THE DEEP ONES: "The Faces at Pine Dunes" by Ramsey Campbell
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1gwendetenebre
"The Faces at Pine Dunes" by Ramsey Campbell
Discussion begins September 25th.
First published New Tales of the Cthulhu Mythos (1980).
ONLINE VERSIONS
None found to date.
BIBLIOGRAPHY
http://www.isfdb.org/cgi-bin/title.cgi?65110
SELECTED PRINT VERSIONS
Cold Print
Cthulhu 2000
New Tales of the Cthulhu Mythos
MISCELLANY
http://www.ramseycampbell.com/
http://vimeo.com/71464063
http://vimeo.com/71857095
http://weirdfictionreview.com/2011/12/the-weird-an-interview-with-ramsey-campbel...
http://en.wikipedia.org/wiki/Ramsey_Campbell_deities
http://tinyurl.com/kdlo4u8
Discussion begins September 25th.
First published New Tales of the Cthulhu Mythos (1980).
ONLINE VERSIONS
None found to date.
BIBLIOGRAPHY
http://www.isfdb.org/cgi-bin/title.cgi?65110
SELECTED PRINT VERSIONS
Cold Print
Cthulhu 2000
New Tales of the Cthulhu Mythos
MISCELLANY
http://www.ramseycampbell.com/
http://vimeo.com/71464063
http://vimeo.com/71857095
http://weirdfictionreview.com/2011/12/the-weird-an-interview-with-ramsey-campbel...
http://en.wikipedia.org/wiki/Ramsey_Campbell_deities
http://tinyurl.com/kdlo4u8
2gwendetenebre
Cold Print for me.
3RandyStafford
Cthulhu 2000 for me.
4cosmicdolphin
Been waiting to read this one. I love the title. The Arkham House edition of Cthulhu 2000 for me.
5paradoxosalpha
I read this one in the 1995 AH Cthulhu 2000 too, and my page numbers reference that text.
Even without the brief "mythos" allusions, I found this story to be quintessentially Lovecraftian. My recent read of Callaghan's Dark Arcadia has further sensitized me to the themes of fear-of-heredity and disgust-for-parents in Lovecraft, but I've always been a big fan of the end of "The Shadow Over Innsmouth." Taken philosophically, rather than in the domestic psychological sphere where Callaghan analyzes it, this theme can be tied to Lovecraft's atheist materialism. We are all heirs of slime, not god.
The opening section, as Michael gets lost in the woods, reminded me strongly of "The White People." Until he returns to the caravan and makes himself coffee, Michael's age is rather indeterminate, and I would have guessed him younger. Both that early bit in the woods and his later return with June have some evocative language that really helped me savor the disorientation of the passage.
Even without the brief "mythos" allusions, I found this story to be quintessentially Lovecraftian. My recent read of Callaghan's Dark Arcadia has further sensitized me to the themes of fear-of-heredity and disgust-for-parents in Lovecraft, but I've always been a big fan of the end of "The Shadow Over Innsmouth." Taken philosophically, rather than in the domestic psychological sphere where Callaghan analyzes it, this theme can be tied to Lovecraft's atheist materialism. We are all heirs of slime, not god.
After a pause, he voiced his worst, secret fear: "I hope I never get like him." (336)But of course Michael will "get like" his father, and June is clearly destined to Michael's mother's fate as well. A little spot-reviewing of this story shows so much rich foreshadowing that a knowledgeable re-read would probably be worthwhile.
"You could retire from the human race here," June said sourly. (337)We never do find out what was in the envelope from Michael's father, do we? Its narrative purpose seems to be simply to introduce the idea of the parents' departure/demise.
The opening section, as Michael gets lost in the woods, reminded me strongly of "The White People." Until he returns to the caravan and makes himself coffee, Michael's age is rather indeterminate, and I would have guessed him younger. Both that early bit in the woods and his later return with June have some evocative language that really helped me savor the disorientation of the passage.
Bushes applauded like joyful bones. (347)
6gwendetenebre
With "Faces", RC pulls out all the stops and goes for the goo and ichor. Knowing that this is not his usual route, I was willing to go along with it. It ultimately works because the family drama is so well delineated, from the Michael's frustrated anger towards his parents to his about-to-be-transformed father's touching farewell hug.
I thought things would go down the damsel-in-distress crapper when June disappeared, but having her instead show up to accompany the Michael on his search for his parents, only to be forced into stunned, horrified submission right along with him makes for a fine unhappy ending.
I thought things would go down the damsel-in-distress crapper when June disappeared, but having her instead show up to accompany the Michael on his search for his parents, only to be forced into stunned, horrified submission right along with him makes for a fine unhappy ending.
7gwendetenebre
>5 paradoxosalpha:
...this theme can be tied to Lovecraft's atheist materialism. We are all heirs of slime, not god.
Good call!
...this theme can be tied to Lovecraft's atheist materialism. We are all heirs of slime, not god.
Good call!
8housefulofpaper
I don't think I've been left with much to say.
The 1980 publication date seems a little late. I wonder if it was written - or at least started - earlier. It had a feel of the 1970's for me. Also, although I haven't read a lot of Campbell's work I got the impression (from comparing his recent stories encountered in anthologies with the stories in Cold Print and Demons by Daylight that his protagonists roughly match his age at the time of writing.
Michael's immaturity, though, could be a result of the family's moving around the country, not permitting him to make relationships with people.
The 1980 publication date seems a little late. I wonder if it was written - or at least started - earlier. It had a feel of the 1970's for me. Also, although I haven't read a lot of Campbell's work I got the impression (from comparing his recent stories encountered in anthologies with the stories in Cold Print and Demons by Daylight that his protagonists roughly match his age at the time of writing.
Michael's immaturity, though, could be a result of the family's moving around the country, not permitting him to make relationships with people.
9gwendetenebre
>5 paradoxosalpha:,8
When Michael decides to go for a bus ride well after dark, it is a little disorienting after those first few pages with his mother telling him "Don't go out" and a bit later when he goes through his box of childish memorabilia. I had him pegged at about 11 or 12 years old until he finally gets off the bus and heads to the club.
When Michael decides to go for a bus ride well after dark, it is a little disorienting after those first few pages with his mother telling him "Don't go out" and a bit later when he goes through his box of childish memorabilia. I had him pegged at about 11 or 12 years old until he finally gets off the bus and heads to the club.
10RandyStafford
>5 paradoxosalpha: "The Shadow Over Innsmouth" is also one of my favorite Lovecraft stories.
Yes, this has the basic plot of that story. Male protagonist arrives at a new place, finds, through manuscripts and library trips, that there may be some unpleasantness in his family tree, and, ultimately, embraces the siren call of heredity.
While I found Campbell's landscape descriptions, fraught with ominous metaphors, a bit repetitious, I liked Campbell's introduction of family dynamics to Lovecraft's plot. It was the glimpses of humanity warring with their Old Ones worshipping, magic Lamarckian (altering the protagonist n the womb) side that gave the story a feeling off being emotionally off kilter. Mom seems to wish that her boy could just get to be a boy for awhile before meeting his destiny. Dad uncharacteristically hugs him. Then there is their hot and cold reaction to June -- until she picks the right "souvenir" ring.
It's a weird family tragedy that, in the end, seems will repeat itself. The cycles of vast cosmic horror meet a sort of cycle of domestic abuse.
Yes, this has the basic plot of that story. Male protagonist arrives at a new place, finds, through manuscripts and library trips, that there may be some unpleasantness in his family tree, and, ultimately, embraces the siren call of heredity.
While I found Campbell's landscape descriptions, fraught with ominous metaphors, a bit repetitious, I liked Campbell's introduction of family dynamics to Lovecraft's plot. It was the glimpses of humanity warring with their Old Ones worshipping, magic Lamarckian (altering the protagonist n the womb) side that gave the story a feeling off being emotionally off kilter. Mom seems to wish that her boy could just get to be a boy for awhile before meeting his destiny. Dad uncharacteristically hugs him. Then there is their hot and cold reaction to June -- until she picks the right "souvenir" ring.
It's a weird family tragedy that, in the end, seems will repeat itself. The cycles of vast cosmic horror meet a sort of cycle of domestic abuse.
11cosmicdolphin
This dysfunctional family story works pretty well, it's the first one that i have read by Campbell. I notice he anchored it to the Liverpool area (where he lives/grew up). To those people that have read more of his work, does he often anchor stories in or near Liverpool? It's refreshing to see a story in that setting.
Rich
Rich
12gwendetenebre
>11 cosmicdolphin:
Campbell would use Liverpool quite often in his stories, especially from his middle period on. In fact, I remember being quite astounded by the intensity with which he would bring these contemporary British settings to life. I really felt like I was there. Good stuff, to say the least.
>8 housefulofpaper:
The 1980 publication date seems a little late. I wonder if it was written - or at least started - earlier. It had a feel of the 1970's for me.
I agree! This story does feel like it was written much earlier. For one thing, Campbell's trademark surrealism is only tentatively used. Also, the monstrosity at the end seems a bit too specifically detailed.
Campbell would use Liverpool quite often in his stories, especially from his middle period on. In fact, I remember being quite astounded by the intensity with which he would bring these contemporary British settings to life. I really felt like I was there. Good stuff, to say the least.
>8 housefulofpaper:
The 1980 publication date seems a little late. I wonder if it was written - or at least started - earlier. It had a feel of the 1970's for me.
I agree! This story does feel like it was written much earlier. For one thing, Campbell's trademark surrealism is only tentatively used. Also, the monstrosity at the end seems a bit too specifically detailed.
13cosmicdolphin
>12 gwendetenebre:
That's good to know, I was born in Liverpool, and still have a bunch of Family there, so it's a familiar environment for me. I will definitely have to explore more of his work.
That's good to know, I was born in Liverpool, and still have a bunch of Family there, so it's a familiar environment for me. I will definitely have to explore more of his work.
14gwendetenebre
>13 cosmicdolphin:
Campbell was also born in Liverpool. One of his novels that immediately comes to mind for evoking that location is the controversial The Face That Must Die, set in the Thatcher era and told from a serial killer's point of view. I recommend the Centipede Press edition:
http://www.amazon.com/The-Face-That-Must-Die/dp/1933618027
Campbell was also born in Liverpool. One of his novels that immediately comes to mind for evoking that location is the controversial The Face That Must Die, set in the Thatcher era and told from a serial killer's point of view. I recommend the Centipede Press edition:
http://www.amazon.com/The-Face-That-Must-Die/dp/1933618027
