Lost in the Borderlands: William Hope Hodgson

This silence, when I grew fully aware of it was the more uncanny; for my memory told me that never before had I come upon a country which contained so much quietness. Nothing moved across my vision—not even a lone bird soared up against the dull sky; and, for my hearing, not so much as the cry of a sea-bird came to me—no! nor the croak of a frog, nor the plash of a fish. It was as though we had come upon the Country of Silence, which some have called the Land of Lonesomeness.
 - William Hope Hodgson, The Boats of the Glen Carrig

It is 100 years - more or less - to the day since William Hope Hodgson left this earthly plane of existence. With his passing in the monstrous horror that was the Great War, he left behind a rich library of supernatural fiction. I leave it to the Hodgson experts over at the William Hope Hodgson site for a truly fitting tribute, but I thought I'd put my own tuppence ha'penny worth too.

There are three great cycles in Hodgson's fiction, which I'll have the merest glance towards on this important occasion. Hodgson himself considered that his first three novels to be published - The Boats of the 'Glen Carrig,' The House on the Borderland, and The Ghost Pirates - form a "thematic trilogy," but I'd reckon given the multidimensional nature of his work, there's surely provision for a Hodgkins Multiverse that surrounds and penetrates; binds his work together like the tendrils of some dreadful unknown horror beyond the ken of humanity.

Narrative Rebellion: Dark Universe - The Mummy

You know, I think Universal are doing this whole Universal Monsters Shared Universe Reboot backwards: we're thinking of the classical Universal monsters (Frankenstein's Monster, Dracula, the Mummy, the Wolfman, Gillman), when there are a wealth of characters in classic Universal films that could be introduced too.

My thinking is that everyone is perfectly familiar with the major characters and the original stories, and we've seen them fighting each other all the time. So, rather than build up to something we've already scene dozens of times, why not start with that, and build up to something else? I keep going back to Kong: Skull Island's wonderfully cosmically-horrific quote:

You heard of the U.S.S. Lautmann? Neither did the public. Out of a thousand young men on that ship I was the only survivor. They told my family she was sunk in battle but I know what I saw. It had no conscience. No reasoning. Just destroy. I spent the last 30 year trying to prove the truth of what I learned that day. This planet doesn't belong to us. Ancient species owned this Earth long before mankind, and if we keep our heads buried in the sand they will take it back.
 - Bill Randa, Kong: Skull Island

Howard fans may find that quote tantalisingly familiar:

A Key! Aye, it is a Key, symbol of a forgotten horror. That horror has faded into the limbo from which it crawled, loathsomely, in the black dawn of the earth. But what of the other fiendish possibilities hinted at by Von Junzt--what of the monstrous hand which strangled out his life? Since reading what Selim Bahadur wrote, I can no longer doubt anything in the Black Book. Man was not always master of the earth - and is he now?

And the thought recurs to me - if such a monstrous entity as the Master of the Monolith somehow survived its own unspeakably distant epoch so long - what nameless shapes may even now lurk in the dark places of the world?
 - The Narrator, "The Black Stone," Robert E. Howard

And on the concept of a Universe of Monsters? Well, there's another Howard quote that comes to mind:

“Through the dim corridors of memory those words lurk... For that phrase has come secretly down the grim and bloody eons, since when, uncounted centuries ago, those words were watch-words for the race of men who battled with the grisly beings of the Elder Universe...”

... for an instant he seemed to gaze back through the vastness that spanned life and life; seeing through the vague and ghostly fogs dim shapes reliving dead centuries — men in combat with hideous monsters, vanquishing a planet of frightful terrors. Against a gray, ever-shifting background moved strange nightmare forms, fantasies of lunacy and fear; and man, the jest of the gods, the blind, wisdom-less striver from dust to dust, following the long bloody trail of his destiny, knowing not why, bestial, blundering, like a great murderous child, yet feeling somewhere a spark of divine fire... 

“They are gone,” said Brule, as if scanning his secret mind; “the bird-women, the harpies, the bat-men, the flying fiends, the wolf-people, the demons, the goblins — all save such as this being that lies at our feet, and a few of the wolf-men. Long and terrible was the war, lasting through the bloody centuries, since first the first men, risen from the mire of apedom, turned upon those who then ruled the world.”

“And at last mankind conquered, so long ago that naught but dim legends come to us through the ages. The snake-people were the last to go, yet at last men conquered even them and drove them forth into the waste lands of the world, there to mate with true snakes until some day, say the sages, the horrid breed shall vanish utterly. Yet the Things returned in crafty guise as men grew soft and degenerate, forgetting ancient wars. Ah, that was a grim and secret war! Among the men of the Younger Earth stole the frightful monsters of the Elder Planet, safeguarded by their horrid wisdom and mysticisms, taking all forms and shapes, doing deeds of horror secretly. No man knew who was true man and who false. No man could trust any man. Yet by means of their own craft they formed ways by which the false might be known from the true... So mankind triumphed. Yet again the fiends came after the years of forgetfulness had gone by — for man is still an ape in that he forgets what is not ever before his eyes...
 - Robert E. Howard, "The Shadow Kingdom"

Now, I am by no means an expert on the Universal Monsters canon: I have watched many of them and enjoyed them a great deal, but I hope folk will forgive me for not having the exhaustive knowledge of this wide subject such a project really deserves. Nonetheless, inspired by my fellow Brad Ellison, I knew I had to write something. So, for the purposes of fun, I had some musings over what I would do were I the creative director of a prospective Dark Universe, taking elements from Robert E. Howard, Arthur Conan Doyle, and other classic adventure authors...

Requiescat in Pace Christopher Lee, Master of the Fantastique

I don't want to sound gloomy, but, at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again.
 - Christopher Lee on the death of his friend Peter Cushing

I never met Mr Lee, but I think all of us who were touched by his performances will feel a little share of that same sadness. I can't really think of much to say about him that I suspect will be said by many over the coming days. Christopher Lee was an actor who enriched every production he graced with his presence. He never phoned it in. He never treated his roles with anything but commitment, dignity and respect, whether it was a Hollywood blockbuster, an intimate character drama, a lurid Hammer horror, or a screwball comedy. Like his friend and co-stars Peter Cushing and Vincent Price, he made every film he starred in better just by being there - because you knew while watching them that they cared about what they were doing. It was never a paycheck, never something to do for their CV, never anything other than the craft.

Dracula. Frankenstein's monster. Kharis. Dr Jekyll & Mr Hyde. Lord Summerisle. Scaramanga. Nicholas, Duc de Richleau. Henry Baskerville. Jinnah. Captain Robeles. Mycroft Holmes. Blind Pewe. Rasputin. Marquis St Evrémonde. Saruman. Lucifer. Fu Manchu. Dr Catheter. It's difficult to think of a film he starred in where he wasn't one of the best parts.

Christopher Lee was an actor who was very good at what he did, and loved what he did very much. For a man who is immortalised largely by his monstrous villains and foreboding menace, the world is a little darker in his passing.

Part of me wants to joke - only half-joke - that he isn't really dead: either that he has finally self-actualised and become undead, or that rumours of his death were greatly exaggerated - the man served in the secret service, after all. But with over two hundred and eighty films to his name, Christopher Lee will be with us all in some way as long as the medium exists. Whether his shade's in the next world or not, the shadow he cast on the silver screen will last forever.

Dark Ideas

"Daddy, I had a bad dream."
You blink your eyes and pull up on your elbows. Your clock glows red in the darkness—it's 3:23.
"Do you want to climb into bed and tell me about it?"
"No, Daddy."
The oddness of the situation wakes you up more fully. You can barely make out your daughter's pale form in the darkness of your room. "Why not, sweetie?"
"Because in my dream, when I told you about the dream, the thing wearing Mommy's skin sat up."
For a moment, you feel paralysed; you can't take your eyes off of your daughter. Then the covers behind you begin to shift…
- Bad Dream

There seems to be a subtle difference between terror and horror.  There are lots of horror stories, films, games and comics out there, rightly considered to be finely-tuned and crafted pieces of work.  But I can deal with horror.  The concept of werewolves, vampires, zombies, and the like can provide certain amounts of scares, for sure.  I loved the horror tales of Poe, Lovecraft, Machen, and the films of Carpenter, Dante, Miller and more.  But they don't always stay with me in quite the way others do.

Dammit, They Stole My Idea: Rare Exports and Christmas Tales of Terror

In the depths of Lapland's Korvatunturi Mountains, 486 metres deep, lies the closest guarded secret of Christmas. The time has come to dig it up...

So goes the synopsis of the Finnish film Rare Exports, a tale of terror of that time-honoured Christmas tradition of turning Santa Claus into a figure of terror.  In theory, it isn't hard to imagine why: a great bearded man who can travel to every household on the planet in a single night, commander of hordes of elves who do his bidding, someone who somehow knows every human child's behavioural patterns... Yeah, it doesn't take much to turn that into a psychological chiller.



Alright, in fairness, the idea of doing a darker tale around the sinister early legends of Santa Claus is probably one many people have had before.  Darker fairy tales are not new: indeed, fairy tales were dark from the beginning.  The idea of twee, safe, happy fairy tales is a recent and short-lived phenomenon.  That's why I have to laugh at all those authors and directors who give the pretense of making "new and imaginative takes on cosy fairytales," especially when they pale in comparison to the Stygian horrors of the timeless folk traditions.  Even the Brothers Grimm and Hans Christian Andersen.

Still, from what I can see from the trailer and elsewhere, Rare Exports seems to rely on the concept of Santa as a not-quite-human, possibly supernatural demon from the dark past of European folklore.  In other words, the Joulupukki taken to its logical conclusion.  I can't discern more than that, and since the film seems to be a Raimi-esque comedy-horror, it might not even try to explain it further than "Santa's a lot darker than you Coca-Cola drinkers thought."

Me, I was instantly reminded of the many "Little People" works inspired by Arthur Machen, particularly Howard's "The Little People."  I'd often wondered about applying such ideas not just to fairies and elves, but to other traditions like Santa Claus.  As I think you could expect, their history stretches all the way back to the Hyborian Age.  I'll get into more detail as a sort of "Christmas post," but let's just say Walking In The Air, With Burning Feet of Fire isn't the only tale of terror that can be spun from the white whiskers of Father Christmas...

Michael J. Bassett, Silent Hill, and Robert E. Howard

I've been quite critical of Michael Bassett's Solomon Kane in many regards. I even nominated him for the de Campista awards, which, in retrospect, I don't think was entirely deserved. Not because the changes he made to Kane's origin were any less objectionable, but because he did such a damn good job of praising Howard, without qualifiers or nonsense. His weird ideas on Solomon Kane's origins are an honest, artistic derivation, not one dictated by focus groups or trying to fit in with other stories he wrote. I'm not going to defend Solomon Kane as a Howard adaptation (which it isn't in the first place), but I know Bassett's heart was in the right place.

Anyway, Solomon Kane still hasn't hit North American theatres for reasons unimaginable, but Bassett's next adventure has been announced at Bleeding Cool - Bassett's writing and directing Silent Hill: Revelations, the sequel to the not-great-not-terrible Silent Hill.

Keeping up with the Grinses

I miss Leo quite a bit.  I remember clicking on The Cimmerian, eager to read his latest news from the world of Howardom, or Tolkienalia, or Dunsanya.  I've been reading his essays in The Cimmerian journal, and I'm really rather saddened that he hasn't been around for such a while.

Luckily, though, Leo hasn't completely skipped planets, as he can be found at Big Hollywood.  Leo never made the connection between his work at TC with his work at BH, and for good reason: Big Hollywood is a site for conservative movie lovers.  Given how powerfully divisive politics can be in America - as circumstantially portrayed at TC itself, where John J. Miller, a writer and Howard fan who just happened to be a proud conservative, had his books "one-star bombed" at Amazon.com for the simple reason that his politics are not the same as another group's politics - this was unquestionably a choice for the better.  I would've hated for TC to be the recipient of such childish, petty antics, regardless of what I think of an author's political stance.

But this blog isn't TC, and I since I'm not an American, my opinions on the American political spectrum hopefully won't attract too much attention.  Not that I'm going to comment on them, of course: this blog is a politics-free zone.  There are enough things to disagree about within the realms of fiction without hauling deeply-set fundamental beliefs into it.

Anyway, reading up on Big Hollywood has allowed me a way of keeping up with Leo, and reminding me that he hasn't stalked off into the wilderness to hunt and forage.  So I come to my latest linkage and thinkage, as Leo discusses something that had been bothering me for a while: the treatment of vampires and other supernatural horrors linked with Christianity in cinema and television in recent years.