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THE DEEP ONES: "The Invaders" by Henry Kuttner

The Weird Tradition

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May 20, 1:45am Top

I shall have to sit this one out I think - no online version, I don't have quick access to any of the print versions, and anyway I'm off to a convention next week.

May 20, 9:08am Top

Edited: May 20, 9:33am Top

Love that Gahan Wilson jacket art!

Edited: May 24, 9:46am Top

Also sitting this one out.

Typo in the OP: Reading would being May 24th. (Nothing like having a typo in a typo correction.)

May 23, 10:44pm Top

>5 paradoxosalpha:

That sure is purty.

I have Terror in the House: The Early Kuttner, Volume One, but I won't be able to excavate it for the time being. Good news is that I'm looking for a house, which means that maybe with a little luck I'll have my book cases back in action relatively soon..

Edited: May 24, 1:01pm Top

Second time I've read this one, but I didn't remember any of it.

It struck me as owing something, in imagery, to Poe's The Narrative of Arthur Gordon Pym with its white mists and sea bird cries (though "Tekele-li", was never mentioned).

I thought the use of Hayward's fiction interesting. Kuttner got to describe Hayward's past in dramatic fiction terms, but Kuttner didn't resort to using it as part of an end revelation that it describes a past reality. That revelation is made fairly quickly in the story.

The cold atmosphere and splintering wood was effective atmosphere.

I'm not sure where this work stands in relation to Derleth's but the whole Earth god vs. other dimensional god seemed Derlethian.

Edited: May 24, 8:47am Top

>8 RandyStafford: I'm not sure where this work stands in relation to Derleth's but the whole Earth god vs. other dimensional god seemed Derlethian.

In Price's introduction to The Lovecraft Mythos, he makes much of reconsidering the features of Derleth's "Cthulhu Mythos" that may have been too thoroughly deprecated by the Mosig and Joshi schools of criticism, observing that some good-versus-evil and theomachy tropes were present in the original HPL canon. This pulp era story would have been more inspired by those than Derleth's inferior pastiches, and may in fact have contributed to Derleth's conception of the "Mythos."

May 24, 6:14pm Top

>9 paradoxosalpha:

That ending seemed "Derlethian" to me as well, although it tends to challenge what I understand by the term. I think I've only read one Derleth Mythos story, to date; and any ideas of what constitutes a Derlethian Mythos story, I've got from S. T. Joshi's criticism. And here's a story not by Derleth, and dating from only a couple of years after HPL's death, resolved in what now strikes one as being in a Derlethian way.

HPL's overall tone somehow mutes those strands of "good-versus-evil and theomachy tropes" in his own work, so they stand out all the more clearly in something like this (I think Frank Belknap Long's "The Hounds of Tindalos" struck me in a similar way).

I felt that some of the writing, particularly around the psychology of the men - opening doors and windows, panicking and rushing outside at the service of the plot - was more than a bit clunky (but then, if it had been dramatised, say for TV in the 50s or 60s, could some Method-trained actors (think someone like Johnny Staccato - era John Cassavetes, perhaps) have "sold" it?).

Robert M Price makes an intriguing observation in his introduction to the story in The Book of Iod, noting that Hayward's use of photostatic copies of pages from a forbidden book in the Huntington Library, has a later real-life echo in the same library allowing scholars access to its complete set of photographic copies of the Dead Sea Scrolls, at a time when the authorities in Jerusalem were denying access to about a quarter of the original documents.

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