Black Gate

Joseph Payne Brennan isn’t discussed much these days. He died over twenty years ago, in 1990, the same year his last book was released, The Adventures of Lucius Leffing, the fourth volume featuring his Carnacki-like occult detective.

Brennan wrote only two novels. But he is mostly remembered for his classic horror stories, published in Weird Tales, Whispers, Alfred Hitchcock’s Mystery Magazine, and over 200 horror anthologies. His most famous story, “Slime,” featuring a sinister new form of protoplasmic life which emerges from the ocean, was originally published in the March 1953 issue of Weird Tales and has been reprinted more than fifty times. It has influenced countless horror stories ever since, from the Steve McQueen film The Blob (which Brennan successfully sued for copyright infringement) to Stephen King’s famous short story, “The Raft,” which also features a horrific killer protoplasm in a lake.

Brennan’s imagination wasn’t limited to primordial monsters, however. One of his most acclaimed short stories, “Canavan’s Back Yard,” imagines an overgrown lot so twisted and mazelike that most who venture into it never return.

Brennan isn’t someone I discovered in the magazines. In fact, up until this week, I was pretty sure I’d never read anything by him at all. He’s been mentioned a few times here on the Black Gate blog, most recently in Douglas Draa’s review of Hauntings: Tales of the Supernatural, and in the discussion surrounding Robert E. Howard’s The People of the Black Circle.

But I’d been curious about his 1980 paperback collection, The Shapes of Midnight, containing both “Slime” and “Canavan’s Back Yard,” and my interest was heightened by the comments Doug Draa made on my People of the Black Circle article. So I became determined to get a copy, and in June I finally succeeded.

It’s a slender volume, just 176 pages, containing a dozen stories. The enthusiastic introduction is by a young horror writer who burst on the scene just six years earlier, with a successful horror novel titled Carrie. Here’s what Stephen King had to say about Joseph Payne Brennan, taken from his introduction to The Shapes of Midnight.

…

Read More Read More

Jack Williamson is a true legend among science fiction fans.

My favorite story about Jack Williamson concerns his first published story, “The Metal Man,” published in the December 1928 issue of Amazing Stories, when he was just 20 years old. The editor, Hugo Gernsback, was notoriously slow in paying his authors… so slow, in fact, that Williamson discovered he had broken into the magazine when he first laid eyes on the issue in a magazine rack and recognized his hero on the cover.

Williamson was one of the earliest pulp writers and he had an impressive career right through the 30s. He survived the coming of Campbell and continued writing into the 40s, 50s, and much later.

Which brings me to my second favorite Jack Williamson story. In the late 90s, Williamson was still regularly publishing short stories in major magazines, including “The Firefly Tree” (Science Fiction Age, 1997), “The Hole in the World” (F&SF, 1997), and “Miss Million” (Amazing Stories, 1999). A buzz began to go around fandom that if Williamson appeared in the magazines in the year 2000, that would mean he had been published in professional SF magazines for eight straight decades — a feat unequaled and very likely to remain unequaled for a long time.

Fandom held its breath. Jack Williamson turned 92 years old in the year 2000. And he published no less than three short stories that year: “Agents of the Moon” (Science Fiction Age), “Eden Star” (Star Colonies, edited by Martin H. Greenberg), and finally “The Ultimate Earth” (Analog).

“The Ultimate Earth” was nominated — and won — the Hugo Award for best novella of the year. It also won the Nebula.

As for Williamson, he kept publishing stories. Two in 2001, three in 2002, one in 2003, and an incredible seven in 2004 (including a collaboration with Edmond Hamilton – don’t ask how that happened).

…

Read More Read More