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Author: William Patrick Maynard

Husband and Father. Authorized by Sax Rohmer's Literary Estate to continue the Fu Manchu thrillers. THE TERROR OF FU MANCHU was published by Black Coat Press in April 2009. THE DESTINY OF FU MANCHU followed in 2012. Contributed short stories to numerous anthologies including GASLIGHT GROTESQUE (EDGE Publishing, 2009), TALES OF THE SHADOWMEN: GRAND GUIGNOL (Black Coat Press, 2009), THE RUBY FILES (Airship 27, 2012), FURTHER ENCOUNTERS OF SHERLOCK HOLMES (Titan Books, 2014), THE MX BOOK OF NEW SHERLOCK HOLMES STORIES (MX Books, 2015), TOWERS OF METROPOLIS (Airship 27, 2016), and THE MX BOOK OF SHERLOCK HOLMES CHRISTMAS ADVENTURES (MX Books, 2016).
Fu Manchu in Comics

Fu Manchu in Comics

drfumanchu_wallywood2From his first appearance in print in the pages of The Story-Teller in October 1912, Sax Rohmer’s criminal mastermind, Dr. Fu Manchu took the world by storm. While Rohmer would complete three novels featuring the character between 1912 and 1917, the Devil Doctor would extend his domain to include film and comics in the fourteen years before Rohmer bowed to commercial demand and revived the series.

Leo O’Mealia was responsible for adapting Rohmer’s three original novels into a daily newspaper strip, Fu Manchu from 1930 to 1931 while Warner Oland was occupied starring as the character in three feature films and a short for Paramount. Oland, incidentally, was the second screen Fu Manchu following Harry Agar Lyons in the 1920’s.

The comic strips were later colored and edited as a back-up feature in the pages of Detective Comics which top-lined a new comic character in the pulp tradition known as The Batman.

Despite the fact that Rohmer went to great pains to make it clear that the Devil Doctor was clean-shaven, the very first magazine illustrators to tackle the character were responsible for grafting upon his terrifying visage the stereotypical Chinese moustache known today as a Fu Manchu.

O’Mealia presented Fu Manchu devoid of facial hair in his daily strip, but in place of Rohmer’s famous description of “a brow like Shakespeare and a face like Satan,” the artist depicted a repulsive hunchbacked gargoyle.

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Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Eleven – “The Knocking on the Door”

Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Eleven – “The Knocking on the Door”

fu_manchu_image“The Knocking on the Door” was the tenth and final installment of Sax Rohmer’s serial, Fu-Manchu.

By the time it was published in The Story-Teller in July 1913, it had already appeared a few weeks earlier in book form as Chapters 27-30 of Rohmer’s first novel, The Mystery of Dr. Fu-Manchu (re-titled The Insidious Dr. Fu-Manchu for its subsequent U. S. publication).

“The Knocking on the Door” starts off with Dr. Petrie and Nayland Smith grieving the terrible loss of Inspector Weymouth.

There is little comfort in Weymouth dying a hero, despite his having taken Dr. Fu-Manchu with him to a watery grave.

The Inspector was denied his dignity during his supreme act of self-sacrifice, for he died a victim of Dr. Fu-Manchu’s madness-inducing bacilli.

In his anguish, Nayland Smith gives vent to one of his most hateful pronouncements, “Pray God the river has that yellow Satan….I would sacrifice a year of my life to see his rat’s body on the end of a grapping iron!”

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Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Ten – “The Spores of Death”

Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Ten – “The Spores of Death”

mystryfu1“The Spores of Death” was the penultimate installment of Sax Rohmer’s serial, Fu-Manchu.

First published in The Story-Teller in June 1913, it later comprised Chapters 24-26 of the novel, The Mystery of Dr. Fu-Manchu (re-titled The Insidious Dr. Fu-Manchu for U. S. publication).

The story starts off appropriately with our narrator, Dr. Petrie, acknowledging the storyline is drawing to a close and apologizing (very nearly breaking the literary equivalent of the Fourth Wall in so doing) for his haste in not better detailing characters and incidents as he was forced to maintain the breakneck pace of the events as they transpired.

Dr. Petrie then spends some much welcome time discussing the mysterious origins of Dr. Fu-Manchu. Petrie suggests the name (ridiculous to modern, informed readers) is an assumed one and disassociates him with the Young China movement (the Republicans who came to power after the fall of the Manchu Dynasty) as he had speculated early on.

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Dracula: From Script to Screen

Dracula: From Script to Screen

dracula_1931aDracula by Bram Stoker frequently vies with The Maltese Falcon by Dashiell Hammett as my favorite book.

Both stories are archetypes of their genres and despite endless imitations, almost every attempt to emulate the originals falls wide of the margin.

The current vogue for Twilight and its many imitations may be the worst misinterpretation of Stoker’s classic yet, despite its enviable success among pre-pubescent girls (and their emotional equals). The ignorance of most Twilight fans as to how their heroine earned her first name led me to revisit the seminal Universal Horror, Tod Browning’s Dracula (1931) starring Bela Lugosi in an iconic performance that did much to secure Stoker’s novel its hard-won place of acceptance as a literary classic.

The resulting film owed much to the stage plays which took the West End and Broadway by storm during the Roaring Twenties.

Film historian David Skal has gifted the world with several excellent books and DVD bonus features and commentaries chronicling this once untapped goldmine’s transition from page to stage to screen.

Film buff Philip J. Riley has done one better (actually twice better) by sharing with film lovers not one, but two volumes collecting the various story treatments and screenplay drafts that were languishing in Universal’s files for decades.

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