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Blogging Marvel’s The Tomb of Dracula, Part Two

Blogging Marvel’s The Tomb of Dracula, Part Two

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tomb-of-dracula-7tomb-of-dracula-8Marv Wolfman took over scripting duties on Marvel’s The Tomb of Dracula with Issue 7. Despite the name, Wolfman was an unlikely choice for a horror title as he had never been much of a horror fan and had limited exposure to the character outside of Stoker’s original novel. Nonetheless, the decision to pair Wolfman with artist Gene Colan and inker Tom Palmer elevated the series to classic status and insured its reputation for decades to come.

Issue 7 quickly sets the stage with the introduction of Quincy Harker and his daughter Edith. Quincy is the son of Jonathan and Mina Harker born at the end of Stoker’s novel. Here he is a nearly blind old man confined to a wheelchair with his daughter and faithful dog Saint as his constant companions. He functions as a mentor to Rachel Van Helsing and Taj Nital and has welcomed Frank Drake into the fold. Quincy is an amateur inventor whose vampire hunting gadgets give the story a Bondian edge that works very well. Wolfman’s sense of history and character instantly deepens the story and gives the reader a reason to empathize beyond the immediate sense of good vs. evil.

His innate understanding of people as an amalgamation of family history, mistakes, joys, and tragedies is Wolfman’s greatest strength as an author. Even his Dracula, for all of his cruelty and savagery, is imbued with such humanity and dignity that one can’t help hoping all of them can find peace. Wolfman may be the first writer since Stoker to successfully treat the characters as real people that readers recognize as something other than stereotypes. Finding the key to that empathy is what elevates his take on the property above so many others.

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The Weird of Cornell Woolrich: “Dark Melody of Madness”

The Weird of Cornell Woolrich: “Dark Melody of Madness”

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dimemysteryContinuing from last week’s look at the weird tales of pulp suspense maestro Cornell Woolrich, today I’ll walk around another bleak urban corner of the midnight-hued world of my favorite pulp author.

“Dark Melody of Madness,” first published in the June 1935 issue of Dime Mystery and often reprinted under the less-chilling title of “Papa Benjamin,” is one the superb pulp horror stories, and one of Woolrich’s earliest classics, written during the first year of his career as professional magazine writer. In its use of race as an undercurrent, it has connections to some of the great horror works of Robert E. Howard, in particular “Pigeons from Hell,” which also uses the device of voodoo of the West Indies. Anyone interested in the American Weird should read it. Fortunately, it’s been reprinted in many anthologies.

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The Weird of Cornell Woolrich: “Jane Brown’s Body”

The Weird of Cornell Woolrich: “Jane Brown’s Body”

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harry-clarke-upon-the-bedIt might surprise regular readers of this website that Edgar Rice Burroughs and Robert E. Howard are not my favorite pulp writers. They rank among the authors who have influenced and inspired me the most—and they provide endless material to discuss and analyze. But my favorite pulper, perhaps my favorite writer of all time, is Cornell Woolrich.

I haven’t written anything about Woolrich on Black Gate before because his genre doesn’t intersect with the dominant focus of the magazine, except maybe in the broad way that Black Gate readers are usually interested in the pulps in general. Woolrich wrote suspense and mystery stories, and the majority of his work appeared in crime magazines like Dime Detective, Detective Fiction Weekly, and the legendary Black Mask. His specialty was the “emotional thriller,” harrowing trips into fear and paranoia with suspense set pieces that no author has equaled. Often called by admirers and critics “the literary Hitchcock” and “the twentieth-century Edgar Allan Poe,” Woolrich could wring more palpitating dread out of everyday life than any writer I’ve encountered. His style is defining of noir, the existential crime tale. Eventually, Hitchcock and Woolrich did merge, when Hitchcock turned Woolrich’s short story “Rear Window” (originally published as “It Had to Be Murder”) into a film that you might have heard of.

But there is one part of Woolrich’s oeuvre that falls into the compass of Black Gate: he made occasional forays into stories of the fantastic. He was actually ideally suited for the horror story, but the market for such tales was not as strong as the crime fiction market (just ask anybody to whom Weird Tales owed money). Woolrich had a personally dismal view of existence—universe and fate are essentially hostile to humanity, and the inevitability of death made life pointless—that could transfer perfectly to the supernatural, where those malign forces of the universe manifest in the unnatural occurrences. The idea that the world doesn’t care for you is one also found in H. P. Lovecraft, although visualized in a different way. If the two men had ever met, there would have been a strange, strange discussion. (Woolrich, however, could rarely be budged from his hotel room in Manhattan. H. P. Lovecraft was a partying socialite in comparison.)

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You got your Zombies in my Pride and Prejudice!

You got your Zombies in my Pride and Prejudice!

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ppzombiesPride and Prejudice and Zombies
By Jane Austen and Seth Grahame-Smith (Quirk Classics, 2009)

I love the genre of “re-contextualizing,” taking a work of art, regardless of its qualities, and slamming it into a new setting to see what happens. This can come from a Warholian perspective, or it can be done with the humorous ocean of pop-culture parody in Mystery Science Theater 3000 (which I have no hesitation in naming my favorite television show ever). Re-contextualization can be as simple as re-writing the captions for The Family Circus and printing Garfield cartoons with Garfield’s thought-balloons removed to create a surreal world. It can also create a new work of art, such as taking Nikolai Rimsky-Korsakov’s aria “The Song of the Indian Guest” from the opera Sadko and making it a jazz classic like “Song of India,” perhaps one of the greatest dance-pieces ever charted.

Although re-contextualizing often implies satire or parody, it can simply involve experiment. “What would such-and-such feel like if it were altered in a certain way? I think it would go something like this. . . .”

And that’s where the new volume Pride and Prejudice and Zombies comes in. Author Seth Grahame-Smith, who wrote The Big Book of Porn, a look into the oddest entertainment industry, and How to Survive a Horror Movie, takes the text of Jane Austen’s 1813 comedy of manners and tweaks it to include a zombie plague overrunning the English countryside at the same time that busybody Mrs. Bennet maneuvers to get her daughters married to eligible bachelors.

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