Atomic Werewolves and Man-Eating Plants

The pulp-fiction and men's action-adventure connoisseurs Robert Deis and Wyatt Doyle are back at it again with a brand new volume for their Men's Adventure Library series (published by New Texture). The book is aptly titled Atomic Werewolves and Man-Eating Plants and it is a beautiful collection of vintage men's adventure magazine stories about ghosts, aliens, robots, vampires, werewolves, and creepy rats. Like many of their prior offerings, this book is available in an expanded hardcover edition as well as paperback.  

The collection begins with “A Century of Weird Tales”, written by PulpFest organizer Mike Chomko. This is an informative history on Weird Tales magazine's history, including full color cover panels by the likes of Virgil Finlay, Matt Fox, and Margaret Brundage. Chomko illustrates how Weird Tales really found its identity in 1924 when Farnsworth Wright assumed the editorial role. At that point, the magazine began a prosperous creative flow populated by some of the best writers of the 20th century – Robert Bloch, Robert E. Howard, Henry Kuttner, Hugh B. Cave, and Manly Wade Wellman, as well as artists like Hannes Bok, Jack Williamson, and Margaret Brundage. 

In “Weasels Ripped Their Flesh”, horror editor, critic, and author Stefan Dziemianowicz examines the influx of early, weird pulp-fiction stories that appeared in the mid to later 20th century Men's Action-Adventure Magazines (MAMs for short). Dziemianowicz points out that these MAM editors would often browse back issues of old pulp magazines to find riveting stories they could feature in their own publications. Titles like Cavalier, Fury, Men, and Peril featured stories previously authored by the likes of H.P. Lovecraft, Ray Bradbury, and Theodore Sturgeon. The article also includes artwork by John Leone and James Bingham.

Both Deis and Doyle offer their own experienced insight on “A Turn for the Weird:, a massive 27-page essay that not only explores the richness of weird pulp-fiction stories in the pages of MAMs, but also serves as an informative introduction on the many stories that saturate this impressive short-story collection. The duo also use this medium to explore the idea of MAMs historically featuring brawny, barrel-chested heroes that were impervious to harm. They show a stark contrast between the usual flavor of MAM writing to the more harrowing horror and terror tales that were sprinkled in. In these stories, readers welcomed the change and grew to accept that these heroes were prone to “fear, panic, mutilation, and fatalism.” The text also examines how the violence and savagery of these MAM stories served as an unexpected coping tool for military veterans that predominately bought and read these publications.

The stories culled from the MAMs and presented here offer a variety of creatures, traditional horror, science-fiction, and just plain 'ole weird writing. The authors featured include Gardner F. Fox, H.P. Lovecraft, Manly Wade Wellman, Rick Rubin, and Theodore Sturgeon. For eye candy, glorious artwork from John Leone, Basil Gogos, Mark Schneider, Vic Prezio, Clarence Doore, Dwight Howe, Fernando Fernandez, John Duillo, Norm Eastman, George Cross, and Mort Kunstler to name a few.

Needless to say, if you love horror, science-fiction, pulp-fiction, MAMs, or collectively the amazing body of work created by both Robert Deis and Wyatt Doyle, then this book is a mandatory addition to your library. With a title like Atomic Werewolves and Man-Eating Plants, why wouldn't it be? 

Buy a copy of this book HERE.

The Last Celt: A Bio-Bibliography of Robert E. Howard

Glenn Lord (1931-2011) became a literary agent for the Robert E. Howard estate in 1965, a role he served in for over 25 years. Lord was instrumental in the resurgence of Howard's work in the late 1960s and early 1970s. Lord was able to amass hundreds of unpublished stories and poems and provided the source material for the author's contents to appear in media from 1965-1997. In 1976, Lord edited and compiled a 400-page reference book titled The Last Celt: A Bio-Bibliography of Robert E. Howard. Reviewing non-fiction and reference materials isn't really our style, so the below "review" is a loose description of the book's contents and why you should track it down.

The book's introduction is an informative and touching essay by E. Hoffmann Price, one of the only Howard contemporaries to have met the man. In this 16-page article, Price commends Howard as a natural storyteller and cites the author as one of his early influences. He also recalls meeting the author at his home in Cross Plains, TX. Following this introduction is a four-page Foreword from Lord outlining some of his references while explaining that The Last Celt is the outgrowth of 15 years of collecting "Howardiana".

"The Wandering Years" is a short autobiography that Howard began writing not long before his death. In this piece, Howard documents his family's history back to 1724. He documents his ancestors in North Carolina and Pennsylvania. He writes about his grandparents and parents. This is very minor stuff in the grand scheme of things. This is followed by the short half-page "An Autobiography", which Howard wrote while attending high school. 

In 1930, Howard chronicled a few events in history in a piece named "A Touch of Trivia". In it Howard writes about WWI, Jack Dempsey, the American Revolutionary War, and the great Potato Famine of 1842. 

Next is a letter written circa 1931 to Weird Tales editor Farnsworth Wright. The letter was never published and gathers more autobiographical contents from Howard. In it he recalls selling Wright his first story, "Spear and Fang", when he was just 18 years of age. The next section, titled "On Reading - And Writing" is another historical piece in which Howard applauds and criticizes literary works. The moral to the story is that Howard admits he would rather read Zane Grey the rest of his life than to read the popular American writers like F. Scott Fitzgerald, George Jean Nathan, Mike Gold, and Floyd Dell. He also doesn't care much for French works. The final portion of this section is a collection of various letters written to a variety of correspondents. 

Alvin Earl Perry, a legendary fantasy fan and fellow Texan, offers up "A Biographical Sketch of Robert E. Howard". There are some arguments on whether Perry and Howard communicated, but this is a great two-pager describing the author, various payments he received, and that Howard loved Jack London's work. 

H.P. Lovecraft's "Robert Ervin Howard: A Memoriam" has been popularized and reprinted numerous times and it is included here. Lovecraft and Howard communicated through numerous letters, some now lost in the annals of time. This is a moving eulogy that describes Howard's stories and writing style. There is clearly a real admiration on display and Lovecraft captures that beautifully. 

The highlight of the book is Glenn Lord's "Lone Star Fictioneer", a detailed history and account of Howard's literary work and life beginning in 1906 through his tragic suicide in 1936. Howard's education, family life, work history, and early influences are all meticulously analyzed. The insight on his industry sales and receipts of payment was really compelling. I love the peek behind the typewriter to see what his stories sold for. 

"A Memory of R.E. Howard" is another piece written by E. Hoffmann Price, this one documenting his own writing history and correspondence with Howard through the years. The famed meeting between Price and Howard is described in detail and remains as fascinating today as it did then. It's as if Stephen King paid a visit to Clive Barker's house (which maybe he has and I just didn't know it). I love the reference to Howard's characters as a sort of rebuilding of his boyhood. Price speculates that some of the bravado and overcorrection on certain characters may have been a result of the men of Cross Plains belittling him for not having a "real" job. 

Harold Preece's "The Last Celt" is a written connection between Howard's writing and his interest in Celtica. He describes various conversations he had with Howard, both oral and written, as intellectual, passionate conversations about Celtica. 

The rest of the book serves as a massive bibliography detailing stories both published and unpublished as well as listings of poetry. There is also an index by character and the collections that existed upon the time of this book's publication. Whether this bibliography is still useful for Howard fans 50 years later is in the eye of the beholder. I still find some interesting tidbits gathered here and the story listings is really helpful. The bibliography finishes out with unfinished Howard books and stories, Conan pastiches, comics, and any other Howard related piece of literature. 

The last section of the book are photos of various letters, manuscripts, and a lot of the pulp magazine covers that published Howard stories. 

So, the question is do you really need this hardcover book? Yeah, I think so. It is a handy reference book that still connects in so many ways to the spirit, talent, and personality of one of the greatest pulp writers of all-time. There is enough information here to warrant a spot on your bookshelf. Recommended. Get it HERE

Conan - Shadows in the Moonlight

Robert E. Howard's “Iron Shadows in the Moon”, starring Conan the Cimmerian, was published in Weird Tales in April, 1934. The story was renamed to “Shadows in the Moonlight, and appeared in the Gnome Press volume Conan the Barbarian in 1954. It was later edited by L. Sprague de Camp for inclusion in Swords & Sorcery, a 1963 collection published by Pyramid that featured authors like Fritz Leiber, H.P. Lovecraft, and Clark Ashton Smith. The story can be found in the Lancer 1968 paperback Conan the Freebooter and future collections by Gollancz and Del Rey. It was later adapted into comic format in Savage Sword of Conan #4 and Conan the Cimmerian #22-25. 

“Shadows in the Moonlight” reads as if it is a hybrid of atmospheric horror and action-adventure. With Howard's association with Lovecraft, E. Hoffman Price and Clark Ashton Smith, his darker passion was stirred to author hair-raising tales like “Pigeons from Hell” (Stephen King named it one of the finest horror stories of the 20th century). But, beyond Conan battling evil sorcerers, snake behemoths, and the undead, how does “Shadows in the Moonlight” incorporate a less “on the nose” horror element? 

By placing Conan, and a damsel in distress, Olivia, on a deserted island, Howard branches this story off into new directions. First and foremost, this deserted island that Conan and Olivia sail to is deathly quiet, an atmosphere that the always colorful Howard is able to describe in an eerie fashion. When exploration begins, out of both boredom and hunger, the two find a crumbling, ancient ruin. Inside, they discover lifelike black statues that are placed in a half-circle. Finding no other shelter, the two decide to spend the night at the ruins (terrifying!) and Olivia has a nightmare that these statues come to life. I found this entire section of Howard's story to be chilling in its total abandonment of this archaic art. 

But, the horror element is temporarily swept aside as Conan and Olivia see a pirate ship on the shore. Hoping to gain passage, Conan fights the pirate captain and wins. But, these pirates are a bad lot (even for pirates) and they soon overtake Conan while Olivia runs into hiding. With Conan beaten and unconscious, the pirates take him to the ruins. But, there's a surprise with the statues, and I'm not going to ruin it for you here. 

“Shadows in the Moonlight” is set during the buccaneer era of Conan's life. In the story, Conan reveals to Olivia that he was in a a brigade called Free Companions, raiding the borders of Koth, Turan, and Zamora for a prince in Eastern Koth. Apparently, all of the Free Companions were killed except for Conan. By the story's end, Conan has become a pirate captain, complete with his own crew and ship. In the grand Conan mythos, this sets up his life under the alias Amra and his pirate empire in the Vilayet Sea. Details of this period make up the narrative of Leonard Carpenter's 1994 novel Scourge of the Bloody Coast. 

Sitting aside all the horror and pirate talk, “Shadows in the Moonlight” is a barbaric tale with plenty of sword fights and heroic saves set in an exotic location. As a men's action-adventure novel, there's nothing to dislike here. Robert E. Howard was in top form when he wrote the story and it's entertainment value has yet to dwindle. Highly recommended!

Deeper

James Arthur Moore (b. 1965) is a Bram Stoker nominated author of horror, role-playing and television tie-in novels. The Atlanta native has multiple series titles, including Harvest and Bloodstained. After reading and enjoying his novels, Blood Red (2005) and Fireworks (2001), I purchased his 2008 novel Deeper. It was originally published by Necessary Evil in 2008 and then again by Berkley in 2009. 

The book is set somewhere on the New England coast and stars an elderly man named Joe. Joe charters fishing trips for tourists on his sizable yacht and mostly lives a quiet happy life with his wife. A professor and members of a nearby college faculty hire Joe to pilot them to a beachside town called Golden Cove. It's here the group can dive and explore a chain of underground caves rumored to exist. 

Joe wants to accept the job but is very hesitant about the route's ultimate destination. Over the years he has heard the sailor stories about the small coastal town. Supposedly, there are monstrous creatures that terrorize boats and crews off the reef. Additionally, rumors abound that the town's population behave aggressively to tourists. This isn't a cozy place where they leave the light on for you. When Joe ends up accepting the job, he discovers that the rumors are indeed true. There is a whole lot of terror waiting in Golden Cove. 

Deeper starts with a bang and ends with a really strong finish. However, I though the middle portions were a little slow. The narrative features action, a central mystery and an eerie ambiance with Moore detailing the fog enshrouded village of Golden Cove. I imagined those opening scenes from the Dark Shadows TV show depicting a high tide enshrouding the misty beach. Moore connects to H.P. Lovecraft fans as this book mentions Innsmouth and the Miskatonic University (both locations used in Lovecraft's literature). 

Overall, James A. Moore is a tremendous talent and Deeper is an entertaining read. If you love traditional horror or underwater terror, think of Deeper as a horrifying combination of Jaws and Cthulu. Get the ebook HERE

Deathlands #07 - Dectra Chain

Let's talk about Deathlands. So far, the series has been solid except for the mediocre fourth installment, Crater Lake. I can chalk that up to, “everyone has a bad night”, even paperback warrior Laurence James. But, James rebounded in a big way with the series' turning point, Homeward Bound, and subsequent post-apocalyptic western Pony Soldiers. I was really looking forward to this seventh novel to see where we go from here in terms of location and quality. Dectra Train was published by Gold Eagle in 1988 and remains available as a Graphic Audio Book wherever quality 80s over-the-top, post-apocalyptic literature is offered. 

After the stint in the American southwest, Ryan and the gang enter the redoubt and make the leap. Their jarred landing puts them in another redoubt that appears as if it was just utilized by someone or something. I would imagine this little plot sprinkle will re-surface in a future installment. It's like a Quantum Leap episode where Sam discovers another leaper. 

Inside the redoubt, the group's newest member, the Apache shaman Man Whose Eyes Sees No More, receives his simpler name of Donfil More, inspired by his favorite rock duo, The Everly Brothers. The group emerges from the redoubt and find a barrage of water and a mutant. After contending with the obstacles, the heroes make a raft and battle a great white shark. It turns out that the group have arrived at a seaside area of what once was the state of Maine. The author perhaps adds in a bit of his literary influences by having the group discover a road sign that lists Jerusalem's Lot (the Stephen King fictional town; Salem's Lot) and Miskatonic University (H.P. Lovecraft lore). Total freakout coolness moment. 

On with the show, Ryan leads his band of travelers to a coastal village called Claggartville. The town works in the whaling industry and have a variety of ships and crews, the largest being the Salvation captained by a hideous, sadistic woman named Pyra Quadde. The narrative leads to Ryan and Donfil placed in shackles aboard the Salvation performing hard labor. It's a typical prison-break styled story as the heroic duo attempt to survive their harsh environment while planning an escape. Meanwhile, the rest of the gang are planning to set sail to find Ryan in their hijacked boat. 

Dectra Chain is a total blast. It's like a combination of Lovecraft and Moby Dick in the smooth, velvety afterglow of a destructive mushroom cloud. I like the fact that each of the heroes had a small part to play, including Doc's unwavering voice of wisdom, which isn't completely lost in the violence and gunfire. Some could argue that this is just another nautical adventure with all of the familiar tropes, and there is some truth to that, but having these memorable Deathlands characters fighting it out on the high seas was really clever. I loved the plot development, the bad guys (and girls), the locale, and the journey through Maine in autumn. Overall, another solid installment in what is slowly becoming one of my favorite series titles of all-time.

Buy a copy of this book HERE.

Rackets Incorporated (aka Blood on My Shadow/The Organization)

John S. Glasby (1928-2011) was a U.K. author whose body of work includes dozens of novels in various genres throughout his career. Using the pseudonyms Chuck Adams and Tex Bradley, Glasby wrote over 30 western paperbacks. Under the name of Manning K. Robertson, the author created the six-book spy series 'Steve Carradine' while also dabbling in the H.P. Lovecraft mythos with short-stories and a compilation entitled “Weirder Shadows Over Innsmouth”.

His 1956 noir crime novel, “Blood on My Shadow”, was written under the name A.J. Merak. The paperback was later reprinted as “Rackets Incorporated” as part of the Badger Mystery line featuring authors such as Harry Whittington and Brett Halliday. To capitalize on the success of “The Godfather” film, the novel was again re-released as “The Organization” under the name A.D. Brent. Glasby later utilized the novel's central character, Johnny Merak, as the basis for a private-eye series totaling six books.

In the book's opening pages, we're introduced to Merak as he steps off of a plane near Orange County, California. As a former enforcer, Merak worked for Syndicate kingpin Maxie Temple. Through corrupt real estate purchases, Maxie controlled the hotel industry on Balboa Beach. Merak's role, while often physical, was more of an influence peddler within the city's political structure. With escalating pressure from the feds, Maxie fled to Mexico leaving Merak as a scapegoat. After serving a three-year prison stint, Merak wants Maxie to pay for his betrayal.

“Rackets Incorporated” serves readers the average revenge narrative. While treading familiar territory, we find that Maxie has already been killed by one of his former trustees. Fearing that his name is on some incriminating evidence, Merak wants to locate Maxie's killer and retrieve the documents. Along the way, he falls in love with an innocent beauty, who is later utilized as ransom bait by Maxie's ex-hitman Clancy Snow. Although the novel is written in elementary prose, the numerous moving parts in the plot makes for a complex and cumbersome reading experience.

With over 300 novels to his credit, I'm sure Glasby couldn't hit grandslams with every swing. If you're looking for a tightly-paced crime novel with an original concept, “Rackets Incorporated” isn't it. At just 157-pages, it took me a week to grind through it. There are much better books out there.

Buy a copy of this book HERE

The Kidnaper

Because of the association with his mentor H.P. Lovecraft and the success of Alfred Hitchcock’s “Psycho,” author Robert Bloch (1917-1994) is remembered as a horror writer, but he also did a lot of work in the crime fiction genre. In fact, I would maintain that “Psycho” is more of a suspenseful crime fiction story than a horror novel anyway, but that’s a different argument for a different day.

Bloch’s novel “The Kidnaper” was released by upstart crime fiction paperback house, Lion Books in 1954 - five years before “Psycho.” It was reprinted by Tor Books in 1988 with a horror-themed cover and a modernized spelling of the title as “The Kidnapper.” Decades later, Bloch cited the novel as among his best work.

Our narrator is Steve Collins, a freight train riding drifter and petty criminal who breezes into town and lands a job working the night shift at a factory. Steve’s not a very nice guy, and you need to be comfortable spending 180 pages with a cold antihero operating with a severely-busted moral compass. If you need a white-hat protagonist in your fiction, look elsewhere.

Shirley Mae is the four year-old daughter of a wealthy businessman in town. Steve’s new girlfriend is the kid’s nanny, and he sees this as a real opportunity to make some big cash in a kidnapping and ransom gambit. He enlists the help of his dimwitted friend in the execution of the scheme which goes very wrong, and the majority of the novel is Steve’s attempts to salvage the operation, get the dough, and get lost.

This is a seriously dark noir novel that was clearly inspired by Jim Thompson, who was doing basically the same thing at the same time. It was also an excellent book if you’re looking for something gritty as hell to read. Steve is an unapologetic sociopath but otherwise logical and level-headed, so the book doesn’t force you into a mentally ill mind for the narration as in many of Thompson’s paperbacks. Bloch does a fantastic job keeping the action moving, and the tension-filled pages really fly by.

As long as you know what you’re getting and are comfortable with untidy crimes in your crime fiction, “The Kidnaper” is an easy recommendation.

Buy a copy of the book HERE

Murgunstrumm

Strange Tales #7 was published in January, 1933 and included stories by Clark Ashton Smith, Henry Whitehead, and Robert E. Howard. One of the issue's highlights is a short novel called Murgunstrumm, authored by Hugh B. Cave (1910-2004). This vampiric horror tale was reprinted by Carcosa Press in Cave's first hardcover collection, Murgunstrumm and Others, in 1977. Thanks to Pulp Fiction Bookstore, the novella is now available as an affordable stand-alone ebook.

In flashback, readers learn that young lovers Paul and Ruth were wrongfully admitted into an insane asylum. The basis for their involuntary confinement to the asylum is hysteria based on their experiences in and around a roadside inn called The Gray Toad. As the novelette begins, Paul is executing his elaborate plan to escape the asylum and return to the inn to destroy the hideous creature he encountered there. He desperately wants to free Ruth and prove to the doctors that they aren't insane.

On the outside, Paul gains help from his friend's driver, a savvy guy named Jeremy. Together, the two head to the inn to learn more about the creatures in an effort to destroy them. Murgunstrumm happens to be the inn's caretaker, a hunched decrepit servant that may feed on human flesh! Inside the inn, the duo comes face to face with the vampire creatures in both human, wolf, and bat form. However, the biggest surprise is when they discover Ruth inside. How did she escape the asylum?!?

Cave absolutely nails the atmosphere of a Universal monster flick. Considering this was published a year after the studio's famed Dracula film, the vibe was probably an easy one to conjure. The author's descriptions of the title character and the creatures that inhabit the inn were traditionally chilling. I also found the amount of gunfire in the story to be a little above average for this sort of horror storytelling. I think the contrast between the guns and the simple crosses made from bed sheets was striking – holy relics with more impact than bullets. Additionally, as an early 20th century horror offering, the town, creatures, and characters were reminiscent of H.P. Lovecraft, but that's probably a common comparison. 

If you enjoy vampire literature, chances are, you probably have read Murgunstrumm already. If not, then you are in for a real treat. Hugh B. Cave is a great storyteller and this is the perfect showcase of his talent. It is also a good reminder for me to track down more of his work. 

Note - I'm sure our readers are growing tired of the constant Stephen King comparisons, but I'd be remiss if I didn't mention that King's own vampire novel, Salem's Lot, featured the Marsten House as home to the vampire. In Cave's tale, the vampires live in the town of Marssen. Coincidence? Probably, but King was a pulp fan. 

Buy a copy of this story HERE

Conan - The Devil in Iron

Robert E. Howard's Conan short “The Devil in Iron” first appeared in the August 1934 issue of Weird Tales. It was later reprinted in paperback by Lancer in 1968 as a part of the Conan the Wanderer collection, later reprinted by Ace with a cover painted by Boris Vallejo. The story was adapted into comic form in the October 1976 issue of The Savage Sword of Conan the Barbarian with a cover also painted by Vallejo. 

The story begins with a Yuetshi man deposited on the coast of Xapur, an abandoned island, after a storm disrupts his fishing. When exploring the island, a thunderous boom echoes causing the man to go investigate the source of the sound. He stumbles on a large domed structure that has been broken open. Inside, the man tries to take a shiny dagger from a giant corpse (mummified?). The corpse awakens and kills the man. 

Like a lot of Conan stories, there's a political war waging. A lord by the name of Agha is ordered by Turan's king to quell a recent uprising near the border. A team of guerrilla fighters, made up of kozaki bandits, is pillaging Turan's interior. Their leader is Conan. An elaborate trap is formed that places a young maiden named Octavia on the abandoned island of Xapur (the one now housing a giant!). Here, they will lead Conan to Octavia in a snare that will allow Agha and his soldiers to hunt and kill the barbarian. It sounds way more complicated than it really is, but there are numerous plot holes here that Howard doesn't shore up. 

Off-page events transpire and the trap is in motion. Octavia is on the island. Conan sails to the island. The two run into the giant. Fairly simple. Conan quickly learns that the giant is made of iron (thus the story title) and that he will need something other than brute strength to outwit the behemoth. By the story's end, Conan has “taken” the girl's kisses and makes a path to lead her to his tent. Maybe they will make marshmallows?

If you can sense my tone, this wasn't one of my favorites Conan stories authored by Howard. The abandoned island producing a city was really bizarre and felt rushed. I'm not sure if the “Dagon” featured here has any connection with H.P. Lovecraft lore, but this Dagon is the name of a city, not a deity. The giant's colossal nature, or threat, didn't seem to affect me much after reading Conan's battles with far more menacing beasts. This was a boss-fight that didn't quite pan out. I recommend a pass on "The Devil in Iron".

Buy a copy of this book HERE.

The Dead Remember

The August, 1936 issue of Argosy featured a horror western short-story titled “The Dead Remember”. The author was Robert E. Howard, a veteran of both westerns and horror stories. Howard was closely linked with Weird Tales along side his contemporaries in H.P. Lovecraft and Clark Ashton Smith. He made $17.50 for the submission. Since then, the story has circulated in collections like Horror Times Ten (Berkley 1967), Pigeons from Hell (Ace 1979), and The Horror Stories of Robert E. Howard (Del Rey 2008). My version is in a paperback called Trails in Darkness, originally published in June 1996 by Baen. 

This 12-page story features a rough 'n ready cowhand named Jim Gordon. One night he visits an acquaintance, an African-American man named Joel and his wife Jezebel. Joel and Jim begin shooting craps and drinking tequila and Joel takes all of Jim's money. The obligatory accusation of cheating arises and Jim fatally shoots Joel twice in the belly. Jezebel runs out and attempts to fire an old musket, but it misfires and Jim fatally shoots Jezebel in the chest. In her dying words, she screams this curse at Jim:

“You've killed Joel and you've killed me, but by God, you won't live to brag about it. I curse you by the big snake and the black swamp and the white cock. Before this day rolls around again you'll be branding the devil's cows in Hell. You'll see, I'll come to you when the time's ripe and ready.”

It is these chilling final words that haunt Jim. Soon he becomes paranoid and begins having accidents that nearly kill him. In the story's finale, there is a hint of a supernatural entity that comes for him. Whether it was or wasn't is in the eye of the beholder. I'd like to think it was supernatural. 

These types of “curse you” horror stories are a dime-a-dozen, but Howard sure had a knack for reeling the reader into the macabre. What makes this story interesting is the fact that it is presented in a series of letters by the various characters that interact with Jim through the story. These are all presented in a detailed way that doesn't reveal everything at once. As the letters are presented from different points of view, it is up to the reader to ascertain what is really happening. 

If you like your horror westerns then don't let this one slip your memory. After all, the dead remember. 

Buy a copy of this book HERE

Savage Sword of Conan #02 (Curtis)

The Savage Sword of Conan #2 was published in October, 1974. For a complete history of the making of this magazine title, including reviews of the contents of issue one, check out my review HERE. This installment of the series has an awesome Neal Adams cover and once again features content inspired by the works of Robert E. Howard. This issue features:

“Black Colossus” - Roy Thomas/John Buscema and Alfredo Alcala
“Chronicles of the Sword” - Lin Carter/Al Milgrom, Alan Weiss, Joe Staton
“Black Mark Chapter II” - Gil Kane
“The Beast from the Abyss” - Steve Englehart/Howard Chaykin 

In addition to the stories and articles, this issue's stand-alone panel is illustrated by Mike Zeck.

The lead story is “Black Colossus”, a 36-pager that is broken down into three parts. The inspiration is Robert E. Howard's story, which originally appeared for the first time in Weird Tales, June 1933. It has been reprinted numerous times in print format with and without the minor edits made by L. Sprague de Camp. To my knowledge this issue features the first adaptation of the story in comic format. The adaptation was reprinted again by Marvel in their Marvel Treasury Edition #15 as a colorized edition. I won't go into the details of the story because I already covered it in great detail HERE. 

The story's short intro is simply “Black Colossus”, the second chapter of the story is titled “Hordes of the Veiled One” and the last chapter is “Chariot of the Man-Demon”. Each title insert is a one-page panel carefully constructed by Buscema and Alcala. I love the title page to chapter two with Princess Yasmela, partially clothed, crawling towards the darkness of the pit-spawned incubus. It is just an incredible mix of light and dark with a lot of lines in the foreground to make it look more chaotic as the scene shifts to the dark right corner. As I mentioned in my review of Dark Horse's first issue of Conan, “Out of the Darksome Hills”, that Cary Nord's depiction of an armored Conan slightly resembles page 18 of this issue as Conan is fully decked out like a gladiator. 

The story stays true to Robert E. Howard's version and it's a great read. This is on par with “The Frost Giant's Daughter” (reviewed HERE) in terms of this magazine's most iconic moments. I may sound like a broken record but the art is just spectacular. Page 27's Thugra Khotanlike on the skeletal black camel is awe-inspiring and seems to draw influence from the 1865 painting by Gustave Dore, “Death on the Pale Horse (Revelation)”. This story gains a sequel in the next issue. 

Some fans dislike author Lin Carter, but I have genuinely enjoyed his literary work and the contributions he made to science-fiction and sword-and-sorcery/fantasy. His informal history of the sword-and-sorcery genre, “Chronicles of the Sword”, is just fascinating. Carter points to early literature like Beowulf and Hercules mythology as a catalyst to what would eventually form sword-and-sorcery. He also examines Lord Dunsay's “The Gods of Pegana” and “The Sword of Welleran” among others, citing the “at the Edge of the World” as a sort of gyroscope utilized for the genre”. Obviously, Carter delves into the works of H.P. Lovecraft and Robert E. Howard and their impact on the Weird Tales publication. 

The second chapter of Blackmark continues in this issue. As I alluded to in my review of the first issue, this content was originally published in the 1971 Bantam paperback Blackmark. The smaller graphic novel pages have been formatted to magazine size and the book's contents were spread over the first four issues of Savage Sword of Conan. 

In this portion of the story, Blackmark looks to be about 10 years old and has began practicing swordplay in between working for his father Zeph. While Blackmark is away from the village, an armed group of horseback riders attack and begin slaughtering the citizens. When Blackmark sees the smoke he runs to the village to see his father fighting the men with a staff. After his father is murdered, Blackmark is forced to watch his mother being raped and killed. The men leave Blackmark as a survivor so he can tell others about their strength and dominance. Later, Blackmark is captured by slave raiders.

This was a real turning point in the story and sets up Blackmark's adolescent years and subsequent arena fights as a slave (featured in the next issue). Again, Gil Kane is a phenomenal artist and his storytelling skills propel the narrative in a smooth and unforced way. While a lot has happened to Blackmark, from birth to jaded young man, the narrative is spread enough to allow readers to imagine and fill in the gaps in these characters' lives off the page.

Up to Kull's appearance in this issue's story, “The Beast from the Abyss”, the character had appeared numerous times in comic format. The hero is seen in Conan's vision in the very first issue of Conan the Barbarian in July, 1970. He later appeared in Creatures on the Loose #10 (Mar1971),  Monsters on the Prowl #16 (Jan 1972), Conan the Barbarian #25 (Jan 1973) and #37 (Jan 1974), Tomb of Dracula #26 (Jul 1974). Of course he had his own short-lived title as well, Kull the Conqueror #1-10 (1971-1973) and Kull the Destroyer #11-28 (1973-1978) prior to “The Beast from the Abyss”. 

“The Beast from the Abyss” is adapted from the story “Black Abyss”. This work was left unfinished by Robert E. Howard with Lin Carter finishing the story (beginning with Chapter 3) and it was first published in the Lancer paperback King Kull in 1967. I enjoyed that story immensely and I was happy it was adapted into comic form by Steve Englehart (Batman, Daredevil, Doctor Strange) and drawn by Howard Chaykin (Star Wars, Batman, Punisher)

Kull is in Kamula on business and enjoying a dance routine with Baron Ergon. Kull's friend and confidant Brule, the Pictish Warrior, storms into the room and advises that his tribal brother Grogar has been captured from somewhere in the palace. The duo venture back to the place the man was last seen and discover another corpse. From inside the wall they hear a strange piping sound - “the sort of music dead men dance to on the scarlet floors of Hell!”. 

The two journey through the wall's secret passageway and descend stairs into a macabre scene of the Baron, half-naked women, a piper, and Grogar laid on an altar awaiting a ghoulish fate. These crazed people are worshiping a giant slug-like creature called Zugthuu the Slitherer. The creature isn't actually named by Chaykin in the story, but the name appears in the magazine's TOC. Kull and Brule get to work fighting Zugthuu, eventually killing the monstrosity and escape with Grogar. 

The adaptation stays true to the story and successfully visualizes the demonic scene of the piper on the altar. This story borders the horror genre closely (don't they all?) and Chaykin's drawings capture the creepy vibes so well. I was really pleased with how this turned out considering the strength of the original material. 

This was another fantastic issue and one that is often cited as a real highlight of the series. It is definitely worth your time to pursue it in whatever format you prefer – trade, digital, individual issues, hardcover. Recommended! 

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Conan - Shadows in Zamboula

The November, 1935 issue of Weird Tales featured “The Man-Eaters of Zamboula”, a Conan the Cimmerian story authored by Robert E. Howard. The story was later republished in the 1954 Gnome Press collection Conan the Barbarian and the 1968 Lancer paperback Conan the Wanderer as “Shadows in Zamboula”. The story was adapted to comic format in Savage Sword of Conan #14 (1976), and reprinted in Conan Saga #17 (1988) and The Savage Sword of Conan #2 (2008).

Conan finds himself horseless in the westernmost outpost of the Turanian Empire, Zamboula. This city, ruled by Jungir Khan and his mistress Nafertari (revealed in this story) serves as a diverse meeting place for traders and drifters. But, Conan hears a tale about a mysterious inn owned by a man named Aram Baksh. Rumor has it that newcomers to the city fall prey to the innkeeper, disappearing to parts unknown while their belongings are later sold in the marketplace. Conan, never backing down from a challenge (see "Tower of the Elephant"), wants to learn the secret of this dreadful place.

The Cimmerian hero soon approaches Baksh about spending the night at his inn. One of the odd things that Conan learns is that at sundown, no one ventures into Zamboula's streets, not even the beggars. Shown to his room, Conan pulls the curtain on the quieting town, locks his door, and falls asleep with his sword in hand. He awakens in darkness and discovers an intruder has unlocked the door and forced himself into the room. Conan quickly kills the intruder and discovers he is a black Darfari slave with teeth filed down to fangs. This man is a flesh-eating cannibal! 

Conan learns that Baksh has been selling his guests to the cannibals, then selling their belongings at the marketplace. This is why at dark, Zamboula lies in a quiet stupor as Baksh's disturbing transactions take place. With sword in hand, Conan journeys onto the dark streets and finds three cannibals carrying a woman towards a torturous bone pit. Slaying the psychos, Conan teams up with the girl to find her kidnapped lover (another victim for the flesh-eaters!) and they do battle with an evil priest named Totrasmek.

Robert E. Howard was really on top of his game with this eerie, violent tale. There's so much atmosphere in the early going with Conan discovering the intruder and venturing into the quiet streets. The author's vivid descriptions of cannibals, and the evil magic of Totrasmek, possessed enough imagery to rival the best of H.P. Lovecraft and other pulpy horror of the era (or even today for that matter). The overall theme – Conan accepting a challenge for money – always has a twist with these stories and this one was no different. The thrill-ride to arrive at the surprise twist was pure pleasure. This is my kind of Conan story, highly recommended.

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Fairy Tale

Another Stephen King 600 pager has arrived, 20 years and 27 books after he suggested his retirement to the Los Angeles Times in 2002. It's aptly titled Fairy Tale, because it is one. But, like the most wicked Game of Thrones episode, King morphs Grimm's into a psychotic, rambunctious, and sinister story involving electrified zombies, dead mermaids, homicidal giants, and brutal “to the death” sporting events. It's The Running Man meets Snow White as only the King of Horror can deliver.

Fairy Tale is mostly presented as three parts – the introduction to the main character up until he leaves this world (yep, that happens), the monomyth journey through the other world, and then prison. In typical King fashion, this probably could have been condensed into 300 pages, but it takes the author three pages just to make a cup of coffee. Apparently, it just needs elaboration.

The book is presented in the first-person by an older version of Charlie Reade (sounding like Charlie McGee of Firestarter) describing the harrowing events that transformed his life when he was 17. He swears no one will believe his story, including you, the Constant Reader. This story begins with Charlie explaining how his mother was killed on a wobbly bridge by an errant motorist. Charlie and his father sail into years of mourning, capsizing with his father's descent into the seas of alcoholism and regret. These early pages chronicle alcoholism well, complete with the AA stance and the narrow road to sobriety. It's the feel-good uplift. 

Charlie's life changes when he hears Howard Bowditch's dog barking. Bowditch is the stereotypical spooky old guy that lives in the crumbling Psycho house in the neighborhood. Charlie comes to the aid of Radar, a fun German Shepherd that leads him to rescue his owner Bowditch from the a long fall from a ladder – if rescuing means calling the rescue squad and promising to keep Radar. Soon, Charlie finds himself at the aid of Bowditch. The lonely old man has no one else and Charlie needs to mature from star athlete and childhood prankster to a civilized caring youngster. The two strike up a bond and Charlie agrees to be Bowditch's care guide, prescription deliverer, carpenter, landscaper, dog feeder, friend, and gold hauler. Gold?!?

It turns out that Bowditch has a big 'ole secret he keeps hidden in the wood shed. If you want to know the secret and not necessarily spoil the fun, continue to read the next THREE paragraphs. If you want to skip to how I felt about the book, feel free to skip these THREE paragraphs. 

Bowditch has something like $100,000 in gold nuggets he keeps in a safe. He asks Charlie to visit a local jeweler associate who will buy some gold nuggets so that Bowditch can pay off his hospital bill and also pay Charlie for his services. Where is this old recluse gaining this kind of loot? After a few chapters, Bowditch explains to Charlie that there is a secret world inside of his woodshed. Due to some rather dire circumstances, Charlie steps into the shed and descends into another world.

Charlie soon learns that the other world, seemingly hundreds of feet under Bowditch's property, is a cursed fairy tale land. Yeah, there's mermaids, kings, princesses, giants, talking horses, and lots of gold, but there is also a visible doom and gloom that has enveloped the entire kingdom. People are no longer whole, like Charlie, but instead are missing things like mouths or ears. They have seemingly lost these things due to a corrupt hierarchy that have awakened an evil thing in a Hellish well. Keep in mind that King wrote Fairy Tale during the pandemic in 2020. Considering his white-hot hatred for Republicans (he's from Maine for God's sake!), it's easy to see his inspirations for the novel – cursed land, an ill civilization, a corrupt monarchy, fighting the establishment, contending with the maaaaaaaan. You get the idea.

But, the land is important to Charlie because it possesses a sundial that can be used to reverse aging, a side-story that involves Radar's old age and debilitating physical condition. Charlie loves the dog so much that he is willing to battle through unknown terrors to turn the clock back on Radar's dog years. I'd do the same for my beloved canines Lily, Rose, and Carly. Maybe my hedgehog too. Regardless, this journey to the sundial involves a lot of adventure that eventually places Charlie in prison and forced to fight to the death in gladiator-styled sporting events. Wild and wacky stuff. 

So, does this Happily Ever After thing really work for Stephen King and his loyal fan base? Yeah, probably. It has similarities to so many of his other books and the formula he uses of parallel worlds. He used the idea for Lisey's Story, Rose Madder, The Talisman, and obviously the massive series of Dark Tower fantasy novels. Plus, there are countless short stories by the author that involve some sort of unlikely hero flirting with the idea of another world within our own. The question everyone asks is if Fairy Tale has any Dark Tower references. Yes, but nothing overly striking. I've only read the first three Dark Tower novels, but nothing detracts from Fairy Tale if you aren't familiar with Roland's epic journey. 

I appreciated King's references to plenty of Paperback Warrior material, specifically Dan Marlowe's The Name of the Game is Death, Cornell Woolrich's The Bride Wore Black and The Black Angel, as well as mentions of Ray Bradbury and H.P. Lovecraft. King loves his vintage fiction as much as we do. In fact, it's hard to ignore the comparisons to other “underground world” literary works by the likes of Edgar Rice Burroughs, Lin Carter, and Jules Verne. Fairy Tale fits right in, but cleverly shifts the heroism to a less muscular man instead of the typical barrel-chested jungle crawler. 

Overall, I enjoyed Fairy Tale but won't ever read it again. It was too long, contained a ton of characters, and the story was formulaic and predictable. King is no longer at his artistic apex, but can still write his ass off and pull off crime-fiction, horror, science-fiction, and fantasy with the best of them. Fairy Tale was probably written more for himself than his Constant Reader. During 2020's unrest, a year that will forever alter human history, writing this novel was probably a means of catharsis for the author. It's King's Fairy Tale. For us, it's just a story about a boy and his dog. 

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