“Bethmoora,” Paul said. “And no, it’s not Israeli. Actually, the roots aren’t traceable to any specific language or dialect. But it’s still…foreign.”
– Yvonne Navarro, “Meet Me on the Other Side” in The Children of Cthulhu 141
Four million people asleep, dreaming perhaps. What worlds have they gone into? Whom have they met? But my thoughts are far off with Bethmoora in her loneliness, whose gates swing to and fro. To and fro they swing, and creak and creak in the wind, but no one hears them.
– Lord Dunsany, “Bethmoora” in A Dreamer’s Tales (1910)
A few years after the birth of the 21st century, Anglo-Irish aristocrat Lord Dunsany was inspired to create his own artificial mythology—not a substitute national mythos a la J. R. R. Tolkien’s The Lord of the Rings, but something new and largely unprecedented. He combined the love of the commonplace with the desire for the exotic, and wrapped it together in language reminiscent of the King James Bible and ancient Grecian odes. Stories like “Idle Days on the Yann” directly inspired the dream-quests of Lovecraft’s Randolph Carter…and many others besides.
For Yvonne Navarro, the questers are Paul and Macy.
“Meet Me on the Other Side” is smarter than just an update of Dunsany’s old formula where seekers tired of mundane life look for the key of dreams, the path that leads Beyond the Fields We Know, escape from the here and the now. Like many a goof Mythos story, it mixes fact with fiction; Paul first finds reference to Bethmoora in that ancient and terrible tome the Encyclopedia Cthulhiana (1994) by Dan Harms. The questers too are not run down by everyday life—they’re thrill-seekers, adventurers, explorers in their own right.
Bethmoora was out there, all right. Just waiting to be rediscovered.
And they were just the people to do it.
– Yvonne Navarro, “Meet Me on the Other Side” in The Children of Cthulhu 144
The discoveries and revelations when they come are almost perfunctory; old tropes dusted off and brought out because that’s the cycle of a Mythos story: Macy is the latest Lavinia, destined for a bit of cosmic miscegenation and birthing of eldritch abominations. Yet the response is different, and what makes the story.
Paul and Macy like a challenge.
Navarro is an old pro at genre fiction; she could easily have spun this story off into an entire novel. Urban explorers in the not-quite-abandoned city in the Dreamlands, flashbacks to old adventures, the slow peeling-of-the-onion, one layer of revelation coming at a time as things build inevitably to a climax—instead, she rips the bandaid off in a couple paragraphs of exposition. The backstory is something Mythos fans have read again and again for decades. “Meet Me on the Other Side” seeks to give the readers something new, and it delivers.
The benefit of having tropes and formula is that they’re building blocks, stepping stones and shortcuts that writers can use to go beyond—and one of the great failures of many Mythos writers is that they try to only ape Lovecraft or Dunsany, to regurgitate old ideas rather than to subvert expectations or push forward with fresh takes.
Navarro does make the leap. How many other writers have had their protagonists look on conceiving and birthing tentacled horrors and the inevitable end of the world as a challenge? It is absolutely a subversion of the typical Lovecraftian attitude that humans are so small in the grand scheme of things that there is little they can do…and not an unwelcome one. The Dreamlands stories do not all embrace or express Lovecraft’s cosmicism, nor need every echo of his work embrace nihilistic horror.
“Meet Me on the Other Side” was published in The Children of Cthulhu (2002), and has not been reprinted. Navarro’s other Lovecraftian fiction includes the novelization of the film Hellboy (2004) and “Feeding the Masses” (1992) and “WWRD” (2018).