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The Massachusetts Mummy: Universal’s Kharis Mummy Movies

The Massachusetts Mummy: Universal’s Kharis Mummy Movies

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A new Mummy is in theaters this weekend from Universal. How is it? I’m not sure, since as of this writing I haven’t watched it yet, although I’ll attend a screening on the morning this posts. But one of my favorite movie critics, David Ehrlich, said of it: “It’s an irredeemable disaster from start to finish, an adventure that entertains only via glimpses of the adventure it should have been.” You know you’ve got problems when people start talking of their fond memories of the Brendan Fraser Mummy from the Summer of ‘99. (I have a genuine affection for that silly movie. The Jerry Goldsmith score is killer.)

If you want to know more about why plenty of folks who love the classic Universal Monsters are a bit, well, concerned about this new Tom Cruise-starring Mummy and the studio’s plans for an entire “Dark Universe” franchise, our own Sue Granquist has you covered. As for me, I have no plans to write a post about Nu-Mummy. Instead, I’m going to hang out here in the 1940s, maybe work on my victory garden, listen to some 78s of Artie Shaw and the Gramercy Five, purchase War Bonds, and watch a couple of mummy flicks.

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“A World Gone to the Dogs”: City by Clifford D. Simak

“A World Gone to the Dogs”: City by Clifford D. Simak

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These are the stories that the Dogs tell when the fires burn high and the wind is from the north. Then each family circle gathers at the hearthstone and the pups sit silently and listen and when the story’s done they ask many questions:

“What is Man?” they’ll ask.

Or perhaps: “What is a city?”

Or: “What is a war?”

from the Editor’s Preface to City

oie_671529XHRO0a33City (1952), by Clifford D. Simak, unfolds over thousands of years, telling of the end of humanity, the rise of dogs and robots to terrestrial preeminence, and finally, the near abandonment of Earth. It’s a fix-up of nine stories, eight written between 1944 and 1951, and one more, added to later editions, in 1973. It is a book conceived of in anger and despair, yet one that strives to posit a better, more humane world — even if it’s one devoid of humans.

Perhaps because we, by which I mean the post-WW II generations, have grown up aware of the deepest, most evil tendencies of humanity, it’s difficult to appreciate completely the anger and despair over what happened during the 1930s and 40s. Years after its publication, Simak said:

“The series was written in a revulsion against mass killing and as a protest against war.”

That revulsion was so intense that Simak contemplated the extinction of his own species and its replacement by a better one.

I suppose following the First World War, there was some hope that humanity would avoid that sort of mass slaughter again. Instead, it only increased by many magnitudes. In an essay on City, Robert Silverberg wrote that the story “Desertion” was written in 1943 in direct response to reports from Europe about the Holocaust. Simak was a gentle writer, so there is little anger or bitterness in the novel, but he wasn’t prone to sentimentality either. His depiction of humanity’s downfall and supplantation is remorseless.

When Simak collected the stories, he presented them as a tales told by dogs to each other as perhaps no more than legends. For each story, Simak wrote an interstitial explaining what different dog philosophers thought about the veracity of each story, as well as any meaning it might hold for their society.

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Self-published Book Review: Clearwater Dawn by Scott Fitzgerald Gray

Self-published Book Review: Clearwater Dawn by Scott Fitzgerald Gray

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Clearwater Dawn — Ebook CoverI just spent the weekend on a ship, with very limited Internet access, so I’m afraid this month’s review is a bit late. The good news is that there is a self-published book review this month. I’d like to keep the monthly schedule going, so please keep sending me books to review–see the instructions here. 

Clearwater Dawn by Scott Fitzgerald Gray is a love story. It’s about the love between the half-Ilvani orphan Chriani and Lauresa, the daughter of an Ilmar prince and a sorcerous Leisanmira.

Chriani is the apprentice of Lauresa’s warden, Barien. At the age of eighteen, Chriani should have his own commission, but his temper, and Barien’s outsider status at court, have left him an unranked tyro. Despite this, he is very good at his job, aided by the preternatural senses he inherited from his Ilvani father, and the training in moving quietly and picking locks he received from his mother.  On a night of betrayal and death, Barien is murdered, and Prince Chanist marches off to war against the Valnirata Ilvani war clans. Chriani is left behind, unofficial guardian of the princess, sole keeper of Barien’s last words. When Lauresa hears them, and learns that Chriani was unable to share them with the prince before he left, she heads out to make sure her father learns of the betrayal Barien revealed. Chriani catches up with her before she gets far, and accompanies her to find her father, who may know more than they expect.

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Edgar Rice Burroughs’s Pellucidar Saga: Back to the Stone Age

Edgar Rice Burroughs’s Pellucidar Saga: Back to the Stone Age

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back-to-stone-age-first-edition-cover-john-coleman-burroughsI’ve now arrived at that period in the Pellucidar series. The period any Edgar Rice Burroughs series eventually reaches: the late 1930s. I took a break from my Pellucidar retrospective to look at Burroughs’s 1913 horror-adventure novel The Monster Men just to delay taking the next step and driving my snowmobile headfirst into the hard ice of the poorest period of Burroughs’s career. But now I’m here and must accept the facts of the late ‘30s and an author trudging through his weakest creative years. Maybe it won’t be so bad. Perhaps I’ll discover a few pleasures in the last three Pellucidar books.

Anyway, enough procrastination. I’m getting on the snowmobile.

Our Saga: Beneath our feet lies a realm beyond the most vivid daydreams of the fantastic … Pellucidar. A subterranean world formed along the concave curve inside the earth’s crust, surrounding an eternally stationary sun that eliminates the concept of time. A land of savage humanoids, fierce beasts, and reptilian overlords, Pellucidar is the weird stage for adventurers from the topside layer — including a certain Lord Greystoke. The series consists of six novels, one which crosses over with the Tarzan series, plus a volume of linked novellas, published between 1914 and 1963.

Today’s Installment: Back to the Stone Age (1937)

Previous Installments: At the Earth’s Core (1914), Pellucidar (1915), Tanar of Pellucidar (1929), Tarzan at the Earth’s Core (1929–30)

The Backstory

The ending of Tarzan at the Earth’s Core set the scene for a direct follow-up. Wilhelm von Horst, one of the German members of the O-220 expedition to Pellucidar to rescue David Innes, was still stranded somewhere in the inner world, and Jason Gridley chose to remain in Pellucidar to locate him. But other projects and business concerns prevented Burroughs from moving fast into writing this proposed sequel. He wouldn’t start work on the new Pellucidar novel until January 1935, writing it under the working title Back to the Stone Age: A Romance of the Inner World. It took him eight months to finish the 80,000-word novel, an unusually protracted length for him. And that was only the beginning of the difficulties.

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In 500 Words or Less … Never Now Always by Desirina Boskovich

In 500 Words or Less … Never Now Always by Desirina Boskovich

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oie_21364ndRY5yGNever Now Always
By Desirina Boskovich
Broken Eye Books (88 pages, $9.99 paperback, June 2017)

A while back I had an idea for a short story about people caught up in a massive alien invasion, where humanity is rounded up and imprisoned in gray, windowless compounds while their captors run nefarious experiments, all of which is part of some mysterious, overarching plot a la Lost and the like. Then I told myself something like that has been done so many times that it wasn’t worth bothering, and I tucked the idea away on a mental shelf and haven’t looked at it since.

I bring this up because the novella Never Now Always by Desirina Boskovich takes that core premise of people imprisoned and experimented on by mysterious overlords and spins it so effectively, adding layers of dark surrealism and uncertainty to create a deeply compelling story. Never Now Always has a War of the Worlds/The Fifth Wave vibe with a literary style, propelled by the fact that the story’s three protagonists (and practically the only characters focused on) are constantly having their memories stolen and/or modified, stripping away most of their identity by removing the thing that makes each of us distinct. Main character Lolo knows that she has to find her sister, Tess, but everything else is an uncertain blur, to the point that she doesn’t even know the words for things. Boskovich weaves those language gaps into the narrative with a subtlety that is also easy to read and follow – something that a lot of surrealist and literary fiction doesn’t pull off.

There are cycles repeated here, as Lolo and the others try to find and support each other and ultimately escape, but the ongoing layers of mystery means that there is never a moment without intrigue. Is their bizarre prison on Earth, or somewhere else? Are Lolo and the others children, or adults who have lost their semantic and episodic memories – or something else? Are the Caretakers around them seeking to experiment, indoctrinate, or possibly protect these humans from self-inflicted harm?

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Rebellion Worlds, Rocklike Aliens, and Cubes from Space: Rich Horton on The Rebellious Stars by Isaac Asimov & An Earth Gone Mad by Roger Dee

Rebellion Worlds, Rocklike Aliens, and Cubes from Space: Rich Horton on The Rebellious Stars by Isaac Asimov & An Earth Gone Mad by Roger Dee

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The Rebellious Stars Isaac Asimov-small An Earth Gone Mad Roger Dee-small

Rich Horton continues his tireless exploration of the Ace Doubles, this time looking at a 1954 pairing of Isaac Asimov’s second novel The Stars, Like Stars (re-titled here The Rebellious Stars), and the only SF novel by Roger Dee, An Earth Gone Mad. Here’s Rich.

The Rebellious Stars is better known as Tyrann, under which title it appeared as a Galaxy serial in 1951. (OK, it’s even BETTER known as The Stars, Like Dust…) In this edition it is about 67,000 words long, and the book is labeled “Complete and Unabridged,” so as far as I know it’s the same as the standard edition….

I was perhaps only 12 when I read The Stars, Like Dust. I’ve always remembered it, if only dimly, with pleasure… The story opens as Biron Farrill, the heir of the Rancher of Widemos on the planet Nephelos, is about to graduate from his university studies on Earth. He is wakened one night by a ticking which he soon determines is a bomb — an assassination attempt. Soon Sander Jonti, a friend of his from the university reveals that his father has been arrested by the Tyranni, the harsh ruling class that controls some 50 planets near the Horsehead Nebula, including Nephelos. It seems Biron’s father was involved in a resistance movement, and Jonti is as well. Jonti convinces Biron that his life is in immediate danger… The plot takes several twists from that point — it is all rather intricately designed — before reaching a somewhat surprising (though dare I say rather guessable) conclusion… while the plot is perhaps overcomplicated, and depends quite a lot on people acting in extremely convoluted ways, it is worked out somewhat satisfactorily in the puzzle-unraveling sense.

Matthew Wuertz reviewed the novel for us in its original Galaxy incarnation from 1951, and noted the similarities to a certain multi-billion dollar SF property.

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In Defense of an Abominable Personage: Perfume: The Story of a Murderer by Patrick Suskind

In Defense of an Abominable Personage: Perfume: The Story of a Murderer by Patrick Suskind

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Perfume: The Story of a Murderer (Constantin Film, 2006)

When someone tells you to pick a favorite book, and you’re the type of person who reads with a gnawing ache for a good story, selecting just one can prove daunting. Not so for yours truly.

One day my mom, out of the profound goodness of her heart, surprised me with a spontaneous visit to Half Price Books. There she gave me the gift of Perfume: the Story of a Murderer by Patrick Suskind. I fell in love with it the way you fall for the love of your life; a part of me that had hitherto hidden from my reach sewed itself into the fabric of my heart.

I wasn’t accustomed to reading books in which the implied Devil’s spawn lures you through the pages. Jean-Baptiste Grenouille, the anchor of the novel, has the misfortune of assuming this role due to his absence of a human scent. He thus embarks on a treacherously erotic quest for the perfect odor that can disguise him as an ordinary person.

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Stories from a S&S Griot: Nyumbani Tales by Charles R. Saunders

Stories from a S&S Griot: Nyumbani Tales by Charles R. Saunders

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“I am going to tell a story,” the griot says.
“Ya-ngani!” the crowd responds, meaning “Right!”
“It may be a lie.”
“Ya-ngani.”
“But not everything in it is false.”
“Ya-ngani.”
The griot begins his tale.

                                       from “Amma” by Charles R. Saunders

oie_2919383060rtzPRDFor those unfortunates unacquainted with Charles R. Saunders and the tales he’s woven, you can read plenty about them here at Black Gate. Suffice it to say he is called the father of sword & soul. Starting in the 1970s, he took the elements of swords & sorcery — mighty heroes, beautiful women, monsters, deadly magic, and more monsters — and turned them to his own purpose.

A fan of sci fi and fantasy growing up in the 1950s and 60s, by the time he graduated college in 1968, he was frustrated with a lot of what he was reading. As he recounted in an interview with Amy Harlib in The Zone:

I began to realise that in the SF and fantasy genre, blacks were, with only few exceptions, either left out or depicted in racist and stereotypic ways. I had a choice: I could either stop reading SF and fantasy, or try to do something about my dissatisfaction with it by writing my own stories and trying to get them published. I chose the latter course.

It was to the great benefit of heroic fantasy that Saunders made the choice he did. In addition to helping expand the horizons of the genre beyond the European settings that dominated it back then, he also created two monumental characters.

Imaro is the outcast warrior who eventually finds his destiny as champion against the forces of evil. Dossouye is an exiled warrior-woman from the kingdom of Abomey. The stories and novels featuring Imaro and Dossouye belong on the shelves of any S&S fan. If you haven’t read them yet, I suggest you snag copies of Imaro: Book I and Dossouye, clear off whatever else you’re reading, and get started.

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The Return of a Classic Fantasy Hero: A Review of T.C. Rypel’s Dark Ventures

The Return of a Classic Fantasy Hero: A Review of T.C. Rypel’s Dark Ventures

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Dark Ventures by T.C. Rypel
Wildside Press (212 pages, $14.99 in paperback/$4,99 digital, March 16, 2017)
Original cover painting by film director Larry Blamire (The Lost Skeleton of Cadavra)

Back in the 1970s and 1980s, many authors were churning out their own versions of big, iron-muscled barbarian heroes like Conan of Cimmeria. There were exceptions, of course, like Michael Moorcock, Fritz Leiber, and Jack Vance, to name three authors I’ve always favored. But then along came T.C. Rypel, who hit the ground running with something different, something uniquely his own… his character of Sabatake Gonji-no-Sadowara, the half Scandinavian and half Japanese samurai.

Gonji was truly a breath of fresh air in the genre of Sword and Sorcery, although I think Rypel’s novel are much more epic and actually closer to Heroic Fantasy in scope and theme. His setting wasn’t some imaginary world filled with ancient gods, powerful warlocks and fanciful kingdoms, but was instead deeply rooted in and around Romania and the Carpathian Mountains of the 16th century. Perhaps a parallel world, but close enough to the Europe of that era to lend it a flavor of historical reality. Besides the non-barbaric character of Gonji, who was introspective, poetic, and humble, as well as a total bad ass with a sly sense of humor, what also set Rypel’s novels apart from so many others was the fact that he worked gunpowder and firearms into his stories, right along with the sorcery and creatures and other elements of the fantastic. And like Robert E Howard’s Solomon Kane before him, Rypel made it all work, too.

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Peplum Populist: Maciste in Hell (The Witch’s Curse)

Peplum Populist: Maciste in Hell (The Witch’s Curse)

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maciste-in-hell-Italian-movie-poster-1962Among the canon of Italian peplum (sword-and-sandal) films made from 1958 to 1965, there are three special horror-fantasia entries. I’ve already written about Mario Bava’s classic Hercules in the Haunted World (1961). In the future I’ll look at the same year’s Goliath and the Vampires, which was co-directed by famed Italian Western director Sergio Corbucci, the man who helmed the original Django (1966).

Today I’m spending my peplum-time with the third dark fantasy, Maciste in Hell (1962), yet another movie featuring Italian homegrown hero Maciste. (Oh, wait. Goliath and the Vampires is also a Maciste film. Damn these U.S. title changes!) Although Maciste in Hell isn’t as fantastic as Hercules in the Haunted World — it’s hard to best Mario Bava when it comes to doing weird horror on the cheap — it’s on the top of the pile as far a sword-and-sandal movies go. And its Amazon VOD presentation is relatively high quality. The picture has the vertical squeeze problem of Perseus the Invincible, but at least you have the entire image and a decent print.

The idea of Maciste journeying to the underworld like Dante or Aeneas wasn’t new: Maciste in Hell (Maciste all’inferno) is also the title of one of the silent Maciste films that were hits in Italy in the 1910s and ‘20s. The two movies don’t have any story connection aside from the hero in an infernal setting, and the silent Maciste is a different character and phenomenon from the 1960s version. But Maciste in Hell ‘62 is also different from other peplum films of its time, and not just in its overt supernatural horror elements. Where Maciste’s standard stomping grounds are the ancient/mythic Mediterranean, here he pops up in seventeenth-century Scotland. Maciste has a reputation for shifting about in time and place: I dealt with him in prehistory in Colossus of the Stone Age, and recently watched him battle Mongols in China in Maciste at the Court of the Great Khan (retitled Samson and the 7 Miracles of the World in the U.S.). Even so, Scotland in the Early Modern Era is pushing against the sword-and-sandal barriers.

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