Friday, December 28, 2012
Blogging Marvel’s Tomb of Dracula Magazine
Friday, December 21, 2012
Blogging Marvel’s Dracula Lives - Part Two
Sunday, December 16, 2012
Monday, December 10, 2012
Pro Se Presents – the Eclectic Voice of New Pulp
Friday, November 30, 2012
Blogging Austin Briggs’ Flash Gordon, “The Menace of Mysta” / “Home”
Friday, November 23, 2012
Blogging Austin Briggs’ Flash Gordon, Part Nine “The Isle of the Elvins”
Monday, November 19, 2012
Blogging Austin Briggs’ Flash Gordon, Part Eight “The Royal Hunt”
Sunday, November 11, 2012
Blogging Austin Briggs’ Flash Gordon, Part Seven “Queen Tigra of Forestia”
Saturday, November 3, 2012
The Return of Dr. Mabuse
Monday, October 29, 2012
Blogging Austin Briggs’ Flash Gordon, Part Six “The Radium Mines of Electra”
Monday, October 22, 2012
Blogging Austin Briggs’ Flash Gordon – “Disaster in Space” / “Shipwrecked”
Tuesday, October 16, 2012
Blogging Austin Briggs’ Flash Gordon, Part Three - “War on Earth”
Wednesday, October 10, 2012
Evangelizing for Pulp Fiction
Sunday, September 30, 2012
Blogging Sax Rohmer’s The Mask of Fu Manchu – Part Four
Sunday, September 23, 2012
Blogging Sax Rohmer’s The Mask of Fu Manchu – Part Three
Tuesday, September 18, 2012
Blogging Sax Rohmer’s The Mask of Fu Manchu – Part Two
Monday, September 10, 2012
Blogging Sax Rohmer’s The Mask of Fu Manchu – Part One
Sax Rohmer’s The Mask of Fu Manchu was originally serialized in Collier’s from May 7 to July 23, 1932. It was published in book form later that year by Doubleday in the US and the following year by Cassell in the UK. It became the most successful book in the series thanks to MGM’s cult classic film version starring Boris Karloff and Myrna Loy that made it into theaters later that same year. Paramount’s option on the character had been exhausted after three pictures and one short starring Warner Oland as the Devil Doctor. The Paramount series had been responsible for Rohmer’s decision to revive the character with Daughter of Fu Manchu. The Mask of Fu Manchu served as a direct sequel and was again narrated by Shan Greville.
The novel gets underway with the brash Sir Lionel Barton having recently joined a colleague, Dr. Van Berg in completing an excavation of the tomb of the notorious heretical Masked Prophet of Islam, El Mokanna in Persia. Shan Greville, Sir Lionel's foreman, is awakened in the middle of the night by his fiancée Rima Barton, Sir Lionel’s niece, who was disturbed by a strange wailing. Upon investigating, Dr. Van Berg is found dead in his room, his bloodied corpse slung over the jade chest containing the artifacts from the dig. The artifacts, still intact, are El Mokanna’s gold mask that hid his disfigured features, his heretical New Creed of Islam carved on gold tablets, and the bejeweled Sword of God with which the messianic prophet planned to conquer the world.
Sir Lionel and his party are informed by the authorities that El Mokanna still has fanatical followers in Persia and that a new imam has risen to prominence and is seeking the treasures they foolishly recovered in defiling the Masked Prophet’s burial place (something no Moslem would dare to have disturbed). Worse still, this new imam is believed by the cultists to be the resurrected El Mokanna. Soon enough Sir Denis Nayland Smith arrives on the scene. While Greville is relieved to see him, he is puzzled why Scotland Yard is involved. Sir Denis informs him he retired from the Yard six months ago to accept a post with British Intelligence. Smith is concerned that Sir Lionel’s actions will result in an uprising that will threaten the stability of the Near and Far East.
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Sunday, September 2, 2012
Sax Rohmer’s The Adventures of Nayland Smith
Sir Denis Nayland Smith is the largely unsung protagonist of all of Sax Rohmer’s novels and stories featuring the notorious Dr. Fu Manchu. The brilliant Chinese criminal genius constantly overshadowed the stalwart British subject who did his best to route his megalomaniacal schemes over the course of thirteen novels and four shorter works published between 1912 and 1959. The legendary villain overshadowed Sir Denis to such a degree that many readers were unaware that the author showcased Smith without his customary nemesis in three short stories published between 1920 and 1932.
When Rohmer created the character a century ago, Smith was depicted as a colonial administrator stationed in Burma granted a roving commission by the Home Office to bring Dr. Fu Manchu to justice. His childhood friend, Dr. Petrie played Watson to Smith’s Holmes chronicling his adventures for posterity and ably assisting him wherever possible. Petrie’s job was made easy in as much as Smith rarely did any actual detecting. The duo generally reacted to Fu Manchu’s latest atrocity and then spent the rest of the book trying to anticipate his next move, check him, be captured, escape, inevitably leading a daring raid that would end in something less than a complete success. Despite it all, Smith and Petrie persevered and when Rohmer ended the initial run of the series in 1917, readers likely expected they had heard the last of Nayland Smith’s exploits. Rohmer, however, was too fond of the character to let him retire peacefully.
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Monday, August 27, 2012
Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Four
Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the fourth and final installment.
The novel’s finale gets underway at a breakneck pace. Sir Lionel Barton has retreated to Abbots Hold, his estate in the English countryside. Sir Denis Nayland Smith and Police Superintendant Weymouth are there to oversee Sir Lionel’s safety as well as that of his right hand man, Shan Greville and Sir Lionel’s niece (and Greville’s fiancée), Rima. Dr. Petrie and his wife, Kara are delayed while both Shan and Rima are ill-at-ease locked up in Sir Lionel’s ancient and mysterious home with his requisite menagerie of exotic wildlife (including his pet cheetah).
Rima is rattled by the legends that Abbots Hold is haunted and is convinced she has glimpsed a ghostly cowled figure the night before. Both she and Shan are troubled by the gypsies who have camped just on the border of the estate. Her uncle’s many oriental curios (such as the lacquer cabinet in the sitting room) are also weighing heavily on Rima. She tries losing herself in a book but is bothered by the musty smell of the house and resorts to spraying the room with perfume.
That night, Shan is unable to sleep convinced the tapping he hears is Morse code. Investigating, he spies the ghostly cowled figure of a monk from the East Tower signaling to a figure in Sir Lionel’s room. Attempting to intercept the figure, he stumbles upon Sir Denis who is forced to take him in his confidence. Smith reveals he disguised himself as the ghostly monk and that he was communicating with Weymouth via Morse code. Neither man trusted Sir Lionel or Greville because they had previously been hypnotized by Fah lo Suee and Smith believes Fu Manchu’s daughter has infiltrated Abbots Hold. Sir Denis startles Greville by stating that now Rima can no longer be trusted as well.
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Tuesday, August 21, 2012
Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Three
Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the third part.
The section begins with Shan Greville’s delirious account of his and Sir Denis Nayland Smith’s foolhardy infiltration of a meeting of the Si-Fan’s Council of Seven while disguised as Mongolian monks. Sir Denis recognizes Ki-Ming among the attendees and fears the mandarin will likewise remember him if he gets a good look at his features beneath the monk’s cowl. Greville sees Madame Ingomar enter the room and recalls her true identity as Fah lo Suee, the daughter of Fu Manchu. Unable to understand the council’s conversation, the truth promptly reaches him when a gong sounds and the two Mongolian monks appear while all eyes turn upon Sir Denis and his companion.
Greville recovers consciousness to find himself in Chinese clothing in a foreign household. A Chinese surgeon attends him and denies any knowledge of Sir Denis or of a location known as el-Kharga. Greville collapses once more. When he recovers a second time, he is in the presence of Fah lo Suee who claims to be able to read his mind. She offers proof that she is aware of his love for Rima Barton. Greville is too weakened to realize he has been drugged and tricked into revealing information to his captor. He collapses again. Upon his next recovery, he finds Fah lo Suee speaking of her desire to rule Russia, the home of her mother and how, as a half-caste herself she is drawn to Greville. She speaks openly of how the Si-Fan is the New World Order that will unite the East under a single power and how she intends to be at the forefront of the New Wave that threatens to sweep the globe.
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Tuesday, August 14, 2012
Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Two
Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the second part.
Rohmer slows his pace to take time to develop the character of Rima Barton at the outset of the second part. The reader begins to understand her as one of Rohmer’s typically strong female characters in contrast with the shrinking violets one is accustomed to in fiction of the day. The strained relationship between Rima and Shan Greville is revealed to be jealousy over his attraction to Madame Ingomar, the exotic foreign woman who had likewise stirred Sir Lionel’s passions.
The choice of Greville as narrator is refreshing and allows the reader to view Dr. Petrie’s resurrection of Sir Lionel from the dead with a genuine sense of wonder. The Arabs among the team at the dig view Barton’s revivification as black magic while Greville begins to appreciate the genius of Dr. Fu Manchu once he sees proof that Barton was not dead, but only subjected to a drug-induced cataleptic state until he was injected with the antidote.
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Tuesday, August 7, 2012
Blogging Sax Rohmer’s Daughter of Fu Manchu
Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the first part.
It had been over a dozen years since Rohmer had finished the Fu Manchu series. Since that time, both The Yellow Claw (1915) and his three Fu Manchu titles had been filmed by Stoll. In the late 1920s with the advent of sound, Paramount announced a new series of Fu Manchu films starring Warner Oland as the Devil Doctor. Collier’s was eager to capitalize on the character’s renewed popularity and the author signed a contract to revive the series.
His first attempt was to write a contemporary thriller involving American protagonists opposing a self-styled Emperor of Crime to be revealed at the story’s conclusion as Fu Manchu’s daughter. After several installments of the serialized adventure for Collier’s, Rohmer’s editor determined that the author had failed to capture the flavor of the original series and both parties reluctantly agreed to let him alter the story’s conclusion to remove all trace of Fu Manchu. The delayed serial, The Emperor of America resumed after a hiatus of several months in 1928 and published in book form the following year. A minor work, it is most notable for serving as the template for the Sumuru series, another ersatz Fu Manchu, many years later.
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Wednesday, August 1, 2012
Re-Discovering Sax Rohmer
Regular readers of my articles will be aware of my fascination with the works of British thriller writer, Sax Rohmer. Along with penning several series of articles, I was fortunate enough to be authorized by Rohmer’s Estate to write two new Fu Manchu thrillers for Black Coat Press in an effort to bring new readers back to the originals. For several decades Rohmer’s work has been largely out of print and much of it has fallen into obscurity. Happily, this has recently started to change.
Last year, Titan Books licensed Rohmer’s catalog and began an ambitious reprint series at the start of this year beginning with Rohmer’s fourteen Fu Manchu titles. All of the books are being printed in affordable trade paperback editions. The first three titles are available at present and the next two may be pre-ordered from Amazon. These attractive uniform editions recall the lurid retro cover art on Penguin’s recent trade paperback editions of Ian Fleming’s fourteen James Bond thrillers.
Of course, while the Devil Doctor may have been Rohmer’s most famous work, it doesn’t even come close to scraping the surface of this prolific author’s voluminous output. While Titan is committed to bringing his many novels back into print, Rohmer has several dozen uncollected stories that were published exclusively in magazines and newspapers in the first half of the last century. Tom Roberts’ Black Dog Books have made an indelible mark by launching their Sax Rohmer Library series. Rohmer scholar Gene Christie has begun compiling several collections of rare early material much of which is otherwise unavailable and would have likely remained lost without his efforts.
TO CONTINUE READING THIS ARTICLE, PLEASE VISIT THE BLACK GATE ON AUGUST 3.
Wednesday, July 25, 2012
Return to the Golden Age with Tales from the Hanging Monkey
Thursday, July 19, 2012
The Coming of Dorgo the Dowser
Growing up in the 1970s, the Ballantine editions of Edgar Rice Burroughs’ Tarzan series and the Ace Conan series were part of my steady diet. Seminal pulp fiction graced with stunning cover art by the likes of Neal Adams, Boris Vallejo, and Frank Frazetta. The cover art for the Conan books perfectly captured a bygone savage world that never existed in mankind’s past, but should have. While most Robert E. Howard fans have long since rejected these editions because of the sometimes gratuitous changes made to the original text, the impact of the Conan paperback series on the proliferation of the fantasy subgenre cannot be underestimated.
My own passion for sword & sorcery waned somewhere around the time that Robert Jordan took up his pen to tell bolder and ever more sweeping tales of the Hyborian Age for Tor Books that dwarfed the originals without ever capturing the same sense of wonder. I closed the book on that chapter of my life not long after starting junior high and never expected to revisit it. Flash forward to 2012 when I discovered Mad Shadows: the Weird Tales of Dorgo the Dowser by Joe Bonadonna and found that sometimes you can go home again.
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Thursday, July 12, 2012
Blogging Charlton Comics’ Adventures of the Man-God, Hercules – Part Two
Joe Gill modified Denny O’Neil’s take on the Labors of Hercules when he succeeded him as scriptwriter on Charlton Comics’ Adventures of the Man-God, Hercules in 1968. Gill took the character of Eurystheus that O’Neil referred to as a judiciary member of the pantheon of gods on Mount Olympus and developed the character as a mortal king who is Hercules’ cousin on his mother’s side (Gill actually referred to him as Hercules’ uncle in his first appearance). By Issue #8 it was established that Hercules turns to King Eurystheus to receive each assignment in the remaining five labors he must complete before he is accepted among the gods of Olympus. Eurystheus is portrayed as a mortal puppet of Hercules’ vindictive stepmother Hera, the queen of the gods.
Issue #8, “The Boar” sees Eurystheus set Hercules the seemingly impossible task of capturing the Great Boar of Eurymanthus without injuring the beast. Upon scaling Mount Eurymanthus, Hercules is set upon by yet another pteranodon (a favorite of artist Sam Glanzman, apparently). Perhaps cognizant of the winged reptile’s repetition, Joe Gill provides the explanation that the pteranodons are conjured up from Earth’s prehistoric past by Hera. Zeus berates his wife for this unnecessary persecution of his son. Hercules is warned off his quest by the nearby villagers, but ignores their caution and scales to the top of the mountain and encounters the great boar itself. The man-god tames the beast with relative ease and rides it down the mountain (admittedly, a great visual) to present it to King Eurystheus. The storyline is very slight compared to the previous labors (clocking in at only 12 pages).
The rest of the issue is taken up with a supporting feature, “The Legend of Hercules” which depicts the man-god’s childhood in the home of his mortal mother, Alcmena. The story opens on the domestic life of the infant Hercules and his mortal half-brother, Iphicles. The child Hercules first shows his incredible strength when he slays a pair of serpents that crawl into the toddlers’ crib one night. The script reveals that the serpents were sent by Hera in her jealousy. While closer to the mythological depiction of Hercules’ origin, the incident contradicts the code-approved storyline from previous issues that Alcmena and Zeus were married before Zeus and Hera wed. This was not, of course, Denny O’Neil’s original intent, but Dick Giordano enforced the Charlton Comics editorial policy which prevented dealing with out of wedlock pregnancy as much as it limited any sexual suggestion. This certainly made the depiction of a title capitalizing on the booming sword & sorcery market difficult to say the least.
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Thursday, July 5, 2012
Blogging Charlton Comics’ Adventures of the Man-God, Hercules – Part One
Charlton Comics’ Adventures of the Man-God, Hercules is unique in actually making a credible stab at being faithful to Greek mythology. The Twelve Labors of Hercules form the backbone of the thirteen issues published between October 1967 and September 1969. Denny O’Neil scripted the first five issues under the unlikely pseudonym of Sergius O’Shaugnessy with Dick Giordano editing the first four issues. When Giordano left Charlton Comics for DC, he took O’Neil with him. Giordano’s successor, Sal Gentile replaced O’Neil with Joe Gill who scripted the final eight issues. The entire run was illustrated by Sam Glanzman, a house regular at Charlton. I first discovered the series via Charlton’s reprint series of the early 1980s. Sadly, the entire run was never reprinted and all thirteen issues can be rather difficult to track down.
The self-titled first issue features an amusing error in which the gods of Mount Olympus set Hercules with nine, rather than twelve labors to prove his worth so that he may take his rightful place among them. This mistake was quickly corrected with the second issue. As the series begins, Hercules’ mortal mother Alcmene has died and her son is frustrated he cannot join his divine father on Mount Olympus. Eurystheus decrees the man-god must perform nine labors before he will be recognized by his fellow gods. The first labor he is assigned is to slay the Nemean Lion. There is a nice twist where his fellow Spartans do not believe Hercules’ claims of being the son of Zeus. King Philip of Sparta puts a price on the man-god’s head for deserting the Olympics to go off on his quest.
When Hercules’ arrives in Nemea, he rescues Princess Helen from Argive invaders who sought to hold her hostage to force Alexander the Great to abdicate. Princess Helen falls for Hercules. Despite their rivalry for Helen’s love, Hercules and her betrothed Alexander fight side-by-side during the dual invasion of the Argive and Corinthian armies and force them to retreat. Helen is prepared to leave Alexander for Hercules until she learns the secret of his divine heritage when she witnesses a conversation between him and Zeus. Hercules sends her back to Alexander choosing eternity over mortal love. He battles and defeats the Nemean Lion barehanded and takes to dressing in its skin. He forms a strong bond with Alexander the Great as he prepares to return home to Sparta.
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Friday, June 29, 2012
Blogging Dell Comics’ Hercules and Hercules Unchained
When bodybuilder turned actor Arnold Schwarzenegger brought Robert E. Howard’s Conan the Barbarian to the big screen in a pair of stylish costume dramas in the early 1980s, it ushered in a Sword and Sorcery craze with scores of imitators on the big and small screen eager to recapture the first film’s runaway success. For many, it was as if history was repeating itself for in the 1950s, bodybuilder turned actor Steve Reeves had starred in a pair of Sand and Sandal epics, Hercules and Hercules Unchained that created a similar sensation. The Italian sword and sandal craze (or peplum, to use their proper title) dominated the European box office in the late 1950s until the advent of the so-called Spaghetti western in 1964. The film that started it all was Pietro Francisi’s The Labors of Hercules (1957) which was dubbed in English by Joseph Levine’s fledgling Embassy Pictures and released as Hercules by Warner Bros. in the US in 1958. Its success led to a Dell Comics adaptation by the legendary John Buscema in 1959.
The plot of this first film was a reworking of the Greek myth of Jason and the Golden Fleece with Heracles (going by his Roman name, Hercules) promoted from a supporting player to the lead role. Of course within a few years, Charles Schneer and Ray Harryhausen would cover much of the same territory with Jason and the Argonauts (1963) creating a lasting classic which would quickly supplant the movie that started it all. The latter film’s longevity is largely due to Harryhausen’s superb stop motion effects work which continues to influence film-makers after half a century.
Hercules and its sequel suffer from a low budget and poor dubbing, not necessarily a stumbling block for matinee audiences as Toho’s Godzilla franchise quickly proved, but enough to make the Sand and Sandal pictures fade to near obscurity thanks to the rapidly changing expectations of a more sophisticated audience. Happily, Dell’s comic adaptations are unhindered by such shortcomings and give the reader a sense of how these films must have been perceived by a young and impressionable audience upon their initial theatrical release.
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Thursday, June 21, 2012
Sgt. Janus, Spirit-Breaker Carries on the Tradition
There is a longstanding tradition of occult detectives. Sheridan Le Fanu is generally considered the originator of the sub-genre with his chronicles of Dr. Martin Hesselius. Together with William Hodgson Hope’s Carnacki, Seabury Quinn’s Jules de Grandin, and Manly Wade Wellman’s John Thunstone, Dr. Hesselius’ cases are generally regarded as the finest examples of a continuing occult detective hero in the supernatural realm of mystery fiction.
Willie Meikle, Jim Butcher, and Simon R. Green are among the outstanding contemporary practitioners of the form. Now one may add Jim Beard and his creation of Sgt. Roman Janus to the list of occult detectives whose exploits are worthy of a larger audience. Beard is among the select group whose work is exclusively aimed at the niche market for New Pulp. Sgt. Janus, both as an original creation and as a literary work itself, raises the bar for Beard’s fellow authors to match the same exacting standard achieved here.
Janus, in Roman mythology, is the god of the gateway to the past and the future. So it is with Sgt. Janus, a character who provides the essential link between the astral plane and our own reality. The eight stories in this collection depict the character through the eyes of his clients. The device works brilliantly in giving the reader differing perspectives on the detective and his methods.
Consequently, one wonders why the conceit is not more commonly employed in genre fiction. One suspects that as appreciation of Beard’s talent grows, the device may become more common in certain quarters at least. As a testament to Beard’s plotting and characterization, I was unable to rank the stories in the collection as I found them to be uniformly excellent.
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Thursday, June 14, 2012
Blogging Sax Rohmer’s The Golden Scorpion, Part Four – “The Lair of the Scorpion”
Sax Rohmer’s The Golden Scorpion was first printed in its entirety in The Illustrated London News Christmas Number in December 1918. It was published in book form in the UK the following year by Methuen and in the US in 1920 by McBride & Nast. Rohmer divided the novel into four sections. This week we shall examine the fourth part of the book, “The Lair of the Scorpion” which comprises the final seven chapters.
Rohmer gradually segued from following the model of his first Gaston Max mystery, The Yellow Claw (1915) in the first half of the book to more closely adhering to the blueprint provided by his Fu Manchu thrillers for the second half. Readers familiar with the Devil Doctor could not help to recognize this fact as the final part of the novel opens with Keppel Stuart recovering consciousness as a captive in Fo-Hi’s laboratory. Among the exotic Oriental furnishings are the familiar form of caged lizards and insects. Behind the advanced scientific apparatus stands the figure of the Scorpion himself. Fo-Hi at last takes center stage in the novel and there is no mistaking when he says he has tried to follow in the footsteps of the great scientist who preceded him in serving their organization’s mission in England. His speech and bearing instantly recall Dr. Fu Manchu.
Fo-Hi reveals that Van Rembold, Sir Frank Narcombe, Henrik Ericksen, and Grand Duke Ivan only appeared to have been assassinated. These great men were victims of the cataleptic drug familiar from the Fu Manchu books and have been revived to serve the secret society whose ambitions Fo-Hi now leads in the West. The Scorpion has also reserved a place of honor for Dr. Stuart, if he desires, or else he can submit to persuasion from the Six Gates of Wisdom (another direct reference to the Fu Manchu series) or the Feast of a Thousand Ants. Fo-Hi reveals that the Ericksen Ray is the prize of the inventions he has brought to the Sublime Order with Keppel realizing that this was the disintegration ray that nearly ended his own life. Fo-Hi prepares for their imminent departure for China believing that Scotland Yard will not hinder their passage.
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Thursday, June 7, 2012
Blogging Sax Rohmer’s The Golden Scorpion, Part Three – “At the House of Ah-Fang-Fu”
Sax Rohmer’s The Golden Scorpion was first printed in its entirety in The Illustrated London News Christmas Number in December 1918. It was published in book form in the UK the following year by Methuen and in the US in 1920 by McBride & Nast. Rohmer divided the novel into four sections. This week we shall examine the third part of the book, “At the House of Ah-Fang-Fu” which comprises eight chapters.
The story picks up at Scotland Yard where Gaston Max, Inspector Dunbar, and Dr. Keppel Stuart have gathered in the Assistant Commissioner’s office. Max suggests that the veiled figure known as the Scorpion that Dr. Stuart glimpsed in China five years earlier is likely the same criminal known as the Scorpion currently operating out of Limehouse. The Frenchman also believes that Mademoiselle Dorian aka Zara el-Khala aka Miska is likewise an essential key to unravelling the mystery.
Max suggests a connection exists between Mr. King (from Rohmer’s 1915 novel, The Yellow Claw) and the Scorpion. Specifically, the Frenchman theorizes that the two criminals belong to the same Chinese or Tibetan organization whose tentacles have seemingly enveloped the globe. Having named the secret criminal society in the third and, at the time, final Fu Manchu thriller, The Hand of Fu Manchu published the previous year; Rohmer now desired to link his two Gaston Max Limehouse mysteries to the earlier series’ continuity. This is an interesting change of direction as Rohmer had originally taken great pains to separate the more realistic Yellow Claw from the outlandish mayhem of his Fu Manchu thrillers. This reversal not only signalled the fact that he wasn’t entirely ready to be done with the character, but was seeking creative ways of continuing the series without resorting to a purely formulaic approach.
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Thursday, May 31, 2012
Blogging Sax Rohmer’s The Golden Scorpion, Part Two – “The Statement of M. Gaston Max”
Sax Rohmer’s The Golden Scorpion was first printed in its entirety in The Illustrated London News Christmas Number in December 1918. It was published in book form in the UK the following year by Methuen and in the US in 1920 by McBride & Nast. Rohmer divided the novel into four sections. This week we shall examine the second part of the book, “The Statement of M. Gaston Max” which comprises nine chapters.
Rohmer chose to follow the formula he utilized successfully with The Yellow Claw (1915) by starting the narrative at a crucial early stage before revealing the principal character’s earlier involvement in the plot and then unexpectedly bringing Gaston Max into the proceedings and having him relate, over the course of several chapters, a lengthy background story that helps connect the dots for both reader and protagonist.
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Thursday, May 24, 2012
Blogging Sax Rohmer’s The Golden Scorpion, Part One – “The Cowled Man”
Sax Rohmer’s The Golden Scorpion was first printed in its entirety in The Illustrated London News Christmas Number in December 1918. It was published in book form in the UK the following year by Methuen and in the US in 1920 by McBride & Nast. Rohmer divided the novel into four sections which is how we shall examine the book over the next four weeks. “The Cowled Man” is the title Rohmer selected for the first part of the book and comprises the first eleven chapters.
Despite featuring several characters from Rohmer’s 1915 novel, The Yellow Claw, The Golden Scorpion marked a return to the style and feel of Rohmer’s Fu-Manchu thrillers which had concluded the previous year with the publication of The Si-Fan Mysteries (1917). Rohmer maintained the more realistic Limehouse crime novel approach of The Yellow Claw for his contemporaneous Red Kerry detective series which started with Dope (1919), but chose to fashion The Golden Scorpion from the same Yellow Peril weird menace cloth that made his reputation as an author. The key difference from the Fu-Manchu thrillers is that Rohmer maintains a third person narrative voice (as he had in The Yellow Claw) rather than recreating the frantic paranoia that marked Dr. Petrie’s first person narratives.
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Thursday, May 17, 2012
Blogging Austin Briggs’ Flash Gordon, Part Two – “Freeland”
“Freeland” was the second installment of Austin Briggs’ Flash Gordon daily comic strip serial for King Features Syndicate. Originally published between February 24 and August 21, 1941, “Freeland” was the second story in the daily companion to Alex Raymond’s celebrated Sunday strip. It is the second of two Briggs strips available in a reprint collection from Kitchen Sink Press.
“Freeland” gets underway with the ship bearing our motley crew making its way toward the Promised Land free from Ming. Flash and Dale set out in a rocketship to scout for a safe harbor and encounter a hostile tribe of what appear to be Native Americans. Once more, Austin Briggs demonstrates his version of Mongo is more attuned to contemporary American experience or American history than the prehistoric or Medieval Europe model chosen by Alex Raymond. Briggs may also be borrowing a page from Edgar Rice Burroughs (one of Raymond’s primary inspirations) in transplanting Native Americans to another world.
Having settled in their new home, the crew of the ship Freedom begins exploring the forest and constructing makeshift shelters. While hunting for food, Fierro inadvertently kills one of the natives. Regon, a warrior betrothed to Princess Adora urges the Princess’ father, King Sagam to retaliate. Flash is furious with Fierro because he realizes this has doomed their chance of making peace with the natives.
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Thursday, May 10, 2012
Blogging Austin Briggs’ Flash Gordon, Part One – “Princess Lita”
“Princess Lita” was the first installment of Austin Briggs’ Flash Gordon daily comic strip serial for King Features Syndicate. Originally published between May 27, 1940 and February 22, 1941, “Princess Lita” was the story that launched the daily companion to Alex Raymond’s celebrated Sunday strip. It is one of two Briggs strips available in a reprint collection from Kitchen Sink Press. We shall examine the second strip in next week’s column.
The most rewarding part of delving into Austin Briggs’ first two Flash Gordon storylines has been the discovery that the sloppiness of the first few Austin Briggs’ Sunday strips printed a few years after the daily debuted were likely more the result of the artist being overworked than they were an adequate representation of Briggs’ work on the property. “Princess Lita” shows the artist in full command of the material drawing the characters as well as their creator, albeit without the benefit of the Sunday page to showcase the exotic flora and fauna of Mongo to full advantage. The transition from Sunday continuities to a daily strip is jarring at first and the smoothness of Don Moore’s scripting and Alex Raymond’s plotting is sorely missed, but Briggs does an admirable job of staying true to the source material.
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Thursday, May 3, 2012
Lost Classics of Pulp: Judex
Pioneering silent film director, Louis Feuillade rose to prominence with his stylish 1913 serial, Fantomas which faithfully adapted five of Pierre Souvestre and Marcel Allain’s bestselling pulp thrillers. Feuillade next succeeded in fashioning an enthralling original story based around the Apache street gang which figured prominently in the Fantomas series. Les Vampires are led by the vampish Irma Vep, played by the exotic Musidora (France’s answer to Theda Bara). The 1915 serial was hugely successful and was a highly influential work in its day. Feuillade was tasked with the challenge of trying to follow up these two successes with a third commercial property.
Responding to the criticism that his films glorified crime and violence, Feuillade turned to author and playwright Arthur Bernede for help. Together they crafted a pulp vigilante dressed in a dark cloak with his face partially obscured by a slouch hat. Judex, Latin for “judge,” fought crime with his loyal brother, Roger and a menagerie of amazing beasts and an assortment of colorful companions by his side. These and Judex’s gadget-filled secret lair and private plane had a tremendous influence on the burgeoning pulp fiction market in England and America.
The influence on The Shadow is obvious, but the band of strangely gifted companions likely inspired both Bulldog Drummond and Doc Savage as well. Rene Creste (France’s answer to Rudolph Valentino) essayed the memorable title role in the serial. Irma Vep of Les Vampires is the clear inspiration for Judex’s vampish enemy, Diana Monti and quite likely inspired Bulldog Drummond's vampish enemy, Irma Peterson. Musidora played both Irma Vep and Diana Monti in the Feuillade serials. Miss Monti is the fiancée of Judex’s archenemy, Favraux while Irma Peterson is the wife of Bulldog Drummond’s archenemy, Carl Peterson. As always, half the fun of pulp fiction of the first half of the last century is spotting the influences that thread their way through the narratives.
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Thursday, April 26, 2012
Blogging Sax Rohmer’s The Yellow Claw – Part Four
Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the fourth and final part.
Rohmer really delivers with the final section of the novel with the development of the Eurasian femme fatale, Mahara who was previously referred to only under the mysterious moniker of Our Lady of the Poppies. Mahara becomes a flesh and blood character fiercely jealous to think that her lover, Gianopolis has been thinking of leaving her for another. The object of his affections is Helen Cumberley, Henry Leroux’s neighbor who despises Gianapolis as much as she pines for the unhappy thriller writer. Such a tangled web of unrequited love is uncommon for Rohmer, but it added to the novel’s appeal in its day and is surely one of the reasons that Stoll chose it to be the first of his works to bring to the silver screen.
The narrative then switches to Gaston Max in the observation chamber of the opium den. The famous French detective feigns smoking opium, but only exhales through the pipe. Faking a drug-induced stupor, Max waits while Ho-Pin enters the room to check on him and is then startled to discover that upon his exit, Mahara has entered. Rohmer relished creating memorable femme fatales and Mahara seems to have been his first notable accomplishment with such a character. The Eurasian temptress passionately kisses the supposedly unconscious Max while lying upon him and cooing to him how she is going to enter his dreams. The image of a man forced to feign unconsciousness while a seductive female grinds into him is certainly powerful and far from the norm for fiction in 1915.
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Thursday, April 19, 2012
Blogging Sax Rohmer’s The Yellow Claw – Part Three
Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the third part.
Rohmer shifts the action back to Inspector Dunbar and Gaston Max’s investigation into the murder at the Leroux residence. Despite the press fingering Soames, the Leroux butler, as chief suspect, the detectives are sure that finding Soames will lead them to the mysterious Mr. King, the real culprit. Gaston Max suggests that Mr. King is a Chinaman with the reasoning that since the deceased was an opium addict, the murder is likely tied to Limehouse.
The French detective adopts the false identities of both Abraham Levinsky and Monsieur Gaston of Paris to infiltrate the bohemian circle that frequents the opium den. Max had stumbled onto the trail of Mr. King in Paris where the opium dealer was operating in an apartment next to the historical residence of the late Joseph Balsamo, alias the infamous Count Cagliostro. From here, Rohmer is on familiar territory at last as Max’s description of his raid on the Paris opium den is decidedly more typical of Rohmer’s Fu Manchu thrillers.
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Thursday, April 12, 2012
Blogging Sax Rohmer’s The Yellow Claw – Part Two
Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the second part.
Rohmer shifts gears unexpectedly by focusing Part Two of the novel on Soames, the Leroux butler who skipped out when Inspector Dunbar arrived at his employer’s home to investigate a murder. We learn Luke Soames fled because of his chequered past (he was dismissed by his previous employer for theft) that led him to falling prey to the sinister Mr. Gianapolis who arranged for Soames’ employment in the Leroux household. Soames is aware that Mr. Gianapolis works for a mysterious Mr. King who has some secret connection to Mrs. Leroux, but for awhile Soames is content to question little and perform the few curious extra duties that Gianapolis requests of him.
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