Grendel and the Tape-worm Were Hard Up For Cash

The Troop by Nick Cutter (pen-name of Craig Davidson) (2014): Falstaff Island gets relocated from Nunavut to two miles off the coast of Prince Edward Island in this ambitious, uneven, but enjoyable Canadian horror novel. 

An adult Scoutmaster and five Eagle Scouts in their early teens go to the uninhabited island every year for a camping trip.  This will probably be the last trip for the troop as they're close to outgrowing Boy Scouts. Boy, will it be the last trip.

An emaciated stranger shows up at their cabin on the first night, skeletal and so all-consumingly hungry that he starts to eat the couch on which he sits. The Scoutmaster, a GP, realizes the man is sick. Indeed he is -- and about to become extremely infectious as mutated tapeworms large and small start erupting from pretty much everywhere inside and on his body.

The Troop quickly turns into a tale of survival horror, its menace a science-fictional one in the manner of John Wyndham that rapidly creates human monsters that riff on everything from zombies to JRR Tolkien's Gollum. There's also a governmental menace to be dealt with -- or not dealt with. Canadian naval ships and boats surround the island, black helicopters repeatedly fly over -- but help does not arrive.

The novel succeed in its sympathetic characterization of the boys of the troop, though Cutter does draw upon stereotypes for their basic configurations (the Alpha-Jock and the Nerd being the most notable). But some of those roles change over the course of the novel. One of the missteps, though, is Cutter's choice to make one of the boys a nascent serial killer. Certainly this ups the stakes, but the effects of the worms are so dire that there's no need to posit a psychopathic sadist. It's really a case of too much, especially once that character pretty much turns into a cross between Gollum and Monty Python's Mr. Creosote.

Cutter notes in his acknowledgements that he got the idea of including interpolated material from after the main events of the book from Stephen King's Carrie. The Troop similarly uses interviews and excerpts from newspaper and magazine articles to give background on the true origin of the worms. Suspense is also nodded to as the number of boys who will survive the main narrative appears in this interpolated material. 

I'm not sure this structure is entirely successful, as sometimes in horror any information is too much information. Or as Ramsey Campbell once noted, "Explanation is the death of horror." That the stereotypes of the evil military commander and the mad, evil, super-intelligent misfit scientist appear mostly in these sections doesn't help the horror quotient either.

Nonetheless, The Troop is an enjoyable, fast-paced horror novel. The main characters are nicely fleshed out for the most part. Well, until they start losing that flesh to the parasitic worms. Recommended.

Grendel Vs. The Shadow: written and illustrated by Matt Wagner (2014): Writer-artist Matt Wagner returns to his 35-year-old character Grendel for a story-line involving that master criminal's battle with pulp hero The Shadow in early 1930's New York. 

Do people younger than 35 or so even remember Grendel? Dark Horse Comics has released four omnibus volumes of his adventures, and I can recommend at least the first two from first-hand experience, having read Grendel back in the day, that day being the late 1980's.

Of course, the Shadow is much older, a character created in the early 1930's. The battle between the two does seem like a natural, however -- both characters kill, and both characters have quasi-mystical abilities to go along with their physical and mental prowess. And this crossover is actually fun. The grimness of the Shadow plays off nicely against the deadly good humour of Grendel.

Wagner's art is smooth and illustrative, straightforward, though with a few stylistic flourishes as we proceed through the narrative. He uses multiple POV first-person narration to mostly good effect, though I wish someone doing a Shadow comic book would go back to the pulp novels (or even the DC comics of the 1970's) and realize that the Shadow works best as a supporting character in his own book. 

The pulps (unlike the radio show) focused on the Shadow's various operatives working a case, with the Shadow dropping in and out of the story to administer justice or give orders. And as he's a nigh-omnipotent character, this is a pretty good idea -- especially as it leaves the reader wondering what is going on inside the Shadow's head. 

Most modern comic-book Shadows, going back to Howard Chaykin's glorious revisionist take for DC Comics in the mid-1980's, also make the Shadow's romantic relationship with operative Margo Lane explicit in a way the pulps did not. Here, we get a B-plot about Margo Lane debating whether or not to leave the Shadow. It seems wildly out of place in an event crossover like this, and is the only real misstep in the book.

Overall, though, this is an entertaining visit with two old friends. Or fiends. And it was also an entertaining visit with Wagner as both writer and artist, his art gigs being much rarer than his writing gigs. He's streamlined his writing and drawing styles since the 1980's, mostly to good effect -- the occasional murkiness, clutter, and confusion of 1980's book like his Demon miniseries for DC isn't evident here. This may be the smoothest book he's ever done. Recommended.

The Past is Prologue...to Adventure!

The Shadow: adapted by David Koepp from characters and situations created by Walter Gibson and others; directed by Russell Mulcahy; starring Alec Baldwin (The Shadow/Lamont Cranston), John Lone (Shiwan Khan), Penelope Ann Miller (Margo Lane), Peter Boyle (Moe Shrevnitz), Ian McKellen (Dr. Lane), Tim Curry (Farley Claymore), and Jonathan Winters (Wainwright Cranston) (1994):

This attempt to turn the 1930's pulp and radio hero The Shadow into a film franchise like the Batman movies failed at the box office. However, it's far from terrible. Alec Baldwin is solid as The Shadow and his alter ego Lamont Cranston, and Penelope Ann Miller and the rest of the cast do solid work as the Shadow's lieutenants, associates, and enemies. John Lone plays the Shadow's greatest enemy in the pulps, Shiwan Khan, with a light touch.

Actually, the whole movie may be a bit too light, both in tone and on action set-pieces. Still, compared to most current superhero movies, The Shadow seems like a masterpiece of plot and characterization. And there's a lot of acting and writing talent here, including welcome comic bits from Ian McKellen and Jonathan Winters. The Shadow's gal pal Margo Lane even gets to do things that don't involve screaming or fainting. Recommended.

Stand by Me: adapted by Raynold Gideon and Bruce Evans from the Stephen King novella "The Body"; directed by Rob Reiner; starring Wil Wheaton (Gordie Lachance), River Phoenix (Chris Chambers), Corey Feldman (Teddy Duchamp), Jerry O'Connell (Vern Tessio), Kiefer Sutherland (Ace Merrill), Richard Dreyfus (The Writer), and John Cusack (Denny Lachance) (1986):

An almost quintessential tale of childhood friendship was Rob Reiner's first box-office hit. The fictional Stephen King town of Castle Rock (a name King himself used as an homage to Lord of the Flies) appears here, and Reiner would name his production company after it because of the success of the movie. And that's what connects Lord of the Flies to Seinfeld.

Beautifully acted by all the boys, but especially River Phoenix and Wil Wheaton, who are both beautifully naturalistic, it's a short, jam-packed movie. Of course, the secret story of the movie is that there's a killer train wandering the woods around Castle Rock. It's already killed once, and it will try to kill again. As it's a vehicle that seems to be fixated on killing children, it may be the offspring of Christine and Pennywise the Clown. It will not stop if you are on the tracks. It will not even slow down. Highly recommended.

Grand Pulp Railroad

The Great Pulp Heroes by Don Hutchison (1996): Canada's own long-time genre historian, editor, and writer Don Hutchison gives us a book on the two decades or so in which single-character pulp-hero magazines flourished in America. It's a fun, breezy, and informative read. For some reason, ChaptersIndigo once had about a million copies of these things in stock at $2 a pop. So, they're out there.

American pulp(-wood, for their cheap, acid-heavy paper) magazines followed a peculiarly evolutionary path. They started off in the first decade-and-a-half of the 20th century as generalists. Magazines that included Argosy and All-Story published stories from every genre (including the first serialized Tarzan and Mars novels from Edgar Rice Burroughs).

Then the magazines specialized in terms of genre (fantasy, science fiction, mystery, Western, et al.) and then sub-genre (flying adventure stories, 'spicy' detective stories). Finally came the magazines devoted to individual heroes. The Shadow, simultaneously a radio hero, was the first hero to get his own magazine. The sales success of the Weird Avenger of Crime swiftly led to imitators (Phantom Detective, The Spider) and slightly different types of heroes from the same company, Street & Smith (Doc Savage, The Skipper, The Avenger).

This was a world in which sound movies had just appeared, and in which radio and the pulp magazines dominated the day-to-day entertainment business. There was no television, much less the Internet or computer gaming. Even electricity had not yet been supplied to all Americans. Or indoor plumbing. And the problems of the Great Depression seemed to fuel a desire in a lot of readers to see heroes who took up arms against gangsters, murderers, evil rich people, and crazy dictators.

Of course, like President Franklin Delano Roosevelt (a recurring character in The Spider and the Operator 5 series), most heroes were rich people who fought for the common good. That trope, which predated the hero pulps, still persists in such comic-book superheroes as Batman and Green Arrow today, in whatever media in which they appear.

The pulp adventure heroes had a time of about 22 years from the first appearance of The Shadow in magazine form to the last issue of the last surviving hero-magazines in 1953. Subsequent decades would see reprints and revivals, though only The Shadow and Doc Savage have proved to have any staying power in the popular imagination.

While it lasted, though, the adventures -- especially in the 1930's -- ran wild and wooly. The Spider and Operator 5 probably had the most apocalyptically destructive adventures, with whole cities and indeed countries (including all of Canada in the case of Operator 5) being wiped out in every issue. Doc Savage and The Shadow did a better job of keeping most of New York standing, which may be why they were the gold standard for heroism.

The pulps in their entirety even managed to arouse censorship flaps from time to time. New York's Mayor LaGuardia threatened all the pulp publishers based in New York (which is to say, all of them) with expulsion if they didn't clean up their act. Pulp magazines were blamed for youth crime. Of course they were.

Hutchison's book performs its most valuable service in giving plot synopses of many of the most outlandish adventures of these heroes. The Spider, Operator 5, and G-8 stories often seem like fever dreams of ultraviolence and desperate heroism. Even the failed magazines deliver some truly bizarre moments, none moreso than the single issue of a magazine devoted to a super-villain rather than a superhero, The Octopus. That guy was bananas.

So if you can track this down, go forth and do so. Only some glaring typos and a lack of colour illustrations disappoint, though the B&W cover reproductions are still swell. Highly recommended.

Work Sucks

My Work Is Not Yet Done: Three Tales of Corporate Horror by Thomas Ligotti containing "My Work Is Not Yet Done", "I Have a Special Plan for the World", and "The Nightmare Network" (2007): Frank Dominio is a team supervisor at a corporation called New Product. On his own initiative, he comes up with, well, a new product, and briefly presents his idea to his fellow supervisors and their boss, Richard (nicknamed "The Doctor" for initially unknown-to-Frank reasons).

And here Frank's troubles begin in the lengthy titular novella.

Thomas Ligotti gets to be described as a unique voice in horror because he really is a unique voice in horror. He can be approximated by imagining some bizarre mash-up of two or three or four other writers (for the record, I'd go with Franz Kafka, Jorge Luis Borges, Clark Ashton Smith, and Roald Dahl) , but there's no single writer who's truly like him. He's an American original, writer of some of the bleakest, bleakly funniest horror stories of the past thirty years.

His take on corporate horror is singular and tricky. The novella initially seems to exist in the realm of the workplace revenge fantasy, something we've all seen. But the means of Frank's revenge are extraordinarily odd, and become odder as that revenge progresses. This is not Office Space With Ghosts.

People who've read other Ligotti stories may realize around the halfway mark that "My Work Is Not Yet Done" takes place in the same bleak universe as 1999's "The Shadow, The Darkness." One doesn't need to know this to understand what's going on, but it does deepen the experience as we plunge into the Magical Nihilism that is Ligotti's dominant mode of discourse.

But the novella is also horribly funny, as are the two short stories that complete this triptych. Frank Dominio begins the novella with a bleak outlook on humanity in general and his co-workers in particular, and the events of the story show that bleakness to not be enough. The world is much worse than Dominio ever imagined. The revenge scenarios initially carry a certain grotesque zing, but they quickly lose their enjoyability for Frank as he realizes who and what he's up against -- or working for.

Ligotti's fiction can truly unnerve one (as S.T. Joshi has observed), leading one to question the parameters of one's own existence, and the meaning of existence itself. But it's strangely, blackly refreshing because if one rejects the nihilistic cosmos of many of Ligotti's stories, one finds one's own cosmos to be that much more welcoming and benign by comparison. Highest recommendation.

Falls the Shadow

The Shadow: Blood & Judgment, written and illustrated by Howard Chaykin (1986): 1986 was the year that three comic-book-industry-changing books came out from DC Comics -- The Dark Knight Returns, Watchmen and this violent, sexy and irreverent reimagining of the old Shadow radio-and-pulp character. The other two are still in constant print; alas, because this is a treatment of a character licensed from another company, The Shadow: Blood & Judgment has, so far as I know, only been available in used bookstores and on EBay since about 1989.

That's a shame because it's fucking awesome, though I can understand why oldy timey Shadow fans like Harlan Ellison squeaked and gibbered with outrage when Chaykin's miniseries first appeared. It's revisionist on almost every level, making the Shadow both an even more bloodthirsty avenger of crime and an even bigger bastard in his personal life than was ever imagined in the old pulps and radio shows of the 1930's and 1940's. Somewhat confusingly, the confusing opening of the Alec Baldwin Shadow movie of the early 1990's sort of lifted some of its concepts from this miniseries and not from the original pulps. So it goes.

As a back-issue-bin bonus, this miniseries spawned an even more irreverent and hilarious ongoing series that ran for 19 issues, an annual, and a Prestige Format two-issue Avenger miniseries spinoff. In that later magnum opus, writer Andrew Helfer and artists Bill Sienkiewicz, Marshall Rogers and Kyle Baker took about as much piss out of the Shadow (and really out of weird avengers of crime in general) as one could without completely deflating the concept.

I like reverence as much as the next guy, but Chaykin's take is giddy fun involving characters who are generally really, really well-dressed (no one draws natty clothing like Chaykin) and often really, really perverse. Unfortunately, the grim-and-gritty late 1980's comic marketplace took its cues from the violence of this and other books but pretty much left out the humour (mostly black) and the stylishness. Still, this is thrilling stuff, even moreso in the context of today's moribund Doc Savage and Avenger DC reboot universe, First Wave. Someone should have hired Chaykin et al. to steward that one. It might have got cancelled just as quickly, but at least it would have been awesome sauce while it was being published. Highly recommended.