By 2017, Mark Samuels was admired enough by his fellow weird fiction writers that a tribute anthology was published by Snuggly Books (also the publisher of both Brian Stableford original works and some of his translations from French). Of course, being a Samuels fan, I had to check it out.
As you would expect from this sort of book, you get people doing takeoffs on Samuels stories and themes, authors presenting some version of Samuels the man – including some fantastically ironic ones, and some stories that are only tributes to Samuels in the author’s minds.
It’s a thick book and most of its stories are worth reading.
The author notes from Thana Niveau describes the first category thus
If Mark Samuels is high quality cocaine, this book is like the weird diluted version that’s possibly cut with bleach and maybe even hallucinogens; it’s still going to get you messed up, but possibly not in the way you were expecting. Real Mark books = brand name prescription drugs, this book = generic version from a third world country.
Niveau’s own “Language of the City” channels his dislike of cities in a story about a woman who grew up in Devon and had a frightening experience when traveling to London as a child. Studying art and interactive media in York, she begins to have visions, intimations of York’s past and of a city alive and ready to attack. Years later, after she’s returned to Devon, her husband disappears in London, and she will come to realize a truth:
It’s not the death of civilization, because there is no civilization. There is only the city. We delude ourselves into thinking we built all this, that we conceived it and designed it to serve our needs. But that’s not true. We’re the constructs. We’re the ones who were built.
Valentine says Hodgson took up writing Carnacki stories when the publication of his first three novels won acclaim but didn’t get him much money. He decided a series character, a detective interested in occult mysteries like Algernon Blackwood’s John Silence who first appeared in 1908 (Carnacki first appeared in 1910). You’ll note this contradicts claims by Joseph Hinton in Sargasso #2 and Sargasso #3 about when Hodgson wrote the Carnacki stories. Such are the unknowns of Hodgson scholarship.
Hodgson not only tapped into the rituals and plots of the detective story but the semi-rationalized wonders of Spiritualism. Valentine thinks the Carnacki stories should be treated with more respect by Hodgson fans though, from what I’ve seen, they seem to have plenty of fans among Hodgson readers. They hint at some of the same dark cosmic forces that The Night Land does.
He also argues that there is more of Hodgson in Carnacki than any of his other characters. In this regard, he does not mention the shared interest in photography, but that Carnacki may regard the forces (natural or supernatural) menacing the people who contact him as sort of bullying entities, the same sort of bullies Hodgson confronted at sea and that gave rise to his interest in bodybuilding. Continue reading →
The first issue of this journal had lots of material. This one is thinner – whether from a lack of contributors or due to production costs, I don’t know.
“Andy Robertson R.I.P. (1955-2014)” remembers the man who sparked a mini-Hodgson revival with his creation of The Night Land website devoted to Hodgson’s eponymous novel, and Robertson also published and wrote stories set in the world of that work.
“Under the Skin: A Profile of William Hope Hodgson” by Jane Frank offers a brief look at Hodgson’s personality. By the age of five, three of Hodgson’s brothers had died. Hodgson’s unusual middle name – usually a female name – may have had theological implications for his clerical father and his wife. (They wanted a daughter.) Frank sees Hodgson as, from an early age, energetic, imaginative, and always wanting more. Part of the behavior that some saw as egotistical and self-centered (Frank quotes from editors who met him and letters Hodgson wrote) may have been the result of his desire for attention.
She sees Hodgson’s personality as shaped by the two ages he lived in: the “repressive” Victorian world of his youth where mores were important and the energetic Edwardian age of fortune-seeking and technology. Hence we see Hodgson as an early adopter of the typewriter and photography and his entrepreneurial streak and attempts to support himself after leaving the Mercantile Navy. Hodgson was in boarding school by age eight, and his family had moved five times by the time he was 13. He was a temperamental lad and, around his father, unruly and disobedient. Continue reading →
“Shadow Out of Hodgson” by John D. Haefele lays out a case, even though S. T. Joshi and David E. Schultz do not mention in Hodgson in their annotated version of H. P. Lovecraft’s The Shadow Out of Time, for the influence of Hodgson’s The Night Land on that work. First, Lovecraft mentioned Hodgson’s novel in several letters when the story was being written between November 10, 1934 and February 22, 1935. Second, there are several similarities in the narratives. First, like humanity in the Last Redoubt, the Great Race is under siege. Second, the consciousness of both narrators is projected into the future. Both stories feature libraries of metal bound books that the narrators access. Less convincing is Haefele seeing similarities between X descending the gorge on his way to the Lesser Redoubt and the narrator of The Shadow Out of Time, in contemporary times, descending into the uncovered structures of the Great Race.
Phillip A. Ellis’ “A Reassessment of William Hope Hodgson’s Poetry”, Phillip A. Ellis looks at almost all of Hodgson’s poetry and finds Hodgson’s poetry full of vivid physical tales as well as a preoccupation with, as Hodgson scholar Jane Frank noted, “strange visions, supernatural phenomena, hallucinatory events”. Poetry seems to have been a lifelong literary outlet for Hodgson. He took it up earlier than fiction writing and wrote most of his poems between 1899 and 1906. He even wrote poetry when he was in the army and Ellis thinks that, if would have had the chance to develop his facility more, he might have been a noted war poet. Ellis thinks most of the weaknesses in Hodgson’s poetry came from him being a self-educated poet lacking the necessary technical training. I’ve read a lot, but by no means all, of Hodgson’s poetry. Frankly, little stuck in my brain (but, then, most poetry doesn’t) apart from the prose poem “Grey Seas Are Dreaming of My Death”. I do agree with Ellis that Hodgson is best when he takes inspiration and metaphors from the sea. Continue reading →