tag:blogger.com,1999:blog-5798886157909081072024-02-19T12:29:17.750+01:00Uncle Doug's Bunker of Vintage Horror PaperbacksHi! This is my attempt at starting a small blog about, what is in my eyes, the golden age of Horror Anthology Paperbacks and a huge passion of mine. Update: I've realized that what is even more important is the people have to be made aware of these wonderful stories before they disappear forever. Most the the stories I mention here haven't been reprinted in over 40 years and most likley will never been seen again. They will be lost to us once these books are gone and forgotten. How sad.Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-579888615790908107.post-28872925814138383742015-10-30T14:12:00.001+01:002015-10-30T14:12:38.182+01:00The War of the Worlds and Halloween!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;"> The War of the Worlds and Halloween:</span><br />
<span style="font-size: x-large;">Two great tastes that taste great together!</span><br />
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<span lang="EN-US">One of the few
things that I love as much Halloween is
H. G. Wells' The War of the Worlds. </span></div>
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<span lang="EN-US">I can't quite
remember when I first became aware of those far flung Martian cylinders that
were filled to the brim with towering tripods that dealt death and destruction
as they spewed heat rays and poison gas across the width and breadth the Victorian
British country side. But I can honestly tell you that I became aware of
the Martian invaders at an extremely young age.</span></div>
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<span lang="EN-US">One if my
earliest memories is from when we were still living in </span><st1:place><st1:city><span lang="EN-US">Newcomers Town</span></st1:city><span lang="EN-US"> </span><st1:state><span lang="EN-US">Ohio</span></st1:state></st1:place><span lang="EN-US">. I clearly
remember sitting on the sofa watching that unfortunate trio waving a flour sack
that they had tied to a shovel handle in an effort to make friends with the
passengers of he crashed Martian carrying meteor. Watching them get reduced to a pile of human
shaped ash scared the living shit out of me. It won't surprise me in the least
if I die a few years earlier because of it.</span></div>
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<span lang="EN-US">Jump ahead a
few years to what must have been Halloween 1969. We were living in </span><st1:place><st1:city><span lang="EN-US">Newark</span></st1:city><span lang="EN-US"> </span><st1:state><span lang="EN-US">Ohio</span></st1:state></st1:place><span lang="EN-US"> by then and
"Nerk" had an odd tradition. Beggars Night was always on the 30th and
not on the 31st like you think it would have been. It could have been that the town's fathers knew
something that us kids didn't, and had decided that it was safer for us to be
off the streets on that most special night of nights instead of wandering
around in our fireproofed nylon costumes with those sweaty masks. The masks
that had the too tiny eyeholes and were held on by a fragile rubber band.</span></div>
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These guys are toast!</div>
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I told'ya so!</div>
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<span lang="EN-US">Jump ahead a
few years to what must have been Halloween 1969. We were living in </span><st1:place><st1:city><span lang="EN-US">Newark</span></st1:city><span lang="EN-US"> </span><st1:state><span lang="EN-US">Ohio</span></st1:state></st1:place><span lang="EN-US"> by then and
"Nerk" had an odd tradition. Beggars Night was always on the 30th and
not on the 31t like you think it would have been. It could have been that the town's fathers knew
something that us kids didn't, and had decided that it was safer for us to be
off the streets on that most special night of nights instead of wandering
around in our fireproofed nylon costumes with those sweaty masks. The masks
that had the too tiny eyeholes and were held on by a fragile rubber band.</span></div>
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<span lang="EN-US">It turned out
that this odd system wasn't as bad as it sounded. WCLT, one of the local FM
radio stations always broadcast a "Halloween Radio Spooktacular". Yes,
they actually called it that. And this was a wondrous thing indeed! 5 hours of
old time radio horror shows such as "Lights Out" and "The Inner
Sanctum" to name a few. And it always culminated with a replay of Orson
Wells' Mercury Theater production of "The War of the Worlds".</span></div>
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<span lang="EN-US">Now I already
understood by then that this was the same story that I had seen on TV with that
unfortunate trio cum ash pile. I didn't know about the tripods though! That
changed everything!</span></div>
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<span lang="EN-US">Hearing that
faux reporter describing the massive three legged war machine rising from the
pit created by the falling cylinder set my brain of fire. </span></div>
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<span lang="EN-US">I was enthralled by the entire episode even
though the switch in the middle to a normal radio drama format was a
disappointment. I still loved it. The announcer describing the mass of black poison gas making it's way
across </span><st1:city><st1:place><span lang="EN-US">Manhattan</span></st1:place></st1:city><span lang="EN-US"> are it steadily approached the studio almost pushed over the edge
in a rush of ecstatic horror. I can still remember running down stairs and
looking out onto the front porch to make sure that the poison gas wasn't
flowing up the front steps. Even though I knew that the broadcast was decades
old and fake, I figured that you couldn't play it too safe with stuff as serious
as Martian poison gas.</span></div>
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<span style="text-align: center;"> <b>I can still smell the poison gas lapping against our front porch steps!</b></span><br />
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<span style="text-align: center;"> <b>Ordered from the back of Famous Monsters!</b></span><br />
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<span lang="EN-US"> It wasn't much later when I discovered the "Classics
Illustrated" edition of The War of the Worlds. </span></div>
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<span lang="EN-US"> I probably read the damn thing to pieces
within a few weeks and set about on my quest for to find the actual novel.</span></div>
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Classics Illustrated #124 feed the flames of my <i><b>Obsession</b></i>!</div>
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<span lang="EN-US">I can't remember
how long it took, but I began scouring every paperback rack that I came within
reach of with a passion. that crossed over into obsession. I couldn't talk
about anything else. I must have drawn scores of flame throwing tripods in Mrs.
Gerlach's third grade class. This moved her to making the comment to my parents
that I was a <i>peculiar child</i>. It
must have taken a few months, but I finally came across the "Berkley
Premier" edition of "The Time
Machine & The War of the Worlds".</span></div>
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<span lang="EN-US"> This edition was sold under the banner "Isaac Asimov
Presents". Back then, I hadn't the
foggiest notion who or what an Isaac Asimov was. This edition also sported one of those
trademark abstract Paul Lehr covers. A cover that, even after almost 45 years,
I have never tired of looking at. </span></div>
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<span lang="EN-US">Anyways, The War
of the Worlds is a novel that I return to every few years. And even though it's Science Fiction with a
massive dose of not so subtle social
commentary, I feel that what with masses
of people being burnt, scalded, crushed alive, plus having their blood drained
by lipless octopoid Martians, that it qualifies as horror. And this is why it
has become an integral part of my Halloween.</span></div>
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<span lang="EN-US">I'm going to
cut this short. It's the 30th and I need to get my Pumpkins carved!</span></div>
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<span lang="EN-US">So take care,
thanks for topping by, and don't let those ghosties, ghoulies and long leggedy
beasties get you!</span></div>
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<span lang="EN-US">Doug</span></div>
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<b>My May 1964 Berkley edition with a nice Paul Lehr cover.</b></div>
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May 1964 Berkley rear cover.</div>
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My 1964 Airmont edition with uncredited cover art. </div>
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This is the only cover that I know of where the Martian flying machines are also included. </div>
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The Airmonts were known for being the editions sold by Captain Company in the ads at the back of Famous Monsters of Filmland.</div>
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Aimont 1964 edition rear cover.</div>
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Two pages of Paperback ads from the back of Famous monsters with th airmont editions.</div>
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<b> My copy of the 1968 Fawcett Premier edition with another stunning Paul Lehr cover. </b></div>
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<b>This is it!</b></div>
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<b>This is the first book that I ever purchased with my own money!</b></div>
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<b>I can look at this cover for hours and never get tired of it.</b></div>
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<b>The 1968 Fawcett Premier rear cover.</b></div>
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<b> My August 1968 Scholastic edition 3rd printing.</b></div>
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<b>I'll never get tired of saying this, but God bless the Scholastic Book club!</b></div>
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<b>The back of the 1968 Scholastic edition.</b></div>
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<b>My 1964 Whitman Hardback.</b></div>
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<b> I know, not a paperback. </b></div>
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<b>But I love this edition dearly and will never ever forgive Mike Franga for not loaning me his copy back in Mrs. Gerlach's third grade class at Johnny Clem Elementary School in 1971! </b></div>
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<br />Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com1tag:blogger.com,1999:blog-579888615790908107.post-738636164581336122015-10-14T17:55:00.000+02:002015-10-14T17:55:07.745+02:00Tales From the Crypt and The Vault of Horror Film Tie-ins: The Crypt and Vault Keepers are not Amused<div class="MsoNormal" style="text-align: center;">
<span lang="EN-US"><span style="font-size: large;"><b>Tales From the Crypt </b>and <b>The Vault of
Horror</b> Film Tie-ins.</span></span></div>
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<span lang="EN-US"><span style="font-size: large;">The Crypt and Vault Keepers are not
amused.</span></span></div>
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<span lang="EN-US"><span style="font-size: large;">(And neither is Uncle Doug)</span></span></div>
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<span lang="EN-US"><b>Tales From the Crypt </b></span></div>
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<span lang="EN-US"><b>Bantam Books. </b></span></div>
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<span lang="EN-US"><b>April 1972</b></span></div>
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<span lang="EN-US"><b>$0.75</b></span></div>
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<span lang="EN-US"><b>The Vault of Horror</b></span></div>
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<span lang="EN-US"><b>Bantam Books</b></span></div>
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<span lang="EN-US"><b>July 1973</b></span></div>
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<span lang="EN-US"><b>$0.95</b></span></div>
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<span lang="EN-US">Back during the early 1970s the British producers
Amicus created for themselves a well earned reputation for producing Horror
Anthology films. Three of these relied on the works of Robert Bloch. They were </span><st1:place><st1:placename><i><span style="background: white; color: #252525;"><span lang="EN-US">Torture</span></span></i></st1:placename><i><span lang="EN-US" style="background: white; color: #252525;"> </span></i><st1:placetype><i><span lang="EN-US" style="background: white; color: #252525;">Garden</span></i></st1:placetype></st1:place><span lang="EN-US" style="background: white; color: #252525;">,<span class="apple-converted-space"> </span><i>Asylum</i><span class="apple-converted-space"> and<span class="apple-converted-space"> </span></span><i>The House That Dripped Blood</i></span><span lang="EN-US"> .
All three were highly entertaining films that displayed quite a good
understanding of what made their source material function so well.</span></div>
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<span lang="EN-US">Sadly this can't be aid to their foray into
the world of EC Comics.</span></div>
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<span lang="EN-US"> Tales and Vault are more than adequate chillers.
</span></div>
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<span lang="EN-US">So long as you are totally unfamiliar with
EC horror comics.</span></div>
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<span lang="EN-US">Both films are based upon classic EC tale
and are fairly faithful adaptations.</span></div>
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<span lang="EN-US">It's a shame that these two film are totally
lacking in the gleefully ghoulish humor that was EC's trademark.</span></div>
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<span lang="EN-US">Both of these "Books to the Films"
are straight up adaptation to the screenplays. </span></div>
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<span lang="EN-US">So what you basically have is the film
being retold blow for blow. No improvements or changes. Just a straight
retelling of the script. </span></div>
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<span lang="EN-US">In other words......</span></div>
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<span lang="EN-US">These books are booooring! </span></div>
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<span lang="EN-US">They bored me as a kid and they bored me as
an adult.</span></div>
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<span lang="EN-US">This is criminal considering that these
were adapted by Jack Oleck.</span></div>
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<span lang="EN-US">Why is this criminal you may ask?</span></div>
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<span lang="EN-US">Because Jack wrote stories for the original
EC horror titles. He wrote for the original Vault of Horror and for Weird
Fantasy. Later on he wrote for the DC horror comics such as The House of
Mystery, House of Secrets and Weird War Tales to name a few.</span></div>
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<span lang="EN-US">He should have known what it would have taken
to turn out entertaining novelizations. </span></div>
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<span lang="EN-US">But then again, maybe improvising was
forbidden.</span></div>
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<span lang="EN-US">Alan Dean Foster would have done a much
better job and have done both the films and the EC legacy justice.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwWdrEJzYoNfcgT-Lzh1GG7OI_Wzs78FwzPfjJDGBDTqHQ5MHlBT6Pz0krkumLgHnv9h-ualXSBnd6DfKFc1k3zEGDNGX2JV3XsXvs76lFXpXEIc2BjNFClZNAYRFne63TohfEbMg4ds/s1600/crypt-front_0001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwWdrEJzYoNfcgT-Lzh1GG7OI_Wzs78FwzPfjJDGBDTqHQ5MHlBT6Pz0krkumLgHnv9h-ualXSBnd6DfKFc1k3zEGDNGX2JV3XsXvs76lFXpXEIc2BjNFClZNAYRFne63TohfEbMg4ds/s640/crypt-front_0001.jpg" width="375" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBApo-nwTDefYB2MEYlBxfw7V6ivqBrxZF9acrT8Qf9UjjlKbfTGxWO45wz05O2kYQn61pS1NSMBWxUECf8L5BIXp9ZY3uNlXC6eQKQ3VvSCYfS_tv0usnwxS3mjsmVDviDhndXnz35Ps/s1600/crypt-back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBApo-nwTDefYB2MEYlBxfw7V6ivqBrxZF9acrT8Qf9UjjlKbfTGxWO45wz05O2kYQn61pS1NSMBWxUECf8L5BIXp9ZY3uNlXC6eQKQ3VvSCYfS_tv0usnwxS3mjsmVDviDhndXnz35Ps/s640/crypt-back.jpg" width="452" /></a></div>
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<span lang="EN-US" style="font-size: large;"><i> </i><b><i>Tales From the Crypt</i> Contents:</b></span></div>
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<span lang="EN-US"><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>… And All Through the House</b></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><a class="mw-redirect" href="https://en.wikipedia.org/wiki/The_Vault_of_Horror" style="background: none; color: #0b0080; text-decoration: none;" title="The Vault of Horror">The Vault of Horror</a></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #35) </span></span></div>
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<span lang="EN-US"><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>Reflection of Death</b></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><a href="https://en.wikipedia.org/wiki/Tales_from_the_Crypt_(comics)" style="background: none; color: #0b0080;" title="Tales from the Crypt (comics)">Tales from the Crypt</a></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #23) </span></span></div>
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<span lang="EN-US"><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>Poetic Justice</b></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><a href="https://en.wikipedia.org/wiki/The_Haunt_of_Fear" style="background: none; color: #0b0080; text-decoration: none;" title="The Haunt of Fear">The Haunt of Fear</a></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> No. 12, March–April 1952) </span></span></div>
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<span lang="EN-US"><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>Wish You Were Here</b></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">The Haunt of Fear</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #22, November–December 1953)</span></span></div>
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<span lang="EN-US"><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>Blind Alleys</b></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Tales from the Crypt</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> No. 46, February–March 1955)</span></span></div>
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<span lang="EN-US"><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><br /></span></span></div>
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<span lang="EN-US"><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: large; line-height: 22.4px;"><b><i>The Vault of Horror</i> Contents</b></span></span></div>
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<span lang="EN-US"><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Midnight Mess</b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><a href="https://en.wikipedia.org/wiki/Tales_from_the_Crypt_(comics)#Issue_guide" style="background: none; color: #0b0080;" title="Tales from the Crypt (comics)">Tales from the Crypt</a></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #35)</span></span></div>
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<span lang="EN-US"><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">The Neat Job</b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><a href="https://en.wikipedia.org/wiki/Shock_SuspenStories#Issue_guide" style="background: none; color: #0b0080;" title="Shock SuspenStories">Shock SuspenStories</a></i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #1)</span></span></div>
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<span lang="EN-US"><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">This Trick’ll Kill You</b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Tales from the Crypt</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #33)</span></span></div>
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<span lang="EN-US"><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Bargain in Death</b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Tales from the Crypt</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #28)</span></span></div>
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<span lang="EN-US"><b style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Drawn and Quartered</b><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (</span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Tales from the Crypt</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> #26)</span></span></div>
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<span lang="EN-US"><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><b>Trivia Time!!</b></span></span></div>
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<span style="color: #252525; font-family: sans-serif;"><span style="background-color: white; font-size: 14px; line-height: 22.4px;">The Producer had not access to EC comics and based <b><i>Tales</i></b> on</span></span><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> </span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">The Vault of Horror</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (Ballantine, 1965). and </span><i style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;">Tales from the Crypt</i><span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"> (Ballantine, 1964)</span></div>
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<span style="background-color: white; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><span style="color: #252525;">Both of Which I covered </span><a href="http://uncledougsbunkerofhorror.blogspot.de/2012/07/normal-0-21-microsoftinternetexplorer4_08.html" target="_blank"><b><span style="color: red;">HERE!</span></b></a></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-68110292358465014542015-09-20T17:43:00.000+02:002015-09-20T18:48:47.677+02:00Nothing But Lovecraft Paperback Cover ScansThe title says it all.......<br />
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Nothing But Lovecraft Paperback Cover Scans.<br />
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My Lovecraft collection!<br />
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Go <a href="http://vintage-horror-paperbacks.tumblr.com/" target="_blank"><b><span style="color: red;">HERE</span></b></a> if you want to see scans of a goodly sized portion of my collection.<br />
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These are all my copies.<br />
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This collection covers four decades of the lovecraftian aesthetic.<br />
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I hope that these bring back some good memories!<br />
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<br />Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-47378714355168731882015-09-12T18:10:00.000+02:002015-09-12T18:10:36.294+02:00The Scholastic Edgar Allan Poe Editions: Peddling Morbidity and Insanity to the kiddies for over Six Decades<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">The Scholastic Edgar Allan Poe Editions: Peddling Morbidity and Insanity to the kiddies for over Six Decades</span></div>
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<span lang="EN-US">I've never been able to decide if it was an
act of inspired genius or just plain simple economics that were responsible for
the material selected by Scholastic books for their grade school customers.</span></div>
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<span lang="EN-US">It might just have been that reprinted
material was much cheaper than actually having to pay for new material.</span></div>
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<span lang="EN-US">What ever their reasons were, ten of
thousands, if not hundreds of thousands, of school children benefited from this
decision.</span></div>
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<span lang="EN-US">Think about it, if you were a young reader
what would you prefer? The Hunger Games and Harry Potter? </span></div>
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<span lang="EN-US">Two series tailored towards younger readers.</span></div>
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<span lang="EN-US">Or writers such as H.P. Lovecraft, H. G.
Wells, Saki and Edgar Allan Poe?</span></div>
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<span lang="EN-US">Writers who didn't water down their
material in deference to younger sensibilities?</span></div>
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<span lang="EN-US">All I know is that, waaaaay back at the
very beginning of the 1970s, I couldn't get enough of Scholastic's brand of
children's horror.</span></div>
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<span lang="EN-US">Imagine all those 9 and 10 year olds who
tried to wrap their minds around Mr. Poe's deliciously dark tales of murder,
death and insanity. I became aware of the <a href="https://en.wikipedia.org/wiki/Roger_Corman#The_Edgar_Allan_Poe_adaptations" target="_blank">Vincent Price/Roger Corman/AIP Poe adaptations</a>
after I turned 10. That was when I was allowed by my parents to stay up on
Friday nights and watch "Chiller Theater" on WBNS Channel 10 out of </span><st1:city><st1:place><span lang="EN-US">Columbus</span></st1:place></st1:city><span lang="EN-US">.</span></div>
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<span lang="EN-US">Those films spurred me into tracking down
Poe's stories. Luckily the Scholastic Book Club was more than happy to feed my
horror Jones. </span></div>
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<span lang="EN-US">I was daunted at first by the density of
the language used by Mr. Poe, but then he wasn't writing for the kiddies. You
have to wonder what his reaction would have been upon discovering that he would
one day be reduced to the level of "kid-lit". It would have probably
killed him quicker than the booze and damp did.</span></div>
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<span lang="EN-US">What I do deeply appreciate though is that
I quickly moved on from the "I can Read" books to writers such as
Poe, Wells and Verne. So I grew up accepting their style and language as
"normal". This made other writers such as Lovecraft, James (Henry AND
M.R.), Blackwood and </span><st1:city><st1:place><span lang="EN-US">Jackson</span></st1:place></st1:city><span lang="EN-US"> a cinch to read since all of these folks were at one time staples
in "children's horror".</span></div>
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<span lang="EN-US">Poe was just the thing to liven up those
playground conversations. Retelling Hop-Frog , The Black Cat, The Tell Tale
Heart, or even The Murders in the Rue Morgue.
Nothing focused the kids' attention like telling them about a dwarf who
burns his tormentors alive or a man who takes an axe to his wife and walls her
up with the family cat. </span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US">And the Irv Docktor illustrations were the icing on the cake.</span></div>
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<span lang="EN-US">I'd bet a month's pay that parents and
teachers today would freak out completely if they discovered that a publisher
was pushing this kind of material off on pre-pubescent children.</span></div>
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<span lang="EN-US">Well
screw them.</span></div>
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<b><span lang="EN-US">THANK YOU SCHOLASTIC for making my
childhood all them much weirder and for turning me into a strong reader.<o:p></o:p></span></b></div>
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My copy of the March 1966 9th Printing.</div>
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The cover and interior illustrations are by Irv Docktor.</div>
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The 9th edition back cover.</div>
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Contents:</div>
<ul style="font-family: Arial, Helvetica, sans-serif; font-size: 12.96px;">
<li>v • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?966196">Introduction (Ten Great Mysteries By Edgar Allan Poe)</a> • essay by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?1381">Groff Conklin</a></li>
<li>3 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?84433">The Murders in the Rue Morgue</a> • [<a dir="ltr" href="http://www.isfdb.org/cgi-bin/pe.cgi?38149">Chevalier Dupin</a>] • (1841) • novelette by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>50 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?84432">The Purloined Letter</a> • [<a dir="ltr" href="http://www.isfdb.org/cgi-bin/pe.cgi?38149">Chevalier Dupin</a>] • (1844) • novelette by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>77 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?68295">The Tell-Tale Heart</a> • (1843) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>86 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?68369">The Facts in the Case of M. Valdemar</a> • (1845) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>101 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?84430">The Pit and the Pendulum</a> • (1842) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>122 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?55036">A Tale of the Ragged Mountains</a> • (1844) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>138 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?55034">A Descent Into the Maelstrom</a> • (1841) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a> (variant of <i><a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?940881">A Descent into the Maelström</a></i>)</li>
<li>163 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?84431">The Black Cat</a> • (1843) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>176 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?966205">"Thou Art the Man"</a> • (1844) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>198 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?86451">Metzengerstein</a> • [<a dir="ltr" href="http://www.isfdb.org/cgi-bin/pe.cgi?34507">Tales of the Folio Club</a>] • (1832) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>211 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?107961">The Haunted Palace</a> • (1839) • poem by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>212 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?187814">The City in the Sea</a> • (1831) • poem by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a> (variant of <i><a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?107949">The Doomed City</a></i>)</li>
<li>214 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?107975">Annabel Lee</a> • (1849) • poem by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>214 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?107947">To Helen</a> • (1831) • poem by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>215 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?107976">The Bells</a> • (1849) • poem by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li style="text-align: center;"><span style="font-family: 'Times New Roman'; font-size: small;">(Source<a href="http://www.isfdb.org/" target="_blank"> http://www.isfdb.org/</a>)</span></li>
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April 1968 10th Edition </div>
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Cover and interior illustrations by Irv Docktor</div>
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The 10th Edition back cover</div>
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My copy of the April 1972 13th Edition.</div>
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The cover is uncredited just as the Irv Docktor interior illustrations are.</div>
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The 13th edition back cover</div>
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<li>iv • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?972176">Introduction (Eight Tales of Terror)</a> • (1961) • essay by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?54721">John P. Roberts</a></li>
<li>1 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?76056">The Cask of Amontillado</a> • [<a dir="ltr" href="http://www.isfdb.org/cgi-bin/pe.cgi?35862">Fortunado</a>] • (1846) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>14 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?95695">Hop-Frog</a> • (1849) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a> (variant of <i><a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?1003779">Hop-Frog: Or, The Eight Chained Ourang-Outangs</a></i>)</li>
<li>36 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?84434">MS. Found in a Bottle</a> • [<a dir="ltr" href="http://www.isfdb.org/cgi-bin/pe.cgi?34507">Tales of the Folio Club</a>] • (1833) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>58 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?86030">Ligeia</a> • (1838) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>90 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?55035">The Fall of the House of Usher</a> • (1839) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>128 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?86881">William Wilson</a> • (1839) • novelette by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a> (variant of <i><a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?1001899">William Wilson: A Tale</a></i>)</li>
<li>170 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?86115">The Mask of the Red Death</a> • (1842) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
<li>184 • <a dir="ltr" href="http://www.isfdb.org/cgi-bin/title.cgi?327541">The Imp of the Perverse</a> • (1845) • shortstory by <a dir="ltr" href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a></li>
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<a href="http://irvdocktor.smugmug.com/" target="_blank"><b><span style="font-size: large;">Here is an excellent <span style="color: red;">Irv Doktor</span> memorial site.</span></b></a></div>
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<br />Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com3tag:blogger.com,1999:blog-579888615790908107.post-39775108509948669142015-02-24T18:36:00.000+01:002015-02-24T18:36:08.444+01:00An Appreciation of August Derleth on His Birthday<div align="left" class="MsoNormal">
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<span lang="EN-US"><b>(Here is a piece I wrote last year for "Weird Tales" now defunct website.)</b></span></div>
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<span lang="EN-US">I Wrote
to a few authors associated with August Derleth stating my intention in writing an appreciation of
Mr. Derleth in honor of his 106th birthday . I then asked them whether they
would be so kind as to make a statement regarding their own thoughts on the man.<o:p></o:p></span></div>
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<span lang="EN-US"><b>Here is
an email reply that I received from Mr.
Brian Lumley regarding August Derleth</b>.<o:p></o:p></span></div>
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<span lang="EN-US"><i>Dear Mr.
Draa – in answer to yours of 7 Feb. 2014:<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>No one
would ever reasonably dispute the fact that August Derleth – a wonderful author
in his own “write,” not to mention an accomplished editor and a shrewd and
immensely knowledgeable publisher of weird fiction – was the most influential
member of the original Lovecraft Circle and the greatest “fan” and constant
champion of the peerless H. P. Lovecraft. Derleth’s now famous Arkham House
publishing concern, whose distinctive black-bound hardcover books would come to
be recognized as standing among the most collectible of their like in the
English speaking 20th Century world, ensured Lovecraft’s continuity and indeed
that of his “Mythos,” in the wake of an era when the authors of strange tales
enjoyed few outlets for their work and who, with the demise of the so-called
“pulp magazines” where much of it was published, were in the main forgotten…<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>But due
initially (albeit posthumously) entirely to the efforts of his champion, H.P.L.
was never in danger of being forgotten; Derleth published not only his entire
body of fiction but also five volumes of his letters to fans, devotees and
established authors of like talents and persuasions: a huge task for any man,
but a labour of love for August Derleth. H.P.L., however, superb author as he
was, was not alone in Derleth’s affections; he shared space with an entire
panoply of dark stars in the stellar nursery that was Arkham House. Such names
as Robert Bloch, Clark Ashton Smith, Robert E. Howard, A. E. van Vogt, Ray
Bradbury and others: a seemingly endless list of luminaries, were also given
additional prominence by Derleth’s publishing genius…<o:p></o:p></i></span></div>
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<span lang="EN-US"><b> And a reply from David Drake..</b><o:p></o:p></span></div>
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<span lang="EN-US"><i>August
Derleth read and critiqued my first submitted story. He read my rewrite and
critiqued that. Finally he bought my second rewrite, saying it still wasn’t
right but he’d edit it himself. <o:p></o:p></i></span></div>
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<span lang="EN-US"><i> Mr Derleth wasn’t gentle, but he
spent time on me for no reason but basic kindness to a wannabe writer. I may
not owe him the fact that I became a successful writer–but there’s no one to
whom I owe more.<o:p></o:p></i></span></div>
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<span lang="EN-US"><i> Dave Drake<o:p></o:p></i></span></div>
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<span lang="EN-US">Today, the 24th of February, is August Derleth’s 106th birthday. Now a 106th birthday
isn’t nearly s special, as say, a 100th Birthday. It will have to do though,
being that I’m five years to late on this. One of the reasons for writing this
is naturally Mr. Derleth’s association with the original incarnation of Weird
Tales Magazine. That’s not my main reason though.<o:p></o:p></span></div>
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<span lang="EN-US">I’ll
explain. A few months ago I stumbled across an online petition to have H. P.
Lovecraft’s name removed from the Carroll @ Graff editions of
The Lurker at the Threshold and The Watchers out of Time. At first glance I thought that the petition’s
creator simply wanted Lovecraft’s named
removed from the titles simply
because they were some of Mr. Derleth’s
infamous “posthumous collaborations” with Mr. Lovecraft. Upon rereading the
petition I realized that the petitioner’s ire wasn’t with Mr. Derleth per se,
but with Carroll & Graff’s misleading marketing of the two books. The front
covers contained Mr. Lovecraft’s name alone, with no mention of Mr. Derleth’s
“co-authorship”. I’ll admit that I agree with this wholeheartedly, since it has
to be an intentional deception. But I agree only up to a point though. I’ll
explain why at the end of the Appreciation. I then went on to read some of the
comments made by the petition signers. Sadly, the more I read, the angrier I
became. Here are a few comments……<o:p></o:p></span></div>
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<span lang="EN-US"><i>You are
dragging Lovecraft’s name in the dirt!<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>An
outrage for all us Lovecraftians….<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>Slap the
marketing weasels and pull Derleth off of Lovecraft’s coattails.<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>this is
bullshit… down with derleth<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>stop
Derleth’s bad influence, and “Cthulhu mythos” falsity!<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>MUTHA
FUCK THEM RAT-BASTARDS TRYING TO REMOVE HOWIE’S NAME OFF THE BOOKS.IF IT WASN’T
FOR LOVECRAFT,AUGUST WOULD BE NOTHING AND NEITHER WOULD CARROLL&GRAF.<o:p></o:p></i></span></div>
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<span lang="EN-US"><i>Derleth
is mooching on Lovecraft’s good name!<o:p></o:p></i></span></div>
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<span lang="EN-US">Those
are from the first 10 pages. This stuff then goes on for another 49!<o:p></o:p></span></div>
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<span lang="EN-US">I
honestly understand the confusion and anger, but only to a point. What
bothered me was this generalized kind of “hater’s” mentality. It makes me
despair that so-called fans and admirers know so little about August Derleth
and his contributions to the genre. This goes to show that sometimes those who
scream the loudest are the ones who know the least (And for God’s sake! I’m not
talking about you Mr. Joshi!)<o:p></o:p></span></div>
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<span lang="EN-US">Now let
me say up front that I am neither a scholar nor am I the most deeply insightful
of men, I am simply a fan. I do believe
though that only those who are poorly informed about what they claim to love
so dearly would try to judge Mr. Derleth’s stature solely based on 15 short
stories and one novel. The sum of the man is so much greater than the parts.
And some of the parts are pretty damned amazing.<o:p></o:p></span></div>
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<span lang="EN-US">I’ve
known for years that Mr. Derleth never considered his genre writing to be his
primary or best work. He reserved this opinion for his historical and regional
writings. His Sac Prairie Saga was what he believed to be his to be his
greatest achievement. Now what I didn't know was that Mr. Derleth was awarded,
because of the first volume of his Saga, a highly prestigious Guggenheim
Fellowship under the sponsorship of Edgar Lee Masers and Sinclair Lewis.<o:p></o:p></span></div>
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<span lang="EN-US">Now this
alone gives the man some serious literary street cred. Another thing that many
fans don’t realize is that Mr. Derleth is seriously considered to be a pioneer
in Conservationism and Environmentalism.
So you see, we already have a man who is so much more than merely some
hack riding upon another author’s coattails.<o:p></o:p></span></div>
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<span lang="EN-US">As an
author of weird fiction Mr. Derleth ranged from mediocre at his worst to
exceptional at his best. He even once stated that many of his stories that
appeared in Weird Tales were simply filler material. He still managed though to
write some genuine genre classics with such tales as The House of Magnolias
(1932), The Thing that Walked on the Wind (1933), Drifting Snow (1939), The
Lonesome Place (1941) and Who Shall I say is Calling? (1952). Now this is
purely subjective, but I consider The Drifting Snow and The Lonesome Place to
be two of the best horror tales to ever see print.<o:p></o:p></span></div>
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<span lang="EN-US">The
greatest debt we owe Mr. Derleth is that he quite likely saved H. P. Lovecraft
from obscurity by co-founding Arkham House publishing along side Donald Wandrei
for the express purpose of preserving Mr. Lovecraft’s works and to present them
to a wider audience. We will never know if anyone else would have done this if
Mr. Derleth hadn’t. The fact is though,
that he was the one who did this and helped bring Mr. Lovecraft’s stories to
the world at large.<o:p></o:p></span></div>
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<span lang="EN-US">It’s
quite possible that without Mr. Derleth’s efforts, Mr. Lovecraft would have
been resigned to a foot note in the annals of weird fiction. Mr. Derleth also championed such writers as
Robert E. Howard and Clark Ashton Smith, to name just a few. Arkham House also
published Dark Carnival, Ray Bradbury’s first novel. I’m pretty sure this
collection was neither a career breaker or nor maker for Mr. Bradbury. And it
was during the 1960s that Mr. Derleth discovered and encouraged the two genre
giants, Ramsey Campbell and Brian Lumley. Through Derleth’s patronage it was
Arkham House which introduced these gentlemen to generations of fans. And David
Drakes first sale was also to August Derleth.<o:p></o:p></span></div>
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<span lang="EN-US">Not only
was August Derleth a publisher and author, he was also a respected
anthologist. He edited 29 anthologies
between 1944 and his death in 1971. And it was through such anthologies that
the stories of many a talented Horror and Science Fiction author was rescued
from complete obscurity. I own over a
dozen of these collections and they are honestly some of the best that I have
ever read. I treasure every one of them.<o:p></o:p></span></div>
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<span lang="EN-US">Now lets
deal with the touchiest of subjects from Mr. Derleth’s career and what folks
love to whine about the most. The <b><i>posthumous</i></b> collaborations with H. P.
Lovecraft. It’s a known fact that these collaborations are actually tiny
morsels of Lovecraft converted into full blown works by Mr. Derleth. Any reader
will immediately see that these works are greatly inferior to those that are
100% HPL. But it doesn’t take a rocket scientist to figure that one out since
Mr. Derleth wasn’t Mr. Lovecraft. Is it correct and fair that Mr. Lovecraft’s
name appear in huge text on the covers while Mr. Derleth’s name appears as
little more than an afterthought? Not really. That’s an out and out marketing
gimmick. I have no idea if Mr. Derleth was capitalizing on HPL’s name or simply
honoring a man who he greatly admired. I don’t know and neither does anyone
else. It could be a mixture of both.<o:p></o:p></span></div>
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<span lang="EN-US">What I
do find very interesting is this statement at the very beginning of the first
paperback edition of The Survivor and
Others from Ballantine Books in 1957….<o:p></o:p></span></div>
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<span lang="EN-US">“Among
the papers of the late Howard Philips Lovecraft were various notes and/or outlines
for stories which he did not live to write. Of these, the most complete was the
title story of this collection. These scattered notes were put together by
August Derleth, whose finished stories grown from Lovecraft’s suggested plots,
are offered here, as a final collaboration, post-mortem.”<o:p></o:p></span></div>
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<span lang="EN-US">Interpret
that as you see fit. But I find it somewhat telling that such statements
disappeared from editions published after Mr. Derleth’s death.<o:p></o:p></span></div>
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<span lang="EN-US">This
leads me to believe that the publishers were/are the actual guilty parties as
far as trying pass off Derleth as
Lovecraft. Just look at the well intentioned petition to have Lovecrafts name
removed from the two posthumous collaborations published by Carroll &
Graff. They didn't deem it necessary to place Mr. Derleth’s name on the covers
along side that of HPL’s. Mr. Derleth had nothing to do with this fraudulent
practice since he was long dead when
those editions were published. So it appears that the publishers have played a
great role in perpetuating the confusion over the collaborations.<o:p></o:p></span></div>
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<span lang="EN-US">Never
forget that Mr. Derleth never got rich on any of this and was making most of
his money elsewhere. So I’m willing to give him the benefit of the doubt and
believe that the authorship issue was just as much an effort to honor HPL as it
was a marketing ploy. I will continue to believe this until someone can prove
otherwise. and at that time I will be more than willing to eat these words.<o:p></o:p></span></div>
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<span lang="EN-US">It is
also clear that many readers, scholars and critics have some serious and
understandable issues with Mr. Derleth’s own take on the structure of what
himself christened “The Cthulhu Mythos”. I don’t like it either that he broke
the deities down into good guys and bad guys. Nor do I like the fact that he
attempted to convert them into Elementals.
And it’s also another fact that he never forced this cosmological
interpretation onto anyone else. It was his take on things and his alone. And
it’s another fact that readers vote with their dollars. The books sold and have
been reprinted a few times. So it seems that they did find some resonance with
part of the fan base. Mr. Lovecraft’s vision was an open one that wasn’t
written in stone. There have been countless writers who have had their own take
on the Mythos and they haven’t taken nearly the amount of heat that Mr. Derleth
has. I’m tired of hearing how Derleth
damaged the Mythos and Mr. Lovecraft’s stature/reputation. I see no evidence of
this. So here is my challenge to the haters. Please show me how any of Mr.
Derleth’s collaborations or works under his own name alone have in any way done harm to Mr.
Lovecraft. If you can <b><i>prove</i></b> me wrong then I’ll be more than happy to append
this piece and eat my own words. Such “fans” should spend more time and effort
combating those who are actively trying to harm Mr. Lovecraft’s reputation
instead of wasting time tearing down a dead man who spent the greater part of
his professional life championing and promoting Mr. Lovecraft! He has earned at
least that much of our respect and gratitude!<o:p></o:p></span></div>
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<span lang="EN-US"><b>So
please take one last look at the mans achievements ….</b><o:p></o:p></span></div>
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<span lang="EN-US">Patronized
as a young writer by Edgar Lee Masts and Sinclair Lewis.<o:p></o:p></span></div>
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<span lang="EN-US">Pioneer
Conservationist and Environmentalist.<o:p></o:p></span></div>
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<span lang="EN-US">Brought
HPL to the masses!<o:p></o:p></span></div>
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<span lang="EN-US">Wrote
some damn good stories!<o:p></o:p></span></div>
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<span lang="EN-US">Excellent
Anthologist!<o:p></o:p></span></div>
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<span lang="EN-US">Never
got rich off of HPL!<o:p></o:p></span></div>
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<span lang="EN-US">Gave us
many fine new authors!<o:p></o:p></span></div>
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<span lang="EN-US">And did
I mention that he brought HPL to the masses?<o:p></o:p></span></div>
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<span lang="EN-US">Happy
Birthday Mr. Derleth!<o:p></o:p></span></div>
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<span lang="EN-US">We owe
you one.<o:p></o:p></span></div>
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<span lang="EN-US"> Doug<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDjGjw4_TdNg2HISLBtgDcfDBwe4seyokTpWkJkp-kbB6ohqWHlqH0uRRW-lyQvTO5WnHg7VD7es8fo4bLfJtjpdl2XEISewAIx2UKwaCRLZzyI68qmzuzckOPX-uiEv1D1wyhb7Si-8/s1600/171-629x1024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDjGjw4_TdNg2HISLBtgDcfDBwe4seyokTpWkJkp-kbB6ohqWHlqH0uRRW-lyQvTO5WnHg7VD7es8fo4bLfJtjpdl2XEISewAIx2UKwaCRLZzyI68qmzuzckOPX-uiEv1D1wyhb7Si-8/s1600/171-629x1024.jpg" /></a></div>
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And as always, these are all scans of book I have in my collection.</div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com8tag:blogger.com,1999:blog-579888615790908107.post-88975185585320801782014-11-30T14:25:00.004+01:002014-11-30T14:25:43.956+01:00Henry S. Whitehead: The Forgotten Master of Jumbee and Vodoun<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3TnCqjigwkEOYKp2llDSmggPLcNPBnH8ez0aTLUei0akhEmYd6oOME9HUNzMch-l08lEYkbqiYswZsNzcas-eNNqvAf5z9v7DCq9eIJZqfFncD6Qk4D-Bd70aC2FW4B78rkMsoOQE-p8/s1600/aaa-whitehead-photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3TnCqjigwkEOYKp2llDSmggPLcNPBnH8ez0aTLUei0akhEmYd6oOME9HUNzMch-l08lEYkbqiYswZsNzcas-eNNqvAf5z9v7DCq9eIJZqfFncD6Qk4D-Bd70aC2FW4B78rkMsoOQE-p8/s1600/aaa-whitehead-photo.jpg" height="320" width="214" /></a></div>
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<span style="font-family: Arial, sans-serif;"><b>Henry S. Whitehead: The Forgotten Master of Jumbee and Vodoun</b></span></div>
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<span style="font-family: Arial, sans-serif;"><b>And he's back in print!</b></span></div>
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<span style="font-family: Arial, sans-serif;">Although
mostly forgotten, the Rev. Henry S. Whitehead was one of Weird Tales
most popular writers between 1924 1933. Rev. Whitehead ,who was a
Harvard Graduate, spent 8 years as acting archdeacon of the Virgin
Islands for the Episcopalian Church. Towards the end of his short
life Rev. Whitehead became a personal friend of HPL, who after
traveling down to Florida to visit the Reverend described him so.....</span></div>
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<i><span style="font-family: Arial, sans-serif;">"He
has nothing of the musty cleric about him; but dresses in sports
clothes, swears like a he-man on occasion, and is an utter stranger
to bigotry or priggishness of any sort." </span>
</i></div>
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<span style="font-family: Arial, sans-serif;">It
was during his years in the Virgin Islands that Rev. Whitehead gained
a knowledge and understanding of the region, it's peoples, their
culture and religion that gave his weird tales such a strong note of
authenticity. The majority of his tales take place on the Island of
St. Thomas and are 2<sup>nd</sup> to none when dealing with the
region. It is just y opinion but these are some of the finest stories
dealing with Voodoo/Voudon that ever appeared in the pulps. Even if
the Reverend wasn't a believer, he still took the Islanders and their
beliefs seriously and always treated the subject with respect. A
major rarity in Rev. Whitehead's stories was the dignity and respect
with which he treated the characters in his story. There's nary a
cringe inducing moment in his stories dealing with the Islands. He
wrote about human beings and portrayed the same way. This wasn't
exactly the most common way non-whites were portrayed during the pulp
era. The Reverend, was for his time, an extremely progressive man.</span></div>
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<span style="font-family: Arial, sans-serif;">The
majority of Rev. Whitehead's tales take place in the Virgin Islands
and the majority of his stories appeared in the pages of Weird Tales
Magazine. Several of which have been heavily reprinted. These are
<i>Cassius</i>, <i>The Lips</i>, <i>The Passing of a God</i> and <i>The
Trap. </i>All of which have been
heavily reprinted during the 1960s and 70s. It's of interest
to mention that <i>The Trap</i> was co-written with H. P.
Lovecraft.</span></div>
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<span style="font-family: Arial, sans-serif;">The
tales written by Rev. Whitehead are some of the most eerie, readable
and entertaining horror stories out there. And they have also aged
extremely well when one considers that the were written over 80
years.</span></div>
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<span style="font-family: Arial, sans-serif;">Up
until now, if you wanted to get you hands on a collection of
Whitehead's tales you needed some fairly deep pockets. Aside from the
two (now) expensive and hard to find Arkham House collections and one
Ash Tree Press collection.</span></div>
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<span style="font-family: Arial, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR-PPqui4znjcacnT4qpCsmanxV9CTTQo6JAYmp2n-ZKzwO0jBkzrAjzbg0RQ3mBACUjCQrw12HtQ6eudld6e5OIIK9ZxnmUE0J0U2yykthDuPBp_izAWpFjCCIT2Ul636rUlLK-gjX4w/s1600/IMG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR-PPqui4znjcacnT4qpCsmanxV9CTTQo6JAYmp2n-ZKzwO0jBkzrAjzbg0RQ3mBACUjCQrw12HtQ6eudld6e5OIIK9ZxnmUE0J0U2yykthDuPBp_izAWpFjCCIT2Ul636rUlLK-gjX4w/s1600/IMG.jpg" height="640" width="397" /></a></div>
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<div style="text-align: center;">
<span style="font-family: Arial, sans-serif;"><b>My copy of the 1976 Mayflower UK Edition with a lovely cover by Peter Jones</b></span></div>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI09aSUpY1C5FBPwVSeAJDuw2sRyJ0DzijC_cDI3fXg-bksOvAubBfB9WjwLquLcTCq03lALifYkP3dkq2hku6PDacB6APcHlfsXLsw-9VUnOwe0p2XubQtIs70-2KmRaKPhUi2BtWmew/s1600/aaa-The-Black-Beast-and-Other-Voodoo-Tales.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI09aSUpY1C5FBPwVSeAJDuw2sRyJ0DzijC_cDI3fXg-bksOvAubBfB9WjwLquLcTCq03lALifYkP3dkq2hku6PDacB6APcHlfsXLsw-9VUnOwe0p2XubQtIs70-2KmRaKPhUi2BtWmew/s1600/aaa-The-Black-Beast-and-Other-Voodoo-Tales.jpg" height="640" width="395" /></a></div>
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<span style="font-family: Arial, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, sans-serif;"> Plus there were only two paper back
editions, which printed in the UK back during the 1970s. So these are
also now sought after collectors editions.</span></div>
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<span style="font-family: Arial, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAO752ti2Vvb2iNtVJdjy8iOHWkc56HcaszhW-IyW2_TAfpFvi9bfTIU7B0VGK6dUaXgfohTSId2IviMMb7bEqvQf6zDfTxfHysjUToHaRH5e5GODEE_iJ_zmqH_fAltWWfHKLwBpVeKE/s1600/aaa-Voodoo-Tales-The-Ghost-Stories-of-Henry-S.-Whitehead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAO752ti2Vvb2iNtVJdjy8iOHWkc56HcaszhW-IyW2_TAfpFvi9bfTIU7B0VGK6dUaXgfohTSId2IviMMb7bEqvQf6zDfTxfHysjUToHaRH5e5GODEE_iJ_zmqH_fAltWWfHKLwBpVeKE/s1600/aaa-Voodoo-Tales-The-Ghost-Stories-of-Henry-S.-Whitehead.jpg" height="640" width="398" /></a></div>
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<div style="text-align: center;">
<span style="font-family: Arial, sans-serif;"><b>The newest collection from Wordsworth</b></span></div>
</div>
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<span style="font-family: Arial, sans-serif;">Luckily
that has been rectified by <i><b>Wordsworth Books</b></i>. Last year
Wordsworth released the most complete collection of Whitehead's tales
that has ever been published. Last year the released Voodoo Tales:
The Ghost Stories of Henry S. Whitehead. It contains 37 of the 46
stories that Rev. Whitehead had published. What's even more amazing
is the price. This thick, but compact, 691 pages of smallish print
trade paperback cost's on $3.60 over at Amazon! The low price is due
to all of the stories having fallen into the public domain.</span></div>
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<div align="LEFT" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;">So
use this opportunity to discover the weird thrills and joys of the
genre's greatest but sadly forgotten masters.</span></div>
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<br /></div>
<div align="CENTER" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><u><b>The
Contents:</b></u></span></div>
<div align="CENTER" lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div align="CENTER" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Arial, sans-serif;"><span style="color: black;">Introduction
(by David Stuart Davies)<br /><br />WEST INDIA LIGHTS<br />The Black
Terror<br />West India Lights<br />Williamson<br />The Shut Room<br />The
Left Eye<br />Tea Leaves<br />The Trap<br />The Napier Limousine<br />The
Ravel </span><span style="color: black;"><i>Pavane</i></span><span style="color: black;"><br />Sea
Change<br />The People of Pan<br />The Chadbourne Episode<br />Scar
Tissue<br />"'—In Case of Disaster Only'"<br />Bothon<br />The
Great Circle<br />Obi in the Caribbean<br /><br />JUMBEE AND OTHER VOODOO
TALES<br />Jumbee<br />Cassius<br />Black Tancrède<br />The Shadows<br />Sweet
Grass<br />The Tree-Man<br />Passing of a God<br />Hill Drums<br /><br />THE
BLACK BEAST AND OTHER VOODOO TALES<br />The Black Beast<br />Seven Turns
In A Hangman’s Rope<br />Mrs. Lorriquer<br />The Projection Of Armand
Dubois<br />The Lips<br />The Fireplace<br /><br />OTHER STORIES<br />The Moon
Dial<br />No Eye-Witnesses<br />Across the Gulf<br />The Tabernacle<br />The
Door<br />Sea-Tiger</span></span></div>
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<span style="color: black;"><span style="background: #ffffff;"><br /></span></span></div>
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<div style="text-align: center;">
<span style="font-family: Arial, sans-serif;"><b>This
wonderful collection can be purchased by following the links below.</b></span></div>
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><a href="http://www.amazon.com/Voodoo-Tales-Stories-Whitehead-Supernatural-ebook/dp/B00I060CP4/ref=sr_1_1?ie=UTF8&qid=1417353787&sr=8-1&keywords=whitehead+voodoo" target="_blank">Voodoo Tales at Amazon.com</a></span><br />
<span style="font-family: Arial, sans-serif;"><br /></span>
<span style="font-family: Arial, sans-serif;"><a href="http://www.amazon.co.uk/Voodoo-Tales-Stories-Whitehead-Supernatural-ebook/dp/B00I060CP4/ref=sr_1_1?ie=UTF8&qid=1417353860&sr=8-1&keywords=whitehead+voodoo" target="_blank">Voodoo Tales at Amazon.co.uk</a></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com3tag:blogger.com,1999:blog-579888615790908107.post-49408842301070968712014-11-29T13:41:00.000+01:002014-12-03T13:55:38.236+01:00Yes Virginia there is a Krampus<div class="MsoNormal">
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiasc0RP7emaTHR-aqtNSeTV6xGf8wVYqCa3HZ8x8DZsDURC2Gubqom5pUBCv-hEV89_FlRFMPqI0fH7GAs8kM0Bn3y31vUApSQA5NcUbnqjV94duPBB6pktiGge-zqmCUW4wKiKzReoU4/s1600/aaa-krampus1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiasc0RP7emaTHR-aqtNSeTV6xGf8wVYqCa3HZ8x8DZsDURC2Gubqom5pUBCv-hEV89_FlRFMPqI0fH7GAs8kM0Bn3y31vUApSQA5NcUbnqjV94duPBB6pktiGge-zqmCUW4wKiKzReoU4/s1600/aaa-krampus1.jpg" height="640" width="414" /></a></b></div>
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<b><span lang="EN-GB">This email arrived last week and I don’t make
it a habit to answer such mails in a public forum. I am making an exception
this time and have decided that it would be best to share this with every one
out there. I’m posting this against the advice from several good friends. And
the powers that be will most definitely frown upon this and accuse me panic
mongering. It might even cost me my blog and potential future as a hack writer,
but I’ve come to the simple conclusion that the needs of the many outweigh the
needs of the few.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="EN-GB">So forgive me for breaking with format and tradition to bring oyu this urgent message.</span></b></div>
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<i><span lang="EN-GB">Dear Uncle Doug,<o:p></o:p></span></i></div>
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<i><span lang="EN-GB">My name is Virginia Weese and I’m in the 4<sup>th</sup>
grade at </span></i><st1:place><st1:placename><i><span lang="EN-GB">Johnny</span></i></st1:placename><i><span lang="EN-GB"> </span></i><st1:placename><i><span lang="EN-GB">Clem</span></i></st1:placename><i><span lang="EN-GB"> </span></i><st1:placename><i><span lang="EN-GB">Elementary School</span></i></st1:placename></st1:place><i><span lang="EN-GB"> in </span></i><st1:place><st1:city><i><span lang="EN-GB">Newark</span></i></st1:city><i><span lang="EN-GB"> </span></i><st1:state><i><span lang="EN-GB">Ohio</span></i></st1:state></st1:place><i><span lang="EN-GB"> and I have a question that my Mommy and Daddy won’t answer. At the
beginning of December our teacher Mrs. Huddy was telling us about Christmas in
other countries. She told us about the bad Krampus man who takes away naughty
children and eats them. This scared us all a lot, but since we aren’t babies
anymore none of us really believed her. It was just a cool story. <o:p></o:p></span></i></div>
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<i><span lang="EN-GB">Anyways, my friend Billy Pierce said that he
had heard from the 6<sup>th</sup> graders that it was a true cross my heart
hope to die story! And so Billy says to me that he’s awful scared that he will
get taken away by the Krampus man. Billy said that his mommy and daddy were
always after him to be gooder and not so bad. And that he heard his mommy and
daddy talking won night when they thought that he was asleep that they wanted
to send him to the Campus. He thought that the Campus was what the growed ups
called the reformatory up in </span></i><st1:city><st1:place><i><span lang="EN-GB">Mansfield</span></i></st1:place></st1:city><i><span lang="EN-GB"> where the bad
children go. He says that now he’s all scared because he thinks that maybe they
reely said Krampus and not campus. I saw him later on and that e said that the
wikipeedia told him that the Krampus man comes on 5 December. I told him not to
be a baby and believe stupid stories. My daddy says the Wikipedia is bullshit.
I’m sorry for the bad word, but that is what my daddy says a lot. Anyways Billy
never came to school on the day after the Krampus is supposed to take the bad
kids. I aksed billyies parents where
billy was and they looked at me funny and said that he had gone to live with
his grandma down in </span></i><st1:city><st1:place><i><span lang="EN-GB">Carolina</span></i></st1:place></st1:city><i><span lang="EN-GB">. I know that this is a fib. Billy told me his gramma is in Pataskala in
a old folks home. I went home and told my mommy and daddy and they told me not
to believe stupid stories and that if Billy’s parents said that he was at his
grams then that’s where his is. Daddy said that if I keep pestering Billy’s
family I’ll get a spanking. I looked in the internet and saw that your magazine
had told about the Krampus man. So now I’m writing to you as my last resort.
Can you help me??? Is there a Krampus???<o:p></o:p></span></i></div>
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<i><span lang="EN-GB">Your friend <o:p></o:p></span></i></div>
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<st1:state><st1:place><i><span lang="EN-GB">Virginia</span></i></st1:place></st1:state><i><span lang="EN-GB"><o:p></o:p></span></i></div>
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<div class="MsoNormal">
<span lang="EN-GB">Dear
Virginia,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">I am deeply
moved and honoured that you got in touch with me. I hope that I can be of some
assistance and that I might be able to clear up a few things. You seem like a
bright kid, so I won’t talk down to you and sugar coat the situation. I have
some good news and I have some bad news.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The good
news:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Yes </span><st1:state><st1:place><span lang="EN-GB">Virginia</span></st1:place></st1:state><span lang="EN-GB">, there is a Krampus.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The bad
news:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">It’s so
much worse than your ten-year-old mind could ever have imagined!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">It’s like
this honey, big people lie. They lie to children all the time. Sometimes they
lie to protect you or to keep you in line and some times they lie to keep you
vulnerable. Michael Jackson and the Octo-Mom are good examples of lies used to
keep you in line and the Krampus is the other kind of lie. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">For you see
dear, the Krampus is as old as the world is and just as real. When people talk
about the Krampus, they are actually talking about a European bogeyman from some
mountains that they call the </span><st1:place><span lang="EN-GB">Alps</span></st1:place><span lang="EN-GB">. (I hope that you are taking notes so that you
can Google all of this later.) This bogeyman helps Santa Claus into scaring
children into behaving. They tell them that, if they are bad, the Krampus will
get them on the night before Saint Nicholas day and take them to hell and eat
them or drown them on the spot. This is a very old story from a people called
the Norse. You can think of them as the Vikings. They believed that the Krampus
was the son of the lady who ran their Hell. Here name was Hel. Anyways, when
the Christians came and got rid of the old religions they added some of the old
religions' beliefs into Christian traditions to make the people happier about
being Christians. So the Krampus, being
active during the winter, ended up with a Christmas connection that went on for
hundreds of years. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">We now have
to move up into the 1920s. A group of explorers and archaeologists were way out
in the </span><st1:place><st1:placename><span lang="EN-GB">Gobi</span></st1:placename><span lang="EN-GB"> </span><st1:placetype><span lang="EN-GB">Desert</span></st1:placetype></st1:place><span lang="EN-GB"> looking for old cities from a long
time ago. Oh, this is in </span><st1:country-region><st1:place><span lang="EN-GB">China</span></st1:place></st1:country-region><span lang="EN-GB">. And they actually did find one
city that had been buried in the sand for many thousands of years. Nobody knows
who these people were or even if they were people. One of the things that they
found while digging up the old city was an old book written on some kind of
funny metal that had never rusted. They call this book the “Ghooric Manuscript”. After many years of hard work some very smart people were able to
translate it.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">It tells the
story of how the world was before people came into it. And the book says that a
long long time ago the world was full of monsters who were the bosses. Finally
these monsters were chased away by some even stronger monsters. Some of these weaker monsters got killed; some got locked up at the bottom of the sea or sent into
other dimensions (These are kind of like worlds between the worlds); some
went into hiding. The book goes on to tell that one of the monsters who went
into hiding was the Krampus. Except that Krampus is not its real name. People
in old times gave it a new name because they believed that if you say its real
name out loud you will get its attention and it might come after you. And
believe me honey, that’s the last thing that you want. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">The Krampus’
real name is “Shub-Niggurath”. They also call it the “Goat of a Thousand Young”. A recent translation of the book shows that the earlier scientists made
a mistake. The correct translation is the "Goat with Thousands of Young”. This
is a reference to the countless children who have been taken away over
thousands of years. Even the cavemen had Krampus trouble. This is also why they
like to portray the Krampus as a great big, hairy, devilish goat man. The truth
is though, that the Krumpus is so horrible that they were too scared to make any
pictures that showed how truly awful the Krampus actually is. We only have one
picture of the Krampus that actually shows how horrible a monster it is. A little
boy named Matt Fox survived a Krampus attack and drew a picture of it for a
magazine once he grew up and became an artist. I don’t want to scare you, but
here is what the Krampus really looks like.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">I hope that
this isn’t scaring you too much, because it’s only going to get worse. So
fasten your seat belt, it’s going to be a bumpy ride from now on.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">In olden
times the people thought that the Krampus/Shub-Niggurath was a kind of god. Not
GOD, but a god of sorts. And back then people used to give presents to the
gods. And traditionally these presents had to be things that held great value
for the people that they didn’t want to part with. These were things like food
that they didn’t have enough of, gold that they didn’t have much of, or children
that they had plenty of. You call these kinds of gifts “sacrifices”. So sadly a
lot of times the people would “sacrifice” their children to the Krampus.
Historical records show that the Krampus was most active during the days which
had the longest nights. They called this the Yuletide. This is also Christmas
time. That is why the old church decided to pair up the Krampus with Santa
Claus. They also knew that for some reason, maybe magical, the Krampus could
only roam around the mountains we call the </span><st1:place><span lang="EN-GB">Alps</span></st1:place><span lang="EN-GB"> and only for a few nights in December when the
nights are longest. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Now they
think that World War I had something to do with it, but afterwards, the power
confining the Krampus to the </span><st1:place><span lang="EN-GB">Alps</span></st1:place><span lang="EN-GB"> had either been weakened or destroyed. They
assume this because directly after WWI the reports of Krampus attacks began to
be experienced farther and farther away from the </span><st1:place><span lang="EN-GB">Alps</span></st1:place><span lang="EN-GB">. It was in the early 1920s in the
States when little boy named Matt Fox survived and reported the Krampus attack
he experienced.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQN5t0C3n-aCuY-XGN3GpfrjBeMSMHqHln676DIAdBbP45pjOK6w4Zy6A0IV4voQtw-ps0SZwfAPB48cFpyssDqMwkpSJ17XKrsj29QQAslYtqpjRt1QfrDgwAjtCEU3TPx7lGPNU7sCY/s1600/aaaa-matt+fox.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQN5t0C3n-aCuY-XGN3GpfrjBeMSMHqHln676DIAdBbP45pjOK6w4Zy6A0IV4voQtw-ps0SZwfAPB48cFpyssDqMwkpSJ17XKrsj29QQAslYtqpjRt1QfrDgwAjtCEU3TPx7lGPNU7sCY/s1600/aaaa-matt+fox.jpg" height="640" width="500" /></a><span lang="EN-GB">Now I have
to tell you the worst part dear </span><st1:state><st1:place><span lang="EN-GB">Virginia</span></st1:place></st1:state><span lang="EN-GB">, so please be brave. It’s been
suspected for a long time now that many of these Krampus attacks are neither
coincidences nor punishments dealt out to naughty children, but actually
sacrifices arranged by mommies and daddies who want to get rid of their
children. That’s correct honey, some mommies and daddies are setting up their
own children to be taken by the Krampus!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">It seems
that the mommies and daddies who want to get rid of their own children use
chalk to scrawl a special symbol above their front door on Krampus-night to let
the Krampus know that there’s a sacrifice waiting inside and that it is welcome
to come in and receive it. For you see, the Krampus can not enter a house that
is protected by a special symbol called the “Elder sign”. Nor can it enter a
domicile where it has not been invited to enter. Investigations have shown that
the symbol used most often by rotten parents looks like this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"> But please do not despair </span><st1:state><st1:place><span lang="EN-GB">Virginia</span></st1:place></st1:state><span lang="EN-GB">! For all is not lost. Even a small
one like you can protect themselves and their friends. Uncle Doug is going to
tell you what to do!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB"> First you‘ll have to spend the next eleven months practicing on sneaking down stairs at night after your parents go to bed.
You’ll need this skill during the days that fall before and after the fifth of December. These are the days when the Krampus is underway collecting
sacrifices. If you see that your parents have actually been mean enough to
leave the symbol above the door then wash it away immediately. This isn’t a
guarantee that the Krampus will pass your house by. It will reduce the chances
though. For you see, just placing the sign above your front door will have
already drawn the Krampus’ attention. It’s not a guarantee, but at least it
will be a start.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Now all’s
fair in love and war, or as my grandpa used to say “payback is a bitch”- So if
you want to get even with your mommy and daddy, all you have to do is to redraw
the symbol upside down and backwards. This will turn the Krampus against those
who originally drew the sign. Of course it would be smart to hide in the attic
for the rest of the night just to be on the safe side.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDC_bxHeM0WrPwDv9QNdJKvrBdvAIuG7bjMbfKiGvcEcuVhhSZc88C1o_fmcM-3fi4L1sQ0KbST-B5qVt5ihwPx08R-EwKEqvW_ZV4pzfDd327XKt1QTVcl8KlZ_3OOyCSOPQ_jV3ej8s/s1600/aaa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDC_bxHeM0WrPwDv9QNdJKvrBdvAIuG7bjMbfKiGvcEcuVhhSZc88C1o_fmcM-3fi4L1sQ0KbST-B5qVt5ihwPx08R-EwKEqvW_ZV4pzfDd327XKt1QTVcl8KlZ_3OOyCSOPQ_jV3ej8s/s1600/aaa.jpg" height="139" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Now so far
I’ve shown you the easiest way to “hopefully” survive the night. I have to be
honest though, it seems that the Krampus also takes un-offered sacrifices when
the mood strikes it. So here are a few tips to increase the odds of you making
it through the night in one piece.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">1: The
Krampus is big and squishy. It also has a lot of legs and tentacles (which have
sucking mouths on their tips.) and has a hard time squeezing into tight spaces.
Think of it as a big trans-dimensional Octo-Goat. So find a closet or crawl space to hide in.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">2: Being
squishy, the Krampus isn’t very strong. So barricade your bed room door and
keep an axe by your side at all times. Or if you can find one, a shoulder fired
RPG or acetylene torch is even better. You can’t kill it, but at least you will
go down fighting like the brave little trooper that I know you are.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">3: STAY
AWAKE! So hoard up on a few cases of Red Bull or keep a Mr. Coffee machine
hidden under your bed. A second of napping could result an eternity of
indescribable suffering and agony!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">4: The Krampus has a sort of dog who accompanies
it at times. This dog’s name is “Tindalos” and Tindalos can do a very special
trick. Tindalos can come through angles and bring the Krampus with him. Now an
angle is where two straight lines come together. So mix yourself up a big batch
of plaster and fill in all of the corners in you room where the walls come
together with each other and where they meet the floor or ceiling. This will at
least force the Krampus, if it even comes, to use the front door. You don’t
want to be surprised from above, behind, below or between. Believe it or not,
Tindalos can attack from in-between<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">5: Have an escape route. If all else fails, you
should have a rope ladder ready or a big aluminium one leaning up against the
house directly under your bed room window. There is no shame in running away.
So forget any crap about cowards dying thousands of deaths. You only die once
and it’s usually the heroes who fall first!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">6: Have
surrogate sacrifices ready. If you haven’t already turned the tables on your
parents for selling you out then make sure that other victims are close at
hand. Once you’ve fled via step #5, you should run like hell to a neighboring
house and break in as quickly as you can. Start screaming blood murder once you
have gained entry. You wanted to wake up the people in the house. The screaming
will not only accomplish this, but should also place them in a confused and
frightened state of mind. Now head out
the back door as quickly as possible and run as fast and as far as your chubby
little legs will carry once you are sure that they are awake and coming down to
investigate the ruckus.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">That pretty
much covers it. I hope that I have been of some assistance and that I have
given you the means to survive the holiday season next year.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">So yes </span><st1:state><st1:place><span lang="EN-GB">Virginia</span></st1:place></st1:state><span lang="EN-GB">, as sure as there is a Santa Claus
and Cthulhu, there is a Krampus.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Good Luck<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Douglas
Draa aka "Uncle Doug"<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">Hack Horror
Writer<o:p></o:p></span></div>
<div class="MsoNormal">
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<br /></div>
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<br /></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-44417442594010176352014-11-02T17:36:00.000+01:002014-11-02T17:36:08.565+01:00I'm BAAACK!!<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p> Hey all,</o:p></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p>My deepest apologies that I've been away from here so long. I was busy beyond my wildest dreams my duties for Weird Tales Magazine. Halloween was my last day with WTs. I stepped down in order to spend time on my own writing.</o:p></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p>Here is my first published story...</o:p></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p><a href="http://www.joomag.com/en/newsstand/far-horizons-tales-of-sci-fi-fantasy-and-horror-issue-6-september-2014/0638247001410837220">http://www.joomag.com/en/newsstand/far-horizons-tales-of-sci-fi-fantasy-and-horror-issue-6-september-2014/0638247001410837220</a></o:p></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
I've also been lax in my reading. So I'm going to double dip and reprint a piece that I wrote for Weird Tales. I hope that you all forgive me for not returning with an original piece. I promise that those will follow.</div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p><br /></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbGGF2EVCumPuPRPIhhGbQs5aYQLpm7VA9IO5yU_WK-uAJieTWrKBcmIAOfaPErIy-1LXThYTB72SfS6dzps_hnpQZ9PNvy66tTO_1PyFxB2KBcbKkhZgk1iTZSXVuZZ-FoZ3tYU2hb0/s1600/fantasy+reader.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbGGF2EVCumPuPRPIhhGbQs5aYQLpm7VA9IO5yU_WK-uAJieTWrKBcmIAOfaPErIy-1LXThYTB72SfS6dzps_hnpQZ9PNvy66tTO_1PyFxB2KBcbKkhZgk1iTZSXVuZZ-FoZ3tYU2hb0/s1600/fantasy+reader.jpg" height="532" width="640" /></a></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<o:p><br /></o:p></div>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<br /></div>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<br /></div>
<h2 style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<span lang="EN-GB">90 Years of
Weird </span></h2>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<span lang="EN-GB" style="font-family: Arial; font-size: 18.0pt; line-height: 200%; mso-ansi-language: EN-GB;"><i>Keeping the brand alive:<o:p></o:p></i></span></div>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<span lang="EN-GB" style="font-family: Arial; font-size: 18.0pt; line-height: 200%; mso-ansi-language: EN-GB;"><i>The Paperback Years</i></span><span lang="EN-GB"><o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Don't cry, Karen, Frosty's not gone for good. You see, he was made out
of Christmas snow and Christmas snow can never disappear completely. It
sometimes goes away for almost a year at a time and takes the form of spring
and summer rain. But you can bet your boots that when a good, jolly December
wind kisses it, it will turn into Christmas snow all over again.</span></i><span lang="EN-GB"><o:p></o:p></span></div>
<div align="center" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;">
<br /></div>
<div style="line-height: 200%; margin-bottom: 0.0001pt; text-align: right;">
<b><i><span lang="EN-GB" style="font-family: Arial; font-size: 10.0pt; line-height: 200%; mso-ansi-language: EN-GB;">Frosty the Snowman 1969</span></i></b><span lang="EN-GB"><o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">As kitschy as it sounds, the above quote is a perfect
analogy for <i>Weird Tales Magazine</i>. For you see, just like the <i>Christmas
snow</i> that Santa was speaking of, <i>Weird Tales</i> never really went away.
It just took on different forms between its original demise in September 1954
and it’s rebirth in 1988. The major form it took was recycled stories that were
massively reprinted in paperback anthologies from the 1950s up until the end of
the 1970s.</span><span lang="EN-GB"><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">The birth of the American paperback at the end of the
1940s was one of the larger nails in <i>Weird Tales</i> coffin. Not that it was
just the Paperback that killed Weird Tales and many of the other pulps,
Television also played a large part. It's just that the paperback's duel nature
as innovator and anthropophagist gave the role that they played in Weird Tales
history a special irony. For not only did the paperback help kill<i> Weird
Tales</i> by taking readership away from <i>the unique magazine</i>, but by
cannibalizing Weird Tales corpse did they also manage to give it a pseudo form
of life. The magazine literally becomes one of the Undead! Weird Tales truly
became the magazine that never died.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">The very first time that I remember actually being
conscious of the name <i>Weird Tales</i> and understanding that it was a, at
the time, defunct magazine was while reading the introduction to the 1971 <i>Scholastic
Books</i> collection <i>The Shadow over Innsmouth and other Stories of Horror</i>.
I think I actually got a nose bleed trying to wrap my 10 year old brain this
collection's Lovecraftian delights such as <i>The Festival</i>, <i>The Colour
out of Space</i> and <i>The Shadow over Innsmouth</i>! And even when I didn't
know what <i>Weird Tales</i> actually was, I sure as hell knew that it must
have been something mighty special by the time I finished that collection of
stories! It still boggles my mind to this day that Scholastic was peddling Lovecraft
to 10 year olds. May the gods bless who ever was on their board of advisers.
And on a side note; only after producing a physical copy of the book did my
fourth grade teacher Mrs. Sennef let me get away with <b><i>colour</i></b> on a
spelling test.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">This was how Weird Tales became a larger than life
living entity to me. I had already discovered horror at this time, but it was only
after reading that Scholastic edition of <i>Baby's First Lovecraft did </i>I
actually start to bother paying attention to or even start caring about where
all these wonderful tales came from. And From then on it was an entirely new
world.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Once I started checking out the copyright pages, of
the horror paperbacks I was buying, I noticed that <i>Weird Tales </i>was all
pervasive. And even though I didn't know it until many years later,<i> Popular
Fiction Publishing Co.</i>, which was practically the 2<sup>nd</sup> most
common copyright source in these collections, was also <i>Weird Tales. </i>You
couldn't get away from the magazine even if you were deranged enough to want
to. I also discovered that such divine, in my eyes, personages as <i>August
Derleth</i> and <i>Lin Carter </i>held the magazine in the highest esteem. Even
my beloved Alfred Hitchcock collections <i>Monster Museum</i> and <i>Ghostly
Gallery </i>were reprinting stories from <i>Weird Tales. </i>You have to
understand that up until the 1980s, horror anthologies with original content
were extremely rare creatures. The anthologists back then were scavengers of
the most special sort. They weren't feeding on carrion. They were taking, for
the most part, only the choicest cuts. And being such fine connoisseurs, the
corpse that they fed upon the most was <i>Weird Tales</i>. I have to be fair
and point out that this was simply how business was done back then. They
obviously took the most economical path and reprinted stories from the fiction
and pulp magazines. And as the old saying goes, if you’re going to steal, then
steal from the best. And <i>Weird Tales</i> had the best. Just consider their
top rank authors,<i> Lovecraft</i>, <i>Bob Howard</i>, <i>Clark Ashton Smith</i>,
<i>Catherine Moore</i>,Henry Kuttner, <i>Robert Bloch</i> and <i>Ray Bradbury</i>.
To this day these people are the personification of weird fiction. Even <i>Weird
Tales`</i> second tier writers such as <i>Seabury
Quinn</i>, <i>August Derleth</i>, Mary Elizabeth Counselman, Edmond Hamilton,
Robert Arthur and Davis Grubb stood head and shoulders above most other genre
writers of the time.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">One of the earliest Weird Tales plunderings was <i>Ballantine
Books'</i> edition of <i>Ray Bradbury's October Country</i> which appeared in
1956. This is a quasi-reprinting of the earlier <i>Arkham House</i> edition of <i>Dark
Carnival, a</i> collection of Mr. Bradbury's early horror stories. Several of
which were debut stories written for Weird Tales. The trend really took off in
1959 when </span><st1:place><i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Avon</span></i></st1:place><i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> Books Cry Horror!</span></i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> took the post-Weird Tales reprint route by being the first HPL
collection to appear in paperback after the magazine folded. This is an <i>iffy</i>
honour since it's actually a reprint of </span><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Avon</span></st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">'s 1947 HPL
collection <i>The Lurking Fear. </i>Still, if for nothing else, this
collection, with its memorable <i>Richard Powers</i> cover, does have the
honour of being the very collection that introduced Mr. <i>Ramsey Campbell</i>
to the works of that oh so weird gentleman from Providence. </span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">One of the earliest multi-author paperback collections
to feast heavily upon the magazine's remains, after it's untimely, undeserved
and ultimately non-final demise was <i>The Macabre Reader</i> edited by<i>
Donald Wolheim</i> back in 1959. This volume contained stories culled almost
exclusively from <i>Weird Tales</i>. <i>The Macabre Reader</i> utilized
wonderful stories from authors such as H. P. Lovecraft, Robert Bloch, Clark
Ashton Smith and Robert E. Howard along with other lesser known but just as
talented word smiths. Strangely, as far as I know, this was one of the few
horror anthologies that <i>Ace</i> ever published. It would be such publishers
as </span><st1:city><st1:place><i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Belmont</span></i></st1:place></st1:city><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">, <i>Pyramid</i>, <i>Manor </i>and <i>Lancer</i> who
would almost immediately pick up the ball that Ace dropped. Luckily for us <i>Mr.
Wolheim</i> did not repeat this mistake when he left <i>Ace Books</i> in 1971
to establish <i>DAW Books</i> a year later in 1972.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Not wanting to denigrate Ace, Mr. Wolheim did manage
to publish two volumes of <i>Edmond Hamilton's Interstellar Patrol</i> stories
which originally appeared in Weird Tales during the late 1920s when he was
still at <i>Ace</i>.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">The 1960s were a good time for fans of the magazine
that never died. Both the H. P. Lovecraft and Robert E. Howard booms/revivals
kept the memory of the magazine alive. There wasn't a single introduction
written for these collections that didn't fail to mention the significance of
Weird Tales and to mourn it's passing. Most of these introductions were written
by August Derleth who was himself a member of the original <i>Lovecraft Circle</i>,
Weird Tales author, and editor and co-founder of <i>Arkham House Publishing</i>
which did more than any other entity has ever done to keep Weird Tales alive in
hardback format. During the early 1960s it was </span><st1:city><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Belmont</span></st1:place></st1:city><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> books, capitalizing on the success of Alfred
Hitchcock’s <i>Psycho, who </i> published
4 volumes of Robert Bloch stories. These four collections from </span><st1:city><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Belmont</span></st1:place></st1:city><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> reprinted the two <i>Arkham House</i> collections
that contained Mr. Bloch's entire Weird Tales output from the 1930s and 1940s.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">It was also during this period that <i>Pyramid Books</i>
brought out four volumes of horror that used exclusively <i>Weird Tales</i>
contents. These four collections were "edited" by <i>Leo Margulies</i>
with much of the work being done by genre historian <i>Sam Moskowitz</i>. These
were <i>The Unexpected</i>, <i>The Ghoul Keepers</i>, <i>Weird Tales,</i> and <i>Worlds
of Weird</i>. These were all multi-author collections that highlighted the
width and breadth of the type of story that appeared in <i>Weird Tales</i>. As
a bonus to collectors, the covers were done by <i>John Schonherr</i> and <i>Virgil
Finlay</i>. <i>Sam Moskowitz</i> then went on to publish three <i>Weird Tales </i>collections
for <i>Berkley Medallion</i> at the beginning of the 1970s called <i>Horrors
Unseen</i>, <i>Horrors in Hiding</i> and <i>Horrors Unknown</i>.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">One of the strangest examples of cannibalizing the
cannibals was <i>Avon Books</i> attempted revival of <i>The </i></span><st1:place><i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Avon</span></i></st1:place><i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> Fantasy Reader. </span></i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">1969 saw </span><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Avon</span></st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> release both <i>The Avon Fantasy Reader</i> and <i>The Second Avon Fantasy
Reader</i>. These were edited by Donald Wolheim who did some serious double-<i>Double
Dipping</i>. The original Avon Fantasy Reader could probably be considered the
missing link between pulps and paperbacks. It was a digest sized magazine that
was distributed like a paperback. The <i>Fantasy Reader</i> ran from 1947 to
1952 and relied exclusively on reprinting already classic material, with a new
issue appearing only after the previous issue turned a profit. And of course it
is no surprise that Weird Tales was a very large source of material for the
digest. So what Mr. Wolheim did was to reprint material that have been first
reprinted in the digest during its original 5 year run that had ended 17 years
earlier. So what you bought was two collections reprinting reprints. Thank the
gods that at least <i>Weird Tales</i> appeared on the copyrights page.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Lin Carter</span></i><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> has a special place among the ranks of Weird Tales preservationists and
revivalists. During the late 1960s and early 70s he edited and reprinted many <i>H.
P. Lovecraft</i> and <i>Clark Ashton Smith</i> collections as part of his Adult
Fantasy Series published by <i>Ballantine</i>. Mr. Carter never failed to sing
praises to <i>Weird Tales</i> from the roof tops in his numerous introductions
to the collections in this series. At the beginning of the 1980s Mr. Carter
even went as far as to revive <i>Weird Tales</i> in paperback format for four
issues. This incarnation wasn't a darling of the critics, but I found it to be
enjoyable and true to the original vision of the magazine. Even if Mr. Carter's
editing of the Lancer Conan editions along with <i>L. Sprague de camp</i> is
highly controversial, this more than made up for by championing the cause of
Weird Tales Magazine and weird fiction in general. Thank you Mr. Carter, I
drink to your Shade!</span><span lang="EN-GB"><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Weird Tales was also kept alive in the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> thanks mostly to anthologists <i>Peter Haining</i>, <i>Christine
Campbell Thompson</i>, <i>Kurt Singer</i>, <i>Mike Ashley,</i> and August
Derleth. <i>Peter Haining</i> alone, edited over a dozen anthologies that
utilized <i>the unique magazine</i>. Most notable were his two Weird Tales <i>best
of </i>collections <i>Weird Tales</i> and <i>More Weird Tales. </i>Mrs.
Thompson was active during 1930s by publishing a series of </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> hardback horror anthologies know as the <i>Not at
Night</i> collections. Four of these collections were reprinted during the 1960s
and early 70s. Kurt Singer was also not opposed to using many post WWII era <i>Weird
Tales</i> stories to fill up many of his anthologies. But <i>Mike Ashley</i>
has the honour of printing the first Weird Tales tribute collection in the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> with 100 % Weird Tales content called <i>Weird
Legacies. </i>This collection came out in 1977. One year before Peter <i>Haining's</i>
two <i>Best of </i>collections. It must be noted that the situation with <i>August
Derleth</i> is the strangest by far. During his time running Arkham House, Mr.
Derleth edited and published 8 horror anthologies consisting entirely of
reprinted material. And as usual in the situation, these collections relied heavily
on <i>Weird Tales</i> as the source of many of the stories used. Now here is
what seems so odd with the situation surrounding these eight collections All
were reprinted in the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> as paperbacks while only two of them were released in this format in
the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">U.S.</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> The two that were released as Stateside paperbacks
were <i>Stories from Sleep no More</i> and <i>Nights Yawning Peal</i>. This is
a terrible shame considering the high quality of content in these eight
collections. Mr. Derleth was an outstanding editor and anthologist who was
always digging up lesser known but superb stories from the pages of Weird Tales.Two
prime examples of which are Clark Ashton Smith's <i>The Seed from the Sepulchre
</i>and<i> The Canal by Everil Worrell.</i></span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">The </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> also was fortunate in that they saw many single
author collections being published several years before they ever appeared in
the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">U.S.</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> One notable example was the two volume collection
which consisted of <i>Jumbee and other Voodoo Tales</i> and <i>The Black Beast.
</i>Both of these<i> volumes </i>showcased the <i>Weird Tales</i> appearances
of the Rev.<i> Henry S. Whitehead</i> for the first time in paperback. Two
collections of <i>Carl Jacobi's</i> weird tales were also available in the </span><st1:country-region><st1:place><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">UK</span></st1:place></st1:country-region><span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> several years before any American paperback
collections of Mr. Jacobi's works appeared. And I can't neglect to mention that
the number of British paperbacks collecting Lovecraft, Howard and Smith during
their initial revivals were just as large, numerous and popular as they were in
the States.</span><span lang="EN-GB"><o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">So even with the magazine's blood on their hands, the
paperback houses and their editors were the driving forces behind keeping <i>Weird
Tales</i> alive in the hearts and imaginations of millions of readers who never
had the opportunity read the magazine during its initial incarnation.</span><span lang="EN-GB"><o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">I don't know whether it was luck or fate, but the
trend of using magazine reprints as the main source of material for paperback
anthologies lasted up till the beginning of the 1980s when the publishers
switched over to using more and more original material for their anthologies.
Even though Lovecraft, Howard and Smith are all still around in paperback
format, most other <i>Weird Tales </i>authors are now the stuff of inter-net
auctions, small specialty publishers or simply forgotten. What's amazing for <i>Weird
Tales Magazine</i> itself, was that this trend in paperback anthologies using
only original material would have removed the magazine from the consciousness
of younger and newer genre readers. But
it was exactly at the same time that this shift in focus was happening that Lin
Carter attempted <i>his Weird Tales </i>re-launch paperback which only lasted
for four issues from 1980 until 1983. All was mostly quit for the next few
years and it looked dire for the unique magazine's memory and legacy. But, it
was then during 1988 that the magazine was finally revived and still exists to
this day, 25 years later.<o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">So even though the paperback played a major role in
killing the pulps, it also saved Weird Tales from becoming simply a footnote in
the history of the genre. Just by looking at my own collection alone and using
Justin Marriot's <i>Paperback Fanatic Weird Tales Special</i> as a quick
reference, I've counted 58 multi-author anthologies that each use at least
several Weird Tales stories each. If you want to count single author
collections, then the number would at least double. That's quite a legacy for a
magazine that was supposedly dead at the time. I guess that this proved for
once and for all that Weird Tales truly is the magazine that never died.<o:p></o:p></span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;"> Thanks fro stopping by!</span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Take care.</span></div>
<div style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-GB" style="font-family: Arial; font-size: 13.5pt; line-height: 200%; mso-ansi-language: EN-GB;">Doug</span></div>
<div style="line-height: 200%; margin-bottom: 0.0001pt; text-align: right;">
<span lang="EN-GB"> All Scans were made by me from books in my collection.</span></div>
<div style="line-height: 200%; margin-bottom: 0.0001pt; text-align: right;">
<span lang="EN-GB">Doug Draa</span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com8tag:blogger.com,1999:blog-579888615790908107.post-53754290614605496752013-09-01T16:45:00.001+02:002013-09-01T16:45:24.976+02:00Alfred Hitchcock's MONSTER MUSEUM edited by Robert Arthur<!--[if gte mso 9]><xml>
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<b><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Alfred Hitchcock’s </span><span lang="EN-GB" style="font-family: Arial;">Monster</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Museum</span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"><b>Edited by Robert Arthu</b>r</span></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Random House 1965</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Armada Lion 1973</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">My Random House 1965 hardback </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8tGSfMsGukmrH4_4Ou_a9osRxg3fQAbpkOsk_d7_ZmI6mZ0GRNL0Z_IxzfbEwdJPJg7dmh0hYKeyMgs5t4ANCEKpUehKFFwsdaeeq0FHvdBUmhCvfguK56pFX_f0l06rBGLT_7W4YRAc/s1600/mm-random.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8tGSfMsGukmrH4_4Ou_a9osRxg3fQAbpkOsk_d7_ZmI6mZ0GRNL0Z_IxzfbEwdJPJg7dmh0hYKeyMgs5t4ANCEKpUehKFFwsdaeeq0FHvdBUmhCvfguK56pFX_f0l06rBGLT_7W4YRAc/s640/mm-random.jpg" width="446" /></a></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> The 1973 Armada paperback "sissy" edition</span><br /><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jqaJQ2WIgNgoVlQFgLRgrqbm38OiiCokcKsl5Ea-f6GxKnhq8y2BDn5HCKNiVNtuQ8KZnmgo1HpQ3ft2qxsGEzjWvi2HiK5lj7h5XLf4KT-Ca51KqVQHx0nlZYY23gYp5gAxHgvfMJA/s1600/mm-armada-1973.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_jqaJQ2WIgNgoVlQFgLRgrqbm38OiiCokcKsl5Ea-f6GxKnhq8y2BDn5HCKNiVNtuQ8KZnmgo1HpQ3ft2qxsGEzjWvi2HiK5lj7h5XLf4KT-Ca51KqVQHx0nlZYY23gYp5gAxHgvfMJA/s640/mm-armada-1973.jpg" width="398" /></a></div>
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<b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Contents:</span></b></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">· Introduction: A Variety of Monsters · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s124.htm#A2125"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Alfred Hitchcock</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · in </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">1 · The Day of the Dragon · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s95.htm#A1374"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Guy Endore</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · nv <i>Blue Book</i> Jun
’34 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">29 · The King of the Cats · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s24.htm#A318"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Stephen Vincent Benét</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Harper’s
Bazaar</i> Feb ’29 </span></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">46 · Slime · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s44.htm#A510"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · nv <i>Weird
Tales</i> Mar ’53 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">73 · The Man Who Sold Rope to the Gnoles · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s218.htm#A4087"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Idris Seabright</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>F&SF</i>
Oct ’51 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">79 · Henry Martindale, Great Dane · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s77.htm#A1105"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Miriam Allen deFord</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Beyond
Fantasy Fiction</i> Mar ’54 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">95 · The Microscopic Giants · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s95.htm#A1394"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Paul Ernst</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Thrilling Wonder
Stories</i> Oct ’36 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">114 · The Young One · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s28.htm#A389"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jerome Bixby</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · nv <i>Fantastic</i> Apr
’54 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">144 · Doomsday Deferred · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s133.htm#A2340"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Will F. Jenkins</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>The
Saturday Evening Post</i> </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Sep 24 ’49</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">162 · Shadow, Shadow, on the Wall · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s239.htm#A4439"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Theodore Sturgeon</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Imagination</i>
Feb ’51 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">174 · The Desrick on Yandro [</span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/f8.htm#A293"><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">John</span></i></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">] · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s258.htm#A4851"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Manly Wade Wellman</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>F&SF</i>
Jun ’52 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">188 · The Wheelbarrow Boy · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s192.htm#A3503"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Richard Parker</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Lilliput</i>
Oct ’50 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">193 · Homecoming · </span><span style="font-family: Arial;"><a href="http://www.philsp.com/homeville/isfac/s37.htm#A483"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ray Bradbury</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> · ss <i>Mademoiselle</i> Oct
’46 </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">“Monster Museum” is my favourite of the three “Alfred Hitchcock” young
reader’s horror anthologies that came out in the 1960s when I was just starting
grade school. I’m still amazed to this very day that they got away with
peddling such grizzly fare to little kids. Not that you’ll ever see me
complaining.<span style="mso-spacerun: yes;"> </span>I think that simply fact is
that horror stories being offered to children was underneath any sort of PC
radar that might have existed back then. There are some seriously grisly
stories in this collection. Two tales deal with the probable end of the world,
three with grisly agonizing deaths and one with child abuse. Those are some
pretty heavy themes for a ten your old to wrap their mind around. Of course
there’s nothing unusual when you realize that the stories are all pulp magazine
reprints selected by Robert Arthur. All of these tales originally appeared in
such magazines as Blue book, Fantastic and Weird Tales. Not a single one of
them was written with children in mind. I’m extremely happy though that Robert
Arthur and the folks at Random house decided that these stories were just the
thing to get youngsters interested in reading. I know that these Alfred
Hitchcock horror anthologies changed my life by turning me into a life long fan
of the macabre.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Robert Arthur is probably the most read, but least known or appreciated
anthologist of the 20<sup>th</sup> century. He was responsible for almost all
of the Alfred Hitchcock anthologies up till the middle 1970s. He was also a
fine writer of mystery and horror. His most famous novels have to be the firsts
20 or so books in the “Three Investigator” series that was released under the
Alfred Hitchcock by-line. </span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Now let’s take a look at a few of the stories that left such an
impression on me that I haven’t forgotten them even after more than 41 years.</span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Slime by Joseph Payne Brennan</span></span></b></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> Mr. Brennan was one of the last great “Weird Tales” authors to arise
during the magazines final years of its first incarnation. “Slime” is a
wonderfully gory and chilling story of a living mass of slime, which due to a
massive undersea earth quake, gets washed up on a </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">New England</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> beach only to
wreck death and havoc on a small community before being roasted alive by a
national guardsman wielding a flamethrower. </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Reading</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> about hunters,
boyfriends and hobos getting ingested alive in the most horrible manner
imaginable makes this an excellent bedtime reading for small children. God
bless you Mr. Arthur! I did feel sorry for one particular dog though.</span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“The Man who sold Rope to the Gnoles” by Idris Seabright (<span class="st">Margaret St. Clair)</span></span></span></b></div>
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<span class="st"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> A rope salesman tries something that no other salesman
before him ever succeeded at. He decides to sell rope to the Gnoles. The Gnoles
are a race of gnome like beings. They are small in stature, tentacled and possessing
jewelled eyes. It turns out that the Gnoles eat flesh and don’t like being
cheated. The rope peddler doesn’t know this and goes about swindling the Gnoles
to his regret. He is bound with his own samples, taken prisoner, put in the
pens, fattened and slaughtered ( without being tortured) in the most humane
manner.<span style="mso-spacerun: yes;"> </span>The story is told in such a
gleefully low key manner that makes it’s ending all the more horrible. I go
back and re-read this one every few years. </span></span></div>
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<span class="st"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Mrs. Sinclair was one of Weird Tales magazine’s most
popular writers during its later years. She used the “Seabright” pseudonym when
selling stories to other magazines.</span></span></div>
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<b><span style="font-size: large;"><span class="st"><span lang="EN-GB" style="font-family: Arial;">“Doomsday Deferred” by Paul Ernst</span></span></span></b></div>
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<span class="st"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> “Doomsday” has to be the first ant oriented horror
story that I can remember reading. IA young and ambitious </span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Lepidopterist is
underway in the </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Amazon</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Basin</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> looking for one
of the worlds most valuable butterflies. He is contacted by a poor farmer from
the interior who promise the young man all the butterflies and cocoons he wants
in exchange for 50 head of cattle to be shipped upriver to the farmer’s small
parcel of land lying between the river and the jungle’s edge.<span style="mso-spacerun: yes;"> </span>To seal the deal the farmer even leaves a
large amount of gold nuggets behind as collateral. The young Lepidopterist
puzzled by the whole situation tells the farmer that with so much money he can
buy all the cattle he needs with out also having to search for butterflies and
cocoons. The farmer says he can’t stay away from his farm for such a length of
time needed to travel down river to make the purchase on his own. The young
scientist agrees to assist him. A few days later he visits the farmer’s small
piece of land. Anyways it turns out that a colony of dreaded Army ants have
finally become sentient and are using the farmer to assist them in obtaining
enough food to be able to leave the jungle for the wider world outside.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">This was written when the theory of “Hive Minds” was first publicized
and uses this theory in a very effective manner. The story is genuinely
frightening in its implications. <span style="mso-spacerun: yes;"> </span>And
once more it’s great to consider what they were thinking when they decided to
add this one to a children’s anthology. You have various farm animals and a
family getting eaten alive by ants before the story is over.<span style="mso-spacerun: yes;"> </span>This is another masterpiece of “grue” chosen
by Mr. Robert Arthur. Bravo Robert!</span></div>
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<span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial;">“The Desrick on the Yandro” by Manly Wade Wellman</span></b></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> “Desrick” is the first “Silver John/John the Balladeer” that I ever
read. Silver john was a balladeer who wandered the back ways of Appalachian
North Carolina. s always coming to the assistance of the mountain folk who were
being threatened by various supernatural entities and dangers. To combat these
evils John would use his belief in God and his own knowledge of white magic.
These have to be some of the most beautifully written fantasy/horror tales that
have ever been written.<span style="mso-spacerun: yes;"> </span>This particular
story deals with disbelief, arrogance, greed, unrequited love and revenge, with
some really cool Appalachian monsters thrown in.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">These stories are still in print, so go to Amazon and buy the collection
“Who Fears the Devil?”. You be glad that you did.</span></div>
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<span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial;">“Homecoming” by Ray Bradbury.</span></b></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> “Homecoming” has to be one of Mr. Bradbury’s most famous stories. It is
also the greatest Halloween story ever written. Did you know that the “Family”
is also the inspiration for “The Addams Family”? Well now you do!</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Timothy is the only mundane/mortal member in a family of immortal, but
completely human in their own way, family of monsters. It’s Halloween and the
“Family’s” once in a hundred years reunion is being held at timothy’s family
house. The story describes Timothy’s excitement over the upcoming festival and
also his sadness at being an outsider within his own family, and one who is
doomed to die a mortal death one day. This story captures the feeling and
spirit of Halloween and the autumn season. It’s spooky and bitter sweet. Just
like many of the best childhood memories are.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> “</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Monster</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Museum</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">” is a wonderful
collection of stories culled from the pulps, by a master anthologist, which is
by no means “just for young readers”. It’s fairly easy to find at affordable
prices on EBay of Abebooks. So please do yourself a big favour and look it
up.<span style="mso-spacerun: yes;"> </span>I have to point out that only the
hardback Random House edition has the monumentally cool interior art by Earl a.
Mayan.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Take care and thanks for stopping by.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Doug</span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com10tag:blogger.com,1999:blog-579888615790908107.post-9429166015409038882013-07-18T21:24:00.000+02:002013-07-18T21:24:17.732+02:00Weird Tales and Worlds of Weird edited by Leo Margulies<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: x-large;">Leo Margulies' <span style="font-style: normal;"><b>Weird
Tales</b></span> Anthologies</span></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">Weird Tales</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">Pyramid Books. May 1964</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">$0.50</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span>
</div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">Worlds of the Weird</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">Pramid Books , January1965</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;">$0.50</span></div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;"> <span style="font-size: small;">My copy</span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiumsCWV47lI7AmuHKwFo_1MKHvB2Z3P9pAakoXycT0Cs5SlIfVaSr08vJvJk8_047EK-KU3PHmnVjMcmEjIZqXQtJSfta6hUqPieXYJaXK_WancFvAdR7bGXdURcYT6H1P36OxpWAVI4/s1600/weird-margulies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiumsCWV47lI7AmuHKwFo_1MKHvB2Z3P9pAakoXycT0Cs5SlIfVaSr08vJvJk8_047EK-KU3PHmnVjMcmEjIZqXQtJSfta6hUqPieXYJaXK_WancFvAdR7bGXdURcYT6H1P36OxpWAVI4/s640/weird-margulies.jpg" width="380" /></a></div>
<span style="font-size: large;"><br /></span>
</div>
<span style="font-size: large;">
</span>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-size: large;"><b>„Weird Tales“
Contents:</b></span></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<ul>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">9 •
</span><a href="http://www.isfdb.org/cgi-bin/title.cgi?134786">Introduction
(Weird Tales)</a><span lang="en-US"> • (1964) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?10606">Leo
Margulies</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">13 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63336">The
Man Who Returned</a><span lang="en-US"> • (1934) • shortstory by
</span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?249">Edmond
Hamilton</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">27 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?78247">Spider
Mansion</a><span lang="en-US"> • (1942) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?38">Fritz
Leiber</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">47 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?87785">A
Question of Etiquette</a><span lang="en-US"> • (1942) •
shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152">Robert
Bloch</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">59 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?574249">The
Sea Witch</a><span lang="en-US"> • (1937) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?766">Nictzin
Dyalhis</a><span lang="en-US"> (variant of </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?86972"><span lang="en-US"><i>The
Sea-Witch</i></span></a><span lang="en-US">) </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">91 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41901">The
Strange High House in the Mist</a><span lang="en-US"> • (1931) •
shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165">H.
P. Lovecraft</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">101 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?190811">The
Drifting Snow</a><span lang="en-US"> • (1939) • shortstory by
</span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?825">August
Derleth</a><span lang="en-US"> [as by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?11121">Stephen
Grendon</a><span lang="en-US"> ] </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">113 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?86919">The
Body-Masters</a><span lang="en-US"> • (1935) • shortstory by
</span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1123">Frank
Belknap Long</a><span lang="en-US"> </span>
</div>
</li>
<li><span lang="en-US">127 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?61899">Pigeons
from Hell</a><span lang="en-US"> • (1938) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?822">Robert
E. Howard</a><span lang="en-US"> </span>
<br />
</li>
</ul>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br />
My copy<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Vk892HuGUHQAjsnQSbEehdBLtj1oFOBoGBBEa0g1xZEuI_50KHBmcH3GQvudA2mJIPL7aWSyxgeiTjsRJVqDUMqHBU1bwdZiTreDVrky0cqfTF_3L1jpPnTiOWSud2JEQYsSbiwQ57g/s1600/worlds-weird-margulies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Vk892HuGUHQAjsnQSbEehdBLtj1oFOBoGBBEa0g1xZEuI_50KHBmcH3GQvudA2mJIPL7aWSyxgeiTjsRJVqDUMqHBU1bwdZiTreDVrky0cqfTF_3L1jpPnTiOWSud2JEQYsSbiwQ57g/s640/worlds-weird-margulies.jpg" width="386" /></a></div>
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<b><span style="font-size: large;">„Worlds of Weird“
Contents:</span></b></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<ul>
<li><div style="margin-bottom: 0cm;">
<a href="http://www.isfdb.org/cgi-bin/title.cgi?998810">Worlds
of Weird</a><span lang="en-US"> • interior artwork by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1084">Virgil
Finlay</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?120925">The
Forgotten Creator of Weird Tales</a><span lang="en-US"> • (1965) •
essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?837">Sam
Moskowitz</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">15 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65371">Roads</a><span lang="en-US">
• (1938) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?755">Seabury
Quinn</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">49 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?70735">The
Sapphire Goddess</a><span lang="en-US"> • (1934) • novelette by
</span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?766">Nictzin
Dyalhis</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">81 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?61894">The
Valley of the Worm</a><span lang="en-US"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?25542">James
Allison</a><span lang="en-US">] • (1934) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?822">Robert
E. Howard</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">103 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?61228">He
That Hath Wings</a><span lang="en-US"> • (1938) • novelette by
</span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?249">Edmond
Hamilton</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">127 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65375">Mother
of Toads</a><span lang="en-US"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?30783">Averoigne</a><span lang="en-US">]
• (1938) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?819">Clark
Ashton Smith</a><span lang="en-US"> </span>
</div>
</li>
<li><div style="margin-bottom: 0cm;">
<span lang="en-US">135 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?57099">The
Thing in the Cellar</a><span lang="en-US"> • (1932) • shortstory
by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1124">David
H. Keller, M.D.</a><span lang="en-US"> </span>
</div>
</li>
<li><span lang="en-US">143 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?79442">Giants
in the Sky</a><span lang="en-US"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1123">Frank
Belknap Long</a><span lang="en-US"> </span>
<br />
</li>
</ul>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
It's „Weird Tales“
week here at the<i> Bunker</i><span style="font-style: normal;">!</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
„Why“,
do you ask, „Is it Weird Tales week?“</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Well,
I'll tell you.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Since
last week I am the new „contributing editor“ over at </span><i>Weird
Tales Magazine</i><span style="font-style: normal;">!</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
It's
true! The magazine that never dies is still alive and kicking and I'm
officially part of it. And to celebrate this I figured that this
would be “Weird Tales Week”!</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Ok,
and to be honest I needed to get off my lazy butt and provide some
content here.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-style: normal;">These
two paperbacks first crossed paths with me during the early 70s. I
was already aware of Weird Tales at the is time from the
introductions and copyright pages of several other horror anthologies
that I had read. So I new that the magazine must have been something
special if it was home to H. P. Lovecraft and Robert E. Howard among
many others. There was nothing that I loved more as a kid than to see
the phrase “copyright Weird Tales Magazine 193*. Seeing that phrase
guaranteed good time ahead.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<span style="font-style: normal;">Almost
every major genre writer of the first half of the twentieth century
appeared at one time or another between the covers of the </span><i>Unique
Magazine.</i></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
If I
was to pick a definitive “WTs” collection from among the many
that appeared since these, the first of many “WTs” tribute
anthologies to be published, came out I would honestly say that to
this day no one has topped the choice of Stories made by Mr.
Margulies.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Leo Margulies was a master editor and anthologist. He reportedly
edited 46 magazines. Among which were <i>Startling Stories,
Fantastic Universe, Thrilling Mystery</i> and <i>Thrilling Wonder
Stories. </i>Later on from the late 40s up to the middle 1960s he
edited 12 paperback SF and Horror anthologies. Being from the pulp
era gave him great familiarity with the writers and stories of that
age. His choice of stories for these two anthologies were totally
lacking in any pretensions other than picking stories that were well
written, representative of the magazine and highly entertaining.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Another
thing that I like about his choice of stories is that they are
neither obscure <i>Forgotten Treasures</i> nor tales that had alredy
been reprinted to death up to that time.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
So if
anyone ever asked me “what was <i>Weird Tales</i> about?” I would
just hand them these to slim paperbacks.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Now
let's take a look at <b>some</b> of those stories!</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>The
Man who Returned</b> by <i>Edmond Hamilton</i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Even
though Ed is most famous as a SF writer he was a heavy duty WTs
contributor back in the 1920s and 30s. TMwR tells the story of some
poor schmuck who wasn't quite dead when he was interred in the
mausoleum. He wakes up an heads back to town where he does a bit of
window peeping on his friends and family only to discover that even
though he might not be better of dead,everyone else in his life is
better off with him dead. The story ends with him returning to the
mausoleum,climbing back in his casket and closing the lid on himself.
This shook me up quite a bit when I read it back in 71 or so.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>Spider
Mansion</b> by <i>Fritz Leiber</i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Spider
Mansion is so goofily bad that Mr. Leiber had to have been pulling a
fast on and wrote this actually as a satire of Pulp Tropes without
ever bothering to let anyone in on the joke. That just has to be the
case here. Fritz Leiber never wrote a bad story in his entire career.
Not a single one! So this piece of cheesy schlock just has to be on
purpose.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
A
fellow gets invited out to an old school mates creepy Gothic mansion
out in the boondocks. Upon arrival is seems that his old chum has
been conducting some glandular experimentation. His friend isn't a
insecure midget any more. It seems that he has some how become a
muscle bound seven foot tall megalomaniac! Oh, and there's a spider
the size of a Shetland pony running about the place eating people!
This just has to be a non-self referential piece of satire. I just
can't accept anything else.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>Drifting
Snow</b> by <i>August Derleth</i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
I've
probably mentioned this story half a dozen times since starting the
blog. I'll say it again though. I love this story. It's one of the
finest horror stories ever published and the 2<sup>nd</sup> best
story that Auggie ever wrote.
</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
A
monied Wisconsin family is spending winter weekend t their country
estate way out in the middle of no where. A blizzard come up and the
men of the family are lured by a figure that they see out in the
storm to their deaths. The end up being frozen solid and drained of
blood. Yep, it's those pesky snow vampires. So what does the story
teach us? Never go and kick out young servant girls during blizzard
just because the are in a family way out of wedlock. Especially if
you are the one who knocked them up. Brrrr! Good story!</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>Pigeons
from Hell</b> by <i>Robert E. Howard</i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Old
Two gun Bob shows us,that when he set his mind to it, that he could
writing a genuinely chilling horror story with out having to resort
to buckets “Blood and Thunder”.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
What
we get instead of <i>Swords and Sorcery </i>is two crazy old sisters
and an ex-slave who turn out to be axe welding Zombies who love
dispatching travelers who are foolish enough to spend the night in
their decayed and seemingly deserted southern mansion. There's a lot
more to it than that, I just don't feel like going into it at this
time. Mr. Howard deliver with authentic seeming local color and
history. An intriguing back story and suspenseful plotting. The story
is a genuine classic and even got filmed on on the old <i>Boris
Karloff “Thriller”</i> show.</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>Roads</b>
by <i>Seabury Quinn</i></div>
<div lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Well,
it does qualify as <i><b>Weird</b></i><i><span style="font-weight: normal;">.
</span></i><span style="font-weight: normal;">A Roman soldier who was
at Christ's crucifixion</span><i><span style="font-weight: normal;">
</span></i><span style="font-weight: normal;">is cursed with
immortality and becomes Santa Claus. This is what the creator of “
Jules de Grandin” considered lite fantasy circa 1938.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>The
Valley of the Worm</b><span style="font-weight: normal;"> by </span><i><span style="font-weight: normal;">Robert
E. Howard</span></i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">That
REH is he only author who appears in both volumes goes to show just
how much impact he had on both the magazine and the genre itself.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Valley
of the Worm is one of those stories that you will never forget if
you read it a young enough age. Howard manages to unite his own
Hyborian Age with HPL's Cthulhu Mythos. We get a world spanning
migration of the Aryan race (no, not those Aryans!) as they seek a
new home in a prehistoric world full of dangerous beasts and even
more dangerous humanoids and their primeval Gods from </span><i><span style="font-weight: normal;">beyond.</span></i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">This is absolutely gorgeous story
telling that only REH could write. Read it and you'll </span><i><span style="font-weight: normal;">grok</span></i><span style="font-weight: normal;">
“Blood and Thunder”.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>Mother
of Toads</b><span style="font-weight: normal;"> by </span><i><span style="font-weight: normal;">Clark
Ashton Smith</span></i></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Nobody
did </span><i><span style="font-weight: normal;">weird </span></i><span style="font-weight: normal;">like
CAS. His stories were so different from his contemporaries and so
ahead of their time that it's no wonder (and a shame) that he's not
nearly as adored today as his friends HPL and REH. If I wanted to be
cynical, I'd say part of the problem with his lack of fame is that he
didn't die young and tragically. He just lived to long to become a
legend. His fantasy and horror stories have to be read to be
believed. Imagine mixing REH and HPL together and then ad good doses
of kinkiness and droll humor. That describes CAS in a nutshell. </span>
</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<i><span style="font-weight: normal;">Toads</span></i><span style="font-weight: normal;">
is one of his fantasies set in the imaginary medieval French province
of Averroigne. A place of deep forests, magic, danger and kinky sex.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">I'll
sum the story up in one sentence. A young man gets tricked into
carnally servicing a beautiful witch who turns out to be a ghastly
frog woman.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Sadly
this is the version that got butchered by, the at the time editor,
Farnsworth Wright. </span>
</div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">This
is just the way I like them, weird and nasty.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<b>The
Thing in the Cellar</b><span style="font-weight: normal;"> by</span><i><span style="font-weight: normal;">
Dr. David H. Keller M.D</span></i><span style="font-weight: normal;">.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">This
has to be one of the meanest f##king stories that I've ever read.
It's been said by critics that Dr. Keller was a misanthrope. And
after reading this story you will surely believe that yourself.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">No one believes a little kids fear
of the cellar and so as punishment his father forces the little boy
sit sit alone evenings, alone in the kitchen ,in front of the cellar
door. Well guess what! The little guy gets killed and eaten by what
ever is in the cellar. This story completely blew my mind when I
first read it. Stories aren't supposed to end that way. They should
end with the little guy being saved by his repentant father. With
lots of hugs, tears and forgiveness at the end. Well it sure a s shit
doesn’t happen in this story. Thank you very much Dr. Keller you
old bastard!</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Seriously.
This is a power house in only a few pages. One of the best genuine
horror tales that I've ever read.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Well
that's it this time around.</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<a href="http://weirdtalesmagazine.com/"><span style="font-weight: normal;">Please pay Weird Tales a visit at their own home page</span></a></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<a href="https://www.facebook.com/weirdtalesmagazine?fref=ts"><span style="font-weight: normal;">Or on their wall at Face Book here.</span></a></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
Weird Tales Issue 361 Front and Back covers<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-4ZnY-ORAuPk/Ueg9y7f7eRI/AAAAAAAABtI/xS3oLFwHpIk/s1600/wt361_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-4ZnY-ORAuPk/Ueg9y7f7eRI/AAAAAAAABtI/xS3oLFwHpIk/s640/wt361_cover.jpg" width="486" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lBwiwKNNR2DCOmJSMzixhbqXmKDqNAJpmx3UGEGzHEP4H17l7WX7ggkENUqyLqZQn-9cnTm3tjI-jkCGQkbcWjOtIT3r24mN-9RtqoGSBk2A2CwcGksztvhuAshOAW3RZDBlvDywj7M/s1600/wt361-backcover.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6lBwiwKNNR2DCOmJSMzixhbqXmKDqNAJpmx3UGEGzHEP4H17l7WX7ggkENUqyLqZQn-9cnTm3tjI-jkCGQkbcWjOtIT3r24mN-9RtqoGSBk2A2CwcGksztvhuAshOAW3RZDBlvDywj7M/s640/wt361-backcover.jpeg" width="486" /></a></div>
<br />
<br />
<br />
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Take
care and thanks for stopping by!</span></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div lang="en-US" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-weight: normal;">Doug</span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com5tag:blogger.com,1999:blog-579888615790908107.post-35906463160465608172013-07-06T15:40:00.000+02:002013-07-06T15:40:23.137+02:00The Lurking Fear by H. P. Lovecraft<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span style="font-size: x-large;"><b><span lang="EN-GB" style="font-family: Arial;">The Lurking Fear and other Stories</span></b></span></div>
<span style="font-size: x-large;"><b>
</b></span><div class="MsoNormal">
<span style="font-size: x-large;"><b><span lang="EN-GB" style="font-family: Arial;">By H. P. Lovecraft</span></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Cry Horror (2<sup>nd</sup> </span><span lang="EN-GB" style="font-family: Arial;">Avon</span><span lang="EN-GB" style="font-family: Arial;"> edition of “The
Lurking Fear)</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Avon</span><span lang="EN-GB" style="font-family: Arial;"> Books. 1958. $0.35</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">WDL </span><span lang="EN-GB" style="font-family: Arial;">UK</span><span lang="EN-GB" style="font-family: Arial;"> Edition. 1956 2/6</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Panther 1970</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Beagle Books Arkham House Edition 1971</span></span></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Ballantine 1973</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">
</span></span><div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Ballantine 1982</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">
</span></span><div class="MsoNormal">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">
</span></span><div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Wordsworth Editions 2013</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">
</span></span><div class="MsoNormal">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><ul type="disc">
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41888"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Lurking Fear</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1923) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41893"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Shunned House</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1928) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41896"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In the Vault</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1925) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?322741"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Arthur Jermyn</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?67963"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The White Ape</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> 1920) </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41898"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cool Air</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1928) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41879"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Moon-Bog</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1926) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41881"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Nameless City</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1921) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41891"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Unnamable</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?25903"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Randolph Carter</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1925) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41875"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Picture in the House</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1924) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41877"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Terrible Old Man</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1921) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41886"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hound</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1924) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57480"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Shadow Over Innsmouth</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1936) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?47935"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Shadow Out of Time</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1936) • novella by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">H. P. Lovecraft</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
</ul>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ubpYpmXN8dsHWhVuTpr_mwLBOdBRfxY6BavXf7s_if-198Ia_R3n2uOA2yl6KFNKkpUmNNP7Ph9Noneowq38ZDV0UFa0rLo2F0dz0tFlaYtsILpyUoE109PKpBbTu247bk701B_Gi80/s1600/lurking-avon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ubpYpmXN8dsHWhVuTpr_mwLBOdBRfxY6BavXf7s_if-198Ia_R3n2uOA2yl6KFNKkpUmNNP7Ph9Noneowq38ZDV0UFa0rLo2F0dz0tFlaYtsILpyUoE109PKpBbTu247bk701B_Gi80/s640/lurking-avon.jpg" width="512" /></a></div>
<br />
One of my copies (Richard Powers cover)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-C6YaucLSPqw/UdgO0RxmA1I/AAAAAAAABo0/6u5WhsDLAN4/s1600/lurking-cry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-C6YaucLSPqw/UdgO0RxmA1I/AAAAAAAABo0/6u5WhsDLAN4/s640/lurking-cry.jpg" width="424" /></a></div>
<br />
Another of mine.(John holmes cover)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6EEmYYeE8FiX-UhrDcKD3TszcqJ5qiPTAvifK8yR0Ko1wwVJsqmc8YhyphenhyphenfiHvZoblcrv90lkThZsHl-p6-m6Kc0KdWyfz20vxnV5hwtIrximC0D7kdTHuagD3drhLcenSN6hfHEaB9lw/s1600/lurking-ballantine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6EEmYYeE8FiX-UhrDcKD3TszcqJ5qiPTAvifK8yR0Ko1wwVJsqmc8YhyphenhyphenfiHvZoblcrv90lkThZsHl-p6-m6Kc0KdWyfz20vxnV5hwtIrximC0D7kdTHuagD3drhLcenSN6hfHEaB9lw/s640/lurking-ballantine.jpg" width="380" /></a></div>
<br />
And still another of mine. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibdl0BcFwJdbnTPRtuHxQxJY1R6iUlkwI7JUwnd1MjsIkaVScX4dPJzieAXchGxJaMBGTuRTeQf15V4kV_xwJMAsO8Gekt5xlhLbV3d4-YHWkZeEF4nH-CpHXu4RFWAlQNiS6Q6zp2jjw/s1600/lurking-panther-front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibdl0BcFwJdbnTPRtuHxQxJY1R6iUlkwI7JUwnd1MjsIkaVScX4dPJzieAXchGxJaMBGTuRTeQf15V4kV_xwJMAsO8Gekt5xlhLbV3d4-YHWkZeEF4nH-CpHXu4RFWAlQNiS6Q6zp2jjw/s640/lurking-panther-front.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8l-lU1YWZh35qM7EKGvNdGZHRDmhhjRmvp7AdigfFRuBWgyah8IhrW631yg9YXKxvzLMqavNM7zmAbKL7UGQiP4amPZ97CX1xI6qyLO-mALKVHetMwp5SPswo815bsvVtSqvcK9QlRWQ/s1600/lurking-panther-wrap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8l-lU1YWZh35qM7EKGvNdGZHRDmhhjRmvp7AdigfFRuBWgyah8IhrW631yg9YXKxvzLMqavNM7zmAbKL7UGQiP4amPZ97CX1xI6qyLO-mALKVHetMwp5SPswo815bsvVtSqvcK9QlRWQ/s640/lurking-panther-wrap.jpg" width="640" /></a></div>
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Michael Whelan cover. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj66zqrZC04U40YzQRTX-zKDIGHHYAbS6ZF_h7K92mGTYljnCFnWWNxt2OQvbdXi3CMW1D2fjRD_f6lwJ7qAUWED6gg5cAZUjVRzdXTU2QKGVSM-viKjcPbI4UVMaQ-GJbNrTeQTzOALIk/s1600/lurking-whelan.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj66zqrZC04U40YzQRTX-zKDIGHHYAbS6ZF_h7K92mGTYljnCFnWWNxt2OQvbdXi3CMW1D2fjRD_f6lwJ7qAUWED6gg5cAZUjVRzdXTU2QKGVSM-viKjcPbI4UVMaQ-GJbNrTeQTzOALIk/s640/lurking-whelan.JPG" width="380" /></a></div>
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And this one should be arriving next week! <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveC9nmMlgTmZLkc-BCeSDizSmDkt7s2T6qOnkSxEFsc3LOekFNx1GCgXMVt1mMxPJOIbbUUV7qFYulBUASbHwGzpCJmVeVMH-G0CKA_ESDKujbyy__cxQG_FfusicQvisgGXEvRRwQ50/s1600/lurking-wordsworth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveC9nmMlgTmZLkc-BCeSDizSmDkt7s2T6qOnkSxEFsc3LOekFNx1GCgXMVt1mMxPJOIbbUUV7qFYulBUASbHwGzpCJmVeVMH-G0CKA_ESDKujbyy__cxQG_FfusicQvisgGXEvRRwQ50/s640/lurking-wordsworth.jpg" width="410" /></a></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">“The Lurking Fear” is one of my all time favourite HPL collections.
These are mostly, but not all, transitional stories that bridge his Dunsany
phase and his more mature “Cthulhu Mythos” phase.<span> </span>Some of these tales are not Mr. Lovecraft’s
best writing endeavours, but as sheer entertainment this isn’t a stinker in the
bunch. It’s being re-released next week by “Wordsworth Books” next week and
it’s available at Amazon.com/co.uk/de. And it’s a very affordable edition.
What’s interesting about the publishing history of this collection was that it
was first published by Avon back in 1947and then
re-released in 1958 under the title “Cry Horror2 with an amazing cover by Mr.
Richard Powers. One year later WDL in the UK published an
edition that was identical to the Avon 1958 edition.
This WDL edition is the book that introduced Mr. Ramsey Campbell to HPL and
thus inspired Mr. Campbell into becoming a writer! Thank you WDL! The Beagle
and Panther editions are also identical to one another. The l1973 Ballantine
edition sports so extremely bizarre cover art by John Holmes (no not that John
Holmes!) as part of a uniform series. The 1982 Ballantine edition was part of
the uniform series which all had cover art by Michael Whelan.</span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Now let’s take a look at them there stories!</span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41888"><span lang="EN-GB">The Lurking Fear</span></a><span lang="EN-GB"> • (1923) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
</ul>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Inbred Dutch cannibal mole-men chow
down on hillbillies while chewing of a few faces along the way. There’s lots of
lightening in this one!</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">23 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41893"><span lang="EN-GB">The Shunned House</span></a><span lang="EN-GB"> • (1928) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
</ul>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">It seems that a house plagued by a
century’s long series of unexplained deaths has a jelly vampire buried in the
basement.</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">45 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41896"><span lang="EN-GB">In the Vault</span></a><span lang="EN-GB"> • (1925) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
</ul>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">A cheapskate mortician gets locked
in over night in a vault full of cheated customers and hilarity ensues.</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">51 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?322741"><span lang="EN-GB">Arthur Jermyn</span></a><span lang="EN-GB"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span lang="EN-GB"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?67963"><span lang="EN-GB">The White Ape</span></a></i><span lang="EN-GB"> 1920) </span></span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">A bigot’s worst nightmare comes true.
Grandpa brought Grandma back from darkest </span><span lang="EN-GB">Africa</span><span lang="EN-GB">. Fellow discovers why< non
one ever took any photos of granny and ends up doing the pissed of
Buddhist monk trick.</span></span></span></li>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">59 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41898"><span lang="EN-GB">Cool Air</span></a><span lang="EN-GB"> • (1928) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">HPL’s nastier version of Poe’s “The Case
of M. Valdemar”.</span></span></span></li>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">66 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41879"><span lang="EN-GB">The Moon-Bog</span></a><span lang="EN-GB"> • (1926) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">A rich Yankee moves back to Englad
to restore his family old seat of power and drain the local bog. The villagers
warn against it. He don’t wanna listen though. Only when it’s too late does he
realize that maybe he should have listened after all.</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">72 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41881"><span lang="EN-GB">The Nameless City</span></a><span lang="EN-GB"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB">Cthulhu Mythos</span></a><span lang="EN-GB">] • (1921) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">An archaeologist goes digging in
some ruins of a lost city in the </span><span lang="EN-GB">Arabian Desert</span><span lang="EN-GB">.<span>
</span>He ends up waking some lizard men. There’s tons of wonderful atmosphere
in this one!</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">82 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41891"><span lang="EN-GB">The Unnamable</span></a><span lang="EN-GB"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?25903"><span lang="EN-GB">Randolph Carter</span></a><span lang="EN-GB">] • (1925) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Puritan family locks up freak child
in the attic. It naturally breaks out and kills a lot of folks after it grows
up big and strong on the fish heads that they’d been feeding it. A couple of
centuries later two knuckle head investigators<span>
</span>decide to spend the night on it’s graves. They almost get killed by
something that attacks them in the middle of the night. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><i><span lang="EN-GB">“And
I was too dazed to exult when he whispered back a thing I had half expected—<br />
<span>“No—it
wasn’t that way at all.</span> It was everywhere—a gelatin—a slime—yet it had
shapes, a thousand shapes of horror beyond all memory. There were eyes—and a
blemish. It was the pit—the maelstrom—the ultimate abomination. </span></i></b><b><i><span>Carter, <span>it was the unnamable!”</span></span></i></b></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Duuh! If you can describe it, then I’m also pretty
sure that you can give it a name!</span><span lang="EN-GB"></span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">88 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41875"><span lang="EN-GB">The Picture in the House</span></a><span lang="EN-GB"> • (1924) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">A stranded motorists seeks shelter
in a New England Hillbilly shack.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Lesson: don’t give crazy old
hillbillies picture books. They tend to get ideas!</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">94 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41877"><span lang="EN-GB">The Terrible Old Man</span></a><span lang="EN-GB"> • (1921) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">In </span><span lang="EN-GB">Kingsport</span><span lang="EN-GB"> there lives a crazy old recluse who
pays his bills exclusively with old Spanish Doubloons and who the entire town
is frightened of. A trio of burglars discover to their dismay that the
“Terrible Old Man” turns out to have some serious home canning issues.</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">97 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41886"><span lang="EN-GB">The Hound</span></a><span lang="EN-GB"> • (1924) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Two necrophile collectors of the
bizarre just have to go and dig up something that should ever have been dug up.
They then go and make matters worse by plundering the grave. It’s a shame that
they didn’t count on “Repo-hound’ paying them a visit..</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">103 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?57480"><span lang="EN-GB">The Shadow Over Innsmouth</span></a><span lang="EN-GB"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB">Cthulhu Mythos</span></a><span lang="EN-GB">] • (1936) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
</ul>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">It’ beginning to look a lot like
Fish-Men!!</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Can you say Batrachain? </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Sure, I knew you could!</span></span></span></div>
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<li class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">155 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?47935"><span lang="EN-GB">The Shadow Out of Time</span></a><span lang="EN-GB"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB">Cthulhu Mythos</span></a><span lang="EN-GB">] • (1936) • novella by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a><span> <span lang="EN-GB"></span></span></span></span></li>
</ul>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Creepy
mind swapping from the depths of time!</span></span></span></div>
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">With a
“GASP” shock ending that gets telegraphed from almost the very beginning.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">What I do
find really cool in this story is that even though Mr. Lovecraft wasn’t a
continuity freak if you read it carefully enough he clearly states that Cthulhu
will not rise up from the depths during many tenure on the Earth!</span></span></span></div>
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</span></span><div class="MsoNormal" style="margin-left: 18pt;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Well
that’s it this time around. </span></span></span></div>
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</span></span><div class="MsoNormal" style="margin-left: 18pt;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Take care
and thanks for stopping by!</span></span></span></div>
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Doug</span></span></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com1tag:blogger.com,1999:blog-579888615790908107.post-87543229620935256652013-06-27T07:03:00.000+02:002013-06-27T08:09:27.629+02:00Richard Matheson: The passing of a Master<br />
Hey all,<br />
I didn't get around to posting this earlier this week, here's my piece on Mr. Richard Matheson.<br />
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Photo source: <a href="http://www.examiner.com/article/i-am-legend-writer-richard-matheson-dies-at-87">The Examiner</a></div>
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<strong><span lang="EN-US" style="font-size: 20pt;">The passing of a Master</span></strong></div>
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<strong><span lang="EN-US" style="font-size: 20pt;">RIP RICHARD MATHESON</span></strong></div>
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<span lang="EN-US">Richard Matheson passed away 2 days ago on the 23rd of June 2013. He was 87 years old.</span></div>
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<span lang="EN-US">This is pretty much the end of an era when you consider that he was one of the last living writers to have contributed to Weird Tales Magazine during it’s original incarnation. Mr. Matheson’s first published story was “Born of Man and woman” which was originally published in the July 1950 issue of “The Magazine of Fantasy and Science Fiction”. This would be 63 years ago next month. During the ensuing 63 years Mr. Matheson published 28 novels, the last of which, “Generations appeared in 2012. 21 collections of is short stories have also been published over that last 6 decades! If this literary legacy wasn’t awesome enough, he also wrote 22 screen plays during this time. Many of which were based upon his own novels and short stories. Many of these films have reached legendary status such as Duel, The Incredible Shrinking Man, I am Legend (filmed 4 times), The Roger Corman/Vincent Price/Edgar Allan Poe classics; House of Usher and, The Raven , The Night Stalker and Trilogy of Terror. Who can ever forget the Zuni Fetish doll chasing Karen black around that apartment or Bill Shatner freaking out on that airplane as it gets taken apart by that gremlin directly outside his window seat? I was once asked to describe Mr. Matheson’s stories and I simply (if not completely accurate) said “Ray Bradbury with Teeth”. Mr. Matheson’s stories mostly dealt with horror in modern suburban settings. Very bad things happened in this universe to those who mostly didn’t deserve it. For a younger TV audience I’d say that you could sum up lots of his work as “Mad Men meets Hell Raiser”</span></div>
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<span lang="EN-US">Many of his stories were very hard going for me a youngster. Not because of his straight forward and unadorned writing style, but for the world he presented. It was a world of suburban families, modernity, station wagons and barbeque parties where just beneath the surface or around the next corner lay both natural and supernatural horrors. These stories were dead(ly) serious with no easy resolutions or happy endings. This isn’t to say that Mr. Matheson didn’t have a wicked sense of humor. You just had to look at his screen plays to see how funny he could be. Just take a look at “The Night Stalker”, “The Raven” or “Comedy of Terrors”. These are genuinely funny films of the blackest sort of humor.</span></div>
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<span lang="EN-US">Even if he is unknown to non-genre fans, Mr. Matheson’s work has become so iconic and culturally all persuasive that he has even been copied on the Simpson’s for one of the Halloween shows. That has to be the final proof that you have left your mark on our culture.</span></div>
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<span lang="EN-US">It’s genuine proof of Mr. Matheson’s talent and vision that even stories, novels and screen plays that he produced in the middle of the last century still maintain an edge and a relevancy that speaks to readers today in the second decade of the 21<sup><span style="font-size: x-small;">st</span></sup> century. Don’t forget that many of his most famous works were produced during the age of Eisenhower and they are just as powerful today as they were then. That to me, is a genuine timelessness that few other authors can match.</span></div>
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<span lang="EN-US">God bless you and thank you Mr. Matheson. Where ever you are. </span></div>
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<span lang="EN-US">You have enriched my life, greatly entertained me and lastly; you’ve scared the shit out of many a time.</span></div>
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<span lang="EN-US">I drink to your shade and celebrate your memory.</span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-55761959983191505392013-06-25T16:43:00.000+02:002013-06-25T16:43:16.355+02:00RIP Richard Matheson<div style="text-align: center;">
<span style="font-size: x-large;">Richard Matheson</span></div>
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<span style="font-size: x-large;">1926-2013</span></div>
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<span style="font-size: x-large;">The last of the greats has left us.</span></div>
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<span style="font-size: x-large;">And the world is a lesser place because of it.</span></div>
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<span style="font-size: x-large;">Thank you for that you have given us. </span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-56287163434315738992013-06-23T15:33:00.003+02:002013-06-23T16:54:07.788+02:00The Disciples of Cthulhu<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB">THE DISCIPLES OF CTHULHU</span></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB">Edited by Edward P. Berglunf</span></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB">DAW Books. August 1976</span></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB">Cover Art by Karel Thole.</span></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB">$1.50</span></span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB"> <span style="font-size: small;"> </span></span></span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-large;"><span class="uficommentbody"><span lang="EN-GB"><span style="font-size: small;"> My battered copy</span></span></span></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span class="uficommentbody"><span lang="EN-GB">Contents:</span></span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> Editor's Foreword" by Edward P. Berglund
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "Introduction" by </span><a href="http://en.wikipedia.org/wiki/Robert_Bloch" title="Robert Bloch"><span lang="EN-GB">Robert
Bloch</span></a><span lang="EN-GB"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "The Fairground Horror" by </span><a href="http://en.wikipedia.org/wiki/Brian_Lumley" title="Brian Lumley"><span lang="EN-GB">Brian
Lumley</span></a><span lang="EN-GB"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "The Silence of Erika Zann" by
James Wade </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "All-Eye" by Bob Van Laerhoven </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "The Tugging" by </span><a href="http://en.wikipedia.org/wiki/Ramsey_Campbell" title="Ramsey Campbell"><span lang="EN-GB">Ramsey
Campbell</span></a><span lang="EN-GB"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "Where Yidhra Walks" by Walter C.
DeBill, Jr. </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "The Feaster from Afar" by </span><a href="http://en.wikipedia.org/wiki/Joseph_Payne_Brennan" title="Joseph Payne Brennan"><span lang="EN-GB">Joseph
Payne Brennan</span></a><span lang="EN-GB"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "</span><a href="http://en.wikipedia.org/wiki/Xothic_legend_cycle" title="Xothic legend cycle"><span lang="EN-GB">Zoth-Ommog</span></a><span lang="EN-GB">" by </span><a href="http://en.wikipedia.org/wiki/Lin_Carter" title="Lin Carter"><span lang="EN-GB">Lin Carter</span></a><span lang="EN-GB"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "Darkness, My Name Is" by Eddy C.
Bertin </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span lang="EN-GB"> "The Terror from the Depths" by </span><a href="http://en.wikipedia.org/wiki/Fritz_Leiber" title="Fritz Leiber"><span lang="EN-GB">Fritz
Leiber</span></a></span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Disciples</span></i></b></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> was a rarity when it first came out in 1976. As the editor Mr. Berglund
states in his introduction;</span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">"Whether or not there is a market for the Cthulhu Mythos stories,
established and amateur writers will continue to write them for their own and
their friends' amusement and enjoyment. It is inevitable that one or more
readers of this volume will be influenced into trying his hand at writing
within the Cthulhu Mythos genre."</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">He went on to later state (In
the Chaosium edition) that <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Disciples</i></b> was „</span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">the first
professional, all-original Cthulhu Mythos anthology". This is very easy to
believe since Mythos fiction was not the huge industry 37 years ago that it is
today. Aside from one story I feel that Disciples is a wonderful collection,
aside from one story which we’ll get to later on. It’s a great mixture of well
and lesser know authors.<span style="mso-spacerun: yes;"> </span>There are even
three stories within the covers that have gone on to become fairly famous among
Lovecraft and Mythos fans. I’m talking about the stories penned by Mssrs.
Lumley, Campbell and Leiber. For my tastes the stories have also aged very well
except for the one story which, as I said earlier, we’ll get to in a few
minutes.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The cover by Karol Thole is kind of odd. At first it’s a very striking
illustration, but the more you look at it the uglier it becomes. I can’t quite
put my finger on it but the more I stare at it, the more Cthulhu looks like one
of those dog things from “Ghost Busters”.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Now let’s take a look at the contents.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">“The Fairground Horror” </span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><b><span style="font-size: large;"> Brian Lumley</span></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Horror</span></i></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is a fine example that proves that when Mr. Lumley sticks to Mythos
orthodoxy he can do no wrong. I’ve read this several times over the years in
various anthologies and I always enjoy returning to it. <span style="mso-spacerun: yes;"> </span>I love stories with fair ground settings and <i style="mso-bidi-font-style: normal;">Horror</i> is no exception. A side show
proprietor and full time cultist travelling with a carnival uses Cursed
artefacts in his side show to supply certain Mythos deities with a steady
supply of fresh victims until his brother and a psychic investigator bring his
operation to a blood and gruesome end. </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Like I said, I liked this one
a lot. Especially because Mr. Lumley didn’t take the August Derleth path of
splitting the deities into good guys and bad guys, or make them elementals.
This is purely straight up Mythos and it works extremely well. Mr. Lumely has
never let me down as far as supplying entertaining stories goes.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b><span class="uficommentbody"><span lang="EN-GB">“The Silence of Erika Zann”</span></span></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b><span class="uficommentbody"><span lang="EN-GB"> James Wade</span></span></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Silence</span></i></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is the only other James Wade story aside from “The Deep Ones”
that I have ever run across. I wish though that he had written more such stuff.
Silence is a very neat follow up to “The Music of Erich Zann”.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Silence takes the setting of
the original and moves it up to </span></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">San Francisco</span></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> of the 1960s and the counter culture movement. It seems that Erich
Zann’s grand daughter, Erika, is also an incredibly talented musician and
singer in an electronic avant-garde group. The music performed by her group is
so powerfully moving that it drives audience members insane. And with this
being </span></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">San Francisco</span></span><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> during the late 1960s, it doesn’t help that most of the audience at her
performances have been ingesting huge amounts of psychedelic drug. One thing we
learn in the story is that, before being literally consumed by her own music,
Erika has been getting her back up and arrangements from a “black man”. And you
catch on pretty quickly that by “black man” they don’t mean African-American. I
liked this story quite a bit even though the only thing I could think of while
reading it was “Austin Powers”. Luckily in this case, that helped more than it
harmed.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">"All-Eye" </span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> Bob Van Laerhoven</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">All Eye</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> takes place in
the wilds of northern </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Canada</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> which is another
one of my favourite horror story locations. And since it’s in the wilds of
northern </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Canada</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> we all know which
baddie will be making an appearance. Eye is a fairly short, but atmospheric and
suspenseful story. The ending is a good surprise which I honestly didn’t see
coming.<span style="mso-spacerun: yes;"> </span>The story is quite simple in its
execution. A couple of <i style="mso-bidi-font-style: normal;">air/nature
elementals</i> are playing cat and mouse games with a lost explorer and his
rescuer.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">This one is actually scary.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b><span lang="EN-GB">"The Tugging" </span></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><b><span lang="EN-GB"> </span><a href="http://en.wikipedia.org/wiki/Ramsey_Campbell" title="Ramsey Campbell"><span lang="EN-GB">Ramsey
Campbell</span></a></b></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The Tugging</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is one fine story!
We get to see the cross over transition of Ramsey Campbell the excellent HPL
imitator to being RAMSEY CAMBELL!<span style="mso-spacerun: yes;">
</span>Tugging contains heavy Mythos and Mr. Campbell’s trademark decaying
urban horror. We discover first hand through the investigations of a local
reporter what an early 20<sup>th</sup> century cult and a mysterious planetoid
that is approaching the earth have to do with each other. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Its stories such as this one that made me become the huge Ramsey
Campbell fan that I am today.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> "Where Yidhra Walks"</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> Walter C. DeBill, Jr.</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Yidhra</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is my 2<sup>nd</sup>
favourite story in the collection. It’s basically a take on “The Shadow over
Innsmouth” by HPL. This time the setting is in the desolate hills of rural </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Texas</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">. A man becomes
stranded in a small farming community and discovers why the townfolk don’t care
too much for outsiders. Take <i style="mso-bidi-font-style: normal;">Shadows </i>and
set in the south west and instead of mutant fish men and their god you have
snake men and their god. This is a very effective tale in spite of its core
theme being fairly derivative. I enjoyed the hell out of it though. And it has
a fairly happy end. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">"The Feaster from Afar" </span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> </span><a href="http://en.wikipedia.org/wiki/Joseph_Payne_Brennan" title="Joseph Payne Brennan"><span lang="EN-GB">Joseph
Payne Brennan</span></a></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">When you see the name „Joseph Payne Brennan“you know that you are in for
a good time. And <i style="mso-bidi-font-style: normal;">Feaster </i>is no
exception!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>What I really like about Mr.
Brennan’s tales is that in comparison to HPL who described </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">New England</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> as being visually
attractive, Mr. Brennan describes of a </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">New England</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> that is harsh and
desolate. Mr. Brennan’s locations are not places of scenic beauty.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Feaster
</i>tells of what befalls a writer who rents an isolated hunting cabin for the
fall and winter. The area seems to be haunted by mysterious deaths/murders. It
seems that lone wanderers and livestock are found dead with innumerable tiny
holes bored into their skulls through which their brains have been extracted or
eaten. Damn, that creepy as all hell. <span style="mso-spacerun: yes;"> </span>I
love Mr. Brennan’s ability to build a strong atmosphere of desolation, a superb
sense of place and a good dose of grisly death. That’s just the way I like my
horror stories. Thank you Mr. Brennan where ever you are!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">"</span><a href="http://en.wikipedia.org/wiki/Xothic_legend_cycle" title="Xothic legend cycle"><span lang="EN-GB">Zoth-Ommog</span></a><span lang="EN-GB">" </span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> </span><a href="http://en.wikipedia.org/wiki/Lin_Carter" title="Lin Carter"><span lang="EN-GB">Lin Carter</span></a></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">I better qualify what I’m about to say. I love Lin Carter. I think he
was one of the greatest genre editors that there has ever been. And as far as
I’m concerned he was also a very entertaining, if derivative, writer. I have an
entire shelf on my bookcase that belongs solely to his novels. I honestly like
him. I’ve even defended him numerous times online. If you asked me his
reputation isn’t as great as he honestly deserves. Now that I’ve made my
position concerning Mr. Carter perfectly clear I sadly have to say that it’s
stories like this one that make him such a such an object of derision and an
easy target to kick around. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">I hated this story. It brought the entire collection to a dead stop.
This is just my opinion and mine alone. It’s an opinion that is more subjective
than objective.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Seriously though, this story brought the entire collection to a dead
stop. Mr. Carter was always honest in that he was always upfront in saying that
he wrote what he loved. This is obvious when you look at the break down of what
he wrote….</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">ERB’s style Pellucidar.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">ERB’s style “Planetary Romance”.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Leigh Brackett’s Mars.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Clark Ashton Smith pastiches.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Conan Pastiches.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">“Dying Earth” mash-ups of Clark Ashton smith and Jack Vance.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Doc Savage Pasiches.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Lovecraft /august Derleth pastiches.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Ect. Ect.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Zoth Ommog</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is a double
whammy of the worst sort. It’s an honest to God pastiche of a pastiche. In this
tale Mr. Carter does his take on August Derleth’s take on H. P. Lovecraft. If
you don’t already know it, what Mr. Derleth did was try to force the “Cthulhu
Mythos” into a moralistic framework by dividing the entities into forces of
good and evil. This basically goes against the grain that HPL set. HPL stated
over and over that morality is a purely human concept and that the Mythos
deities were totally indifferent to man-kind. These were beings outside of our
moral concepts. HPL believed the universe to be completely indifferent to Homo
sapiens, our needs, desires, dreams and our very existence. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>Sadly, as far as I’m
concerned, Mr. Carter takes Mr. Derleth’s worst excesses and cranks them up to
11. So we end up with a cookie cutter Mythos tale. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The entire story isl told as a flashback police statement told in first
person regarding a fire and murder in the museum. Now that’s an original idea!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">A young researcher from a private museum in </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">California</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> takes over his
bosses work after his boss goes insane and lands in an asylum. At the behest of
his crazy superior the young man studies his ex-bosses secret notes and files
only to discover (Gasp!!!) the horrible truth that is out there all around us. A
statue that was unearthed on a pacific island and about to be put on display in
the museum is actually a portal to another dimension, the avatar of one of the
ancient Mythos creatures and if put on display in the museum it will probably
come to life and bring about the end of the world!!!!!!!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In other words, He discovers the MYTHOS!!!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>What we then get is almost 15
pages of <a href="http://en.wikipedia.org/wiki/August_Derleth#Arkham_House_and_the_.22Cthulhu_Mythos.22">Mythos background ala August Derleth</a>. We are filled in on almost every
single deity. Their alignment to good or evil and their complete genealogy!
Seriously, he lists the familial relationships between every single Mythos
being, brothers, sisters, aunts, uncles, cousin and parents! ‘We find out which
of the four elements the particular deities are identified with. <span class="uficommentbody">Carter then drags in every single tome of forbidden
knowledge that ever appeared in a Mythos tale. Book of Eibon, Unaussprechlichen
Kulten, The Pnakotic Manuscripts, Kultes des Ghouls, The Eltdown Shards, De
Vermis Mysterious, The Book of Iod, </span>The G'harne Fragments<span class="uficommentbody"> and even "The Revelations of Glakki"!! The only
book that doesn't get mentioned is Lumley's Cthatt Aquadingen, which is odd
since Mr. Lumley also created the above mentioned </span>G'harne Fragments! And
it doesn’t stop here. Our young researcher then travels to Arkham </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Massachusetts</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> to visit the </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Miskatonic</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">University</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> where Mr. Carter
then proceeds to roll out every Lovecraft character that was ever associated
with the University. What then follows is excessive amount of passages from <b style="mso-bidi-font-weight: normal;">ALL </b>of the forbidden Mythos related
tomes explaining even more of the Mythos theology.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>Finally upon returning to his
home in </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">California</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> the story comes
to a fairly abrupt end. The young man enters the museum at </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">4:00A.M.</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> He discovers that the night watchman has been
murdered, a deep one praying to the statue and that the statue HAS COME TO
LIFE!! Luckily the young man has in his possession a Star Stone/Elder sign that
was presented to him as a parting gift from the staff of MU. He simply throws
the star stone at the statue. A dimensional portal opens up, swallows the
statues, melts the deep one and sets the museum on fire. The young researcher
after being charged with murder, theft and arson is found unfit to stand trial
and spends the rest of his days in a rubber room.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Seriously, I wanted to at
least enjoy this story. If you’ve been following my posts you’ll have noticed
that I have never before savaged a story like I’m doing now. It’s been ages
since I’ve reacted this hostilely to a story. </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">I’ve even coined my own
phrase for this kind of crap (And I wish that could copy write it.). I call
this kind of stuff <b style="mso-bidi-font-weight: normal;">“<a href="http://en.wikipedia.org/wiki/August_Derleth#Arkham_House_and_the_.22Cthulhu_Mythos.22">Derleth-scapades</a></b>”
I’m also a huge Derleth fan. He’s written some of the best pulp horror tales
out there. He was also a giant as editor and as publisher. But sadly, just like
Lin Carter he had some serious weaknesses that easily overshadowed his
strengths and genuine talent.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">“Zoth-Ommog is sooooo bad
that it almost sinks the entire anthology. We’re extremely lucky that the Fritz
Leiber closes off the collection and saves the day.</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">"Darkness, My Name Is"</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> Eddy C. Bertin</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">After the train wreck of Mr. Carter’s August Derleth pastiche, <i style="mso-bidi-font-style: normal;">Darkness</i> was a real palate cleanser.
This is a nice atmospheric story that does a pretty good job of turning the
hill region of German Franconia into Lovecraft country. Mr. Bertin is pretty
successful at doing this. The only problem I had it that even though I’m from </span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Ohio</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> I’ve lived over
here for 22 years now as a civilian and was stationed here with the Army for 6
before that. Anyways I live in </span><a href="http://en.wikipedia.org/wiki/Franconia"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Franconia</span></a><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> and the “<a href="http://en.wikipedia.org/wiki/Franconian_Jura">Jura Gebirge</a>” he describes are highlands and not the true mountains as he describes
them. He also adds lots of text quotes in German that even though they are a
huge step above Hollywood Deutsch, they aren’t all that correct.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>They story though is an excellent
one. Once again we have a writer/researcher investigating some German Mythos
texts. This leads us to an isolated Franconian village were once an ancient
temple complex existed. The villagers meet once a month under the full moon to
worship on the site of the destroyed temple. They seem to do this in their
sleep since they never have any memory of it afterwards. All they know is that
they shun the hilltop and avoid all contact with the outside world. This reads
a little bit like Robert E. Howard’s “The Black Stone”. I will say though that
it’s more than original enough to stand on its own and the comparison only
comes to mind afterwards. I liked this one quite a bit also. It’s a 100 times
better than the Carter tale that preceded it.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB">"The Terror from the Depths"</span></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><span lang="EN-GB"> </span><a href="http://en.wikipedia.org/wiki/Fritz_Leiber" title="Fritz Leiber"><span lang="EN-GB">Fritz Leiber</span></a></span></b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Terror</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> is one of the
finest Mythos Tales that I have ever read. Fritz Leiber, even though he
corresponded with Lovecraft when he as a young man never wrote any Mythos
fiction until much later at a time when he was a long established master of
Horror, fantasy and science fiction. <span style="mso-spacerun: yes;"> </span>Mr.
Leiber was one of the few writers back then who could write a Mythos tale that
was thoroughly modern and lacking all gothic trappings that tend to burden some
HPL inspired stories. Terror manages to mix both a modern Hollywood Hills
setting with all the trapping of a genuine HPL story. We have insanity, death,
weird architecture, Hidden tunnels, subterranean, Miskatonic University, UCLA,
Psychedelic Drugs, chewed of faces and eaten brains. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>I can’t describe this tale
any better. Fritz Leiber has always been beyond my ability to describe on more
than superficial terms. Even though this is 100% Mythos as HPL laid it out and
very orthodox in its interpretation, <i style="mso-bidi-font-style: normal;">Terror</i>
is first and foremost a Fritz Leiber story. And trust me; once you read it will
be a long time before you forget it!</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Well that it for this time. “Disciples of Cthulhu” is a very enjoyable
anthology that is well worth digging up. It was even reprinted a while back by
Chaosium in a revised edition which might be easier to find than the DAW first
edition.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Take care and thanks for
stopping by!</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span class="uficommentbody"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Doug</span></span></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com5tag:blogger.com,1999:blog-579888615790908107.post-78396198677670674822013-06-18T09:52:00.000+02:002013-06-18T10:04:43.542+02:00Guest Blogging over at "Black Gate Magazine"!<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Hey all,<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">I’m <span style="mso-spacerun: yes;"> </span>sorry <span style="mso-spacerun: yes;"> </span>that <span style="mso-spacerun: yes;"> </span>I’ve <span style="mso-spacerun: yes;"> </span>been <span style="mso-spacerun: yes;"> </span>negligent<span style="mso-spacerun: yes;"> </span>and haven’t posted in two weeks. We’ve finally had some decent weather over here and I’ve been hard pressed trying to catch up on my gardening and I’ve also been busy trying to scan my entire paperback collection and posting it on Tumblr for those who only want pretty pictures. I’m working on a post for this coming weekend. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">And lastly I want to let you all know that I’ll also be a guest blogger over at “Black Gate Magazine”. So please check it out if you have time and interest.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p><span style="font-family: Calibri;"><a href="http://www.blackgate.com/2013/06/18/vintage-treasures-hauntings-tales-of-the-supernatural/">http://www.blackgate.com/2013/06/18/vintage-treasures-hauntings-tales-of-the-supernatural/</a></span></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Take care and thanks for stopping by.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Calibri;">Doug<o:p></o:p></span></span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-20776126245440829802013-05-24T20:24:00.001+02:002013-05-24T20:38:08.707+02:00Vintage Horror Paperbacks. Nothing but cover scans over at Tumblr!<br />
<span style="font-size: large;">Hi Folks,</span><br />
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<span style="font-size: large;">Just a quick message here.</span><br />
<span style="font-size: large;">I have no idea how much of my traffic comes from people just interested in cover scans, most of it I'm afraid.</span><br />
<span style="font-size: large;">So I've started to scan my entire collection and you can view it over here at Tumblr!</span><br />
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<span style="font-size: large;"><a href="http://vintage-horror-paperbacks.tumblr.com/"> <span style="font-size: x-large;">http://vintage-horror-paperbacks.tumblr.com/</span></a><span style="font-size: x-large;"> </span></span><br />
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<span style="font-size: large;"> Take care until next time and thanks for stopping by!</span><br />
<span style="font-size: large;">Doug</span><br />
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<br />Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com2tag:blogger.com,1999:blog-579888615790908107.post-61967272893278601162013-05-22T19:13:00.000+02:002013-05-22T19:13:53.054+02:00Nine Horrors and a Dream by Joseph Payne Brennan<!--[if gte mso 9]><xml>
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<span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Nine Horrors and a Dream</span></span></div>
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<span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">By Joseph Payne Brennan</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Ballantine Books. 1962. $0.35</span></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> My Copy!</span></div>
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And I own four of the book advertised on the back cover!<br />
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<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">Contents:</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">1 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?88069"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Slime</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> •
(1953) • novelette by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">33 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?64339"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Levitation</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">39 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?79360"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Calamander Chest</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1954) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">51 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?861450"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Death in Peru</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1954) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">61 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?79642"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">On the Elevator</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1953) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">71 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57827"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Green Parrot</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1952) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">79 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?94732"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Canavan's Back Yard</span></a></span><span style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> <span lang="EN-GB">• [</span></span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/pe.cgi?26619"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Canavan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">] • (1958) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">95 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?872259"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'm Murdering Mr. Massington</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • shortfiction by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">101 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?872260"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hunt</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;">113 • </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?872261"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Mail for Juniper Hill</span></a></span><span lang="EN-GB" style="font-family: Arial; font-size: 14.0pt; mso-ansi-language: EN-GB;"> • shortfiction by </span><span style="font-family: Arial; font-size: 14.0pt;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph Payne Brennan</span></a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></li>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">This week’s book “Nine Horrors and a Dream” has been
one of my most sought after books these last several years. I already have Mr.
Brennan’s other paperback collection “The Shapes of </span><span lang="EN-GB" style="font-family: Arial;">midnight</span><span lang="EN-GB" style="font-family: Arial;">” and
previously owned 3 hard back collections which I parted with during the great
book purge of 2009. I finally found a “good” copy at abebooks.com for a very
reasonable price. And I finally got to read it this past weekend thanks to some
seriously lousy weather.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">This edition is a reprint of the “Arkham House”
hardback from 1958. The AH edition costs an arm and a leg and is extremely hard
to find. To be honest though, all of Mr. Brennan’s short story collections are
hard to find and at a high price. I think this shows how popular he is with
collectors and fans (I don’t want to use the word connoisseur.) You can find 3
of his hardback collections at just a bit more than the two paperbacks are
going for. I also bet that the wonderful
“Richard Powers” cover art has help to maintain the high interest in this
specific collection. So I was very happy to get this book at a fair price. I
love sellers who don’t bother to accurately describe their books. If the seller
had done that then they could have gotten 3 or 4 times more than the amount
that I paid.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Two of the stories in this collection are among the
first horror tales that I can remember reading back when I was young. This must
have been back around 1971 or so. I first read “Slime” and “Levitation” in
“<a href="http://www.isfdb.org/cgi-bin/pl.cgi?1937">Alfred Hitchcock’s </a></span><a href="http://www.isfdb.org/cgi-bin/pl.cgi?1937">Monster Museum</a><span lang="EN-GB" style="font-family: Arial;">”
and in “<a href="http://www.isfdb.org/cgi-bin/pl.cgi?248690">Hauntings: Tales of the Supernatural</a>” respectively. I was so impressed
with both stories back then that I have never forgotten either one. </span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">What I enjoy so much about these stories is Mr.
Brennan’s economy of word, sense of place and strong mood. Most of his stories
a fairly short, but he stills manages to make them into fully fleshed out
reading experiences. “Nine Horrors and a Dream” is a prime example of this. I
read the entire collection last Sunday in one setting and yet I’m still mulling
over each and every story. This shows how good these stories are considering
that only 3 of the 9 tales can be considered some of Mr. Brennan’s best work,
yet even the lesser stories are still circling around in my head days
afterward. That calibre of writing is something you stumble across every day.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> You can go <a href="http://www.isfdb.org/cgi-bin/ea.cgi?2164">here</a>
and <a href="http://en.wikipedia.org/wiki/Joseph_Payne_Brennan">here</a> if you are interested in Mr. Brennan’s life and works!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Now let’s take a look at those stories.</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Slime”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “Slime” is
one of the grand daddies of the “Shapeless horror” genre.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">A storm washes up the titular creature from the
oceanic depths and it goes about sating its appetite until it has a little run
in with the National Guard and a flame thrower. This remains one of my all time
favourite stories. It’s gruesome goodness through and through. This is also Mr.
Brennan’s trademark story which has been anthologized 50 times!</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Levitation”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> This is
another good that’s seen quite a few reprints.
Its carnival time in a small rural town and young farm hand accepts a dare from the
carnival’s resident Hypnotist are he get called out for heckling. The Hypnotist puts the young man in a trance and convinces him that he can levitate. Things
start out well, but it seems that the Hypnotist hasn’t been following his
doctor’s advice and cut back on his cholesterol intake. As a 10 year old I
thought that this had to be one of the most horrible fates that I could
imagine. This is another powerful, but economical short story.</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“The Calamander Chest”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> A young man
buys a large and beautiful chest at an antique store at a ridiculously low
price. The young fellow figures that there has to be catch since the price is
too good to be true. He’s also bothered by the fact the antique dealer seemed
to be desperate to be rid of the chest. Well, it turns out that there is a
catch. A man was murdered and his body was stored in the chest that the young
fellow purchased. It turns out that the dead guy’s spirit is still occupying
the chest an he seems to be wanting a little company. This is a truly scary
story with such an awful end, that even though it’s just a story, I was hoping
to god that the guy was actually dead at the end of the story. Since if he
wasn’t he suffered one of the most nightmarish fates that I myself can imagine.
I wouldn’t even wish this on my worst enemy.</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Death in </span><span lang="EN-GB" style="font-family: Arial;">Peru</span><span lang="EN-GB" style="font-family: Arial;">”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “Death in </span><span lang="EN-GB" style="font-family: Arial;">Peru</span><span lang="EN-GB" style="font-family: Arial;">”
is a fun and nasty little story that exceeds even “EC” comics at their
grisliest. A white man has his way with a barely of consenting aged Peruvian
girl. He suitor takes issue with this and has a curse placed on the explorer.
The explorer’s partner tries to lift the curse and bungles in one of the most
horrible ways possibly. You would think that the man would take more
precautions when digging up the “voodoo” effigy of some one near and dear him. </span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“On the Elevator”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “On the
Elevator" is some seriously black comedy. A huge storm off shore from a resort
town ends up washing up some thing from the ocean floor (sound familiar?) that
he been better left un-washed up. It makes it’s way to an ocean front hotel
where the night clerk spends the better part of the evening running up and down
the stairs from floor to floor after the thing as it uses the elevator to visit
a few guests. I love this story. It’s extremely creepy and funny at the same
time. It raises more questions than it answers. I figure that that must have
been Mr. Brennan’s intent. This is a great story that’s both frightening and
playful. This is a very rare combination in the horror genre.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> This is the
weakest story in the book and it’s still a fine, entertaining and minimalist
horror story. A motorist travelling through some woods see a green parrot fly
across the road. He stops to investigate
and is approached by a little old lady who emerges from the wood in pursuit of
the bird. It seems that the bird is her sole companion and taking pity on her
the narrator agrees to help her in the search. This turns out to be not one of
the best ideas since he later learns that she’s been losing that parrot over
and over again since the two of them perished in the big snow storm of 1860!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “Canavan’s”
has to be Brennan’s second most famous story. The premise is simple and
simultaneously brilliant. Mr. Canavan, a </span><span lang="EN-GB" style="font-family: Arial;">New England</span><span lang="EN-GB" style="font-family: Arial;">
book dealer”, has a house with a very interesting back yard. It seems to be
infinite. He keeps being drawn to it and develops an obsession against his will
to wander off into it and lose himself. It seems that his property is part of
an old marsh were a convicted witch was hunted down by starved hounds a few
centuries before. With her dying breath she curses the property and those who
live upon it. I bet that you can figure out where this one might be going.
Another superb tale in an overall great collection!</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“I’m Murdering Mr. Massington”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> This has to
be the strangest story in the book. A writer is asked by a chance acquaintance
to write a story about him. The acquaintance, Mr. Massington, fears that once
he dies there will be nothing to show that he ever existed. He’s convinced that
if he is a character in a story then he won’t be completely forgotten. What he
plans on doing after the publication of the story and the role that the reader
of said story plays in Mr. Massington’s ultimate fate gives the story it’s
fairly surprising twist ending.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “The Hunt”
is another story that even though it’s fairly playful still manages to be
frightening and creepy. A man gets pursued across </span><span lang="EN-GB" style="font-family: Arial;">Connecticut</span><span lang="EN-GB" style="font-family: Arial;">
by a stranger who saw him waiting for a train. I don’t want to give it away, so
all that I can say is “The thrill of the hunt and the anticipation of the kill
are more important that the results of the hunt.</span></span></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“The Mail for Juniper Hill”</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">True to the old adage that “<span class="st">Neither
wind, nor </span><i><span style="font-family: Arial; font-style: normal;">rain</span></i><span class="st">, </span><i><span style="font-family: Arial; font-style: normal;">nor</span></i><span class="st"><i> </i>snow, nor </span><i><span style="font-family: Arial; font-style: normal;">slee</span></i><i><span style="font-family: Arial;">t</span></i><span class="st">, nor dark of night can </span><i><span style="font-family: Arial;">stop</span></i><span class="st"> the U.S. </span><i><span style="font-family: Arial; font-style: normal;">Mail</span></i><span class="st">.” A drunk and stubborn mailman doesn’t even let death from keep him
from his duties.</span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Looking back, I can only come to the conclusion that
Mr. Brennan has been so unfairly neglected. As amazingly good that this
collection is, the majority of his other stories are even better.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> So if you can
find them do your self the great favour of (re)discovering this neglected
master of the macabre!</span></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com5tag:blogger.com,1999:blog-579888615790908107.post-91323750790035518352013-05-12T15:54:00.002+02:002013-05-12T15:54:42.356+02:00The Boats of the Glen Carrig by William Hope Hodgson. A neglected proto-Lovecraftian classic.<span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>The Boats of the Glen Carrig<br />
By William Hope Hodgson<br />
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A neglected proto-Lovecraftian classic.<br />
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Ballantine Book. Adult Fantasy Series.<br />
February 1971. $0.95<br />
Cover art by Robert LoGrippo</b></span></span><br />
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<span style="font-size: x-large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">My 1971 copy. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5virLOmqqUpdRznhw2uZeyUrEzAl3K5rl7cYns6gTaCoUr6wd-giOZWfIhl805FnYNBM44IK7WbseET0WtBT-L7S7m02SM4Sf-oywmz2NvpvxVB0YAJBI8uUD9aLGWMwC2qwEQr7Fgp4/s1600/boats1-horz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5virLOmqqUpdRznhw2uZeyUrEzAl3K5rl7cYns6gTaCoUr6wd-giOZWfIhl805FnYNBM44IK7WbseET0WtBT-L7S7m02SM4Sf-oywmz2NvpvxVB0YAJBI8uUD9aLGWMwC2qwEQr7Fgp4/s640/boats1-horz.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Vacations over and I loaded my parents on the plane this morning for their flight back to Ohio. So that means it’s time to get back to the blog. Oh yeah!</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Since I’ve had so much "<a href="http://en.wikipedia.org/wiki/William_Hope_Hodgson">William <span style="font-size: large;">H</span>ope Hodgson</a>" on the brain lately I figured that I'd do another one of his books. This time, though, it’s a novel and not a collection of short stories.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">I’ll be honest and say that my re-read of “The Boats of the Glen Carrig" was a little over two years ago. So I won’t be going into a highly detailed plot synopsis. I first read it back in the very early 1970s. As a 10 year old I had no idea who “<a href="http://en.wikipedia.org/wiki/Hieronymus_Bosch">Hieronymus Bosch</a>” was, but the Bosch inspired cover art by “<a href="https://www.google.de/search?q=Robert+LoGrippo&safe=off&client=firefox&hs=tKD&rls=com.yahoo:de:official&tbm=isch&tbo=u&source=univ&sa=X&ei=dJyPUbA7iMm0BtKlgKgM&ved=0CDUQsAQ&biw=1280&bih=555">Robert LoGrippo</a>” drove me on the spot into begging my parents to buy me the book. It didn’t hurt that I recognized Mr. Hodgson as being the author of, my favourite horror story at the time, “<a href="http://en.wikipedia.org/wiki/The_Voice_in_the_Night">The Voice in the Night</a>”. I knew that story from the copy of “<a href="http://www.isfdb.org/cgi-bin/pl.cgi?359414">More Tales to Tremble By</a>” owned by the "<a href="http://www.newarkcityschools.org/school_home.aspx?schoolid=9">Johnny Clem Elementary School</a>" Library. I had borrowed it so many times that I considered it my own personal property. It’s a wonder that I never stole it.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Before I get I get into the story, I want to first talk about Mr. Hodgson’s writing style in general. I like it! I have read several reviews lately where people have complained that his language is archaic, that Mr. Hodgson sacrificed description in favour of mood and atmosphere and lastly that he loved run on sentences. Now I’ll agree that his “<a href="http://en.wikipedia.org/wiki/The_Night_Land">The Night Land</a>” is an unreadable mess, but I knocked off “Boats” in one afternoon two years ago and had no trouble with it as a ten year old either. I don’t know if this means that your average modern/young reader will enjoy it today or not. As a child my only talent (and to be fair, my only talent in my entire life.) was that I learned to read at an early age and learned too read well. 40+ years ago the great majority of the genre writing that was considered appropriate for young readers was mostly stuff written between the 1890s and pre-WWII. There was no YA horror market/Industry ala <a href="http://en.wikipedia.org/wiki/R.L._Stine">R.L. Stine</a>’s “<a href="http://en.wikipedia.org/wiki/Goosebumps">Goosebumps</a>” series and the like. This means that back then we were cutting out reading teeth on the likes of <a href="http://en.wikipedia.org/wiki/H._G._Wells">H.G. Wells</a>, <a href="http://en.wikipedia.org/wiki/Jules_Verne">Jules Verne</a>, <a href="http://en.wikipedia.org/wiki/Arthur_Machen">Arthur Machen</a>, <a href="http://en.wikipedia.org/wiki/Algernon_Blackwood">Algernon Blackwood</a>, <a href="http://en.wikipedia.org/wiki/M._R._James">M.R. James</a>, <a href="http://en.wikipedia.org/wiki/Edgar_Allan_Poe">Edgar Allan Poe</a>, <a href="http://en.wikipedia.org/wiki/Howard_Philips_Lovecraft"><span style="font-size: large;">H</span>oward Philips Lovecraft</a> and of course William Hope Hodgson.</span></span><br />
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">That’s not a bad reading list for ten year olds! So I’m completely at home with Mr. Hodgson’s writing style. Come to think about it I’ve also seen such complaints being raised against “<a href="http://en.wikipedia.org/wiki/Abraham_Merritt">Abraham Merritt</a>" lately. I think that this is a terrible shame that many people shy away from “old” novels and stories fearing that they will have trouble with the writing "style". These are all wonderful fantasists who aside from a few writers such as “<a href="http://en.wikipedia.org/wiki/Darrell_Schweitzer">Darrell Schweitzer</a>” have no peers in the modern world are far as pure imaginative genius is concerned.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">June 1945 <a href="http://en.wikipedia.org/wiki/Famous_Fantastic_Mysteries">Famous Fantastic Mysteries</a></span> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7IwWzG8OCGoTvDS4YmBtxTgo7SayxMP0Wvls0pZbYQN_ZAzVLFBetlCoq1m3aZWHAF_13vL_T3aP7Xh_RK_XyytfkGvHHV4TQ_MnUefmq7DuA2_7lE-3WSjEQVIy42TTNKbQi3zVhw4/s1600/boats-1945.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7IwWzG8OCGoTvDS4YmBtxTgo7SayxMP0Wvls0pZbYQN_ZAzVLFBetlCoq1m3aZWHAF_13vL_T3aP7Xh_RK_XyytfkGvHHV4TQ_MnUefmq7DuA2_7lE-3WSjEQVIy42TTNKbQi3zVhw4/s400/boats-1945.jpg" width="298" /></a></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Let’s move on to the novel since I guess that that’s more than enough autobiographical BS and “opinionation” than any one is interested in hearing.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">“Boats” was written back in 1907 and wasn’t reprinted until 1971 when the late great Mr. <a href="http://en.wikipedia.org/wiki/Lin_Carter">Lin Carter</a> published it as the 25th volume in his legendary “<a href="http://en.wikipedia.org/wiki/Ballantine_Adult_Fantasy">Adult Fantasy Series</a>” from “Ballantine Books”. It was also published in magazine form back in 1945 in the June issue of “<a href="http://en.wikipedia.org/wiki/Famous_Fantastic_Mysteries">Famous Fantastic Mysteries</a>”. There were only 6 editions between 1907 and 1971, with the sixth edition being the Ballantine paperback edition. This Ballantine edition was the first true paperback edition which finally reached a mass audience who appreciated the book. I’m of the opinion that thanks to the efforts of Lin Carter “Boats” is still in print to this day.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">I hadn’t read any “H. P. Lovecraft” yet when I first read “The Boats of the Glen Carrig”, but looking back one sees just how much of an influence Mr. Hodgson’s stories had on HPL. If you like your horrors to be nameless, oozing, tentacled and slimy then you just love this novel! Trust me; I wouldn’t lie to you about this!</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The 1982 Orbit UK editon the a "<a href="http://www.lesedwards.com/">Les Edwards</a>" cover.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1GkZlVkP4E2KnMSqng48gw4WZZLgyIXKP1wzrlD46y81SrQD9FDktqJcQVl9xl5WK38T7QA0KxhszHA8lW6MTGvYyfu5W8D3bVOc20KOVzHC41INt-Soo25WUtG0A14AQNi0ISvTljE/s1600/boats-orbit-1982.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK1GkZlVkP4E2KnMSqng48gw4WZZLgyIXKP1wzrlD46y81SrQD9FDktqJcQVl9xl5WK38T7QA0KxhszHA8lW6MTGvYyfu5W8D3bVOc20KOVzHC41INt-Soo25WUtG0A14AQNi0ISvTljE/s640/boats-orbit-1982.jpg" width="386" /></a></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">The novel jumps write into the middle of the action. We find the characters already manning the two remaining life “boats” from the abandoned “Glen Carrig”. There is absolutely no exposition explaining why they abandoned ship or even what has happened to the Captain and the rest of the crew. The narrator is a young English nobleman who had booked passage on the ship. After spending some time at sea the come upon a fairly large forested island that is extensively criss-crossed by streams and small rivers. The row up on of these streams and end up discovering an abandoned ship. The derilict ship seems, upon investigation, to have been abandoned in great haste. They find personal belongings, equipment and supplies that have been left lying by the original crew. They even find a very disturbing journal left by a female passenger. They decide to spend the night on the derelict and wisely barricade themselves in one cabin after becoming frightened by what they read in the journal and by the oppressive and frightening atmosphere hanging over the island it self. I said that this is a wise decision to barricade them selves in a cabin since the end up spending the entire night being besieged by some large, shapeless and tentacled horror that seems to be intent on making away with as many of the crewmen as possible. After spending an exhausting and nightmarish night fighting off the monster they go in search for a spring of fresh water that was mentioned in the journal they found. This doesn’t go as well as they had hoped. They do discover the spring from which they can replenish their supply of fresh water. Unfortunately they also come across some trees into which to have humans fused into them. These fused entities also emit horrible screams that have a paralyzing affect on the seamen and narrator. They decide that removing themselves from the island and taking their chances on the open sea would be the best course of action.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">They end up being set upon by a Typhoon once both boats are back at sea. I find this to be a fascinating section since Mr. Hodgson himself spent many years at sea when he was a very young man. So when he describes how they skilfully ride out the storm for days at end is an education in itself. He speaks with knowledge and experience as he describes the technologies and skill that is needed to do this. </span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Once the storm subsides our narrator discovers that the 2nd boat has gone missing during the storm. Don’t let this worry you though, we discover in the afterward that they safely made their way back to England.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Our dauntless crew final come across another island which upon first view seems to be a much more promising safe haven than the previous island. But being a good horror novel we soon learn that they’ve gone from the frying pan into the fire.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">This new island turns out to be even more dangerous and nightmarish than the first island. Even though there is plenty of food, water and even wood with which they can repair the boat so they can continue their homeward journey, it is also occupied by beings of the best Lovecraftian tradition even though “Boats” predates HPL by 20 years. </span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">It’s the occupants of this island that cause the crew the greatest trouble. So instead of “man vs. nature” we get “man vs. the unnatural”. Mr. Hodgson really earns our money in the, the second half of the book. We have the following problems.</span></span><br />
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">A life boat the need extensive repairs to be sea worthy again.</span></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Some of the crewmen are either ill, injured or both.</span></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Giant crabs! (YIKES!)</span></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Mobile Giant Mushrooms! (YIKES²!)</span></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Another vessel that has been trapped in seaweed off the island for several YEARS ALL THE WHILE BEING BESEIGED BY A GIANT KRAKEN!! (YIKES³!)</span></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">AND trouble with carnivorous slimy flippered and tentacled amphibious LEECHMMEN!! (2x YIKES³!!)</span></span></b></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Seriously, this novel is firing on all cylinders during this last half. It’s a race against time, technological limitations and monsters. Lots and lots of monsters! </span></span><br />
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Trust me; this section has to be read to be believed! I don’t want to spoil your fun, so go out and find it! It’s available on-line since its public domain. You can also order it new from Amazon or used from Abebooks and Ebay.</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The 1991 UK editon with a "Luis Rey" cover. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">This book is a must read if you love the fantastic, horror and adventure. It also give us quite a bit of insight into how HPL developed his “vision”</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Mainly though, this is a wonderfully fun and entertaining novel that will reward your efforts in obtaining a copy. To put it simply, I love this book!!</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">If you want to know a little bit more about William Hope Hodgson and his stories then please follow this link to my earlier post on his “Best of” collection. <a href="http://uncledougsbunkerofhorror.blogspot.de/2013/03/masters-of-terror-voli-william-hope.html">HERE!</a></span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Take care and thanks for stopping by!</span></span><br />
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Doug</span></span><br />
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<br />Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com2tag:blogger.com,1999:blog-579888615790908107.post-15516877001946770432013-04-21T19:14:00.000+02:002013-05-11T11:40:49.139+02:00A Cavalcade of Robert Bloch Anthologies!<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:HyphenationZone>21</w:HyphenationZone> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: x-large;"><span lang="EN-GB">A Cavalcade of Robert Bloch Anthologies!</span></span></b></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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</div><div class="MsoNormal" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> The man himself!</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cr4Up3MihD_jP45TTvcHSloM4EeKzz3-DTgTWFS9temgLtKetMNqjeCR1vXCtMvcdcZAcGmZ8TOO-cH1nMsw-TaJveH_LUkiLaN0vjBN8ThTdThA8IEd4gMLQ1adHvTlR3Qilbvu-Og/s1600/robert+bloch+psycho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cr4Up3MihD_jP45TTvcHSloM4EeKzz3-DTgTWFS9temgLtKetMNqjeCR1vXCtMvcdcZAcGmZ8TOO-cH1nMsw-TaJveH_LUkiLaN0vjBN8ThTdThA8IEd4gMLQ1adHvTlR3Qilbvu-Og/s320/robert+bloch+psycho.jpg" width="237" /></a></div><div class="MsoNormal"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I’m going to do this a bit differently this time around. I’ve been so busy in the garden this week now that winter is finally over and my parents are arriving on Friday for a three week visit. Sadly, neither has left me any time to actually read an anthology this week and then prepare and article about it.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">So what I’m doing for this weeks posting is presenting scans of all the Robert Bloch anthologies that I own and haven’t had a chance so far to cover in-depth. So you be seeing some nice quality scans of both front and back covers with a listing of the contents.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I’m sorry, but this is the best I can offer this week. I figured that a quickie would be better than going another 3 weeks with posting anything.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch, for those of you who might not know, was one of the horror genre’s most prolific, popular and successful writers from the 1930s up until Mr. Bloch’s death in 1994. He wrote over 34 novels, and over 40 collections of his short stories have been published. He wrote numerous scripts for radio, television and film during his career. Many of these scripts were based upon his short stories. He is of course most famous to the general reading public as the “AUTHOR of PSYCHO! As the blurb on every single Bloch novel or collection will let you know. He was also one of the original members of the “</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Lovecraft Circle</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">”. He even once received written permission to kill of HPL in a story from Mr. Lovecraft himself. HPL then reciprocated by killing of Mr. Bloch in another story.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I’ve been a fan of Mr. Bloch about as long as I’ve been reading. Some of the films he scripted, such as “The House that Dripped Blood” and “Asylum” are also among my favourites since my early teens. He also wrote to wonderful horror themed scripts for the original “Star Trek” series.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Now let’s take a look at those collections.</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Nightmares: Ten Weird Tales.</span></span></span></b></div><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></b><br />
<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> Books. 1961. $0.35</span></span></span></b></div><div class="MsoNormal"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJq0GuioMPrCAbZjaUroNrqT-2hcCVknhQI1g8TcQbrGMYFDQjzgkVaIDOGrRj4bZJmCkjSO6QrMM7fShnCqIMpayXY4rHlD6_H61hXovsxUIoZqJYCV-EIKx02-vQKEyHf5iPSwWxG5Q/s1600/nightmares_belmont2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJq0GuioMPrCAbZjaUroNrqT-2hcCVknhQI1g8TcQbrGMYFDQjzgkVaIDOGrRj4bZJmCkjSO6QrMM7fShnCqIMpayXY4rHlD6_H61hXovsxUIoZqJYCV-EIKx02-vQKEyHf5iPSwWxG5Q/s640/nightmares_belmont2.jpg" width="380" /></a></div><div class="MsoNormal"><br />
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">vii • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?120820"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">An Introduction to Nightmares</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63854"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Sorcerer's Apprentice</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1949) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">20 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?481581"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I Kiss Your Shadow—</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?65049"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I Kiss Your Shadow</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">37 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63392"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Mr. Steinway</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1954) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">50 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63855"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Proper Spirit</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">57 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?63390">Catnip</a> • (1948) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152">Robert Bloch</a></span> </li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">70 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63857"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Hungarian Rhapsody</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">79 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?187567"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Light-House</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1953) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?622"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Edgar Allan Poe</span></a><span style="mso-ansi-language: EN-GB;"> <b><span lang="EN-GB">and</span></b><span lang="EN-GB"> </span></span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?65047"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Lighthouse</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">93 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63391"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Hungry House</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1951) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">111 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63393"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sleeping Beauty</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l12 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">123 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65045"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sweet Sixteen</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">More Nightmares: Weird Tales by Robert Bloch</span></span></span></b></div><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></b><br />
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> Books. February 1962. $0.50</span></span></span></b></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGMxNArD4QmjtWz-35qBGgLHaGTU8Gb0MayPOqWhxTkOowcasMrytw6F-zU_cemlq19i0lzP2fvODeuROWkZo7_BQnsd32cPyFrWGKig7r3alZjLn2GRMC27Un5ZcA_6xbB4m9_kyTEVM/s1600/more-nightmares1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGMxNArD4QmjtWz-35qBGgLHaGTU8Gb0MayPOqWhxTkOowcasMrytw6F-zU_cemlq19i0lzP2fvODeuROWkZo7_BQnsd32cPyFrWGKig7r3alZjLn2GRMC27Un5ZcA_6xbB4m9_kyTEVM/s640/more-nightmares1.jpg" width="380" /></a></div><br />
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<ul type="disc"><li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65044"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">That Hell-Bound Train</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">24 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59533"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Feast in the Abbey</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1935) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">32 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59534"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Slave of the Flames</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1938) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">54 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59538"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">One Way to Mars</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1945) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">66 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63856"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Cheaters</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1947) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">88 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59523"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Fiddler's Fee</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1940) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">111 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59535"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Mother of Serpents</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">121 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?59532">Waxworks</a> • (1939) • novelette by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152">Robert Bloch</a></span> </li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">146 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59525"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Seal of the Satyr</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l14 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">162 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59526"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Dark Demon</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="color: black;">Horror-7: Tales of Shock and Terror</span></span></span></b></div><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></b><br />
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="color: black;">Belmont</span><span lang="EN-GB" style="color: black;"> Books. February 1963. $0.40</span></span></span></b></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_DK_s01kZ8xO7klqs2Pi0iHFrOH97NZS6RggUrjuWb-NSca4-behBuHwI0pbofjbpVToqB1iXq7rePnIH5RaFi_oDhTgj-3nynH-csN55XmiTqUyGTrjE3FUeRlzhLWXHR1xgDBuu-8/s1600/horror1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_DK_s01kZ8xO7klqs2Pi0iHFrOH97NZS6RggUrjuWb-NSca4-behBuHwI0pbofjbpVToqB1iXq7rePnIH5RaFi_oDhTgj-3nynH-csN55XmiTqUyGTrjE3FUeRlzhLWXHR1xgDBuu-8/s640/horror1.jpg" width="386" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGt7MopmWJlq4DEZKNqNjMtWoeDpePQzBbx2Wu7oYMQNE-kA4Cz46SRr8VdymEAMhXavlhxURCdU28wxB0GiGwNdUfuZCf37SEzUPM13XIbokrXeya67S9SoaqUcu3E3k94tKuu4D2-A/s1600/horror2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGt7MopmWJlq4DEZKNqNjMtWoeDpePQzBbx2Wu7oYMQNE-kA4Cz46SRr8VdymEAMhXavlhxURCdU28wxB0GiGwNdUfuZCf37SEzUPM13XIbokrXeya67S9SoaqUcu3E3k94tKuu4D2-A/s640/horror2.jpg" width="388" /></a></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; text-align: center;"><br />
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<div class="MsoNormal" style="background: white;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="color: black; mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?63389"><span style="color: windowtext;">Enoch</span></a> • (1946) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?40904"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Strange Flight of Richard Clayton</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?40950"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Shambler from the Stars</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1935) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?59536"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Secret of Sebek</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1937) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?59529"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Opener of the Way</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?59531"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Mandarin's Canaries</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1938) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?190483"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Return to the Sabbath</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1938) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> [as by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?13795"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Tarleton Fiske</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> ] </span></span></li>
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Yours Truly, Jack the Ripper: Tales of Horror </span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> Books. January 1962. $0.50</span></span></b></span></div><div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsgI8ZEObQzKsj6ubZvXjpRPPSQ_b9WqLidqj8Je3s4KyOrVBEF2ad27nT7OFZUWlh-uh4dvg2a_rQBYVNvHcmP7JTa6VLoK3-F52iUa2s4N8nK-RJM5M6VthIEkD-Bj7PSbsiPTIVv0/s1600/ripper1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsgI8ZEObQzKsj6ubZvXjpRPPSQ_b9WqLidqj8Je3s4KyOrVBEF2ad27nT7OFZUWlh-uh4dvg2a_rQBYVNvHcmP7JTa6VLoK3-F52iUa2s4N8nK-RJM5M6VthIEkD-Bj7PSbsiPTIVv0/s640/ripper1.jpg" width="382" /></a></b></span></div><br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2dXAjEGRZI18t-AwcYx6zqYve60KZaMdGaygw_HAB_lnEM-1cWC3lZyk808WPJHALMSLn4789gHLuNsJjvAcuNdS3AKZGhocd7CtgznsraYiMc4JwCy9ZF47ahuz8E8xUf6ibvO44tQ/s1600/ripper2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2dXAjEGRZI18t-AwcYx6zqYve60KZaMdGaygw_HAB_lnEM-1cWC3lZyk808WPJHALMSLn4789gHLuNsJjvAcuNdS3AKZGhocd7CtgznsraYiMc4JwCy9ZF47ahuz8E8xUf6ibvO44tQ/s640/ripper2.jpg" width="382" /></a></b></span></div><br />
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</div><div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB"> </span></span></b></span><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">vii • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?120816"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Introduction (Yours Truly, Jack the Ripper)</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1962) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63853"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Sweets to the Sweet</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1947) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">19 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65033"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Dream Makers</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1953) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">54 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?43724"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Yours Truly, Jack the Ripper</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1943) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">77 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59537"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Eyes of the Mummy</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1938) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">94 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59524"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Mannikin</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1937) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">114 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59528"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The House of the Hatchet</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1941) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?481431"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">House of the Hatchet</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">134 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?52279"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Cloak</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1939) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">153 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?59522"><span style="color: windowtext;">Beetles</span></a> • (1938) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l11 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">167 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59527"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Faceless God</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span style="mso-ansi-language: EN-GB;"> <span lang="EN-GB"></span></span></span></li>
</ul><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Atoms and Evil</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Fawcett Gold Medal Books. August 1962. 0.35</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmty_9VGWgPcohhfYhQbPESexy4htWioyI9nEtnHCpI6jxoI1QMWSj6tQf6Twxv17gXLs3z3whJiTkhjmrp09n_GZxuuOIBgy2fwMgRABSWaxwfwuri7kz00njpWE9jwuSDTL9-CTuBY/s1600/atoms1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfmty_9VGWgPcohhfYhQbPESexy4htWioyI9nEtnHCpI6jxoI1QMWSj6tQf6Twxv17gXLs3z3whJiTkhjmrp09n_GZxuuOIBgy2fwMgRABSWaxwfwuri7kz00njpWE9jwuSDTL9-CTuBY/s640/atoms1.jpg" width="384" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijluSw9mlT8r6cPOqqOPpbMBGN8lulrXiSkIpsriQsYANpmUsMKl2oOB2r-So2Hx3yli3Ea7l9gREphABG2i51A5qteRIK6qt91RqdzptnNaoVDlab1CetQn8DBR47OYgzcLTigPTcrI/s1600/atoms2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijluSw9mlT8r6cPOqqOPpbMBGN8lulrXiSkIpsriQsYANpmUsMKl2oOB2r-So2Hx3yli3Ea7l9gREphABG2i51A5qteRIK6qt91RqdzptnNaoVDlab1CetQn8DBR47OYgzcLTigPTcrI/s640/atoms2.jpg" width="384" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
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</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63267"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Try This for Psis</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">26 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63268"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Comfort Me, My Robot</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1955) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">39 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?54537"><span style="color: windowtext;">Talent</span></a> • (1960) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">52 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63269"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Professor Plays It Square</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">60 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?56298"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Block That Metaphor</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">69 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63270"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Wheel and Deal</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1962) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">76 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62327"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">You Got to Have Brains</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">87 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63271"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">You Could Be Wrong</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1955) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">101 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?63272"><span style="color: windowtext;">Egghead</span></a> • (1958) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">115 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?45888"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Dead-End Doctor</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">129 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63273"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Change of Heart</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1948) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">135 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63274"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Edifice Complex</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">146 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62322"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Constant Reader</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1953) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Bogey Men</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Pyramid Books. March 1963. $0.40</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_7o90zHWvkENfR3cm2RSBkAj08BaxkSd57fPX7eZknH3crPc9_kVXRJFpCVlf7zyayYpGnPDCNW32GQpHNqlNPJckpLJnbbOUPTGPYqiO5uL-kZqVdHZ_8NeC_Eb4KQxntfG0C6Ggfis/s1600/bogey1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_7o90zHWvkENfR3cm2RSBkAj08BaxkSd57fPX7eZknH3crPc9_kVXRJFpCVlf7zyayYpGnPDCNW32GQpHNqlNPJckpLJnbbOUPTGPYqiO5uL-kZqVdHZ_8NeC_Eb4KQxntfG0C6Ggfis/s640/bogey1.jpg" width="391" /></a></b></span></div><br />
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk93Y9kJeJmsjrtBXsiW4vWNLyWLOdk3JaCxKBus9jQiXMroHebDno7CNXIOmkOlz8kkLNdjKrzMik_xUi1_fgTGvNgEXKyKpuOW-Yw2fONO7SiFfdAATGOB3mEupA_RuQD76fqkpf14w/s1600/bogey2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk93Y9kJeJmsjrtBXsiW4vWNLyWLOdk3JaCxKBus9jQiXMroHebDno7CNXIOmkOlz8kkLNdjKrzMik_xUi1_fgTGvNgEXKyKpuOW-Yw2fONO7SiFfdAATGOB3mEupA_RuQD76fqkpf14w/s640/bogey2.jpg" width="386" /></a></b></span></div><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62423"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">A Matter of Life</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">16 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65070"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Model Wife</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1961) • shortfiction by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">18 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62408"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Broomstick Ride</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">28 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65036"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Skull of the Marquis de Sade</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1945) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">50 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65069"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Memo to a Movie-Maker</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1961) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">56 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62321"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Thinking Cap</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1953) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">88 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65068"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Shoes</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1942) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">100 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41179"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Man Who Collected Poe</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1951) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">117 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?82070"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Ghost-Writer</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1940) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">136 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65067"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Man Who Murdered Tomorrow</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l6 level1 lfo11; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">146 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?120815"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">"Psycho"-logical Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?24585"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">SF Profile</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1962) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?837"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Sam Moskowitz</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Tales in a Jugualr Vein</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Pyramid books. February 1965. $0.50</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Cover by Jack Gaughan</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFbZvq78J2S3gu6uOBiC7kggo5o3pbDVG_R1Sgv_YqUMkF0-mpXQCFdIsl3ASGcsFzLai6V56kxeGCVUOPHrIsOcdfcAM1PsHXtqDv-tGwgsvKDtBDu51sOXhsFynv3c5xCtwwy2wTNnA/s1600/jugular1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFbZvq78J2S3gu6uOBiC7kggo5o3pbDVG_R1Sgv_YqUMkF0-mpXQCFdIsl3ASGcsFzLai6V56kxeGCVUOPHrIsOcdfcAM1PsHXtqDv-tGwgsvKDtBDu51sOXhsFynv3c5xCtwwy2wTNnA/s640/jugular1.jpg" width="378" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD3seoaMUOZnWIqgVwRPwpwPUji4RJr_pRV4xSrPpK2gxokA9IbtTMyG9k2deJ7SWLl4ag1w1SU1-Vimz_ITFtTDA0qlexGo-8dtcqI1ki30AVVIpDY7HSw0TFToN9uvjQ_mOuKEkJuns/s1600/jugular2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD3seoaMUOZnWIqgVwRPwpwPUji4RJr_pRV4xSrPpK2gxokA9IbtTMyG9k2deJ7SWLl4ag1w1SU1-Vimz_ITFtTDA0qlexGo-8dtcqI1ki30AVVIpDY7HSw0TFToN9uvjQ_mOuKEkJuns/s640/jugular2.jpg" width="378" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
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<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59723"><span style="color: windowtext;">Sabbatical</span></a> • (1959) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">17 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65042"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Double-Cross</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1959) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">36 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?60954"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Past Master</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1955) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">60 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65041"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Terror Over Hollywood</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">83 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62337"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">A Home Away from Home</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1961) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">91 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65040"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Rhyme Never Pays</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">101 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62419"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Night School</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1959) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">112 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?190645"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Pin-Up Girl</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> [as by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?14414"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Will Folke</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> ] </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">120 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62331"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Founding Fathers</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l2 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 18.0pt; text-indent: -18.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 10pt;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">139 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65037"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Deadliest Art</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1959) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The Skull of the Marquis De Sade</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Pyramid Books. January 1966. $0.50</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">(<span style="font-size: large;">A</span>nd yes, That'S Peter Cushing.) </span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB"><br />
</span></span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XpUCacyTi6XNU5XUKseglhayO_IMPLGHpK5nVebQnMQ8c4Jd4Mu1_6FJ0fHRDzvx2t7JCC0bwhBg8gzuSShMhN5rI1xArdmuG9sqkp1sV57Ptyn9FTb3V2m9ZE-uGp0NfkHVa8bx1ZI/s1600/deSade1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XpUCacyTi6XNU5XUKseglhayO_IMPLGHpK5nVebQnMQ8c4Jd4Mu1_6FJ0fHRDzvx2t7JCC0bwhBg8gzuSShMhN5rI1xArdmuG9sqkp1sV57Ptyn9FTb3V2m9ZE-uGp0NfkHVa8bx1ZI/s640/deSade1.jpg" width="380" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaK1se43fiHu8ZrWE-1W-Cz4Mya_vnAyIiJoBLNmfbnjdMQZT5Y-rXv1TW-rZt6QARNrXzLoxTrEjzFs0nBbgtO7YCYk7t2smPMgtuqmzUOCv92yDztmfuT0uqBSRvf4PQga0-OTHKZL0/s1600/deSade2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaK1se43fiHu8ZrWE-1W-Cz4Mya_vnAyIiJoBLNmfbnjdMQZT5Y-rXv1TW-rZt6QARNrXzLoxTrEjzFs0nBbgtO7YCYk7t2smPMgtuqmzUOCv92yDztmfuT0uqBSRvf4PQga0-OTHKZL0/s640/deSade2.jpg" width="376" /></a></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB"><br />
</span></span></b></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65036"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Skull of the Marquis de Sade</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1945) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">35 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62344"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">A Quiet Funeral</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1965) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">43 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65035"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Weird Tailor</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1950) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">71 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62417"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Man Who Knew Women</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1959) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">105 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?87873"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Lizzie Borden Took an Axe...</span></a><span style="mso-ansi-language: EN-GB;"> </span>• (1946) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">123 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65034"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Devil's Ticket</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1944) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l13 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">143 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62314"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Bogey Man Will Get You</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1946) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Chamb</span></span></b></span><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">ers of Horrors: </span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Twelve spine-chilling trips into the mind of the author of PSYCHO</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Award Books. 1966. $0.60</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWjeYa5y8y7zeFTIbFjgx_RJhdFvGvy_n_yTMmpJp1wxCHrd33Q41mLSiFVuvw33e2CxuD880Jp7FwKHz6QhV2dzc0deMn1XZK-7VBEsbl-WWn070sxawIBdTFVLuAztSEPjZ2EfaiQ8/s1600/chamber1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWjeYa5y8y7zeFTIbFjgx_RJhdFvGvy_n_yTMmpJp1wxCHrd33Q41mLSiFVuvw33e2CxuD880Jp7FwKHz6QhV2dzc0deMn1XZK-7VBEsbl-WWn070sxawIBdTFVLuAztSEPjZ2EfaiQ8/s640/chamber1.jpg" width="380" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHuf51PYRJqDREW0BUnGb27YVidg1pphXVsTVA8JIuWfi1ZWf6MLPSKglHrQs8gp-MnxlgCsX1SZWPRCaSdZy4p_DtNY2U1RLnfZwKBSMbWG-eM2OwJn-WBoxtO0bckKCspMG2hpGPsEM/s1600/chamber2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHuf51PYRJqDREW0BUnGb27YVidg1pphXVsTVA8JIuWfi1ZWf6MLPSKglHrQs8gp-MnxlgCsX1SZWPRCaSdZy4p_DtNY2U1RLnfZwKBSMbWG-eM2OwJn-WBoxtO0bckKCspMG2hpGPsEM/s640/chamber2.jpg" width="378" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
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<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62341"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Living End</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1963) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">14 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65064"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Head Hunter</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1950) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?94967"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Head Man</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">31 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65062"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Impractical Joker</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1965) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">48 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65061"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Pride Goes -</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">52 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62413"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Screaming People</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1959) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">87 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62334"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Fat Chance</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">98 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62338"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Unpardonable Crime</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1961) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">103 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62340"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Method for Murder</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1962) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">110 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65060"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Two of a Kind</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">117 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?62339"><span style="color: windowtext;">Untouchable</span></a> • (1962) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">123 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?62342"><span style="color: windowtext;">Beelzebub</span></a> • (1963) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l5 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">131 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?689429"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">"Frozen Fear"</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1946) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
</ul><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><b><span style="font-size: large;">T</span><span style="font-size: large;">he Living Demons: </span></b></span></span></div><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></b><br />
<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Swarm Beyond the boundaries of their Nightmare World</span></span></span></b></div><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></b><br />
<div class="MsoNormal" style="text-align: center;"><b><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> Books. September 1967. No cover price.</span></span></span></b></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqD7pONR_UJ87IANrtoy5KRQ1FV3X1cvp-fSGcRLqYTFDKaYDV8OmYFzFhI4Aq91JfSH6-_5ps4lynXom6o9GKFHIzkMvObpQXB-Sa9gjuIUt7MTMXRCnBEKt558OSRS4eFjXKp0h19oQ/s1600/living-demons1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqD7pONR_UJ87IANrtoy5KRQ1FV3X1cvp-fSGcRLqYTFDKaYDV8OmYFzFhI4Aq91JfSH6-_5ps4lynXom6o9GKFHIzkMvObpQXB-Sa9gjuIUt7MTMXRCnBEKt558OSRS4eFjXKp0h19oQ/s640/living-demons1.jpg" width="376" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-lUr3OPQas7s/UXQZqjHzmiI/AAAAAAAABZo/LTFzM831Kfg/s1600/living-demons2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-lUr3OPQas7s/UXQZqjHzmiI/AAAAAAAABZo/LTFzM831Kfg/s640/living-demons2.jpg" width="374" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
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<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?120821"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Introduction (The Living Demons)</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1967) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62345"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Life in Our Time</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1966) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">18 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65055"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Indian Spirit Guide</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1948) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">34 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?1082183"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">"Lucy Comes To Stay"</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1952) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (variant of </span><i><a href="http://www.isfdb.org/cgi-bin/title.cgi?62320"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Lucy Comes to Stay</span></a></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">) </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">40 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?53922"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Plot is the Thing</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1966) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">47 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?65053"><span style="color: windowtext;">Underground</span></a> • (1967) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">53 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62313"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Beasts of Barsac</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1944) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">72 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65052"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Philtre Tip</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1961) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">77 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62317"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Unspeakable Betrothal</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1949) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">91 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65051"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Black Bargain</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1942) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">107 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?91524"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Girl from Mars</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1950) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">114 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65050"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Beauty's Beast</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1941) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l8 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">131 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62318"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Tell Your Fortune</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1950) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Dragons and Nightmares</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> Books. 1969. $0.75</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZY-4DVbPv7mUb2u0gloCk4Qrc2MEPTtl1Yyi1y3M5H-_CkG_gjBqL8CaUASzr9yOs68HNq7vEAoQD0CjFcQa4sA_NbRgejuRehu5oKTUmLxsh0adyXc7gXrNKBoU7bSotTkxt6bLQ6w/s1600/dragons-nightmares1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZY-4DVbPv7mUb2u0gloCk4Qrc2MEPTtl1Yyi1y3M5H-_CkG_gjBqL8CaUASzr9yOs68HNq7vEAoQD0CjFcQa4sA_NbRgejuRehu5oKTUmLxsh0adyXc7gXrNKBoU7bSotTkxt6bLQ6w/s640/dragons-nightmares1.jpg" width="382" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQfv5AtUZdslHgO0NSlhCMAueujHuykJZher7qODjOw5WeXC3GryBoJ6XzpRGZwdfSuNJK-iEMCasn6u8m8MDyT8NmQbRsbFRWkYnd0W28teIXnfVX_4MLleSIhI_qafjLS_O8ywAqjE/s1600/dragons-nightmares2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQfv5AtUZdslHgO0NSlhCMAueujHuykJZher7qODjOw5WeXC3GryBoJ6XzpRGZwdfSuNJK-iEMCasn6u8m8MDyT8NmQbRsbFRWkYnd0W28teIXnfVX_4MLleSIhI_qafjLS_O8ywAqjE/s640/dragons-nightmares2.jpg" width="380" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
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<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l4 level1 lfo12; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">11 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?67604"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">A Good Knight's Work</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1941) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l4 level1 lfo12; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">42 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62678"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Eager Dragon</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1943) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l4 level1 lfo12; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">74 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62679"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Nursemaid to Nightmares</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1942) • novella by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l4 level1 lfo12; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">172 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?118961"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Back Word</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1969) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span style="mso-ansi-language: EN-GB;"> <span lang="EN-GB"></span></span></span></li>
</ul><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Dragons and Nightmares</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Belmont</span><span lang="EN-GB"> </span><span lang="EN-GB">Tower</span><span lang="EN-GB"> Books. 1972. $0.75</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaNUQydlsyW4Yt9YEyNTIiWRamaZIx18vv8jQC8UiPmv5cG8OFXj3NXF-h2yDPujooLDkjN6GFzBpIgtpB5GNreD6onWVCtt0K-qzp2x3hnMVl0Zf6GcPgJhiQxuHHh8WEri2tW6FZ0gI/s1600/dragons1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaNUQydlsyW4Yt9YEyNTIiWRamaZIx18vv8jQC8UiPmv5cG8OFXj3NXF-h2yDPujooLDkjN6GFzBpIgtpB5GNreD6onWVCtt0K-qzp2x3hnMVl0Zf6GcPgJhiQxuHHh8WEri2tW6FZ0gI/s640/dragons1.jpg" width="390" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDevTgcAPp3vtBKzwkYGpgTHLES3l8KWi3ykidO_zo4wwam5e0Gm8G7D0mDU4B-fVpRAgy83TnSQj9Dj7tnev7mSuenYvGViw1l0fIVUOJNVFCysa6ugyJVq5tCk0JT9R1HGV2X9APEgQ/s1600/dragons2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDevTgcAPp3vtBKzwkYGpgTHLES3l8KWi3ykidO_zo4wwam5e0Gm8G7D0mDU4B-fVpRAgy83TnSQj9Dj7tnev7mSuenYvGViw1l0fIVUOJNVFCysa6ugyJVq5tCk0JT9R1HGV2X9APEgQ/s640/dragons2.jpg" width="390" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l10 level1 lfo13; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">11 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?67604"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A Good Knight's Work</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1941) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l10 level1 lfo13; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">42 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62678"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Eager Dragon</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1943) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l10 level1 lfo13; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">74 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62679"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Nursemaid to Nightmares</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1942) • novella by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l10 level1 lfo13; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">172 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?118961"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Back Word</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1969) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Robert Bloch</span></a><span style="mso-ansi-language: EN-GB;"> <span lang="EN-GB"></span></span></span></li>
</ul><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The Best of Robert Bloch</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Ballantine Books. November 1977. $1.95</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPGZuWiY0LXHRW7u27XEcUSKA8H-yRUr_1Zc7ZA8hcC0tERhQ-eJbBe4OAvC6FuLGPTM6M33DdFIaml3fngRR9JZaXc012ULDvOgimS74d2d9CWYfuRUfXk22KjZK8Rvn22pznXPf17I/s1600/best1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGPGZuWiY0LXHRW7u27XEcUSKA8H-yRUr_1Zc7ZA8hcC0tERhQ-eJbBe4OAvC6FuLGPTM6M33DdFIaml3fngRR9JZaXc012ULDvOgimS74d2d9CWYfuRUfXk22KjZK8Rvn22pznXPf17I/s640/best1.jpg" width="388" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLoidSZkbyQepQ1RSgm6VJFsrufmzsBFJDXOzdOuXni9MF9uIOaHDyB2ZuBaVv_zVjpbjv_dmHJb2YC4YnhABCYXTjjEptc5pPSXio_TnG1RpEfZJ704ZboYGCLBXGAmnt_H_qXuA8-fw/s1600/best2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLoidSZkbyQepQ1RSgm6VJFsrufmzsBFJDXOzdOuXni9MF9uIOaHDyB2ZuBaVv_zVjpbjv_dmHJb2YC4YnhABCYXTjjEptc5pPSXio_TnG1RpEfZJ704ZboYGCLBXGAmnt_H_qXuA8-fw/s640/best2.jpg" width="384" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">xi • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?119145"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch: The Man Who Wrote Psycho</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1977) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?21"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Lester del Rey</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?43724"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Yours Truly, Jack the Ripper</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1943) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">21 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?63389"><span style="color: windowtext;">Enoch</span></a> • (1946) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">39 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?63390"><span style="color: windowtext;">Catnip</span></a> • (1948) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">55 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63391"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Hungry House</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1951) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">79 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?41179"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Man Who Collected Poe</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1951) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">97 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63392"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Mr. Steinway</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1954) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">113 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?60954"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Past Master</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1955) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">141 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62326"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">I Like Blondes</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">153 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62330"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">All on a Golden Afternoon</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1956) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">185 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62408"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Broomstick Ride</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1957) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">197 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?53376"><span style="color: windowtext;">Daybroke</span></a> • (1958) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">209 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63393"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Sleeping Beauty</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">225 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62411"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Word of Honor</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">237 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62333"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The World-Timer</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">271 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?65044"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">That Hell-Bound Train</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1958) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">289 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62420"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Funnel of God</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1960) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;">319 • <a href="http://www.isfdb.org/cgi-bin/title.cgi?62342"><span style="color: windowtext;">Beelzebub</span></a> • (1963) • shortstory by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">329 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?53922"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Plot is the Thing</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1966) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">337 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?52075"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">How Like a God</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1969) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">355 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?53528"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Movie People</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1969) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">369 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62352"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Oracle</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1971) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">377 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62358"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Learning Maze</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1974) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l9 level1 lfo14; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">393 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?119146"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Author's Afterword: "Will the Real Robert Bloch Please Stand Up?"</span></a><span style="mso-ansi-language: EN-GB;"> </span>• (1977) • essay by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span style="color: windowtext;">Robert Bloch</span></a></span> </li>
</ul><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Mysteries of the Worm: All the Cthulhu Mythos Stories of Robert Bloch</span></span></b></span></div><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"> </span></b></span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Zebra Books. 1981. $2.95</span></span></b></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Edited by Lin Carter.</span></span></b></span></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbsyoA0rITOzk6kPR8Ww01vUBvAofu0p2msbQr6t-pMDfYLa47QxeiVRCcI_WVgUflEmr6TcTEEfXELw_Oz18-Hyk_NwAxhDeQlVqcYBzyicc_HrVQYDe0b5KfHq4baSQ1ag6O3_K8ts/s1600/mysteries1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbsyoA0rITOzk6kPR8Ww01vUBvAofu0p2msbQr6t-pMDfYLa47QxeiVRCcI_WVgUflEmr6TcTEEfXELw_Oz18-Hyk_NwAxhDeQlVqcYBzyicc_HrVQYDe0b5KfHq4baSQ1ag6O3_K8ts/s640/mysteries1.jpg" width="390" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHlw3e8CSlIS5bEDJqCdiq7KG9WwK_xU-rVy_roEu_CUzLsaMl50xOyu9jPMnCxfTlC5DZe5lcsUxUXJrlfH429HVOPEME9zUnnDjMWjJp-xJteUVgl9tHUDt5zSIX4Ub6i0-pF04777Y/s1600/mysteries2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHlw3e8CSlIS5bEDJqCdiq7KG9WwK_xU-rVy_roEu_CUzLsaMl50xOyu9jPMnCxfTlC5DZe5lcsUxUXJrlfH429HVOPEME9zUnnDjMWjJp-xJteUVgl9tHUDt5zSIX4Ub6i0-pF04777Y/s640/mysteries2.jpg" width="388" /></a></div><div class="MsoNormal" style="text-align: center;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Contents:</span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
<ul type="disc"><li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?119207"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Demon-Dreaded Lore</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1981) • essay by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?353"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Lin Carter</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">17 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63765"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Secret in the Tomb</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1935) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">27 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63766"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Suicide in the Study</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1935) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">35 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?40950"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Shambler from the Stars</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1935) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">50 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59527"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Faceless God</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">75 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63767"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Grinning Ghoul</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">92 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59526"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Dark Demon</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1936) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">108 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59524"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Mannikin</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1937) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">132 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?59536"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Secret of Sebek</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1937) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">158 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?63770"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Fane of the Black Pharaoh</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1937) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">185 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?62317"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Unspeakable Betrothal</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • (1949) • shortstory by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo15; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">206 • </span><a href="http://www.isfdb.org/cgi-bin/title.cgi?40954"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">The Shadow from the Steeple</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> • [</span><a href="http://www.isfdb.org/cgi-bin/pe.cgi?9426"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Cthulhu Mythos</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;">] • (1950) • novelette by </span><a href="http://www.isfdb.org/cgi-bin/ea.cgi?152"><span lang="EN-GB" style="color: windowtext; mso-ansi-language: EN-GB;">Robert Bloch</span></a><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span></span></li>
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<div class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB"> Sorry that I didn’t have time to comment on any of the stories. I’ll be covering these collections with postings that’ll be much more in-depth sometime in the future.</span></span></span></div><div class="MsoNormal"><br />
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<div class="MsoNormal"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Doug</span></span></span></div><span style="font-family: Arial,Helvetica,sans-serif;"> </span><br />
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</div>Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com2tag:blogger.com,1999:blog-579888615790908107.post-29059445125468796662013-04-08T11:50:00.003+02:002013-04-08T17:38:08.178+02:00RIP Basil Copper. Another Master has crossed over<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">I just found out that „<a href="http://en.wikipedia.org/wiki/Basil_Copper">Basil Copper</a>“ passed <span style="mso-spacerun: yes;"> </span>away 4 days ago. He was 89 years old. Mr. Copper is most well-known for his horror stories and 52 “<a href="http://www.thrillingdetective.com/faraday.html">Mike Faraday</a>” detective mystery novels. <o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">What many fans don’t realize is that he was also a journalist and newspaper editor for a large part of his professional life. <span style="mso-spacerun: yes;"> </span>Sadly, Mr. Copper isn’t as well-known as he deserves in the United States. Most of his novels and collections have been printed in America were released by the specialty publishers “Arkham house” and “Fedogan &Bremer”. <span style="mso-spacerun: yes;"> </span>To my knowledge, “<a href="http://vaultofevil.proboards.com/thread/1689">The Great White Space</a>” was his only mass market horror paperback released in America. Pinnacle did publish some of his pastiches of <a href="http://en.wikipedia.org/wiki/Solar_Pons">August Derleth’s Sherlock Holmes pastiche, Solar Pons.<o:p></o:p></a></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-family: Arial; font-size: large;">I first discovered Mr. Copper at the end of the 1970s when I came across a copy of his "Arkham House" collection "From Evil's Pillow" at the public library in Newark Ohio.. I endned up reading it in one sitting. That's how deeply it drew me in. These is simple, old fashioned horror stories that get under your skin before you even know what is happening. </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">Stateside, Mr. Copper’s greatest success was having his famous short story “<a href="http://www.tvrage.com/shows/id-4664/episodes/126607">Camera Obscura</a>” be filmed as a segment of Rod Serling’s old television show “<a href="http://en.wikipedia.org/wiki/Night_Gallery">Night Gallery</a>”.<o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">I always enjoyed Mr. Copper’s short stories even when I wasn’t the biggest fan of his novels. I own both of <span style="mso-spacerun: yes;"> </span>the <span style="mso-spacerun: yes;"> </span>Arkham House collections ,“<a href="http://en.wikipedia.org/wiki/From_Evil%27s_Pillow">From Evil’s Pillow</a>” and “<a href="http://en.wikipedia.org/wiki/And_Afterward,_the_Dark">And Afterward, the Dark</a>”. These are two top notch collections which contain two of my all-time favorite stories, “The Grey House” and “The Gossips”.<o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">Mr. Copper told his tales in a very straightforward and non-decorative style. <span style="mso-spacerun: yes;"> </span>The same could also be said of his stories. He seemed to concentrate his talents on telling good stories without any pretentious “Hey! Look at me! I’m writing!” trappings.<span style="mso-spacerun: yes;"> </span>And even though he wrote in an unadorned style, he could evoke an enormously powerful sense of place and atmosphere. I have honestly no idea how correct his description of Sicily is in his novelette “The Gossips” is. I just know that one of my dreams is to go there one day simply based of how he has brought the island to life for me. <o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">I honestly don’t know why he didn’t obtain greater success in the states, which is a terrible shame, considering the rare combination of quality and quantity he produced in his lifetime. <o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">So here’s a toast to your Shade Mr. Copper!<o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="font-size: large;"><span style="font-family: Arial, Helvetica, sans-serif;">Thank you for enriching my life with your stories!<o:p></o:p></span></span></span></div>
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<span style="font-size: large;">Take care and thanks for stopping by.</span></div>
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<span style="font-size: large;">Doug</span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com0tag:blogger.com,1999:blog-579888615790908107.post-91998905126808075432013-04-07T12:46:00.003+02:002013-04-07T13:39:12.940+02:00I am Legend by Richard Matheson. The birth of a genre<!--[if gte mso 9]><xml>
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<b><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">I Am Legend</span></span></b></div>
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<b><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">By Richard Matheson</span></span></b></div>
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<b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Corgi Books 1971</span></b></div>
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<b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">(Originally published in 1954.)</span></b></div>
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<b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> My 1971 copy.</span></b></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> <span style="font-size: large;"> </span></span><span style="font-size: large;">I’ve had <a href="http://en.wikipedia.org/wiki/Richard_Matheson">Richard Matheson</a> on
the brain lately since writing a post several weeks ago celebrating his 87
birthday. Now because of this bout of “Matheson-Fever” I’ve re-read quite a bit
of his work these past 5 weeks. I don’t know whether it was a good idea or not,
but I ended up choosing his 1954 Vampire apocalypse novel “I am Legend” for my
bedtime reading. As it turned, I spent more time reflecting on the book than I
did reading it. </span></span><br />
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> <span style="font-size: large;"> My first exposure to this story must have been around 1971 or so. I do
know that 71 was when my parents first allowed me to stay up on Friday nights
to watch “Chiller Theater” on channel 10 out of Columbus. Chiller Theater
on <a href="http://en.wikipedia.org/wiki/WBNS-TV">WBNS </a>specialized in lots of old Black and White horror films at that time. One of
the first films I remember getting to stay up and watch was the 1964 film “<a href="http://en.wikipedia.org/wiki/The_Last_Man_on_Earth_%281964_film%29">The Last Man onEarth</a>” starring Vincent Price. Even though I later learned that Mr. Matheson
was unhappy with the production and ended up having his name removed from the
script credits, this is the most faithful film adaptation so far and is also
one of the most frightening films that I’ve ever seen. I know that it upset the
hell out of my back then and this of course meant that I was in a ten year olds
horror heaven! <span> </span>I didn’t get a hold of
the novel until a few years later when <span style="font-size: large;">I</span> found a used copy of the film tie<span style="font-size: large;">-</span>in paperbac<span style="font-size: large;">k </span>to its second </span></span><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Hollywood</span><span lang="EN-GB" style="font-family: Arial;"> incarnation under
the title “<a href="http://en.wikipedia.org/wiki/The_Omega_Man">The Omega Man</a>” starring Charleston Heston. I was thrilled to
discover that the novel outdid the film.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> “<a href="http://en.wikipedia.org/wiki/I_Am_Legend_%28novel%29">I am Legend</a>” is one of those
stories that just won’t let me go. It is so full of ideas and concepts that
force me to play it over and over in my mind, all the while asking myself “what
would I do in this situation?” </span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The premise of the novel is a
fairly simple one. A plague has decimated the entire planet and it appears as
though only one man has survived it. And this isn’t just your normal pandemic
where everyone starts coughing and sneezing before eventual falling down dead. Ok,
they do all fall down dead. There’s only one catch. They don’t stay dead. The
infected return from the dead as vampires or so it seems.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The novel picks ups in
January 1976 (it was published in 1954) and is told in first person style
through the journal of Robert Neville, who seems to be the only one who has
survived the plague. Robert has literally boarded himself up in his suburban
home converting it into a fortress so that he can fend off the nightly
onslaught of his undead neighbours. He
is a man living out his life under siege and it has taken its toll on his
mental health.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> Robert Neville isn’t your
typical heroic figure who has purpose and answers. He is a normal man being
overwhelmed by his existence. While reading the novel you catch on quite
quickly that the vampires are not the real threat in Robert’s existence. What
are destroying him is pure and simply loneliness and despair. The man isn’t
living; he simply exists on a day to day basis with no real goals or any kind
of future perspective. Because of his loneliness, Robert is trapped in a
downward spiral of madness and alcoholism.
It sounds clichéd, but robber Neville is his own greatest enemy in the
novel. The story oozes an atmosphere of despair and hopelessness that makes it
hard going at times. This is in no way a rousing adventure story of a man
battling for humanity. There isn’t any humanity left in Matheson’s over run
world of vampires.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> What immediately sets the
novel apart from most vampire novels is Mr. Matheson’s scientific rational for
the vampirism. These aren’t gothic supernatural entities. They are victims of a
plague which has reanimated them and left them thirsting for blood. We discover
that Neville spends his days fortifying his home defences and tracking the vampires
to their lairs so he can exterminate them. He spends his night inside his
barricaded suburban home drinking himself blind while playing records so loudly
that he can’t hear the vampires taunts for him to come out.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Many of these vampires are old friends, neighbours and colleagues from
his prior existence. The female vampires
will even perform lewd dances before his front door in an effort to lure him
out. We find out the Robert is a man who truly wished to die, but can’t bring
himself to take that last deciding step.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The second third of the novel
shows Neville coming to the realization that if he can’t bring himself to take
his own life he must find a reason to live and not just to exist on a day to
day basis He decides to discover the cause of the plagues and to maybe find a
cure. Neville is not the scientist he is portrayed as in the three film
adaptations of this novel. He has to teach himself microbiology. He goes about
this by raiding the shelves for textbooks at the local library and scrounging
up what medical equipment he can find. As he learn more and more about biology
and pathogens he also begins to study and cold heartedly experiment on the
vampires. </span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">These experiments he conducts on (non)living subjects show a total lack
of empathy that is quite horrify. He takes no pleasure in his experimentations,
but neither does it disturb. He has simply quit perceiving his test subjects as
anything related to humanity. He discovers that the plague has been caused by
an air borne bacteria that first kills and then reanimates its victims. He also
learns that behaviour of the vampires is both physiological and psychological.
The reanimation, resistance to bullets, growth of fangs, thirst for blood,
disintegration after staking and allergy to sunlight are genuine physical
processes. The fear of mirrors, garlic and religious symbols are nothing more
than self fulfilling prophecies. The victims realize that they are vampires. So
it is only logical to them that they can’t stand their own reflections, the smell
of garlic or symbols of the religions that they themselves practiced in their
former lives since everyone “knows” that this is how vampires behave. Neville
also discovers that all of the vampires are not dead. In some cases the victims
have become “converted” without having been killed by the plague. This last
point is something that will play a major role in the novels third and final
act.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">The novel’s final act has Neville discovering a woman, Ruth, wandering
around in broad daylight. As he attempts to approach her she seems terrified of
him and tries to flee. In a very unsettling scene he literally has to chase her
down, restrain her and forcibly take her back to his home. Ruth tells him the
story of how she has survived the last three years and how during that time her
husband and child were killed. Now even though Neville is overjoyed at finding
another survivor, the past three years of surviving in a world populated with
vampires has made him a cold hearted and suspicious man. Don’t forget the man
is still half insane. It’s just now that he’s a sober and lucid mad-man. Robert immediately perceives that Ruth’s “story”
is full of discrepancies so large that even John Holmes could drive through
them without brushing against the sides. We finally discover that Ruth isn’t the only
survivor. There are many more. Unfortunately they are all infected but haven’t totally
succumbed to vampirism. They have even developed a serum that halts most of the
symptoms and the thirst for blood. And in comparison to the “genuine” vampires,
they haven’t suffered any brain damage. These “survivors” are in full control
of their faculties, one hundred percent aware of their situation and in the
process of building a new society. Ruth is one of the leaders of this new order
and has been sent to spy on Neville. Neville is at first overjoyed to hear of
this. Ruth dampens his spirits though by informing him that the “new society”
is out to get him. It seems that many of the vampires he disposed of during his
daytime hunts were actually “survivors” who also have to sleep during the day.
Thinking that the survivors will understand, he refuses to flee even though
Ruth begs him to do so.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The novel ends with Roberts capture
and subsequent imprisonment while he awaits his execution for the “atrocities”
he has committed. As an act of mercy, Ruth
gives him two tablets to take so he won’t suffer so badly during his execution.
The novel ends with Neville looking out the window of his cell at the crowd
that has gathered for his impending execution. As he see the fear and horror in
their faces when the notice him watching them from his cell he realizes that he
himself has become a monster and that he is</span></span></div>
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<b><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“A new terror born in death, a new superstition
entering the unassailable fortress of forever.</span></span></i></b></div>
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<b><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> I am
legend."</span></span></i></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">This is one damn good novel that will bounce around in your head for
weeks afterward. It’s a fast read, but also a disturbing one.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> Even though the story will be
60 years old next year it has held up amazingly well. Matheson’s undecorated
and straight forward prose is the main reason for this.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The only problem, and it by no
means Mr. Matheson’s fault, is that this
will probably come of as quite a familiar story to most younger readers. For “I am Legend” is the
progenitor of the “<a href="http://en.wikipedia.org/wiki/Zombie_%28fictional%29">Zombie Apocalypse</a>” genre. If you get a chance to see the
<a href="http://en.wikipedia.org/wiki/The_Last_Man_on_Earth_%281964_film%29">1964 film adaptation</a> you immediately realize that this is <a href="http://en.wikipedia.org/wiki/George_A._Romero">George Romero</a>’s “Night
of the Living Dead”. It’s just starring <a href="http://en.wikipedia.org/wiki/Vincent_Price">Vincent Price</a> and made 4 years before
Romero’s film was made. Almost every single Zombie film mad after 1968 owes a
huge debt to “<a href="http://en.wikipedia.org/wiki/Night_of_the_Living_Dead">Night of the Living Dead”</a>. And <b>NotLD</b> owes an enormous debt to “<b>I
am Legend</b>”. Unfortunately, because of this, many younger readers will have a strong sense
of déjà vu when they read the novel. Which is an honest shame, since this is the
story started it all.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">The novel is a genuine masterpiece of not only genre literature, but
also powerful study on loneliness and the toll it takes.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">It’s still in print, so if you have never read it you should definitely seek
it out and read it!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Take care and thanks for stopping by.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Doug</span></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com1tag:blogger.com,1999:blog-579888615790908107.post-1227546078553892472013-04-01T14:53:00.001+02:002022-04-01T07:24:14.346+02:00Doc Savage: Madness from the Sea<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:HyphenationZone>21</w:HyphenationZone> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><br />
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<div class="MsoNormal"><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Doc Savage: Madness from the Sea</span></span></div><span style="font-size: x-large;"> </span><br />
<div class="MsoNormal"><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">By Kenneth Robinson (Lester Dent)</span></span></div><span style="font-size: x-large;"> </span><br />
<div class="MsoNormal"><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Bantam Books. 1974. $1.75</span></span></div><span style="font-size: x-large;"> </span><br />
<div class="MsoNormal"><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Originally published in Doc Savage Magazine April 1936</span></span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFkXuRZ9IhiWzc-BejWJlbkKkxGvAew1VyguxPFhUkD_hcsV7oeyD2APAgzMV2Bvfryr3o1Xj-HN3Vdr5C1RVu0sIPzjTGB06XIYKlvKS8Yth3IsLEMTnEjYUGHqraHWfQ7O1QN2YjD6I/s1600/230_Doc-400.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFkXuRZ9IhiWzc-BejWJlbkKkxGvAew1VyguxPFhUkD_hcsV7oeyD2APAgzMV2Bvfryr3o1Xj-HN3Vdr5C1RVu0sIPzjTGB06XIYKlvKS8Yth3IsLEMTnEjYUGHqraHWfQ7O1QN2YjD6I/s640/230_Doc-400.jpg" width="380" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">I’ve always had a weakness for the “Doc Savage” adventures. My love for which almost rivals my love of H.P. Lovecraft tales. So when I first bought this back 1974 I was almost beside myself with joy. After reading the back cover and paying for the book I rode home on my bike so quickly that I almost got myself killed!</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Here’s the back cover blurb……</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><b><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“William Harper “Johnny” Little John, famed archaeologist and member of Doc Savage’s iron crew, is missing. The fractured remains of a grotesque figurine and a glowing message hastily scrawled on a broken mirror are the only clues to Johnny’s abductors. The words revealed on the shattered glass by Doc’s blacklight lantern would change the Man of Bronze forever: “In his house at R’Lyeh dead Cthulhu waits dreaming”</span></span></i></b></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Now you can see why I almost got myself killed by being in such a hurry to get home and start reading!</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Before we discuss the story, let me fill you in on how this most unusual of “Doc Savage” adventures came into existence.</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">As most of you know, H. P. Lovecraft corresponded at a level than can only be described as prodigious and that the writers he exchanged the most letters with went on to be know as the <a href="http://en.wikipedia.org/wiki/H._P._Lovecraft">“</a></span><a href="http://en.wikipedia.org/wiki/H._P._Lovecraft"><span lang="EN-GB" style="font-family: Arial;">Lovecraft Circle</span></a><span lang="EN-GB" style="font-family: Arial;"><a href="http://en.wikipedia.org/wiki/H._P._Lovecraft">”</a>. The most frequently mentioned members of this group were Frank Belknap Long, Robert E. Howard, E. Hoffman Price, Robert Bloch and of course August Derleth. The great Fritz Leiber was also a later member of this goup. What most causal fans don’t know is that “<a href="http://en.wikipedia.org/wiki/Lester_Dent">Lester Dent</a>” was also a member of the group. Now these days Lester Dent is remembered by his Pen name of “Kenneth Robinson”. This is the house name put on every single Doc Savage adventure. Robinson created the character and went on to pen more than 80 of the <a href="http://en.wikipedia.org/wiki/Doc_Savage">Doc Savage </a>novels under the name of “Kenneth “Robinson”.</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Anyone interested in reading the scores of letters the two men exchanged need to either get their hands of a copy of “<a href="http://www.hplovecraft.com/writings/letters/">The Selected Letters of H.P.Lovecraft Volume V</a>” published by “Arkham House” in 1976 or to buy a copy of “<a href="http://en.wikipedia.org/wiki/S._T._Joshi">S.T. Joshi’s</a>” “<b><u>Converstions between a dreamer from Providence and a Schlock Meister from Manhatten</u></b>”, published by “<b>Hypothalamus Press</b>” in 1998. The Joshi book is still in print and available from Amazon.</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">The letters exchanged between these two masters of their prospective fields shows us a great deal of insight between their conflicting world views. HPL believed that a true “gentleman” never wrote purely for financial gain where as Dent believed that a “true” writer could produce such high levels of quantity and quality that great financial success was to be taken for granted and his natural due. Another topic of their correspondence was to whether or not Mr. Lovecraft’s mythology could be effectively transplanted into the action adventure genre. Dent stated in several letters that he would love to try his hand at placing Lovecraft’s theology” into the world of Doc Savage. Lovecraft gave his implicit permission by cryptically stating..</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“<i><b>My Lord Yog-Sothoth’s House has many rooms</b></i>”</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">What is also so interesting about this quote is that “<a href="http://en.wikipedia.org/wiki/Brian_Lumley">Brian Lumley</a>” has repeatedly pointed out this converstion between HPL and Dent as justification and or defense of his own (accused) divergence from “Lovecraftian ideological purity/dogma”. So as we see here, Mr. Lumley was not the first to place HPL’s “Yog-Sothothery” in an action and adventure setting. </span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. Dent, after interpreting HPL’s statement as implicit allowance to use the “Mythos” set about writing one of the most wonderfully over the top and insane Doc Savage adventures that ever saw print. It didn’t end with this single Doc Savage adventure though. Lent went and dedicated the adventure to “My Providence Grandfather”. Mr. Lovecraft, who always appreciated a good inside joke, went and instigated the story that the narrator of his 1931 serialized novel “At the Mountains of Madness” was none other than Doc Savage’s aid “William Harper “Johnny” Little John”! Now, it becomes even weirder. Both Doc Savage Magazine and Astounding Science Fiction, were ATMoM originally appeared, were published by “Street and Smith”. “John W. Campbell” the editor of “Astounding” and famous SF author decided to get into the act by writing Doc Savage into his famous short novel “Who goes There” the following year. “Who goes there?” is the basis for the two famous films “The Thing from Another world” and “The Thing”. Here is </span><span lang="EN-GB" style="font-family: Arial;">Campbell</span><span lang="EN-GB" style="font-family: Arial;">’s description of “MacReady” who is actually an incognito Doc Savage investigating the strange goings-on in </span><span lang="EN-GB" style="font-family: Arial;">Antarctica</span><span lang="EN-GB" style="font-family: Arial;">! </span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“MacReady was a bronze giant of a man with strange gold flecked eyes”</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">If that isn’t a perfect description of Doc, then I don’t know what is!</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> Now let’s discuss the story since I think that I’ve bored you with enough background.</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Madness from the Sea” is more or less a direct sequel to HPL’s “Weird Shadows over Innsmouth”. “Madness” covers the events after WSoI’s narrator escapes Innsmouth and ends with the raid conducted on the town by Federal Agents and the Military.</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">The adventure starts after HPL’s nameless narrator escapes from Innsmouth and vainly attempts to warn the government of the threat posed to humanity by the hybrid inhabitants of Innsmouth, the “Deep ones” and the ancient gods that they serve. In a last ditch effort, because no one will listen to him, the young man tries to contact Doc Savage. He finally receives an appointment from Johhny Little John, who is the world’s greatest living archaeologist, and tells him his story. As proof, the young man show’s Johnny a few gold coins of ancient and unknown origin. Johnny recognizes the coins from previous expeditions he conducted in the South Pacific under the auspices of “</span><span lang="EN-GB" style="font-family: Arial;">Miskatonic</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">University</span><span lang="EN-GB" style="font-family: Arial;">” during the 1920s before he became one of Doc’s trusted assistants. Since Doc and the other 4 assistants are off on another adventure Johnny decides to set off for Innsmouth with just Doc’s cousin “Patrica Savage” as company. In typical Doc Savage fashion the pair fails to return from their excursion. Doc and the remaining four aides infiltrate Innsmouth under various disguises to get to the bottom of the mystery. Doc and his crew are convinced that a smuggling ring is behind the entire situation and the Hybrids, Deep Ones and Elder Gods are just a cover story used to scare off outsiders. This is the single DS adventure that I’ve ever read that had a threat that wasn’t of mundane origin. After a series of chases, fights and escapes Doc, his five aids, Habeas Corpus the ape, Chemistry the hog and Pat Savage find themselves on the roof of the old “Marshe Gold Refinery” battling for their very lives against a small army of Deep Ones and hybrid humans. Another first for this series is that this is the only Doc Savage adventure where our heroes are forced to kill and do not even try to take prisoners or spare lives. It’s literally a free for all slaughter with dead fish men piling up hundreds more arriving to fill the gaps of the fallen, the refinery on fire and our heroes at bay running low on ammunition for their “super firers”. The situation looks hopeless when suddenly; Doc’s private airship appears out of the night sky raining death and destruction down upon the army of batrachian horrors.</span></span></div><div class="MsoNormal"><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> (I first read this when I was 13 and I thought that my head was going to explode from all of the excitement!) </span></span></div><div class="MsoNormal"><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> Its turns out that Doc had sent out an emergency SOS shortly before his equipment was destroyed. This tells you how dire the straits are when Doc Savage has to call for assistance. What happens next in the story is another stroke of cross-over genius. It seems that Doc’s call for help was picked up by playboy millionaire “Richard Wentworth” who is secretly the vigilante crime fighter “The Spider”. After receiving Doc’s distress call, Wentworth<span style="font-size: large;">,</span> with the help of Ram Singh, his Sikh man servant and fiancé, Nita Van Sloan, breaks into Doc’s secret hangar on the Hudson river and hot wires Doc’s private airship,. Wentworth then stops on the way to Innsmouth to pick up his own private arsenal and then continues on his way to assist Doc and his crew. After having gleefully slaughtered half the population of Innsmouth with military grade weapons, Wentworth lands and picks up our battered and bloody heroes. It’s strange to see some one in a Doc Savage adventure take life and not be chastised over it by Doc. </span></span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Now that he realizes the threat imposed to humanity by the events playing out in Innsmouth, Doc immediately begins to organize a counter attack against Innsmouth the moment they safely return to </span><span lang="EN-GB" style="font-family: Arial;">New York</span><span lang="EN-GB" style="font-family: Arial;">.</span></span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> For you see, Doc has learned that “the stars are right” and they only have a few days before the inhabitants of Innsmouth and their Deep One allies release Cthulhu from his grave!</span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">After informing the government about the situation in Innsmouth, Doc tells his aids to meet him at the secret hanger in 18 hours. Upon arriving at the hangar the next morning they find doc waiting for them. It seems that he had flown his proto-type jet to his secret “Fortress of Solitude” that is located above the Artic circle. This is where <span style="font-size: large;">D</span>oc stores his inventions that he feels could pose a threat to the world if they fell into the wrong hands. They then transfer supplies, weapons and a mysterious crate that Doc brought back from the “FoS” into Doc’s private submarine, the Hell Diver. They then sail north for Innsmouth. </span></span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">It turns out that Doc has learned of the existence of “<span class="st">Y'ha-nthlei”, the city of the Deep Ones lying in an oceanic trench off the coast before Innsmouth. Doc has decided that this city must be destroyed at any cost if humanity is to be saved. To make a long story short, after fighting off an undersea army of Deeps Ones and other horror they launch a nuclear tipped torpedo down into the deep sea trench that hides Y'ha-nthlei at its bottom. They are then forced to abandone the Hell Diver and battle their way back to the surface using special designed deep see battle suits of doc's own design. The only thing that bothered me here was also having suits on hand that were custom designed for Habeus and Chemisty. The tale ends with Y'ha-nthlei being destroyed in an atomic blast, Innsmouth raided by the feds and humanity being, for the time being, saved.</span></span></span></div><span style="font-size: large;"> </span><br />
<div class="MsoNormal"><span style="font-size: large;"><span class="st"><span lang="EN-GB" style="font-family: Arial;">The adventure ends with Doc making an all bands radio broadcast, from the Hell Diver, to the world…..</span></span></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><b><i><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;">"Watch the depths everywhere. Keep looking. </span></b><b><span style="font-family: Arial; font-weight: normal;">Keep watching the depths!“</span></b></span></i></b></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;">This has to be the best Doc Savage adventure that I’ve never read. It’s hard as hell to find, so good luck looking for it,</span></b></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><a href="http://www.docfantasycovers.com/"><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;">You can find the online text here though!</span></b></span></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;"><span style="font-size: large;">And <a href="http://www.hdwallpaperspk.com/wp-content/uploads/2013/03/april-fools-day-1.jpg">HERE!!!</a></span></span></b></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;">Take care and thanks for stopping by!</span></b></span></div><span style="font-size: large;"> </span><br />
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<div class="MsoNormal"><span style="font-size: large;"><b><span lang="EN-GB" style="font-family: Arial; font-weight: normal;">Doug</span></b><span class="st"><b><span lang="EN-GB" style="font-family: Arial;"></span></b></span></span></div><span style="font-size: large;"> </span><br />
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</div>Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com7tag:blogger.com,1999:blog-579888615790908107.post-48724119238487547562013-03-24T13:19:00.000+01:002013-03-24T13:19:01.771+01:00Beware the Beasts<!--[if gte mso 9]><xml>
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<b><span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">“Beware the Beasts”</span></span></b></div>
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<b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">(</span></span></b><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">A collection of stories as good as the cover is bad</span></span></i><b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">)</span></span></b></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Edited by Vic Ghidalia and Roger Elwood</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">MacFadden-Bartell Books. 1970. $0.75</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Cover art by Cover by “Jack Faragasso”</span></span></div>
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<b><span style="font-size: small;"><span lang="EN-GB" style="font-family: Arial;">Cover Blurb:</span></span></b></div>
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<i><b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">“They dared invade the beast’s realm and saw things no human should ever
see. Some of them even came back-seemingly alive…”</span></b></i></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Contents:</span></span></div>
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</span><ul type="disc">
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">11 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57470"><span lang="EN-GB">In the Avu Observatory</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1894) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?65"><span lang="EN-GB">H. G. Wells</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">19 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41872"><span lang="EN-GB">The Cats of Ulthar</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1920) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">23 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?87805"><span lang="EN-GB">Here, Daemos!</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1942) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?825"><span lang="EN-GB">August Derleth</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">33 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57291"><span lang="EN-GB">The Hound</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1942) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?38"><span lang="EN-GB">Fritz Leiber</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">49 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?76286"><span lang="EN-GB">The House of the Nightmare</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1906) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2045"><span lang="EN-GB">Edward Lucas White</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">59 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?78264"><span lang="EN-GB">The Mark of the Beast</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1890) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1961"><span lang="EN-GB">Rudyard Kipling</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">73 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?83926"><span lang="EN-GB">The Squaw</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1893) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?650"><span lang="EN-GB">Bram Stoker</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">86 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?86451"><span lang="EN-GB">Metzengerstein</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1832) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?622"><span lang="EN-GB">Edgar Allan Poe</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">96 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?82305"><span lang="EN-GB">The Tortoise-Shell Cat</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1924) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1216"><span lang="EN-GB">Greye La Spina</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal" style="mso-list: l1 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">111 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?91810"><span lang="EN-GB">The Wendigo</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB">•
(1910) • novella by </span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1126"><span lang="EN-GB">Algernon Blackwood</span></a></span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> </span></li>
</ul>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> My copy.</span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Beware the Beasts” has the dubious honour of being the best collection
of stories with the most inappropriate cover art and blurb. Look at the cover
by “Jack Faragasso” you get the impression that this is a science fiction novel
and not a collection of classic horror/monster stories. I have strong memories
of buying “MB” and “Belmont2 books from the bargain bin at “Woolworths” back
during the early 1970s. I even went and looked this up just to make sure that
my memory wasn’t playing tricks. I mean, this was over 40 years ago. It turns
out that even though my memory is in good working order, I still wasn’t 100%
correct. It seems that during the early 70s and publisher named “Unibooks” sold
reprints of “MB” and “</span><span lang="EN-GB" style="font-family: Arial;">Belmont</span><span lang="EN-GB" style="font-family: Arial;">” titles under
their own imprint and sold them as instant remainders at such stores
“Woolworths”, “Woolco” and “Grants”.<span> </span>I
used to love digging through the bargain bin at Woolworths and finding such
good stuff as H.G. Wells titles and Ron Goulart’s “Space for Hire”.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"><span> </span>As I said in my insert beneath
the title, “Beware the Beasts” is an outstanding collection of stories selected
by Messrs. Ghidalia and Elwood with some of the worst packaging that I ever
seen. At first glance and even at the 2<sup>nd</sup>, you get the strong
impression that this is a SF novel. Only after opening it up and taking a look
at the table of contents do you realize that this is actually collection of
horror stories. And as an added bonus, almost half of the stories are reprinted
from “Weird Tales” original incarnation! So let’s take a look at them there
stories!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57470"><span lang="EN-GB">In the Avu Observatory</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?65"><span lang="EN-GB">H. G. Wells</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">This is a nice
little monster story by Mr. “War of the Worlds” Wells. An Astronomer working in
an isolated Observatory on a mountain top above the jungles of </span><span lang="EN-GB" style="font-family: Arial;">Borneo</span><span lang="EN-GB" style="font-family: Arial;"> receives an
unexpected visitor one night in the form of a man sized bat “thing”. The story
is fairly mundane and incredibly straight forward in its telling. What makes it
such an entertaining story though, is Well’s description of the Astronomer’s
“cat and mouse” struggles with the monster bat in the total darkness of the observatory’s
dome after his lamp gets knocked over. Just the very idea of being trapped in
the darkness with something that’s out to kill me gives me the willies. I want
to bring to your attention that this is, in my opinion, is the weakest story in
the book.<span> </span>Which you should realize is
not at all a bad thing, considering how enjoyable of a story this is! This puts
the collection off to a good start which just keeps improving as you read
along.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?41872"><span lang="EN-GB">The Cats of Ulthar</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?165"><span lang="EN-GB">H. P. Lovecraft</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">I love “The Cat’s
of Ulthar” even though it’s been re-printed to death. This is one of HPL’s
stories that was written during his “Lord Dunsany” phase and is one of his most
popular. “Cats” is in Mr. Lovecraft’s “Dream Lands” and is one of my favourite
“revenge” tales. An old couple hates all things feline and are responsible for
all the cat disappearances in the village of “Ulthar”. Unfortunately for them
though, they make their worst and last mistake when they “disappear” the kitten
belonging to an orphaned “gypsy” child. This story manages to be simultaneously
creepy, poetic and humorous.<span> </span>You can
also see here in the story that HPL genuinely loved cats.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">So never ever
forget that……</span></span></div>
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<i><span style="font-size: small;"><span lang="EN-GB" style="font-family: Arial;">“It is said that
in Ulthar, which lies beyond the river Skai, no man may kill a cat; and this I
can verily believe as I gaze upon him who sitteth purring before the fire. For
the cat is cryptic, and close to strange things which men cannot see. He is the
soul of antique Aegyptus, and bearer of tales from forgotten cities in Meroë
and Ophir. He is the kin of the jungle’s lords, and heir to the secrets of
hoary and sinister </span><span lang="EN-GB" style="font-family: Arial;">Africa</span><span lang="EN-GB" style="font-family: Arial;">. The Sphinx is his cousin,
and he speaks her language; but he is more ancient than the Sphinx, and
remembers that which she hath forgotten.”</span></span></i></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> The online text is <a href="http://www.hplovecraft.com/writings/texts/fiction/cu.aspx">HERE</a></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?87805"><span lang="EN-GB">Here, Daemos!</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?825"><span lang="EN-GB">August Derleth</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Here, Daemos” is
one of Mr. Derleth’s more effective stories. I’m almost willing to bet that
this is a small homage to “M.R. James”. A small village in </span><span lang="EN-GB" style="font-family: Arial;">England</span><span lang="EN-GB" style="font-family: Arial;"> receives a new
Vicar. It’s seems that even though the village’s former minister was well
loved, he wasn’t exactly a financial genius and the parish is all but broke.
Mr. Webly, the new Vicar, being a very ambitious man and meant for better
things, decides to remedy the situation with a wee bit of self righteous grave
robbing. This of course would be for a good cause, or so he tells himself and
his superiors. The grave in question belongs to a long dead Knight who was
rumoured to be a black magician. Local legend says that he had been entombed
with his entire treasure and a companion who was to act as guardian of the
treasure. Some of the villagers believe that the Knight was buried with his
faithful hound “Daemos” The legend also tells that the Knight’s hound was in
reality his “familiar” who he always summoned to his side by calling “Here,
Daemos!” so to make a long story short, the new vicar open the tomb to plunder
it’s contents and afterwards “hilarity ensues”. <span> </span>I have the impression that Mr. Derleth took a
little bit more time to write this one.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?57291"><span lang="EN-GB">The Hound</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?38"><span lang="EN-GB">Fritz Leiber</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">During his career,
the late Fritz Leiber wrote some of the most original horror stories ever
published. I think his greatest concept was that modern metropolises and their
collective psychic energies would create their own horrors and demons to
replace those of the middle ages. “Smoke Ghost” “The Girl with the Hungry
Eyes”and “Our Lady of Darkness” are probably his most famous examples using
this theme. Leiber’s </span><span lang="EN-GB" style="font-family: Arial;">Chicago</span><span lang="EN-GB" style="font-family: Arial;"> in this story is
a dark, dreary, lonely and filthy place filled with annoymity and despair. A
young man in a dead end job at a department store becomes haunted and pursued
by the titular “Hound” and slowly starts to lose his mind. At first you suspect
that the events are playing out entirely in his imagination. We slowly learn
though that others around him are starting to notice the hound or at least
traces of its existence. And being a “Fritz Leiber” story, these folks, sensing
that something is terribly wrong,<span> </span>they
begin to distance themselves from him instead of offering him emotional
support. The ending is pretty unusual in that the young man eventual learns
that flight and resistance are futile, that there is no escape! He does though
gain an allie/witness to his suffering and horror which even though he might be
doomed does lessen his burden in that he isn’t alone with the horror anymore.
Fritz Leiber was one of </span><span lang="EN-GB" style="font-family: Arial;">America</span><span lang="EN-GB" style="font-family: Arial;">’s greatest
writers of weird tales even though he is mostly famous for his Science Fiction
and Fantasy stories/novels. I have to say though that the combined atmosphere
of doom, insanity, isolation and depression is so strong that I can’t honestly
call the story enjoyable. It is definitely not an easy read. What I can say
though, is that it is brilliantly written and disturbing as all hell. <span> </span></span></span></div>
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</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?76286"><span lang="EN-GB">The House of the Nightmare</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?2045"><span lang="EN-GB">Edward Lucas White</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. White’s “House
of Nightmare” is one of my all time favourite horror/ghost stories. It’s so
good that is was included in “The Century’s Best Horror Stories” published by
“Cemetery Dance Press” and edited/selected by “John Pelan”. “The House of
nightmare” was chosen as the entry for 1906. You didn’t misread that, “Nineteen-Oh-Six”!
You can’t imagine when reading this story that it was actually published 107
years ago. This is one of those stories that shows that atmosphere can be
everything. A motorist has an accident while coming down from some mountains.
They aren’t named but something makes me think that they must be the
Ozarks.<span> </span>He goes looking for help and
ends up spending the night in what seems to be a dilapidated farm house on the
very edge of the woods. His host is a strange young boy with a hair lip who
seems to be living all alone. During the night the narrator is visited in a
vivid nightmare by what appears to be a monstrous hog which attempts to crush
and devour him. Upon waking up he finds that the young boy is no where to be
found. Giving up his search he walks to the next town to find a garage that can
repair his auto. He tells of his stay at the abandoned farm where he learns of
the house’s terribly past. This is a fantastic story. Even though you figure
out pretty quickly what is going on, the atmosphere and descriptions are so
incredibly that it’ll be a very long time before you forget the story! I dearly
love this one.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?78264"><span lang="EN-GB">The Mark of the Beast</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1961"><span lang="EN-GB">Rudyard Kipling</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">A British officer
desecrates a shrine in </span><span lang="EN-GB" style="font-family: Arial;">India</span><span lang="EN-GB" style="font-family: Arial;"> and gets a curse
put on him by a beggar/holy man. The guy has it coming since he broke a golden
rule which is as valid today as it was in past centuries. This rule was even
pounded into our heads during my time in the Army.<span> </span>And it’s simply five little words.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Don’t F##K with
the Locals”!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">This is a fun
little tale that lets off some of the tension built up by the previous two
stories.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?83926"><span lang="EN-GB">The Squaw</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1893) by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?650"><span lang="EN-GB">Bram Stoker</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Stoker’s „The
Squaw“, even with its completely non-PC title, holds a special place in my
heart. I first came across it in an adaptation that appeared in an old issue of
“Creepy” when I was a kid. The “Reed Crandall” art was deliciously appealing in
it’s goriness. The other reason that it’s so special to me is that it takes
place in </span><a href="http://en.wikipedia.org/wiki/Nuremberg"><span lang="EN-GB" style="font-family: Arial;">Nuremberg</span></a><span lang="EN-GB" style="font-family: Arial;"> and I’ve live
here in </span><span lang="EN-GB" style="font-family: Arial;">Nuremberg</span><span lang="EN-GB" style="font-family: Arial;"> as a civilian for
the past 22 years and I was stationed here for 4 years during the 1980s with
the “<a href="http://en.wikipedia.org/wiki/2d_Stryker_Cavalry_Regiment">2nd ACR”.</a></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">A Brtish tourist accidentally kills a kitten while visiting the
“<a href="http://en.wikipedia.org/wiki/Kaiserburg">Kaiserburg</a>” in </span><span lang="EN-GB" style="font-family: Arial;">Nuremberg</span><span lang="EN-GB" style="font-family: Arial;"> with friends.
Later they are visiting the town’s famous medieval dungeon with its preserved
torture chamber. Our tourist, having not learned his lesson, goofs around by
posing inside of </span><span lang="EN-GB" style="font-family: Arial;">Nuremberg</span><span lang="EN-GB" style="font-family: Arial;">’s infamous “<a href="http://en.wikipedia.org/wiki/Iron_maiden_%28torture_device%29">IronMaiden</a>”. This is then the moment where momma cat makes her move. Being a British
story I guess that you could simply say that this is all “bloody good fun”. </span></span></div>
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<span style="font-size: large;"><span style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?86451">Metzengerstein</a> • (1832)
by <a href="http://www.isfdb.org/cgi-bin/ea.cgi?622">Edgar Allan Poe</a> </span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">„Metzengerstein“is
a Poe story that I never read before. I’m always surprised to rediscover how
many of his stories hold up so well when compared to modern writing styles. A
young spoiled count whose family has been feuding for centuries with their
neighbours enjoys a great moment of “schadenfreude” when said neighbours
stables burn down and the families head dies in the fire. A short time later
the young count’s grooms find a stray horse carrying the markings of the
neighbouring family. The neighbours deny all knowledge of this steed and the
young man decides to keep it. He does notice that the horse bears a striking
resemblance to one that is portrayed being ridden by an ancestor of the
neighbour’s in a tapestry celebrating a military victory of his ancestors over
the ancestors of his neighbours. It also happens that during this battle the
ancestor was killed while riding the horse. Now here’s where the story falls
apart for me. On the very same day that the live horse is found, the other
horse vanishes from the tapestry.<span> </span>The
young counts only response to this mystery is to have the chamber contain the
tapestry walled off. Of course the young man becomes obsessed with his new
steed even though it never ceases trying to throw him. His obsession becomes so
great that he gives up all contact with the outside world to spend all his time
riding about his estate on this horse. Of course it all ends tragically. Except
for the odd logic, this is a very good story that holds up after all these
years. Good for you Mr. Poe!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?82305"><span lang="EN-GB">The Tortoise-Shell Cat</span></a></span><span lang="EN-GB" style="font-family: Arial;"> by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1216"><span lang="EN-GB">Greye La Spina</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Miss La Spina’s
“Tortoise-Shell Cat” is an extremely entertaining tale of theft, love, loyalty,
voodoo and a Were-Cat taking place as a preparatory school for wealthy young
women down in </span><span lang="EN-GB" style="font-family: Arial;">Louisiana</span><span lang="EN-GB" style="font-family: Arial;"> during the 1920s.
This could have made a great supernatural “Nancy Drew” mystery if it wasn’t for
the covert and casual racism that plays a major role in the attitudes of the
characters good and bad in the story. It’s sadly that kind of racism that’s
completely taken for granted and seems to be assumed that it’s the natural
state of things. It’s not easy, but if you can accept it as a period piece and
read it with a huge grain of salt, you will find it to be an interesting and
suspenseful story. The racism isn’t mean spirited, it’s just some outmoded
assumptions on relationships between the races that by today’s standards verge
on pure idiocy. So don’t say I didn’t warn you.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Symbol;"><span>·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?91810"><span lang="EN-GB">The Wendigo</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1910) by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1126"><span lang="EN-GB">Algernon Blackwood</span></a></span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“The Wendigo”, by
Algernon Blackwood, ends this anthology on such a high note that if it had been
placed first in the contents every story that came afterwards would have paled
greatly in comparison regardless of how truly good they were.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. Blackwood
lived a very active and interesting life. He spent much time in the wilds of </span><span lang="EN-GB" style="font-family: Arial;">Canada</span><span lang="EN-GB" style="font-family: Arial;"> and it shows here.
His experience in the Canadian wilderness adds a depth of atmosphere and
authenticity that is rarely seen in horror stories. This story had such a huge
influence on H. P. Lovecraft that that it has been more or less officaly added
to the “Cthulhu Mthos”. The “Wendigo” is a Native American
demon/spirit/demon/elemental that is said to posses it’s victims and turn them
into berserker cannibals. Blackwood’s “Wendigo” is not quite as gory as this,
but it still makes for one hell o a frightening tales. A group of hunters and their
guide are lured by their greed for a “big kill” ever deeper into the Canadian
wilderness where they fall prey to the never shown, but ever present “Wendigo”.
This is truly one of the finest horror stories ever written. This is another
fine example of showing that what is not shown can be more terrifying that what
is shown. Even though we never see the “Wendigo” it is still one of the greatest
monsters ever portrayed on the printed page. It’s available to read on line. So
if you consider yourself a genuine horror/weird tales fan and have never read
this story then do it now or shame on you!</span></span></div>
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</span><div class="MsoNormal">
<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> <a href="http://www.gutenberg.org/ebooks/10897">"The Wendigo" at <span style="font-size: large;">Project Gutenberg</span></a></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Beware the Bests”
is one of the better anthologies that I’ve read lately. It has a strongly
focused theme and consists of very strong stories where even the weakest ones exceptional
stories. It’s well worth getting if you can find an affordable cop some where.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">That’s it for this
time.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Thanks for
stopping by.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Doug</span></span></div>
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Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com1tag:blogger.com,1999:blog-579888615790908107.post-79478039270858628612013-03-12T17:57:00.001+01:002013-03-12T17:58:23.046+01:00Masters of Terror Vol.I: William Hope Hodgson<!--[if gte mso 9]><xml>
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<span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Masters of Terror Volume 1</span></span></div>
<span style="font-size: x-large;">
</span><br />
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<span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">William Hope Hodgson</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Corgi Books 1977</span></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> <b>My copy.</b></span></div>
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<span style="font-size: x-large;"><span lang="EN-GB" style="font-family: Arial;">Contents: </span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"><br /></span></div>
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</div>
<ul type="disc">
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">7 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?1296734"><span lang="EN-GB">Introduction: William Hope Hodgson: His
Life and Work (Masters of Terror 1)</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1977) • essay by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?1519"><span lang="EN-GB">Peter Tremayne</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">15 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58911"><span lang="EN-GB">The Voice in the Night</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1907) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">30 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58910"><span lang="EN-GB">A Tropical Horror</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1905) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">41 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58904"><span lang="EN-GB">The Mystery of the Derelict</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • [</span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/pe.cgi?24534"><span lang="EN-GB">Sargasso Sea</span></a></span><span lang="EN-GB" style="font-family: Arial;">] • (1907) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">55 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58908"><span lang="EN-GB">The Terror of the Water-Tank</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1907) •
shortstory by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">72 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58901"><span lang="EN-GB">The Finding of the Graiken</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • [</span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/pe.cgi?24534"><span lang="EN-GB">Sargasso Sea</span></a></span><span lang="EN-GB" style="font-family: Arial;">] • (1913) •
novelette by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">96 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58907"><span lang="EN-GB">The Stone Ship</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1914) •
novelette by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span><span lang="EN-GB" style="font-family: Arial;"> </span></span></li>
<li class="MsoNormal"><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">128 • </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/title.cgi?58900"><span lang="EN-GB">The Derelict</span></a></span><span lang="EN-GB" style="font-family: Arial;"> • (1912) •
novelette by </span><span style="font-family: Arial;"><a href="http://www.isfdb.org/cgi-bin/ea.cgi?163"><span lang="EN-GB">William Hope Hodgson</span></a></span> </span></li>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"><a href="http://en.wikipedia.org/wiki/William_Hope_Hodgson">William Hope Hodgson</a>
has, from the very beginning, been one of my favourite writers of the weird.
When you read through this slim, quasi “best of” collection you’ll see how much
influence he had on <a href="http://en.wikipedia.org/wiki/H._P._Lovecraft">H. P. Lovecraft</a>. It’s not fair to Mr. Hodgson, but many of
his short stories could easily be described as “proto-Lovecraftian”.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. Hodgson was
not only an excellent writer of short horror stories; he was also a very
successful novelist. His most famous
novels of horror and the fantastic were “<a href="http://en.wikipedia.org/wiki/The_House_on_the_Borderland">The House on the Borderland</a>”, “<a href="http://en.wikipedia.org/wiki/The_Boats_of_the_%22Glen_Carrig%22">TheBoats of the “Glen Carrig”</a>” and “<a href="http://en.wikipedia.org/wiki/The_Night_Land">The Night Land</a>”. He also penned a series of
stories about the supernatural investigator “<a href="http://en.wikipedia.org/wiki/Carnacki">Carnacki the Ghost <span style="font-size: large;">F</span>inder</a>”. All of
these stories and novels are in the public domain and are available on-line to
read. They are also all still in print and available at <a href="http://www.amazon.com/s/ref=nb_sb_ss_i_0_12?url=search-alias%3Daps&field-keywords=william+hope+hodgson&sprefix=william+hope%2Caps%2C315">Amazon</a>! So do yourself
a huge favour and look up some of these stories and novels. They are fun,
readable and have held up amazingly well when you realize that this was all
written before 1914!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. Hodgson sadly
died at a fairly young age when he found himself at the receiving end of a
German Artillery shell in </span><span lang="EN-GB" style="font-family: Arial;">France</span><span lang="EN-GB" style="font-family: Arial;"> during WWI. So we
will never know how many more novels and stories he had in him still.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> Mr. Hodgson didn’t bother with mundane or
traditional horrors such as Ghosts, Demons or other such supernatural horrors
that are so common in <a href="http://en.wikipedia.org/wiki/Ghost#Victorian.2FEdwardian_.281840_to_1920.29">Ed<span style="font-size: large;">w</span>ardian</a> horror stories. Nope, Mr. Hodgson’s horrors are
tentacled, slimy and squamous. Just the way Mr. Lovecraft liked ’em! The
horrors in these stories may be unnatural, but never supernatural. They are all
physical, if not terrifying and disgusting, tenants in our world. If Mr.
Hodgson is famous for anything it would be more or less single handedly
inventing the popular concept of the “</span><a href="http://en.wikipedia.org/wiki/Sargasso_Sea_Stories_%28William_Hope_Hodgson%29"><span lang="EN-GB" style="font-family: Arial;">Sargasso Sea</span></a><span lang="EN-GB" style="font-family: Arial;">”. That huge continent
sized mass of sea weed floating out in the middle of the </span><span lang="EN-GB" style="font-family: Arial;">Atlantic Ocean</span><span lang="EN-GB" style="font-family: Arial;">. A huge seething
mass that has trapped sailing ships through out all of history. That it also
happens to be the home of numberless shapeless and slimy horrors that defy
description just makes it that much more enjoyable.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Every story,
except one, in this collection deals with these maritime horrors. If you find a
copy heed my advice and space them out. They are all wonderful tales, but the
plotting and setting lend them a sameness that blends them all together if you
attempt to read them all, like I did, in one sitting.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Mr. Hodgson spent
many years at sea when he was very young. And it’s this maritime experience
that lends a strong sense of authenticity to his stories set at sea. I think he
did take a few liberties though when describing the ship’s crewmen. In these
stories they all come across as good, decent and brave men. From what I’ve read of his own life , it seems
that this is not actually the case as far as Mr. Hodgson’s experiences went.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">I’m not going to
go into to describing these stories this time. They have to be read to be
believed. And lucky for you, they are all available online!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">The collection
opens up with Mr. Hodgson’s most famous story, “A Voice in the Night”. This is
one of the first horror stories I ever read. I can vividly remember taking home
a copy of “<a href="http://www.isfdb.org/cgi-bin/pl.cgi?359414">More Tales to Tremble By</a>” from the library at “</span><span lang="EN-GB" style="font-family: Arial;">Johnny</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Clem</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Elementary School</span><span lang="EN-GB" style="font-family: Arial;">” back around
1970. The story, although bloodless, scared me out of a year’s growth and
managed to give me a lif long fear/hatred of moldy things. I reread it last
week and even though I’m 51 years old now, it still managed to be deliciously
creepy! You’ll have to trust me on this. The story is so good that it was even
filmed in </span><span lang="EN-GB" style="font-family: Arial;">Japan</span><span lang="EN-GB" style="font-family: Arial;"> as “<a href="http://en.wikipedia.org/wiki/Matango"><i><span style="font-family: Arial; font-style: normal;">Matango</span></i></a><span class="st"><i>,</i> Fungus of Terror” aka “Attack
of the Mushroom People”. You can find a few clips of this film on “<a href="http://www.youtube.com/watch?v=sVyRYjJoZfc">Youtube</a>”.</span></span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Here’s a typical
passage describing one of Hodgson’s horrors….</span></span></div>
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</span><br />
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<b><i><span style="font-size: large;">
</span></i></b><br />
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<b><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;"> </span></span></i></b><span style="color: #6aa84f;"><i><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">"But he never finished, for a tremendous hoarse scream cut
off his words. They hove themselves round and looked. I could see without
turning. The man who had run from us was standing in the waist of the ship,
about a fathom from the starboard bulwarks. He was swaying from side to side,
and screaming, in a dreadful fashion. He appeared to be trying to lift his
feet, and the light from his swaying lantern showed an almost incredible sight.
All about him the mould was in active movement. His feet had sunk out of sight.
The stuff appeared to be <i><span style="font-family: Arial;">lapping</span></i>
at his legs and abruptly his bare flesh showed. The hideous stuff had rent his
trouser-leg away as if it were paper. He gave out a simply sickening scream,
and, with a vast effort, wrenched one leg free. It was partly destroyed. The
next instant he pitched face downward, and the stuff heaped itself upon him, as
if it were actually alive, with a dreadful, severe life. It was simply
infernal. The man had gone from sight. Where he had fallen was now a writhing,
elongated mound, in constant and horrible increase, as the mould appeared to
move towards it in strange ripples from all sides.“</span></span></i></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Now, did that wet your appetitie? If it did, then search out these
stories online or at your bookstore or library. I can honestly say that these
are some of the finest stories of this sort that the genre has ever seen. And
they are of course, of special interest to any serious fan of H.P. Lovecraft.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Well that it for this week.</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Take care and thanks for stopping by!</span></span></div>
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<span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Doug</span></span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com4tag:blogger.com,1999:blog-579888615790908107.post-67504766392486327642013-03-05T16:22:00.001+01:002013-03-05T19:01:33.271+01:00A Converstion with Murray Tinkelman<div class="MsoNormal">
<b><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=579888615790908107" name="OLE_LINK1"><span lang="EN-GB" style="font-family: Arial;">A conversation with the great Murray Tinkelman</span></a></span></b></div>
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<span style="font-size: large;"><b>Mr. Tinkelman and his favorite cover!</b></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><span style="mso-bookmark: OLE_LINK1;"> </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><span style="mso-bookmark: OLE_LINK1;">Two weeks ago I had the great
pleasure of speaking with Mr. Murray Tinkelman, the famous and award winning
illustrator. This came about by my wanting to do something different for once
in the blog. Mr. Tinkelman has been one of my favourite cover artists since the
middle 1970s when he illustrated the front and inside covers for the Lovecraft
and Lovecraft related titles for Ballantine books under the editorship of Judy
Lynn del Rey. Anyone who is familiar with these editions will immediately
recognize and appreciate the beauty and uniqueness of these editions. Mr.
Tinkelman went on to do many more wonderful covers for such authors as Kurt
Vonnegut, John Brunner, Richard Matheson, Zane Grey, Joe Haldeman and E. R.
Eddison</span><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">. </span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEL_issrlsRbeDS3RBZaP6eNg-g5lBrrheNT4uKjBxULoLX0U5L8mRgnMiAv_pFNw-wv69Jn-GJlVQr0wkvp2VQfDFdPNnrt-U1_UkL5j5Z2WsOw_rqQVL1K0Zn3Unkfl4SPW62P0zrXw/s1600/811739.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xSHc68oI8EX3uMMaLx6LSzaZGC48Izo2r2W7TqzRk-93RFnAma9HqYUqNAr9dK_K_GRJCdWHqwzQEaoDVTdHaMd2_LvOPQVU3xTwOD8JHsrdj_MrPUmO3lSM-GYbqj20qioDz2LCQl4/s1600/tumblr_mijojpGZup1rhcorso1_400.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xSHc68oI8EX3uMMaLx6LSzaZGC48Izo2r2W7TqzRk-93RFnAma9HqYUqNAr9dK_K_GRJCdWHqwzQEaoDVTdHaMd2_LvOPQVU3xTwOD8JHsrdj_MrPUmO3lSM-GYbqj20qioDz2LCQl4/s400/tumblr_mijojpGZup1rhcorso1_400.jpg" width="250" /></a><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEL_issrlsRbeDS3RBZaP6eNg-g5lBrrheNT4uKjBxULoLX0U5L8mRgnMiAv_pFNw-wv69Jn-GJlVQr0wkvp2VQfDFdPNnrt-U1_UkL5j5Z2WsOw_rqQVL1K0Zn3Unkfl4SPW62P0zrXw/s400/811739.jpg" width="245" /></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><span style="mso-bookmark: OLE_LINK1;">Mr. Tinkelman grew up in the </span><span style="mso-bookmark: OLE_LINK1;">Brownsville</span><span style="mso-bookmark: OLE_LINK1;"> section of </span><span style="mso-bookmark: OLE_LINK1;">Brooklyn</span><span style="mso-bookmark: OLE_LINK1;">. Upon graduating from </span><span style="mso-bookmark: OLE_LINK1;">High School</span><span style="mso-bookmark: OLE_LINK1;"> of </span><span style="mso-bookmark: OLE_LINK1;">Industrial Arts</span><span style="mso-bookmark: OLE_LINK1;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
</span></span><span style="mso-bookmark: OLE_LINK1;">he started working for the
famous Iger Studios doing “touch up work” for other artists along with his best
friend “Dick Giordano2. Mr. Tinkelman didn’t get along very well with Mr. Iger
and moved on to greener pastures. His first professional sale was to “Seventeen
Magazine”. This shows that even great artists like Mr. Tinkelman have to start
somewhere. Since these humble beginnings Mr. Tinkelman has gone on to become
one of the nations greatest Illustrators and respected artists. Here is a
direct quote from his Studio’s home page…</span></span></div>
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<span style="color: #b45f06;"><b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">“Murray Tinkelman is an award-winning
artist who has won gold medals from the Society of Illustrators, The New York
Art Directors Club and the Society of Publications Designers. His illustrations
have appeared in a variety of publications such as Atlantic Monthly, The New
York Times, and The Washington Post. Tinkelman has been commissioned by The
National Park Service to do drawings and paintings of National Parks and
Monuments and by The U.S. Air Force to be an artist-reporter on specific
missions. He has had a one-man exhibit of his baseball art at The National
Baseball Hall of Fame and Museum in Cooperstown, New York in 1994 and The
United States Sports Academy in Daphne, Alabama in 1995. His work is
represented in the permanent collections of the </span><span lang="EN-GB" style="font-family: Arial;">Brooklyn</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Museum</span><span lang="EN-GB" style="font-family: Arial;">, the </span><span lang="EN-GB" style="font-family: Arial;">Delaware</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Art Museum</span><span lang="EN-GB" style="font-family: Arial;">, the
International Photography Hall of Fame & Museum, and the New Britain Museum
of American Art.</span></span></b></span><br />
<span style="color: #b45f06;"><b><span style="font-size: large;">
</span></b></span><span style="color: #b45f06;"><b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Tinkelman
has been a guest curator for The Discovery Museum in </span><span lang="EN-GB" style="font-family: Arial;">Bridgeport</span><span lang="EN-GB" style="font-family: Arial;">, </span><span lang="EN-GB" style="font-family: Arial;">Connecticut</span><span lang="EN-GB" style="font-family: Arial;">, and the Society
of Illustrators, </span><span lang="EN-GB" style="font-family: Arial;">Museum</span><span lang="EN-GB" style="font-family: Arial;"> of </span><span lang="EN-GB" style="font-family: Arial;">American
Illustration</span><span lang="EN-GB" style="font-family: Arial;"> in </span><span lang="EN-GB" style="font-family: Arial;">New York City</span><span lang="EN-GB" style="font-family: Arial;">.</span></span></b></span><br />
<span style="color: #b45f06;"><b><span style="font-size: large;">
</span></b></span><span style="color: #b45f06;"><b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">Tinkelman
has been named the recipient of the 1999 Distinguished Educator in the Arts
award from the Society of Illustrators in </span><span lang="EN-GB" style="font-family: Arial;">New York</span><span lang="EN-GB" style="font-family: Arial;">. He has received
the 1995 Sports Artist of the Year from The United States Sports Academy, the
1970 Artist of the Year award from The Graphic Arts Guild in </span><span lang="EN-GB" style="font-family: Arial;">New York City</span><span lang="EN-GB" style="font-family: Arial;">, and the 2001
Syracuse University Faculty Service Citation.</span></span></b></span><br />
<span style="color: #b45f06;"><b><span style="font-size: large;">
</span></b></span><span style="color: #b45f06;"><b><span style="font-size: large;"><span lang="EN-GB" style="font-family: Arial;">He is
Professor Emeritus from </span><span lang="EN-GB" style="font-family: Arial;">Syracuse</span><span lang="EN-GB" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">University</span><span lang="EN-GB" style="font-family: Arial;"> where he taught
in the undergraduate program and was the senior advisor in the Independent
Study MA Program in Illustration for over 25 years from 1979 - 2006.</span></span></b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;">I have to make a confession
now, up until two weeks ago I only knew Mr. Tinkelman as one of my favourite
cover artists and nothing more! I actually had the <i><span lang="EN-GB" style="font-style: normal;">Chutzpah to write to the
man and ask him if he’d answer a few questions form the blog. I sent him a link
to a previous post of mine covering his cover work for the HPL titles. He
quickly responded to my email. He said that he didn’t like to type and he
wouldn’t burden his wife with his correspondence. But I was free to call him at
home. He then added his telephone number. I thought ok, this’ll be an
interesting, since I had only originally planned on sending him a few simple
questions. I then realized that I had better learn a little bit about the man
if I was actually going to be audacious enough to actually impose on his time,
kindness and generosity.</span></i></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkSLA-K5SgIMh_uuMHjLtbvnbUAqf3HQM5lqIEwQc1l0ZVUviW86gpjehEzyl7fzZ8UnC2aBybiIfGQApHXUDCi3btKURDfY1TWDsDam9PXLZ2FQUI6-BSMoAQ1029rrNk0LdNH4h2msU/s1600/Murray-Tinkelman-mechanimals-y1-x640.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkSLA-K5SgIMh_uuMHjLtbvnbUAqf3HQM5lqIEwQc1l0ZVUviW86gpjehEzyl7fzZ8UnC2aBybiIfGQApHXUDCi3btKURDfY1TWDsDam9PXLZ2FQUI6-BSMoAQ1029rrNk0LdNH4h2msU/s320/Murray-Tinkelman-mechanimals-y1-x640.jpg" width="320" /></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">After
reading up on Mr. Tinkelman’s (real) career, I was terrified to think that I
had the nerve to impose upon such an important artist. At first I thought of begging off. But then after chewing over it, I then
thought that I’d just express my admiration, ask a few simple questions and leave
the man alone. So two weeks ago today I pulled my nerve together and called at
the agreed upon time.</span></i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">What
I at first feared to be a humiliating experience turned into one of the most
joyful, informative and entertaining 54 minutes of my life. I quickly discovered that Mr. Tinkelman, to
my great relief and pleasure, is an extremely warm, friendly, unpretentious and
charming man! </span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman asked me about myself and why I was interested in his work, which I
explained. He told me that he never considered himself a “Cover Artist”. He
explained that cover art allowed him the freedom to move onto to his actual
artistic interests. He said that when he makes public appearances that he gets
recognized by three groups of fans/admirers. Those who are interested in his
art and illustration career, those who know him as a SF/Horror/Fantasy cover
artist and those who admire his cover work on westerns.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman loves 1950s autos, Baseball, the rodeo as inspiration for his western
art and Gene Autry. He explained to me that there are two kinds of people in
this world. They are “Gene Autry” people and “Roy Rogers” people. Because of my
father, I’m a Roy Rogers person myself. Mr. Tinkelman was kind enough not to
hold that against me though!</span></i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;"> </span></i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;"> <b>Mr. Steve <i>"Doc Savage" Holland</i></b></span></i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;"> </span></i></span><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGlaORM7nV5qBOzyU07te1LgHNM3AGqw4T92hTx1WVOeJYa3KqBi5Z2VWLEg6FM_fiNN6xjTb2WU8oj2q3WgoNosid8WMGMNs8rFji1dcxPYrskLr4DWlMhX5UeoC16o1XlHnps2fyRT4/s1600/3522407513_a389fc5d11_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGlaORM7nV5qBOzyU07te1LgHNM3AGqw4T92hTx1WVOeJYa3KqBi5Z2VWLEg6FM_fiNN6xjTb2WU8oj2q3WgoNosid8WMGMNs8rFji1dcxPYrskLr4DWlMhX5UeoC16o1XlHnps2fyRT4/s640/3522407513_a389fc5d11_b.jpg" width="368" /></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">I
asked him about the HPL covers he did and he told me that he knew Lovecraft
from his youth by reading his father’s copies of “Weird Tales Magazine”. He
went on to tell me that he had been offered by “Ballantine Books” to illustrate
the covers to Ballantine’s reissue of the Tarzan novels. Mr. Tinkelman didn’t
feel that his style would be appropriate for the Tarzan novels and declined.
This was a huge break for the famous comic’s artist “Neal Adams” since he ended
up getting the assignment. I have to say, that even though I agree with Mr.
Tinkelman, that his style might not fit the Tarzan novels, I would still have
loved to have seen what he would have done. He then went on to tell me that
just a day or so later he was approached by re-approached by Ian Summers to do
the Lovecraft illustrations for Ballantine. </span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman also told me of his time stationed in </span></i><i><span lang="EN-GB" style="font-style: normal;">Germany</span></i><i><span lang="EN-GB" style="font-style: normal;"> with the army where he
worked in </span></i><i><span lang="EN-GB" style="font-style: normal;">Wurzburg</span></i><i><span lang="EN-GB" style="font-style: normal;"> as an illustrator painting
welcome signs for officer’s wives and hand drawing cigar bands when officer’s
children were born. I asked him how this was (this was during the Korean War)
and he said that it was better than getting shot at. I can agree with 100%!</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">We
then went on to discuss illustration in general and the decline of “Book Design”.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman believes that the decline in the quality of book design can be mostly
blamed on inexperienced art directors at the publishing houses. He told me that
these days the position of “Art Director” is often considered to be an
unimportant opening position that is filled by young inexperienced people and
that it isn’t taken nearly as seriously as before. He also thinks that even
though “narrative illustration” is much less in demand there is still plenty of
wonderful work being done in “decorative illustration”. Mr. Tinkelman stated
that, his good friend, the late Maurice Sendak also shared the opinion that
quality book design had suffered greatly these last few decades.</span></i></span></div>
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<span style="font-size: large;"> <span style="font-size: small;">Mr<b>. Tinkelman's Original Cover</b> </span> <span style="font-size: small;"> <b>The "Red sells" cover</b></span></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWg2NC9X4tg29IHxyP28ldRmXlvYew8_dyNOMYWh6OIfff0fds_V5EKLC6P5lsWoWLbE3hnB_zTQT4_x58fVeDFWutONwjdMNr_Jknb0aPEeB7g9pD-zAz0csfv-5NdJX7V9aVrCWZoU/s1600/7109003561_1eeeee5267.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWg2NC9X4tg29IHxyP28ldRmXlvYew8_dyNOMYWh6OIfff0fds_V5EKLC6P5lsWoWLbE3hnB_zTQT4_x58fVeDFWutONwjdMNr_Jknb0aPEeB7g9pD-zAz0csfv-5NdJX7V9aVrCWZoU/s320/7109003561_1eeeee5267.jpg" width="190" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPobSm-yLjKHLdnkEtGX69NZpfzpCWOrALOJ03ScqBYWnLOLY8K9sjiMehXJdtp5Q-m6GfM0gsV-chR_Nt1rPs3TXZzbATl90aaELn0AJ2KUO4pd9-puy-3He1qvVqckc_4FkpQjQVk8o/s1600/CTSCRDLQCL0000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPobSm-yLjKHLdnkEtGX69NZpfzpCWOrALOJ03ScqBYWnLOLY8K9sjiMehXJdtp5Q-m6GfM0gsV-chR_Nt1rPs3TXZzbATl90aaELn0AJ2KUO4pd9-puy-3He1qvVqckc_4FkpQjQVk8o/s320/CTSCRDLQCL0000.jpg" width="215" /></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman told me two interesting stories regarding how Art Editors will meddle
with and destroy fine book art. Mr. Tinkelman did the famous cover for Kurt
Vonnegut’s “Cat’s Cradle”. This is lovely piece of art that draws your eye to
the book that is done predominantly in shades of yellow. When “Dell Books”
decided to reissue the novel, the art director decided that “red sells” and
heavily cropped the art and placed a heavy red border around it. The second
story involves Mr. Tinkelman’s continuing interest in book design and art. He
told me that he still browses the SF section and the books stores. He came
across a new edition of “John Brunner’s “Stand on </span></i><i><span lang="EN-GB" style="font-style: normal;">Zanzibar</span></i><i><span lang="EN-GB" style="font-style: normal;">”. “Random House” still
owned the reprint rights to his cover art which allowed them to continue using
it over the years. It seems that some “genius” in their art department decided
to “improve” upon Mr. Tinkelman’s original art and completely butchered it into
a horrible collage. Mr. Tinkelman was understandably angry enough that he wrote
a letter to the art department at Random House asking them what they thought
they were doing. And as a perfect example of how things are run these days,
instead of explaining their decision, they just sent him a form letter
referring any future inquiries to their legal department. I can’t decide for myself what is worse in
this situation, the ignorance, the hubris or the arrogance. </span></i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;"><b> <span style="font-size: small;">The Original cover The Butchered <i>late 80s cover</i></span></b></span></i></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLhrj92FSfW4mFuoEw4HkviEUh9DWVCGTF4FSSqr__O6XWZFgYJ_Peqy79XsAZT8yuQxggDaQYOgAAWyDVKnfBJRLZhffz6ixvlIWgAOjeXoVRfZX6PPhIsSqc1rGMQTCWZ1FMMQB3LU/s1600/STNDNZNZBB1978.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLhrj92FSfW4mFuoEw4HkviEUh9DWVCGTF4FSSqr__O6XWZFgYJ_Peqy79XsAZT8yuQxggDaQYOgAAWyDVKnfBJRLZhffz6ixvlIWgAOjeXoVRfZX6PPhIsSqc1rGMQTCWZ1FMMQB3LU/s400/STNDNZNZBB1978.jpg" width="237" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxnCR0mupC65ECIPt5rDm2y2iFR9XiwGLAYkxJUUfWXXMWoYJoo7L8kUKvOEonnRmAcff5tZV-u0RCpLv2y4TdSXXAHdfNpn88Rdc9TyIPrJXQFkkLwflM962JllbiiaeoYqwAQDJ5Di0/s1600/9780345347879.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxnCR0mupC65ECIPt5rDm2y2iFR9XiwGLAYkxJUUfWXXMWoYJoo7L8kUKvOEonnRmAcff5tZV-u0RCpLv2y4TdSXXAHdfNpn88Rdc9TyIPrJXQFkkLwflM962JllbiiaeoYqwAQDJ5Di0/s320/9780345347879.gif" width="192" /></a></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWspbig5T7nkxRHyKwtLF9D7F9UrMGEgZRiUUgZE6s7Frrl_vCSf6zBkXdGD3XkTHgPDV6ZJ_I_yemMtYmEKzL2xksTa-JXpltb54h6emqhBEIFWryy2hLUBa6qJQThqREVPbcUKzNrFk/s1600/murray+tinkelman+hpl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWspbig5T7nkxRHyKwtLF9D7F9UrMGEgZRiUUgZE6s7Frrl_vCSf6zBkXdGD3XkTHgPDV6ZJ_I_yemMtYmEKzL2xksTa-JXpltb54h6emqhBEIFWryy2hLUBa6qJQThqREVPbcUKzNrFk/s400/murray+tinkelman+hpl.jpg" width="325" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-style: normal;">As
I was doing my research/home work on Mr. Tinkelman’s art and career I came
across his series of covers he did for some of the “Zane Grey” westerns. These
were new to me and I was overjoyed to see that he was using “Steve Holland” as
his model. Even if the name “Steve Holland” doesn’t mean anything to most
people, millions of readers still know the man’s face, physique and torn shirt.
Steve Holland is the man who was immortalized as the personification of “Doc
Savage” on the famous “James Bama” paperback covers from the 1960s!!! It turns
out the Mr. Tinkelman and Mr. Bama are good friends and that Mr. Tinkelman got
to “borrow” Steve for the Zane Grey covers. Mr. Bama went on to become an
admired and respected western and landscape painter. One funny note to this interesting
piece of information is that when I informed Mr. Tinkelman that the original
“torn shirt” worn by Mr. Holland had been auctioned off for a very high price,
Mr. Tinkelman told me that he still owned the denim jacket worn by Mr. Holland
in all those Zane Grey covers.</span></i></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">At
one point during our conversation I told Mr. Tinkelman that the “Tinkelman
Lovecrafts” bring much higher prices with collectors than the ”Michael Whelan
Lovecrafts”. He just laughed and said “don’t let Michael know that!”</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">I’m
going to wrap this up. I was so nervous and the beginning of our conversation
and then so over joyed and enthralled that I forgot to take any notes while we
were talking. As soon as we hung up I started jotting down notes like a mad
man. So I’m sure I’ve left a few things out. Regardless, it was a wonderful
hour spent with one of my idols who turned out to be so much more kind,
generous and charming as I could ever have hoped for.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">I
am very much in Mr. Tinkelman’s debt and extremely thankful that he shared his
precious time with me.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Thank
you </span></i><i><span lang="EN-GB" style="font-style: normal;">Murray</span></i><i><span lang="EN-GB" style="font-style: normal;"> from the bottom of my
heart!</span></i></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjARLosBuU0HiokJaLvHJH8ps0e0jBn7JnXyOB6i9hsoXQ7FE6ncLEGeytWOxPvFYhjY55uE9DGQJ1ReOD1vywJe_7OvRKb5kuK0c2LwdL7qUUtwcqARuiDEoK0fcF8quWWz5Hj94vIak/s1600/24-Phantom2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjARLosBuU0HiokJaLvHJH8ps0e0jBn7JnXyOB6i9hsoXQ7FE6ncLEGeytWOxPvFYhjY55uE9DGQJ1ReOD1vywJe_7OvRKb5kuK0c2LwdL7qUUtwcqARuiDEoK0fcF8quWWz5Hj94vIak/s400/24-Phantom2.jpg" width="400" /></a></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWP8D_lii8w4AXcmd8esX6JWieWT5a4HEk1BkTkWSzNhnw5j_1hsmcXXIbRTQ_XEnXglOo9jdrf3XXKcz1BLPgSvITZO3u14ZWWsK4ryrdeEc6rvfDCdNjnVouilRFGtCgFkzilhf6hc/s1600/pow_pop10.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWP8D_lii8w4AXcmd8esX6JWieWT5a4HEk1BkTkWSzNhnw5j_1hsmcXXIbRTQ_XEnXglOo9jdrf3XXKcz1BLPgSvITZO3u14ZWWsK4ryrdeEc6rvfDCdNjnVouilRFGtCgFkzilhf6hc/s400/pow_pop10.gif" width="268" /></a></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Postscript….</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">I’m
going to add something here that I recently realized and I’m kicking myself for
not bringing it up with Mr. Tinkelman.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Lastly,
take a look at the books that Mr. Tinkelman worked on. Every single one of
these books is still in print and considered classics in their fields. Mr.
Tinkelman was chosen to represent the finest that these genres had to offer.
This shows me how highly Mr.Tinkelman was held in the esteem of the publishing
houses. They wanted the very best to represent the very best.</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Mr.
Tinkelman told me that he was once approached by Joe Haldeman, who told him
that Mr. Tinkelman’s cover for “The Forever War” was his favourite cover from
all the ones that ever appeared on his books. </span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Looking
at the body of his work, and even though Mr. Tinkelman stated he didn’t
consider himself a cover artist. I myself consider him a Grand Master of the
field and the faces which he placed on these books greatly increased the
reading experience of each one. </span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">On
a last note, I’ve just learned that </span></i><i><span lang="EN-GB" style="font-style: normal;">Murray</span></i><i><span lang="EN-GB" style="font-style: normal;"> has been awarded an
Honorary Doctorate by the Kendall School of Art and Design in </span></i><i><span lang="EN-GB" style="font-style: normal;">Grand Rapids</span></i><i><span lang="EN-GB" style="font-style: normal;"> </span></i><i><span lang="EN-GB" style="font-style: normal;">Michigan</span></i><i><span lang="EN-GB" style="font-style: normal;"> and the he is also being
inducted to the Illustrators Hall of Fame!!</span></i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Congratulations
</span></i><i><span lang="EN-GB" style="font-style: normal;">Murray</span></i><i><span lang="EN-GB" style="font-style: normal;">!!</span></i></span></div>
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<span style="font-size: large;"><a href="http://1.bp.blogspot.com/-iFARnoiZIkM/UGhhFkChAnI/AAAAAAAAA3s/rI_UF5tu0Zk/s1600/tinkelman2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-iFARnoiZIkM/UGhhFkChAnI/AAAAAAAAA3s/rI_UF5tu0Zk/s400/tinkelman2.jpg" width="243" /></a></span></div>
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyJaNDoFX_h_KegwEyjUOyzQET8uXSfy6QuOsiyyaxdVgqGTVci_SSIPaPW8-fKhs9tItqG6loKXF66KPuPoi2rFZz03_uEHeuSMu-TLhS4FAmPZdcXRp3DD6D6RTp7_ryz-K4iVEP5CU/s1600/tinkelman1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyJaNDoFX_h_KegwEyjUOyzQET8uXSfy6QuOsiyyaxdVgqGTVci_SSIPaPW8-fKhs9tItqG6loKXF66KPuPoi2rFZz03_uEHeuSMu-TLhS4FAmPZdcXRp3DD6D6RTp7_ryz-K4iVEP5CU/s400/tinkelman1.jpg" width="240" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><i><span lang="EN-GB" style="font-style: normal;">Thank
you Mr. Tinkelman!</span></i></span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Take care and thanks for stopping by.</span></i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: large;"><i><span lang="EN-GB" style="font-style: normal;">Doug </span></i></span></div>
Doughttp://www.blogger.com/profile/10899692178606630762noreply@blogger.com3