November 6, 2021 • by Rob Latham
Mr. Canniham: Lovecraft-style horror novel
Philip Ball pointed out in his new book "Modern Myth: The Mechanical Adventures of Popular Imagination", "Over the past three centuries or so, narratives produced by the Western world have claimed to have as true a psychological state as Mythological status. The plays of Oedipus, Medea, Narcissus, and Midas." These stories "everyone knows that there is no need to bother to read them", "Before we reach adulthood, they have "permeated into our consciousness," Full of symbolic visual effects." Modern mythology—Bauer identified seven, from Robinson Crusoe to Batman's end—even though they originated from a specific text, they are not like “the constant of many stories The network of development-a single narrative of interweaving, interaction, and contradiction""-but has one thing in common: "[A] A solid, basic, and irreducible core, full of magical power to generate a story version." The powerful ability to generate new narratives enables these myths to perform "cultural work": they "establish a rough framework for suspending our anxiety, fear, and dreams."
The second myth that Ball analyzed in his book is Frankenstein, whose full effect is combined with the 1931 film version of James Whale. In fact, "When we think of Frankenstein's monster, it is flat-headed, bolt-necked [Boris] Karlov is faintly visible." Bauer didn't say that much, but he could release Universal Studios in the 1930s. The monster movie is regarded as a veritable pantheon of modern mythology, including a chapter dedicated to Dracula and the werewolf (a version of Bauer's story of Jekyll and Hyde). During the Great Depression, these films must have done their due cultural work, expressing and managing social anxiety about science, race, and sex.
As his long-running "Era Dracula" series shows, few contemporary writers are more able to adapt to the resonance of modern mythology than the British writer Kim Newman, especially in popular films. After digging into the rich context of the vampire legend in detail, the author now turns his attention to the Frankenstein myth in his new novel, especially its indelible character among the clumsy, savage, and sensitive monsters written by Karlov. Incarnation. Newman had discussed this topic before in "Frankenstein on Ice", which was his contribution to the mixed horror drama staged in London's West End in 2016, but "Beyond the Night" was his first mature narrative treatment . Although it is an independent work, this novel has a subtle connection with other Newman series through its characters and background, such as his story about Dreamcliff Grange, a haunted Edward VII girls’ school, and it’s free and easy. Open enough to leave room for the sequel.
"Beyond the Night" combines two mythological traditions that were concretized in popular movies and vulgar fiction in the 1930s: crazy science ("Frankenstein") and black private detectives. (Bauer devoted a chapter to Sherlock Holmes, the Victorian pioneer of modern PI) Newman showed his love for black in his first signed novel "The Night Mayor" (The Night Mayor, 1989)— -And his mastery of black. The background of the game world is a black and white metropolis, full of corrupt police officers and cheap hoods, where “always two thirty in the morning and it’s still raining”. "Beyond the Night" combines the gloomy dreamland with the bumpy lightning that ignites the dead in the classic whale movie, and the result is a tribute and satire to Hollywood in the era of the studio.
Newman even invented his own studio, Pyramid Pictures, a fashionable but second-rate company founded by German immigrant Ward Home (formerly known as Heim), who made a fortune in the oil industry and made a fortune in cash. In ample circumstances, his son Junior (Junior) is in charge of a media empire. (Newman recorded the history of pyramid movies in previous novels, including The Quorum in 1994, which foreshadows things beyond the night in a mixture of supernatural horror and criminal mystery. Its terrifying movie tycoon Derek Lee (Derek Leech is an authoritarian junior family.) The politics of the studio is definitely right-wing, if not outright fascism:
Just as Pyramid was finishing their first Technicolor super work "Say It With Stukas", Hitler invaded Poland. A musical about love, laughter, and civilian casualties, in which smiling bomber pilots happily wiped out a fictional country called Angle-Land.
The teenagers yelled at the Jewish left-handers who controlled other studios while ironically ripping off their iconic assets: his performance stable included a family of grotesque comics called the Sparks Brothers, who was on Universal Pictures. Installed a competitive horror series, often trying to steal their blockbuster-famous star. For example, he wanted Karlov to give his squeaky gaslight thriller The Devil in Fog Alley, in which "a hypnotized gorilla in a top hat and opera cloak was dismembered under the tender of a bitter ascetic" Abalone in London", but he had to accept a position-in.
We know all this because Karloff (aka Billy Pratt) is one of the two protagonists of the novel, and the other is the black pulp master Raymond Chandler (aka "RT" ), he told the story. Newman's arrogance is that these two men who have never met in real life are British student friends. They eventually settled in Los Angeles to pursue a creative career and were seduced by a dark witch named Ariadne. "[W]e was awakened by her," RT wrote. "After looking around the world, Billy and I finally came to the place where dreams come true. The source of horror and miracle." Newman first portrayed this cold femme fatale in his 1990 novel "Nightmare". But here he gave her an epic backstory directly from Mario Platz's "Romantic Pain" (1933):
As long as there is fear, she is there. Whenever art goes too far, it is always under her urging. She likes riots as much as the premiere. When the machine gun swept across a field, she would plant poppies that grew from the bloody soil. When the poet choked to death or the actress took off the headdress from the Hollywood Sign, Ariadne dipped the hem of his dress into a mess and walked away, no doubt but guilty. She was the face the pilot saw when he crashed in flames.
RT compares this greedy angel sitting next to the "story tree, dripping beautiful poison" with Keats' femme fatale, Cavalier Haggard's Aisha, Frankenstein's bride, and his own Carmen Sternwood. -One can't help but wonder why Bauer was not included in his list of modern myths, a certain version of this enduring female archetype. After she woke up deliriously, Ariadne tracked down a series of strange and spectacular crimes, and Billy and RT teamed up to solve these crimes: for example, they prevented a murder frenzy inspired by Poe’s story and put the culprit behind. The culprit, a deranged bibliophile was locked in a dungeon room, à la "Amontillado's barrel". Things beyond the night started with another strange killing-their mutual friend, a former policeman turned into Shams, his car (in the weird echo of a mysterious death in a big sleep) crashed from the end of the Malibu dock . A young actress was rescued from the trunk of a car, but disappeared quickly, and Billy and RT found themselves in another witchcraft conspiracy by Ariadne. "This is not a story that Dime Detective will buy," RT observed. "Maybe unknown. Or weird story."
Like Newman's usual plot, this is a farce of clever weird events and weird scenes, and I will not ruin their multiple fun through detailed rehearsals. It can be said that they include a basement laboratory in the vulgar mansion, equipped by Frankenstein's set designer, Junior pursues the dream of immortality here; a terrible star private clinic, run by a crazy doctor, and equipped Indestructible clones; a prop plane that crashed into La Brea’s tar pits, and almost escaped from a "killer tribe"; a series of self-deceptive killings by the Sparks brothers and their funny doubles; And more. Along the way, Karloff gained all the magical powers possessed by his various movie monsters, but lost them again, and RT—between flying a prop plane and avoiding fists thrown by killer clones—mourned his work During the tenure of a pulp mill, he dreamed of being addicted to alcohol and vowed to no longer engage in film business.
We certainly know that he would break his oath and write some scripts in the 1940s and 1950s, including (with Billy Wilder) an adaptation of James M. Cain's "Double Compensation". Although it closely (and subtly) traces Karloff’s film career, "Beyond the Night" fabricates Chandler’s writing history: although the story takes place in the mid-to-late 1930s, the story quotes the author’s Four novels, the first of which was only published in 1939. But this is a sophistry, because Newman spliced the fictional history of Pyramid Pictures into the known reality of Hollywood in the 1930s, usually very dexterous, and often laughed very funny. For example, Junior Home’s crazy pursuit of immortality is like a gorgeous Hollywood spectacle ("A crazy scientific event. Frankenstein, staged by Busby Berkeley"), and Junior is just another crazy power tycoon. Rule the little people. "You might be film material after all," he said to Chandler contemptuously.
We can rewrite Tubas on Parade for you. Nathanael West has a third act problem. You can solve this problem by letting two men with guns rush into the bandstand. Or we can get the rights to Big Snore for $500, discard your nameless dick, and use the plot of one of our series stars. [...] Throwing Boris a bone. He can play as the steward of the thorn forest. Who will find it. We cannot end with your tragic excuse. The slut sister goes to the lunatic asylum! Who wants to see that?
From "Bad and Beauty" (1952) to "The Player" (1992), the triumphant gossip of the junior is so convincingly stupid, so rich that it evokes every sarcasm in Hollywood that some people even want him to brag Said that he could hire a hacker on the street to give him "the feeling of Raymond Chandler." As far as he is concerned, RT has dealt with Pyramid's movie output severely, such as the gorgeous smell of unfinished Symphony: "The young Schubert (middle-aged Frederick March) was unable to complete his masterpiece because his composing arm was stabbed in a duel with Lord Byron (François tone). If this painting was a bigger bomb, the Luftwaffe would drop it on Guernica."
The most commonly cited film corpus in the novel is of course the supernatural horror, especially the world’s first neo-gothic version (later adopted by Hammer Studios in the UK). Newman has written numerous commentary copies for various venues, including the long-running "Empire" magazine "Video Dungeon" column, Newman knows this tradition well, as in his "Your Daily Dracula" post on Twitter As proven, it includes stills from a wide range of vampire movies. Newman's attitude towards this material is complicated, a nostalgic feeling of contempt, because he knows that the sacred pantheon is destined to fade away in a series of abhorrent sequels. Like me, he has studied Forry Ackerman's Famous Monsters of Filmland since he was a child. It celebrates this classic indiscriminately, from the original classic to clumsy imitations like The Son of Dracula (1943) and The Mummy's Ghost (1944), and one The haggard Lon Chaney Jr. substitutes Karloff and Lugosi. One of Newman’s earliest stories, "Famous Monster" (1988), followed the further evolution of this horror line (d) to the 1960s, when the dissipated Chaney received a bottled reward and starred in a Z-rated turkey, with the title It is Screaming Werewolf, Dr. Terror's Gallery of Horrors and Blood of the Cannibal Creature (only one of which is fictitious). Even the original movie has a camp atmosphere, as the RT in the new novel records by imitating Colin Clive's hysterical mania when the monster moves on the table: "It's Eve!"
But Newman also recognizes the power of this traditional myth. As evidenced by his stabbing in the laboratory scene, this is an extraordinary spectacle set in the courtyard of the clinic: "Lightning strikes [...], melting the gravel Synthetic black glass. [...] The Nightmare Carousel is a huge lightning rod knot. Cracks are formed between the arc-shaped steel bars. The fire from the sky is trapped in the Faraday cage." The bet here is the same as Frankenstein— -The basic process of controlling life and death-but Prometheus's over-expansionist is now not a zealous doctor, but a stingy boy's home. He turned this amazing event into a Nazi rally. "This is Nietzsche's Overman," RT sneered. "Come to California with a tuba." Newman believes that there is always an authoritarian undercurrent in the horror of the 1930s, just as RT combined Karlov’s monster with Fr. The comparison of the creepy child killers in Ritz Lang’s M (1931) proves: "A person may like to tear small bodies. The creation of Peter Lorre did not require lightning, grave robberies, and crazy inventions. This monster is nothing but He's an ordinary person." In his astute portrayal of pre-war Hollywood flirting with fascism, Newman argued that Ball tended to downplay certain aspects of popular mythology—in fact (in Roland Bart’s words) "[s] Statistically, mythology That’s right. There, it’s essential; it’s full, sleek, wide, and nagging, and it keeps inventing itself.” In the words of RT, the mythologists of the rich and powerful in the U.S. The thing is right-real monsters do not die. It is not fire, not stakes, not plane squadron... nothing can kill money."
Although Bauer’s book and Universal Pictures’ adaptations continue to resort to British materials, the United States has cultivated quite a few local myths, many of which are firmly “on the right side”. Indeed, Bauer devoted a chapter to one of them: a crusader in a cloak, a cruel policeman who usurped legal power-"violent and ruthless, possibly insanity, some people feel that they are on the verge of fascism." Oddly enough, his book ignores the outstanding creator of American mythology in the 20th century. His views are absolutely authoritarian: HP Lovecraft. Among the two mythological pantheons established in the 1930s, the monsters of Universal and the ancient gods of Lovecraft, the latter can be said to be more influential, especially in recent decades. Of course, the Cthulhu myth shows a key criterion of Bauer: the ability to produce seemingly endless sequels and derivative products, from doting tribute to brutal imitation.
Even during Lovecraft's lifetime, Mythos was a collective enterprise, with a group of fans and other writers producing branches, some of which worked with the original creators. In 1969, August Derleth planned a sample of these stories in Tales of the Cthulhu Mythos, plus some efforts after Lovecraft’s death, The volume was revised and expanded in 1990. Many other anthologies, from Linkart’s Son of Cthulhu (1971) to Ramsey Campbell’s New Story of Cthulhu Mythology (1980) to John Perrin and Benjamin Adams’s Son of Cthulhu (2002) and so on. There are some thematic anthologies designed to adapt to specific market segments in the myth: She Walks in the Shadows (2015), edited by Silvia Moreno-Garcia and Paula R. Stiles, collecting female perspectives, and Cthulhu Unbound (2009), by John Sunseri and Thomas editor Brannon feature a variety of genre hybrids (black, quirky comedy, space opera, etc.). There was even a tentacle eruption of Cthulhu's eroticism.
Because Lovecraft’s early death left a messy legacy, his novels quickly entered the public domain, or there have been copyright disputes for a long time, this situation has promoted the proliferation of unauthorized sequels. Derleth co-founded Arkham House Press to reprint Lovecraft’s story from pulp. He wrote several tribute books himself, such as "The Road to Cthulhu" (1962), and encouraged young writers to become obsessed. Lovecraft's works, the most important of which is Ramsey Campbell's first collection "Lakeside Residents and Unwelcome Tenants" published by Arkham House in 1964. He recently returned to his Lovecraftian roots with his excellent trilogy of Brichester Mythology. ) Writers and fans who became part of Lovecraft’s circle in the 1930s continued to contribute to this cycle, such as Frank Bernap Lang’s "Terror on the Mountain" (1963) and Robert Bloch ( Robert Bloch's "Strange Eons" (1978), while other aspiring talents were cultivated in Cthulhu fanaticism, such as Brian Lumley, who continued to write mythological novels Long-term career. Like any fan network's literary (some might say quasi-literary) works, this material is an acquired taste that will make most readers feel cold.
The first serious attempt to break the shackles of imitation was Fred Chappell's 1968 novel Dagon. This is one of the strangest and most disturbing books I have ever read. It combines cosmic horror and southern Gothic. Insanity. TED Klein's 1985 "Dark God" series is also innovative, which contains four long stories, renewing the old stories for the urban crime and economically unstable world. In 1995, William Browning Spencer published "Résumé with Monsters", a smirk of mythology Gen-X, one of the poor Lovecraft (Lovecraft) Fans face cosmic and personal enemies (as his hippie therapist said of his literary icon: "Facing reality, this person is not'not a pink for mental health"). Lovecraft’s fan conceit was pierced funny in the 2016 novel "I Am Providence" by Nick Mamatas (Nick Mamatas). His early work "Underground "Move Under Ground (2004)" is a clumsy but intermittent attempt to connect Cthulhu and Kerouac. This alternative "tradition" of ironic tribute became popular in 2015. Austin Grossman's "Distortion" is an alternative history of post-war America, in which Richard Nixon signed the Faust Treaty with mysterious entities, and Jonathan Howard's Carter and Lovecraft, one of the murder police private investigators, investigates a series of killings related to the ancient gods.
Then, between 2016 and 2017, there was a veritable explosive growth. In addition to Mamatas's satire of organized Csuriana, there are two novels that explore the meaning of Lovecraft's enduring racism with surprising seriousness. Although Matt Ruff’s interesting interlude "The Land of Lovecraft" has received more attention, largely because of the sensational desserts produced by HBO, Victor Laval ( "The Ballad of Black Tom" by Victor LaValle is a better book: more compact, darker, and more angry. More elaborate works follow. Canadian writer Jacqueline Baker's "Broken Time: Www. Lovecraft's Novel" is an ingenious metafictionalization of Lovecraft’s biography, a sick, alienated man and Traumatic family history struggles with sympathetic portraits, and Paul Lafarge’s "Ocean of Night" uses Lovecraft’s biography to infer Lovecraft’s mysterious friendship. The closed teenage fans meditated powerfully on identity and belonging. Both Baker and LaFarge's novels are beautifully written and emotionally rich-which proves that there is still life in the melancholic pulp merchant's legacy.
Speaking of literary remains, the excellent small publishing house Haima Publishing House established in 1999 to promote the works of Lovecraft and his disciples, released a new novel by the late Michael Shea in August, Mr. Canniham : Lovecraft horror novel. Shay died in 2014 and is probably the most important believer in American mythology, largely because his work goes far beyond Lovecraft's imitation. In fact, Shea is a versatile liar, producing an authorized sequel on Jack Vance’s lush "Dying Earth" venue, A Quest for Simbilis (1974), and the award-winning wandering fantasy novel Nifft the Lean (1982), impromptu Show about Fritz Leiber's Fafhrd and Gray Mouser series. His best novel is a contemporary retelling of the legend of Gilgamesh, in Yana, Touch of the Undead (Shay has a way of title). As a versatile genius, he has also written terrifying horror stories, such as the bleak little masterpiece "Autopsy" (1980) and dystopian science fiction, including an unfinished trilogy set in Los Angeles, which is ironic. Personal knowledge, corruption and corruption in the film industry. Shay was born and raised in Los Angeles and spent most of his career in the Bay Area, creating some of the most fascinating portraits of his hometown in modern fantasy novels-both fascinating and disillusioning.
Shay’s initial contact with Cthulhu’s mythology was shaped in an imitative way. His 1984 novel "Colors Beyond Time and Space" provides an objectionable dark story about Lovecraft, "Colors Beyond Space". "(1927) a fast-paced, extremely violent update. But as his novelette "Fat Face" was published as a pamphlet by the now-defunct Axolotl Publishing House in 1987, Shay began to use mythology as his own work and wrote a series of stories set in contemporary San Francisco. These stories connect Lovecraft’s pantheon of ancient gods and clashed with a group of sloppy, eccentric and free street vagabonds: a prostitute, an old man who almost made a living on relief, a free cartoonist, A middle-aged lesbian bookstore owner, an aspiring writer, engaged in a humble job. Most of these people are tenants of an ancient residential hotel called Hyperion in the mission area, just a step away from the dilapidated hut in Tenderloin. Their encounters with the weird and weird inspire awe and a tired resignation, although some are Inspire to fight. "Copping Squid" (2009) is a typical example: a frustrated hijacking incident involved a liquor store clerk in a grotesque black market economy in which the hardcore Cthulhu addicts aspire to be extraordinary The solution, this is Shay’s most dreamy and breathtaking prose in his:
Now all the hells, with the relentless slow acceleration, collapsed. The hot architectural crown of the city began to disperse, the bricks escaped from the bricks in a perfect way, widened, until they all became dotted buildings that were looted in the whirlwind, and everyone was also scattered from these buildings. Like falling seeds, they flew into the night, their evaporating arms were raised like fear or salute, shouting their existence from the face of the dark clouds blown torn apart by the black wind.
In 2017, Dark Regions Press, another small publisher specializing in horror and dark fantasy, collected these stories into a book edited by Lovecraft’s Godfather ST Joshi, entitled "The Creator: Michael Shea’s "Complete Cthulhu Myth Story", now Haima, with the assistance of Shea's widow Linda, released Mr. Cannyharme, also edited by Joshi. (This appeared after And Death Shall Have No Dominion: A Tribute to Michael Shea, Joshi took the charge of the hippocampus again in 2016.) As Joshi observed in his introduction to Demiurge, only when Shea began to "learn from him" His own California roots", he was able to convey the true ecstasy and fear of cosmic horror, and its terrible impact on the lives of "those humanized flaws that made them the reader’s eyes and ears, as the awe-inspiring revelation slowly Emerges.” As Linda Shea’s foreword to Mr. Canniham reveals, many of these stories are indeed deeply rooted in the author’s experience: like the protagonist of the novel, he is on a mission A "fashionable cheap hotel" in the district as a night attendant, his imagination "rebounds [ing] and reshapes [ing] the people he meets," those low-status residents, their hopes and fears rarely exceed their next salary , The next drink, the next melancholy hookup. By placing a cosmic frame around their quiet despair (and his own), Shea managed to produce a unique literary hybrid: a story of a desire to be a writer fighting real demons, a NorCal version of Ask the Dust, With Shuggs.
This is unfair, because Mr. Cannyharme is not rude at all; in fact, its serious approach to bizarre subjects is one of its main advantages. And you can’t actually see Schugs; if it weren’t for the short inscription and editor’s note, even Lovecraft’s loyal readers might not have realized that the story was inspired by "The Hound" (1924), a small myth. The story (Lovecraft himself calls it "a piece of rubbish") is about a Dutch necromancer who appears as a creature of the same name. In Shea’s novel, this evil immortal has become Mr. Cunningham (aka Van Haarme, aka Cannyharme), a dilapidated tenant of Hyperion, who wanders nearby, distributing leaflets full of his crazy poems . (Like Lovecraft, Shay wrote some of the creepiest essays you've ever read: Is there any other bard who rhymes "femur" and "lemur"?) Following his cruelty The insidious influence of the verse is growing, and more and more Hyberion’s tenants are attracted as victims or accomplices, into its dark throat, and various plot clues-the protagonist is involved in the drug gang, his daughter Friends struggle with traumatic memories of childhood abuse, hotel managers’ marital discord, ambitious conspiracies and beautiful pimps—finally get together at a bloody banquet hosted by the vicious Mr. Canneyham. Along the way, there are many vividly presented-but rather vaguely explained-supernatural scenes: corpses erupt from the cemetery, ectoplasmic tentacles gather sleeping prey, a dying person is projected across the city, a burnt The Chinese restaurant becomes a gateway to another dimension.
In short, the story is not really connected, which is not surprising considering that the manuscript was abandoned by the author. According to Josh's preface, it has two versions, one longer, "the character portrays are more detailed, and the prose has a richer texture". Shay’s wife said that this manuscript was written in 1981, earlier than any mythology he published, although the AIDS crisis, rap music, and home computers were mentioned throughout, indicating that the revised manuscript was eventually eaten away for production. Some stories gather in Dimiugos.
But in any case, this is not a book to read for the plot; on the contrary, its fun lies in the author's shrewd observation of the Bohemian scene and his insight into his despicable characters. The pages are littered with ingenious sketches, reminiscent of Hubert Selby's vulgar gallery-a dirty badger is "a shrunken little human monkey half wiped off by wine "; A homeless prostitute is "a clumsy nomad, an alley ghost in a trance in a permanent pill"-the environment in which they wander is a tacky neon wasteland, evoked with fanatical excitement: " In the mission, here is the real human mystery, weirdness, incompatibility, monsters and archetypes. This is myth! This is vision!" The inhabitants of this gloomy Garden of Eden are threatened by their own vices and delusions, just like any metaphysical beast. ; In fact, it is their self-destructive tendency and their secret impulse to destroy, which is the basis for Mr. Canniham’s survival. "The Time Death stands like a giant in this gleaming underground world, standing knee-deep in the crowd with a sickle in his hand."
In the preface, Linda Shea revealed that her husband thought the story was "too harsh [...] too cruel", and the protagonist, although partly autobiographical, was too "jerk". Of course, he also has his shortcomings: he is a selfish drug dealer and petty criminal, an exploiter who exploits others, especially women; but despite being the focal figure, he is not the protagonist of the story: he is too passive and too uncomfortable. At the mercy of the incident. The true hero of the story is a small group of female characters who have suffered enough and joined forces against Mr. Cannyharme. In any case, even if the story is dark and disturbing, that is, as Bauer observes, it is a privilege of a popular myth, "It dares to show us what we might want but shouldn’t , And things that should exclude us but don’t like.” This incisive motto, and anything that can be explained, explains the enduring popularity of Frankenstein and Cthulhu, the two ancient relics of modern popular culture, Newman And Shay’s novels gave them a passionate new life.
Rob Latham is the senior editor of LARB.
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