The Dunwich Horror ~ A Capsule Book Review

The Dunwich Horror cover

The Dunwich Horror ~ A Capsule Book Review by Allen Kopp

P. Lovecraft (1890-1937) and Edgar Allan Poe (1809-1849) are often mentioned in the same sentence. Poe belonged to the nineteenth century and Lovecraft to the twentieth, and while their writing styles are dissimilar and reflect the times in which they lived, the two writers share certain similarities. Lovecraft was an avowed fan, if not an imitator, of Poe. They were both New Englanders and trod upon some of the same ground, principally in Providence, Rhode Island. They both wrote about the dark world that most of us never see. Poe wrote about murder, death, sadness and alienation and Lovecraft wrote about unseen terrors and monsters from another realm. They were neither very successful in their own lives but both are more famous long after they lived than they might have ever imagined being when they were alive.

The Dunwich Horror is one of Lovecraft’s most famous stories. It’s either a very long short story or a very short novel, so let’s say for the sake of argument that it’s a “novella” or a “novelette.” It’s set in the Miskatonic Valley in Massachusetts in a remote village known as Dunwich in the early twentieth century. Dunwich is old and seedy and is not a pleasant place to visit. Something odd is going on in Dunwich that people can’t explain. The Whateley family is strange, even by Dunwich standards. Old man Whateley is a wizard of some kind. When his weird albino daughter gives birth to a “child,” Wilbur Whateley, speculation is rife as to who the father is.

Wilbur Whateley is hideously ugly. Before he is one year old, he walks and speaks. When he is three years old, he seems as old as twelve and he grows a beard. Long before he is old enough to be of adult height, he is seven-and-a-half and then eight feet tall. More odd than his appearance, though, is his behavior. He can barely speak English but deals in ancient forbidden texts. Strange noises come from underneath the ground at the Whateley home and whippoorwills, ordinarily a serene and peaceful bird, trill violently all night long, as though trying to convey a warning.

As the story progresses, we learn that Wilbur Whateley is not human but is only in human form (he’s not fooling anybody). He is one of an alien race of “elder beings from another dimension” that wants to kill all human, animal and plant life on the earth and then “strip the earth and drag it away from the solar system and cosmos of matter into some other plane or phase of entity from which it had once fallen, vigintillions of eons ago.”

Wilbur is killed by a guard dog, however, when he breaks into a library late at night to gain access to one of the “forbidden books” that contains ancient spells he needs. After that, three “experts,” one of them a professor from the university, travel to Dunwich to confront the evil that threatens the world.

The Dunwich Horror was first published in Weird Tales magazine in 1929. It is classic American science fiction, by a master of the genre. It has some wordy descriptions, typical of Lovecraft, and some mildly annoying conversations in the mountain dialect, but they’re not that hard to get through. All in all, an interesting reading experience. I haven’t seen the movie version that came out in 1970, but from the description I read of it, it seems to bear little resemblance to the original story. They’ve concocted a “love interest” for Wilbur Whateley (in the person of Sandra Dee) that doesn’t seem to fit at all. So much for movie versions of books.

Copyright © 2015 by Allen Kopp

The Raven by Edgar Allan Poe

Edgar Allan Poe - Copy


The Raven ~ A Classic American Poem by Edgar Allan Poe (1809-1849)

(Note: Edgar Allen Poe died on this date, October 7th, in the year 1849.)

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!

Everest ~ A Capsule Movie Review

Everest

Everest ~ A Capsule Movie Review by Allen Kopp

Why do ordinary people risk death and injury, spend lots of money and tolerate untold pain and discomfort for months at a time in some of the harshest weather conditions on earth to climb Mount Everest, the highest mountain peak on earth? Have they been deprived of something in life, or they just looking to fill some inexplicable empty spot? Whatever the reasons, there are plenty of people who try it and fail. Failure means never making it to the summit or never making it back home alive.

Everest chronicles one such expedition in 1996 to the top of Mount Everest by a group of people who might be our next-door neighbors. There’s the Texan (Josh Brolin) who has a “dark cloud of depression following him around all the time”…except for the time that he’s on a mountain. There’s the New Zealander (Jason Clarke) with the pregnant wife (Keira Knightley) back home; he’s the leader of the expedition and it’s up to him to watch out for the others. There’s the 47-year-old Japanese woman who has been to six of the seven highest peaks on earth; Everest will be her seventh. There’s the divorced loser (John Hawkes) who delivers the mail and is out for the thrill of a lifetime. There’s the nouveau hippy (Jake Guyllenhaal) badly in need of a shave and a haircut who seems to serve no purpose other than to be annoying. Back at the base camp is the “surrogate mother” (Emily Watson) who tries to help the climbers through radio transmissions and who suffers vicariously with them. We know at the outset that some of them will make it and some of them won’t. If all of them had made it back alive, there wouldn’t be a movie being made about them almost twenty years later.

For movie fans there are lots of familiar faces in Everest, but the characters don’t matter. The people are ciphers. It’s like filling the SS Poseidon with the likes of Shelley Winters, Gene Hackman, Roddy McDowell, Stella Stevens, Carol Lynley, Red Buttons and Ernest Borgnine and then turning the ship over in a storm. We know some of the characters will make it and some will not. Figuring out who will and who won’t make it might help you to pass the time during all the dialogue that, no matter how inane it is, you can’t understand it anyway.

Everest is a predictable action-adventure movie with some beautiful scenery and a spectacular storm (I like storms). It’s another one of those man-versus-nature stories where nature wins. No matter how much star power they put on the screen with no matter how many Oscar nominations, the real star is the mountain. Nature wins. Man loses. Now, if the mountain had been Godzilla or an alien from outer space, man would most certainly have come out on top.

Copyright © 2015 by Allen Kopp

Poe-Land ~ A Capsule Book Review

Poe-Land

Poe-Land ~ A Capsule Book Review by Allen Kopp

The overarching themes of Edgar Allan Poe’s life is that his all-too-brief span on this earth was tragic and unhappy and his towering literary genius went mostly unrecognized until after his death. His parents were itinerant actors. He was born in Boston on January 19, 1809, because that’s where his parents happened to be working at the time. His father abandoned the family when Edgar was small and his mother died of consumption at the age of twenty-four. Edgar, his brother and his sister were then placed in separate foster homes. Edgar ended up in the home of one John Allan and his wife Frances of Richmond, Virginia. John Allan had inherited wealth but was parsimonious with his young foster son, whom he never bothered to adopt legally. Edgar and John Allan most likely would have killed each other gladly if they could have managed it without being detected.

Edgar Allan Poe seemed destined from the beginning to never find his place in life. He was, to put it mildly, not like anybody else. At a time when most people must have stayed in one place all their lives out of necessity, Edgar moved around a lot. He spent a few years of his childhood in England with his foster family, which probably accounts for the European “feel” of some of his writing. As a young man, he attended college at the University of Virginia in Richmond, but John Allan wouldn’t give him enough money to live decently, so he ran up gambling debts, further infuriating Mr. Allan. He tried the army and did better than one might have expected, but when he ended up at West Point Military Academy after his military stint, he lasted only a few months before being expelled.

So, Edgar was a talented misfit. He made a little money from his published stories and poems but never enough. He moved around from place to place, never gaining wide acceptance in the literary world, although there were a few who recognized his uniqueness. (The most fame he would ever achieve during his own lifetime was with his poem The Raven, which is, arguably the most famous poem in American literature.) He had several ill-fated romances with different women, but they didn’t really work out either the way he had hoped. At the age of twenty-seven, he married his thirteen-year-old cousin, Virginia Clemm, and lived with her and her mother (or they lived with him) until Virginia herself died of consumption at the age of twenty-four, exactly as Poe’s mother had. Are we able to see now the pattern of his life?

Poe-Land by J. W. Ocker is an exploration of Poe’s life (a sort of travelogue/biography) through all the places he lived or at least spent some time. Besides Boston, these places include Providence, Rhode Island; the Bronx and Manhattan in New York; Great Britain; Baltimore; Richmond, Virginia; Philadelphia; Fort Moultrie on Sullivan’s Island in South Carolina; Fort Independence in Massachusetts and Fort Monroe in Virginia. One of the ironies of Poe is that, however he might have been dismissed during his own life as a no-talent crackpot, almost any place he ever lived or even spent some time is today almost a sacred site or a tourist attraction. Anything Poe ever touched or anybody he ever knew is today of interest because of his association. The New England states abound with Poe sites or museums, including places he lived or worked and places that he somehow signified with his presence, no matter how briefly. Poe fans are legion all over the world, some of them to the point of obsession. Of course, one of the things that makes him so interesting is his death in Baltimore at the too-young age of forty, on October 7, 1849, of unknown or mysterious causes. He was found, apparently desperately ill, and admitted to a Baltimore hospital, where he died in a delirious state after several days. His attending physician became a sort of celebrity but never seemed to be able to cast any light on the cause of Poe’s death, changing his story as it seemed to fit the circumstances.

One of the many interesting details I learned about the life and death of Edgar Allan Poe from reading Poe-Land is that, when he died, he was placed in an undistinguished grave toward the back of Westminster Cemetery in Baltimore. Within twenty-five years of his death, his literary stature had grown to the point where people began to realize that his grave wasn’t as good as it should be, so his body was exhumed and he was moved to a more prominent place in the cemetery with a much more showy headstone, which still stands today. After twenty-five years in a wooden box in the Maryland earth, there wasn’t much left of dear old Edgar except for bones, hair and clothing. Chunks of his decayed original coffin became coveted collectors’ items and are on display in Poe museums today.

The story of Poe’s life is enough to make you wish in an afterlife so that he might know what became of his literary “legacy” after he died. Today he is probably the most famous of American writers and is almost universally recognized and loved throughout the world. Not only did he practically invent a new literary genre, that of the detective story, but he found a new way of writing poetry, quite unlike anything that had ever been done before. All we see or seem is but a dream within a dream.

Copyright © 2015 by Allen Kopp

Black Mass ~ A Capsule Movie Review

Black Mass

Black Mass ~ A Capsule Movie Review by Allen Kopp

For decades James “Whitey” Bulger was an organized crime boss in Boston, head of the Boston Irish mob known as the Winter Hill Gang. He demanded absolute loyalty from his associates and, if he didn’t get it, he was prepared to kill without compunction. In the 1970s he made a deal with shady FBI agent John Connolly to become an informer with the purpose of bringing down a rival mob run by Italians. He hated informers, he said, but he became one to do to his rivals what they deserved. If you rat on somebody who deserves it (so his reasoning went), it isn’t so bad.

In Black Mass Johnny Depp plays Whitey Bulger with receding hairline and crazed, blue-eyed intensity. (How do they get his eyes to look that way? At times he looks like an evil doll.) And, as psychotic as he is, he has his sweet side. He has a young son whom he loves, he allows his elderly mother to cheat him at gin rummy and he’s kind to the old ladies in the neighborhood. For those who knew him, though (even for their whole lives), he was to be feared. You never knew what he was thinking or what he might do. He was inclined never to forget even the smallest slight or insult.

Joel Edgerton, who last year played Pharaoh Ramses II in Exodus: Gods and Kings (with plenty of eye makeup), looks bloated as FBI guy John Connolly. (At times his Boston accent seems over the top.) Of course, associating himself with Whitey Bulger isn’t a good career move for him. While he is ostensibly on the side of “good,” things don’t work out well for him.

There’s a great cast of supporting players in Black Mass, including Rory Cochrane (who conveys a lot of feeling without words) as Steve Flemmi and Jesse Plemons as dough-faced Kevin Weeks (not very bright but a game player). Benedict Cumberbatch, last seen as gay Alan Turing in The Imitation Game, plays Whitey Bulger’s straight-shooting (or is he?) politician brother, Billy Bulger. Juno Temple, always a standout, plays a hooker/drug addict who meets a not-very-pleasant end at the hands of Whitey Bulger, just when she was beginning to think he was on her side.

Adding to the irony of this story is that Whitey Bulger, regardless of the number of souls he dispatched to the next world, still lives in this one. After sixteen years as a fugitive, he was captured in California, living under an assumed name in 2011. He was put on trial and today serves as an inmate in a federal prison in Florida. He is 86 years old.

What makes Black Mass so interesting (if maybe a little reminiscent of other crime movies, including The Departed) is that it’s a true story rather than a fictional one. After a summer of youth-oriented fluff in movie theatres, isn’t it refreshing to see a movie that is actually about something?

Copyright © 2015 by Allen Kopp

The Canterbury Tales ~ A Capsule Book Review

The Canterbury Tales

The Canterbury Tales (A Prose Version in Modern English) ~ A Capsule Book Review by Allen Kopp

Geoffrey Chaucer (1343-1400) lived during the Middle Ages, almost two hundred years before Shakespeare. The English spoken at the time he lived is called Middle English, to distinguish it from Old English and Early Modern English (the language that Shakespeare spoke and wrote in). Chaucer’s most famous work is The Canterbury Tales, a collection of about twenty stories (some in prose but most in verse) with a simple premise: A group of diverse “pilgrims” (a nun, a knight, a miller, a priest, a doctor, a pardoner, a “wife,” etc.) on their way to Canterbury to pay homage to Thomas Becket (who “helped them when they were sick”) tell stories to pass the time and relieve the tedium of the road. Each pilgrim is required to tell a story, whether they want to or not. The stories range from bawdy, low humor to tragedy and give us a picture of what life was like in England at the end of the fourteenth century.

No matter how you’ve been spending your time lately, you probably haven’t been reading The Canterbury Tales in its original Middle English, unless, of course, you’re a graduate student preparing a thesis on the subject. If you’ve ever heard Middle English spoken, it’s beautiful to hear but not that easy to understand for modern speakers of English. A lot of the words are the same and are easily recognizable, but a lot of the words no longer exist in the language. (If you’d like to hear an example of spoken Middle English, here is an easy link to “The Nun’s Priest’s Tale” from The Canterbury Tales on YouTube: https://www.youtube.com/watch?v=3C6rS0aL0DM

Since Middle English is beyond the ken of most people (including me), there’s this “Prose Version in Modern English” by David Wright. A lot of the “feel” of The Canterbury Tales, I’m sure, is lost is this translation (sort of like the “modern American translation” of the King James’ version of the Bible), but if you need to read The Canterbury Tales and you want to be able to understand it, this is the best, most accessible way. Of course, you have to be a dedicated reader if, like me, you’re reading it only for enjoyment and out of curiosity and not because you have to. After all these years since high school English class, I finally know what the Wife of Bath is all about.

Copyright © 2015 by Allen Kopp

Undertow ~ A Painting by Winslow Homer

Winslow Homer (American, 1836–1910), Undertow, 1886. Oil on canvas, 29 13/16 x 47 5/8 in. (75.7 x 121 cm). Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1955.4

Undertow (1886) by Winslow Homer

Winslow Homer (1836-1910), known mostly for his paintings of the sea and marine subjects, was one of the most important American artists of the 19th century.

His 1886 painting, Undertow, is based on an incident he witnessed in 1883 off the coast of Atlantic City. Rescuers are pulling two women ashore who are in danger of being pulled under. The rescuers, modeled on ancient Greek marble statues, appear as three-dimensional. In spite of their apparent strength and muscularity, their struggle suggests they are no match for the power of the sea.

The Faces of Edgar Allan Poe (1809-1849)

Alone
by Edgar Allan Poe

From childhood’s hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then—in my childhood, in the dawn
Of a most stormy life—was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.

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