Reviews of Old and New Stories. Mostly Old

Review of “The Feast at the Abbey” by Robert Bloch: Halloween Countdown

For October 7

Plot:

Traveling through a forest to meet his brother, the narrator is caught in a storm and takes refuge in a monastery he happens across. A short, rotund abbot admits him and summons two servants (whom he refers to with the unfortunate term “blackamoors”) dressed in “great baggy trousers of red velvet and waists of cloth-of-gold, in Eastern fashion.” The narrator finds them out of place in a Christian monastery.

One servant sees to the narrator’s horse, and the other shows him to his room, which is “hung in Spanish velvets of maroon.” The narrator finds them lavish but in bad taste in a house of worship.

The abbot has arranged a set of dry clothes for the traveler that fit him perfectly. The abbot extends an invitation to dinner.

The dinner is lavish, far beyond what the narrator considers the usual monastery fare. The monks laugh. It’s a party. The narrator grows more uncomfortable.

The abbot tells him he’s fortunate to have found them. Others have not been so lucky.

Thoughts:

How many warning signs does this guy need to know that not all is well where he is? Sure, he’s caught in a storm in some pre-industrial society. Calling AAA if his horse breaks a leg is not an option, so he has to take what he’s offered. Nevertheless, outside of sniffing at the impropriety of the conduct of people around him, he does nothing until the big reveal at the very end.

Bloch was about 18 when he wrote this tale. He can be forgiven for things like not knowing an abbot would not answer a monastery door, for example. The writing is adjective-heavy, slowing it down a bit. Nevertheless, it is nicely atmospheric. The feeling of threat grows as the story progresses. The monks seem at first merry—perhaps a little indulgent—then outright gluttonous when dinner arrives, stuffing themselves. They laugh loudly, drink, and tell jokes. Near the end, they appear “wolfish.”

He steals some of his thunder, betraying the shocking ending before it arrives. At the same time, this is short and can be read in one sitting. I liked the atmosphere and waiting for the narrator to get a clue. Great literature it is not, but it is entertaining. Given Bloch’s age, it ain’t half bad.

Bio: Robert Bloch’s (1917-1994) best-known work is Psycho (1959), which Alfred Hitchcock made into an iconic movie of the same title in 1960. The writings of H. P. Lovecraft greatly influenced Bloch’s early career, but Bloch later branched out into crime, psychological horror, and a bit of science fiction. He also branched out into television and film, including The Twilight Zone and some Star Trek episodes. “The Feast in the Abbey” was among his first sales to Weird Tales.

The story can be read here:

The story can be listened to here:

Title: “The Feast in the Abbey”
Author: Robert Bloch (1917-1994)
First published: Weird Tales, January 1935

Review of “The Call of Cthulhu” by H. P. Lovecraft: Halloween Countdown

For October 6

Plot:

While going through the effects of his late uncle, George Gammell Angell, professor emeritus of languages at Brown University, Francis Wayland Thurston discovers a small bas-relief depicting a creature, an amalgam of “an octopus, a dragon, and a human.” He further describes it: “A pulpy tentacled head surmounted a grotesque and scaly body with rudimentary wings.” Below the creature, hieroglyphics were inscribed.

According to Professor Angell’s notes, a young man by the name of Henry Anthony Wilcox brought the bas-relief to him, asking him to translate the hieroglyphics. A student at the Rhode Island School of Design, Wilcox had made the bas-relief, including the inscription, after something he’d seen in dreams.

Wilcox is taken ill and sent home. After some days, he recovers with no memory of having been ill. The strange dreams cease.

Among his great-uncle’s papers, Francis finds accounts of other similar dreams, experienced mostly by artists and poets.

The Professor had seen something like this before. In 1908, Inspector John Raymond Legrasse from New Orleans came to consult a gathering of the American Archaeological Society in St. Louis about cult of voodoo adherents who practiced human sacrifice.

From here, arise stories that seem to indicate a cult dedicated to an image much like Wilcox’s exists in nearly every far-flung corner of the world. They chant a phrase in an unknown language which means, “In his house at R’lyeh, dead Cthulhu waits dreaming.”

Thoughts:

A warning to anyone who might be thinking of reading this gem, which is often considered Lovecraft’s masterpiece. Lovecraft uses racist language and stereotypes unapologetically. People of mixed-raced are “mongrels,” and they are (whaddya know?) the bad guys—assassins, and often not terribly bright. “Degenerate Esquimaux” practice Cthulhu rites. He doesn’t have much good to say about sailors, either. Lovecraft was a racist and a snob.

Lovecraft’s prose is often lush and heavy, a throwback to 19th-century purple passages with phrases like, “My uncle, it seems, had quickly instituted a prodigiously far-flung body of inquires amongst nearly all the friends whom he could question without impertinence…”

Even if Lovecraft was long-winded, he knew how to build suspense. What might appear at first as no more than an ugly sculpture made by a young man whose unsettling dream interest the narrator’s great uncle becomes a symbol of a threat to the entire world. It’s evil enough not to mind devouring humans for breakfast. How to stop it? It’s deathless.

This is a longer story, broken into three chapters. It takes a little longer to get through, but I think if the reader has time, this is not a bad little yarn. The racism, however, spoils it.

Bio: H.P. (Howard Phillips) Lovecraft (1890-1937) was an American writer of science fiction, fantasy, and horror. He is best known as the creator of the Cthulhu myths, involving “cosmic horror,” that is, a horror that arises from the danger that surrounds us mortals, but it keeps so far from our everyday lives we don’t and can’t see it. Those who seek knowledge of it are often driven insane or die.

Lovecraft originally wanted to be a professional astronomer. He maintained a voluminous correspondence, particularly with other writers. Though his work is now revered as seminal in horror and dark fantasy, he died in poverty at the age of 46 of cancer of the small intestine at his birthplace, Providence, Rhode Island.

Lovecraft was an early contributor to Weird Tales magazine in the 1920s. Among his best-known works are “The Dunwich Horror,” “Dagon,” and “The Call of Cthulhu.”

The story can be read here:

The story can be listened to here:(1:29:36)

Title: The Call of Cthulhu
Author: H. P. Lovecraft (1890-1937)
First published: Weird Tales, February 1928

Review of “The Burned House” by Vincent O’Sullivan: Halloween Countdown

For October 5

Plot:

Aboard a ship crossing the Atlantic, the narrator hears other passengers discuss being (maybe) over the spot where the Lusitania went down, which leads to a discussion of death by drowning and a discussion of ghosts, which in turn leads to laughter.

One passenger, a man from Fall River (MA?), does not laugh, though he denies believing in ghosts. He tells the narrator a story.

Later, topside walking and smoking cigars, the man from Fall River tells the narrator, “So many damn’ strange things happen in life that you can’t account for. You go on laughing at faith healing and dreams and this and that, and then something comes along that you can’t explain.”

Before he launches into his main story, the man from Fall River describes himself as an “outfitter” (he sells men’s clothes?). His favorite author is Ingersoll (presumably Robert G. Ingersoll, “the great agnostic”), so he’s not into woo-woo stuff.

After a tiresome time “before the courts,” he was acquitted and took a vacation in the hills of Vermont.

While walking, and sees a house burn, killing a couple inside. Oddly, the fire is not hot, nor does the smoke choke him. He runs back to the village for help and notices a man he’d seen earlier hanging from a footbridge, toes dangling in the water. When he tries to help him, he clasps at nothing.

Because of his earlier legal troubles, he’s reluctant to make a fuss and asks obliquely about the house on the hill when he returns to his inn.

The innkeeper says there is no house on the hill as he described.

Thoughts:

So, was the unnamed man from Fall River hallucinating? Was he daydreaming? Stressed out after his trial? That would be the most logical explanation.

While perhaps strictly not a ghost story—all parties are alive when the visions occur—it bears the same hallmarks as many ghost stories. It is sad. The actors are trapped by their fate, perhaps even doomed to repeat it. A suicide is involved.

Realizing he could do nothing to prevent the tragedy despite his forewarning haunts the man from Fall River as surely as any ghost.

I liked this little tale, as sad as it was.

Bio: Vincent O’Sullivan (1868-1940) was an American poet, critic, and writer of weird fiction, most notably in the turn-of-the-century Decadent movement. He spent most of his life in Europe, living quite comfortably until the family business went bust.

The text can be read here:

The text can be listened to here: (19:52)

Title: “The Burned House”
Author: Vincent O’Sullivan (1868-1940)
First published: The Century Magazine, October 1916

A story about to be a podcast! YIPPEE!

Review of “The Bad Lands” by John Metcalfe: Halloween Countdown

For October 4

Plot:

To “slay the demon of neurosis,” Brent Ormerod takes a vacation in the quiet town of Todd on the Norfolk coast of England. As part of his treatment, he gets plenty of exercise and fresh air. He returns to the hotel from these daily walks exhausted and sleeps.

Things go well enough until he comes upon a deserted tower among the dunes beyond a golf course. For some reason, the landscape depresses him. He finds it sinister and decides that the only way to deal with the dark mood is to keep going back and press onward.

When he talks of these things to other people at the hotel, he gets no sympathy until he meets another newly arrived guest, one Mr. Stanton-Boyle. Mr. Stanton-Boyle concedes that the area beyond the golf course “gets on his nerves,” and it “is somehow abominable.”

So is this area indeed, as Stanton-Boyle later calls it, “terre mauvaise”? (Because the Bad Lands are “that bit in the States.”) Two people independently get the creeps from the same place, so it has to be bad, right?

After talking with Stanton-Boyle, Brent dreams of a country “full of sighs and whisperings.” He sees a sinister-looking house.

In the following days, he walks farther beyond the oddball tower and comes to the country he dreamed of, including the house. Looking in through a window (not at all creepy), he sees an old spinning wheel and concludes it’s evil. Not only is it evil, but it’s also the source of all the bad things in the surrounding countryside—and he must burn it!

Back at the hotel, he tells Stanton-Boyle of his plans. Rather than try to talk him out of arson and vandalism, Stanton-Boyle cheers him on, calling him a hero. Stanton-Boyle is the friend your mother always warned you about.

Thoughts:

The action takes place about fifteen years before the story is related, about 1905. Even so, spinning wheels couldn’t have been common. Was it real? A lot of the story has this feeling. Does Brent dream the house into being? There is an answer for that.

The descriptions and the moods created by the landscapes are evocative. Something is off. Is it haunted? What spirit oppresses Brent? How much is in Brent’s head, and how much is not? We have an outside observer. There must be some objective reality, right?

My read on the ending is that the author intended humor. City slickers lost their heads in a countryside they didn’t understand. Too much fresh air, maybe?

There is no note of whether Brent suffers any repercussions beyond humiliation. The townsfolk seem more annoyed and content with making him a laughingstock. They dismiss the things that Stanton-Boyle says. Adding to his embarrassment, Brent finds his sister, concerned he has not written to her, arrives from Kensington to look after him.

Bio: William John Metcalfe (1891-1965) was born in the UK. He is best known for horror and weird stories. He earned a degree in philosophy from the University of London and taught in Paris until the outbreak of WWI, then served in the British Royal Naval Air Service and Royal Air Corps. After the war, he taught in the UK and began writing. After publishing his first short story collection, The Smoking Leg and Other Stories, he wrote full-time. He taught in the UK and the US after WWII. He married American novelist Evelyn Scott.

The story can be read here, though it is challenging:

The story can be listened to here. (begins at 4:53:36)

Title: “The Bad Lands”
Author: John Metcalfe (1891-1965)
First published: Land and Water, April 15, 1920.

Review of “Amour Dure” by Vernon Lee: Halloween Countdown

For October 3

Plot:

Polish scholar Spiridion Trepka, working for a German university, is in Italy researching the archives of the fictional town of Urbania. He has come to find the Past.

He comes across the story of Medea di Capri, a 16th-century noblewoman who left a trail of dead husbands and lovers and was finally executed by her brother-in-law, Duke Robert, at the age of twenty-seven. She was reputed to be a striking beauty. Spiridon finds a couple of likenesses of her and becomes entranced by a miniature showing her wearing a necklace with the words, “Amour Dure—Dure Amour” (“love endures, hard love.”)

His obsession with Medea grows to the point where he neglects his work. One day, a letter arrives in what he believes to be Medea’s handwriting, asking him to meet her at a particular church. It must be a hoax. Medea has been dead for centuries—but he goes.

And he finds the church in much better shape than he expected.

Thoughts:

The story is told as a series of entries in Spiridion’s diary. It opens slowly, with more mentions of artists and sculptors than seems necessary. The author is building an atmosphere thick with Renaissance art and intrigue. She also creates a sense of black magic: Medea, in Greek mythology, was a witch. She fell in love with Jason, but when he betrayed her, she killed their children.

Medea di Capri’s magic lies in her beauty and ability to get men to do just about anything for her. But she’s also abused by her society and family. She was engaged at the age of twelve to a cousin (ICK), but after some misfortune in her family, the cousin’s family broke off the engagement. Spiridon reads the records of husbands’ violent deaths. Why is he attracted to her? The reader knows this will not end well.

I’m not quite sure what to make of this one. The thick atmosphere was a little heavy. Poor Spiridion knew Medea’s track record with men. He falls in love with the likenesses he finds of the long-dead woman. Why does he keep pursuing her and doing the oddball things she seems to be asking? Will it be different this time?

Bio: Vernon Lee is a pseudonym for Violet Paget (1856-1935). Paget is best known as a writer of supernatural fiction. She was born in France to British parents but lived in Italy, the setting for much of her fiction. She also wrote essays on art, music, and travel.

The story can be read here.

I could find no free or easily accessed audio recordings of this story.

Title: “Amour Dure”
Author: Vernon Lee (Legal Name: Violet Paget) (1856-1935)
First published: Murray’s Magazine, January 1887

Review of “The Thing in the Cellar” by David H. Keller: Halloween Countdown

For October 2:
Plot:

From his earliest days, Tommy Tucker seemed uneasy in the kitchen, especially if the door to the cellar was open. The cellar was larger than one would expect for the size of the house. The entrance was a “stout oaken door,” more suitable for an outside door.

The author tells the reader the cellar is one where “successive owners of the house had placed their firewood, winter vegetables and junk.” The stuff had piled high enough to form a barricade. No one knew or cared what lay beyond the barricade.

When Tommy reaches the advanced age of six and is about to go off to school, his parents decide it is time for their offspring to get over his fear of the cellar. They take him to Dr. Hawthorn.

Tommy can’t tell Dr. Hawthorn what he’s afraid of. He won’t fetch anything from the cellar for his mother, no matter how many whippings he gets. The doctor tells his parents to nail the cellar door open and leave Tommy in the kitchen for one hour by himself—in the dark. That will show him there’s nothing to worry about.

Thoughts:

This is a depressing little tale, from the father who wants his six-year-old boy to become a man, to the parents who find their son’s dread of the cellar an embarrassment, to the doctor’s annoyance with a little boy who won’t (or can’t) describe what terrifies him. I found it interesting that the author, a physician himself, made a doctor so obtuse.

Dr. Hawthorn has dinner with an old classmate, a psychiatrist interested in children, who perhaps supplies an answer to the problem, then goes to the Tucker house to try to prevent a tragedy.

The story leaves the question of what is in the cellar unanswered. Is there a monster? Was it all in Tommy’s imagination? Was Dr. Hawthorn’s friend correct? Or was something created from Tommy’s long and ongoing fear?

Bio: David H. Keller, M.D. (1880-1966) was an American writer, physician, and psychiatrist. During WWI, he treated soldiers with PTSD, then known as shell shock. He is best known for his science fiction writing, but he also wrote fantasy and horror. In addition, he wrote a series involving occult detective Taine of San Francisco.

The story can be read here:

The story can be listened to here: (16:28)

Title: “The Thing in the Cellar”
Author: David H. Keller, M.D. (1880-1966)
First published: Weird Tales, March 1932

Review of “The Graveyard Rats” by Henry Kuttner: Halloween Countdown

For October 1:

Plot:

Old Masson became the caretaker of one of Salem’s oldest and most neglected cemeteries after the former caretaker inexplicably disappeared. Generations ago, abnormally large rats migrated up to the burial ground from the wharves. Masson decided they had to go, but the usual measures failed.

Every so often, the gravediggers uncover their unusually big burrows. A man could fit in them. The old people whisper about something worse than rats: the rodents are mere go-betweens. The legend of the Pied Piper “is a fable that hides a blasphemous horror.”

Masson doesn’t pay any mind to this talk. He tries to hide the existence of the rats. If the townspeople peer too closely, they might see things Masson would prefer to keep private.

Thoughts:

Lovecraft’s influence shows through in this story. Kuttner portrays an atmosphere of lingering ancient, unseen evil, even if the things Cotton Mather chased down are gone.

And the rats. They’re not natural. They’re the size of cats. Masson tries trapping them, poisoning them, and, when all else fails, simply shooting them. They come back in greater numbers.

Kuttner depicts horror not as cosmic but as localized and personalized. Masson gets his just deserts.

I didn’t care for this story and those like it, whose main attraction is ICK, but that’s a personal preference. The suspense builds nicely, and there is some humor, but I’m still not crazy about it.

Bio: Henry Kuttner (1915-1958) was an American author of horror, science fiction, and fantasy. An early admirer of Weird Tales and H. P. Lovecraft, he corresponded with the author and had some stories published in the magazine. He was married to author C. L. Moore (“Shambleau”). The two often collaborated. Kuttner used many pseudonyms, including Lawrence O’Donnell and Lewis Padgett. Kuttner’s work influenced sci-fi writer Ray Bradbury, among others.

I couldn’t find a source that was both legible and trustworthy for the text. However, text is included with audio below.

The story can be listened to here: (30:31)

Title: The Graveyard Rats
Author: Henry Kuttner
First published: Weird Tales, March 1936

Review of “Rapture-Palooza” (2013)

What would Saturday night pizza and bad movie be without a bad movie? It had its moments, but it also had moments of ICK.

Plot:

Lindsey Lewis (Anna Kendrick) and her boyfriend Ben House (John Francis Daley) missed the rapture. Lindsey’s mom was raptured but was sent back, complete with white robe and number, after she started an argument in line, so now she finds herself with the rest of the family on earth to suffer the wrath of God or whatever is happening. She spends a lot of time crying and asking, “Why?”

The wipers on Ben’s car can barely handle the rain of blood. Six-inch locusts afflict people screaming, “Suffer!” Crows fly around jeering at people in obscenities. Fiery boulders falling from the sky crush many random people and things. One kills Lindsey’s dad. It was the worst day of Lindsey’s life.

Another fiery boulder crushes the sandwich cart that Lindsey and Ben started to make a little money. Out of desperation, they turn to Ben’s dad (Rob Corddry), who works for the Antichrist (Craig Robinson) as a pool guy. He promises to set them up with something.

The Antichrist/Beast shows up early with his son, Little Beast (Bjorn Yearwood). He falls in love with Lindsey and decides she’s the perfect vessel for his evil seed.

What lady could decline such a charming offer?

If she refuses him, he’ll kill her family and everyone she cares about.

Such a romantic.

Thoughts:

In the opening credits, it notes that “This film is based on a true story.” Um. I don’t know that I would take that too seriously.

The Antichrist is a former politician (I am biting my tongue) named Earl Gundy. One of the running gags is that he keeps saying, “My name is not Earl!” During an angry phone call with his ex, he screams, “Call me the Beast!” The Antichrist gets no respect. To rise to power, he destroyed several cities, including Chicago, and—much to the dismay of Lindsey’s dad—Orlando. His retinue dresses much like the Secret Service, lives in fear of him, and tells each other to say yes to him regardless of what he asks.

The Lewis’s neighbor, Mr. Murphy (Thomas Lennon), is a zombie (?) who does little but mow his lawn, with or without a lawn mower. Lindsey and Ben tell him how good his overgrown lawn looks. Wraiths roam the town, seeking not brains but marijuana.

Because killing him would only bring the Beast back as Satan, Ben and Lindsey hatch a plot to capture and imprison him. It is a crazy plan that should not work. It goes awry, of course.

At one point, Lindsey tells Ben’s dad, “[The Beast] is the most evil person who’s ever lived.”

Ben’s dad (who works for the Beast) responds, “Well, then, the most evil person who has ever lived is paying the bills around here.”

At another point, the Beast has his minions hold up a mirror so he can dance in front of it and ask, “Who’s a sexy beast?”

A couple of things stood out to me. First, this is not a movie for the kiddies. The violence and the vulgarity are over the top. Second, while there are some good lines and funny situations, overall, the silliness didn’t work for me. I liked a lot about the movie and enjoyed watching it, but there were times when it also made my skin crawl.

This is neither here nor there, but the title made no sense to me.

If you’re curious, this can be watched (with a whole lot of commercials) here:

According to JustWatch, It’s also available (with a subscription) on Prime Video (with ads) for rent or purchase Amazon TV, Apple TV, or Microsoft.

Title: Rapture-Palooza (2013)

Directed by
Paul Middleditch

Writing Credits
Chris Matheson…(written by)

Cast (in credits order)
Craig Robinson…The Beast
Anna Kendrick…Lindsey Lewis
John Francis Daley…Ben House
Rob Corddry…Mr. House
Ana Gasteyer…Mrs. Lewis
John Michael Higgins…Mr. Lewis

Released: 2013
Length: 1 hour, 25 minutes
Rated: R

Review of “The Maze” (1953)

trailer from YouTube

This black-and-white horror flick was a recommendation from my friend Tracy. She has yet to steer me wrong.

Plot:

Kitty Murray (Veronica Hurst) and Gerald MacTeam (Richard Carlson) are enjoying a vacation in the south of France. They expect to be married in two weeks. With them are Kitty’s Aunt Edith (Katherine Emery) and the about-to-be best man, Richard Roblar (Robin Hughes).

While Richard and Kitty are dancing, Aunt Edith asks Gerald if his uncle, Sir Samuel, would like to attend the wedding. Gerald doubts it. His uncle has locked himself away in that old Scottish castle for who knows how long. He tells Aunt Edith about his upbringing at Castle Craven. The castle has no modern improvements, like electricity or central heating. And his uncle locked him in at night. There is a maze on the grounds, but it’s forbidden. He barely knows his uncle.

The next day, an express letter comes from Castle Craven for Gerald. He’s needed right away and leaves immediately, promising to return as soon as he can.

Kitty doesn’t hear from him. Her attempts to reach him go unanswered. She then reads a death notice in a newspaper that Gerald’s Uncle Samuel has passed away.

Six weeks later, a letter arrives, addressed not to Kitty but to Aunt Edith, releasing Kitty from the engagement.

Kitty does what any level-headed young woman in that situation would do. She makes her way to Scotland with her aunt in tow.

When she arrives, she finds Gerald appears to have aged ten years. He’s not happy to see her and tells her she must leave. Kitty is hurt but undaunted. She’s going to find out what’s going on.

Thoughts:

The opening scenes of the flick establish its gothic cred: the maze with the “Keep Out” sign on the padlocked wooden door, one servant (Michael Pate) calling out from a window in the tower room to fellow servant (Stanley Fraser) to inform him of the death of their boss. As they are talking in the tower room, an odd shuffling sound comes. Is it a family ghost? Or something else?

Aunt Edith narrates most of the film. Oddly enough, she appears to be standing in the tower room, where Sir Samuel met his maker, regardless of where in the story she takes up her narration.

Another odd, disorienting thing is the font of the opening credits. The letters are shadowed, intended to give the appearance of depth, but they’re next to illegible to my old eyes. Color would not have helped. The movie was shot in 3-D, with prominent foregrounds and often distant backgrounds.

It would have been cool to see the maze in 3-D, especially from afar, when candlelight is moving through it.

One nice visual is the performance of three dancers (Bess Flowers, Kenner G. Kemp, and Harold Miller, all uncredited) at a nightclub our heroes attend before Gerald gets called away. The two guys throw the woman around like a sack of potatoes. It’s bizarre.

The castle is suitably gloomy, with the windows in Kitty’s room bricked up. What possible reason could there be for that? At night, she listens behind her locked door as an odd shuffling sound comes down the hall. Creepy.

The special effects are poor and transparent, but seeing the strings never bothers me.

However, I couldn’t buy the explanation. It was just too goofy. But what got me was what happened after the explanation. Maybe Castle Craven has indoor plumbing now.

Nevertheless, I liked this atmospheric little flick. Thanks for the recommendation, Tracy!

The movie can be watched here:

Title: The Maze (1953)

Directed by
William Cameron Menzies

Writing Credits
Daniel B. Ullman…(written for the screen by) (as Dan Ullman)
Maurice Sandoz…(novel)

Cast (in credits order)
Richard Carlson…Gerald MacTeam
Veronica Hurst…Kitty Murray
Katherine Emery…Edith Murray
Michael Pate…William
John Dodsworth…Dr. Bert Dilling

Released: 1953
Length: 1 hour, 20 minutes