Eccentric, Impractical Devils: The Letters of August Derleth and Clark Ashton Smith

by Phil Sawyer

This 601 page Hippocampus Press paperback was published in 2020 and is edited by David E. Shultz and S.T. Joshi. I found it fascinating and very enjoyable. As Sprague used to say, I have a few nits to pick but I will save them for the end of this review.

The first letter in the book between these two fantasy giants was written on October 24th, 1930. Klarkash-Ton and Derleth obviously enjoyed corresponding and the pleasure they took in their correspondence shines through these letters.

On February 26th, 1931, Klarkash-Ton shared with Derleth, his dislike of cities: “I am glad that you have somehow (doubtless because of a fixed anti-urban prejudice) that you have returned to the country. And I am sure that you will find conditions vastly more favorable to literary work. One can’t hear one’s self think in the crazy clamor of a modern city. At least I can’t. Living in one for more than a week or two is about my idea of hell.”

On September 26th, 1931, Klarkash-Ton wrote: “HPL is an enigma to me. Surely I should think he would prefer doing his own stuff to revising people’s junk. He’d make more money, too, even if he didn’t sell more than half of a third. If I, an unknown, can sell two thirds of my work (the present proportion) there’s no doubt whatever as to the success achievable by H.P. with his prestige and popularity.” Many of us have wondered about this over the years!

Derleth could be pretty brutal and blunt when he would critique a story. On June 13th, 1932 Klarkash-Ton gently reminded him: “By the way, I have the impression that severe criticism, even if intended as constructive, merely depresses and chills H.P. without helping him. He isn’t like you and me, who could profit by the criticism if we thought it justified, or throw it off lightly if we didn’t. At least, this is my feeling about him.”

In a June 21st, 1932 letter Derleth writes: “Yes, I daresay you are right about H.P.’s sensitiveness. I discovered it rather late. It’s really too bad he should be that way, but being the retiring soul he is, I can easily understand it in him.”

Derleth’s productivity amazed Klarkash-Ton. On August 11th, 1932, he wrote: “Your energy and prolificity  are enough to floor me! 50,000 words in three weeks would be unimaginable, at any rate of production. I average about 150,000 words per year, which is no great amount for a ‘pulp’ writer. The only compensation for my slowness is that most if it sells somewhere or sometime. Out of the twenty yarns that I wrote in 1931, only three now remain in my hands.”

Both Smith and Derleth wished HPL would not get so easily discouraged. On March 1st, 1933 Smith wrote about HPL: ” It is astounding to me that he should take so seriously the criticism of any editor or book publisher, and allow it to restrict his productivity. Ye Gods! A thousand stodgy time servers like Putnam would never convince me that my best tales were inferior to those of anyone who has written in the weird genre.”

On March 6th, 1933 Derleth wrote: “Yes, it really is inexcusable of H.P. to let anybody convince him his stuff wasn’t worthy of book publication or printing in any other form, and to let Wright discourage him so easily. I, too, wish I could inject some of my self confidence into H.P.”

On August 4th, 1933 CAS wrote: “One Forrest J. Ackerman, writer of letters to magazines, has been assailing some of my ‘Wonder Story’ contributions quite extensively, claiming that they are too weird and horrific and fantastic…and sometime ago I received a personal letter from him urging me to refrain from contributing this type of material to W.S.”

Klarkash-Ton wrote on August 18th, 1933: “Ackerman is a most infernal and pestilential prig; but the trouble is, he represents a considerable and ever-growing class.”   (I must admit that Ackerman showed enormous gall or chutzpah or what have you by writing to Smith at his house and urging him not to write certain types of stories. If you are interested, the debate is in my review of Smith’s essay book, Planets and Dimensions.)

Klarkash-Ton knew his own worth. On August 29th, 1933 he wrote that he had almost enough Zothique stories for a opus he was planning titled “Tales of Zothique” ” when, and if, I should procure a publisher for that opus…printed on good paper and decently bound, I think that all of these tales would show up as fine literature, in no wise inferior to Dunsany or Cabell.

(90 years or so later old Phil is STILL waiting for that deluxe edition of Zothique!)

Klarkash-Ton and Derleth would often share pretty harsh opinions about some issues of Weird Tales. On October 4th, 1933 Smith wrote: “My opinion of the current ‘Weird Tales’ is exactly the same as yours. Some of the stuff was awful, particularly the vampire serial and the pseudo-scientific yarn by Williamson. The last was the shoddiest and lousiest and wretchedest of its kind that I have floundered through for some time.”

On February 20th, 1934, Klarkash-Ton told Derleth that “Gernsback has asked me to join The Science Fiction League as an honorary director. I’m afraid it isn’t much of an honour to be associated with that Yiddish pirate.”

Gernsback made CAS angry enough to “boil.” On April 17th, 1934 he told Derleth that “I think seriously of putting the collection of my arrears from Gernsback in the hands of a New York lawyer.” At this time he owed Klarkash-Ton about $750.00. It began to work. On July 22nd, 1934 Klarkash-Ton reported that “Much to my surprise, the New York attorney, Mark Weder, has succeeded in prying $50.00 out of Gernsback…only $691.00 more to pay!”

On March 23rd, 1937, Klarkash-Ton wrote sorrowfully to Derleth: “The news of Lovecraft’s death seems incredible and nightmarish, and I cannot adjust myself to it.”

On March 27th, 1937 Derleth wrote: “I have the fullest details of HPL’s death from his aunt, Mrs. Phillips Gamwell… As for Lovecraft’s posterity—we are not taking a chance. The gang in New York has agreed that I should take full charge of arranging an omnibus volume of the best of his work….” So we can see the first glimmerings of Arkham House.

On May 13th, 1937 Klarkash-Ton told Derleth that HPL’s “modesty about his own work was excessive, to say the least. Personally, I can find no one with the style of his later tales, except that there is, in places, a slight trend toward verbosity and repetitional statement. Many of his style-traits, perhaps, are not in accord with present-day taste; but, as far as I am concerned, the writing is all the more refreshing for such differences. Things that the average reader of today may regard as flaws will not necessarily be regarded as such a generation or two hence. The influence of fashion, always ephemeral, and always changing, must be considered here.”

Derleth wrote to CAS on October 23rd, 1938 that “we are hoping that Scribners will bring out the first Lovecraft book.” Arkham House as yet was not a going concern.

On October 29th, 1941 Klarkash-Ton described himself thusly: “From the note you’ll get the picture of a fantastic, eccentric, impractical, improvident devil: that well nigh fabulous being, a poet. My professional story-writing in 1929 started when my then sweetheart threatened to quit me if I didn’t get a job. I failed to get the job, and began spinning yarns for Wright and Gernsback.”

This was now the era of Arkham House. I am struck by how Klarkash-Ton and Derleth in Arkham House had to watch every penny.  On March 17th, 1942 Derleth wrote to Klarkash-Ton that Out of Space and Time would be coming in at 413 pages and that the cost of paper had risen and that the book would be put out in an edition of 1000 copies. “That means this–you must go over this copy very carefully for errors or changes, put all corrections, deletions, or additions in plainly and clearly, because none but typographical errors made by the press will be allowed to be changed on the galleys, since all such changes raise our cost, and make it harder to get out of the red on the book.”

Klarkash-Ton on May 9th, 1942 wrote that he was writing a will bequeathing “To Donald Wandrei and August Derleth “all my mss, both of verse and prose, with full authority as joint executors.” He explains “While I don’t anticipate an early demise,  there’s always an element of danger in underground work (particularly where dynamite is used) such as I’ll be doing at Sturmfeder’s mine.”

Klarkash-Ton was NOT the ivory tower type!

On July 1st, 1942 Derleth wrote to Klarkash-Ton: “I have today instructed the printer to send you 25 copies as soon as the book is ready. Of these, 10 are your copies, bought against royalties, 6 your free copies…” KlarkAsh-ton would get his royalties 6 months after Out of Space and Time was published.

On July 18th, 1943 Klarkash-Ton wrote to Derleth: “I’d have written before but have been picking fruit 10hrs daily for the past six weeks. The work is monotonous and irksome; but the wage are good ( 7 bucks a day) and the season promises to be over early. When it’s over I should have money enough on hand to settle down to a few months of writing…” 

Derleth did NOT get rich from Arkham House. On August 20th, 1943 he sent CAS a check for $10.80 for “accrued royalties to date.”  “672 copies of your book have been sold in toto now, and this check  is for royalties on the 36 copies since 7/22/43—just a month ago.”

When Klarkash-Ton received Beyond the Wall of Sleep he was finally able to read The Dream Quest of Unknown Kadath. On November 30th, 1943 he wrote:that this tale “is an astonishing and very delightful fantasy, with only the most superficial resemblance to Dunsany. Who but Lovecraft would have thought of bringing in those marshalled armies and and cohorts of ghouls, night-gaunts, etc? I don’t know of anything more remarkable in the way of dream-literature; the tale if far more coherent and better-knit than I had expected from HP’s criticism and that of others.”

On  June 2nd, 1944 Klarkash-Ton wrote Derleth “Thanks for the last check ($12.00) on royalties. It is certainly encouraging that Out of Space and Time should sell out so quickly.” (Imagine Stephen King receiving a $12.00 royalty check!)

Derleth informed CAS on January 24th, 1947 that Smith’s second volume Lost Worlds had sold out and that he had sent Smith a check for $82.26 cents “less debits—purchases against royalties.”  

Klarkash-Ton had not totally ceased writing stories. On October 24th, 1947, he reported to Derleth that “I have been working on some new yarns, and am glad to report the placing of one, ‘The Master of the Crabs,’ with Weird Tales.” “The Master of the Crabs” is one of my favorite “Zothique” stories!

Klarkash-Ton was now married. He mentioned he and his wife were currently staying at his “thrice vandalized cabin in Auburn” and that he had just finished his “The Theft of the Thirty Nine Girdles” tale and was sending it to the editor Boucher for Fantasy and Science Fiction on April 25th, 1957.

The letters of wife Carol Smith to Derleth run from pages 489 to 510. Klarkash-Ton’s health was declining but he remained a nonconformist and his own man until the very end. On May 14th, 1960 Carol wrote to Derleth: “Clark has never had any faith in Drs—& for him—they do not function due to the fact that his body is governed by his spirit” and you can see how penicillin is no panacea for a Prometheus—bound, or unbound!”

On October 5, 1961, Carol wrote about Klarkash-Ton’s death: “he would NOT ever go to a hospital, nor see a doctor, which meant that only after his death was a doctor admitted to sign the death certificate.”

I found this volume fascinating. I have only touched the surface so that this review doesn’t get out of hand.

There were several things that I found curious about this book.

The editors were constantly correcting or footnoting Derleth telling us that he was wrong or that Lovecraft had not mean this or that or that Derleth did not understand what Lovecraft wished. I began to find this borderline irritating but I guess that can be chalked up to me being cranky.  I get the distinct impression that the editors did not much approve of Derleth.

In the bibliography the editors do NOT list Book of the Dead by E. Hoffman Price and “Sierran Shaman” by L. Sprague de Camp. How can they leave these important works out?!!!

I suspect that the editors did not think that Price and Sprague were reverent enough about the subject. Actually, I don’t think that Price was reverent about ANYTHING nor that Sprague was beyond the pale. I have read Joshi take quite a few cheap shots at Sprague over the years so I should not be too surprised.

People often get “serious” and “solemn” mixed up. They are not the same thing. Sprague was a serious man but could be very funny. One of Sprague’s favorite philosophers Bertrand Russell was a serious man but could be hysterically funny. Near the end of his life, Russell wrote that humorlessness to him was the sign of a “humbug.”

Joshi has done much valuable work but I don’t think I have ever read Joshi writing humorously.  Joshi has a full-length biography of Clark Ashton Smith coming out in September from Hippocampus Press. I plan on reviewing it for our fellowship so I will see if it is as solemn as his other writings.  

All in all though, this is an entertaining and marvelous book. You get real insights into two of the great 20th century masters of the weird and fantastic. Be sure to read this book if you get the chance.

   Until next time, 

   Yours in Thaisdon

Review: The Vegetarian by Han Kang

by Gary Romeo

An off-topic book that made for an interesting read. I tried vegetarianism long ago. I was marginally involved in animal rights (mostly dog and cat issues; like spay/neuter and anti-animal testing) and really wished to change my diet. In 1999, I put together a local radio show often featuring some national speakers. It was a solid effort but lifelong addiction to meat won the day and although I withdrew from activism I still admire people who prefer a humane diet.

The Vegetarian by Han Kang is not about animal rights. Any book, movie, etc. that talks about vegetarianism will bring that issue to mind but this book is more about an individual decision and the aftermath.

The book is divided into three parts. The first section deals with Yeong-hye’s decision to become a vegetarian and her husband’s reaction. The husband, Mr. Cheong, is the mild-mannered type. He didn’t marry for love. More for complacency. “The paunch that started appearing in my mid-twenties, my skinny legs and forearms that steadfastly refused to bulk up in spite of my best efforts, the inferiority complex I used to have about the size of my penis – – I could rest assured that I wouldn’t have to fret about such things on her account.”

About five years into the marriage, she decides to become a vegetarian, heretofore her only quirk was to go braless. She tosses out all animal products, including expensive cuts of meat. Her husband is angry and perplexed. She explains that she had a dream. The first chapter is from his point of view, except when the text shifts to italics. Then her dreams and thoughts are given. The husband has to attend a business dinner and much fuss is made when she refuses to eat meat. Her husband is afraid her choices will affect his career. There is some humor in the boss’s wife’s reaction and again later, when Mr. Cheong calls his wife’s father and her sister to complain. They both were very sympathetic. Mr. Cheong narrates: “I considered repeating the process by calling my wife’s younger brother, Yeong-ho, but decided that that would be overdoing it.”

Yeong-hye refuses to change her vegetarian and now celibate ways. She has become so thin as to appear unhealthy. Her husband rationalizes periodically raping her. Her father slaps her and tries to force her to eat meat. Yeong-hye reacts with a suicide attempt and is hospitilized. Once recovered she leaves her bed to sit naked in the facility’s garden.

The second part changes the focus to Yeong-hye’s brother in law. He is an artist and has a personal vision involving flowers and nudity, inspired by the Mongolian mark (a bluish birthmark) on his son’s body that eventually faded. He learns that Yeong-hye has the same mark but hers never faded. Yeong-hye has separated from her husband. The brother in law visits her and talks her into letting him paint flowers on her nude body while filming her. Eventually they have sex and he films the act. His wife discovers the film and Yeong once again is committed to the hospital.

The final chapter is told by In-hye, Yeong-hye’s sister. Yeong-hye is in bad shape. She is convinced that she has become a tree. In-hye starts having her own dreams of trees. When the doctors try to force feed Yeong, In-hye bites the doctor and Yeong vomits blood. An ambulance is called and In-hye stares at the trees as they rush pass.

I can’t say I understood all the symbolism and meaning that the author was trying to convey. I found the first chapter to be easily understood and sympathized with Yeong. The second chapter was confusing for me. I found the brother in law’s artistic vision to be interesting but felt he was manipulative in a disturbing way. The third chapter was too symbolic. I get that Yeong just wanted peace and agree “I think that I shall never see, a poem as lovely as a tree.” But if there was more I don’t know. The novel is worth the read for several insightful passages and the empathy the author makes the reader feel for Yeong-hye (and women like her).

Review: The Blood Countess by Steven L. Shrewsbury

by Gary Romeo

I’ve noticed that some Robert E. Howard pastiche authors have made use of real life personages and real life legends to, maybe, bring something new to Solomon Kane stories. Howard did that himself, of course, with the mention of Sir Richard Grenville and Sir Francis Drake in Solomon Kane stories and poems. But, I think it is safe to say, modern writers are using that conceit even more.

I liked the 2016 The Legend of Tarzan movie that used the background of King Leopold’s misrule of the Congo and real-life adventurer George Washington Williams to tell a more realistic story. That movie’s Tarzan was a little too lackluster though. I wanted more brutal feral action. The mangani were great but Tarzan came across a little tame, IMHO.

Anyway, onward . . . Author Shaun Hamill used the historical fact of Witch Trials to produce the interesting Solomon Kane novel, Suffer The Witch. And his e-book, “The Lair of the Mari Lwrd” used an old Welsh tradition to good effect. Cavan Scott’s “Where the Whitethorn Meets the Black” used real life Celtic lore in a way that pleased me.

In this quick adventure Steven L. Shrewsbury uses the historical Hungarian Countess Elizabeth Bathory (1560 – 1614) as Kane’s adversary. I first learned of her, as I learn most things, from the movies.

Mr. Shrewsbury tells a decent action story here. Kane is visiting Hungary at the request of an old friend. The friend’s daughter is in danger of being taken by the Blood Countess’s henchmen for use in her de-ageing blood ritual. (The middle ages version of Botox!.)

The action is a mixture of Howard’s violent prose and modern scatological humor. “As founts of crimson shot from his ruined neck, Helmut’s headless body staggered and broke wind, but didn’t fall.”

The author throws in some interesting facts in the story. The term “Puritan” was originally a mocking term. Kane rightly says he prefers the term, “The Godly.” The author also alludes to the fact that Puritans, or The Godly, did not believe that the bread and wine in Communion, or as they called it, The Lord’s Supper, changed into Christ’s flesh and blood.

When Kane encounters Elizabeth Bathory, he thinks, “. . . she looked like any common woman naked and of her age. Bathory was by no means hideous, indeed he would describe her as comely, in some ways . . . ” Kane is too much the precisian. The Blood Countess looked like Ingrid Pitt and she is a total babe.

All in all, it is certainly worth $1.99 and the time spent reading it. And I learned a new word. Precisian. I now need to find a way to use that in a real conversation.

Review: The Fall of Thoth-Amon by Matt Forbeck

by Gary Romeo

“The Fall of Thoth-Amon” was originally published in Marvel Comics Age of Conan: Valeria # 1-5 (2019). The story takes place before the events described in “The Phoenix on the Sword.”

Thoth-Amon is sitting in splendor upon “his emerald-crusted throne, carved in the shape of a gigantic cobra, the hood of which stretched out over him, shading him like a scaly canopy.” I liked the imagery in the opening paragraph.

Thoth-Amon is very upset. The Crown of Set and a triple-braided staff has been stolen. At this point he still has his serpent ring. Thoth berates his underling about the thefts and plummets him through a snake-filled trapdoor.

Another minion is tasked with tracking down, Anok, the suspected thief. Thoth retreats to his chambers. A captive female, Kimshalla, provides some amusement. He soon discovers his ring is a fake. He realizes Kimshalla is responsible for all the thefts. They scuffle. Thoth overpowers the woman but when guards see that Thoth has been injured they arrest him, realizing his power is gone.

Thoth barely escapes through the trapdoor. But in his attempt to leave the city, he is captured by a slaver. A rival band attack the slavers and Thoth is now forced to serve their leader, Ascalante.

This is a padded out story with lots of dialogue and events that seem to happen just so the author can fill the pages. Thoth comes across as weak and none too bright. It is a very unsatisfying story. Nevertheless, it tells how Thoth came to such a lowly state just before the events in “The Phoenix on the Sword” so it serves a purpose.

Review – Solomon Kane: The Get of Garm by C. L. Werner

by Gary Romeo

“The Get of Garm” appeared in Conan: Serpent War #1 – 4 (2020) in serialized installments. It is a reasonably entertaining story. The title sounds odd but has a meaning. It refers to the offspring of Garm, the terrible hound from Norse mythology.

The story starts as most Solomon Kane stories seem to start. Kane is alone on a spooky road. A howl startles him. “It was a tremendous, ghastly cry, bestial and savage beyond anything he’d heard before.” Considering I’ve read multiple Kane adventures, I’ll just smile and nod.

Kane hears a scream and races to the rescue. A large black dog-like brute has attacked a coach. The beast seems impervious to harm. Thunder roars and the large dog flees. Kane goes to look after the coach’s inhabitants. Several people were mauled to death. There is one survivor who states, “Black Shuck has taken everyone. Everyone but me.” Black Shuck is the name of a historical legendary ghostly black dog from English folklore.

Kane heads to town with the survivor. The local sheriff inquires about the incident and arrests Kane. Kane encountering the dog has put the town in danger. Why the survivor wasn’t treated the same way puzzles me. Kane is bound and locked away. A young man named Uric comes to Kane’s rescue. Uric tells Kane that the sheriff is a warlock and the town hanged his wife for practicing witchcraft. And that the sheriff controls the hound to enact revenge. Urik tells Kane of a rusted Danish sword that controls the beast. Uric tells Kane to destroy the sword to save the town.

Kane is freed and heads to the sheriffs house. He takes the sword but doesn’t destroy it. He confronts the sheriff and finds out Uric is his son. Events change and to divulge more would be a spoiler. Suffice to say, Kane prevails.

This is a decent adventure. The twist is okay, but not surprising. The motivations for the sheriff and his son seem a little convoluted to me though. Why this adventure hasn’t been re-published as an Heroic Legends e-book is anyone’s guess. It is no better or no worse than the others.

Review: Robert E. Howard’s Hyborian Age by Rodolfo Martinez

by Gary Romeo

I gave a thumb’s up review to Mr. Martinez’s pastiche novel, The Song of Belit. And I can see why the Robert E. Howard Foundation members gave this book the Atlantean Award for 2025. REHF voters know good things when they see it. This blog won the Black Lotus Award in 2024. 🙂

Considering that this book cost $33 I do think you should be aware of what you are getting hence this review. It is a well made case laminate hardcover book. Meaning it has stiff cardboards covers where the artwork is printed directly onto the rigid cover. The book has interior art by Breogan Alvarez, Joe Bocardo and Manoli Martinez, along with color maps and photos of Weird Tales covers. The front cover appears to be AI generated,

The book features a brief introduction, a short biography of Robert E. Howard, short reviews of the King Kull stories, detailed reviews of 21 Conan stories, and an A – Z glossary of Hyborian names, gods, etc., along with a chronology, appendices, and bibliography.

The introduction starts by saying the book should be accessible to both newcomers and longtime fans. There is some interesting discussion about chronological presentation vs. publication order presentation. The author admits reviews can be subjective but that that doesn’t mean they lack value.

The short biography starts with a bang. “Robert E. Howard was born in 1906, in a small town in Texas. He died thirty years later: he got into his car and shot himself in the head with a .38 caliber Colt.” The basic facts of REH’s life are given. Mr. Martinez believes that REH was in a state of chronic depression in his final years. ” . . . I believe also that as his mother’s condition worsened and she became more dependent on him, he felt increasingly trapped and saw no way out.” The author goes on to talk about REH’s rise to fame. From the Breckinridge Elkins British novel to Arkham House (and a Spanish language reprint of Skull-Face and Others in 1947!) to Gnome Press and the multi-million selling Lancer Books which led to the comics and movies.

The short reviews of the Kull stories are succinct and reinforce things that, although said before, are entertaining to read again.

I have been reading Conan story summaries and critiques since Robert Weinberg’s The Annotated Guide to Robert E. Howard’s Sword & Sorcery published in 1976. The Starmont Readers Guide 35 Robert E. Howard by Marc A. Cerasini and Charles Hoffman published in 1987 remains a fave. Story summaries and critiques appear all over the internet (and on THIS BLOG!). So a critic has to work really hard to add something new to the game.

If you haven’t read many critiques (or written them yourself) this section will appeal more to you. Martinez recounts the stories giving details, highlights, and worthy commentary. Highlights are his comments about Conan preferring civilization in “The Phoenix on the Sword” review, and his views of misogyny and murder in “Rogues in the House.”

The Glossary of Hyborian names, gods, etc. is useful in the same sort of way many gamebook sourcebooks are useful. If you are attempting a Conan pastiche these things are indispensable. The remaining material is all very good as well. If you are well-heeled buy the book without reservation.

Review: The Odyssey of the Gael by James L. Richardson

by Gary Romeo

This is the third James L. Richardson book I’ve reviewed here. The first two books featured what appeared to be AI art. This book’s cover is credited to Jean Carlos Estevez, aka art_doot. I have no idea if any of the text was AI assisted or not. I really don’t care.

The main character of the first story in the book is Cormac Mac Art. An “Author’s Note” states: “Cormac Mac Art is the name of two historical figures. Robert E. Howard wrote an unpublished story that re-imagined the character. In that tradition, Cormac Mac Art has been redrawn, yet again, for this series of books. Though he shares a name with the historical figures and the Howard creation, the Cormac Mac Art in these stories is a brand new creation.”

So, he isn’t the Cormac of “Tigers of the Sea” and other stories. But he carries “an ancient soul, one that knew the shores of fabled Atlantis . . .”

The main plot of the story is straightforward. Young King Arthur has hired Cormac and his band of warriors to assist him in the siege of a castle. Arthur is trying to consolidate his rule and needs all the help he can get.

What makes this “Public Domain Super Heroes” series somewhat interesting to me is the cast of characters the author throws into the mix. In the first book I’ve reviewed Kull of Atlantis fought against the immortal Vivectus. Vivectus returns in this novel but is going under the name Lancelot du Lac. Vivectus/du Lac is initially working for the opposition but becomes Arthur’s confidant. He doesn’t like Cormac and senses Cormac is descended from Kull. He also mentions that “Cimmerian brute.”

Along with Arthur, Merlin, Cormac, and Vivectus/du Lac are The Shining Knight, Ibis the Invincible, and yeah, Merlin is also Shazam (from the old Captain Marvel comics).

The Shining Knight is a young girl, that disguises herself as a boy, in this book. She doesn’t have the winged horse yet. Merlin is dismissive of Ibis’s attempts to get him to assume the Shazam mantle. And Ibis comes across as a behind the scenes mastermind. (Hawkman, Hawkgirl, and Dr. Fate type characters were in the previously reviewed Kull and Red SonYa books.) James L. Richardson promises that all these characters and loose ends will come to a crossover finale sometime in the future.

The writing is adequate. No better or worse than a lot of modern Sword & Sorcery. Action scenes are sometimes confusing, but that could be my fault. I tolerate action scenes more than enjoy them these days. The story comes to a logical end and sets the stage for more adventures that I will most likely buy.

Whether Heroic Signatures and/or DC Comics will ever send this guy a “cease and desist” letter is anyone’s guess. Richardson doesn’t appear worried. He gives ERB, Inc. reason to sue him in the second story in the book.

“The Beast of Borneo” features Tarzan, Sherlock Holmes, and an invisible man. Most likely the H. G. Wells one. The set up is interesting enough. Young Tarzan spies on a group of men and notices they have a prisoner. Tarzan almost immediately decides to help the captive man. He hides in the trees until nightfall and attempts the rescue. There is an exciting fight with the invisible opponent where Tarzan relies on his senses to stay alive. Tarzan calls for aid from his jungle friends and prevails.

The freed captive introduces himself as Sherlock Holmes and says, “I have been looking for you, Viscount Greystoke, Huishi Zijue.” WTF? Apparently Holmes thinks Tarzan speaks Chinese?

The story ends here promising to be continued in the future.

Review: The Long Ships by Frans G. Bengtsson

by Gary Romeo

The book is better than the movie. Probably not much of a surprise in saying that. But the movie was entertaining. The book is quite long. 503 pages in the edition shown below. It consists of four parts. The movie was based on segments of the first part called “The Long Voyage.”

The book was originally published in two parts in Sweden in 1941 and 1945. The complete work was published in English in 1954. This was a golden age period for historical fiction. Thomas B. Costain achieved best seller status with The Silver Chalice in 1952, Anya Seton did the same with Katherine in 1954, Mary Renault, later famous for her Alexander the Great trilogy, published her novel about ancient Greece, The King Must Die in 1958.

And, although not as popular as the above books, L. Sprague de Camp splashed the field with An Elephant for Aristotle, The Bronze God of Rhodes, The Dragon of the Ishtar Gate, The Arrows of Hercules, and The Golden Wind which were all published from 1958 to 1969.

The Long Ships movie came out in 1964. I was 7 years old at the time. I didn’t see the movie upon its initial release. I saw it around 1967. In those days, studios would keep action movies in constant rotation. After the initial release, the movies recycled to budget neighborhood theatres.

I can’t remember where I saw it but it was either the Roxy or Colonial in Downtown Detroit. The Roxy and Colonial were open 24 hours and featured as many as 3 movies on a constant rotation.

I remember seeing the movie with my brother and his friend Jeffrey Owens. My brother, who was the oldest of our trio, would assign us starring roles in the movie. He was always the main star, in this case, Richard Widmark, I was Russ Tamblyn, and Jeffrey was Sidney Poitier. I remember Jeffrey being visibly upset when Sidney Poitier was crushed by the bell at the end of the movie.

But I’m getting ahead of things… The book and the movie differ in several ways. The book introduces us to thane Toste and his family. Orm is introduced and is the main character. In the movie Orm takes a backseat to Richard Widmark’s Rolfe. In the movie, Krok, is Orm’s father. In the book, Krok is a Viking chief who leads the expedition that kidnaps Orm from his family.

In the book, Orm befriends Toke (the closest character to Widmark’s Rolfe). It is Orm and Toke that rescue Solomon, a Jewish man, who has dived off a rival Viking ship, where he was enslaved. Solomon leads them on an adventure where they acquire some riches, have severe setbacks, and eventually meet Almansur. In the movie’s beginning, Rolfe and his initial crew are shipwrecked during a storm. Rolfe is the only survivor and is rescued by monks. He learns of a large solid gold bell existing on land near a treacherous part of the sea. The bell is called “The Mother of Voices.” Rolfe eventually makes his way back home and steals King Harald’s death ship, and recruits Orm and several other Vikings, in his search for the solid gold bell. The crew hear the deafening peal of the bell but turbulent waters strand them on the shore of Almansur’s (Sidney Poitier’s) kingdom. Almansur’s had tried to capture Rolfe earlier in the movie and he knows of the bell as well. Almamsur threatens Rolfe and and forces the Vikings to search for the bell.

Bengtsson is a humorist similar to de Camp. His characters have foibles. Orm is a hypochondriac and Toke is incredibly self-centered. The superstitious nature of ancient peoples is presented in a tongue-in-cheek manner. The author humorously comments on the religious contradictions among the various peoples: Christians, Norse, Muslim, and Jew. The movie ignored the fact that King Harald converted to Christianity. The movie turns Sidney Poitier into a stock villain, with a white woman in peril (Robert E. Howard fans take note 🙂 ), and a torture device named “The Mare of Steel.” Neither of these things were in the book. In the book Toke is the one who women have to watch out for.

The book has conflicts aplenty but nothing framed in hero/villain stereotypes. Every culture is motivated by the quest for gain, be it religious conversion, slaves, gold, or conquest. Almansur employs the Vikings to be his bodyguards and they help him ransack a Christian outpost where Orm and Toke take possession of a large (not solid gold) bell from the church with the idea to present it to King Harald upon their return home, since Harald is now a Christian.

Sidney Poitier’s playing the part of a North African Islamic prince while everyone else was either white European or American was not a big issue in 1964, But the studio was concerned that southern audiences might react to Almansur’s inter-racial marriage. The movie avoided any scenes where Poitier touched Italian actress Rosanne Schiaffino and the dialogue suggests they haven’t had sexual relations for a long while, if ever.

I’ve done the book (and the movie) short-shrift in this review by only covering the major differences between book and movie. The movie is more “pulp” of course but vastly entertaining. The book is fantastic in a realistic way. It is historically accurate, full of wise humor, and tells a great story. None of the movie’s faults (just who was ringing that bell?) are in the book. Read it! It’s great!

Jack Scott of Cross Plains

by Gary Romeo

I first heard of Jack Scott from the dedication to him in Dark Valley Destiny. The Robert E. Howard biography gives thanks and elucidates the reader: “To Jack Scott, distinguished newsman and civic leader of Cross Plains, and to all Texans who, in one way or another, remember Robert Howard.”

Jack is first mentioned in the book’s text, where he recounts a humorous story about Doctor Howard. The Scotts (Jack and his wife) were playing cards with friends when Doc Howard appeared and went directly to their kitchen and ate the entirety of a yellow-meated watermelon that the Scotts hadn’t even tasted yet.

The next incident has more poignance. Doc Howard drives to the office of the Cross Plains Review, the town newspaper, where Jack is busy at work, and interrupts his work to recount some philosophy: “I just came from Cottonwood. You know how driving down that road is? The trees grow so close together on either side of the road that they overlap above. The leaves kept falling down on me or floating acoss the road. I just stopped my car and thought about these people, the ones I brought into the world, and the ones I had seen during their last illness. People are like the leaves on the way over to Cottonwood. They live, and then they just float down to earth and die. They’re dead and forgotten.”

The book also tells of a time when Robert, angry over a Cross Plains Review article that he felt slighted his mother, stormed into Jack’s office and angrily tossed the newspaper down on Jack’s deck and said not to send the damned paper to the house anymore. Doc Howard renewed the subscription the next day.

Jack is mentioned again after REH’s suicide and finally in another humorous story about Doc Howard. Jack Scott, being the local newspaperman at the time of REH’s suicide, gave him a certain gravitas regarding REH’s suicide note. Jack’s reminisces were published in Danger is My Business by Lee Server (Chronicle Books, 1993).

Pages 43 – 45 give a succinct bio of REH

The latest REH biography Robert E. Howard: The Life and Times of a Texas Author by Will Oliver (University of North Texas Press, 2025) places doubt on Jack’s story. The couplet was first mentioned in a letter from Doc Howard to E. Hoffmann Price. Doc Howard says the couplet was found in Robert’s wallet. It seems likely that Jack, being a newspaper man, romanticized the story. Similar to the way Oliver himself romanticizes REH’s suicide as an act of freedom and as others do when saying it was a reasoned choice.

In any event, Jack Scott was a keen observer and adds some humor in this recollection from the Transcript of the Oral History of Jack Scott (Friends of the Cross Plains Public Library, 2001):

That last line! It’s funny because it’s sooooo true. 🙂

The final item I have about Jack Scott, is this potentially mind-blowing if it had happened scenario: In a letter to a colleague L. Sprague de Camp wrote that Jack Scott has asked him to go halfsies with him on purchasing the Howard house:

“Some years ago, when we were in Cross Plains, Jack Scott suggested that he and I jointly buy the Howard house. I turned down the proposal, because at that time I had no thought of moving to Texas. If I had had, I might have replied differently.”

Full Obit at: https://www.legacy.com/us/obituaries/dfw/name/jack-scott-obituary?id=16544167

Robert E. Howard in Modern American Poetry

by Gary Romeo

Most die-hard Robert E. Howard fans are aware that two poems by Howard were published in the 1933 anthology, Modern American Poetry. REH wrote a letter to Tevis Clyde Smith about the poems and the publisher’s “vanity press” tactics.

Modern American Poetry is an enigma of sorts. There were only four volumes published from 1932 – 1936 and next to nothing is known about the editor, Gerta Aison. No apparent records exist leading archivists to assume the name is possibly a pseudonym.

Despite the editor’s questionable identity and the publisher’s ruse of soliciting poems and then asking for payment to publish them these volumes are a great historical archive of regional poets of the 1930s. Robert E. Howard is the most well-known of the poets published but there are at least two other notable names: Stanton A. Coblentz, a well-known poet and science-fiction writer and editor and Helen Maring, a widely published regional Pacific Northwest poet and editor.

There were two companion publications: American Lyric Poetry and American States Anthology, all published in the middle 1930s.

Robert E. Howard’s two poems appear on page 211.

Robert E. Howard mentioned the poems a second time in a October 1933 letter to August Derleth:

REH sent Novalyne Price a copy of the two poems and one from Weird Tales in a December 1934 letter:

Gerta Aison, Galleon Press, and Robert E. Howard clearly believed that these two poems (despite the publisher’s vanity press trickery) were quite worthy and deserved an audience. No true REH fan would give argument.