Right on the heels of losing Steve, I’ve received word from Cross Plains that Joan McCowen died peacefully in hospice this morning after a long battle with cancer. For my tribute to her and her impact on Howard studies, go here. For a tribute to her late husband, go here.

I intend to write about Steve at length here at some point, but giving his life and influence in our field its proper measure is going to take far more than a boilerplate expression of grief or even an HPL-style memoriam. His prolificacy, his erudition, his humor, the way his diction and class and elevated style rubbed off on not only his fellow scholars but on Howard and the field as a whole — all of this and much more makes Steve’s death the worst loss in Howard fandom in my memory. I think back on all of the things he had his hands in: all of the inspiration he gave me, the education, the raw hard work whenever called upon, the hard knocks when deserved. It’s a staggering amount of influence and beneficence for one guy to have contributed, and it’s going to take awhile for us to understand how large is the gulf left behind by his absence. This is probably far more understandable to those of us who heavily relied on him than to those who merely saw his moniker on the occasional mega-essay. Speaking personally, we often clashed both politically and in terms of living life (as sad as his death is, I can’t say that it is entirely unexpected), but always in a friendly way, very much like HPL vs. REH in the way our disagreements tended to strengthen our friendship and mutually broaden each other’s minds rather than break us apart. Our friendship was based like a rock on a shared, achingly poetic love of Howard, Tolkien and their most talented predecessors and followers, going all the way back to Homer and all the way forward to guys like Charles Saunders. Whenever asked privately I would state that, along with Don Herron, Steve Tompkins was my very best friend in fandom, the guy who I felt most simpatico with as far as our intellectual assessments of the genre and of literature in general went. So much that I felt about fantasy and myth, Tolkien and Howard, things that everyone else seemed to be blind or uncaring to, Steve got 100%. It was truly wonderful to have him in my life as a sounding board for ideas, as a mentor (he was ten years older and far better read than I, and did much over the last decade to expand my literary horizons), and as a partner-in-crime on everything from REHupa to The Cimmerian to the blog to our private goals, hopes, and dreams.

There’s so much more to say about him, but it’s going to take me some time to properly gather my thoughts and get them organized. Until then, I can only mourn the loss of one of the all-time great Howardians. For once the tired cliché feels exactly right: our field will never see his like again, and his absence has left us much poorer.

“It certainly does seem that certain individuals occasionally get in contact with forces outside themselves, something like cog-wheels grinding away in their spirits, that suddenly, perhaps only momentarily, slip into the notches of gigantic, unseen cog-wheels of cosmic scope. Maybe that’s what is meant by ‘getting in touch with the infinite.'”
-REH to CAS, undated.

Carl Jung introduced the idea of an archetype as a kind of prototypical concept, a basic building block of ideas. Jung thought of the archetypes as pychological “organs”, the product of mental or psychological morphology. Similarly, Jung believed the collective unconsciousness was a shared heritage bequeathed by our evolution, which shaped our minds just as it shaped our physical bodies.
Although we can study the genetic code that we carry for the shaping of our bodies, the collective unconsciousness can only be guessed at by the way it reveals itself to us in dreams, myth, religion and creative art. Through a life of study, Jung found that certain symbolic themes are universal. These archetypes are the hallmarks, the DNA, of the collective unconsciousness. Expanding on this, Joseph Campbell began working on the idea of a monomyth, a hero tale shared in its basic form by all cultures, even our pop culture; the monomyth involves a monumental task placed on a hero, who rises to meet the challenge through learning and growth (at the hand of a mentor of some sort, usually, who he will than grow to surpass).

It is not hard to see a similarity to the growth patterns of sons who learn from their father only to one day outstrip his abilities, as they grow to maturity while their father ages. Every individual must face his hero’s task in one way or another, if he is to find his own way in the world.
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Such is the title of this most interesting blog post from John Sweat’s site, The Anthropogene.

As can be seen from the epigram that Sweat chose for his essay, the man is a Robert E. Howard fan. I am fairly certain that REH would be a fan of The Anthropogene as well, this blog post in particular. Howard was deeply interested in the expansion of the proto-Indo-Europeans/”Aryans” out of their homeland on the Eurasian steppes. He mentions their “epic treks” in numerous yarns. In addition, he had his primitive Hyborians (and Nordheimr) recapitulate (“precapitulate”?) the cultural ontogeny of the Indo-Europeans (as he saw it), right down to the wolf-skins and horse-hide tents.

For further reading on the proto-Indo-Europeans, I recommend any of J.P. Mallory’s books on the subject. Anthony’s The Horse, the Wheel, and Language is flawed, but still worth a read, in my opinion.

John Sweat’s fascination with catastrophism and lost civilizations parallels that of Robert E. Howard, so I’ll very likely revisit The Anthropogene’s treasure trove of essays for another blog, someday.

*Art by Jeffrey Jones

Or Kane. Or Cain. The primordial killer, Caine is back. If you think Howard is grim, Wagner is dark, Adam Colby (whoever the heck that is) is bleak, try Stover, and especially Caine, the reality show for people who can’t stand reality.

Actually, this book has been out since last October, but with all the Howard coming out I haven’t been able to keep up with my other favorites so well as I’d like. Stover has been wasting his time and talent with Star Wars novels so much lately, this one kind of snuck up on me.

The Caine books are that rarity that tries to put science fiction and fantasy into the same story and actually doesn’t come off as lame.
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Just a heads-up to all Howard fans out there looking to increase their holdings of REHupa mailings. In the coming days I will be posting a bunch for sale. The first five are already up, with more to follow in the coming days. For information about why REHupa mailings are so collectible, go here.

Also, for those of you looking to complete your Deluxe sets of The Cimmerian, there have been some lots for sale at eBay that include some of the out-of-print issues you are looking for. The latest is here.

Today, right in the midst of a domicilic transition, The Collected Poetry of Robert E. Howard landed on my doorstep. Knowing the consequences of giving in to temptation, I steeled my will and carried on carryin’ on the washer and the fridge and the bookcases…

Night has fallen and I now give myself a most just reward, drinking deep from the cup of Howard’s poetic genius.

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From the very beginning of his career, up to the very end, Robert E. Howard wrote stories that involved a man and a woman and a third force that had to be overcome before they could be together. The man, strong and often dark, was Howard’s projection of his self to some extent, and the woman, often blonde, was a projection of his anima, the standard version involving a feminine aspect. From the early days of “Spear and Fang” and “The Hyena” to later works like “Red Nails” and the novelized GENT FROM BEAR CREEK, this “boy meets girl, boy loses girl temporarily to dark menacing Other, boy wins girl” story line appears quite frequently. The dark menacing Other is the shadow. But as has been pointed out by critics like Leslie Fiedler and Richard Slotkin, an unusual aspect of American classic literature is the frequency with which the dark menacing Other becomes the anima; or takes its place.

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“Saint Padraic’s Day usually leaves me with a distaste for the whole Celtic Irish race.” Robert E. Howard, from a letter to Harold Preece, ca. early April, 1930.

Howard’s Hibernophilia is hard to contest, but reading the above quote might cause one to wonder. In context, the meaning becomes much clearer. REH (whose photo to the left could easily be that of a “Black Irish” workman of the early twentieth century) noted the “questioning glances” of fellow Texans “who wear purely Gaelic surnames.” His response to such affronts was that, “I’ll wear the green if I have to fight every damned Celt in the world.” A suitably pugnacious Howardian (and Celtic) attitude, in my opinion.

Howard was always ambivalent in his regard for the Irish. In another letter to Preece, REH wrote, “Damn the Irish and damn the black Milesian blood in my veins that makes me like drift-wood fighting the waves and gives me no peace or rest waking or sleeping or riding or dreaming or traveling or wooing, drunk or sober, with hunger or slumber on me”. Again and again REH railed against the waywardness and instability that he saw in the Celtic psyche. “What has my Celtic blood ever done to me but give me a restless and unstable mind that gives me no rest in anything I do”? Obviously, despite Robert E. Howard’s heart-felt pride in his Irishness (the true extent of that Irishness is something Patrice Louinet is researching even now), he didn’t view Erin nor her children through green-tinted glasses, at least not in every instance. (Continue reading this post)

Don Herron’s The Dashiell Hammett Tour: Thirtieth Anniversary Guidebook is released

Don Herron is the best critic in Howard studies, bar none. However, REH is but a small part of his professional output. He’s most famous for helming the longest-running literary walking tour in the US, San Francisco’s Dashiell Hammett Tour. Over three decades it has become a Bay Area institution and a must-do for mystery fans and literati alike. In 1991 City Lights, Lawrence Ferlinghetti’s legendary counterculture imprint, published Don’s The Dashiell Hammett Tour: A Guidebook, which garnered great reviews and has been much sought after on the used market, often selling for over $100 in fine condition.

Now, Don has released a brand new, fully revised and updated version of his book. Published by Vince Emery as a part of his Ace Performer Collection, a group of titles by and about Hammett, this new edition looks beautiful, and is in hardcover to boot. Don has been running around doing various appearances in support of the release — just in the last few weeks he hit Boise, Idaho; Tuscon and Scottsdale, Arizona; and a bunch of places in and around San Francisco. MSNBC has a write-up of the book’s contents and of Don’s future book signings in the Bay Area. You can also keep up with the action at his website.

All of Don’s books are well worth hunting down — he’s collected, in fact, by the prestigious Bancroft Library at UC Berkeley, an organization that calls him on their website “the godfather of San Francisco mysteries.” But The Dashiell Hammett Tour book occupies a special place in his canon. The tour has been written up hundreds of times in virtually every major newspaper and venue, making it one of the most popular of its kind in the world. It (and Don) even appeared as an answer/question combo on Jeopardy! once. (To bring a bit of Cimmerian flavor into all of this: Don found out about the Jeopardy! thing when his good pal, the fantasy writer Fritz Leiber, called him up with the info. Leiber was a Jeopardy! fiend in his later years and caught wind of the Herron appearance during his usual afternoon viewing.)

So if you are a Hammett fan, or a fan of great literature in general — pick up a copy of the book at Amazon or wherever fine mystery books are sold.

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Those of us who remember the agonizing wait between new issues of the Watchmen limited series have at last endured through an even more momentous wait – the famed graphic novel has finally been released as a movie. Of course, many elements of the story had to be trimmed or chopped, but as a Cliff Notes version, it’s a very faithful adaptation, for the most part. Like the makers of the so-called Bram Stoker’s Dracula, though they are doing great right up to the end, they feel they have to have at least one really significant change. Don’t ask me why.

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