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Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Four

Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Four

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daughteroffumanchu3daughter20of20fu20manchu42Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections, comprising three chapters each. This week, we examine the fourth and final installment.

The novel’s finale gets underway at a breakneck pace. Sir Lionel Barton has retreated to Abbots Hold, his estate in the English countryside. Sir Denis Nayland Smith and Police Superintendant Weymouth are there to oversee Sir Lionel’s safety as well as that of his right hand man, Shan Greville, and Sir Lionel’s niece (and Greville’s fiancée), Rima. Dr. Petrie and his wife, Kara are delayed while both Shan and Rima are ill-at-ease locked up in Sir Lionel’s ancient and mysterious home with his requisite menagerie of exotic wildlife (including his pet cheetah).

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Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Three

Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Three

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roh_fu4_dj1saxrohmersigned-761x10231Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the third part.

The section begins with Shan Greville’s delirious account of his and Sir Denis Nayland Smith’s foolhardy infiltration of a meeting of the Si-Fan’s Council of Seven while disguised as Mongolian monks. Sir Denis recognizes Ki-Ming among the attendees and fears the mandarin will likewise remember him if he gets a good look at his features beneath the monk’s cowl. Greville sees Madame Ingomar enter the room and recalls her true identity as Fah lo Suee, the daughter of Fu Manchu. Unable to understand the council’s conversation, the truth promptly reaches him when a gong sounds and the two Mongolian monks appear while all eyes turn upon Sir Denis and his companion.

 

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Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Two

Blogging Sax Rohmer’s Daughter of Fu Manchu, Part Two

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19560181_1daughterpinkSax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the second part.

Rohmer slows his pace to take time to develop the character of Rima Barton at the outset of the second part. The reader begins to understand her as one of Rohmer’s typically strong female characters in contrast with the shrinking violets one is accustomed to in fiction of the day. The strained relationship between Rima and Shan Greville is revealed to be rooted in jealousy over his attraction to Madame Ingomar, the exotic foreign woman who had likewise stirred Sir Lionel’s passions.

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Blogging Sax Rohmer’s Daughter of Fu Manchu

Blogging Sax Rohmer’s Daughter of Fu Manchu

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fumandausaxrohmersigned-761x1023Sax Rohmer’s Daughter of Fu Manchu was originally serialized as Fu Manchu’s Daughter in twelve weekly installments of Collier’s from March 8 to May 24, 1930. It was published in book form the following year by Cassell in the UK and Doubleday in the US. Rohmer divides the novel into four sections comprising three chapters each. This week we examine the first part.

It had been over a dozen years since Rohmer had finished the Fu Manchu series. Since that time, both The Yellow Claw (1915) and his three Fu Manchu titles had been filmed by Stoll. In the late 1920s, with the advent of sound, Paramount announced a new series of Fu Manchu films starring Warner Oland as the Devil Doctor. Collier’s was eager to capitalize on the character’s renewed popularity and the author signed a contract to revive the series.

His first attempt was to write a contemporary thriller involving American protagonists opposing a self-styled Emperor of Crime, to be revealed at the story’s conclusion as Fu Manchu’s daughter. After several installments of the serialized adventure for Collier’s, Rohmer’s editor determined that the author had failed to capture the flavor of the original series and both parties reluctantly agreed to let him alter the story’s conclusion to remove all trace of Fu Manchu. The delayed serial, The Emperor of America resumed after a hiatus of several months in 1928 and was published in book form the following year. A minor work, it is most notable for serving as the template for the Sumuru series, another ersatz Fu Manchu, many years later.

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Lost Classics of Pulp: Judex

Lost Classics of Pulp: Judex

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judex_65_2judex01Pioneering silent film director, Louis Feuillade rose to prominence with his stylish 1913 serial, Fantomas which faithfully adapted five of Pierre Souvestre and Marcel Allain’s bestselling pulp thrillers. Feuillade next succeeded in fashioning an enthralling original story based around the Apache street gang which figured prominently in the Fantomas series. Les Vampires are led by the vampish Irma Vep, played by the exotic Musidora (France’s answer to Theda Bara). The 1915 serial was hugely successful and was a highly influential work in its day. Feuillade was tasked with the challenge of trying to follow up these two successes with a third commercial property.

Responding to the criticism that his films glorified crime and violence, Feuillade turned to author and playwright Arthur Bernede for help. Together they crafted a pulp vigilante dressed in a dark cloak with his face partially obscured by a slouch hat. Judex, Latin for “judge,” fought crime with his loyal brother, Roger and a menagerie of amazing beasts and an assortment of colorful companions by his side. These and Judex’s gadget-filled secret lair and private plane had a tremendous influence on the burgeoning pulp fiction market in England and America.

 

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Ravenwood: The Forgotten Occult Detective

Ravenwood: The Forgotten Occult Detective

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ravenwood-fortier2ravenwood-davis1The phrase “pulp fiction” has been misused long before Quentin Tarantino appropriated it. For the past several decades nearly all genre fiction of the first half of the twentieth century has been considered pulp when in fact many of its bestselling authors (such as Edgar Rice Burroughs and Sax Rohmer) were published in the better-paying slicks and not the downscale pulps. The writing in the slicks tended to be more polished in sharp contrast to the breakneck pace of the pulps whose authors often hid behind house names and whose primary motivation was packing in as many thrills as possible in each story while still meeting their deadline.

Ravenwood is a typical pulp creation. Nowhere near as successful as Doc Savage or The Shadow, Ravenwood appeared as a support feature in five issues of Secret Agent “X” in 1936. The creation of prolific pulp writer Frederick C. Davis, the character did much to pave the way for the occult crimefighter The Green Lama and was a strong influence on Marvel Comics’ Dr. Strange.

Altus Press collected Davis’ five original pulp stories in a single volume, Ravenwood: The Complete Series published in 2008. More recently, the acclaimed contemporary pulp-specialty publisher Airship 27 revived the character for an anthology of new stories from their talented stable of modern pulp writers. Their Ravenwood, Stepson of Mystery was published in 2010.

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