Nixonomicon

The Damned Highway: Fear and Loathing in Arkham by Brian Keene and Nick Mamatas (2011): It's been a hell of a year for H.P. Lovecraft and his Cthulhu Mythos with a Cthulhu three-part South Park arc, an appearance on Supernatural, Alan Moore's Neonomicon miniseries, and what now seems to be a self-sustaining Cthulhu-based publishing industry. Oh, and there's going to be a Cthulhu Mythos app for your iPhone. Ai! Lovecraft, thou shouldst be living at this hour.

OK, you'd be 121 now, but that's young for some of HPL's less human protagonists.

So I guess it was only a matter of time until someone collided the worlds of eccentric outcast Lovecraft and eccentric outcast Hunter S. Thompson, as Keene and Mamatas do here with a "previously unpublished" section from Thompson's coverage of the 1972 American presidential campaign, Fear and Loathing: The Campaign Trail '72.

Having discovered that ancient deity/alien Cthulhu backs Nixon for president in 1972, Thompson heads out from his Colorado cabin to cover the story. Or stop Nixon. Whichever comes first. Keene and Mamatas do a lovely job replicating Thompson's gonzo journalism and gonzo prose style while also working in enough references and allusions to the Cthulhu Mythos and its foundational stories and incidents that an annotated edition might actually prove helpful to the uninitiated.

Thompson's tolerance for drugs and alcohol serve him well as he tracks Cthulhu's influence across America, with stops in demon-haunted Arkham, decayed fishing-town Innsmouth, and squamous, leprous Washington, DC. The Republican Party serves Cthulhu. Whom do the Democrats serve? And can the world be saved? Does it deserve to be?

And what happened to the American Dream, depicted here as being as damned and monstrous and horribly malformed and mutated as any Lovecraft protagonist damned by fate or heredity or an accidental brush with the world-devouring Great Old Ones.

Keene and Mamatas weave together fact and fiction in rewarding, hilarious and surprisingly moving ways as they take their narrator straight into the heart of Hell...or at least some version of Hell. Events major (from J. Edgar Hoover's death to 9/11) and minor (Democratic hopeful Edmund Muskie's bizarre mispronunciation of 'Canuck' as 'Cannock' spins off into an entire sub-plot) butt up against Thompson's idiosyncratic personality and style, as well as Lovecraft's equally idiosyncratic personality and style. "We are all Cthulhu," Nixon tells Thompson at one point. Well, I hope not. I really hope not. Highly recommended.

Blue Steele

In a Lonely Place, written by Andrew Solt and Edmund North, based on the novel by Dorothy B. Hughes, starring Humphrey Bogart (Dixon Steele), Gloria Grahame (Laurel Gray) and Frank Lovejoy (Detective Nicolai) (1950): An enjoyable and atypical vehicle for Bogart, who gets to play a protagonist whose guilt or innocence related to a murder is only one of the questions about him.

As screenwriter Dixon Steele, Bogart alternates between Bogartian charm and nearly psychotic menace as he woos next-door neighbour Grahame while simultaneously being investigated for the murder of a hat-check girl he hired to summarize the plot of a novel he'd been hired to turn into a screenplay.

Yes, he's lazy too, at least when it comes to reading things.

The movie gradually reveals Steele's troubling history. He was a good C.O. in World War Two, and he was also a good screenwriter before his military service. Now he stinks -- and he's got a history of violence towards women, and violence towards anyone who annoys him, that's hard for the police to ignore. Can love save him? And why is he so damned angry?

While offering a fairly cynical take on early 1950's Hollywood, the movie also seems more modern at times than one expects. Steele really is an anti-hero -- one could see Jack Nicholson playing the role if this were the 1970's -- and the film doesn't necessarily answer all the questions one has about the character. Nicely shot by Nick Ray (Rebel Without A Cause) and solidly acted throughout, this is an unusual film for Bogart and for the time period. Recommended.

Harper

Harper, based on The Moving Target by Ross MacDonald, screenplay by William Goldman, starring Paul Newman (Harper), Lauren Bacall (Mrs. Sampson), Julie Harris (Betty Fraley), Arthur Hill (Albert Graves), Janet Leigh (Susan Harper), Pamela Tiffin (Miranda Sampson) and Robert Wagner (Allan Taggart) (1966): The Ross MacDonald novel this film adapts first appeared in 1949 and starred MacDonald's recurring private eye, Lew Archer. The film changes the PI's name to Harper and updates the setting to the go-go sixties, but Newman still embodies the tarnished virtues of Archer/Harper. The movie also bounces a number of ideas and characters off noir classic The Big Sleep, making Harper play sometimes like the missing link between The Big Sleep and The Big Lebowski.

Hired to find a missing millionaire, Harper soon finds himself neck-deep in weird California shenanigans, from aging starlets and wheelchair-bound misfits to cult leaders, cult financiers, and trafficking in illegal immigrants. Harper takes a lot of punishment along the way, and dishes some out, while trying to put the pieces of an increasingly bizarre mystery together.

William Goldman's screenplay is sharp and funny, the sort of writing one doesn't get a lot of from Hollywood any more. Harper, another wounded knight errant, really does take an astonishing amount of physical punishment -- like Bogart in The Maltese Falcon, he takes so many blows to the head that he should probably start wearing a helmet.

A subplot involving Harper's soon-to-be-ex-wife (Leigh) offers some character depth, though it could probably have been jettisoned to streamline things a bit more -- in this sort of film, it's the twisty plot and weird characters we want more of, not the domestic travails of the hero. Newman is charming as ever. Harper chews gum with such violence throughout that one one wonders if he's quitting smoking -- or if Newman was. Followed by an inferior sequel, The Drowning Pool. Recommended.

Fungi Island

Yuggoth Cultures and Other Growths, written by Alan Moore and Antony Johnston, illustrated by Juan Jose Ryp, Bryan Talbot, Jacen Burrows, Hunt Emerson, Mike Wolfer, Oscar Zarate, Val Semeiks and others (collected 2009): 1/3 comic book, 2/3's fictional and non-fictional prose, Yuggoth Cultures comes shambling out of Alan (Watchmen) Moore's mind like one of those terrifying hybrids H.P. Lovecraft was always going on about.

Once upon a time, Moore was going to do a novel/short story cycle based on H.P. Lovecraft's Fungi from Yuggoth* poetry cycle. Unfortunately, Moore left the bulk of his stories and notes in a taxi cab, never to be seen again. Years later, Avatar Press collected some of Moore's never-reprinted comics work, some of it Lovecraftian, and rounded it out with adaptations of Moore prose pieces and songs by Antony Johnston; Johnston's own comic-book miniseries Yuggoth Creatures; and several interviews with and articles by Moore. The result is an enjoyable, Lovecraftian hodgepodge.

The essays and interviews give an insight into Moore's creative process in the 1980's, while the more recent material at least sketches in his thoughts on the theory and practice of magic. Johnston's contributions are fairly solid -- he's a good adaptor of Moore's work, and his own miniseries suffers only from a need for greater length and depth. Lovecraftian pastiches generally don't benefit from an overabundance of plot (and Lovecraft himself noted that horrific effect, in his work, had nothing to do with the mechanics of plotting).

The Lovecraftian material is quite enjoyable -- one story, "Recognition", seems like a dry run for Moore's later neo-Lovecraftian horrors The Courtyard and Neonomicon, soon to be collected together by Avatar Press. As kooky as I find Moore's transformation into a practicing wizard, he's eloquent and fascinating on the topic of magic and mythology related to everyday human life (and scientific conceptions of the Fourth Dimension). Some fun Moore shorts from the early 1980's also pop up here, as does a mostly autobiographical epilogue to Moore's epic meditation on Jack the Ripper, From Hell.

I'd recommend this for Moore fans and fans of Lovecraftian Cthulhu material. There is some graphic sex and violence, so be warned.

* 'Yuggoth' was Lovecraft's name for the (former) planet Pluto; the Fungi in question were the Mi-Go, the moth-like sources of the Abominable Snowman myth.

50 States of Horror

American Supernatural Tales, edited by S.T. Joshi (2007)

Contents:

　
"The Adventure of the German Student" by Washington Irving
"Edward Randolph's Portrait" by Nathaniel Hawthorne
"The Fall of the House of Usher" by Edgar Allan Poe
"What Was It?" by Fitz-James O'Brien
"The Death of Halpin Frayser" by Ambrose Bierce
"The Yellow Sign" by Robert W. Chambers
"The Real Right Thing" by Henry James
"Old Garfield's Heart" by Robert E. Howard
"The Call of Cthulhu" by H. P. Lovecraft
"The Vaults of Yoh-Vombis" by Clark Ashton Smith
"Black Bargain" by Robert Bloch
"The Lonesome Place" by August Derleth
"The Girl with the Hungry Eyes" by Fritz Leiber
"The Fog Horn" by Ray Bradbury
"A Visit" by Shirley Jackson
"Long Distance Call" by Richard Matheson
"The Vanishing American" by Charles Beaumont
"The Events at Poroth Farm" by T. E. D. Klein
"Night Surf" by Stephen King
"The Late Shift" by Dennis Etchison
"Vastarien" by Thomas Ligotti
"Endless Night" by Karl Edward Wagner
"The Hollow Man" by Norman Partridge
"Last Call for the Sons of Shock" by David J. Schow
"Demon" by Joyce Carol Oates
"In the Water Works (Birmingham, Alabama 1888)" by Caitlin R. Kiernan

　

S.T. Joshi has been at the forefront of critical and academic evaluations and re-evaluations of American horror stories for the last 20 years, most notably in the field of Lovecraft studies. American Supernatural Tales has a list of writers it's mostly hard to argue with (OK, I'd argue against the inclusion of August Derleth and for the inclusion of Edith Wharton, whom Joshi dismisses as a Henry James imitator). OK, I'd also leave out Charles Beaumont. And where's Thomas Disch?

　

The trick with one of these anthologies is to somehow balance the unfamiliar with the familiarly essential, all within the confines of one volume. Virtually all the writers here really are signposts on the road of American horror fiction. Some represent a problem because of the sheer volume of their output; others do not.

　

"The Yellow Sign" by Robert W. Chambers, for instance, really is pretty much the only story one could choose from this prolific writer of a century ago, introducing as it does the trope of the Forbidden Book into American horror. "The Vaults of Yoh-Vombis" by Clark Ashton Smith is a fine selection from a writer who could supply any one of at least 20 stories for this volume. Henry James's "The Real Right Thing" works as an example of how James used the ghost story for psychological reasons -- and really didn't scare anybody outside of "The Turn of the Screw."

　

This is a great place to start if one hasn't read much horror fiction, American or otherwise. Modern masters such as Caitlin Kiernan and Thomas Ligotti get fairly representative examples. King's "Night Surf," a dry run for The Stand, seems a bit out-of-place, as does Robert Bloch's frankly goofy "Black Bargain," which has not aged all that well. Still, there's a wealth of supernatural fiction here -- solid stories, names to follow, decent biographical and historical information. Highly recommended.

Great Chain of Being

Promethea Book 3, written by Alan Moore, illustrated by J.H. Williams III and Mick Gray (2001-2002; collected 2003): Longtime comic-writing great Alan Moore (Watchmen, From Hell) now believes in Magic, and thinks you should too. The five collected volumes of Promethea lay out the structure and content of Moore's belief system with what's often very thin veneer of metafictional superheroics laid on top.

It's didactic, sure, but the material is so interesting -- and J.H. Williams' art so lush and engaging -- that the whole enterprise is terrifically entertaining regardless of how one feels about, well, Magic.

College student Sophie Bangs' research into the recurring mythological/fictional/comic-book character Promethea, who's been popping up in different incarnations in fiction and in the real world for centuries, caused her to become the current avatar of Promethea back in Volume 1. Now Bangs and Promethea seek to discover how magic works -- and, more importantly, why Promethea is slated to bring about the end of the world.

So we get a magical mystery tour through the levels of magical reality stretching from 'our' world all the way up towards the godhead from which all existence flows. Along the way, the Kabbalah, the Tarot Deck, Aleister Crowley and various other occult sources and forces help to shape Promethea's understanding of how things work, and how she works within this immanent, numinous cosmos.

It may sound a bit tedious and self important, but Moore and Williams keep things light at points and wring a certain amount of humour from the spectacle of human beings confronted by living symbols. There's enough stuff going on in the writing and the art to reward multiple readings both hermeneutically and erotically. Highly recommended, but not for everybody.

Apocalypse Rising

Promethea Book 4, written by Alan Moore, illustrated by J.H. Williams III and Mick Gray (2002-2003; collected 2004): College student Sophie Bangs' research into the recurring mythological/fictional/comic-book character Promethea, who's been popping up in different incarnations in fiction and in the real world for centuries, caused her to become the current avatar of Promethea back in Volume 1.

Now Bangs and Promethea seek to discover how magic works -- and, more importantly, why Promethea is slated to bring about the end of the world. But a problem looms.

Bangs has left her friend Stacia and one of the previous, now-dead, Prometheas in charge of protecting the Earth while she goes on her cosmic odyssey. But this new kick-ass Promethea, having cleaned up a whole host of supernatural enemies, doesn't want to go back to normal life (and un-life). Promethea vs. Promethea action looms! However, Promethea's existence has raised red flags in the government and in other places. While the FBI seeks to track her and her friends down, Promethea must resolve her issues with, um, Promethea -- and come to metaphysical grips with her role in the coming apocalypse.

Heavily didactic and expositional, Promethea isn't for everyone -- but the art is gorgeous and complicated, as is Moore's writing. As Watchmen showed a group of limited heroes set against a looming apocalypse, so does Promethea: but the stakes and the meanings have all changed. And violence solves nothing. All this and Weeping Gorilla!!! Highly recommended, but not for everybody.