“Some Words with a Mummy”

It’s a welcome return to Poe this week over at LibraryThing’s Deep Ones.

Review: “Some Words with a Mummy”, Edgar Allan Poe, 1845.

The plot on this one is pretty straightforward, and it’s less weird fiction than sort of American proto-science fiction as well as being a satire. A mummy is revived and discusses Ancient Egypt and nineteenth century America with the narrator and three other men.

So, with some help from Stephen Peithman’s annotations, let’s look at this one.

Poe’s humor doesn’t always work here. Jokes tend not to age well in literature. After all, many modern Shakespeare productions omit some of his humor which, if you’re reading it, often has to be footnoted to get the joke. A joke explained is no longer a joke. Still, the story does have its funny moments.

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Journey to the Core of Creation; or, Adventures in Reviewer Parallax

Review: Journey to the Core of Creation: A Romance of Evolution, Brian Stableford, 2011.

For one of Stableford’s August Dupin stories, the plot here is fairly simple. As the title suggests, there is also a lot more scientific speculation in this story than others in the series. But, as usual in these books, Stableford hangs multiple meanings on his title. Here it is not only the evolution of life as a whole but that of a single human.

Fittingly, we get some back stories on our main characters.

Our narrator, unnamed thus far in the series, is Samuel Reynolds. Hardcore Edgar Allan Poe buffs will recognize the name as part of Poe’s delirious utterings as he lay dying. At novel’s end, Reynolds makes an interesting statement: he wishes he wouldn’t have made notes on the whole experience. He really doesn’t like being reminded of it. As with “The Legacy of Erich Zann” and, to a lesser extent, The Quintessence of August, Reynolds seems to have a protective amnesia about his experiences.

And Dupin’s early life is also revealed.

It’s the spring of 1847, and political tensions are high in France.

Dupin and Lucien Groix, the head of Paris’s police and another frequent series character, hung about the salon of Achille Maret when they were young. They were both in love with the beautiful, teasing, manipulative Julie, Maret’s daughter.

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The Cthulhu Encryption; or Adventures in Reviewer Parallax

Review: The Cthulhu Encryption: A Romance of Piracy, Brian Stableford, 2011.

Another complicated installment in the August Dupin series. In fact, it is probably the most complicated of them all.

And that’s appropriate given the theme of encryption. Like the concept of the bibliomania in The Mad Trist and the egregore in The Quintessence of August, Stableford explores multiple meanings of a word, sometimes through non-humorous puns.

Encryption isn’t just something your computer does when you’re buying a copy of, say, a Stableford novel online. It also means to bury, to embed and conceal information in another form, and, if you’re a Pythagorean philosopher, everything you perceive is the encryption of an ultimate reality.

Here encryptions take the form of mysterious tattoos and coins, chants of South Sea Islanders, the legends of the sunken city Lys, the Breton version of the King Arthur story, fairy lore, and Shakespeare’s A Midsummer Night’s Dream.

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The Quintessence of August; or, Adventures in Reviewer Parallax

Review: The Quintessence of August: A Romance of Possession, Brian Stableford, 2011.

While Stableford’s Auguste Dupin stories are mostly independent of each other, it actually helps to have read the first one, “The Legacy of Erich Zann”, before this one to understand it fully.

Well, maybe not. I’m not sure I understood everything about it after one complete reading and another skimming.

But, then, even our unnamed narrator has to consult his journal from three years earlier to link things.

Unlike a lot of Stableford’s forays into weird fiction (at least the ones I’ve read by this prolific author), there isn’t a purely scientific element here.

The story concerns itself with music and the concept of the egregore.

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The Legacy of Erich Zann and Other Tales of the Cthulhu Mythos

Low Res Scan: The Legacy of Erich Zann and Other Tales of the Cthulhu Mythos, Brian Stableford, 2010, 2012.

In this “Introduction”, Stableford says a couple of things about his recent burst of writing in the Cthulhu Mythos. “The Legacy of Erich Zann” was written to fill out a collection that had it and Stableford’s short novel The Womb of Time. He liked the result so much he undertook to write a series of stories with Auguste Dupin which include elements of the Cthulhu Mythos and “an even vaster metaphysical system” of which the Mythos is a small part. 

Stableford disputes the idea that the Cthulhu Mythos, in its true philosophical form and with its cosmic horror, has really been popularized. He makes the interesting observation that cosmic horror is defiantly esoteric, that it isn’t as easy to evoke horror in that sort of story unlike one with serial killers or ghosts. Cosmic horror requires more imaginative effort on the part of the reader. It is more abstract. It appreciates the vast space and time surrounding life in the universe.  He says cosmic horror plays,

sometimes delicately and cleverly, but always with a reserve of sheer brutality, with our inability to deal with the fact mentally, and our perverse insistence that, even if it is so, it is irrelevant. 

The strength of the Mythos for a writer of cosmic horror is that it has a ready-made vocabulary of symbols. Like writers of mainstream fiction who don’t have to invent a world for their stories, Lovecraft’s Mythos provides a sort of pre-fab set of places and ideas that can be used and are quickly recognized by readers. It can be more useful for a writer than trying to invent a more elegant mythology from scratch for cosmic horror. Interestingly, he sees Nyarlathotep as the most basic figure in the Mythos which may be why he used him for “The Legacy of Erich Zann”. 

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The Mad Trist; or, Adventures in Reviewer Parallax

Sally Startup, on her Brian Stableford blog, provides the parallax on this one.

Review: The Mad Trist: A Romance of Bibliomania, Brian Stableford, 2010. 

The third installment in Stableford’s August Dupin series is indeed about bibliomania, the enchantment of print, its ability to put voices in our heads and suggests thing. It’s about a lot of other things too: esoteric and feminist works by Elizabethans and the possible identity of their authors, curses and cursed books, witches, medieval romance, sibling rivalry and sexual awakening, the evolution of literature, and Edgar Allan Poe’s “The Fall of the House of Usher”.

As Dupin, who doesn’t appear in most of this story, says, “Nothing is ever simple . . . Not, at least, when it is subject to proper rational analysis”.

As with all the installments in this series, Stableford has worked to make each one self-contained. You can start anywhere in it except with the last book. (Yes, I’ve read them all and plan to review all of them.)

Our story opens with our still unnamed narrator off to visit his friend in England, Richard Carstairs.

Before he boards the ferry, Comte St. Germain shows up to give him a book. He wants it given to Dupin when the narrator returns to Paris. It’s a peace offering by St. Germain after the events of the preceding book in the series, Valdemar’s Daughter.

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Valdemar’s Daughter; or, Adventures in Reviewer Parallax

No, I have no clue, six months later, why I started Brian Stableford’s Auguste Dupin series with the second installment.

Review; Valdemar’s Daughter: A Romance of Mesmerism, Brian Stableford, 2010. 

Auguste Dupin, of course, was created by Edgar Allan Poe and used in three stories. And, as you would expect from the title, there is a tie-in to Poe’s “The Facts in the Case of M. Valdemar”.

The conceit of the series, narrated by an American friend of Edgar Allan Poe living in Paris, is that some Poe stories were based on fact but their supernatural aspects added by Poe. Thus, there really was a Valdemar who was hypnotized at the point of death. 

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The Dedalus Book of Decadence (Moral Ruins)

This one ended up being a Low Res Scan for a few different reasons.

First, I was feeling a bit lazy last January when I read it and didn’t make notes on every story.

Second, there are a lot of stories and a few poems in this book, 18 French pieces and 18 English pieces. It’s a sampler of British and French literary Decadence.

Third, a lot of the stories are quite short and a review risks spoiling their often surprise endings.

Fourth, not all of the pieces were fantastic. Since the blogging madness has to have some kind of limit, I don’t normally review fiction that isn’t fantastical in some way.

Review: The Dedalus Book of Decadence (Moral Ruins), ed. Brian Stableford, 1990, 1993.

If this book just had Stableford’s long introduction, it would still be worth reading. Stableford has been writing about weird and decadent fiction almost as long as he’s been producing critical work on science fiction. Here, he produces a useful history and definition of Decadent fiction

Decadence is a concept going back to Montesquieu’s writings on the fall of the Roman Empire, and the first true Decadent work was Charles Baudelaire’s poetry collection Fleurs de Mal in 1857. Decadent fiction was a short-lived phenomenon in France in the 1880s and works in it are sometimes cataloged in the Symbolist movement (which, in my vague understanding, involves non-realistic narratives with allegorical symbols). 

The English Decadent movement was in the 1890s, and, after Oscar Wilde’s conviction for sodomy, few people wanted to be associated with the label. 

Stableford usefully lists Decadent fiction’s primary themes: a celebration of artifice and skepticism of the Romantic ideal of nature (that virtue reposes in nature), impuissance (the feeling of powerlessness), and spleen (an angry melancholy). There was also a drug element. Sometimes, as in Théophile Gautier’s case, drugs were taken under supervision of medical men; however, in other cases, like Arthur Rimbaud seeking his “rational derangement of the senses”, they were not. 

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The Black Throne

This one was read last October. I always try to make time for some Poe in October. I’m not quite that far behind my reviews, but this one got overlooked, so it’s a bit of a backtrack.

Review: The Black Throne, Roger Zelazny and Fred Saberhagen, 1990.

Cover by David B. Mattingly

This novel is a farrago of the life and works of Edgar Allan Poe and involves multiple worlds.

We open with Annie on the shore of a fog shrouded sea. She meets two identical looking boys:  Edgar Perry (Poe’s name when he was a sergeant in the US Army) and Edgar Allan (that would have been Poe’s name if he had been formerly adopted by his step family). They go out into the sea to look at a body. Edgar Allan is near it when he loses contact with this dream world but not before he hears the call of “E-tekeli-li” (from Poe’s The Narrative of Arthur Gordon Pym). Next, we see Edgar Perry near Fort Moultrie (where Poe served and site of his story “The Gold Bug”). Perry sees Annie riding by in a coach. He has long seen Annie in his dreams. Annie, from the coach, seems to telepathically ask for him to rescue her, that she is being taken away to be done harm, and she is possibly drugged. Annie is, of course, the woman from Poe’s “Annabel Lee”.

And so, in the first chapter, we set the tone for what will be a story that works in many of the elements of Poe’s life and his works – some obscure, some obvious. (I’ll admit I recognized most of them, but, for a few, I had to resort to Dawn B. Sova’s Edgar Allan Poe A to Z to refresh my memory.)

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The Watcher by the Threshold, Part 1: Scotland

Low Res Scan: The Watcher by the Threshold, ed. Christpher Roden and Barbara Roden, 2005, 2012.

John Buchan wrote a lot of books including The Law Relating to the Taxation of Foreign Income, histories of the First World War, an acclaimed biography of the Marquis Montrose, and numerous novels, and, of course, the Richard Hannay series. The latter’s first two installments, The Thirty-Nine Steps and Greenmantle, have seen numerous radio, tv, and film adaptations and, along with Erskine Childers The Riddle of the Sands, are the progenitors of the modern espionage novel. A lot of Buchan remains in print today.

But he also wrote a lot of weird and fantastic fiction, even a couple of pieces of science fiction, and was a fan of Edgar Allan Poe. In 1911, when he worked for a publisher putting out an edition of Poe stories, he said Poe showed

all around us the shadowy domain of the back-world, and behind our smug complacency the shrieking horror of the unknown.

That could stand in as a description for some Buchan works of the fantastic. And, writing to a friend early in his literary career, he said the short story was his “real form”.

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