Blogging Sax Rohmer’s The Golden Scorpion, Part One – “The Cowled Man”

Sax Rohmer’s The Golden Scorpion was first printed in its entirety in The Illustrated London News Christmas Number in December 1918. It was published in book form in the UK the following year by Methuen and in the US in 1920 by McBride & Nast. Rohmer divided the novel into four sections which is how we shall examine the book over the next four weeks. “The Cowled Man” is the title Rohmer selected for the first part of the book and comprises the first eleven chapters.

Despite featuring several characters from Rohmer’s 1915 novel, The Yellow Claw, The Golden Scorpion marked a return to the style and feel of Rohmer’s Fu-Manchu thrillers which had concluded the previous year with the publication of The Si-Fan Mysteries (1917). Rohmer maintained the more realistic Limehouse crime novel approach of The Yellow Claw for his contemporaneous Red Kerry detective series which started with Dope (1919), but chose to fashion The Golden Scorpion from the same Yellow Peril weird menace cloth that made his reputation as an author. The key difference from the Fu-Manchu thrillers is that Rohmer maintains a third person narrative voice (as he had in The Yellow Claw) rather than recreating the frantic paranoia that marked Dr. Petrie’s first person narratives.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Blogging Austin Briggs’ Flash Gordon, Part Two – “Freeland”

“Freeland” was the second installment of Austin Briggs’ Flash Gordon daily comic strip serial for King Features Syndicate. Originally published between February 24 and August 21, 1941, “Freeland” was the second story in the daily companion to Alex Raymond’s celebrated Sunday strip. It is the second of two Briggs strips available in a reprint collection from Kitchen Sink Press.

“Freeland” gets underway with the ship bearing our motley crew making its way toward the Promised Land free from Ming. Flash and Dale set out in a rocketship to scout for a safe harbor and encounter a hostile tribe of what appear to be Native Americans. Once more, Austin Briggs demonstrates his version of Mongo is more attuned to contemporary American experience or American history than the prehistoric or Medieval Europe model chosen by Alex Raymond. Briggs may also be borrowing a page from Edgar Rice Burroughs (one of Raymond’s primary inspirations) in transplanting Native Americans to another world.

Having settled in their new home, the crew of the ship Freedom begins exploring the forest and constructing makeshift shelters. While hunting for food, Fierro inadvertently kills one of the natives. Regon, a warrior betrothed to Princess Adora urges the Princess’ father, King Sagam to retaliate. Flash is furious with Fierro because he realizes this has doomed their chance of making peace with the natives.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Blogging Austin Briggs’ Flash Gordon, Part One – “Princess Lita”

“Princess Lita” was the first installment of Austin Briggs’ Flash Gordon daily comic strip serial for King Features Syndicate. Originally published between May 27, 1940 and February 22, 1941, “Princess Lita” was the story that launched the daily companion to Alex Raymond’s celebrated Sunday strip. It is one of two Briggs strips available in a reprint collection from Kitchen Sink Press. We shall examine the second strip in next week’s column.

The most rewarding part of delving into Austin Briggs’ first two Flash Gordon storylines has been the discovery that the sloppiness of the first few Austin Briggs’ Sunday strips printed a few years after the daily debuted were likely more the result of the artist being overworked than they were an adequate representation of Briggs’ work on the property. “Princess Lita” shows the artist in full command of the material drawing the characters as well as their creator, albeit without the benefit of the Sunday page to showcase the exotic flora and fauna of Mongo to full advantage. The transition from Sunday continuities to a daily strip is jarring at first and the smoothness of Don Moore’s scripting and Alex Raymond’s plotting is sorely missed, but Briggs does an admirable job of staying true to the source material.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Lost Classics of Pulp: Judex

Pioneering silent film director, Louis Feuillade rose to prominence with his stylish 1913 serial, Fantomas which faithfully adapted five of Pierre Souvestre and Marcel Allain’s bestselling pulp thrillers. Feuillade next succeeded in fashioning an enthralling original story based around the Apache street gang which figured prominently in the Fantomas series. Les Vampires are led by the vampish Irma Vep, played by the exotic Musidora (France’s answer to Theda Bara). The 1915 serial was hugely successful and was a highly influential work in its day. Feuillade was tasked with the challenge of trying to follow up these two successes with a third commercial property.

Responding to the criticism that his films glorified crime and violence, Feuillade turned to author and playwright Arthur Bernede for help. Together they crafted a pulp vigilante dressed in a dark cloak with his face partially obscured by a slouch hat. Judex, Latin for “judge,” fought crime with his loyal brother, Roger and a menagerie of amazing beasts and an assortment of colorful companions by his side. These and Judex’s gadget-filled secret lair and private plane had a tremendous influence on the burgeoning pulp fiction market in England and America.

The influence on The Shadow is obvious, but the band of strangely gifted companions likely inspired both Bulldog Drummond and Doc Savage as well. Rene Creste (France’s answer to Rudolph Valentino) essayed the memorable title role in the serial. Irma Vep of Les Vampires is the clear inspiration for Judex’s vampish enemy, Diana Monti and quite likely inspired Bulldog Drummond's vampish enemy, Irma Peterson. Musidora played both Irma Vep and Diana Monti in the Feuillade serials. Miss Monti is the fiancée of Judex’s archenemy, Favraux while Irma Peterson is the wife of Bulldog Drummond’s archenemy, Carl Peterson. As always, half the fun of pulp fiction of the first half of the last century is spotting the influences that thread their way through the narratives.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Blogging Sax Rohmer’s The Yellow Claw – Part Four

Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the fourth and final part.

Rohmer really delivers with the final section of the novel with the development of the Eurasian femme fatale, Mahara who was previously referred to only under the mysterious moniker of Our Lady of the Poppies. Mahara becomes a flesh and blood character fiercely jealous to think that her lover, Gianopolis has been thinking of leaving her for another. The object of his affections is Helen Cumberley, Henry Leroux’s neighbor who despises Gianapolis as much as she pines for the unhappy thriller writer. Such a tangled web of unrequited love is uncommon for Rohmer, but it added to the novel’s appeal in its day and is surely one of the reasons that Stoll chose it to be the first of his works to bring to the silver screen.

The narrative then switches to Gaston Max in the observation chamber of the opium den. The famous French detective feigns smoking opium, but only exhales through the pipe. Faking a drug-induced stupor, Max waits while Ho-Pin enters the room to check on him and is then startled to discover that upon his exit, Mahara has entered. Rohmer relished creating memorable femme fatales and Mahara seems to have been his first notable accomplishment with such a character. The Eurasian temptress passionately kisses the supposedly unconscious Max while lying upon him and cooing to him how she is going to enter his dreams. The image of a man forced to feign unconsciousness while a seductive female grinds into him is certainly powerful and far from the norm for fiction in 1915.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Blogging Sax Rohmer’s The Yellow Claw – Part Three

Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the third part.

Rohmer shifts the action back to Inspector Dunbar and Gaston Max’s investigation into the murder at the Leroux residence. Despite the press fingering Soames, the Leroux butler, as chief suspect, the detectives are sure that finding Soames will lead them to the mysterious Mr. King, the real culprit. Gaston Max suggests that Mr. King is a Chinaman with the reasoning that since the deceased was an opium addict, the murder is likely tied to Limehouse.

The French detective adopts the false identities of both Abraham Levinsky and Monsieur Gaston of Paris to infiltrate the bohemian circle that frequents the opium den. Max had stumbled onto the trail of Mr. King in Paris where the opium dealer was operating in an apartment next to the historical residence of the late Joseph Balsamo, alias the infamous Count Cagliostro. From here, Rohmer is on familiar territory at last as Max’s description of his raid on the Paris opium den is decidedly more typical of Rohmer’s Fu Manchu thrillers.

TO CONTINUE READING THIS ARTICLE, PLEASE VISIT HERE.

Blogging Sax Rohmer’s The Yellow Claw – Part Two

Sax Rohmer’s The Yellow Claw was originally serialized in five installments in Lippincott’s from February through June 1915. The serial was subsequently published in book form later that same year by Methuen Press in the UK and McBride & Nast in the US. The novel chooses to divide the story into four sections. This week, we examine the second part.

Rohmer shifts gears unexpectedly by focusing Part Two of the novel on Soames, the Leroux butler who skipped out when Inspector Dunbar arrived at his employer’s home to investigate a murder. We learn Luke Soames fled because of his chequered past (he was dismissed by his previous employer for theft) that led him to falling prey to the sinister Mr. Gianapolis who arranged for Soames’ employment in the Leroux household. Soames is aware that Mr. Gianapolis works for a mysterious Mr. King who has some secret connection to Mrs. Leroux, but for awhile Soames is content to question little and perform the few curious extra duties that Gianapolis requests of him.

TO CONTINUE READING THIS POST, PLEASE VISIT HERE.