A. Merritt

[Lobolover]

I actualy wouldnt read ANYTHING "for the romance involved"-Also,I believe,from what I know of the cuts,that they were on various wrong places.

[clovis-man]

Okay. Got through Seven Footprints to Satan; my second reading of in in the past 45 or so years. Written in the roaring twenties, it reflects a little of the times. It is set in New York, but finds its way to the secluded and other-worldly abode of "Satan" where most of the story takes place, so even the obviously dated features of the tale don't intrude to a great extent. I'll try to omit any spoilers here.

Observations about the chartacters: Unfortunately, they appear somewhat two-dimensional by today's standards. This is emphasized by Merritt's obvious ethnic and cultural biases. They stand out painfully today. But in the decade that produced Al Jolson and The Jazz Singer (1927), they would be overlooked or even embraced. And the female lead character, although giving the appearance of being spunky and independent, dissolves into a pool of Jell-o as soon as she becomes smitten with the male protagonist.

Having said that, the narrative of the tale itself, save for a couple of too obvious turns of events, was sufficiently suspenseful and absorbing to draw me along easily. It was actually a good read for the most part and the character of "Satan" is appropriately demonic and intimidating. But, as observed elsewhere, this is not really fantasy. however, as the events play out, it might as well be, calling on the reader to exercise a high degree of "willing suspension of disbelief".

This may sound like I'm damning this novel with faint praise. This is not the case. I just wanted to point out a few features that don't travel so well over an 80 year course. Otherwise, I've read several more contemporary fantastic tales that didn't compel me nearly as well as this one did.

[GOLLUM]

Originally Posted by j. d. worthington

The romantic element and such there are among possibly the worst things Merritt ever did, frankly. How he could write such tosh is beyond me... especially as he was capable of doing much better with these elements at times, and certainly had a feel for the ethereal and delicate elements in other aspects.

Perhaps it was for commercial reasons? Not an excuse, just a possible expanation.

[j. d. worthington]

GOLLUM: I think that most likely, considering he did sometimes deliberately aim at the pulp audience's expectations....

[Lobolover]

I thought he had most his things published in novel form very soon after their original run.

[j. d. worthington]

In some cases, yes; in others, no. But even when he did, he often made revisions for the book publication, not always to the benefit of the material (the original novella "The Moon Pool" being a prime example)....

[Lobolover]

whats so diferent about them ?

[j. d. worthington]

"Them"? Are you referring to the different versions of the original "Moon Pool" tale, or to the revisions he made to his work in general?

If the former -- briefly: It has been cut down in length, the atmosphere has been shifted to better fit with the "adventure-romance" of the much longer sequel, some of the incidents and place-names have been changed, there is a general overall slackening of tension in comparison to the original, and Goodwin's role is different in some ways. As a result of these changes, it loses a certain amount (not all, but a noticeable amount) of its power, as well as the verbal magic itself.

If the latter... that would take an enormous amount of time to get into; and several of these are available in one form or another for comparison for those so inclined....

[Lobolover]

I meant the former.

[clovis-man]

Before this thread fades away, I thought I would mention the interesting association of Abraham Merritt and the illustrator Virgil Finlay. Most of Merritt's tales are accompanied by pulp ink-dot or stipple drawings. They were painstakingly done and, although running to cheesecake a great deal, were always intriguing, e.g., this one illustrating The Ship of Ishtar:

A Selection from the Original Art Collected by Author Robert Weinberg

Some of the Merritt stories were accompanied by Finlay cover art as well. I've attached two examples. I have both publications. However, The Snake Mother copy is from the internet because it is in better condition than mine. The one for The Face in the Abyss is scanned from my copy and shows clear evidence of much use. The latter actually depicts quite faithfully a pivotal scene in the story.

FWIW

[j. d. worthington]

Yes, I used to have the Fantastic Novels printing of The Ship of Ishtar and The Conquest of the Moon Pool, which had both cover illustrations and several interior illustrations by Finlay. I'd say his style of art was perfectly suited to Merritt's tales -- beautiful stuff, even when he diverged somewhat from the text (as with some of the Moon Pool illustrations, for example). Monstro Ligriv (as HPL called him) is known as one of the greatest of the illustrators for the pulps, and deservedly so....

[Nesacat]

Wow those are gorgeous illustrations. I have covers along similar lines but not half as exotic as these. Plus these have that 'pulp' style of title and I have a very soft spot for them.

[Lobolover]

not bad-

also-when were at it-anyon know anything about said ˝Fungus Isle˝ from Fisher?

[GOLLUM]

I love those pulp covers, part of my attraction to these mags.

[j. d. worthington]

Originally Posted by Lobolover

not bad-

also-when were at it-anyon know anything about said ˝Fungus Isle˝ from Fisher?

It was reprinted in the anthology Famous Fantastic Mysteries (Gramercy Books, 1991), edited by Stefan Dziemianowicz, Robert Weinberg, & Martin H. Greenberg:

Amazon.com: Famous Fantastic Mysteries (1st Edition): Bram Stoker, Arthur C. Clarke, Ray Bradbury, Martin H. Greenberg, Stefan R. Dziemianowicz, Robert Weinberg: Books