Lost Tale: “Hell in the Village” (1942) by Hugh Raymond

“Hell in the Village” by Hugh Raymond was first published in Science Fiction Quarterly (Winter 1942). It has never since been reprinted. Raymond was one of the pen names of John B. Michel, a prominent science fiction fan of the late 1930s, a founding member of the Futurians, who turned pro science fiction writer in 1941 (cf. Futuria #2, 1944 for a partial list of his work). This story caught my attention for several reasons, most notably the name of the villain, Von Junzt, was likely inspired by the author of Nameless Cults in the Cthulhu Mythos fiction of Robert E. Howard. Michel also tipped in references to Lovecraft and Aleister Crowley, which suggests the whole might be a nod to Weird Tales—with tongue firmly in cheek.

Hell in the Village

by Hugh Raymond

FARNSWORTH of the FBI banged his fist on the desk of the managing editor of the New York Telegraph and snorted. The desk shivered and jumped.

“We’ll get ‘im!” he roared and clamped down hard on the cigar he was smoking. “We’ll get ‘im as sure as I’m a foot high!”

Harrington, editor of the Telegraph inclined his head toward Jimmy Collins, his star reporter, whose feet were sticking almost in his face as they rested comfortably on the desk and smiled.

“Well,” he said, whimsically, “he is a foot high.”

“Humph!” the FBI agent folded his arms and sat back in his chair, while Collins picked a glass from a tray in front of Harrington and looked into its winy depths reflectively.

“It is all very simple,” he breathed, took a long drink of wine and knocked the ashes from his pipe. He shot a glance of derision at the FBI man. “You’re a sucker, Farny, a sucker for the cleverest Nazi in the country. Wouldn’t he love to see you now, red-faced, snorting like a bull and mad as a procupine. Pipe down. You’re talking too loudly.”

Farnsworth drained his own glass, regained a little normal color and took his feet off Harrington’s desk.

“You two are so helpful,” he grated, standing up. Abruptly he ruffled a stack of back issues of the Telegraph laying on a folding extension of the telephone board. “Mary 23rd,” he began softly, and help up one of the issues, “Von Junzt Escapes! FBI Chief Demoted!” he paused, his voice taking on a raspy edge, threw the sheet to the floor and picked another one from the pile, “June 10th, FBI Shaken Up. President Alarmed As Nazi Spy Von Junzt Carries Out Daring Sabotage After Escape!” he dropped the sheet, ran his hands nervously through his hair and bit his cigar in two. “And after that! Bombings in San Francisco, explosions in airplane plants up and down the California coast. Two important operatories slain in Denver. On August 7th he blows up a munitions plant in Illinois, killing six hundred. How!

Harrington blew on his hands, lifted his eyes toward the FBI man and grunted.

“We blasted you plenty, rolled you over the coals and signed the seat of your pants for four months. He’s still at large. Bah! You babies in Washington are so weak-minded a child could steal your false teeth out of your mouth while you were asleep. Von Junzt vanishes! You spent the greater part of 1942 looking for the scoundrel and he’s not twenty-four hours in your hands when you do snap on the handcuffs and he’s gone!”

“Sixth Columnist!” murmured Collins.

“Nuts!” cried Harrington. He abruptly put his own feet on his desk, folding his hands primly on his lap. “I’m fed up with this big boy’s blatherings.”

Farnsworth grumbled a little and then sat down.

“All right, all right, but I said we’ll get him again and we will. I don’t know how the slimy insect got away the last time. We had him behind steel bars, I tell you, locked up so securely a cockroach couldn’t have got to him. Those special cells we’ve got in Washington are no sardine cans. They’re Norwegian steel, welded and an inch thick. Remember that the door hadn’t been forced. And there was no window. If he got out at all he must have walked through the door, locked or not.”

Dissolved through it, as it were, like mist,” jeered Collins. He wiped some sweat from his brow and tilted his fedora further back on his head. “This case calls for Cotton Mather and some castor oil. Not the FBI.”

Farnsworth lit a fresh cigar, refilled his wine glass and looked darkly around Harrington’s little cubicle of an office.

“For all I know it may be witchcraft. I’m willing to entertain any theory. If I don’t get my nippers on that bird within thirty days, they’ll have the skin off my back in Washington. Mrs. Farnsworth is not going to like that.”

Collins threw a match at Harrington who was groping helplessly through his tattered vest. He lifted his hands in a gesture.

“I will admit you boys haven’t had a snap job of it. Every time I think of Von Junzt a cold chill crawls down my back. The devil! Six major jobs of sabotage and not a clew as to how it was done, just signed cards in the mail. His signature, of course? You’ve checked.”

“To a ‘T,'” sighed Farnsworth.

The phone rang. Harrington put down his pipe, brushed his glass out of the way and hitched the phone receiver to his left ear. He listened a while and then let a sharp breath escape.

“Blast!” he said explosively and cursed fluently for five seconds.

Collins raised his eyes sleepily.

FARNSWORTH leaned over the desk, a look of impending doom on his moustached face.

The editor replaced the receiver, leaned back and braced him visibly.

“You’re not going to like this,” he began, looking at the FBI agent. “You’re not going to like it at all. Our San Francisco Bureau just phoned. The Vulture airplane works were blown up this afternoon at one o’clock, an hour and a half ago. Twenty minutes after the land promontory on which it had rested had sunk beneath the Pacific. Von Junzt phoned the FBI headquarters in Washington and confessed he’d done it. Said there was more coming!” He paused and snapped over his inter-office phone button. “Gimme the pressroom and send up a rewrite man!”

Farnsworth’s face was purple. His cigar, sticking out of his mouth like a long pole trembled visibly. Then he sat down and collapsed in his chair. Collins looked at him pityingly. The reporter turned his head toward Harrington who was busily barking orders over the phone.

The editor finished what he was doing, poured himself a full glass of wine and drained it before saying anything. Then he shot a rapid glance at Farnsworth and grunted.

“You’ll be heading out to Santa Fresna by midnight if I know your boss, Courtneigh. And you, Jimmy,” he continued turning his attention to the reporter still lazing in his chair, “will go with him. We might as well get some use out of this government bloodhound. Farnsworth, you’ve been practically living at this office in your spare time for the last month. I’m not charging you rent, but I want you to see to it that Jimmy gets on the spot. He’s going to write an eye-witness account and he’d better make it good.”

Collins nodded sourly. “There will be the usual bonus, I suppose?” he inquired delicately, picking at his nose, while the FBI agent went through the mechanical motions of getting Washington on Harrington’s wire.

“If you make this read like something written by a four-year-old child you’re fired. Anything otherwise will get you a thousand-dollar bonus and a week’s vacation without pay. Well?” he demanded as Farnsworth put the receiver back on its hook and stood up slowly.

“Bull’s-eye, Sherlock,” he groaned. “It’s the nine o’clock plane out of La Guardia airport. I could’ve taken a Navy plane from Floyd Bennett, but Courtneigh said no.”

“Good,” barked Harrington. “I’ll book Jimmy on the same plane. Now get the hell out of here. I’ve enjoyed the chat, but I’m a working man which is more than I can say for either of you. Listen!” he cried as Collins shambled to his feet and joined the FBI man at the door. “If you take a drink between here and Frisco, I’ll can you, shoot you and dock your widow the thousand-dollar bonus. Scram!”

Collins finished the rest of the bottle he’d filched from the tray on Harrington’s desk on the way down in the elevator. He handed the empty to the girl operator as she slid the door open on the first floor and winked at her. She flushed and went a duller red as he patted her on the behind.

“There are times, Tommy,” he remarked to Farnsworth, reflectively, “when I actually enjoy life.”

The FBI man’s face lengthened. “Which is more than I can say for myself. Von Junzt gets away and you clean up a neat bankroll in four months writing feature stories without sweating a pint. I make a salary a microbe would starve on and sweat blood. Every now and again they pin a medal on me and hand me some soothing syrup. Well, I can always pawn the medals after the war for cigarette money. Wonder how much I’ll get for a Congressional?” he asked sadly, making an oblique reference to a medal presented to him several years before on the completion of a job which preserved the peace of the world for a year or so.

Collins put his foot outside the building entrance and immediately collided with a huge, fur-clad figure on its way in.

“Chimmy! Farny!” the ball of fur stepped back, stood arms akimbo and regarded the forlorn pair quisically.

“Oh, hello, Professor,” they said in unison, swung him around nonchalantly and began walking down Fifth Avenue, arm in arm.

The fur ball, a Professor Heinrich Pfleugel had come to America in 1936 after making the bad mistake of writing the word “human” after the printed query “Race” on the questionnaire put in front of him by a member of the Gestapo. One of the world’s leading anthropologists and experts on ballistics, they threw him out.

He left a magnificently equipped laboratory in Leipzig but he got cheaper beer and better cigars in the USA. He was happy in God’s country. So was his daughter, Eva, tall, bown Aryan who had kept just two steps ahead of Collins until he had given up in disgust and married a blue-eyed and just as tall and Aryan Irish girl from Chrystie Street.

On the way to a corner bar, Farnsworth related his sad story.

Pfleugel lifted his beer, gazed at it fondly and downed it in one gulp. He accepted one of the FBI man’s cigars, lit it and sighed.

“Yess,” he began, “I know Von Junzt. A clavar man. He vas der Brofessor of Occult Arts in der Munich University. Dabbled a lot in witchcraft und such nonsens.”

⸸⸸

“YEAH,” grunted Collins. “I understand that in the New Germany any kind of quack has a legal standing.”

“He was a vary cruel man,” continued the Professor. “I saw him take a Jew vunce ven he was Wager’s sub hauleiter in Munich und—vell, I saw idt anyvay,” he said, sighing again.

“I’m ready to believe the guy magicianed himself out of that cell,” groaned Farnsworth.

“Bah!” snorted Pfleugel. “You sound like dot idiodt Barton. If der case vas as simble as dot, you couldt ask Stephen to make a few passes mit his hands und ask a spiridt to tall you vere is Von Junzt.”

“Barton!” shrieked Farnsworth and threw his arms around the big bulk excitedly. “If it was witchcraft, red, blue, black or orange magic, Barton would know it.”

Collins got rid of his beer in a hurry and crossed himself.

“This morning,” he said to the empty air before him, “I’d have sworn that two and two made four and that the only way of getting a precipitate out of strontium potassinate was to pour calcium chorate in it. God rest my soul!”

It took the trio twenty minutes to get to Barton’s place in the Village.

The Village, of course, is a daffy place. Most of its legends have long since ceased to bear repeating. Lovecraft immortalized it in one of his shorter fantasies and that is as far toward eternal flame as it will really ever get, but even today a lot of faded glamor hangs around its sloping Parisian roofs and towers that look like bad imitations of the Campanile. The Bohemian inhabitants are still there and salons flourish as much as they did in the days when Mabel Dodge Luhan had her famous hangout on lower Fifth Avenue near Washington square and Ominipotent Zoom or Boom or something invented the post-war admonition: “Do as thou wilt” and topped off the advice with the biggest series of orgies this side of Sodem and Gomorrah. The rents are higher now because they’ve fixed the leaking roofs and drains and installed plumbing. Consequently, only the better class of “artists” can afford to live in the Village proper. But it is still possible to starve in a garret and while the wash hanging on the lines in the belt of old stables that girds the Village may be colorful, it’s ragged. Bohemia lives and the egg on its vest is still there.

Stephen Barton’s apartment was on the twentieth floor of one of the biggest apartment skyscrapers in the Village and served, of sheer necessity by a private elevator. This all led to expense but his father didn’t invent the only aperient on the market guaranteed not to turn you inside out for nothing. The necessity is nothing more or less than a need for privacy. The Village and environs are used to all sorts of odd characters, but some of Barton’s friends and the people they brought with them were too much, even for the wilder Bohemian element. Barton was a crackpot and dippy as a bedbug. Such temporary boarders—and there were usually a score or more—as invaded his castle and fed like leeches on a fat vein were even worse than he was. Most of them were discredited scientists, investigators of “psychic” phenomena cultists and even a sprinkling of quite ordinary people whom Barton kept on hand to serve as guinea pigs in his experiments. They had nothing to complain about as their main interest in life was booze.

Barton’s liquor bill was New York’s biggest.

The Professor stumbled out of the elevator first.

Wham! A big dark object flew out of a corner and smacked him on the schnozzle. He saw stars for a minute and clawed freebly at the air, murmuring Teutonic curses at one of Stephen’s tenants, a Madame Duvray, a medium of sorts and parts who had her eye on Stephen and her bats at the same time. As Pfleugel wiped his streaming eyes a door down the corridor opened and a long slinky woman rolled sinuously up to the elevator door and crooned the winged horror down from the ledge where it had stuck, hissing piteously. She gave the trio a dirty look, stroked the cheesy head of the ghastly thing and slithered away. The door to her room closed with a sharp bang.

“Der fledermaus,” began the Professor lamely, still wiping his eyes.

“Forget it,” barked Farnsworth. “Say, where the hell is everybody?” He took the others’ overcoats and piled them carelessly on a highly decorated table near the elevator door. “The place is usually alive with vermin on Tuesdays,” he continued. He strode up to a large Chinese gong standing by a large window giving out on the south and kicked it savagely. Booming noises crashed out. A mangy cur, sleeping behind the gong gave a dolorous series of barks and fled precipitously down the corridor. Simultaneously there was a piercing shriek.

“In the name of Heaven and the Holy Golden Abacus of Kai Ling! God’s Wownds I should ever see the day that more horrible noises pervaded these awful halls. Is it possible for a good sorcerer to pursue his maledictions in peace? Begone devils, ere I call down upon ye the wrath of eight-six and a half forgotten gods!”

⸸⸸⸸

A SHORT clay pipe stuck itself out of one of the portals lining the hall and spouted a particularly nauseating cloud of brown vapor. The trio, startled, breathed easier. It was only Sandy MacGoovern, best warlock born of the Highlands before winding head replaced crags as their chief obstruction to the view. His short, four and a half foot length, crowned with a thatch of pure white bristle followed the rest of the pipe in the corridor.

As he caught sight of the Professor and his companions, a genial smile broke upon his enraged features. | “Ah, ’tis the brethren. And what is the good word, today, friends?”

“Hello, Sandy,” said Collins, smiling. “Did we break up your communion with the sperrits?”

“‘Tis nothing,” he replied and emptied his pipe on the floor. “The slimy devils are cagey this afternoon. I plied them with fresh blood from Goldfarb’s Medical Supplies, Inc. I offered them honey from the crevices of a bee’s proboscis. I even danced the sacred Fling but nary one showed his stinking head.” The merry eyes twinkled as the other smiled amusedly. MacGoovern was the only one of Barton’s collection of freaks they liked.

“Und vhere iss Hiss Imperial Machesty?” demanded Pfleugel.

“Yeah,” interrupted Farnsworth. “We came on a professional call.”

The large head stuck closely to the spindly shoulders inclined toward the far end of the hall.

“Sure and the High Priest of this unholy temple is occupied with his congregation smelling out a couple of ghosts that arrived with a piece of the original underwear of Charlemagne.”

“Didn’t know they wore it in those days,” snorted Collins.

“They did,” solemnly asserted the sprite and sidled closer to Farnsworth. “And would your worship have an extra tenner he wouldn’t miss? There are a few odds and ends of equipment—skulls, monkey tails, bat wings, a piece of the True Cross necessary to my great experiments—”

“Scream, you little phoney!” blared the FBI man. “Not another dime! Not a plugged shekel! I gave you five dollars the last time and what did you do with it? Bought a chastity belt supposed to have belonged to the Queen of Sheba. Bah, you rattlebrain! An imbecile could swindle you out of your soul in his sleep. Provided you had one, I mean.”

“But monied one, I conjured up from that inert metal a vision of loveliness sublime. ‘Twas not the Queen herself, I’ll grant you, but one of her chambermaids, Li-Hme, and there is not her equal on Minsky’s boards!”

Pfleugel blew his nose. he raised a threatening hand. Abruptly the Scotch wizard took to his hells. He left a trail of tinkling laughter behind him.

They knew the Inner Sanctum of old. Barton had had the walls of six apartments on the twentieth floor removed and special partitions put up to conform to his ideas of a Temple of Science. The corridor through which the trio had entered was merely the outer boundary of one of the four sides of the queer arrangement of rooms. Beyond a great pair of bronze doors at the hall’s end lay the immense circular council of “conjuring” room, as Phleugel put it, disgustedly, surrounded on three sides by living quarters functioning also as “preparation” or dressing rooms for the quick changes of costume demanded by most of Stephen’s odd rites he insisted were merely scientific procedure.

At the time of their last visit the population of Barton’s madhouse had numbered a full score, not to speak of assorted cats, dogs, bats, snakes, monkeys and other animals which made the atmosphere when not otherwise permeated, hideous with groans, wails, barks, screams and caterwaulings.

As they passed down the corridor to the great portal, Collins leading the way, a shocking burst of phrases billowed out from behind the mighty doors.

“Magicum! Squadigum! Squidicum! Squdge!

“I command a Smootch to jump out of this sludge!”

“Schrechlekleit!” screamed Pfleugel and jumped a foot in the air. Without further delay, Farnsworth pushed against the doors and they swung in.

The council chamber was bathed, as usual, with a violet radiance emanating from a series of weird-looking tubes set high in the ceilings and around the walls. Built in the form of an amphitheater by the ambitious Barton who had imagined the need for a cooperating audience of about a hundred, it was sparsely filled to the tune of six or seven people. Through the dim illumination, the visitors were able to make out the series of strange machinery which Barton called his ray and vibration generators occupying most of the cleared central space. Barton’s tall and spare form occupied a raised dais nearly drowned in cushions in the exact center of the circle of machines. Around him, scattered haphazardly in the rising circular seats were “Doctor” Speshan of Persia and other oarts orientale, Hamil Ali Sala, a sharp hawk-visaged Arab of unknown antecdents, Madame Elsa Buboise, late of the Comedie Paris and sections of the Surete Files, Moots Schroon, a hexer from Pennsylvania, his wife Hepzibah, a grotesque creature seemingly minur a neck or nose, Saide Max, a shrewd gold-digger from Scranton and a few assorted electrical geniuses rescued from spending the rest of their lives as licensed electricians by Barton’s bounty.

⸸⸸⸸⸸

THE lights went on, replacing the soft glow and the crackling sparks with a cold, penetrating flood of white. Barton paid no further attention to his experimenters. He shook off the white smock he was wearing and flinging it carelessly on what looked like an operating table, mentioned the trio to proceed to the nearest exit, beyond which lay a private drinking and smoking room.

He waved aside apologies for breaking into his experiments, summoned a servant, ordered a round of Scotches and sat down in one of the overstuffed chairs surrounding a comfortable table in the middle of the room. Cigars, cigarettes and pipe tobacco were close to hand. Collins filled his pipe. The Professor and Darnsworth lit stogies. Stephen Barton, choosing a delicately scented cigarette, asked our business. He sat listening sympathetically then shook his head.

“Despite Professor Phleugel’s opinions, I am no [o]ccultist quack, gentlemen,” he began, “but a scientist, an investigator into vibrations into sounds, colors, smells. This Von Junzt,” he waved a hand vaguely toward the West, “is by reputation a supernaturalist, a pure fraud of the worst type, using incantations and spells. I appreciate your difficulties but I am sure that Von Junzt’s disappearance can be explained by simple scientific laws. It may be true that he escaped in some spectacular fashion, but lacking my knowledge and especially my machinery and experience with the scientific method, I do not believe he could have done anything out of the ordinary. You presume—O, I can see it in your eyes—” he gibed, pausing, “that this scoundrelly spy is skipping from place to place via some as yet undiscovered and unknown space or plane.” He brushed his cigarette in an ashtray and laughed lightly. “This might be possible to such a man as I, for I have had some very definite and conclusive results from my experiments, but Von Junzt, no! It is impossible!”

Pfleugel looked contemptuous. he was derogatory of both Farnsworth and Barton. When he heard the word “results” he puffed up like a balloon.

“Stephen,” he said, “you are a presumptuous liar. For an educated man this is ridiculous. Idt iss even silly. I haff listened to you for years. Talk, talk, talk. Und not one ouns of sense in a vordt of idt! Cease, Stephen, ve muszt consider der question from der scientific viewpount. My dear vriends, ve are liffing in der tventieth century, nodt in medieval Prague!”

Barton waved his cigarette under the Professor’s nose.

“You are a skeptic,” he announced sadly, “and all skeptics must be shown the error of their ways. Eh, gentleman?”

“Nonsens!” roared Pfleugel.

“There are worlds beyond worlds, Heinrich,” said Stephen soothingly. “His eyes were dreamy. “Look!” he emptied his tall drink into a large bowl. Rapidly he bit off the end of two matches and held one poised above the liquid-filled bowl. From their deep seats, Collins and Farnsworth watched expectantly.

A match end dropped abruptly. Instantly a series of waves began spreading. Barton moved his hand slightly. Another match end fell. The waves met and overlapped. Then he brought his hand to a position directly between the merging vibrations. He dropped a whole match this time. Instantly the two minor circles were blanked out. He said nothing until the upheaval in the bowl had completely subsided.

“Everything is vibration. One basic vibration underlying the cosmos. Somewhere there must be room for another, maybe more.”

“Vere?” cried Pfleugel excitedly. “Vere iss somevere? Can two objecdts ogguby der same space at der same time?”

“They could if their basic rates of vibration were different.” Barton pointed to the bowl, “Two did, Heinrich. I blanked them out with a third, superior vibration. That’s the purpose of this house of mine, noises, colors, smells, vibrations of all kinds are my stock in trade. With them I batter at the walls of unseen universes.”

“Too bad you can’t batter down a few of my difficulties,” grumbled Farnsworth.

“When are you leaving for San Francisco?” asked Barton reflectively.

When the FBI man told him, the experimenter asked everyone to stay for dinner. Collins winced at the memory of past dinners in that high-flung cafeteria but accepted anyway, figuring he’d have plenty of time to pack his toothbrush.

Later, at dinner he thought he must have been crazy. Barton made a habit of allowing his people to indulge their little whims. At the tale there appeared not only twenty guests but also their pets. Dogs crept in and between legs and several cats drove the Professor slightly wild by chewing on his shoelaces. Collins was beginning to enjoy the soup when one of Madame Buboise’s snakes started slithering up his leg. He lost interest in the food immediately.

⸸⸸⸸⸸⸸

ANOTHER of their ghastly habits was the bland assumption that their psychic familiars were present at the festive board, joining in the conversation and grim merriment. Madame Duvray, sitting to Farnsworth’s right, persisted in carrying on a decidedly one-sided conversation with an Indian spirit named variously Bull-of-the-Woods and Perfume-That-Flies-On-the-Wind. Sadie Max, the Scranton wench was playing coyly with one of the snakes which was jabbing viciously at a bat diving over the Professor’s soup like a Stuka, fishing tender morsels at every swoop. Hepzibah Schroon who buttressed Pfleugel from the other side fed two snakes who wet engaged in crushing the life out of a small kitten whose tail sloshed around in the soup tureen, spattering slimy green drops.

“I’m not promising anything,” said Barton, finishing his coffee and rising and taking Farnsworth by the arm, “but we may just get the teeniest weeniest results this evening.” He swung his companion toward the doors of the council chamber. “We’re working mainly in the dark, remember. Anything ight happen. Time ight slip sidewise. nero ight step into our world playing jazz on his lyre. We might even meet up with an intelligent germ. Look what we got this afternoon.” He slipped a finger into the pocket of his smoking jacket and extracted a small cube of metal, pressing it into Farnsworth’s hand. The FBI men shuddered. Under the slight pressure of his fingers the strange object seemed to crawl.

“What is it?” he asked.

You tell me,” snapped Barton, flinging open the doors. He let go of Farnsworth’s arms, mounted the central dais, resumed his smock and held up his hands for silence to the other crowding through the portal.

“You will all observe the usual proprieties, please. No smoking, no talking except by the properly authorized persons. Ah, Madame Duvray, as you well know animals are not allowed in here. Get rid of that bat.”

Collins looked around him cautiously and noticed uncomfortably that Sadie Max was seated behind him. He shuddered, knowing the woman was unpredictable.

Pfleugel grunted.

“All dots missing is a virchen, Stephen. Maybe ve should haff invited Eva.”

“Never use virgins,” replied the experimenter. “The spirits hate ’em.”

“Achoo!” sneezed Pfleugel. He drew out a handkerchief and wiped his nose, glared fiercely at the several people who stared at him threateningly.

“Quiet there, Professor,” warned Barton. “OK, Moots, turn on the reproducers one at a time.”

Collins’ hair was standing on end as Moots pressed a button on an improvised control hoard set on legs near his seat.

“Boogiewoogie! Boogiewoogie! Beat me Daddy, Eight to the Bar! Rah, rah, rah!” A torrent of babbling cut loose from an amplifier hidden behind baffle boards in the walls and the show was on.

The lights flickered, at first slowly, then faster and faster. Sparks shot blindingly from whirring machines in front of Barton.

Some of the celebrants were groaning softly, others bleating in short, interrupted bursts. Another phonograph wailed on:

“Shizzy, wizzy, lat, bat me! Hoji, poji, si, si keeeeeeeeeeee!”

“Aunt Mary! OOOoooooooo, Aunt Maryyyyyyyyyyy!” behind Collins a squeaky voice began piping. “Aunt Mary!” it piped again, “wow, auntie, marygantie! Wow, jigamajantie!”

Woosch! Something smally, furry and winged swooped by Farnsworth and lost itself on the other side of the room. One of Duvray’s bats was loose. Farnsworth swallowed audibly.

“Qviet!” whispered Pfleugel. “Idts only der fledermaus!”

Now Barton’s voice came high and tinkling from the depths below. He seemed to be waving a wand tipped with a tiny red flashbulb at one end, mouthing some nonsense or other as he manipulated the stick. As the bulb flashed on a tremendous surge of power from beneath nearly pushed Collins out of his seat.

“Wrooooooooomm! WROOOOOOMM! Wroooooo! WROOOOOOMM!”

“Qviet! Idts only der centrifuge!” came the Professor’s voice hoarsely.

“What centrifuge?” screamed Collins, holding on to his seat as he began feeling slightly.

“Der rotating vun,” cried Pfleugel above the din. “Der whole room iss balanced on roller bearings!”

Someone groaned loudly as if in pain.

⸸⸸⸸⸸⸸⸸

BY NOW he procedure had taken on a kind of rhythm. The various phonograph reproducers beginning in low tones were working themselves up to a frenzy, seeking passionately to join forces with the wails and shrieks that rose palpably, like a cloud, from the celebrants. The only living things out of tune in that chamber were the trio and the bat. It stumbled blindly from side to side, skidding off the rotating walls, crashing audibly into glass chimes and once or twice upset some small bottles of chemicals.

“Quiet!” hissed Sadie Max to no one in articular. Collins put his hand up behind im and caressed thin air. An instant later he was caressing a short length of snake that fell into his lap, crawled under his belt and sought the warmth of his legs. He sat rigidly, not daring to move. For all he knew it might be a fer de lance.

The thunder below rose alarmingly.

A thin reedy wail crawled out of the confusion of noises. “We begin now,” it said. “We begin to open the door to Outside.” Abruptly the tone changed and sank to an apologetic sob. “We seek freedom, release, power…”

The reproducers shrieked to a new crescendo. Another one broke in stridently.

“A wiggon is better than wwwoose. The weese are three and even four. Must then the wiggon bloose?”

“Rhythm!” cackled a female voice, “Shake, people shake! Time’s awastin’! Shake, shake, shake!”

Sirens cut in.

“Achoo!” sneezed Pfleugel.

Crescendos rose deafeningly. The wails, groans and roars increased to the point of insupportability.

Collins held his breath. His teeth chattered. Chills shot up and down his spine and down his legs. They shook the snake loose. It fell to the floor hissing angrily. “ACHOOOOO!”

Simultaneously with the Professor’s mighty sneeze, the noises ceased, stopped instantly as if by some outside agency. There were a few seconds of shocked surprise.

“Damn!” screamed Barton, cursing from the dais.

Then a storm broke loose.

It began somewhere over Pfleugel’s head, travelling in widening spirals until it crashed into the circular walls and started travelling in again. Compared to this the previous uproar was a mere breath in a gale of wind. Voices hurled themselves from out of nothing and shouted. They sang, they wailed, they snorted and bawled. It sounded like the birth of chaos.

A cold wind rippled through the room. Then the flickering lights went out altogether, there was a tremendous shattering crash followed immediately by total silence.

“We’re getting sick of this,” said a new voice quietly. It seemed to come from all directions at once. It’s timbre was distinct, level and decidedly unknown as though a snake or giraffe had been granted the power of speech. A whiff of perfume, heaving loaded with musk floated through the room.

We’re getting bored with it,” continued the voice. “Why can’t you leave us alone. We’re people, too, y’know. We like peace and quiet. But it’s trouble, trouble, trouble all the time. Day in, day out you creatures from the other side putting your two cents in. What d’ye want, anyway?” Then there was a smothered noise like a suppressed yawn. “It’s an ordered universe, folks. We’re here, you’re there. Why not live and let live? Think of all the upsets you things have been causing for centuries with your pokings and probings. Pushing your big noses where they’re not wanted. Why we’ve got a colony of you creatures over here as big as a city. Don’t take it as an insult, folks, but you just don’t smell right! We’re incompatible, see? Let’s get this straight. Leave us alone and we’ll leave you alone.”

Perspiration ran down Farnsworth’s forehead in streams. He absently wrung out his handkerchief.

“Umpf, wait a minute, folks,” said the voice and suddenly a sound of commotion and struggling poured out of the emptiness. “One of your kind came over here a couple of years ago. He’s been back and forth a lot of times since. Goes by a funny name I can’t even spell. He’s whackier than the usual ran of you things. Wants us to drop our organized anarchy and go back to some form of dictatorial absolutism. The dope’s already got your colony in an uproar. Well, take him back. We don’t want him. He’s poison.”

“What the hell is all this?” roared Barton. Then a clap of thunder hurled him into his operating table. A terriWe tornado tore out from the center of the room and nearly pulled his clothes off. Bits of cloth whirled about. From beneath could be heard the sound of the centrifuge whirling to a stop.

The lights went on.

The FBI man nearly split his eyelids as he caught sight of what was hanging naked by the feet from nothing at all in the center of the room, just a little beyond Barton’s head.

’’Look out!” he yelled and Barton ducked. Writhing and mumbling curses the body dropped to the floor, its fall broken neatly by the pile of cushions surrounding Barton’s dais.

’’Von Junzt!” Farnsworth rose to his feet abruptly and dove over the ring of seats. Triumphantly bellowing, Professor Pfleugel followed, describing graceful arc as he jumped straight into the air and came crashing down on the unprotected body of the Nazi spy. Within thirty seconds they had him not merely subdued but tightly bound with some ornamental rope pulls hanging from the ceiling.

“Ha!” bellowed Farnsworth. “The magician! Well, maybe he could get through steel, but not cold iron.” He drew back one huge paw, and clipped the frantically cursing spy on the button, then he leaped for the nearest wall, plucked an old ornamental sword of wrought iron from its moorings and wrapped it nonchalantly around Von Junzt’s wrists.

⸸⸸⸸⸸⸸⸸⸸

COLLINS shot a wide-eyed glance at the scene below. Then rising, he leaped over the balustrade and headed for the open bronze doors.

“What a scoop!” he yelled. “Von Junzt and a thousand bucks too!”

“Jimmy!”

“Chimmy!”

Collins bowled over Sandy MacGoovern as he sped out the Goon. The last sound he heard in that house was Sadie Max’s voice. She was standing in her seat holding a snake by the tail.

“Aunt Mary!” she crooned to it. “Aunt Maryyyyyyyyyyyyy!

THE END

The Village, of course, is a daffy place. Most of its legends have long since ceased to bear repeating. Lovecraft immortalized it in one of his shorter fantasies and that is as far toward eternal flame as it will really ever get, but even today a lot of faded glamor hangs around its sloping Parisian roofs and towers that look like bad imitations of the Campanile.
—Hugh Raymond, “Hell in the Village”

It was in a grotesque hidden courtyard of the Greenwich section, for there in my ignorance I had settled, having heard of the place as the natural home of poets and artists. The archaic lanes and houses and unexpected bits of square and court had indeed delighted me, and when I found the poets and artists to be loud-voiced pretenders whose quaintness is tinsel and whose lives are a denial of all that pure beauty which is poetry and art, I stayed on for love of these venerable things.
—H. P. Lovecraft, “He”

Science fiction and fantasy in the early 1940s were closely linked; one of the hallmarks of magazines like Unknown was a sardonic approach to magic, superstition, fantasy, and the occult in a contemporary setting. Michel was equally at home with goblins and spaceships, and this minor effort is almost farcical in its studied unseriousness. Authors like Clark Ashton Smith wrote stories of modern-day occultists like “The Devotee of Evil” (1933) with an eye toward horror; Michel plays the same basic idea for laughs. Yet both get results. Science fiction writers were keen to mock, but just as eager for there to be something there beneath that mumbo-jumbo, a hidden reality masked by millennia of mummery.

Still, this almost has the feel of filler. The story is largely insubstantial, mostly notable for wearing its literary references on its sleeve; the characters are stereotypes, of the drink-like-fish, smoke-like-chimneys, and sexually-harass-the-elevator-operator type that was regrettably common in the 1940s. While we get a conclusion, answers are thin on the ground: what was Von Junzt, ultimately? Was he the same as the author of Nameless Cults, or was that just a little Easter egg for Weird Tales fans?

John B. Michel died relatively young (51 years old) in 1968, and almost none of his fiction has been collected or anthologized. Maybe it never will be. Most of it was potboiler stuff that ran in magazines like Science Fiction Quarterly, Cosmic Stories, Stirring Science Stories, and Future Fantasy and Science Fiction. One of a number of journeyman writers filling issues. Some of them went on to greater things; Michel simply died. He is remembered today mostly by Damon Knight’s portrait of him in The Futurians, and there’s a place reserved for him in the history of science fiction fandom for all his contributions.


Bobby Derie is the author of Weird Talers: Essays on Robert E. Howard and Others and Sex and the Cthulhu Mythos.

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“The Leapers” (1942) by Carol Grey

“Carol Grey” was a pseudonym used by writer and editor Robert A. W. Lowndes for two stories, both initially published in the same pulp magazine: “Passage to Sharanee” (FUTURE combined with Science Fiction, April 1942) and “The Leapers” (FUTURE Fantasy and Science Fiction, December 1942). Why Lowndes chose this pseudonym is not, to the best of my knowledge, ever explained. While Sally Theobald and Justine Geoffrey were obvious literary references and made sense within the context of their respective stories, and Linda Lovecraft a persona adopted to fit an anthology, “Carol Grey” appears to have been a purely pragmatic pen-name: Lowndes also edited FUTURE, and did not want to appear cheap or biased in publishing his own fiction under his own name.

In any event, Lowndes got a taste of what it might be like as a female pulp writer from at least one ardent science fiction fan, Earl Andrews, whose letter was published in FUTURE combined with Science Fiction, August 1942) in response to “Passage to Sharanee”:

Ah, Carol Grey! Ah, spring! Ah! Prithee, my Lord Editor: wiltow kindly vouchsafe unto a fellow Lothario certain divers information. Tell me now of yon Carol. Doth she walk in beauty and so on? ((My dear fellow. !!! Ed.))

Lowndes’ reply is perhaps understandable given the circumstances:

This is going to hurt you more than it hurts us, Earl, my lad, but we’re under strict orders not to reveal Miss Grey’s address, or divulge any divers information about her. And we cannot see any reason for not adhering faithfully to those instructions.

Elsewhere in the same magazine, Lowndes had to assure a reader that Carol Grey was “not Helen Weinbaum or Leigh Brackett,” two actual female sci-fi pulp writers of the 40s.

There is no direct connection between the two “Carol Grey” stories; “Passage to Sharanee” is a space opera novelette concerning a missing jewel and an ancient shapeshifting alien called a vombis (no apparent connection to Clark Ashton Smith’s “The Vaults of Yoh-Vombis”). “The Leapers” by contrast is a tale of the Cthulhu Mythos, albeit very much of the science-fantasy varietal. It is tied by references to several other pieces of Lovecraftian fiction written and published by Lowndes, beginning with “The Abyss” (Stirring Science Stories, February 1941) in what might be loosely called “The Arkya Cycle” or “The Song of Yste” series, after the most characteristic elements of Lowndes’ additions to the Mythos.

In the early 1940s while editing FUTURE, Lowndes was a member of a New York-based group of science fiction fans and writers called the Futurians; many of their works were tapped by Lowndes for this and other pulps he edited. Another Futurian, Damon Knight, later wrote a book on their activities, which includes the genesis of Lowndes’ “The Leaper”:

Lowndes told me, “There was a Cabal⁠—Donald [Wollheim], Cyril [Kornbluth], John [B. Michel], Chet Cohen and myself. We met once a week. The Cabal was a literary wrokshop, really. We met at Cyril’s place once a week, and each one of us was supposed to bring a manuscript to read. […] And as it turned out,” Lowndes said, “a fair number of manuscrupts that were read at the Cabal were later sold and published. […] It was at a Cabal meeting that my story, ‘The Leapers,’ was read, and the only compliment I remember ever getting from Cyril Kornbluth—he read it, he sort of blinked and shook his head, and said, ‘It’s absorbing.'”
—Damon Knight, The Futurians

Lowndes himself would expand on this a little in his introduction to the story when it was reprinted in Crypt of Cthulhu #62 (Candlemas 1989):

One day when Don was visiting John [B. Michel] and me at the Futurian Embassy (103rd Street, Manhattan) he sayeth unto me: “Doc, do you think you could write a Lovecraft story? I’d like one for my next issue.”

I thought I could and behold I did, getting leave of absence from The Cabal not to write anything else until I had finished “The Leapers.” I shall never forget the night when the ms was passed around and read at a Cabal meeting. Cyril was the last to get it; when he finished he blinked, shook his head slightly as if to wake himself up, and said in an awed tone: “It’s absorbing.” That was the one and only time that Cyril Kornbluth had any kind words for any of my fiction. And since it had been written for Don Wollheim in the first place, there was no question of immediate acceptance.

Alas! It would have led off the fantasy section of the issue following the March 1942 Stirring Science Stories; but that issue never appeared.
Crypt of Cthulhu #62 (3)

Lowndes and Wollheim would both use Futurian stories in their respective magazines, and there are little in-jokes almost from the start. For example, when Lowndes writes in “The Leapers”:

One of the missing, for example, was an attractive blonde of 23, widely renowned among the devotees of the more imaginative and speculative of pulp fiction as an illustrator; another, a man of 27, was in the process of becoming a favorite in the field of fantastic, cosmic horror-fiction, the general type of narrative wherein Poe, Machen, and Lovecraft specialized.

Illustrator Barbara Hall, who Knight describes as “a good-looking blond woman” associated with Wollheim is obviously the former; Wollheim himself (born in 1914, so 27 in ’41 when the story was probably written) is almost certainly the latter.

In format, “The Leapers” owes much to an older style of horror fiction, large chunks of the text being supposed clippings from newspapers regarding Fortean phenomenon, assembled by the nameless narrator as they seek to piece together the puzzle of a very odd missing persons case. This leads them shortly to the Song of Yste, Lowndes’ own addition to the Lovecraftian library, and which first appeared in “The Abyss.” In a later reprinting of the story, Lowndes would note:

While written as a “Lovecraft story”, even the earlier version contained one fundamental departure from HPL—a matter about which your editor and The Master had argued back in 1936, shortly before he died: that reading “Forbidden Books”, etc. had to bring about dreadful and horrible events, and that such knowledge leads invariably to destruction. While we would not quarrel, even now, with Lovecraft’s statements that reading the Necronomicon would be the beginning of a Frightful End for you, we do assure you that, for a strong mind, the Song Of Yste need not be fatal—unless you’re bored to death.
—Robert A. W. Lowndes, The Magazine of Horror #23 (Vol. 4, No. 5), Sep 1968

Lovecraft and Lowndes had corresponded during the last year or so of Lovecraft’s life, while Lovecraft’s ideas appear to be based strongly on The King in Yellow play as used by Robert W. Chambers, “The Leapers” appears to be Lowndes counter-reaction to that, with lengthy passages of exposition about the reading of forbidden books and why they are forbidden. This was still that first generation of fandom where random literary arguments could be worked out in print on pulpwood paper, and Lowndes even alludes to this correspondence directly in the story:

I had, in fact, read a few of the tales of classic horror, written some more or less precocious speculations regarding them, and written a letter or so to a muchly-famed student residing in Providence, Rhode Island. he it was who had been the source of what little knowledge I possessed, and I had permitted my correspondence with him to lag; now, I could not be sure if he were still available at the old address.

The posthumous unnamed Lovecraft then makes an appearance via letter, with Lowndes doing a fair imitation of his style. Futurians such as Donald Wollheim, who had also corresponded with Lovecraft, would have recognized this immediately; whether the pulp readers of FUTURE picked up on it is less certain.

In the 1960s, Lowndes became editor of The Magazine of Horror, a small digest that focused mainly on classic and pulp reprints put out by Health Knowledge, Inc. The magazine gave him the opportunity to expand and republish some of his earlier works, including “The Abyss” (Winter 1965/66) and “The Leapers” (September 1968), this time under his own name. He later recalled:

It was while working at Health Knowledge that I had occasion to reread “The Leapers,” and found myself unsatisfied. So I rewrote and expanded it, making it a frame story.
Crypt of Cthulhu #62 (3)

Part of this general expansion includes a sort of preface, identifying the narrator as Arnold Grayson, and that it had originally been sent to Farnsworth Wright, editor of Weird Tales (who had died in 1940, two years before the story was initially published, a fact which Lowndes notes).

The other major addition is an expansion from the pseudo-Lovecraft letter, which goes to some odd places:

Well, I have a letter from Hannes [Bok] dated 1939, in which he tells me that Ray Bradbury is going to show some samples of his work to Farnsworth Wright at WEIRD TALES. I replied that I did hope that Wright would be impressed, for as delectable as Mrs. Brundage’s covers were to the more erotic-minded readers, few of them were truly weird. (I assure you that I have never objected to well-exposed depictions of delightful-looking young girls—but maintain stubbornly that a girl cannot be both delightful-looking and weird at the same time.)

Lovecraft died in ’37, Bok’s first art for Weird Tales was ’39, Wright died in ’40, the events of the story nominally take place in ’42…the timeline is a little screwy, but Lowndes mentions that in the preface. The comment on Brundage’s art is interesting because it recalls a similar comment made by Lovecraft in an actual letter:

I have no objection to the nude in art—in fact, the human figure is as worthy a type of subject matter as any other object of beauty in the visible world. But I don’t see what the hell Mrs. Brundage’s undressed ladies have to do with weird fiction!
—H. P. Lovecraft to Willis Conover, 16 Sep 1936, Selected Letters 5.304

Which raises an interesting problem: volume 5 of the Selected Letters of H. P. Lovecraft was published in 1976, the revised edition of “The Leapers” was published in The Magazine of Horror in 1968. So did Lowndes have access to this quote from Conover’s letters or…and this is a tantalizing possibility…did Lowndes cannibalize or paraphrase part of a letter that Lovecraft had sent to him? Until and unless Lovecraft’s letters to Lowndes are ever published, we may never know.

In any event, this second incarnation of “The Leapers” had one final evolution:

Few of the readers of the issue of Magazine of Horror had read the original version, and the revision went over quite well—except with one person who had read and remembered the original: Robert Silverberg. Silverberg wrote me a polite note, more in sorrow than in anger, and pointed out that my frame approach went far to spoil an excellent story. Thus I have revised the story for a third time and the final version, which follows, has (I hope) the best of both earlier versions.
Crypt of Cthulhu #62 (3)

Titled simply “Leapers” in Crypt of Cthulhu, the third-and-final revision starts by dropping the initial part of the “frame” mentioning Farnsworth Wright and Weird Tales. The added portion of the pseudo-Lovecraft letter remains, and at the end is tacked on an addendum containing the gist of the 1968 framing device, Wright and all. Whether this is actually better is a bit subjective—it gets at the story more directly, but the mention of Wright still feels problematic from a timeline point of view.

It’s difficult to judge the impact of Carol Grey and “The Leapers.” Even among devoted Mythos-fans, the Song of Yste is not exactly as popular as the Necronomicon, Unaussprechlichen Kulten, or the Book of Eibon. Robert Weinberg and Ed Berglund in the Reader’s Guide to the Cthulhu Mythos (1973) have marked the story as “integral to the Cthulhu Mythos”—a distinction they don’t give to items such as “The Cats of Ulthar” or “The Colour Out of Space.” Certainly, the theme of forbidden knowledge begun in “The Leapers” was something that stuck with Lowndes, as he wrote later about his correspondence with Lovecraft:

So I finally wrote him that winter, and in the course of my first letter told him what had bothered me about At the Mountains of Madness, and some of the other stories: the discovery of the unknown always led to madness and destruction. couldn’t some unknown things possibly be beautiful, leading to greater happiness, etc.?

His reply was that such stories must have such an ending, because the universe was really a terrible place and only our relative ignorance and limitations made it endurable to us; to seek to go beyond those limitations, to find the real nature of things, would inevitably be shattering. it is only our illusions of order and relative safety that protect us from madness. (That is, of course, a paraphrase of what he wrote me.) The seence of horror lay in abnormalities, in violations of what we consider to be natural law, dislocations of time and space, etc. […]

And when I got around to trying my hand at the Lovecraft type of story, I stuck by my guns. Awful things happened to some of the characters, of course, but everyone who had read the forbidden books was not destroyed nor turned into a monster. And while I still love HPL, I cannot but look at him as something of a vandal, at times—all those precious and priceless copies of the Necronomicon burned!
—Robert A. W. Lowndes, “On Forbidden Knowledge” in Crypt of Cthulhu #62 (56)

If there is anything to be said for the story, it is that it is almost a perfect encapsulation of Mythos fiction in the 1940s, with its odd pulpy plot and in-jokes, the convoluted history of reprints and revision. That first generation of post-Lovecraft fans, still coming to terms with Lovecraft and his philosophy.


Bobby Derie is the author of Weird Talers: Essays on Robert E. Howard & Others (2019) and Sex and the Cthulhu Mythos (2014).

“Shadow Over Innsmouth” (1942) by Virginia Anderson & “The Woods of Averoigne” (1934) by Grace Stillman

Joanna Russ may have been the first woman to write prose set in the Cthulhu Mythos…but she was preceded by at least two female poets who tackled the Mythos as their subject, and while often neglected, their work stands among the first verse contributions to the burgeoning Mythos.

Poetry has always been an important aspect of the Mythos. Many of the principal writers of the early Mythos—H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, August Derleth, Frank Belknap Long, etc.—were poets, and bits of poetry are embedded in their fiction, or like Lovecraft’s “Fungi from Yuggoth” (1930-1943) cycle or Robert E. Howard’s “Arkham” (1931) can be viewed as a part of the fabric of the Mythos itself. This poetic tendency in part reflects the tradition of the fantastic verse such as “The Rime of the Ancient Mariner” (1834), which was sometimes made a part of weird fiction, as in Edgar Allan Poe’s “Ligeia,” which was revised to contain “The Conqueror Worm” (1845).
Of course, another large part of the poetic tradition of the Mythos is that Weird Tales was unusually in the amount of poetry it published—including several of Lovecraft’s “Fungi” and works from other authors. What might surprise readers is the amount of poetry in WT that was written by women. According to Partners in Wonder: Women in Science Fiction, 1926-1965, 63 female poets were featured in the pulp magazine during the period of the Unique Magazine’s heyday—including Alice I’Anson, whose “Teotihuacan” (WT Nov 1930) so inspired Robert E. Howard. Amateur poets also existed among the early fandom, writing verse to contribute to fanzines, such as Virginia Kidd’s “Science and Knowledge” (The Fantasy Fan, Dec 1933).
It was rare for anyone not among the circle of Lovecraft & his fellow Mythos writers to craft Mythos poetry in that early period, but at least two did—Virginia “Nanek” Anderson and Grace Stillman.
Shadow Over Innsmouth
by Virginia Anderson
(Dedicated to H. P. Lovecraft by Nanek)
We have forgotten some of mankind’s ways:
The art of dying, or say … Meroy’s gift.
So when age grows upon us and our days
By span of man are numbered, the seas rift
And take us in. Then in the rites of old
We pledge allegiance where the strange pale gold
Of obscene Gods dispense eternal life
Wherein to glory, savour and renew. …
Free from the world’s alarms and strife
In ocean palaces of colalous hue,
Shedding the shape of man and doubling back
In form at least on evolution’s track.

Virginia Combs came of age in the small town of Crandon, Wisconsin during the tale end of the Great Depression; bought her first pulp magazine (Planet Stories) in 1938 or ’39, and soon was a prolific writer of fan-letters to several pulp magazines, most especially The Spider. She took the pen-name “Nanek,” borrowing the term from the Sikh religion of the Spider’s associate Ram Singh (Guru Nanak was the founder of Sikhism, the name was sometimes rendered in English as “Nanek”). Her correspondents included Norvell Page, A. Merritt, Isaac Aasimov, and Hannes Bok. At a time when fandom was primarily male, she stood out; Page even wrote her into the Spider series as “Jinnie Combs” in “Volunteer Corpse Brigade” (The Spider Nov 1941). In 1942, she married and became Virginia Anderson—but to her pulp friends and fandom, she was always Nanek.

I guess it never occurred to me that there were things you didn’t do because you were male or female.
— Virginia Anderson, XENOPHILE #40 (5)

The pulps and fandom were not just an escape, but an outlet for her creative energies—she wrote poems based on the works of the pulp authors she admired, which were published in Famous Fantastic Mysteries and fanzines. In 1942, Francis T. Laney, a prominent member of the Los Angeles Science Fiction Society wrote, asking for a poem for his fanzine The Acolyte, which was mainly dedicated to H. P. Lovecraft. Nanek responded with “Shadow Over Innsmouth” which appeared in the second issue (Winter 1942).

“Shadow Over Innsmouth” is an homage to H. P. Lovecraft’s “The Shadow over Innsmouth” (WT Apr 1936), but where Lovecraft focuses on the human character discovering (and eventually embracing) their Deep One heritage, Nanek gives us the alien perspective of someone who has already completed the transition. Rather than simply revisit Lovecraft’s tale, she moves beyond it, taking her cue from Lovecraft’s final line “[…] in that lair of the Deep Ones we shall dwell amidst wonder and glory for ever.”

The tone of the poem is one of escapism—though not within an element of horror, involving as it does rites of allegiance to “obscene Gods,” and the “doubling back […] along evolution’s track.” Immortality still has its price, physical and spiritual; to shed human constraint means to become something other than human. Contemporary readers might see in this foreshadows of posthumanism, but there is also an echo of Christian mythos here: “[…] our days By span of Man are numbered” is almost Biblical language, and as many Christians expect their souls to be taken into heaven, so to do “the seas rift And take us in.” This does not necessarily imply any blasphemous intent on Nanek’s part, but it does help to contrast the “life everlasting” beneath the waves to the “life everlasting” in Heaven—both involve leaving behind earthly life.

Nanek’s “Shadow Over Innsmouth” was only reprinted once, in The Innsmouth Cycle (1998), the text is reproduced from that copy; “Meroy” and “colalous” are probably transcription errors (for “Mercy” and “coralous”), made when originally setting the type for The Acolyte. Given the obscurity of that ‘zine, it is unfortunate that Nanek’s poem did not receive wider distribution.

The Woods of Averoigne
(Inspired by the Clark Ashton Smith’s stories)

By Grace Stillman

Deep in the woods of Averoigne,
Goblin and satyr, loup-garou,
Devil and vampire hold their feasts:
Forces of wizardry imbue
Even the foliage of the oak;
Beeches and pines in drear decay
Uplift their bony branches wan
Under a sky of corpse-like gray.
Evil is there in Averoigne:
Evil I should not see at all;
Evil whose very presence seems
Holding me in curious thrall:
Knowing it well, my feet still grope
Nearer this force malign, withdrawn;
In dread, against my will I creep
Deep in the woods of Averoigne.

Grace Stillman is a cipher; “The Woods of Averoigne” is her only publication in Weird Tales, nor does she have credits in any other pulp index. The published letters of Clark Ashton Smith, H. P. Lovecraft, etc. contain no reference to her or the poem, so we have no idea what they thought of it—but we know what inspired it.

Clark Ashton Smith’s Averoigne is a fictional medieval French province sometimes compared to James Branch Cabell’s Poictesme, and was one of his own original settings—much as the Miskatonic River valley and its towns of Arkham, Dunwich, Innsmouth, and Kingsport are “Lovecraft Country,” and Robert E. Howard had his stories of the Hyborian Age and Thurian Age. Averoigne was introduced to the readers of Weird Tales with “The End of the Story” (May 1930), and continued on with “A Rendezvous in Averoigne” (Apr-May 1931), “The Maker of Gargoyles” (Aug 1932), “The Mandrakes” (Feb 1933), “The Beast of Averoigne” (May 1933), and “The Holiness of Azédarac” (Nov 1933). Her poem itself would appear in the same issue of Weird Tales as another of Clark Ashton Smith’s Averoigne tales, “The Colossus of Ylourgne” (Jun 1934).

Stillman’s poem evokes the witch- and fiend-haunted forests of Averoigne, which form a common element in many of Smith’s tales. Plant life was one of Smith’s foci in life, and it shows in his fiction:

[…] the gnarled and immemorial wood possessed an ill-repute among the peasantry. Somewhere in this wood there was the ruinous and haunted Château des Faussesflammes; and, also, there was a double tomb, within which the Sieur Hugh du Mainbois and his chatelaine, who were notorious for sorcery in their time, had lain unconsecrated for more than two hundred years. Of these, and their phantoms, there were grisly tales; and there were stories of loup-garous and goblins, of fays and devils and vampires that infested Averoigne.
(“A Rendezvous in Averoigne”)

Much of Stillman’s imagery is taken directly from Smith’s descriptions of the setting, right down to the types of trees he mentions in the stories. It is, like Nanek’s later piece, a derivative work that seeks to capture something of the essential idea and feel of the original, and succeeds not so much in the first few opening lines with their talk of familiar horrors, but for the fact that despite the dark legends of Averoigne people are still drawn there—as many readers, including Grace Stillman herself, were. Again, we see a writer who has struck at a point essential to the Mythos: the point of attraction, for lovers of the weird, to these terrible and remote regions, even though they are warned away from it. By entering these areas, the protagonist—and by extension the reader—cross a threshold, pass through a limnal space or boundary, break a taboo. What is more, the nameless narrator in Stillman’s poem knows that they are doing this, but are unable to help themselves, as something draws them deeper into the darkness.

As far as I can determine “The Woods of Averoigne” has never been republished. Like Nanek’s “Shadow Over Innsmouth” it represents something of a lost start. Like many early contributions to the Cthulhu Mythos, they failed to gain enough audience to influence subsequent writers and fans. They were a part of the movement that eventually exploded into the sprawling shared universe of the Mythos, but were largely overlooked and ignored. It isn’t enough to simply write something good, or even to have it published; if it is not referenced, reprinted, or revisited…it becomes forgotten, unless someone finally resurrects and remembers it.

†††

With thanks and appreciation to Dave Goudsward for his help.


Bobby Derie is the author of Sex and the Cthulhu Mythos (2014)