looked at him for a moment without seeming to see him. -Talbot spoke suddenly. "All of which goes to show how oddly unfounded -rumours come up. We know that no one but that first mate survived the -disaster—and yet someone got out those rumours about him."</p> - -<p>The captain nodded. "You speak about it as if you had seen it all," he -said, turning to Wembler.</p> - -<p>Wembler laughed. "I knew the first mate pretty well, and I knew what -he was capable of doing when he got jealous. His wife was a most -attractive woman."</p> - -<p>"You think he really sent the <i>Cumberland</i> down, then?" asked the -captain.</p> - -<p>"I know he did," said Wembler shortly.</p> - -<p>"Nonsense!" snapped Talbot with unexpected sharpness. "Only the first -mate would know that—and unless he's told you, you couldn't know."</p> - -<p>Wembler looked at him curiously. "He didn't tell me—but his wife did."</p> - -<p>Talbot looked as if he might explode; then abruptly he said, "Oh, I -see—spiritualism." And thus he dismissed the subject.</p> - -<p>The door of the cabin opened suddenly, and Munro looked in. "Something -wrong, sir," he said.</p> - -<p>"Eh? What is it?" asked Henderson.</p> - -<p>"Lights on the water. Looks like a ship sinking, or else we're close to -Java." Munro paused. "Will you come, sir?"</p> - -<p>The captain nodded shortly and turned to his companions. "If you -gentlemen would care to come along—? This promises to be interesting. -There are greatcoats in the closet over there."</p> - -<p>Munro led the way to the upper deck; the four men followed after him, -bracing themselves against the gale. On the upper deck they were met by -the first mate.</p> - -<p>Captain Henderson raised his binoculars and stared vainly into the -pall of darkness broken every few minutes by vivid, jagged flashes -of lightning. Huge waves obstructed his vision at regular intervals. -"Can't see a thing," he shouted. Then he swept the raging sea and sky -once more. Abruptly, lights on the water came into view.</p> - -<p>"There they are," shouted the first mate.</p> - -<p>"Java lights," said the captain.</p> - -<p>The first mate shouted again. "No, no, not Java, sir; they wouldn't bob -about like that."</p> - -<p>The lights were coming closer now. The first mate raised his binoculars -and fixed them on the approaching lights. "That's a ship, sure," he -said.</p> - -<p>"Any distress signal?" asked the captain.</p> - -<p>"No."</p> - -<p>"Odd. Ship's in distress—plain as a pikestaff."</p> - -<p>Munro had been peering through his glasses in silence; he lowered them -suddenly and turned to the captain. "Some lettering just now, sir. I -saw it quite clearly. An 'm' and the end of a word, which I took to be -land."</p> - -<p>"English ship, then," shouted the captain. "'M'—yes."</p> - -<p>The first mate raised his glasses. "I can see lettering, but I'm damned -if I can make it out."</p> - -<p>A man came along the deck toward the little group, breasting the -furious wind. It had stopped raining, now, and the lightning flashes -were not as frequent as they had been. Even the wind had lessened -considerably.</p> - -<p>Munro saw the oncoming man and shouted to the captain, "here's our -distress signal, sir."</p> - -<p>The man came up to them, and handed a tightly folded slip of paper to -the captain. Henderson opened the paper, and with the aid of the first -mate's flash light, read:</p> - -<p>"<i>H. M. S. Cumberland</i> calling. Send Harry to us."</p> - -<p>"What's this?" shouted the captain.</p> - -<p>"Mr. Rogers got only those words, sir; nothing more."</p> - -<p>"Must be some mistake!"</p> - -<p>"No mistake, sir. I heard that come in myself."</p> - -<p>The first mate shouted suddenly. "The lights have vanished." Even as he -spoke, there came a sudden brilliant flash in the sky, a flash that was -not made by lightning, followed by a thunderous detonation.</p> - -<p>Then came a sound that held them, fascinated them—a sound fraught with -terror—a woman's voice, clear as a bell, calling from where the lights -had been, the voice distinct above the roar of the wind.</p> - -<p>"<i>Harry ... Harry ... Harry....</i>"</p> - -<p>The wind brought the sound to them, magnifying it, subduing it. -Immediately after, came a chorus of voices, calling as if from a great -distance, "<i>Harry ... Harry ... Come to us ... Come ...</i>" the woman's -voice yet strong above them all.</p> - -<p>The captain muttered something incoherent. Then he turned to the three -men who had followed him from the cabin and shouted, waving the message -from the radio operator, "<i>Cumberland</i> calling! Something's wrong."</p> - -<p>One of the three launched himself suddenly forward, striking Captain -Henderson, and pushing him violently aside. He sprawled on the deck, -but felt hands helping him to his feet almost immediately. At the same -moment the voice of Munro came to him, shouting, "Man overboard—Man -<i>overboard</i>!"</p> - -<p>"Good God!" shouted the captain. "Shut up, Munro. We can't send any -one out there to look for him." He swung about and looked at the men -grouped about him; almost at once he saw that the man named Allison was -missing.</p> - -<p>Wembler pushed himself forward, his face white and drawn. "You wouldn't -find him, Captain," he said, shaking his head. "You'd never find him. -Harry Allison was first mate on the <i>Cumberland</i> a year ago—he wasn't -'Allison' then. And he was my brother-in-law!"</p> - -<p>The captain waved his arm toward the place where the lights had been. -"And that?" he shouted frenziedly. "What was all that?"</p> - -<p>Wembler's hand closed over Henderson's arm. "You heard, Captain. It -was the <i>Cumberland</i> sinking, just as she did a year ago when that -blackguard blew her up. And I heard my sister's voice calling to -Allison—and the others. The souls of those people he killed in his -devilish jealousy came back for him!"</p> - -<hr class="chap" /> - -<h2>SCIENCE FICTION IN ENGLISH MAGAZINES</h2> - -<p class="ph1">Series Five</p> - -<h3>by Bob Tucker</h3> - - -<p>The first two issues of "Scoops," England's new all-stf weekly, carries -"Master of the Moon," "The Striding Terror," "The Rebel Robots," -"Rocket of Doom," "The Mystery of the Blue Mist," "Voice from the -Void," "The Soundless Hour," "The Battle of the Space Ships," "Z-2—Red -Flyer," and "Space!"</p> - -<p>The first, fourth, eighth and tenth are interplanetary; the second is -about a human King Kong, fifty feet tall. "The Blue Mist" tale is of -invisibility, and the rest are self-explanatory. "The Soundless Hour" -tells of an hour of silence, produced by artificial means.</p> - -<p>The "Modern Boy" magazine carried another scientific "Captain Justice" -tale, "Siege of the Sea-Eaglet" in their latest number.</p> - -<p>"The Skipper," in a late March issue, features a story of a youth who -slept 100 years. He awakens to the super-modern world of tomorrow and -is promptly clanked behind bars and put on exhibition! "The Death -Dust," another story in the same issue, is, as the title indicates, an -artificial dust that kills.</p> - -<p>This column can't resist a modest smirk, and remind you that an all-stf -mag, such as "Scoops," was brought up twice before here.</p> - -<hr class="tb" /> - -<p class="ph1">We hope to present another article in this series very soon.</p> - -<hr class="chap" /> - -<h2>SUPERNATURAL HORROR IN LITERATURE</h2> - -<p class="ph1">Part Eight</p> - -<h3>by H. P. Lovecraft</h3> - -<p class="ph1">(Copyright 1927 by W. Paul Cook)</p> - - -<p>The Gothic novel was now settled as a literary form, and instances -multiply bewilderingly as the eighteenth century drew toward its close. -"The Recess," written in 1785 by Mrs. Sophia Lee, has the historic -element, revolving round the twin daughters of Mary, Queen of Scots; -and though devoid of the supernatural, employs the Walpole scenery and -mechanism with great dexterity. Five years later, and all existing -lamps are paled by the rising of a fresh luminary of wholly superior -order—Mrs. Anne Radcliffe, (1764-1823) whose famous novels made -terror and suspense a fashion, and who set new and higher standards -in the domain of the macabre and fear-inspiring atmosphere despite a -provoking custom of destroying her own phantoms at the last through -laboured mechanical explanations. To the familiar Gothic trappings of -her predecessors, Mrs. Radcliffe added a genuine sense of the unearthly -in scene and incident which closely approached genius; every touch -of setting and action contributing artistically to the impression of -illimitable frightfulness which she wished to convey. A few sinister -details like a track of blood on castle stairs, a groan from a distant -vault, or a weird song in a nocturnal forest can with her conjure -up the most powerful images of imminent horror, surpassing by far -the extravagant and toilsome elaborations of others. Nor are these -images in themselves any the less potent because they are explained -away before the end of the novel. Mrs. Radcliffe's visual imagination -was very strong, and appears as much in her delightful landscape -touches—always in broad, clamorously pictorial outline, and never -in close detail—as in her weird phantasies. Her prime weaknesses, -aside from the habit of prosaic disillusionment, are a tendency toward -erroneous geography and history and a fatal predilection for bestrewing -her novels with insipid little poems, attributed to one or another of -the characters.</p> - -<p>Mrs. Radcliffe wrote six novels: "The Castles of Athlin and Dunbayne," -(1789) "A Sicilian Romance," (1790) "The Romance of the Forest," (1792) -"The Mysteries of Udolpho," (1794) "The Italian," (1797) and "Gaston -de Blondeville," composed in 1802 but first published posthumously in -1826. Of these "Udolpho" is by far the most famous, and may be taken -as a type of the early Gothic tale at its best. It is the chronicle of -Emily, a young Frenchwoman transplanted to an ancient and portentous -castle in the Apennines through the death of her parents and the -marriage of her aunt to the lord of the castle—the scheming nobleman -Montoni. Mysterious sounds, opened doors, frightful legends, and a -nameless horror in a niche behind a black veil all operate in quick -succession to unnerve the heroine and her faithful attendant Anette; -but finally, after the death of her aunt, she escapes with the aid -of a fellow-prisoner whom she has discovered. On the way home, she -stops at a chateau filled with fresh horrors—the abandoned wing where -the departed chatelaine dwelt, and the bed of death with the black -pall—but is finally restored to security and happiness with her lover -Valancourt, after the clearing-up of a secret which seemed for a time -to involve her birth in mystery. Clearly, this is only the familiar -material re-worked; but it so well re-worked that "Udolpho" will always -be a classic. Mrs. Radcliffe's characters are puppets, but they are -less markedly so than those of her forerunners. And in atmospheric -creation she stands pre-eminent among those of her time.</p> - -<p>Of Mrs. Radcliffe's countless imitators, the American novelist -Charles Brocken Brown stands the closest in spirit and method. Like -her, he injured his creations by natural explanations; but also like -her, he had an uncanny atmospheric power which gives his horrors a -frightful vitality as long as they remain unexplained. He differed -from her in contemptously discarding the external Gothic paraphernalia -and properties and choosing modern American scenes for his mysteries; -but this repudiation did not extend to the Gothic spirit and type of -incident. Brown's novels involve memorably frightful scenes, and excel -even Mrs. Radcliffe's in describing the operations of the perturbed -mind. "Edgar Huntly" starts with a sleep-walker digging a grave, -but is later impaired by touches of Godwinian didacticism. "Ormond" -involves a member of a sinister secret brotherhood. That and "Arthur -Mervyn" both describe the plague of yellow fever, which the author had -witnessed in Philadelphia and New York. But Brown's most famous book -is "Wieland; or, the Transformation," (1798) in which a Pennsylvania -German, engulfed by a wave of religious fanaticism, hears "voices" and -slays his wife and children as a sacrifice. His sister Clara, who tells -the story, narrowly escapes. The scene, laid at the woodland estate -of Mittingen on the Schuykill's remote reaches, is drawn with extreme -vividness; and the terrors of Clara, beset by spectral tones, gathering -fears, and the sound of strange footsteps in the lonely house, are all -shaped with truly artistic force. In the end, a lame ventriloquial -explanation is offered, but the atmosphere is genuine while it lasts. -Carwin, the malign ventriloquist, is a typical villain of the Manfred -or Montoni type.</p> - -<p>(Next month Mr. Lovecraft takes up "The Apex of the Gothic Romance.")</p> - -<hr class="chap" /> -<h3>SIDE GLANCES<br /> -by F. Lee Baldwin</h3> - - -<p>Frank B. Long, Jr. has studied at New York University and Columbia -College. Writing is his sole occupation and he lives with his father -and mother, the former being a dentist. Long Jr. is 31.</p> - -<hr class="tb" /> - -<p>E. Hoffman Price is 35, a World War veteran, a West Pointer, and -a former cavalry officer; also superintendant of an acetylene gas -machinery plant until 2 years ago. He now has a garage in Pawhuska, -Okla., and writes fiction at leisure.</p> - -<hr class="chap" /> - -<h3>WEIRD WHISPERINGS<br /> -by Schwartz and Weisinger</h3> - - -<p>Seabury Quinn has been so busy with his magazine, <i>Casket and -Sunnyside</i>, that he hasn't written a story since last September—which -is bad news for the Jules de Grandin enthusiasts.... Jack Holt will -star in a weird picture of voodooism, taken from the story "Haiti -Moon," and titled for screen purposes, "Black Moon".... Donald Wandrei -will break into print in <i>Weird Tales</i> again with "The Destroying -Horde".... His brother Howard, who is also an excellent illustrator, -is due in <i>Weird</i> also with "The Vine Terror".... Elliott O'Donnell's -weird ghost stories are broadcast every Wednesday evening over the WEAF -NBC chain.</p> - -<p>H. P. Lovecraft and Clark Ashton Smith, though living on opposite sides -of the continent, are intimate friends.... Incidently, one of the -characters in Lovecraft's bizarre "Whisperer in Darkness" was named -Klar-Kashton.... Eli Colter, popular weird author, is a woman!... And -Mary Elizabeth Counselman, <i>Weird's</i> new sensational author is only -19!... C. L. Moore, who is creating a hit with the 'Northwest' Smith -stories in W T, is also a woman!... There have been three unsuccessful -attempts to plagiarise Arthur J. Burks' "Vale of the Corbies," an old -<i>Weird Tales</i> yarn of his.... Incidentally, Burks' "Bells of Oceana," -the recent <i>Weird</i> reprint, is actually based on the tingling of bells -that Burks heard on one of his trans-Atlantic voyages.</p> - -<p>Robert E. Howard sustained some very painful injuries, severe cuts, -crushings and wrenchings in an auto accident a few months ago, when he -and two friends ran into a dark-painted and almost invisible flagpole -in the center of a poorly lighted village square. It would have -killed anybody less tough than Howard, but what with his iron-clad -constitution, our favorite slaughter specialist has recovered from his -injuries and is virtually as good as ever.... Hugh Davidson, author of -the recent <i>Weird Tales</i> serial, "The Vampire Master," is the pseudonym -for a well known WT author who has had more than 30 stories published -there!... Paul Ernest's forthcoming serial in <i>Weird</i> describes a -journey thru space that takes millions of years, and tells what the -time travelers find here on their return.</p> - -<p>Seabury Quinn got $17 for English reprint rights to his "House of -Phipps".... But didn't get a cent for his most famous story, "The -Phantom Farmhouse," published in WT when they were bankrupt.... August -W. Derleth's recently published novel, "Murder Stalks the Wakely -Family" was written on a bet that he couldn't write it in seven -days.... He did!... Edmond Hamilton's own favorite stories are "The -Monster-God of Mamurth" and "Pigmy Island".... David H. Keller's is -"The Thing in the Cellar".... H.P. Lovecraft chooses "The Colour Out of -Space".... Clark Ashton Smith picks "The Double Shadow".... And Donald -Wandrei maintains that "The Red Brain" is his best.... Williamson -cops the June WT cover.... "Trail of the Cloven Hoof" gets the July -cover.... We'll be back next month....</p> - -<hr class="chap" /> -<h3>YOUR VIEWS</h3> - - -<p>"Mr. Lovecraft has stated very lucidly and succinctly the essential -value and validity of the horror story as literary art, and there is -no need to recapitulate his conclusions. It has often occurred to me -that the interest in tales of horror and weirdness is a manifestation -of the adventure impulse so thoroughly curbed in most of us by physical -circumstances. In particular, it evinces a desire—perhaps a deep-lying -spiritual need—to transcend the common limitations of time, place, and -matter. It might be argued that this craving is not, as many shallow -modernists suppose, a desire to escape from reality, but an impulse -to penetrate the verities which lie beneath the surface of things; to -grapple with, and to dominate, the awful mysteries of mortal existence. -The attitude of those who would reprehend a liking for horror and -eeriness and would dismiss it as morbid and unhealthy, is simply -ludicrous. The true morbidity, the true unhealthiness, lies on the -other side."—Clark Ashton Smith</p> - -<p>"Down through the ages from the birth of romance, and the first -emergence of story-telling, comes the horror tale. An inheritance from -the age of the birth of romance, a legacy from our savage forefathers -whose lives were saturated with spirits and beings, is our attraction -to the horror tale. I do not think that people read them because they -are an art; the reading public's first desire is to be entertained, -and in many cases, this is the first and last aim of reading them. -Entertainment!—of the same sort their forefathers had who crouched -around primitive fires, surrounded by invisible conflicting elementals -and unearthly personalities—a heritage from the past! First of all -it must be entertaining, and to be truly entertaining, it must be -'genuine' and 'powerful', as Mr. Lovecraft says, and in this sense it -will be classified as an art."—J. Harvey Haggard</p> - -<p>"I should say that weird fans who have a taste in liking the outre -in literature have a superior taste, rather than a morbid one, a -sign of an inquiring mind, that is not satisfied with Wild West, -Gangster, or sickly mediocre love stories. But to explore the hidden -corners of things, whether it be the universe, the mind, or the -supernatural, is proving that one's mind is not smug or narrow. If this -be madness, insanity, or morbidity, glory in it, you weird and fantasy -fans."—Natalie H. Wooley</p> - -<p>"There are at least three weird story authors I could list as my -favorites ... Merritt, Lovecraft, Smith. The only way I can settle -the problem as to which of these three is my favorite is to say that -I choose Clark Ashton Smith because of the quantity of consistent -high-quality stories he puts out. His stories are readable, and I might -go so far as to say, livable. The quality of making his yarns livable -to the reader is an outstanding one."—Kenneth B. Pritchard</p> - -<p>We would like to know your views on any phase of weird fiction. After -all, this is <i>your</i> magazine and we want your opinions to be put before -other fans. However, we must ask you to limit your comments to less -than 100 words, due to the small space available.</p> - -<hr class="chap" /> -<h2>The Flower God</h2> - -<h3>by R. H. Barlow</h3> - -<p class="ph1">Annals of the Jinns—6</p> - - -<p>Alair, the ruler of Zaxtl, sent a present unto his enemy, the -neighboring King Luud. Now such an act was unlike Alair, and had not -pleasant omens. For more than a decade they had waged bitter warfare, -and therefore Luud was not a little surprised to see the crimson lotus -on a field of <i>argent</i> displayed before his gates. The messengers -came unguarded in their glittering robes, and when the portcullis -was withdrawn, they ascended the steps before the throne and made -obeisance. The guards of Luud would have fain drawn wary swords, -but the king signalled withdrawal, that he might hearken onto the -emissaries.</p> - -<p>Their gift was brought in by swarthy slave men. It proved a -mani-colored flower of alien aspect, whose aromatic perfumes spread -langorously through the room. Alair had sent no message save to state -cryptically that here was the ruler of plants, the Flower-God, and Luud -preferred not to ask the reason for this strange and lovely gift. So -it was he made a long and eloquent speech of surpassing insincerity, -claiming friendship between the countries, and when they had left, -he set artizans constructing a dais. When this had been done, the -Flower-God was set upon it in a jewel-encrusted trough; where he might -lift his eyes from affairs of state and gaze upon it. And it was -admired by the entire court. Only Gra, the counsellor, would have been -unwilling to accept it, but he was not heeded.</p> - -<p>But the land soon found there was something amiss, for gossip spread -thru-out that a madness had come upon the king. He would lock himself -in with the flower for days in succession and be oddly exhilarated -upon resuming his customary life. Whispers were that he was drugged -or hypnotized by the strange plant, that he performed odd and ancient -rites before it—rites that were not good and were avoided by even -necromancers. Truly, he had developed an abnormal passion for it, and -there were obviously mysterious happenings afoot. In time, he was -observed to make unwise decisions after he had been alone with the -Flower-God, and he would pause in the midst of trite affairs and go -over to it, lovingly strolling the tendrils and closing his eyes as if -listening. But there was nothing audible save the rustle of the vibrant -petals.</p> - -<p>The country did not improve through these unusual activities. Affairs -assumed a turbulent state; lawlessness prevailed. After a time, the -traitorous openly denounced Luud, and there were few who did not -sympathize. Those bolder even went so far as to suggest that Alair, -the adjacent ruler, rule in his stead. But the king seemed entirely -apathetic regarding this, or anything save the Flower-God and its -unholy lure.</p> - -<p>Meanwhile, Alair waited, smiling.</p> - -<p>Had not the venerable Chancellor, Gra, chosen to intervene, the land -would have fast gone to ruin. But he was wise, and took heed of the -ultrasensual lure the blossom held for his ruler. Therefore, he saw the -futility of attempting to restrain or interfere in any ordinary manner, -and consequently resolved upon action that would forever break the -reign of the unholy plant. In fine, he determined to destroy the Lord -of Flowers.</p> - -<p>Having made his plans, the following day he noiselessly entered the -throne-room, with a long grim knife concealed beneath his scarlet -robe. The king did not heed him, for he was enthralled, beyond human -affairs. But the plant sensed the presence of the intruder, and perhaps -it half-knew his purpose, for the fleshy leaves writhed animatedly, -and the green spines stood erect. Yet it did not arouse the entranced -supplicant, and the hundred little viper tongues could not ward off the -blows of the blade that Gra wielded so judiciously. The swollen blossom -was rent and gashed in numberless places before the emperor became -aware of it. It was too late then, for great yellow drops of sickening -ickor slowly coursed down the drooping vines and the bloom itself was -purpling fast.</p> - -<p>Then it was the king staggered a moment and stared long at his -Chancellor in a dazed manner. And Gra was thankful, for the light of -madness was dying out, even as the plant faded.</p> - -<p>The Flower-God was dead.</p> - -<hr class="chap" /> -<h2>PROSE PASTELS</h2> - -<h3>by Clark Ashton Smith</h3> - -<p class="ph1"><i>2. The Mirror in the Hall of Ebony</i></p> - - -<p>From the nethermost profund of slumber, from a gulf beyond the sun and -stars that illume the Lethean shoals and the vague lands of somnolent -visions, I floated on a black unrippling tide to the dark threshold -of a dream. And in this dream I stood at the end of a long hall that -was ceiled and floored and walled with sable ebony, and was lit with a -light that fell not from the sun or moon nor from any lamp. The hall -was without doors or windows, and at the further extreme an oval mirror -was framed in the wall. And standing there, I remembered nothing of -all that had been; and the other dreams of sleep, and the dream of -birth and of everything thereafter, were alike forgotten. And forgotten -too was the name I had found among men, and the other names whereby -the daughters of dream had known me; and memory was no older than my -coming to that hall. But I wondered not, nor was I troubled thereby, -and naught was strange to me: for the tide that had borne me to this -threshold was the tide of Lethe.</p> - -<p>Anon, though, I knew not why, my feet were drawn adown the hall, and I -approached the oval mirror. And in the mirror I beheld the haggard face -that was mine, and the red mark on the cheek where the one I loved had -struck me in her anger, and the mark on the throat where her lips had -kissed me in amorous devotion. And, seeing this, I remembered all that -had been; and the other dreams of sleep, and the dream of birth and -of everything thereafter, alike returned to me. And thus I recalled the -name I had assumed beneath the terrene sun, and the names I had borne -beneath the suns of sleep and of reverie. And I marvelled much, and was -enormously troubled, and all things were most strange to me, and all -things were as of yore.</p> - -<hr class="chap" /> - -<h2>THE WEIRD TALE</h2> - -<p class="ph1">(A Diaglogue)</p> - -<h3>by Robert Nelson</h3> - - -<p>Gerald: So you say that science fiction has fallen into decay?</p> - -<p>Sidney: Precisely. By its own outlandish and inflated ridiculousness it -has been reduced to the tedium and monotony of everyday life.</p> - -<p>Gerald: Oh, but you make me laugh, Sidney! What of weird fiction? How -can any one endure these everlastingly infernal vampire stories with -their borish waving of crosses to defy and fight off the vampire! I -dare say that if I should fling a putrid tomato at one of the accursed -things it would run helter-skelter!</p> - -<p>Sidney: It is very true. Vampire stories are a bit worn, and deserve to -have gone out of existence long ago. But it is the weird tale, Gerald, -the sort of tale as produced by Lovecraft and Smith, that truly makes -weird literature something far more noble and beautiful than most -modern fiction, with its silly tea-lady romances, modern love, and high -society twaddle.</p> - -<p>For an illustration of weird fiction, Gerald, let us take Clark Ashton -Smith's most superb tale, "The Double Shadow." Here we have one of the -most beautiful weird tales in the English language. When we read it we -experience the sensation of a sweeping and stirring symphony. We read -of Pharpetron, "the last and most forward pupil of the wise Avyctes," -and how he and his master live in the marble house above the "loud, -ever-ravening sea." We see the wind-swept sea, the white towers, the -eerie demonisms and necromancies, the Double Shadow. It creates for -us a life which we would wish to live, and fills us with a sense of -eternal, majestic beauty of which we have been ignorant. All of this is -so beautifully weird. Is not this more appealing than science fiction?</p> - -<p>Gerald: Of course it all depends upon the individual. But I suppose -the weird and macabre is more appealing, and rightfully, perhaps, it -is. But you mentioned and inferred that the weird tale, as executed by -Lovecraft and Smith, is the most worthwhile of the whole. Personally, I -like Robert E. Howard the best of them all.</p> - -<p>Sidney: My dear boy, all three are great writers. We know that, but -it cannot be denied that Smith is a truer artist, and that makes him -the greatest. Oh, Gerald, if more people could only appreciate and -understand the significance of the weird tale! And if scribes could -only emulate Smith or Lovecraft or Howard! If they would only strive -for originality and beauty! But no! We poor and insignificant readers -of the weird tale must continue to be plagued with time-worn vampires, -witches, rituals, and other weird senilities!</p> - -<p>Gerald: Well, why don't you try to write a weird tale, Sidney? You seem -to know all its merits and demerits.</p> - -<p>Sidney: Well, because I—er—well, I just haven't the time.</p> - -<hr class="tb" /> - -<p>If you have any articles about weird or science fiction which you think -might interest the readers of TFF, send them in, we'll be glad to look -them over.</p> - -<hr class="chap" /> - -<h2>SHADOWS</h2> - -<h3>by William Lumley</h3> - - -<div class="poetry"> - <div class="stanza"> - <div class="verse">There's a city wrought of shadows</div> - <div class="verse indent2">That I glimpse at fall of night,</div> - <div class="verse">And its streets are filled with phantoms</div> - <div class="verse indent2">Flitting furtively from sight.</div> -</div> - <div class="stanza"> - <div class="verse">They are of no stable semblance</div> - <div class="verse indent2">That our fancy might devise,</div> - <div class="verse">But a baleful light is burning</div> - <div class="verse indent2">In their slanting, almond eyes.</div> -</div> - <div class="stanza"> - <div class="verse">Every brow is pale and misty,</div> - <div class="verse indent2">With a thin-lipped mouth beneath,</div> - <div class="verse">And the grinding jaws are ratlike—</div> - <div class="verse indent2">Set with long and pointed teeth.</div> -</div> - <div class="stanza"> - <div class="verse">Neither rage nor ancient evil</div> - <div class="verse indent2">Nor a curse bequeaths its stain,</div> - <div class="verse">But each face is wryly twisted</div> - <div class="verse indent2">In a silent grin of pain.</div> -</div> - <div class="stanza"> - <div class="verse">Not a sign of hope or hatred</div> - <div class="verse indent2">In that dull grimace is blent—</div> - <div class="verse">Like the fishes four accursed,</div> - <div class="verse indent2">With their pain they are content.</div> -</div> - <div class="stanza"> - <div class="verse">Mother of all elder anguish,</div> - <div class="verse indent2">Mighty, sinister and fair,</div> - <div class="verse">Great Cathay, with woes of aeons</div> - <div class="verse indent2">In the burdens that you bear,</div> -</div> - <div class="stanza"> - <div class="verse">Tell me of your wrath-built Babel</div> - <div class="verse indent2">Piled up from a primal day;</div> - <div class="verse">Tell me, too, when late-learned mercy</div> - <div class="verse indent2">Shall the shadows sweep away!</div> -</div></div> - -<hr class="chap" /> -<h2>DRAGONS</h2> - -<h3>by A. Nonymous</h3> - - -<div class="poetry"> - <div class="stanza"> - <div class="verse">The lashing winged bodies, serpent-tailed</div> - <div class="verse">Of curious slimy monsters brilliant scaled</div> - <div class="verse">Writhe joyously amidst the foaming surf</div> - <div class="verse">Of surging oceans yet unsailed.</div> -</div></div> - -<hr class="chap" /> - -<h2>INHERITED MEMORY</h2> - -<p class="ph1">(A True Experience)</p> - -<h3>by Kenneth B. Pritchard</h3> - - -<p>Unexplored cells of the brain are the links to the past. So have -written some of the authors of the day in their science fiction. How -far from the truth, or how near, are they? Bear with me and you shall -see, although you may not believe what I am about to tell you.</p> - -<p>It occurred during my first trip to the Adirondack mountains in New -York State. I was with my parents going to visit relatives there. I was -about six or seven years of age.</p> - -<p>My mother had not been up there for a number of years; indeed, it -was years before I was born that she had gone there. Never, in the -intervening years, had a trip been made, and I had no conception -whatever of how the place looked.</p> - -<p>We finally arrived at our destination.</p> - -<p>Imagine, if you can, my surprise when I saw the house to which we were -going. I said to my mother in some disappointment, "We've been here -before!"</p> - -<p>It came as a distinct shock when she replied; "No you haven't been here -before. This is the first time we have ever brought you up this far."</p> - -<p>I had recognized the house, the big tree next to it, the porch, and -much of the interior. I had never seen the place in my life, yet it was -entirely natural to my senses that I knew it!</p> - -<p>Does not this make it appear that sight of the past is inherited from -one generation to the next—perhaps, even into the future, so that what -seems to be coincidental in vision is merely the breaking into the -thread of the unknown tapestry of life? Who has the answer?</p> -<hr class="chap" /> - -<h2>ABOUT H. G. WELLS</h2> - -<h3>by Daniel McPhail</h3> - - -<p>A short while ago, H. G. Wells had a dream of the future which inspired -the writing of his new semi-fantasy book, "The Shape of Things to -Come." It is an outline of the next century and a half, forecasting a -World State eventually after destructive wars. Published by Macmillan.</p> - -<p>Wells writes in an almost invisible small hand.</p> - -<p>A slightly demented person has been suing him for a decade, charging -that he stole his "Outline of History" from an unpublished manuscript -of his. Wells has had all the bills to pay, to say nothing of the -annoyance.</p> - -<p>Wells and Arthur Machen were both asked to contribute to an abortive -magazine published in the '90s, and in one of the few issues appeared -Wells' "The Cone"—Machen's didn't get in because the magazine expired. -Wells' "The Time Machine," and Machen's effective horror story, "The -Three Imposters" were both quite in the limelight at the time. The -short lived magazines were somewhat of a forerunner of the modern -weird magazines. Machen was the subject of many amusing attacks, more -fully reported in his autobiographical "Far Off Things" and "Things -Near and Far," even being accused of being deliberately unpleasant by -some prudish ladies' magazine for his "Great God Pan."</p> - -<p>The three H. G. Wells stories featured in Weird Tales during 1925 and -1926 were reprints, though not mentioned as such when published. They -were written about a quarter of a century before.</p> - -<hr class="chap" /> -<h3>ADVERTISEMENTS</h3> - -<p class="ph1">Rates: one cent per word<br /> -Minimum Charge, 25 cents</p> - - -<p>BOOKS, Magazines, bought, sold. Lists 3 cts. Swanson-ff, Washburn, N. D.</p> - -<hr class="tb" /> - -<p>CLARK ASHTON SMITH present THE DOUBLE SHADOW AND OTHER FANTASIES—a -booklet containing a half dozen imaginative and atmospheric -tales—stories of exotic beauty, glamor, terror, strangeness, irony and -satire. Price: 25 cents each (coin or stamps). Also a small remainder -of EBONY AND CRYSTAL—a book of prose poems published at $2.00, reduced -to $1.00 per copy. Everything sent postpaid. Clark Ashton Smith, -Auburn, California.</p> - -<hr class="tb" /> - -<p>Back Numbers of <i>The Fantasy Fan</i>: September, 20 cents (only a few -left); October, November, December, January, February, March, April, 10 -cents each.</p> - -<hr class="tb" /> - -<p>I will pay as much as $1.00 for certain back issues of Weird Tales. If -you have any very old issues (1923-4 5 6 7) that you would like to part -with, please communicate with the editor, giving a list of the issues -you have with their conditions.</p> - -<hr class="chap" /> - -<h3>FANTASY<br /> -features in its June Issue</h3> - -<p class="ph1">An Interview with Jules de Grandin's<br /> -creator, Seabury Quinn<br /> -"Cigarette Characterizations"<br /> -An unusual novelty by</p> - -<p class="ph1">Edward E. Smith<br /> -Ralph Milne Farley<br /> -Otis Adelbert Kline<br /> -David H. Keller<br /> -H. P. Lovecraft<br /> -Harl Vincent<br /> -Stanton A. Coblentz<br /> -Clark Ashton Smith</p> - -<p class="ph1">and many other features</p> - -<p class="ph1">Subscription, $1. a year<br /> -Science Fiction Digest Co.<br /> -87-36—162nd Street<br /> -Jamaica, New York</p> - -<hr class="chap" /> -<h3>MY FANTASY COLLECTION<br /> -by Julius Schwartz</h3> - - -<p>I'm proud to say that my collection is a large and fairly complete -one. I have every science fiction magazine (printing all-stf) that has -appeared. I have hundreds of fantasy stories that have appeared in -Munsey publications since 1905. I have more than a hundred Weird Tales -lacking only the first two or three volumes. I have hundreds of fantasy -excerpts from magazines that occasionally print fantasies, such as -Blue Book, Popular, Complete, Short Stories, American Boy, etc., etc. -I also have quite a few tales of a fantastic nature that have appeared -in English magazines. All in all, I think I'm justified when I say that -I have one of the best collections of fantasy fiction in the country, -even if it hasn't every science fiction story that ever appeared.</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE FANTASY FAN, VOLUME 1, NUMBER 9, MAY 1934 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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