Whitley Strieber's The Wolfen

The Wolfen is a 1978 horror novel by Whitley Strieber. The title suggests that this is going to be a werewolf story but it isn’t really. Or rather it is, but it’s a very very unconventional werewolf tale. And it’s unconventional in extremely interesting ways.

It starts with two New York cops on a routine duty in the auto pound. It’s very boring duty but it’s about the safest job in the whole NYPD. Or so they these two cops thought. Within minutes they’re torn to pieces. And eaten.

The detectives assigned to the case are Wilson and Becky Neff. Wilson is middle-aged, irascible, embittered, doesn’t approve of lady cops but he’s a brilliant detective. He doesn’t approve of Becky Neff until he has to grudgingly admit that she really does have a fine investigative brain. They bicker constantly, but they’re a great team. They hate each other, and they love each other.

This case is puzzling to say the least. The two dead cops were clearly killed by animals. Large powerful animals. Animals such as dogs. But they could not have been killed by dogs. Nothing about the way they were killed is consistent with a dog attack. Dogs just don’t operate that way. The department wants the case buried.

Then more bodies turn up. Wilson and Neff have found out a few things that make the case more puzzling. The animal tracks found nearby belong to no known species. It’s more and more obvious that it was an attack by a pack of animals, but a pack that behaves nothing like a pack of dogs. And nothing like a pack of wolves.

And then Wilson and Neff realise they’re being hunted. This is a story in which both sets of antagonists are both hunters and hunted.

The Chief Medical Examiner is baffled. Wilson and Neff turn to scientific experts for help. Dr Ferguson has a theory but he’s reluctant to reveal it. It’s too outlandish. The ridicule it would attract would end his career. But Wilson and Neff suspect his crazy theory is pretty close to the truth.

The Commissioner and the Chief of Detectives are too intent on playing politics to offer any assistance. In fact they’re planning to offer up the two detectives as scapegoats.

Becky Neff’s marital problems complicate things.

I’m not going to reveal what is really going on. It becomes clear quite early on but it’s more fun if you figure out it out at the same as the two detectives do so. It’s a very clever and original variation on the werewolf idea.

As in The Hunger Strieber gets us into the minds of non-human creatures. In this case the more we know about these creatures the more terrifying they are. And as in The Hunger he’s interested in the mindset of predators.

It’s also similar to The Hunger in its cynicism about power structures and the murky motivations of institutions.

The two cops are flawed but interesting. Becky Neff has a crooked cop husband to worry about but he’s not a crook in a straightforward way. Wilson isn’t conventionally likeable but we develop a certain respect for him and the relationship between the two detectives develops in intriguing ways.

There’s plenty of visceral horror but it isn’t gratuitous. We need to be appalled by the killings.

I haven’t read any of the UFO novels for which Strieber is best known but so far I’m very impressed by his horror fiction. The Wolfen is highly recommended.

I’ve also reviewed The Hunger.

Whitley Strieber’s The Hunger

Whitley Strieber’s novel The Hunger was published in 1981. In 1983 there was a celebrated movie adaptation which is one of those love it or hate it movies (I love it).

John Blaylock and Miriam are hunting. John’s target is Faye, a teenaged girl. Miriam’s target is Faye’s boyfriend. If one of these teenagers suddenly disappeared questions might get asked. If they both disappear at the same time it will be assumed that they ran off together. It is important that no questions should get asked. Good clean kills with no traces left, that’s the objective.

John and Miriam are very much in love. They’re a typical couple except that Miriam is a bit older than John. Several thousand years older. John isn’t even 200 years old. John and Miriam are vampires.

John has noticed something recently, something slightly disturbing. He doesn’t know what it means. Miriam knows exactly what it means. She has been dreading this. She loves John. She has loved all of them, and has lost all of them. Like the others John is not a true vampire. Miriam is sure there must be a way to make her lovers immortal like herself. She can’t go on losing those she loves after only a few centuries.

She suspects that Dr Sarah Roberts might have accidentally stumbled upon the key. Sarah is a sleep researcher and has discovered something extraordinary about the links between sleep and ageing. Persuading Sarah to help her will be tricky, but it could be done.

The clever thing here is that even when Sarah becomes totally enmeshed in Miriam’s scheme she has no idea that she is dealing with a vampire. Miriam does something very unexpected. Something that you do not expect a vampire to do. She deliberately puts herself in the hands of scientists (Sarah and her team). She allows them to study her, knowing that they are very quickly going to realise that there are things about her that are wildly outside the normal human parameters. Her blood composition is bizarre. Her sleep patterns are bizarre.

But what’s really clever about Miriam’s scheme is that the scientists are not going to realise that she’s a vampire. That possibility will never occur to them, it could never occur to them, because vampires do not exist. And she has been very careful to ensure that they do not have possession of a single item of knowledge about her that might suggest the possibility that she is non-human. She appears to be a 30-year-old woman so that’s what they assume she is. They do not suspect that she is thousands of years old. They know nothing of her blood-drinking. They have no way of knowing that she has killed thousands of times. And they do not for a second suspect that she might be dangerous.

It’s all part of Miriam’s plan to draw Sarah in.

There are three separate species in this book. There are the humans of course. There’s Miriam. She is a true vampire. She is not human. She belongs to a closely related but distinct species. And there are the transformed vampires, such as John Blaylock. They are hybrids. The transformation has made them vampires of a sort. They have many of the characteristics of vampires. But they are not true vampires. They are both vampire and human.

Strieber uses this fact to explore the moral issues connected to vampirism in interesting ways. Miriam fees no remorse whatsoever about killing humans in order to feed. She likes humans. She is genuinely fond of them and in some ways she admires them. But she regards them the way a farmer regards his livestock. He may be quite fond of his cows but he accepts that the time will come when they have to be eaten. Miriam does not consider herself to be a murderess. To some extent she regards transformed humans such as John Blaylock as much-loved pets. We might love a dog very much but the dog is a pet, not a human lover.

John has never quite come to terms with the need to kill because he is aware that he is still partly human. It feels like cannibalism. It feels like murder. He has become accustomed to it, reconciled to it, he has even come to enjoy the hunt, but he is still not entirely comfortable with it.

The human scientists and doctors have no more respect for Miriam’s rights than she has for her victims. They think of her the way they think of their lab animals. As far as they’re concerned she has no more rights than one of the rhesus monkeys on which they experiment. And they treat her this way even though they have no knowledge of her true nature. They think she’s human. They just think that she is so unusual that they are justified in treating her like a lab rat. The humans in this story are morally no better than the vampires.

The book is very concerned with morality but treats the subject in a very complex and provocative way.

This is also a story about love and loss, but love of an unusual kind.

Strieber creates a very complicated and elaborate and original vampire mythology, but it’s not a mythology as such. This is a science fiction novel. He also gives Miriam and John very detailed backstories. None of these things would have worked in a movie so the 1983 movie very wisely focuses on the emotional implications of the story. The novel and the movie are therefore very very different but I love them both equally.

The Hunger is a fascinating science fiction vampire tale. Highly recommended.

I’ve also reviewed his brilliant 1978 werewolf novel Wolfen and I've reviewed the movie, The Hunger (1983).

Sax Rohmer's The Green Spider

There was a lot more to Sax Rohmer than the Fu Manchu books. He wrote detective stories many of which had supernatural elements, or at least suggestions of the supernatural. And he wrote some fine gothic horror. Black Dog Books have collected a varied assortment of his early stories in The Green Spider: and Other Forgotten Tales of Mystery and Suspense.

The Green Spider (written in 1904) begins with a college servant named Jamieson discovering what appears to be a horrific murder. Someone has broken into the laboratory of Professor Brayme-Skepley, wrecked everything and murdered the professor. The body however is not there. There is evidence that suggests that the professor was forcibly removed from the premises (either dead or alive) but there is other evidence that suggests that such a thing could not have happened. And there’s the matter of the giant green spider seen by the servant.

The Death of Cyrus Pettigrew involves the sudden death of a man on a train. The only other person in the compartment was Miss Pettigrew, his niece and ward. The doctor who examines the body has no doubt that Cyrus Pettigrew was poisoned but the means by which the poison was administered remains mysterious. This is an impossible crime story, and a pretty good one.

The Mystery of the Marsh Hole dates from 1905 and is a disappointing and contrived story of a disappearance in the marshes.

The Sedgley Abbey Tragedies from 1909 begins with an escape from a lunatic asylum. Soon afterwards a body is found in an abbey moat. The explanation is clear-cut and the case is closed and the drama is over. Except that more bodies turn up in the moat. A good story with some fine twists.

The Mysterious Mummy is an OK very early story (from 1903) about odd happenings in a museum. A mummy is there, and then it isn’t there.

The McVillin (from 1905) concerns a well-born but impoverished Irish officer, Colonel McVillin. In fact he’s now a penniless rogue and adventurer. He finds himself involved in an affair of honour although he has no idea what it is all about. Something about a young lady being forced into a marriage against her will. McVillin will have to fight the duel anyway. A delightfully quirky mix of cynicism, romanticism and mystery. Splendid stuff.

Who Was the Rajah? dates from 1906. A masked ball onboard a steamer ends in piracy on the high seas. A very clever and witty caper story.

The Secret of Holm Peel, published in 1912, takes place on the Isle of Man. There’s a castle that once belonged to the king and a family secret that must be kept. There are secret passageways and phantom dogs. Good fun.

The Dyke Grange Mystery, from 1922, is a puzzle-plot mystery with some exotic touches. Private detective Paul Harley and Inspector Wessex are investigating the murder of a dissipated nobleman. An unusual dagger of Egyptian origin sees to be an important clue. Along with an assortment of cigarette stubs. An entertaining tale.

The Haunting of Low Fennel dates from 1920 and is an unusual and excellent haunted house tale. Major Dale would like to sell Low Fennel, an old house that has been in the family for centuries and has always had an evil reputation. He turns to ghost-hunter Addison for help. I’m not going to risk even the mildest spoiler but this is definitely not a run-of-the-mill haunted house story.

The Blue Monkey was published in 1920. A man is on his way home, on a lonely path through the moors. He is carrying a parcel - a blue porcelain monkey he has just purchased. The man is found dead. He has been strangled. No mystery there, but the only tracks leading from the crime scene seem to belong to a small child. A good solid mystery.

The Zayat Kiss was written in 1912. It’s extremely important since it arks the first appearance of Nayland Smith and Fu Manchu.

The Six Gates of Joyful Wisdom dates from 1915 and is an excerpt from The Return of Fu Manchu.

The Green Spider is a fine collection and is highly recommended.

More of Rohmer’s early short stories can be found in another Black Dog Books volume, The Leopard Couch and Other Stories of the Fantastic and Supernatural, which is also recommended. Also very worth getting hold of is The Dream Detective, a very fine collection of occult detective tales. And there’s some great fiendish occult wickedness in Brood of the Witch-Queen.

Theodore Roscoe's Murder on the Way!

Murder on the Way! is a 1935 novel by Theodore Roscoe. It was originally published in the pulp magazine Argosy under the title A Grave Must Be Deep. I can’t tell you which genre it belongs to because I have no idea. And I don’t care. All I know is that it’s insane amounts of fun.

Theodore Roscoe (1906-1992) was one of the grandmasters of pulp fiction and writer some of the finest stories ever written about adventure in exotic settings. He spent some time in Haiti in the early 1930s which gives this novel an air of authenticity.

Patricia Dale (known to her friends as Pete) is more or less engaged to a more or less penniless artist in New York. An artist by the name of Cartershall. Pete always refers to him as Cart. Then a strange little Haitian lawyer shows up. He announces that he is Maître Pierre Valentin Bonjean Tousellines, Comte de Limonade. Pete is in line for an inheritance from her Uncle Eli. He has left a huge fortune and a vast estate in Haiti. All Pete has to do is go to Haiti. So she and Cart fly to Haiti.

It’s all a bit of a culture shock but the reading of the will is a bigger shock. The will is eccentric to say the least (and the method of burial prescribed for Uncle Eli is very bizarre). The seven heirs have been assembled and they’re the most disreputable bunch of cut-throats one could imagine. Several of them are murderers. The entire estate goes to one of them but he must remain at the estate for 24 hours after the reading of the will. If he fails to do that the inheritance passes to the next in line, with the same condition attached. Pete is the last in line. Given that the other six are villainous scoundrels there’s obviously the potential here for murder. Multiple murder.

It’s the kind of setup you might find in an English country house murder mystery and such books were hugely popular in 1935. The seven heirs plus Uncle Eli’s doctor and Tousellines are completely cut off at the estate. The weather has made the roads impassable. Someone has cut the telephone wires. This is the kind of setup you’d find in an Old Dark House movie, and these popular at the time as well.

For most of the book it seems like it’s going to be a story along such lines, albeit in a very exotic setting. And written in a flamboyant outrageous pulpy style and with rollercoaster pacing.

The locals follow the Voodoo religion. Roscoe isn’t making any of this stuff up. Voodoo was arguably the dominant religion in Haiti at the time.

There are a couple of extra complications. Uncle Eli may have been murdered. His doctor thinks he may have been murdered by a zombie. And there is a bandit uprising which could spread to the whole country and the rebels claim to be led by the King of the Zombies. The King of the Zombies being - Uncle Eli!

The expected mayhem occurs. There are lots of murders. All the murders take place in bizarre circumstances.

The local police chief, Lieutenant Narcisse, is perplexed. He suspects everybody. Which is not entirely unreasonable.

Cart and Pete will meet the King of the Zombies. This is one of those tales in which you cannot be quite sure if there’s something supernatural going on or not. Whether that really is the case is obviously something I’m not going to tell you.

This is a murder mystery and a suspense thriller and a horror story and an occult thriller. There’s lots of craziness. There are secret passageways and all the fun things you get in Old Dark House stories.

Murder on the Way! is just wildly entertaining. Highly recommended. And it's in print!

Roscoe revisited some of these themes a couple of years later in the equally superb Z Is For Zombie, also set in Haiti. And if you enjoy jungle adventure tales check out Blood Ritual.

Robert Bloch’s Psycho

Robert Bloch’s novel Psycho dates from 1959. A year later it would be the basis for one of Hitchcock’s most famous movies. I like Bloch as a writer so I can’t offer any adequate explanation for the fact that I had never read the novel until now.

There is one problem here. If you’ve seen the movie (and I’ve seen it several times) then you know something very important about Mother right from the start. I think it’s obvious that Bloch expects the reader to have very strong suspicions by the halfway point but it’s also obvious that he doesn’t intend for the reader to be absolutely certain. When you know for a certainty right from the beginning it does inevitably lessen the enjoyment of the novel quite a bit.

The movie followed the novel very closely, but with a couple of subtle but important differences of focus.

I never assume that everyone has seen a movie even when it’s as well-known as Psycho so I’m going to try to avoid spoilers.

Mary Crane (she becomes Marion Crane in the movie) has stolen a great deal of money from her boss. It’s Friday. Nobody will know the money is gone until the banks open on Monday (banks being closed on weekends was always a useful plot device in crime thrillers of the past). Mary has covered her tracks well. She has switched cars several times. Now she’s lost so she’s very grateful when she sees the motel Vacancy sign. She needs to eat, and to sleep.

The motel manager is a slightly odd guy named Norman Bates. He lives in the house behind the motel with his mother.

The first thing Mary needs to do is to change her clothes. Of course she doesn’t know that Norman is watching her undress through a hole in the wall.

After having dinner (which Norman was kind enough to prepare for her) she really needs to take a shower.

Other people will become involved. People like insurance investigator Arbogast. He wants to recover the stolen money. He’s prepared to offer Mary a deal. If she returns the money no charges will be laid. Mary’s boyfriend Sam Loomis and her kid sister Lila will also become involved. They all want to find Mary.

Hitchcock made a very daring narrative choice in the film. Something happens a third of the way through that you don’t expect to happen at that stage. This also happens in the novel but in the novel it’s no big deal. It’s the kind of thing you find in plenty of crime novels. It’s a very big deal in the movie because Hitchcock very cleverly misleads us into thinking that a particular character is the central character but the central character is actually someone else. It’s just a slight change of emphasis but it’s enough to demonstrate Hitchcock’s genius.

The movie made a few interesting changes. In the novel Norman Bates is 40, very overweight and balding. Apart from his other issues he is clearly very physically unappealing to women and that’s a major part of his problem. You get the feeling that all it would have taken would have been for one woman to go on a date with him and then he might have had a chance of avoiding all the subsequent disasters. By casting Tony Perkins, a fairly good-looking actor with a great deal of charm, Hitchcock emphasises Norman’s tragedy. He is not a hopeless loser because women find him repulsive. He really didn’t have to end up as a hopeless loser.

This makes him a tragic oddly sympathetic monster which was presumably Hitchcock’s intention. And Hitchcock’s instincts were correct. The movie packs more of an emotional punch. All Norman needs is to find the confidence to actually approach a woman. If he did, she might well go out with him. But he never does find that confidence and tragedy ensues.

It’s intriguing that Brian De Palma made a similar change when he adapted Stephen King’s Carrie. In King’s novel Carrie is very overweight which emphasises her inability to attract interest from boys. In De Palma’s movie Carrie is no super-babe but she’s kinda cute in her own quirky way. When Tommy takes her to the prom he really isn’t embarrassed to be seen with her, or to be seen dancing with her and kissing her. Carrie goes so close to making it.

Psycho is very much one of those stories that requires the reader (or the viewer in the case of the movie) to take the wild and wacky theories of psychiatry seriously. Back in 1960 people actually did take this stuff seriously. It’s also a story that really doesn’t work once you know the solution, and that’s an even bigger problem with the novel. At least the movie has Hitchcock’s stunning visual set-pieces. Psycho is far from being my favourite Hitchcock movie and the novel really doesn’t do much for me at all. Both the novel and the movie are greatly weakened by having things over-explained in a very unconvincing fashion. Worth reading perhaps if you’re a very keen fan of the movie.

Vampirella Archives vol 3

Vampirella Archives vol 3 collects issues 15 to 21 of the original Vampirella comic book when it was still published by Warren Publications. These issues are from the early 70s. Each issue contains a reasonably lengthy Vampirella adventure plus four much shorter unrelated comic-strip stories. As always the Vampirella stories are pretty cool while the non-Vampirella stories range from awful to excellent.

Each Vampirella adventure more or less stands on its own but there are continuing story arcs so they really do need to be read in sequence. Vampirella of course is not a conventional vampire - she’s an alien from the planet Drakulon. The inhabitants of Drakulon must drink blood to survive but they don’t kill. On Earth however Vampirella would have no choice but to kill had a scientist not developed a blood-substitute serum for her. Vampirella is a heroine with a dark side.

This is a totally original and intriguing vampire mythos and then things interesting as Dracula starts to figure more often in the stories. Dracula should be totally out of place in the Vampirella Mythos but instead we get a whole new Dracula Mythos which is compatible. And it works better than you might expect.

By this time she has acquired a sidekick, a broken-down but good-natured stage illusionist named Pendragon. And she has an uneasy relationship with the van Helsing family. Conrad van Helsing believes she is an evil vampiress who must be destroyed. His son Adam’s attitude towards her is much more complicated, given that he’s in love with her. And she’s in love with him.

The Vampirella Stories

In the Resurrection of Papa Voudoo, the dictator of a Caribbean island nation (obviously a thinly disguised version of Haiti), has been assassinated. His mistress and his chief advisor are alarmed but they have a plan to revive him. It involves voodoo. Papa Voudoo’s mistress is a powerful sorceress but she will face a formidable opponent in Vampirella.

In And Be a Bride of Dracula Vampirella almost gets married, to a certain Transylvanian Count. And we find out something about Dracula’s past. It all starts when Pendragon finds himself a job, as a stage magician with Vampirella as his beautiful female assistant.

Beware, Dreamers takes place entirely in the world of dream, but it’s a dream that can kill. And Vampirella has run out of her serum. She needs blood. When that happens she becomes a ruthless huntress.

Dracula Still Lives! sees Conrad van Helsing once again deciding that Vampirella must be destroyed. Dracula is now becoming the key character in the story and the Dracula Mythos takes strange new turns involving a mysterious goddess, the Conjuress.

And in Shadow of Dracula we discover that the Conjuress has plans for Dracula. The key lies in the past, in the 19th century.

In When Wakes the Dead both Dracula and Vampirella are transported back to the year 1897 where an earlier generation of Van Helsings are seeking a cure for vampirism. Dracula wants to be cured but he makes the mistake of thinking that simply overcoming the bloodlust will solve his problem when in fact he must confront his darker desires. Vampirella has another problem - she thought she loved Adam but now she thinks she loves someone else, someone she shouldn’t love.

In Slitherers of the Sand the Conjuress sends Vampirella and Dracula to a desert planet where there is nothing but sand. And monsters who feed on sand. By accident Conrad Van Helsing and his son Adam as well as Pendragon end up there as well. The big problem is that Vampirella has no blood serum with her. She’s likely to get thirsty, for blood. Dracula faces the same problem.

The non-Vampirella Stories

Issue 15: In Quavering Shadows a man is worried about his friend Jason who lives in a castle and really seems to think he’s living in the 16th century. Very strange things seem to be going on in this castle and Jason seems to appear and disappear in impossible ways. A reasonably good creepy story. A House Is Not a Home is a nothing story about a girl whose father dabbles in black magic. In Welcome to the Witches’ Coven a young wife joins a Women’s Lib group but it’s not what she’d hoped for.

Issue 16: Purification is a brief lame attempt at out-and-out comedy. In Gorilla My Dreams an explorer in Africa rescues a girl but then has disturbing dreams. Another story that needed to be fleshed out a little. Girl on the Red Asteroid concerns an astronaut marooned on an asteroid. He thinks his luck has changed when he finds a giant egg. Lover! is an OK tale of terror and sadism from the French Revolution. Cilia is the best story so far. In the late 19th century two men survive a shipwreck. They are rescued and one of them arrives in England with a new wife of mysterious origins; the other knows nothing of how he survived. It’s a dark fantasy tale with a tragic edge and it’s very good.

Issue 17: Horus, written and drawn by Esteban Maroto, has a setting in Ancient Egypt. A young woman feigns death to be with her beloved, entombed in one of the pyramids. A rather good tale of love and death. Death in the Shadows is about a girl who is confined to a mental hospital after being found behaving very strangely in a graveyard. She is convinced that there is something she simply must do but she’s not sure what it is. A reasonably effective macabre tale.

A Man’s World takes a reporter to a women’s commune. A series of grisly murders has taken place in the area. The women are self-sufficient although how they manage that in such a desolate spot is a mystery. The reporter will find the answer to several mysteries. A grim but mediocre story. Lover of the Bayou takes place in the swamps. There’s a kind of monster reputed to live in the swamp but no-one really knows anything about it. Quite a good story. The Wedding Ring is about a man who accepts an invitation from an old flame. He hopes for a chance to rekindle that old romance, especially since her new husband isn’t around. An OK story.

Issue 18: Kali Tomb of the Gods tells how the maiden Kali became a goddess. It’s another Esteban Maroto story. I’m starting to really like his work - lush and erotic and psychedelic. Song of a Sad-Eyed Sorceress tells of a sleazy guy who meets a woman with unexpected results for both of them. It’s not bad. Won’t Get Fooled Again concerns a couple driving in the country. They run out of petrol and take refuge in a decaying mansion. There is evil afoot, but what can kind of evil? Fairly entertaining. In The Dorian Gray Syndrome a girl reporter thinks she’s found a real-life Dorian Gray but there’s a twist. A decent story.

Issue 20: Gender Bender by Esteban Maroto is an intriguing wild crazy freaked-out psychedelic trip into the unconscious. Love Is No Game is a nothing story that goes nowhere, about a young woman trying to attract a man’s attention. Eye Opener is yet another story of a sleazy guy pursuing a girl, in a creepy old house. But the old blind woman sees all. Not a bad story. Vengeance, Brother, Vengeance is a sword-and-sorcery tale of two brothers whose fates intersect in unexpected ways. It has a very clever sting in the tail. Good story.

Issue 21: Tomb of the Gods: Legend is an Esteban Maroto tale of a Norse hero who is perhaps not so heroic. An interestingly cynical take on heroes. Good stuff. Paranoia is a dream story, or rather the sort of dream that you hope is just a dream. Not a bad idea but it needed to be fleshed out a little. The twist in The Vampiress Stalks the Castle This Night is that the castle is a castle but it’s in New York.

Final Thoughts

The Vampirella comics are fun and while it’s an uneven collection Vampirella Archives vol 3 is very much worth checking out if you’re a fan of comics that are a bit more outré than superhero fare. Highly recommended.

Cornell Woolrich’s Black Alibi

Cornell Woolrich’s Black Alibi was first published in 1942.

Cornell Woolrich (1903-1968) was an American writer in the crime and suspense genres and a major figure in the evolution of noir fiction. In the 1920s he had tried to establish himself as a writer in the F. Scott Fitzgerald mould, with very little success. He found immediate success when he switched to crime fiction in 1940.

The novel begins with a publicity stunt. Kiki Walker had been a failed night-club entertainer in the U.S. but thanks to the efforts of her press agent Manning she is now a major star in South America. Manning’s latest stunt is to have Kiki show up at a restaurant with a black jaguar on a leash. This certainly attracts attention. It attracts even more attention when something spooks the jaguar. He creates mayhem in the restaurant and escapes into the night. There’s an intensive search but the animal cannot be found.

Then a young woman is killed. The evidence suggests that the jaguar was responsible. And then another young woman suffers a similar fate. Again it seems clear that she was killed by the jaguar. Inspector Robles has no doubts.

Manning however does have doubts. Maybe he just doesn’t want to accept that the jaguar was responsible since that would make it indirectly his fault - the jaguar got loose as the result of his publicity stunt. But there are a couple of puzzling little things that really bother Manning.

A third woman, a lady of the night, is killed. And then a fourth. In each case there are odd little details that continue to worry Manning. He is developing a theory. Nobody wants to listen to him but he cannot help feeling that his theory makes more sense than the official one.

This novel must have come as something of a shock in 1942. It just doesn’t slot neatly into a genre pigeonhole. It is most definitely not noir fiction. It does contain elements you would expect in the horror genre. There is certainly plenty of suspense. 

The decision as to which genre it should be assigned to is something that depends on how the plot ends up being resolved.

There’s also a degree of grisliness that would have been rather startling in 1942.

Manning is not a conventional hero type. He’s always been a fairly cynical sort of guy, not exactly a crusader or a knight in shining armour. He’s just the sort of guy who cannot let things go. All he’s likely to gain by playing amateur investigator is a lot of aggravation and a lot of embarrassment if his theory turns out to be wrong. He just can’t help himself. These killings really bother him and if he turns out to be right but hasn’t done anything about it he won’t be able to live with himself.

Inspector Robles isn’t quite the dumb cop to be contrasted with the gifted amateur. Robles is competent but he’s under pressure and having conducted his whole investigation on the assumption that a jaguar is responsible he feels he has to keep going on that assumption.

And it has to be said what while Manning is bothered by small details there really does seem to be overwhelming evidence that a jaguar is responsible for the attacks. It’s a case of two men who are both convinced that their respective theories are correct.

I don’t intend to give any hints as to plot details but the plot is rather wild, and the resolution is totally wild.

Black Alibi is a weird fascinating novel and its greatest strength is its weirdness. Highly recommended.

Black Alibi was filmed in 1943 as The Leopard Man, one of the series of superb RKO B-movies produced by Val Lewton. It’s one of countless film and television adaptations of Cornell Woolrich stories most of which are worth checking out. Woolrich’s stories just seemed to work remarkably well on the screen.

Arthur J. Burks, The Wizard of Weird Tales

The Wizard of Weird Tales is a collection of short stories by Arthur J. Burks that were originally published in the Weird Tales pulp magazine.

Arthur J. Burks (1898-1974) wrote for pulp magazines in various genres and later began writing on paranormal subjects.

These stories really are wildly original and very very weird. They’re weird in totally unexpected ways. Even the weaker stories are interesting because they’re so bizarre.

Bells of Oceana appeared in Weird Tales in 1927. A young officer on a troopship has an uncanny feeling that something is wrong. Perhaps it’s the bells he hears. There cannot be any bells but he still hears them. He thinks for a moment he sees a face at a porthole but that’s impossible as well. And then one of the sentries cannot be found. Things get stranger. The woman he sees cannot be real. It must be a dream. Or perhaps not. A nicely odd tale of terror at sea.

Room of Shadows appeared in Weird Tales in 1936. A well-to-do man checks into a hotel in New York. There’s something odd about the room. There’s that scent, and the light seems strange. And later the bellhop denies have taken him to the room. The dogs are disturbing. Very very small dogs. The woman disturbs him as well. She went into the bathroom and then seemed to vanish. A very unusual creepy tale that gives a new twist to an old legend. Excellent story.

Black Harvest of Moraine (published in 1950) is truly bizarre. A wheat harvest turns into disaster. The wheat is infected with smut (a fungal crop disease). Only it turns out not to be smut but something much stranger. It is something ancient and evil, and terrifying and remorseless.

The Ghosts of Steamboat Coulee (1926) is obviously going to involve ghosts of some sort, but but this is an unconventional ghost story. A returned soldier dying from the effects of being gassed in the war is offered refuge in a remote log cabin. He hears an infant wailing. It is impossible, but he has to check. Then he sees something horrifying. He sees it again and again. Very good story.

Luisma’s Return (1925) takes place on Haiti. Luisma is the general of the emperor of Haiti, Christophe. The emperor has stolen Luisma’s woman. Luisma wants revenge. It is impossible. Christophe’s power is absolute. But Luisma is determined. An OK story.

Rhythmic Formula (1952) is a neat little story about Russ Creavey, a famous explorer who becomes very rich by marrying rich wives. They don’t live too long thanks to some tricks Russ picked up in the Amazon rainforest. Russ is now set for life. Nothing can go wrong. Good story.

Orbit of Souls (1926) concerns a rich man whose wealth was built on lies and deception facing the ire of one of his victims. He never thought he might one day pay for his misdeeds. He still doesn’t think he’ll have to but a series of strange events might change his mind. An OK story.

Morpho on the Screen (1954) is about a young boy who has vivid dreams about riding butterflies in the Amazon rainforest. The dreams continue as he gets older. A very very strange tale but fascinating.

In Asphodel (1926) the narrator meets an old hermit. He then finds himself in a meadow of asphodels, the flowers of death. What follows might be merely a dream, or perhaps not. Very weird but rather disturbing.

When the Graves Were Opened (1925) is a very weak story of time travel, of a sort. A man is transported back to the time of Crucifixion.

Voodoo (1924) is one of his earliest stories and one of several with a Haitian setting. It’s a straightforward not very interesting story of a soldier seeking revenge on a voodoo priest.

Vale of the Corbies (1925) is another reasonably effective tale of frightening dreams.

The Invading Horde (1927) is oddly enough a science fiction story set in the future, in the vast City of the East which covers the whole of the eastern half of the United States. The city is a miracle of technology. People move about the city in monopters which are like wearable flying suits. Now the City of the East faces a deadly threat from the sea.

Something Toothsome (1926) begins with two Army officers, one of them an army dental surgeon, discussing writing. They both have ambitions in that direction. They concoct crazy story about a murder involving dentistry. But of course it could never happen in real life, or could it?

Some of these stories will definitely shock the delicate sensibilities of some modern readers.

Overall a good collection with the strong stories outnumbering the weaker ones. And Burks can certainly get very weird indeed. Recommended.

Karl Tanzler von Cosel's The Secret of Elena’s Tomb

The Secret of Elena’s Tomb was published in Fantastic Adventures in September 1947. It claims to be both a true story and an autobiographical story. And, weirdly enough, it is.

Karl Tanzler von Cosel (1877-1952) was a German-born radiologist who actually did preserve a woman’s corpse and attempt to bring it back to life. This really is his autobiographical account of those events. To say that he was eccentric would be an understatement. He was clearly quite mad, although probably well-intentioned.

The Secret of Elena’s Tomb is partly a true story. A great deal of it is certainly true. He unquestionably believed that all of it was true.

Von Cosel lived for a time in Australia, was interned during the First World and later moved to the United States. In his youth he believed he was visited by the spirit of a long-dead ancestress. While living in Australia he believed he was given a glimpse of his future bride. In Florida he met a young Cuban woman named Elena. She was dying of tuberculosis. He tried to save her life with various treatments, some scientific and some very much in the realm of pseudoscience. He had a kind of mystical belief in the power of electricity.

He also built an aircraft. He intended that he and Elena would fly away in it to some remote South Pacific isle.

Elena died but he refused to believe that her death was final. He stole her body from its tomb and kept it with him for seven years, making various attempts to preserve the body and revivify it. Eventually he was arrested. He was certified as mentally competent to stand trial but no really serious charges could be brought against him and his obviously sincere belief that he had acted for the best counted in his favour and all charges against him were dropped after he had spent a very brief period behind bars. The case became a media sensation at the time. All of this really happened.

All of this is recounted in von Cosel’s story. I’m not giving away spoilers since his story opens with his release from prison so we know how the story is going to end. And the interest in his story is not in the events themselves but in his motivations and in his interpretations of the events.

All of this is pretty much true. But von Cosel truly believed that Elena was not really dead and that she talked with him and sang to him after her death. He also recounts various dreams. It’s clear that he believed that dreams were more than just dreams, that they were in some sense true. Perhaps more true than waking life.

Many years after his own death in 1952 sensational accusations of necrophilia were levelled against him but the evidence is dubious. In his own account it appears that he believed that he and Elena had some kind of real married life after her death but his inability to distinguish between reality, dreams, wishful thinking and his odd mix of pseudoscientific, esoteric and mystical beliefs makes it impossible to know exactly what form this strange imaginary married life took.

It’s obviously a very creepy and disturbing first-person account of madness and obsession but it’s also a weirdly moving love story. For Karl Tanzler von Cosel love really was something that never dies. It’s worth reading just for its historical curiosity value and for its strangeness.

Armchair Fiction have paired this book with Leroy Yerxa’s novella Witch of Blackfen Moor in one of their two-novel paperback editions.

Dr Death: The Gray Creatures

Dr Death: The Gray Creatures is a 1935 crime/supernatural horror pulp novel written by Harold Ward under the pseudonym Zorro.

Dr Death had made his first appearance a year earlier in the pulp magazine All Detective Magazine. He figured in four stories in that magazine. In 1935 All Detective Magazine was renamed Dr Death. Each issue would feature a Dr Death novel. The Gray Creatures was the second such novel, appearing in the March 1935 issue. In the event only three issues of the Doctor Death magazine were published although two further novels were written.

Dr Death is actually a brilliant but insane scientist, Rance Mandarin. He believes he has been chosen by the Almighty to restore the world to its proper order. This will require the destruction of modern civilisation. Dr Death’s first step was to be the assassination of the world’s top scientists. To Dr Death science is an evil that must be eradicated.

Jimmy Holm is the one man who may be able to stop Dr Death. Jimmy is a millionaire criminologist and a police detective whose speciality is cases involving the occult.

Dr Death’s chief assistant has been a beautiful young woman, Nina Ferrera. Nina turned against Dr Death and joined forces with Jimmy Holm. In fact they were to be married. Now Dr Death wants Nina back.

The most terrifying weapon in Dr Death’s arsenal is his ability to create zombies, or at least dead men brought back to life in a way that resembles zombies.

Dr Death’s latest target is a mysterious Egyptian named Harmachis. It appears that Dr Death thinks that Harmachis has access to the occult knowledge of Ancient Egypt.

Dr Death is now headed for Egypt to find a hidden tomb and Jimmy has to find a way to follow him without his presence being suspected. He also has to rescue Nina. Dr Death would never physically harm Nina. The worry is that he will manipulate her into serving evil purposes.

The voyage to that tomb in Egypt is by air, by yacht, by submarine and by truck. With lots of explosions and mayhem on the way.

There will be epic battles against supernatural forces.

There are monsters of various kinds. The monsters are genuinely weird and scary. There’s plenty of out-and-horror in this tale and it gets very creepy and grisly at times.

Of course there has to be a beautiful queen in such a story, and there is.

The action is relentless, the hazards are many and the body count is high. You are very unlikely to be bored by this novel.

Dr Death is an evil mad scientist rather than a sorcerer so while he appears to command supernatural forces some of those forces might in fact be scientifically created. There are however quite a few elements in the story that are difficult to explain away as anything other than supernatural.

The lines between the supernatural, the paranormal and the scientific are constantly blurred in this story which gives it a rather interesting flavour.

It’s also a story in which the evil genius has something more interesting in mind than a straightforward plan for world domination.

It’s all very pulpy and very exciting. This is great stuff and it’s a mystery to me that the Doctor Death magazine wasn’t a success. Dr Death: The Gray Creatures is highly recommended.

Thorp McClusky’s Loot of the Vampire

Thorp McClusky’s short novel Loot of the Vampire was published in two parts in Weird Tales in 1936. It’s a vampire story in a contemporary big-city American setting.

Thorp McClusky (1906-1975) is a rather obscure American writer whose works appeared in pulp magazines in the 1930s.

It begins with a jewel robbery. The jeweller has been discussing the sale of a very valuable string of pearls to a European nobleman. The jeweller is found dead and the pearls are gone. The strange thing is that there’s no obvious way the killer could have made his escape.

Even more curious is the fact that the jeweller seemed to be suffering from a very serious case of anaemia. It’s almost as if there’s no blood at all in the body.

Then on the following day the dead jeweller turns up at the jewellery story, very much alive. The police commissioner and Detective-Lieutenant Peters are both puzzled and alarmed.

They do have a suspect, a Count Woertz. The count is about to hold a mind-reading session at a swank charity party. Lieutenant Peters poses as a guy wanting to have his mind read and discovers, to his consternation, that the count really can read minds.

Peters has an interest in the occult and he wonders if possibly they’re dealing with a vampire.

There’s no solid evidence against the count and the police commissioner has another problem. He’s in love with a sweet girl named Mary. They’re going to be married. The count has threatened to steal Mary away from the commissioner and the big worry is that he may be able to do just that by using some form of mind control.

There’s not much more than this to the plot. There are a couple of slightly creepy moments. There’s no action to speak of. There’s no reign of terror carried out by the vampire.

And to be honest there’s not much suspense. We don’t get enough of a sense that Mary is in real danger, and we don’t get enough of the feeling that the natural order is being threatened and that’s something I consider to be an essential element in supernatural horror.

The sea chase is the highlight and it’s not too badly done.

The vampire in this tale conforms to some of the rules of established vampire lore as it stood at the time, but not all. This vampire cannot tolerate sunlight but on the other hand he’s totally indifferent to garlic. The mirror stuff is an interesting variation on the usual idea. I like vampire stories that vary the rules a bit.

Loot of the Vampire is OK but it doesn’t quite deliver the goods. It’s recommended purely for its historical interest and its curiosity value.

Armchair Fiction have paired this novel with The Man Who Made Maniacs in one of their excellent two-novel paperback editions.

This story seems to belong to a very short-lived 1930s genre, the weird detective story. These were basically hardboiled detective stories with some supernatural and horror elements added for extra spice. That’s actually a promising combination.

If the weird detective story genre attracts you then you should check out Off-Trail Publications’ volume Cult of the Corpses which includes two novellas of this type by Maxwell Hawkins and they’re both far superior to Loot of the Vampire.

Otis Adelbert Kline's Lord of the Lamia

Otis Adelbert Kline (1891-1946) was an American pulp writer veery much in the Edgar Rice Burroughs mould. In fact Kline has been accused of more or less recycling most of Burroughs’ most popular ideas. That’s perhaps a bit unfair. Both writers were working in the same genres - jungle adventures and sword-and-planet adventures. Some similarities were inevitable, and Burroughs and Kline were certainly not the only writers setting adventures on Mars and Venus.

Kline’s Lord of the Lamia was serialised in Weird Tales in 1935.

It is is based on the legend of the lamia, or rather legends. There were lots of lamia legends. The starting point was the late of a Libyan queen named Lamia. Later legends described a lamia as a demon who has sex with young men, as a serpent-woman and even as a vaguely vampire-like female demon. Kline takes the most interesting ones and adds a few flourishes of his own. In this novel Lamia is indeed a Libyan queen who lived several thousand years ago, and she can transform herself into a cobra. If her mummy can be found she can be revived by means of an incantation ad she will become the slave of the man who awakens her.

The novel begins with a young American archaeologist named Tane renting a house in Cairo from portly middle-aged German archaeologist Dr Schneider. Before Tane takes possession of the house the funeral procession of a Muslim holy man passes by. Although deceased the holy man is able to give unmistakeable signs that he wishes to be interred in what is now Tane’s house. Dr Schneider tells Tane he will just have to accept this.

Tane has strange dreams, which he believes may be because he has been drugged. But they may not be dreams after all. He finds that the coffin of the holy man contains the mummy-case of a beautiful young queen, and the mummy-case contains a mummified cobra which comes to life. Tane thinks he saw the cobra become a beautiful young woman who informed him that she is Lamia and that she is now his slave.

There are several powerful men who would like to have Lamia as a slave. They’re prepared to play rough. One of these men is Hagg Nadeem, the head of the Egyptian secret police. He is a man of deep learning in esoteric subjects and he knows a great deal about Lamia. Whether Hagg Nadeem is really just out to enslave Lamia or whether he’s one of the good guys is one of the questions Tane would like to be able to answer but can’t. Hagg Nadeem is interested in other things besides Lamia. He has another agenda.

This is certainly an action-packed story. Tane is continually being set upon by ruffians. He would surely have been killed several times had it not been for the powerful ally he has in Lamia. She’s not much use in a fight in human form but when she transforms into a cobra she can be very handy indeed.

The big question is the nature of Lamia. Is she a monster? Will having her as his slave prove fatal to Tane? Or is she a kind of benevolent demi-goddess, or even just morally neutral? What exactly is her agenda? Tane really needs answers to those questions, given that he’s fallen hopelessly in love with her.

Tane can give a good account of himself in a brawl but he’s not quite a conventional hero. He never really understands what is going on. He isn’t stupid but he is out of his depth and unlike most conventional heroes he never really manages to take control of the situation. He reacts to the actions, and manipulations, of others. That actually makes him a rather sympathetic character.

We do not of course know if Lamia will turn out to be heroine of villainess but she’s unlikely to be either a totally conventional heroine or a totally conventional villainess. She is however rather fascinating. A lamia makes a change from the usual run of witches and vampires and werewolves.

Egyptology had become fashionable in the late 19th century and became big news in 1922 when Howard Carter discovered the tomb of Tutankhamun so using ancient Egyptian mythology as a basis for a story was a sound commercial move on Kline’s part. And personally I love any story with an Egyptology angle so I’m certainly not complaining.

Kline wasn’t quite in the front rank of pulp writers but he was very competent and he had no problems pacing a story.

Lord of the Lamia is a lightweight but fun story. There’s mystery, there’s action, there’s some horror and there’s an offbeat love story. It all adds up to pretty solid entertainment. Recommended.

Clark Ashton Smith's Hyperborea stories

I’ve been a fan of the work of Clark Ashton Smith (1893-1961) for years. Smith was a member of Lovecraft’s circle and he’s notable for the extreme ornateness of his prose. Smith’s Hyperborea cycle shows Lovecraft’s influence very strongly and it has definite links to Lovecraft’s Cthulhu Mythos.

Hyperborea is a mythical world with some similarities to Robert E. Howard’s Hyboria. Hyperborea is a world of wizardry and lost prehistoric civilisations.

In The Tale of Satampra Zeiros two thieves set out to loot the treasures of the lost city of Commoriom, a city shunned by all. The thieves soon find out exactly why everybody shuns the ruined city. The city might be dead but the old gods that had been been worshipped there might not be entirely dead. And they are rather savage gods. There’s more excitement than is usual in a Smith story, there’s a superbly evoked atmosphere of decay and malevolence and there are some definite touches of black humour.

The Door to Saturn is literally about a door to Saturn. The sorcerer Eibon is facing charges of heresy and makes his escape from the enraged inquisitor Morghi just in time. Eibon is a devotee of the god Zhothaqquagh and that deity has provided the sorcerer with a very convenient little door that opens on the surface of the planet Saturn. The only downside is, it he uses the door it will be a one-way trip.

Morghi somewhat unwisely follows Eibon through the door. They find that Saturn is a profoundly strange place. It’s not particularly dangerous, just strange.

This is very much a tongue-in-cheek story with a number of elaborate jokes. There’s no real terror and there’s no real action but it is amusing.

The Weird of Avoosl Wuthoqquan is an enjoyable little story about a greedy money-lender chasing two fabulous emeralds. Literally chasing the emeralds, which ran away from him while he was admiring them. The ending is rather neat. You know that something bad is most likely in store for the luckless money-lender but his fate is not quite the one you might be expecting.

The Theft of Thirty-Nine Girdles is a very late story, originally published in 1958. It’s another tale of thievery and although the methods used by the thieves are highly imaginative they do not quite qualify as sorcery. The thirty-nine girdles are chastity girdles belonging to the sacred virgins of the temple of Leniqua. Virgins is perhaps not an entirely accurate description, the young ladies in question being in fact temple prostitutes. Stealing is a difficult enough art. Ensuring that one actually keeps the rewards of thievery is even more challenging but Satampra Zeiros is a thief of vast experience.

The Coming of the White Worm is perhaps the most ambitious of the Hyperborean tales. And the most successful. A galley is cast ashore. The crew members are dead and when the wizard Evagh suggests that the bodies should be burnt he gets a nasty surprise. The bodies will not burn. Then the monstrous iceberg appears. The iceberg houses a god, a gigantic white worm. The worm makes Evagh an offer he is in no position to refuse although he is by no means certain that this god should be trusted. This is a tale of icy terror, of the horror of the cold that is beyond any natural cold, and the horrors do not end there. Smith was always good with atmosphere but in this story he excels himself. A wildly imaginative and disturbing tale.

The Seven Geases is a dark little tale with more than a tinge of black humour. A magistrate and big game hunter falls foul of an ill-tempered sorcerer who imposes a geas (a kind of magical obligation) upon him. Which seems to lead to more and more geases imposed on the luckless magistrate each o0f which requires him to descend further intro the bowels of a magical mountain wherein he keeps encountering more and more strange and unpleasant creatures. This plot gives Smith the opportunity to really go to town on the atmosphere of dread and malevolence and on the general weirdness. Which he does, to marvellous effect.

In The Testament of Athammaus we learn the exact nature of the fate of the once-proud and now deserted city of Commoriom. Athammaus had been the headsman of the city and was proud of his ability to carry out executions with efficiency and certainty. Only once did he fail in his duty, with awful consequences for the city.

Anything by Clark Ashton Smith is worth reading. Not just a great writer of weird fiction but a great writer of decadent literature as well. Highly recommended.

Theodore Roscoe's Z Is For Zombie

Theodore Roscoe (1906-1992) was an American pulp writer and also a distinguished naval historian. Like most pulp writers he worked in a number of different genres. If you wanted to make a decent living as a pulp writer it was desirable to be able to sell stories to as many different pulp magazines as possible which meant you pretty much had to write in multiple genres. Roscoe wrote excellent adventure tales and dabbled in fantasy and horror and he also wrote murder mysteries. Z Is For Zombie, published in serial form in Argosy in 1937, spans at least three and possibly four different genres. It’s a blend of horror (with voodoo elements of course), adventure in the tropics, spy thriller and murder mystery. And the murder mystery involves an impossible crime.

The setting is Haiti (Roscoe had actually visited Haiti). Dr Jim Ranier is in a waterfront dive in a remote village in Haiti and he’s drunk. That’s not unusual. He spends a lot of time drunk. He had at one time been a very successful surgeon but he lost everything in the stock market crash and now he’s a ship doctor on a tramp steamer and when he’s not drunk he spends his time feeling sorry for himself. He had been married, until his wife broke the news to him that while she was delighted to be married to a rich successful surgeon she had no interest whatsoever in being married to a struggling small town doctor. So Ranier has some valid reasons to feel sorry for himself.

Ranier and a number of passengers from the steamer have gone ashore intending to drive along the coast (getting a look at the real Haiti) before picking up the ship again at Port-au-Prince.

Being drunk he gets into an argument with one of the passengers, a German named Haarman, and he gets slugged and thrown out into the street. He wanders back into the bar and finds himself a quiet corner in which to drink and brood. He notices that Haarman is awfully quiet now. Too quiet. In fact the guy seems dead. He’s not dead, but he’s dying. With a knife wound in the back. But that’s impossible. Nobody could have stabbed him. Someone would have seen it happen. And the knife is nowhere to be found.

Ranier is a drunk but he’s still a doctor and he has to try to save Haarman. There’s a small hospital nearby, run by a Dr Eberhardt. And now the weird fiction elements start to emerge. Dr Eberhardt is nowhere to be found. His laboratory has been wrecked. His nurse (and niece although we later discover she’s not really his niece), a German girl named Laïs Engles, is mystified. She reveals that Dr Eberhardt had been working on some very strange research, something to do with reanimating dead tissue. Maybe even reanimating dead people. And there are all those frogs. Hundreds of them. It’s all a bit strange. Things get even stranger when Haarman dies. It appears that after dying Haarman got up and left.

That’s not the end of the strangeness. Not by a long chalk. Laïs Engles recognises Haarman. The last time she saw him was fourteen years ago and he was dead at the time. Now he’s dead again. Maybe.

Laïs has a very strange story to tell. A story of wartime intrigue and top-secret missions and journeys through the Amazon jungles and shipwreck. The poor girl is clearly mad. But Ranier doesn’t think she is mad. He’s convinced she’s telling the truth. Or at least that she thinks she’s telling the truth. Some of it may actually be true. More worrying is the possibility that all of her story is true.

The book now becomes a crazy journey from graveyard to graveyard, with corpses that apparently not only get up and walk, they undertake cross-country travels.

To add to the fun the locals are convinced that they’re dealing with evil voodoo witch doctors and they know how to deal with people like that - you hunt them down and kill them or you burn them out if they’re hiding. There are also people running around with guns taking pot shots at each other and soon there are more corpses. These ones really are dead. Probably.

The really fun part is that because this is a story from an adventure pulp rather than a detective pulp the reader can’t be entirely sure there’s going to be a rational explanation, and indeed it’s hard to imagine a rational explanation that would make sense.

Roscoe knows what he’s doing. He brings all the crazy plot strands together and gives us a wholly satisfying resolution although naturally I’m not going to give you any hints about that resolution. Whether there’s any actual supernatural element involved is something else I’m not going to tell you. There is however a solid murder mystery plot here.

The impossible crime angle might disappoint those who love amazingly complex impossible crimes but this one at least has the virtue of being totally plausible.

The novel was originally serialised in six parts so at times Roscoe gives us brief recaps of previous events. The novel does not appear to have been edited in any way, which is a very good thing. Once you succumb to the temptation to do a bit of editing the danger is that you’ll start thinking your readers are over-sensitive children and you’ll start editing out all the politically incorrect stuff. Happily Steeger Books have reprinted Z Is For Zombie in all its politically incorrect glory.

You can enjoy this book as an outrageous but well-crafted murder mystery but it’s equally enjoyable as an adventure tale and a horror story. Whichever way you take it it’s superbly written (Roscoe’s prose is an absolute joy) and immensely entertaining. Very highly recommended.

I bought this book after reading the glowing review at Beneath the Stains of Time. There’s another fine review at The Invisible Event.

I’ve reviewed a couple of collections of Rocoe’s short stories - The Emperor of Doom and Blood Ritual. They’re both well worth a look.

Guido Crepax - Evil Spells

Evil Spells is a massive volume containing some of Guido Crepax’s most famous comics, in English translation.

Guido Crepax (1933-2003) was an Italian comics artist. I have never been a fan of comics in general but I do make an exception for European comics, especially European comics of the 1960s and 70s. They’re aimed very much at adults and they’re often very erotic. They’re also stylish and sophisticated in a way that distinguishes them from American comics. And they often contain hefty does of weirdness and surrealism. So basically they tick all my boxes.

They’re also unfortunately very very difficult to get hold of in English translations, which means that sadly my exposure to them has been severely limited. The Italian crime and horror fumetti of the 60s are almost impossible to find in English-friendly versions.

The good news is that Fantagraphics have published most of Crepax’s work, in English translations, in a series of beautifully presented hardcover editions. The bad news is that they’re going out of print at a frightening pace.

Crepax started writing comics as a child and by the beginning of the 60s he was already starting to establish his reputation. That reputation had really taken off by the end of the 60s.

European comics tended towards eroticism, sometimes mixed with horror. Crepax’s comics were very erotic and occasionally included elements of horror but his work bore no resemblance to the popular sex and horror comics of the Italian fumetti genre. With Crepax you get a very positive vied of eroticism, including a very positive view of female sexuality, combined with elements of artiness, surrealism and just general weirdness.

Sadly the positive view he took of female sexuality did not protect him from the ire of feminist puritans.

Evil Spells includes his best-known work, the Baba Yaga cycle. This details the epic struggle between Crepax’s most famous heroine, Valentina, and the witch Baba Yaga. Valentina is a sexy glamorous photographer who manages to get herself involved in all kinds of adventures. Making her a photographer was very much in tune with the zeitgeist of the 60s, the decade of the photographer as superstar. The Baba Yaga cycle gets seriously weird but it’s delirious and intoxicating.

This volume also contains several of Crepax’s literary adaptations. His choice of works to adapt was sometimes obvious, sometimes surprising and eccentric. Spread over a period of twenty years he adapted the three famous detective stories of Edgar Allan Poe. Adapting Poe was no great surprise, but choosing his detective stories was odd. They’re obviously quite plot-driven, which doesn’t really suit Crepax’s free-wheeling style. His attempts to inject some eroticism into the stories don’t quite work.

Much much more successful is his adaptation of Robert Louis Stevenson’s 1886 classic Strange Case of Dr Jekyll and Mr Hyde. Stevenson’s mix of gothic horror and science fiction is perfect for Crepax’s purposes. And in this case the injection of very strong erotic elements works superbly. The erotic elements are implied in Stevenson’s novella. Dr Jekyll’s attempt to separate the two halves of his personality is clearly his way of dealing with his sexual urges with which he is uncomfortable. They don’t fit well with his very respectable image as a doctor and a scientist. This is, as I say, mostly implied in the novella. Crepax makes it explicit. In fact he makes it the core of the story. It works. And it gives Crepax the chance to indulge fully in his talent for depicting outré forms of eroticism.

Crepax’s adaptation of the 1898 Henry James novella The Turn of the Screw is even better. It was clearly a story dealing with sexual repression, but dealing with the subject in a very repressed late Victorian way. Crepax moves the action to the 1920s, offering the opportunity for some exquisite Art Deco images. And Crepax confronts the element of sexual repression head on.

Guido Crepax revolutionised comics, not just thematically but stylistically. If you like the idea of comic books for grown-ups and you’re OK with lots of eroticism then he’s definitely your guy. Very highly recommended.

One other European comic that is available in English is Jean-Claude Forest's Barbarella and if you haven’t read it, buy a copy right now. It’s simply wonderful.

Little Orphan Vampires

Little Orphan Vampires is perhaps not the sort of book I'd usually talk about here, being a novel from 1993.

It's a short novel by Jean Rollin (1938-2010). Rollin is better known in the English-speaking world as the director of strange surreal erotic horror movies with the emphasis on the surrealism and with a twisted fairy tale feel to them. In his native France he enjoyed more success as a novelist, working in the fantasy and horror genres. 

Little Orphan Vampires is the tale of two young blind orphan girls who may or may not be vampires but they are certainly killers. Whether or not they are evil is also open to debate.

My full review can be found at my Cult Movie Reviews blog. Here's the link.

Philip Loraine's Day of the Arrow

Day of the Arrow by Philip Loraine was the 1964 source novel for the superb and unfairly neglected low-key British horror movie Eye of the Devil (1966).

Robin Estridge (1920-2002) was a British author of suspense novels who wrote under a couple of pseudonyms, including Philip Loraine. He’s one of those many writers who enjoyed some success only to then disappear into almost complete obscurity.

There are some differences between novel and film but the core of the story remains the same.

The novel is told mostly through the eyes of young Scottish painter James Lindsay. It begins when he sees Françoise, the Marquise de Montfaulcon, leaving a Paris hotel with her lover. This surprises him a good deal. Françoise had been so much in love with her husband Philippe and she’s just not the sort of woman to take a lover. Lindsay and Françoise have a bit of a history. Lindsay had hoped to marry her before she chose Philippe. Lindsay is even more surprised when Françoise telephones him. She needs his help. Her husband has told her he is going to die.

Philippe had suffered a slight injury a short while before and Françoise had persuaded the doctor to give him a very thorough checkup. There is absolutely nothing wrong with him physically. But Françoise believes him when he tells her he is about to die.

Lindsay joins Françoise at Bellac, the Montfaulcon estate. He discovers something, mostly just tantalising hints, of the family’s history. They have been lords of Bellac for thirteen centuries. And a truly astonishing number of male heads of the family have met violent deaths in mysterious circumstances. The atmosphere at Bellac is unnaturally silent and a little grim. The vines have failed again.

There’s an odd collection of people there. There’s a young man named Christian. On his first day at Bellac Lindsay sees Christian shoot a dove with a bow and arrow. There’s Philippe’s young cousin Odile, a strange girl reputed to be a witch. But this is the 1960s. There are no witches in the 1960s. That magic trick she performed was clearly just an illusion. What else could it be?

The atmosphere at the chateau is subtly disturbing. Even Philippe prays a lot, which he never did before. Lindsay always assumed that Philippe was a non-believer.

Nobody seems to want to notice that something is strange here. Lindsay’s attempts to find answers almost cost him his life. Lindsay has the evidence he needs to explain the mystery but he can’t put the pieces together, or rather he just cannot except the true explanation.

Philippe and Françoise are much younger in the novel, compared to the movie, and there’s more emphasis on the unhealthiness of their sexual relationship.

In the movie Christian and Odile are brother and sister, which I think adds an interesting extra layer. And they’re much more disturbing in the movie. What’s interesting is that the movie downplays the sexual problem in the marriage between Philippe and Françoise but adds an interesting sexual subtext involving Christian and Odile.

The movie is definitely better than the book - its visual style conveys the atmosphere of subtle menace and strangeness far more effectively than Loraine’s prose. In both book and movie the hints of the supernatural are very subtle and very ambiguous (and I’m certainly not going to tell you if there really is anything supernatural) but they’re also handled more effectively in the movie.

The basic story is the same and it’s a pretty good story. There’s a bit more mystery in the book than the movie, but a bit less suspense. It’s a bit hard for me to judge the novel because having seen the movie I knew the nature of the secret of Bellac so the shock revelation was blunted a little for me.

This is a slow-burning story with the sense of menace being rather subtle.

Overall, not as good as the movie but still an interesting occult thriller. Recommended.

Robert Bloch's Atoms and Evil

Atoms and Evil is a collection of short stories by Robert Bloch. The stories were originally published in various pulps between 1948 and 1960.

Robert Bloch (1917-1994) started out as a protégé of H.P. Lovecraft. Bloch had an extraordinary ability to come up with cleverly twisted plots with nasty stings in the tail and to combine them with black comedy.

In these stories he turns his hand to science fiction and the paranormal.

There’s also quite a bit of satire, mostly directed at the 1950s obsession with consumerism.

Try This For Psis is a lighthearted tale of the paranormal. Dr Angus Welk is a crusty scientist who has no patience at all with nonsense like ESP and telekinesis and he has a daughter named Nora. He also has a bitter scientific rival, a Professor Seine, who works in the field of ESP and psionics. Professor Seine has a student named Frank Tallent who is a brilliant psychic sensitive with just about every paranormal power you can name. As luck would have it Nora and Frank fall in love and want to get married. Obviously Dr Welk is likely to oppose the match very bitterly indeed. To make things worse Professor Seine intends to use Frank to prove to Dr Welk that psychic powers are real. That’s certain to provoke a storm.

It’s actually a very amusing story.

Comfort Me, My Robot starts with a man named Henson who is suffering from stress. He goes to see the Adjustor. This is the 22nd century and adjustors are like psychiatrists but with much more effective treatment methods at their disposal. Henson tells the Adjustor that he wants to murder his wife. The Adjustor tells him it’s no problem and that he will make the necessary arrangements. After all murder is recognised as a valuable therapeutic tool.

This is the 22nd century of course and completely human-looking robots are everywhere. This is a delightfully twisted little tale, one of the best in this collection.

Talent is about a foundling. Andrew Benson grows up in an orphanage and develops an extraordinary talent for mimicry. He can copy a person’s every gesture and every characteristic of a person’s speech. He also learns to copy characters he sees at the movies. It’s almost as if he becomes the character. Which goes a long way to explaining certain subsequent events.

The Professor Plays It Square is about a couple of card sharps whose fondest dreams are about to come true when the biggest sucker of all time wanders into the dive where they hang out. Professor Glockenspiel has plenty of money. Bugsy and his pal intend to relieve him of all of it. The way they play poker it’s not a game of chance, it’s a sure thing. Or is it? Another amusing little tale.

Block That Metaphor is another example of Bloch’s dark sense of humour. It concerns a robot from another planet, visiting Earth on a diplomatic mission. Although he’s not quite a robot. He has an organic brain but a mechanical body. His way of thinking is however rather mechanical. He is thoughtful and polite but he takes everything literally. Very literally. With disastrous consequences.

Wheel and Deal is a throwaway humorous tale of a used female dealer - he sells late-model used sexbots.

You Got To Have Brains is about a funny little guy who rents a loft so he can build a spaceship. He has a theory that what you need to power a spaceship is to harness mental energy. You have to have brains to do something like that. It has the typical Bloch humorous/grotesque sting in the tail. Not a bad story.

In You Could Be Wrong Harry Jessup returns from the war, gets a job, marries his sweetheart and everything is fine until one day Harry starts to suspect that everything is fake. Not just the usual things that really are fake, like movies and television. Harry starts to doubt absolutely everything. Maybe nothing at all is real. But where does that leave him? How could he prove it? Another pretty solid story.

Egghead is an attempt at political satire, written in 1955 at the height of the Red Scare. Radical extremists are undermining the country and they’re promoting some wacky and dangerous ideas. These crazies are suggesting that maybe consumerism isn’t the very foundation of civilisation and some of them even want people to be able to study subversive subjects like English Literature. It’s an amusing enough story.

Dead-End Doctor is about Dr Howard Anson, the last psychiatrist on Earth. This is a world in which nobody is crazy any more so psychiatrists aren’t needed. He has never had a patient. It’s also a world in which robots have replaced humans in most jobs. Dr Howard Anson faces a grim future but fate is about to step in and give him hope. An amusing story.

Change of Heart is a very creepy little tale about a brilliant watchmaker who can fix any watch. One of the best stories in the collection with a punch-in-the-guts ending.

Edifice Complex has a rather nasty punchline as well. Wayne and Nora (a girl he picked up in a bar in a space-port) land their spaceship on the planet Vergis IV. Wayne wanted to go there because there are diamonds there, lots of them, and he knows how to get them. The sozzled old miner Luke told him all about it before dying. All they have to do is find the hut Luke described to him. Not a bad story.

Constant Reader is more overtly science fictional. A routine reconnaissance mission to the planet 68/5 finds no life, but they do find intelligence. Or rather it finds them. One member of the crew has a strange hobby. He reads books. Which could turn out to be disastrous. A clever and ambitious story.

It’s a very uneven collection with some stories being essentially just extended jokes while others are intelligent sophisticated (if rather dark) tales with very satisfying payoffs. Some of the stories are very much of the 1950s while others are uncomfortably relevant today. Bloch’s morbid sense of humour shines through. Atoms and Evil is recommended if you like your science fiction offbeat.