Holmes: The Naval Treaty

In that often-cited list that Doyle made of his favourite Holmes stories he ranked “The Naval Treaty” nineteenth out of nineteen. Which, given that the original list he composed was of twelve stories and he later added seven more, and that the canon contains 56 stories total, sounds almost as though he didn’t like it much at all, or that he considered it at best mid.

I’d rate it much higher. It’s actually one of my favourites.

In part this is because Holmes displays an attractive side not often witnessed. He takes time to smell the roses, literally. The scent of a moss rose through an open window moves him to poetic reflections that reveal “a new phase of his character” to Watson, “who has never before seen him show any keen interest in natural objects.”

“Our highest assurance of the goodness of Providence seems to me to rest in flowers. All other things, our powers, our desires, our food, are really necessary for our existence in the first instance. But this rose is an extra. Its smell and its colour are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from the flowers.”

It’s a nice sentiment, but of course totally unscientific. As commentators point out, the smell and colour of a rose are not superfluous extras. Nor does it make much sense to me for Watson to say that Holmes had never shown a keen interest in natural objects. He made a study of many. What I like most about this passage though is the reaction of the couple who have hired Holmes. They are struck “with surprise and a good deal of disappointment.” They want him to find the stolen naval treaty, not talk about flowers!

A similar moment comes on the train journey back to London where Holmes sees the newly established Board schools through a window. “Lighthouses, my boy!” he says to Watson. “Beacons of the future! Capsules, with hundreds of bright little seeds in each, out of which will spring the wiser, better England of the future.”

This paean to education is even more of a digression than his thoughts on the rose, but also reveals more of his true character. Holmes is arrogant, but he’s not a snob.

“The Naval Treaty” is a long story, the longest in the canon, and was originally published in two parts. It’s also one that has attracted a more than the usual amount of critical nit-picking, beginning with the reference to “The Adventure of the Second Stain” in the opening paragraph and ending with speculation over who Joseph Harrison may have been working for. As usual, none of this meant anything to me. I guess it’s a fun game for Holmesians, but I don’t care for it.

What I liked most of all here was the fact that it’s a great little mystery story. For starters, a surprising amount of time is put into casting suspicion on the commissionaire and his wife. “The principal difficulty” in the case, Holmes explain at the end (“in his didactic fashion”), “lay in the fact of there being too much evidence. What was vital was overlaid and hidden by what was irrelevant.” Of course misdirection through giving the reader too much information to pay full attention to is now a staple of mystery of fiction, but it’s not something the Holmes stories went in for as much. As it is, we’re given enough clues to at least arrive in the general location of Holmes’s solution, which ends up feeling quite reasonable given what we have to go on. Indeed, Holmes points the way to where he’s going, even though it’s not easy to see what conclusions he’s drawing. Given the high stakes we’re led to believe that something larger is going on, so the fact that the theft was merely opportunistic comes as a surprise, but a satisfying one given that it makes sense of the evidence.

I did have to roll my eyes though at poor Percy Phelps. He doesn’t come off well. Using family connections to get a cushy desk job and then being struck with “brain fever” when the treaty he’s been copying is stolen. Brain fever was a nineteenth-century euphemism for a nervous breakdown, and Percy was really selling it, becoming “practically a raving maniac” before needing nine weeks of convalescence where he is alternately unconscious and raving mad before he is even capable of reaching out to Holmes. If he wants to keep working for the British foreign office he’ll have to work a bit on stiffening that upper lip.

Holmes index

Swamp Thing: Volume One

Swamp Thing: Volume One

It’s called Swamp Thing but that character (the transformed Alec Holland) only briefly appears a couple of times, once in a flashback. Instead this is the Daughter of Swamp Thing, a teenage girl named Tefé, who has come about through – here I take a deep breath – Swampy temporarily possessing the body of John Constantine and having sex with his (Swampy’s) wife Abby and impregnating her with an elemental spirit known as the Sprout. After she’s born, Tefé inhabits the body of a girl named Mary Conway, who was terminally ill. Tefé loses her memory of being the Sprout when she becomes Mary, but it all comes back to her when she gets angry, leading to her shedding the body of Mary and being reborn as the platinum-haired Tefé Holland. With her hair she’s supposed to look like her mom Abby but I kept being reminded of Sabrina the Teenage Witch. She even operates a bit like a witch, as her super powers involve casting what amount to plant-based spells that kill or incapacitate people. In any event, now conscious of her powers she starts crisscrossing the U.S. having various adventures while different people (federal agents, a samurai-style killer from the Green) try to hunt her down.

There’s real talent on board here – from headline author Brian K. Vaughan, the distinctive art of Roger Peterson, and John Costanza’s lettering – but something about it wasn’t working for me. I didn’t mind changing the focus from Swamp Thing to his daughter, but she’s pretty much just a drifter here. At one point she has a mission to find the Tree of Knowledge (not the one from the Bible, at least I don’t think) but she doesn’t know where it is or what it does and by the end of this run she’s basically given up on it. Along the way she picks up a couple of (male) drifter friends: an ex-Marine named Pilate and an ex-smokejumper named Barnabas who’s had half his face burned off. Together they steal vehicles and crash in abandoned apartments or other temporary accommodations as they just . . . drift.

Basically, Tefé wanders into one bad situation after another and punishes evildoers. She’s on a lobster-trawling ship where one of the crew goes crazy, so she kills him. A girl gets raped by a band she’s a fan of, so Tefé fixes them (I think literally). A hobo tries to rape her so she skins his arms. A guy selling flowers at a roadside stand upsets her so she chokes him with pollen. A guy who killed the man in the apartment next to him is immobilized and handed in to the police.

You’ll note that none of the bad guys she punishes are supervillains or have any special powers at all. Either of her drifter friends could easily kick their asses, if she’d asked them. Her victims are certainly no match for Tefé, and she usually disposes of them in a couple of panels through her ability to manipulate the tissue of flora and fauna. After a while this started to not be very interesting. Meanwhile, the big story playing in the background isn’t moved along very quickly and we don’t really find out much more than the fact that certain people, some of them likeable and others not, are after Tefé.

So on the one hand I appreciate Vaughan and his team trying to go in a new direction, and I like the meatiness of the writing, which is very character-driven. I’m sure Vaughan must have been thinking of Alan Moore’s run with Saga of the Swamp Thing and what he did to basically re-invent the title and make it his own. But there is no larger compelling story being told here and no conflict either. Perhaps that was still to come in the series, but I have to say that after this first volume of the series I wasn’t enthusiastic about reading more.

Graphicalex

Word nerds, assemble!

On the splash page for The Avengers #40 (May 1967), heralding a battle between Earth’s Mightiest Heroes and the Sub-Mariner, writer Roy Thomas has the following come-on: “Seldom has such a cataphonic conflict been so clamorously craved!”

Cataphonic? I made a note to look that one up. I knew that “phonic” meant “sound,” but the prefix “cata-” has a pretty wide range of meanings, generally referring to a downward or oppositional movement. Put them together and what do you get?

The Shorter Oxford English Dictionary had no entry for “cataphonic.” Cataphatic has the meaning of knowledge of God obtained through affirmation. Cataphoresis is “the use of electricity to enable medicinal substances to pass through the skin.” But no cataphonic.

Well, online dictionaries are more thorough now, and more up-to-date. The Oxford definition there gives cataphonic a grammatical meaning, referring to a word or a phrase that is later used in a text. Though this is also said to be “cataphoric.” Elsewhere it is said to be a synonym for catacoustic, which means having relation to “the science that studies reflected sound.”

In truth, there isn’t a lot out there even online to explain the word and its usage. It doesn’t even pass muster with spellcheck. If I had to guess I’d say Thomas was thinking of the noise of voices raised against each other, but if so that’s a meaning he may have invented on his own.

Words, words, words

The Avengers: Earth’s Mightiest Heroes

The Avengers: Earth’s Mightiest Heroes

This first Avengers Epic Collection volume reproduces Avengers #1-20, published from 1963 to 1965. So let’s return to the heady days when Iron Man had all-yellow armour that rusted in the rain, Thor turned back into Doctor Don Blake if he lost contact with his magic Uru hammer for more than 60 seconds, the Wasp was swooning like a lovesick schoolgirl over every hunky hero she met (even Kang the Conqueror turns her head: “I’ll be he’s not bad-looking under that silly headgear he’s wearing!”), and the Hulk actually had hair on his chest. (You win a special trivia prize is you named Hulk as one of the original Avengers, because he didn’t stay on the roster for long). We’ll also return to the days of Rick Jones and the Teen Brigade, a bunch of Marvel superfans who don’t really do much of anything but sometimes get in trouble and need rescuing. And since this was the Cold War, we’ll return to the repressive communist Asian state of Sin-Cong and its brutal warlord leader the Commissar. This particular issue came out in 1965, naturally, and Quicksilver’s questioning of American involvement is prescient: “I thought our purpose was to battle crime! Why need we concern ourselves with international affairs?” Captain America, however, overrules him: “We’re supposed to avenge injustice, right? Well, when liberty’s threatened, justice goes down the drain! That’s it in a nutshell!” And so what would have been a timely debate on American foreign policy is nipped in the bud.

All the comics here were written by Stan Lee and illustrated first by Jack Kirby and then by Don Heck. Lee was in full carnival barker mode. Here’s some bumf from the covers and title pages: “This is the issue you’ve been waiting for!! One of the greatest battles of all time!!” (#3), “A tale destined to become a magnificent milestone in the Marvel Age of comics! Bringing you the great superhero which your wonderful avalanche of fan mail demanded!” (#4), “Caution!! Don’t tear this magazine or wrinkle the pages or get food stains on it! We have a hunch you’ll want to save it as a collector’s item for a long, long time!” (#6), “The Mighty Avengers Meet Spider-Man! And the only blurb we can write is ‘Wowee!’” (#11), “A Marvel tale of most compelling excellence!” (#12), “You’ll gasp in amazement at the most unexpected final panel you’ve ever seen!” (#13), “Possibly the most memorable illustrated story you will read all year!” (#16).

Did the comics deliver? I think so. Once the barker had drawn you in he did a good job presenting a three-ring circus of action. The plots here are madcap. I’ll just break down one issue (#14) as an example. Are you buckled in? Here goes:

This issue begins with the Avengers racing to get the Wasp to a hospital because she’d been struck by a bullet at the end of the previous comic (in case you were wondering, that was “the most unexpected final panel you’ve ever seen!”). At the hospital they’re told that her lungs will collapse in 48 hours unless she’s operated on by a Norwegian lung-restoration specialist named Doctor Svenson. Since Thor is the only one who “can span the ocean in minutes” he flies off to Norway, tears the doctor, protesting, out of his lab, and flies him back the U.S. At the hospital, however, it’s discovered that the doctor is actually an alien, and when his mask is pulled off he dies because he can’t breathe Earth’s oxygen.

Consternation! The Avengers now have to search the entire planet for the aliens who abducted Doctor Svenson and replaced him. They figure this will take them eight hours. After this time has expired they haven’t found anything, but absence of evidence is not evidence of absence. Obviously the aliens must be hiding out in one of the uninhabited parts of the globe, which they quickly reason must mean either the North or South Pole. Thor sticks his hammer out the window of the Avengers’ jet and it points to the North Pole, so that’s where they head next.

Landing at the North Pole they start digging through the ice and end up falling into a giant subterranean alien city (the North Pole apparently being solid land underneath the ice). The aliens capture them by hitting them with a paralyzing ray. This forces them to stand immobile while Kallu, the leader of the Kallusians, explains how they came to Earth fleeing a more warlike group of aliens. Because the Kallusians can’t breathe Earth’s atmosphere they kidnapped Dr. Svenson, who designed masks that allowed them to deal with our air. Thor then jumps on Kallu (he’d only been feigning being paralyzed since the ray doesn’t work on immortals, you see) and the Avengers break free and there is a big fight (“And so, the inevitable battle begins . . .”). The action is interrupted though when Dr. Svenson shows up and agrees to help the Avengers, while at the same time the bad aliens, with their “robot detectors,” discover where the Kallusians have been hiding (it’s hard not to think that The Empire Strikes Back stole something from this part), forcing the Kallusians to scramble their battle fleet and head into space. Dr. Svenson successfully operates on Jan (the Wasp), and the Watcher makes an appearance to say that he’s been observing all of this and won’t make any comment other than to say that “the power of prayer is still the greatest ever known in this endless, eternal universe!”

That’s a lot of plot in only19 pages of comic, especially with all the time spent running around and fighting.

There are things here that would continue to be of importance with the Avengers, no matter what form their changing line-up took. In particular the way that in-fighting and personal squabbles would be as greater or even a greater threat than any supervillain. It’s also refreshing to see heroes who aren’t quite so powerful. Iron Man being hit with an “emery dust pellet,” for example, causes his joints to stiffen. And Captain America is frequently disparaged as someone with no super powers at all. He’s basically just an athletic gymnast who knows how to fight. And when the Swordsman shows up in the final two issues he’s no different except that he has a sword instead of a shield. And still it takes the Avengers two comics to defeat him, and even then he mostly gives up because he doesn’t want to fight alongside the Mandarin.

Some examples of understatement are surprising sixty years later. Baron Zemo is built up as Captain America’s arch-nemesis, with Cap chasing after him to avenge the death of Bucky Barnes. But when he finally manages to kill him (by tricking Zemo into causing an avalanche that buries him, so Cap hasn’t killed him directly) it’s presented in a couple of tiny panels and almost seems like an afterthought. Today a moment like that would be given epic treatment.

The one thing I’m really glad they got rid of was the character of Rick Jones. He’s a completely useless tag-along who starts out riding on the Hulk and later is adopted by Captain America. And he even gets snippy about it. When Cap comes back from South America with Rick in tow, he (Captain America) is greeted by the other Avengers as a returning hero while Rick sulks in the background, muttering “And what am I – a fever blister?” I doubt he’d even rate that high. But somehow he thinks he’s going to be a real Avenger someday. When Hawkeye, Scarlet Witch, and Quicksilver join the team he’s still sulking in the background, thinking to himself “It isn’t fair! Those three Johnny-come-latelies are now official members and Cap still won’t let me be a full-fledged uniformed Avenger!” No mention of what Rick can do, but he wants a uniform and a membership card anyway. Maybe kids reading the comic were meant to identify with him, but I don’t think that’s likely. He’s just too big a wimp. Marvel would later give in and award him a power-up, but here in the early days he’s hard to take.

Graphicalex

Holmes: The Greek Interpreter

Introducing Mycroft Holmes. And he’s just one of the odd things about this story.

To begin with Mycroft, Watson starts things off by saying how he knows nothing of his friend Sherlock’s family, a deficit that gets corrected when Holmes freely offers up that he has a brother who is even more advanced in detective analysis than he is. Which leaves me to wonder why Mycroft had been kept a secret to this point. Unlike the way he is usually portrayed, which is as a sibling rival, the two seem to get along famously. Holmes also says that many of his “most interesting cases” have come to him by way of Mycroft. So it seems strange that his name, or existence, hadn’t come up at any point before this.

Another odd thing with regard to Mycroft is that he is described as being incorrigibly lazy, a man of “no ambition and no energy.” This is fine (hey, I can relate!), and it’s not surprising that there should be another eccentric in the family. But then for the rest of the story Mycroft becomes a man of action more than up to the business of chasing around London wrapping things up with Holmes and Watson and Gregson.

Moving away from the character of Mycroft, another odd thing about the story is the ending. In other Holmes adventures there’s been a quick coda that lets us know what happened to the bad guys if they hadn’t been immediately apprehended. For example, in the previous story collected in The Memoirs of Sherlock Holmes, “The Resident Patient,” we’re told that the trio of baddies died in a shipwreck.

In this case, despite Latimer and Kemp being two of the most vicious villains in the canon, they both get away, and with Sophy! To be sure, there is a postscript about a pair of Englishmen traveling with a woman in Hungary. They are both stabbed to death, and when Holmes reads about their murder he supposes that Sophy has taken her vengeance on her abductors. We’re not given any idea though why he would think this, or how Sophy managed to do it (Latimer, for one, is described as being a strapping fellow), or whatever became of Sophy herself in the end.

“And this was the singular case of the Grecian Interpreter, the explanation of which is still involved in some mystery.” I’ll say. It’s a good read though and plays off expectations in some interesting ways (for example, instead of Holmes helping a pair of youngsters get together he’s more interested in keeping them apart). It also has darker shadows than most of the other stories in the canon, shadows that even the introduction of Mycroft can’t quite dispel.

Holmes index

Solo: The Deluxe Edition

Solo: The Deluxe Edition

Solo was a limited run of comics consisting of a dozen 48-page issues, with each issue being illustrated by a different artist. Some of the biggest names in the biz were recruited and given creative freedom to tell whatever stories they wanted, using DC characters as they saw fit. In some cases the artists also wrote their pieces but they also worked with writers. This Deluxe Edition collects the complete run.

Here’s the line-up:

#1 Tim Sale (with Jeph Loeb, Brian Azzarello, Darwyn Cooke, and Diana Schutz)

#2 Richard Corben (with John Arcudi)

#3 Paul Pope

#4 Howard Chaykin

#5 Darwyn Cooke

#6 Jordi Bernet (with John Arcudi, Joe Kelly, Andrew Helfer, Chuck Dixon, and Brian Azzarello)

#7 Mike Allred (with Laura Allred and Lee Allred)

#8 Teddy Kristiansen (with Neil Gaiman and Steven Seagle)

#9 Scott Hampton (with John Hitchcock)

#10 Damion Scott (with Rob Markmam and Jennifer Carcano)

#11 Sergio Aragonés (with Mark Evanier)

#12 Brendan McCarthy (with Howard Hallis, Steve Cook, Trevor Goring, Robbie Morrison, Tom O’Connor and Jono Howard)

I’ll say right away that the art here is great. I have my favourites and others that I didn’t like nearly as much, but I have to acknowledge that even the ones that weren’t my thing were highly creative. As a portfolio of some of the best people working at the time (the series ran from 2004 to 2006) it’s a treasure chest.

That said, I really didn’t think much of most of the stories. They’re all over the map in terms of genre and tone, even within some of the individual issues. And a lot of the time they just felt like flimsy excuses for the art. Which I guess you should expect in what was a consciously art-driven project. Darwyn Cooke won an Eisner Award for his issue and I had no disagreement with that, as in my notes I had it down as one of the best. But overall I thought there were more misses than hits when it came to what was actually being illustrated, and I can’t say that any of the stories stayed with me for long.

Just as a final note, I have no idea why, for such a deluxe hardcover edition, they put Mike Allred’s drawing of Batman doing the Batusi on the cover. That’s no way to sell a book.

Graphicalex

The Last Canon

Over at Good Reports I’ve posted “The Last Canon,” which is the first essay I’ve written in years. It’s a return to a question I wrote about 25 years ago (yes, it’s been that long!): What are students who are studying English in university actually reading?

Back in 2001 I noticed that the books on the required reading lists for undergraduate courses were getting shorter. Since then we’ve been hearing a lot more about how students don’t, and in some cases can’t read as much.

This made me wonder: Just what books constitute the list of works that you would expect every student of literature will have read by the time they graduate? I’m not saying mine is a definitive list of great books, or even a list of the books that I think everyone should read, but I had fun playing with it.

Utterly MAD

Utterly MAD

In my review of the Visions of Poetry edition of Poe’s “The Raven,” illustrated by Ryan Price, I mentioned how I had memorized the poem as a kid from a Mad magazine adaptation. Well, the book I read that adaptation in was Utterly MAD. I’ve kept it around a long time now.

The stories collected here are mostly long-form satires of established properties like Robin Hood, Tarzan, Little Orphan Annie, and Frankenstein. And then there are a couple of cultural pieces, one on adapting novels to the big screen and the other on supermarkets. The latter I guess being something new at the time (the book’s first printing was in 1956).

Most of the humour hasn’t aged well. There are a lot of little gags that play out on the edges, but the verbal ones especially don’t land. Plus I think you’d probably want to be acquainted with the source material. “G. I. Shmoe” is a take-off, I think, of a G. I. Joe comic, but I didn’t get the punchline every woman delivers where they ask him if he’s got gum. And “Little Orphan Melvin” won’t work unless you have some idea of the original characters, how they talk and relate to one another, and the sorts of situations Annie finds herself in. Other stories, like “Robin Hood” and “Melvin of the Apes” just weren’t funny. Maybe they thought the name Melvin was funny. Also the Yiddish word “fershlugginer.” Sometimes the crammed visual style does work passably well, as with the “Frank N. Stein” story and the trip to the supermarket, but overall it wasn’t working for me.

That said, I love this little paperback for two stories that, for whatever reason, have stayed with me. Obviously one is the adaptation of “The Raven.” This is typical of the crammed style I mentioned, with lots of different stuff going on in every cell, including a lot that’s totally unrelated to the poem, like a dog that outgrows the narrator’s apartment. But where I give them the most credit is in including the full text of the poem and having all kinds of fun with it, from emphasizing the fearfulness of the narrator, hiding in his room, to presenting the lost Lenore as a beefy, cigar-smoking lady who presses clothes. To some extent, I’m still not sure how much, this interpretation of the poem has for me become a part of it that I can no longer disentangle from what Poe wrote.

The second story that stands out is “Book! Movie!” This is meant to illustrate how Hollywood takes gritty, realistic novels and cleans them up, turning them into tinselly trash. Which is something that I think probably happened a lot more often in the 1950s than it does today. Anyway, the Book part tells the story of a loser living in terrible poverty who cheats on his wife and is caught by a blackmailer (though I don’t know what the blackmailer could be thinking he’d get out of it). The guy then kills his mistress and the blackmailer (with lots of “Censored” dots covering up the gouts of gore) and is pursued by demons back to his home, where he learns that his wife, who he hates, has invited her twin sister to live with them “forever.” The man collapses in despair, saying: “This miserable hopelessly hopeless situation is just perfect for a book ending.”

The Movie part turns the man and his wife into an affluent couple who even sleep in separate beds. As was the custom on screen at the time. The man is pursuing an affair (because he can’t stand that his wife is a slob), and is caught by a blackmailer. He then kills his mistress and the blackmailer with a revolver, which mysteriously doesn’t leave any traces of blood (the man in the Book story had used a knife). Returning home, his wife runs to his arms and says that from now on she’ll be a perfect helpmeet and keep a tidier house, and they skip off together over the rainbow while singing about joy.

As I say, I think this phenomenon of the Hollywoodized/sanitized novel is probably not as big a thing today, but the outline presented here has always stuck with me as a way of thinking about how page-to-screen adaptation works.

As for the cover, I’m not sure how well it would fly in the present age. Probably a little better than Token MAD, and in both cases I’m hoping the sense of irony would help it out.

Graphicalex

Archer: The Way Some People Die

The Way Some People Die was the third of Ross Macdonald’s Lew Archer novels and it’s remarkable how much his individual formula had already been set.

In the first place we have a woman coming to Archer with a problem. It’s the ladies who get the ball rolling. That’s how the first Archer short story, “Find the Woman,” kicks off, back when Archer was still “Joe Rogers.” It’s Elaine Sampson in The Moving Target, Maude Slocum in The Drowning Pool, and Mrs. Samuel Lawrence (more on that later) in this book.

Second: most of these women have the same problem they want Archer to solve. Millicent Dreen wants Archer to find her daughter. Elaine Sampson wants him to find her husband. In The Way Some People Die Mrs. Lawrence wants him to find her daughter, Galley. The Drowning Pool is the one exception to this rule, with Maude Slocum asking Archer to investigate a poison-pen letter she’d received, but this is just something to get the ball rolling. The main action of the novel surrounds Archer’s attempt to find the missing Patrick Ryan, just as in this book the search for Galley is passed off to being a search for Joe Tarantine. In short: finding missing people is what Archer does.

Third: the women who hire Archer are all “of a certain age,” meaning perhaps middle-aged though often still possessing a sexual charge. They each, however, also have kittenish daughters who like to sleep around: Una Sand in “Find the Woman,” Miranda Sampson in The Moving Target, Cathy Slocum in The Drowning Pool, and Galley Lawrence/Tarantine in The Way Some People Die. That Galley is the friskiest kitten yet, bordering on being a “crazy for men” nymphomaniac, shows that there was something about sexually liberated young women that fascinated Macdonald. And also worth noting is the conflict in every case between these women and their mothers, something Macdonald often linked to classical myth and Freudian psychology.

Galley is different from earlier kittens in that she’s a bad ‘un. It’s not just that “frank sexuality is her forte.” She’s bad. Bad and dangerous: “a single gun in the hands of a woman like Galley was the most dangerous weapon. Only the female sex was human in her eyes, and she was its only really important member.” Put a gun in this babe’s hand and she gets ugly, and “an ugly woman with a gun is a terrible thing.”

In case you were wondering, her full name is Galatea. And what was her mother’s name, you ask? Why she’s Mrs. Samuel Lawrence. Or just Mrs. Lawrence, for short. Back in the day, married women didn’t have first names. Mrs. Samuel Lawrence is even how she introduces herself to Archer, and this despite the fact that her husband Samuel is dead! I still sometimes see letters being addressed to a Mrs. Man’s Name, but only ones that have been written by people who are now in their 70s. In any event, Mrs. Lawrence ends up a lot like James Slocum, withdrawing into her own preferred alternate reality, though, surprisingly, it’s not one that is antagonistic to Archer. She’s just not as fiery a character. I guess Galley got all of her spunk from her dad.

I felt a real tension in this book between Macdonald’s penchant for complexity with his desire to tie everything up neatly in the manner of a well-made plot. Which just means that the narrative of what “actually happened” here is very hard to follow. I’m not sure I managed to keep it straight, though I don’t think it matters much in the end. You’re in it for the atmosphere, that landscape of unreality and dream/nightmare that Archer operates in. One where everyone is guilty of something and blood seems to follow him everywhere (the yolk of an egg “leaked out onto the plate like a miniature pool of yellow blood,” and a bottle with a candle stuck in it at a restaurant is “thickly crusted with the meltings of other candles, like clotted blood”). There are few heroes in an Archer novel. This makes his morality cut and dried. Or is it even morality? Here he is trying to explain to Mrs. Sampson: “She lived in a world where people did this or that because they were good or evil. In my world people acted because they had to.” But then “Perhaps our worlds were the same after all, depending on how you looked at them. The things you had to do in my world made you good or evil in hers.”

My takeaway from this is that good and evil don’t exist in Archer’s world, at least in a form where we can judge people by their actions. There’s no free will. But that’s not an assumption he seems to operate under. It’s more like a crutch or rationalization he’s come up with, something to help him sleep at night. True, when people get in a jam their options start to be reduced, until they’re finally just trapped by a naturalistic drawing of fate. But at some point they chose a path, and their fate is no longer random.

Archer index

Clive Barker’s Hellraiser: Pursuit of the Flesh

Clive Barker’s Hellraiser: Pursuit of the Flesh

Not just Clive Barker’s Hellraiser, meaning his intellectual property, but a comic actually written by Clive Barker (and Christopher Monfette). Which I can’t say pays off very much as I didn’t care for the writing. There’s a lot of heavy breathing from the Cenobites that’s all just mumbo-jumbo. If you go back and watch the first movie, Pinhead doesn’t actually talk much. Just a handful of lines. In Pursuit of the Flesh he’s making speeches like this: “It is fruitless to wonder how this came to pass . . . History has no place in hell. We live our deaths within a final, unending chapter. Unraveling, unfolding, forever. And there is no prologue for us but pain.” There’s a lot of this stuff, and while it may sound cool, it means exactly nothing.

As far as I could understand it, the flesh being pursued here was that of poor Kirsty Cotton. Why? I think it has something to do with Pinhead wanting to become human again and he needs to provide her as some kind of blood sacrifice to the demonic powers that be. But I don’t know. And the reason I don’t know is that this book only contains the first four comics in a series and it’s not a complete story arc. It breaks off with a cliffhanger. So I’m not sure what was really going on.

If you want gore, you got it. Those chains with the hooks at the end get a lot of play. Many bodies are torn apart, and the art renders it all quite well. It’s a good looking comic. The story, however, was hard to follow. Something about a team of hell-hunters who each have experience dealing with the Cenobites trying to turn the tables and shut them down. Kirsty seems to be their leader. But it all’s kind of hazy and I didn’t grasp the mythology. The Clockwork Cenobite was a neat addition though.

Not sure I’ll keep going with this series. I’m curious, but not eager. And I watched all the movies!

Graphicalex