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Cleve Cartmill, The Devil’s in the Details

Cleve Cartmill, The Devil’s in the Details


Astounding Science Fiction, March 1944, containing “Deadline” by Cleve Cartmill. Cover by William Timmins

Pulp writer Cleve Cartmill (1908 – 1964) is probably best known for writing the story that prompted an FBI visit to John W. Campbell’s office at Astounding. The story in question, “Deadline” (March, 1944), featured a bomb eerily similar to the one being developed by the Manhattan Project at the time. As an educated science fiction audience, Black Gate readers probably do not need that old story re-hashed. Instead, I’ll tell you about three of Cartmill’s fantasy stories published in Unknown, all of which are interesting and worth reading.

Historically, Cartmill is considered a competent but undistinguished pulp writer. In A Requiem for Astounding, Alva Rogers writes — “Cartmill wrote with an easy and colloquial fluidity that made his stories eminently readable.” I agree. But I also think there’s more to him than that. In the three pulp fantasy stories I’ll be reviewing here — “Bit of Tapestry” (1941), “Wheesht!” (1943), and “Hell Hath Fury” (1943) — Cartmill examines some deeper themes including free will and what makes us human. Although he doesn’t always follow through on these ideas, you are asked to think about them.

As a heads up, there will be heavy spoilers in this article.

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A Philosophical Policeman: The Man Who Was Thursday: A Nightmare by G.K. Chesterton

A Philosophical Policeman: The Man Who Was Thursday: A Nightmare by G.K. Chesterton

Gabriel Syme was not merely a detective who pretended to be a poet; he was really a poet who had become a detective. Nor was his hatred of anarchy hypocritical. He was one of those who are driven early in life into too conservative an attitude by the bewildering folly of most revolutionists. He had not attained it by any tame tradition. His respectability was spontaneous and sudden, a rebellion against rebellion. He came of a family of cranks, in which all the oldest people had all the newest notions. One of his uncles always walked about without a hat, and another had made an unsuccessful attempt to walk about with a hat and nothing else. His father cultivated art and self-realisation; his mother went in for simplicity and hygiene. Hence the child, during his tenderer years, was wholly unacquainted with any drink between the extremes of absinth and cocoa, of both of which he had a healthy dislike. The more his mother preached a more than Puritan abstinence the more did his father expand into a more than pagan latitude; and by the time the former had come to enforcing vegetarianism, the latter had pretty well reached the point of defending cannibalism.

Being surrounded with every conceivable kind of revolt from infancy, Gabriel had to revolt into something, so he revolted into the only thing left—sanity.

The Man Who Was Thursday: A Nightmare (1908), by G.K. (Gilbert Keith) Chesterton, is a wondrous amalgam of thriller, mystery, boys’ adventure, and Christian allegory wrapped in a ripped-from-the-headlines tale of a cabal of anarchists plotting to blow things up. Gabriel Syme is a poet who fears the world is destined for destruction under a wave of moral relativism and nihilism. He is recruited to a special anti-anarchist unit of the British police by a mysterious figure who remains hidden in the shadows.

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Elven Phantoms, Children of the Corn, and Kane: DAW’s The Year’s Best Horror Stories: Series VI (1978), Edited by Gerald W. Page

Elven Phantoms, Children of the Corn, and Kane: DAW’s The Year’s Best Horror Stories: Series VI (1978), Edited by Gerald W. Page


The Year’s Best Horror Stories: Series VI (DAW, 1978). Cover by Michael Whelan

The Year’s Best Horror Stories: Series VI, published in 1978, was the third volume in the series edited by horror author and editor Gerald W. Page (1939–). Michael Whelan (1950–) appears for the fourth time in a row on the cover, though with a very different style from his previous efforts. Where Whelan’s covers usually have a big surreal background, this one is more muted and draws your eyes to the foreground. It’s fairly creepy, but not one of my favorite Whelan horror pieces.

In comparison with the series’ first British editor, Richard Davis, Gerald Page tend to focus on American authors, almost all men. There are three women in this volume: Janet Fox, Tanith Lee, and Lisa Tuttle, and a total of three Brits: Ramsey Campbell, David Campton, and Tanith Lee. 

Series VI includes fourteen stories, only one from a professional magazine; three came from books, four from fanzines, but six stories were original to this volume. Six! Almost half of the stories in an anthology called Year’s Best were not published previously. Defending another editor in a different context John O’Neill recently said, it’s “entirely the editor’s call.” But doesn’t Year’s Best imply more than simply the editor’s own particular choices? Maybe not. And perhaps it doesn’t matter if the collected stories are indeed that good.

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The Fantastic Side of An Irish Queen of Fiction: A Vanished Hand and Others by Clotilde Graves, 2021

The Fantastic Side of An Irish Queen of Fiction: A Vanished Hand and Others by Clotilde Graves, 2021


A Vanished Hand and Others (Swan River Press, October 2021). Cover by Brian Coldrick

Clotilde Graves (1863-1932) was an eccentric, prolific and eclectic Irish writer whose historical novels were published under the pen name Richard Dehan. As Clo Graves she also published a number of fantastic stories, most of which are now reprinted and collected in a volume from Swan River Press, edited and introduced by Melissa Edmunson.

The book assembles thirteen tales showing Graves’ contribution to what we call now speculative fiction, ranging from the ghostly to the horrific, from the paranormal to the downright supernatural.

Although occasionally a bit convoluted to the eyes of today’s readers, her writing style is always effective and  extremely captivating.

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John C. Hocking’s Conan Pastiches Emerald Lotus and “Black Starlight”

John C. Hocking’s Conan Pastiches Emerald Lotus and “Black Starlight”

Ken Kelly cover art for Conan and the Emerald Lotus

John C. Hocking’s Conan Pastiches

Conan and the Emerald Lotus by John C. Hocking emerged from Tor in 1995 (Ciruelo Cabral cover artist), and was reprinted in 1999 (with a Ken Kelly cover); both paperbacks are insanely expensive now (i.e. $500+ on Amazon, 2021 price). In 2019 Hocking released a 12-part serialized novella “Black Starlight” published in the back of the recent Conan the Barbarian comic (the comic portion was written by Jason Aaron), a direct sequel to “Emerald Lotus” that tracks Conan’s adventures as he returns from Stygia.

An indirect sequel novel by Hocking called Conan and the Living Plague was pulled from publication in 2019 at the last minute. Its future is unknown (by certain graces, the author did provide me with a copy of the manuscript, and we plan to discuss it in an interview planned for 2022).

This post covers Hocking’s Conan pastiche as it evolves from Emerald Lotus in “Black Starlight,” with hints of more.

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The Harp and The Blade: A Bard’s Adventures in Old France

The Harp and The Blade: A Bard’s Adventures in Old France

Belarski cover for ARGOSY, June 22, 1940 issue, featuring Part One of “The Harp and the Blade.”The first printing of John Meyers Meyers’ The Harp and the Blade was serialized in seven parts in the pulp magazine Argosy from June through early August of 1940. Although the Rudolph Belarski painting on the cover of the June 22 issue might suggest that The Harp and the Blade is a fantasy, it is not. It is instead a straight adventure story set in medieval France.

What makes this story really interesting is its feeling of reality and the aliveness of the characters. We do not observe the story as if a Hollywood piece, at a comfortable distance from the action. Nor do we wallow in the filth, fleas, and mud. We are shown the reality of battle, the value of a laugh with friends, the necessity of a drink, and the delight of a kiss from one’s wife. The characters’ values are also of paramount importance, with clear demarcations made between good and bad. When there is a case of muddy morals, there is also a rationale, which may not be to our liking, but which makes sense for the characters involved.

The question is never asked — what makes life worth living? Instead, we are shown the answer in the simple things that the hero wants and that his blood-brother already has. This is a man’s tale, not grandiose, but heartfelt and homey as brown bread and good ale.

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Indecent Exposure: The Driver’s Seat by Muriel Spark

Indecent Exposure: The Driver’s Seat by Muriel Spark

Muriel Spark

Everyone is looking for something, and the things that most people are seeking are the easily identified, common currency of life, everyday ambitions like love, security, peace, wealth, happiness. But a certain select few are looking for… something else. That something else is the subject of the Scottish writer Muriel Spark’s 1970 novella The Driver’s Seat.

Someone once described being guillotined as experiencing “a short, sharp shock.” Leaving aside the question of how anyone could possibly know, that phrase is a perfect description of Spark’s novels and stories, each of which is as brief and cold and merciless as the nip of what the French once called the National Razor.

To name just a few examples, in Memento Mori an aging group of silly, self-obsessed men and women receive a series of mysterious phone calls in which an unfamiliar voice says one simple thing before hanging up: “Remember you must die.” Eventually some of them come to believe that their caller is not a prankster or a blackmailer, but is in fact Death himself.

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Deep in Wildest Britain: Mythago Wood by Robert Holdstock

Deep in Wildest Britain: Mythago Wood by Robert Holdstock

I had the sense of recognition…here was something which I had known all my life, only I didn’t know it…

English composer, Ralph Vaughan Williams on discovering English folklore and folk music

The late Robert Holdstock prefaced his 1984 novel, Mythago Wood with that quote, and that’s sort of how I feel about the book myself. Holdstock dug deeply into the idea of myth, how it might arise from a culture, and how, in turn, it might affect individuals.

I have no memory of when I first learned of Mythago Wood. I must have seen it on the Forbidden Planet’s shelves when it was released; I didn’t read it, though, until 2001. I read it again while traveling in England eight years later, and just now. At times it seems like I must have read it so much longer ago and more times than that. Much of it reads like a dream of some true past, equally joyful and nightmarish, and elements of it have rattled about my brain ever since. Rereading it now, I realize that over the years, my memories of the novel, like the mythic figures born of the forest around which the story revolves, have faded and changed with each passing season, but the underlying haunting design remains; a mesmerizing tale of father-and-son and brother-and-brother struggles, Freudian and Jungian elements, woven together with a wholly original mythopoeic retelling of the history of Britain from Paleolithic times to the present (or at least 1948, the present of the book). I will more than likely read it again before I’m through.

The central conceit of Mythago Wood is that archetypes and legends spring from the collective unconscious when needed.

The mythagos grow from the power of hate, and fear, and form in the natural woodlands from which they can either emerge — such as the Arthur, or Artorius form, the bearlike man with his charismatic leadership — or remain in the natural landscape, establishing a hidden focus of hope — the Robin Hood form….

Ryhope Wood, a three-mile square ancient woodland in Herefordshire, is capable of interacting with the minds of people near it and giving physical reality to these figures. Characters like Cernunnos, King Arthur, and Jack-in-the-Green can be summoned up from the deepest recesses of people’s minds. More importantly, it can also conjure up the legends that lie behind the legends. Perhaps the story of Robin Hood arose from even older stories of green-clad forest bandits, and behind those, yet older and darker ones. The more intimately a person becomes involved with Ryhope Wood the deeper and deeper ancient memories it can draw upon and summon forth. Ryhope Wood also exists beyond normal time and space, expanding, almost without limit, the further one ventures into it, and time speeds by much faster within the forest than without. Deep inside, whole settlements and tribes called out in long past days carry on telling and retelling their stories through their daily lives and routines.

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Witches, Curses, and Wagner’s Kane: DAW’s The Year’s Best Horror Stories: Series V (1977), Edited by Gerald W. Page

Witches, Curses, and Wagner’s Kane: DAW’s The Year’s Best Horror Stories: Series V (1977), Edited by Gerald W. Page

The Year’s Best Horror Stories: Series V (DAW, 1977). Cover by Michael Whelan

The Year’s Best Horror Stories: Series V was the fifth volume in DAW’s Year’s Best Horror Stories, copyright and printed in 1977. It was the second edited by Gerald W. Page (1939–), who was also a successful horror author and editor at the time.

Michael Whelan (1950–) appears for the third time as the cover artist. Whelan is a classic genre artist and I really liked his previous two covers, but this is the best yet. Though it has something of a sci-fi landscape in the background, it is by far his most horror-themed piece in the series up to this point.

Gerald Page’s selections for The Year’s Best Horror Stories: Series V includes several authors from the last volume, such as Joseph Payne Brennan, H. Warner Munn, and Fritz Leiber. Of the fourteen stories, eight come from magazines, two from books, and four are original to this volume. (As I stated in the last two posts, I am very puzzled by how editor include new stories in a “Year’s Best” anthology.) All the authors are American men, the only exception being the female British author Tanith Lee.

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What a Book This Is: Passchendaele: A New History by Nick Lloyd

What a Book This Is: Passchendaele: A New History by Nick Lloyd

Passchendaele: A New History (Penguin, 2017). Cover by Jeremy Sancha

What a book this is. An absolutely brilliant new assessment of one of the hardest and bloodiest battles ever fought. The engagement, technically Ypres III, popularly called Passchendaele, which was launched to capture the U-boat pens on the Belgian coast, and pitted the British Expeditionary Force (including divisions from Australia, New Zealand, Canada and South Africa) and parts of the French Army against the forces of the German Empire, lasted from June to November 1917, took place in a landscape from Hell, and claimed over half a million casualties. Nick Lloyd’s new book takes a number of different perspectives on the battle and tells many untold stories.

We get POVs from everywhere, including the High Command, the Royal Flying Corps, the politicians in London and of course, the mud-spattered Tommies in the teeth of the maelstrom. It’s a very accessible and informative read, painting vivid pictures of bitter hand-to-hand fighting for possession of railway heads, blockhouses, bunkers and trenches. It brings you closer than you could imagine to the terror of unrelenting shellfire, flame-throwers, poison gas and machine guns, but it isn’t all a story of doom.

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