DOCSLIB.ORG

Bloch the Best of Edmond Hamilton Introduction by Leigh Brackett the Best of Leigh Brackett Introduction by Edmond Hamilton *The Best of L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bloch the Best of Edmond Hamilton Introduction by Leigh Brackett the Best of Leigh Brackett Introduction by Edmond Hamilton *The Best of L THE STALKING DEAD The lights went out. Somebody giggled. I heard footsteps in the darkness. Mutter- ings. A hand brushed my face. Absurd, standing here in the dark with a group of tipsy fools, egged on by an obsessed Englishman. And yet there was real terror here . Jack the Ripper had prowled in dark­ ness like this, with a knife, a madman's brain and a madman's purpose. But Jack the Ripper was dead and dust these many years—by every human law . Hollis shrieked; there was a grisly thud. The lights went on. Everybody screamed. Sir Guy Hollis lay sprawled on the floor in the center of the room—Hollis, who had moments before told of his crack-brained belief that the Ripper still stalked the earth . The Critically Acclaimed Series of Classic Science Fiction NOW AVAILABLE: The Best of Stanley G. Weinbaum Introduction by Isaac Asimov The Best of Fritz Leiber Introduction by Poul Anderson The Best of Frederik Pohl Introduction by Lester del Rey The Best of Henry Kuttne'r Introduction by Ray Bradbury The Best of Cordwainer Smith Introduction by J. J. Pierce The Best of C. L. Moore Introduction by Lester del Rey The Best of John W. Campbell Introduction by Lester del Rey The Best of C. M. Kornbluth Introduction by Frederik Pohl The Best of Philip K. Dick Introduction by John Brunner The Best of Fredric Brown Introduction by Robert Bloch The Best of Edmond Hamilton Introduction by Leigh Brackett The Best of Leigh Brackett Introduction by Edmond Hamilton *The Best of L. Sprague de Camp Introduction by Poul Anderson ♦The Best of Raymond Z. Gallon Introduction by J. J. Pierce ♦The Best of Murray Leinster Introduction by J. J. Pierce ♦The Best of Jack Williamson Introduction by Frederik Pohl ♦The Best of Hal Clement Introduction by Ben Bova ♦The Best of James Blish Introduction by Lester del Rey * COMING SOON FROM DEL REY BOOKS THE BEST OF Kobzlt TSiock Edited and with an Introduction by LESTER DEL REY A Del Rey Book BALLANTINE BOOKS • NEW YORK / A Del Rey Book Published by Ballantine Books Copyright © 1977 by Robert Bloch Introduction: Robert Bloch: The Man Who Wrote "Psycho” Copyright © 1977 by Lester del Rey All rights reserved under International and Pan-American Copy­ right Conventions. Published in the United States by Ballantine Books, a division of Random House, Inc., New York, and simul­ taneously in Canada by Ballantine Books of Canada, Ltd., Toronto, Canada. Library of Congress Catalog Card Number: 77-3394 ISBN 0-345-25757-X Printed in Canada. First Edition: November 1977 Cover art by Paul Alexander ACKNOWLEDGMENTS “Yours Truly, Jack the Ripper,” copyright © 1943 by Weird Tales for Weird Tales, July 1943. Copyright © 1971 by Robert Bloch. “Enoch,” copyright © 1946 by Weird Tales for Weird Tales, Sep­ tember 1946. Copyright © 1974 by Robert Bloch. “Catnip,” copyright © 1948 by Weird Tales for Weird Tales, March 1948. Copyright © 1976 by Robert Bloch. “The Hungry House,” copyright © 1951 by Greenleaf Publications, Inc., for Imagination, April 1951. “The Man Who Collected Poe,” copyright © 1951 by All-Fiction Field, Inc., for Famous Fantastic Mysteries, October 1951. “Mr. Steinway,” copyright © 1954 by Ziff-Davis Publishing Corporation for Fantastic, April 1954. “The Past Master,” copyright © 1955 by The McCall Corporation for Blue Book, January 1955. “I Like Blondes,” copyright © 1956 by H.M.H. Publishing Corpo­ ration for Playboy, January 1956. “All on a Golden Afternoon,” copyright © 1956 by Fantasy House for The Magazine of Fantasy and Science Fiction, June 1956. “Broomstick Ride,” copyright © 1957 by Headline Publications, Inc., for Super-Science Fiction, December 1957. “Daybroke,” copyright © 1958 by Ballantine Books, Inc., for Star Science Fiction Stories. “Sleeping Beauty,” copyright © 1958 (as “The Sleeping Red­ heads”) for Swank, March 1958. “Word of Honor,” copyright © 1958 by H.M.H. Publishing Corpo­ ration for Playboy, August 1958. “The World-Timer,” copyright © 1960 by Ziff-Davis Publishing Company for Fantastic Science Fiction Stories, August 1960. “That Hell-bound Train,” copyright © 1958 by Mercury Press for The Magazine of Fantasy and Science Fiction, September 1958. “The Funnel of God,” copyright © 1960 by Ziff Davis Publish­ ing Company for Fantastic Science Fiction Stories, January 1960. “Beelzebub,” copyright © 1963 by H.M.H. Publishing Corporation for Playboy, December 1963. “The Plot Is the Thing,” copyright © 1966 by Mercury Press for The Magazine of Fantasy and Science Fiction, June 1966. “How like a God,” copyright © 1969 by Galaxy Publishing Corpo­ ration for Galaxy Science Fiction, April 1969. “The Movie People,” copyright © 1969 by Mercury Press for The Magazine of Fantasy and Science Fiction, October 1969. “The Oracle,” copyright © 1971 by Penthouse International, Ltd., for Penthouse, May 1971. “The Learning Maze,” copyright © '1974 by Robert Bloch for The Learning Maze. This book— which I suggested they cut into four equal parts— is - for Win, Frank, Barbara a n d P eter. Contents Introduction: Robert Bloch: The Man Who Wrote Psycho, by Lester del Rey xi Yours Truly, Jack the ,Ripper 1 Enoch 21 Catnip 39 The Hungry House 55 The Man Who Collected Poe 79 Mr. Steinway , 97 The Past Master 113 I Like Blondes 141 All on a Golden Afternoon 153 Broomstick Ride 185 Daybroke 197 Sleeping Beauty 209 Word of Honor 225 The World-Timer 237 That Hell-Bound Train 271 The Funnel of God 289 Beelzebub 319 The Plot Is the Thing 329 How Like a God 337 The Movie People 355 The Oracle 369 The Learning Maze 377 Author’s Afterword: “Will the Real Robert Bloch Please Stand Up?” 393 Robert Bloch: The Man Who Wrote Psycho B y n o w , R o b e r t B lo c h must be thoroughly tired of being introduced as the man who wrote Psycho-, after all, it is many years since he published the novel from which the movie was made and it is typical of only one aspect of Bloch’s varied talents. The label sticks firmly to him, however, and to most people he is the master of shock and horror. In many ways, this is a false label for the writer, and it’s completely wrong for the man, as I’ve come to know him over the past thirty years. The Robert Bloch I know is a pleasant, gentle man of unfailing patience and quick sensitivity, which he usually hides behind a mask of good-natured banter. He is one of the kindest and most thoroughly decent men I’ve ever met. He and his charming and devoted wife, Elly, have a host of friends, ranging from glamour queens and famous writers to neophyte fantasy fans, to all of whom he gives unquestioning loyalty and love. Bloch was bom in 1917, which meant that his early teens were spent during the Great Depression—not a good time for a sensitive youngster! Financial disasters plagued his family and forced them to move away from all the friends he had made. To make things worse, he had to remain at home to protect a younger sister while his mother worked to support the family during this pe­ riod of incipient poverty. In school, he was surrounded xil THE BEST OF ROBERT BLOCH by much older students, since he had been advanced in his classes far beyond his years. Rather naturally, he turned to books and magazines for the companionship he could not find elsewhere. He chose the fantastic sort of literature that could stir his active imagination most strongly. In those days, science fiction offered marvelous vistas of futures in which no depression could happen and where men would tread other worlds as conquering heroes. Weird Tales carried fantasies in which the dull terrors of real life were for­ gotten in make-believe nightmares that were exciting rather than depressing. Bloch soon began to try writing, modeling his stories after the horror fiction of H. P. Lovecraft, whose Cthulhu Mythos blended elements of science fiction and fantasy and involved ancient aliens from space that had once ruled Earth and still strove in banishment to seize the souls of hapless mortals for foul and arcane ends. In 1932, Bloch wrote to Lovecraft and was rather sur­ prised to receive a prompt and friendly answer. Their correspondence continued until Lovecraft’s death in 1937. Lovecraft encouraged the younger writer and of­ fered all possible help and criticism. When Bloch was only seventeen, he began selling stories to Weird Tales and quickly became one of the most popular writers for that magazine. By 1938, he was an active member of the Milwaukee Fictioneers, a group of writers that included Ray Pal­ mer. When Palmer was named editor of Amazing Sto­ ries (and, later, Fantastic Adventures), he persuaded Bloch to write for him. This brought forth an entirely new type of writing from Bloch. He ceased to write only of gloomy things in demon-haunted crypts and turned to a much more modem style. Some of his stories from this period were about a character named Lefty Feep; these were told in slangy, Runyonesque style, displaying wit and humor in full measure. Had I been making the selections for this book, I’d probably have included at ROBERT BLOCH: THE MAN W H O W R O T E PSYCHO least one of these. But perhaps the author’s choice is wise; in most of the Lefty Feep stories the slang is three decades out of fashion, and they would probably need some rewriting for today’s readers. Bloch went on from Palmer’s two fantasy magazines to writing a series of detective and suspense stories for other magazines supervised by the same editor; again, Bloch’s versatility was shown by his ability to fit the style smoothly to the type of story.
Load more

Recommended publications
  • Note to Users
    NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 88-91 This reproduction is the best copy available. UMI INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessinglUMI the World’s Information since 1938 300 North Zeeb Road, Ann Arbor, Mi 48106-1346 USA Order Number 8820263 Leigh Brackett: American science fiction writer—her life and work Carr, John Leonard, Ph.D.
    [Show full text]
  • Decades of Science Fiction Quarter 4 – 2016 – Reading & Assignment Schedule Read Each Story with the Class And/Or on Your Own
    Decades of Science Fiction Quarter 4 – 2016 – Reading & Assignment Schedule Read each story with the class and/or on your own. Write or type your short answers to the five Discussion Questions you will find at the end of each story. These are thoughtful, interpretive questions, so your answers will be original and unique. ____________________________________________________________________________________________________________ March 30: “The Disintegration Machine” by Sir Arthur Conan Doyle, pages 65-75 Due April 1 Doyle is the creator of the character Sherlock Holmes. Respond to Discussion Questions 1 through 5 on pages 75 & 76. ____________________________________________________________________________________________________________ April 1: “The Metal Man” by Jack Williamson, pages 78-87 Due April 5 Answer all five Discussion Questions on page 87. ____________________________________________________________________________________________________________ April 5: “Misfit” by Robert Heinlein, pages 119-137 Due April 7 Robert Heinlein is perhaps most well-known for his 1959 novel Starship Troopers. “Misfit” is also military science fiction. Discussion Questions 1 through 5 are on page 137. Answer them all. ____________________________________________________________________________________________________________ April 7: “Robbie” by Isaac Asimov, pages 149-165 Due April 11 “Robbie” is one of Asimov’s collected stories in I, Robot. Asimov created the “Three Laws of Robotics” in his extensive Robot series. “1. A Robot may not injure a human being, or, through inaction, allow a human being to come to harm. 2. A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law. 3. A robot must protect its own existence, except where such protection would conflict with the First or Second Law.” Answer Discussion Questions 1, 2, 3, 4, & 5 on page 165.
    [Show full text]
  • FANTASY FAIRE 19 81 of Fc Available for $4.00 From: TRISKELL PRESS P
    FANTASY FAIRE 19 81 of fc Available for $4.00 from: TRISKELL PRESS P. 0. Box 9480 Ottawa, Ontario Canada K1G 3V2 J&u) (B.Mn'^mTuer KOKTAL ADD IHHOHTAl LOVERS TRAPPED Is AS ASCIEST FEUD... 11th ANNUAL FANTASY FAIRS JULY 17, 18, 19, 1981 AMFAC HOTEL MASTERS OF CEREMONIES STEPHEN GOLDIN, KATHLEEN SKY RON WILSON CONTENTS page GUEST OF HONOR ... 4 ■ GUEST LIST . 5 WELCOME TO FANTASY FAIRE by’Keith Williams’ 7 PROGRAM 8 COMMITTEE...................... .. W . ... .10 RULES FOR BEHAVIOR 10 WALKING GUIDE by Bill Conlln 12 MAP OF AREA ........................................................ UPCOMING FPCI CONVENTIONS 14 ADVERTISERS Triskell Press Barry Levin Books Pfeiffer's Books & Tiques Dangerous Visions Cover Design From A Painting By Morris Scott Dollens GUEST OF HONOR FRITZ LEIBER was bom in 1910. Son of a Shakespearean actor, Fritz was at one time an actor himself and a mem­ ber of his father’s troupe. He made a cameo appearance in the film "Equinox." Fritz has studied many sciences and was once editor of Science Digest. His writing career began prior to World War 11 with some stories in Weird Tales. Soon Unknown published his novel "Conjure Wife, " which was made into a movie under the title (of all things) "Bum, Witch, Bum!" His Gray Mouser stories (which were the inspira­ tion for the Fantasy Faire "Fritz Leiber Fantasy Award") were started in Unknown and continued in Fantastic, which magazine devoted its entire Nov., 1959 issue to Fritz's stories. In 1959 Fritz was awarded a Hugo, by the World Science Fiction Convention for his novel "The Big Time." His novel "The Wanderer," about an interloper into our solar system, won the Hugo again in 1965.'-His novelettes Gonna Roll the Bones," "Ship of Shadows" and "Ill Met in Lankhmar” won the Hugo in 1968, 1970 and 1971 in that order.
    [Show full text]
  • 2019-05-06 Catalog P
    Pulp-related books and periodicals available from Mike Chomko for May and June 2019 Dianne and I had a wonderful time in Chicago, attending the Windy City Pulp & Paper Convention in April. It’s a fine show that you should try to attend. Upcoming conventions include Robert E. Howard Days in Cross Plains, Texas on June 7 – 8, and the Edgar Rice Burroughs Chain of Friendship, planned for the weekend of June 13 – 15. It will take place in Oakbrook, Illinois. Unfortunately, it doesn’t look like there will be a spring edition of Ray Walsh’s Classicon. Currently, William Patrick Maynard and I are writing about the programming that will be featured at PulpFest 2019. We’ll be posting about the panels and presentations through June 10. On June 17, we’ll write about this year’s author signings, something new we’re planning for the convention. Check things out at www.pulpfest.com. Laurie Powers biography of LOVE STORY MAGAZINE editor Daisy Bacon is currently scheduled for release around the end of 2019. I will be carrying this book. It’s entitled QUEEN OF THE PULPS. Please reserve your copy today. Recently, I was contacted about carrying the Armchair Fiction line of books. I’ve contacted the publisher and will certainly be able to stock their books. Founded in 2011, they are dedicated to the restoration of classic genre fiction. Their forté is early science fiction, but they also publish mystery, horror, and westerns. They have a strong line of lost race novels. Their books are illustrated with art from the pulps and such.
    [Show full text]
  • New Pulp-Related Books and Periodicals Available from Michael Chomko for July 2008
    New pulp-related books and periodicals available from Michael Chomko for July 2008 In just two short weeks, the Dayton Convention Center will be hosting Pulpcon 37. It will begin on Thursday, July 31 and run through Sunday, August 3. This year’s convention will focus on Jack Williamson and the 70 th anniversary of John Campbell’s ascension to the editorship of Astounding. There will be two guests-of-honor, science-fiction writers Larry Niven and Jerry Pournelle. Another highlight will be this year’s auction. It will feature many items from the estate of Ed Kessell, one of the guiding lights of the first Pulpcon. Included will be letters signed by Walter Gibson, E. Hoffmann Price, Walter Baumhofer, and others, as well as a wide variety of pulp magazines. For further information about Pulpcon 37, please visit the convention’s website at http://www.pulpcon.org/ Another highlight of Pulpcon is Tony Davis’ program book and fanzine, The Pulpster . As usual, I’ll be picking up copies of the issue for those of you who are unable to attend the convention. If you’d like me to acquire a copy for you, please drop me an email or letter as soon as possible. My addresses are listed below. Most likely, the issue will cost about seven dollars plus postage. For those who have been concerned, John Gunnison of Adventure House will be attending Pulpcon. If you plan to be at Pulpcon and would like me to bring along any books that I am holding for you, please let me know by Friday, July 25.
    [Show full text]
  • JUDITH MERRIL-PDF-Sep23-07.Pdf (368.7Kb)
    JUDITH MERRIL: AN ANNOTATED BIBLIOGRAPHY AND GUIDE Compiled by Elizabeth Cummins Department of English and Technical Communication University of Missouri-Rolla Rolla, MO 65409-0560 College Station, TX The Center for the Bibliography of Science Fiction and Fantasy December 2006 Table of Contents Preface Judith Merril Chronology A. Books B. Short Fiction C. Nonfiction D. Poetry E. Other Media F. Editorial Credits G. Secondary Sources About Elizabeth Cummins PREFACE Scope and Purpose This Judith Merril bibliography includes both primary and secondary works, arranged in categories that are suitable for her career and that are, generally, common to the other bibliographies in the Center for Bibliographic Studies in Science Fiction. Works by Merril include a variety of types and modes—pieces she wrote at Morris High School in the Bronx, newsletters and fanzines she edited; sports, westerns, and detective fiction and non-fiction published in pulp magazines up to 1950; science fiction stories, novellas, and novels; book reviews; critical essays; edited anthologies; and both audio and video recordings of her fiction and non-fiction. Works about Merill cover over six decades, beginning shortly after her first science fiction story appeared (1948) and continuing after her death (1997), and in several modes— biography, news, critical commentary, tribute, visual and audio records. This new online bibliography updates and expands the primary bibliography I published in 2001 (Elizabeth Cummins, “Bibliography of Works by Judith Merril,” Extrapolation, vol. 42, 2001). It also adds a secondary bibliography. However, the reasons for producing a research- based Merril bibliography have been the same for both publications. Published bibliographies of Merril’s work have been incomplete and often inaccurate.
    [Show full text]
  • I STEVE JACKSON GAMES ,; Ancient Howor Crawls Into the Dark Future
    I STEVE JACKSON GAMES ,; Ancient Howor Crawls into the Dark Future By Chris W. McCubbin Edited by Scott D. Haring Cover by Albert Slark Illustrated by Dan Smith GURPS System Design by Steve Jackson Scott Haring, Managing Editor Page Layout, Typography and Interior Production by Rick Martin Cover Production by Jeff Koke Art Direction by Lillian Butler Print Buying by Andrew Hartsock and Monica Stephens Dana Blankenship, Sales Manager Thanks to Dm Smith Additional Material by David Ellis Dickerson Bibliographic information compiled by Chris Jarocha-Emst Proofreading by Spike Y. Jones Playtesters: Bob Angell, Sean Barrett, Kaye Barry, C. Milton Beeghly, James Cloos, Mike DeSanto, Morgan Goulet, David G. Haren, Dave Magnenat, Virginia L. Nelson, James Rouse, Karen Sakamoto, Michael Sullivan and Craig Tsuchiya GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. Cull of Cihulhu is a trademark of Chaosium Inc. and is used by permission. Elder Sign art (p. 55) used by permission of Chaosium Inc. GURPS CihuIhuPunk is copyright 0 1995 by Steve Jackson Games Incorporated. All rights reserved. Printed in the U.S.A ISBN 1-55634-288-8 Introduction ................................ 4 Central and South America ..27 Hacker ..................................43 About GURPS ............................4 The Pacific Rim ...................27
    [Show full text]
  • Table of Contents MAIN STORIES American Science Fiction, 1960-1990, Ursula K
    Table of Contents MAIN STORIES American Science Fiction, 1960-1990, Ursula K. ConFrancisco Report........................................... 5 Le Guin & Brian Attebery, eds.; Chimera, Mary 1993 Hugo Awards W inners................................5 Rosenblum; Core, Paul Preuss; A Tupolev Too Nebula Awards Weekend 1994 ............................6 Far, Brian Aldiss; SHORT TAKES: Argyll: A The Preiss/Bester Connection.............................6 Memoir, Theodore Sturgeon; The Rediscovery THE NEWSPAPER OF THE SCIENCE FICTION FIELD Delany Back in P rint............................................ 6 of Man: The Complete Short Science Fiction of HWA Changes......................................................6 Cordwainer Smith, Cordwainer Smith. (ISSN-0047-4959) 1992 Chesley Awards W inners............................6 Reviews by Russell Letson:................................21 EDITOR & PUBLISHER Bidding War for Paramount.................................7 The Mind Pool, Charles Sheffield; More Than Charles N. Brown Battle of the Fantasy Encyclopedias................... 7 Fire, Philip Jose Farmer; The Sea’s Furthest ASSOCIATE EDITOR Fantasy Shop Helps AIDS F u n d ......................... 9 End, Damien Broderick. SPECIAL FEATURES Reviews by Faren M iller................................... 23 Faren C. Miller Complete Hugo Voting.......................................36 Green Mars, Kim Stanley Robinson; Brother ASSISTANT EDITORS 1993 Hugo Awards Ceremony........................... 38 Termite, Patricia Anthony; Lasher, Anne Rice; A Marianne
    [Show full text]
  • Hypersphere Anonymous
    Hypersphere Anonymous This work is licensed under a Creative Commons Attribution 4.0 International License. ISBN 978-1-329-78152-8 First edition: December 2015 Fourth edition Part 1 Slice of Life Adventures in The Hypersphere 2 The Hypersphere is a big fucking place, kid. Imagine the biggest pile of dung you can take and then double-- no, triple that shit and you s t i l l h a v e n ’ t c o m e c l o s e t o o n e octingentillionth of a Hypersphere cornerstone. Hell, you probably don’t even know what the Hypersphere is, you goddamn fucking idiot kid. I bet you don’t know the first goddamn thing about the Hypersphere. If you were paying attention, you would have gathered that it’s a big fucking 3 place, but one thing I bet you didn’t know about the Hypersphere is that it is filled with fucked up freaks. There are normal people too, but they just aren’t as interesting as the freaks. Are you a freak, kid? Some sort of fucking Hypersphere psycho? What the fuck are you even doing here? Get the fuck out of my face you fucking deviant. So there I was, chilling out in the Hypersphere. I’d spent the vast majority of my life there, in fact. It did contain everything in my observable universe, so it was pretty hard to leave, honestly. At the time, I was stressing the fuck out about a fight I had gotten in earlier. I’d been shooting some hoops when some no-good shithouses had waltzed up to me and tried to make a scene.
    [Show full text]
  • 2256 Inventory 4.Pdf
    The Robert Bloch Collection, Acc. ~2256-89-0]-27 Page 11 Box ~ (continueo) Periooicals (continueol: F~ntastic Adyentutes: Vol. 5 (No.8), Allg. 194]: "You Can't Kio Lefty Feep", pp.148-166; "Fairy Tale" under the name Tarleton Fiske, pp.184-202; biographical note on Tarleton Fiske, p.203. Vol. 5 (No.9), Oct. 194]: "A Horse On Lefty Feep", pp. 86-101; "Mystery Of The Creeping Underwear" under the name Tarleton FIske, pp.132-146. Vol. 6 (No.1), Feb. 1944; "Lefty Feep's ~l:abian Nightmare", pp.178-192. Vol. 6 (No. 2), ~pr. 1944: "Lefty Feep Does Time", pp. 156-1'15. Vol. 7 (No.2), Apr. IH5: "Lefty Feep Gets Henpeckeo", 1'1'.116-131. Vol. 6 (No.3), July 1946: "Tree's A Cro"d", pp.74-90. Vol. 9 (No. 51, sept. 1947: "The Mad Scientist", pp. 108-124. Vol. 12 (No.3), Mar. 1950: "Girl From Mars", pp.28-33. Vol. 12 (No.7), July 1950: "End Of YOUl: Rope", 1'p.l10- 124. Vol. 12 (No. S), Aug. 1950: "The Devil With Youl", pp. 8-68. Vol. 13 (No.7), July 1951: "The Dead Don't Die", pp. 8-54; biogl;aphical note, pp.2, 129-130. Fantastic Monsters Of The F11ms, Vol. 1 (No.1), 1962: "Black Lotus", p.10-21, 62. Fantastic Uniyel;se: Vol. 1 (No.6), May 1954: "The Goddess Of Wisdom", pp. 117-128. Vol. 4 (No, 6), Jan. 1956: "You Got To Have Brains", pp .112-120. Vol. 5 (No.6), July 1956: "Founoing Fathel:s", pp.34- Vol.
    [Show full text]
  • INTERVIEW with ROBERT BLOCH - 1 - by Jean-Marc Lofficier
    INTERVIEW WITH ROBERT BLOCH - 1 - By Jean-Marc Lofficier INTERVIEW WITH ROBERT BLOCH Randy and Jean-Marc Lofficier RL: Who do you consider to be at the root of your inspiration for your writing of terror and horror fiction? RB: Well, I spent eleven years in an advertising agency! Actually, as a child I was interested in reading that sort of thing. But, I was more interested, and I think most imaginative children are, in the mysteries of death, age and cruelty. Why do these things happen? Why do people do these things to one another? An innocent child believes in the protection and security of his daddy and mama, his friends and his safe home environment. Then to read and learn about these things is a great shock. I've done a good deal of talking with many other contemporary writers of this sort of fiction, people like Stephen King, Peter Straub, Richard Matheson and half-a- dozen others. They all had the same experience; they all feel this was their motivation. Some kids don't think about these things particularly, but I did. Particularly when I was hiding under the bed or in the closet after seeing something like Lon Chaney in The Phantom of the Opera for the first time at the age of 8 or 9. I decided, as I guess most of these people did, if you can't lick ‘em, join ‘em. So, I learned the method of what it is that terrifies other people as well. Yet, I tried to do it in a way that is safe.
    [Show full text]
  • Universidade Federal De Santa Catarina Pós
    UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE WEIRD FICTION AND THE UNHOLY GLEE OF H. P. LOVECRAFT KÉZIA L’ENGLE DE FIGUEIREDO HEYE Dissertação Submetida à Universidade Federal de Santa Catarina em cumprimento dos requisitos para obtenção do grau de MESTRE EM LETRAS Florianópolis Fevereiro, 2003 My heart gave a sudden leap of unholy glee, and pounded against my ribs with demoniacal force as if to free itself from the confining walls of my frail frame. H. P. Lovecraft Acknowledgments: The elaboration of this thesis would not have been possible without the support and collaboration of my supervisor, Dra. Anelise Reich Courseil and the patience of my family and friends, who stood by me in the process of writing and revising the text. I am grateful to CAPES for the scholarship received. ABSTRACT WEIRD FICTION AND THE UNHOLY GLEE OF H. P. LOVECRAFT KÉZIA L’ENGLE DE FIGUEIREDO HEYE UNIVERSIDADE FEDERAL DE SANTA CATARINA 2003 Supervisor: Dra. Anelise Reich Corseuil The objective of this thesis is to verify if the concept of weird fiction can be classified not only as a sub-genre of the horror literary genre, but if it constitutes a genre of its own. Along this study, I briefly present the theoretical background on genre theory, the horror genre, weird fiction, and a review of criticism on Lovecraft’s works. I also expose Lovecraft’s letters and ideas, expecting to show the working behind his aesthetic theory on weird fiction. The theoretical framework used in this thesis reflects some of the most relevant theories on genre study.
    [Show full text]