Tellers of Weird Tales

Speaking of the ancient world, I would like to show two pictures, one of which looks a little like the other. The first is "Pericles' Funeral Oration" by German artist Philipp Von Foltz (1805-1877). The second is Frank Frazetta's wraparound cover illustration for Child of the Sun by Kyle Onstott and Lance Horner (Fawcett, 1972). This could be an example of two artists arriving at the same solution to a similar compositional, dramatic, and narrative problem. On the other hand, there could be a little swiping involved. I'll let you decide for yourself. By the way, the Roman speaker in Frazetta's painting looks like a self-portrait.

Text copyright 2025 Terence E. Hanley

Not long ago, I found a series of European comic books called Chica. In an issue called Chica: A Horse Angel Special, from 2007, I saw a sequence that looked familiar:

I can't fairly call it a swipe, but the sequence shown above is very similar to the one shown below, by Frank Frazetta:

Text copyright 2023 Terence E. Hanley

"The Moon Terror" by A.G. Birch was the first story in the May 1923 issue of Weird Tales. "The Closed Cabinet" by _____ _____ was the last. _____ _____ was an anonymous author in the pages of "The Unique Magazine" and in the original. The original was Blackwood's Edinburgh Magazine (Vol. CLVII, No. DCCCLI), published in January 1895. The publication of "The Closed Cabinet" was announced in newspapers in December 1894. In its issue of January 21, 1895, the Brooklyn Daily Eagle called it "an old time Scotch story." (p. 12)

In an item called "Literary Gossip," the Bowling Green, Ohio, Daily Sentinel-Tribune (Mar. 7, 1895, p. 2) attributed authorship of the story to Lady Gwendolen Cecil, daughter of the Marquess of Salisbury. There isn't any source given for that bit of information. This was gossip after all. Her authorship was previously confirmed in The Author, Playwright and Composer, Volumes 5 and 6, page 246, also from 1895. Maybe that's the source of the item out of Bowling Green. By the way, The Collector's Index to Weird Tales by Sheldon R. Jaffery and Fred Cook, an indispensable source in my writing of this blog, was also published in Bowling Green.

I'm not the first person to track down authorship of "The Closed Cabinet" to Lady Gwendolen. Scottish editor Johnny Mains (b. 1976) did that before me for his collection A Suggestion of Ghosts: Supernatural Fiction by Women, 1854-1900 (2018). More than a hundred years before Mr. Mains published his book, Julian Hawthorne (1846-1934) included "The Closed Cabinet" in his series Library of the World's Best Mystery and Detective Stories (1907-1909?). It looks like this series was also called and/or reprinted as The Lock and Key Library. Lady Gwendolen's story is in the volume Old-Time English Stories (1909), the contents of which are as follows:

• "The Haunted House" by Charles Dickens (1859)
• "No. 1 Branch Line: The Signal-Man" by Charles Dickens (1866)
• "The Haunted and the Haunters; or, The House and the Brain" by Edward Bulwer-Lytton (1859)
• "The Incantation" by Edward Bulwer-Lytton (date unknown)
• "The Avenger" by Thomas De Quincey (1838)
• "Melmoth the Wanderer" by Charles Maturin (1821)
• "A Mystery with a Moral" by Laurence Sterne (date unknown)
• "On Being Found Out" by William Makepeace Thackeray (1861)
• "The Notch on the Ax" by William Makepeace Thackeray (1862)
• "Bourgonef" by unknown
• "The Closed Cabinet" by unknown (Lady Gwendolen Cecil)

"Her Countenance Grew Fierce," an illustration by an unknown artist for "The Incantation" by Edward Bulwer-Lytton and the frontispiece for The Lock and Key Library: The Most Interesting Stories of All Nations, Old Time English, edited by Julian Hawthorne (New York: The Review of Reviews Co., 1915). I have altered this image from a photograph taken of the original.

The image shown above may seem familiar to you. Have a look at the cover illustration for the May 1923 issue of Weird Tales, made by William F. Heitman:

Text copyright 2023 Terence E. Hanley

A few weeks ago, I discovered a blog entry called "Pulp Cover Swipes of the Golden Age," written by Yaniv Elancry and posted on the blog Streyflexin Collectibles on April 20 of some year. The article was originally on a website or app called Shortboxed. Mr. Elancry did a nice job of compiling swipes made by comic book artists from pulp magazines. One of those swipes is from a cover of Weird Tales:

There are lots of other swipes and lots of good artwork in Yaniv Elancry's blog posting. You can read it and see it by clicking here.

Text copyright 2023 Terence E. Hanley

I read a lot last year. Book No. 51 was Mention My Name in Atlantis by John Jakes (Daw Books, 1972). Mr. Jakes' book is a kind of mock epic. The lead character and narrator is a Falstaffian figure called Hoptor the Vintner. His sometimes sidekick is Conax the Chimerical, king of a land of barbarians. Mention My Name in Atlantis is also a satire and a parody, including of the typical heroic fantasy hero and pulp writing in general. Here is an illustrative passage:

     "Pox on your map-makers!" screamed Conax. "Can I help it if those feeble-eyed fops are ignorant? I'd invite them to visit, but the thin-blooded villains would surely freeze their privates the minute they crossed the borders of my noble northern nation!"

     "He has florid rhetoric," observed General Pytho. "Rather like the purple phrasing of the tellers of adventure tales, who swap their narratives for a tenth of a zeb a word in the scroll mart." (p. 52)

The story is set in Atlantis and explains what happened to that now sunken continent. In addition to Atlantis, there are other Fortean subjects, namely ancient astronauts, alien abductions, and flying saucers, which are initially interpreted as omens of disaster. (Disaster comes.) All are made continuous with heroic fantasy, a development that seems sure to have irritated purists of both Forteana and Howardiana (if there is such a word). That seems fine to me.

The cover of Mention My Name in Atlantis is by H.J. Bruck (1921-1995), a German-born artist. Bruck included at least two Frazetta swipes in his composition:

Look closely. You'll find them. Look closer still and you may find more.

Original text copyright 2022 Terence E. Hanley

. . . or maybe this belongs in the category of reduce, reuse, and recycle. After all, both Amazing Stories and Fantastic were published by Ziff-Davis Publishing Company. Maybe Leo Summers (1925-1985) was just handed a five-year-old magazine and told to recycle the damsel in distress on its cover. The original artist was Harris Levey (1921-1984), who had previously drawn comic book stories under the names Lee Harris, Leland Harris, and Harris Levy. His technique and his handling of color, texture, and the human figure are superior in this case. His villains are more interesting, too. Even in 1958, the Little Green Man was a cliché in science fiction.

Amazing Stories, March 1953, with cover art by Harris Levey.

Fantastic, July 1958, with cover art Leo Summers.

Text copyright 2021, 2023 Terence E. Hanley

I have been reading and writing about H. Rider Haggard. Along the way, I have discovered an obvious swipe. The first image below is of the cover of Ayesha: The Return of She in a 1977 edition from Newcastle Publishing. The artist was Tony Yamada. Below that is Mr. Yamada's inspiration, Napoleon Crossing the Alps by Jacques-Louis David, from 1801. The mound of bones and skulls may also be a swipe, from Frank Frazetta, probably the all-time champion swipee (and occasional swiper), from his cover for the Lancer book Conan the Adventurer. (Click here to see that image.)

Note: I could not find a good scan of the cover of Ayesha: The Return of She. I have instead modified this image from a photograph.

Text copyright 2021, 2023 Terence E. Hanley

I wrote the other day about Gustav Holst (1874-1934) and his suite The Planets from more than a century ago. Listening to his music and looking into the covers of recordings of his music made me think of two topics related to genre fiction. Both involve Les Baxter. If you haven't listened to Les Baxter's music, I would urge you to as soon as you can. There is so much there for fans of popular culture, especially Exotica and what I think of as one of its progenitors, the genre of Lost Worlds.

Leslie Thompson Baxter, called "the Godfather of Exotica," was born on March 14, 1922, in Mexia, a small city in east-central Texas. His parents were Jesse Elliott Baxter (1890-1955) and Leta Thompson Baxter (1890-1964). Both were native Texans and the families of both originated in the Upper South. Les Baxter had one brother, James Edward "Jim" Baxter (1913-1964), an author, playwright, composer, and lyricist who worked with Les in the 1950s and '60s. Les Baxter married just once, in 1953. He and his wife, Patricia C. Baxter, had two children together. Tragically, she died at age thirty-four, after they had been together for just seven years. Les Baxter raised their children on his own after that. So, at the height of his musical career in the 1950s and '60s, Les Baxter lost his parents, his brother, and his wife. Some things are given while others are taken away.

Les Baxter's father, Jesse Baxter, worked as a stenographer, bookkeeper, and realtor, but his family included more than one prominent preacher. His brother, Batsell Baxter (1886-1956), was a preacher, writer, and college president. (More on that below.) Batsell Baxter was the father of Batsell Barrett Baxter (1916-1982), also a preacher, writer, and educator. He started Herald of Truth Bible Hour, a TV show that lasted for decades.

Jesse Baxter's sister, Anna Lee Baxter Hockaday (1892-1970), was married to a preacher, too. He was William Doniphan "Don" Hockaday (1888-1958), a second cousin, twice removed, of Abraham Lincoln (1809-1865). If you look at a picture of Don Hockaday, you might see a resemblance to the Great Emancipator. Don Hockaday's daughter-in-law died just last month. We send condolences to her family. We also find that an important idea is once again affirmed: History is alive in this moment. What we think of as being dead and in the past still lives.

Les Baxter was a musical child prodigy. He started playing piano at age five and as a six-year-old won a scholarship to the Detroit Conservatory of Music. The 1940 census indicates that in 1935 the Baxter family lived in Detroit. That would have been about the time, I think, that Jim Baxter attended Wayne University (now Wayne State University). Jim Baxter went on to write the Western novel The Circle on the Plain (1961) and the play Next Case. He also collaborated with his brother Les and songwriter Karl A. Suessdorf (1911-1982) on the songs "Rovin Gal" and "Calypso Boogie" (both from the movie Bop Girl Goes Calypso [1957]); "A Gun Is My True Love" (from the movie The Dalton Girls [1957]); and "Shooting Star" (from the album Space Escapade [1958]); as well as "Black Sheep," "Destination Honeymoon," and "Memories of Maine."

Les Baxter studied at Pepperdine University, an institution affiliated with the Churches of Christ. Baxter's uncle, Batsell Baxter, served as the first president of Pepperdine from 1937 to 1939. I suspect that Les Baxter was in attendance at about that time. In the census of 1940, Les, aged eighteen, did not have an occupation listed, but in 1942, when he filled out his draft card, he was employed by Central Casting in Hollywood. By age twenty, then, he had begun working in show business. 

Baxter worked as a concert pianist and joined Mel Tormé's vocal group, the Mel-Tones, in or about 1944. The other singers in that group were Betty Beveridge, Ginny O'Connor, and Bernie Parke. Some combination of them appeared in two motion pictures, Pardon My Rhythm (1944) and I'll Remember April (1945). (Baxter played a singing sailor.) Ginny O'Connor soon after married Henry Mancini (1924-1994), another sometime composer of Exotica. (Be sure to listen to his "Lujon.") Les Baxter also played saxophone in Freddy Slack's big band.

Les Baxter was not only a singer and musician but also, of course, a composer, arranger, conductor, and producer of music. He wrote more than 250 scores for radio, television, and movies, including music for the Bob Hope and Abbott and Costello radio shows. I won't go into his list of credits except in the bullet points and record covers shown below. You can easily find his credits on your own on other websites, including on the Internet Movie Database (here). But I wanted to tell you a little more on the life of this extraordinary composer of so much exotic, evocative, and atmospheric music of the postwar era. I also wanted to tell about his influence upon and connections to the old pulp genres of science fiction, fantasy, and weird fiction:

First, as a maker of Exotica, Les Baxter helped to carry some of the moods and forms of more nearly classical music into popular realms of the 1950s through the 1970s. He did this chiefly, I think, by his use of African-influenced percussion, impressionistic woodwinds and strings, and soaring, wordless voices, these first with the Peruvian coloratura singer Yma Sumac (1922-2008), later in other albums of his own. (He produced and composed the music for her first studio album, Voice of the Xtabay, in 1950.)

If you listen to Gustav Holst's Planets (1914-1916, 1918), specifically "Neptune, The Mystic," you will hear wordless voices, but they are in other early twentieth-century compositions, too, such as in Maurice Ravel's Daphnis et Chloé (1912). You can hear the influence of Ravel--Debussy, too--on Les Baxter, but then these two French composers had a large effect on American popular music, especially film scores, in which seemingly every ocean-going movie for decades quoted from Debussy's La Mer. (Be sure to listen, too, to the angelic wordless singing of Edda dell'Orso [b. 1935], who worked extensively with Ennio Morricone [1928-2020] on his own film scores. Addition, March 4, 2021: One more piece of wordless singing: "Madrigals of the Rose Angel" from Harold Budd's album The Pavilion of Dreams [1978].)

The wordless singing and rapid-fire percussion of Exotica found their way into the main title theme of Star Trek, especially in the first season opening. The music was by Alexander Courage (1919-2008) and I think very much influenced by Les Baxter's Exotica. All of these voices remind me of the high, sweet, otherworldly, vocal group- or choral group-type singing in The Wizard of Oz (1939). Remember that Les Baxter started out in a vocal group, singing with a man nicknamed "the Velvet Fog." Talk about atmosphere.

Second, Les Baxter also used the theremin early on, an instrument that is kind of a science fiction instrument anyway but also became one of the essential elements of the science fiction movie soundtrack of the 1950s, such as in Rocketship X-M (1950), The Day the Earth Stood Still (1951), and The Thing from Another World (1951). Here's a chicken-and-egg question: Did science fiction movies use the theremin because of Les Baxter, or was it the other way around? Or maybe both discovered the instrument at the same time.

Third, Baxter composed music drawing from or meant to evoke the genres of Lost Worlds and science fiction (see the record covers below), but he also wrote scores for every kind of genre movie, including: The Invisible Boy (science fiction, 1957); The Lone Ranger and the Lost City of Gold (Western and Lost Worlds, 1958); Goliath and the Barbarians (sword and sandal or heroic fantasy, 1959); Master of the World (scientific romance or Vernian science fiction, 1961); Reptilicus (monster movie, 1961); Tales of Terror (weird fiction, 1962); Panic in the Year Zero! (post-apocalypse, 1962); and many others, plus plenty of beach-party and motorcycle exploitation movies.

Fourth, he also wrote the score for The Dunwich Horror (1970), the first movie based on a work by H.P. Lovecraft (1890-1937) that also shares its title with the original source. (I think.) So if a movie score is a kind of program music or a kind of adaptation, then Les Baxter might get credit for the first musical adaptation of Lovecraft's work on film. However, the first film adaptation of a work by Lovecraft was actually The Haunted Palace (1963), a film based on "The Case of Charles Dexter Ward" (1927, 1941, 1943). The author of that score was Ronald Stein (1930-1988), whose list of credits might be indistinguishable from Les Baxter's, for these two men wrote music for all of the same kinds of movies. Anyway, Ronald Stein should probably get credit for the first recorded musical adaptation of H.P. Lovecraft's work, assuming, like I said, that a movie score is a kind of program music and therefore an adaptation. (See my article "The Other Forms of Lovecraft," dated October 2, 2018, by clicking here.)

Well, this article has gone on pretty long and it might be time to wrap things up. I'll close by letting you know that Les Baxter died on January 15, 1996, in Newport Beach, California. He was seventy-three years old, but in departing he left behind music that I hope we can listen to forever.

Further Reading

• "Les Baxter" on the website Space Age Music Maker, here.
• A website called Les Baxter at this URL: Lesbaxter.com.
• The Exotic World of Les Baxter, a website accessible by clicking here.

The "banned" record cover of The Planets by Gustav Holst, which I showed the other day, reminded me of this one, for Space Escapade by Les Baxter (1958). The rocketship in the background might be a little phallic, but it also reminds me of the Flatwoods Monster.

Here's the reverse side of that album. I don't know who the artist is, but he or she knew something about science fiction imagery. And talk about a phallic rocketship.

In Music Out of the Moon (1947), Les Baxter collaborated with composer Henry Revel (1905-1958) and theremin player Samuel J. Hoffman (1903-1967). New things with this album included not only music of the theremin but also the full-color cover and the scantily clad model (actress Virginia Clark). One old-fashioned thing about it: it was released on three 78 rpm records. One real-world application: Neil Armstrong played Music Out of the Moon--on the moon!

To me, Exotica is related to the Lost Worlds genre of literature but perhaps filtered through the overseas experiences of servicemen and -women during World War II. Think of South Pacific with its "own special island." Whatever its origins, Exotica was very popular during the 1950s and '60s. Here is an early recording in that genre, Le Sacre du Savage or Ritual of the Savage by Les Baxter and his orchestra, from 1951. The cover artist was William Chapman George, Jr. (Aug. 10, 1926-May 25, 2017), who for some reason is not very well identified on the Internet despite his having been a very accomplished illustrator over the course of a very long career. As an example of his talent, the late Mr. George painted this picture when he was just twenty-five years old. He went on to paint interior illustrations and covers for men's magazines, paperback books, especially Westerns, and packaging for He-Man toys of all things. There is an interview with him in Illustration #8, from 2003. On the other hand, there is very little of him on the Internet Speculative Fiction Database. I hope someone will correct that oversight soon. A few years ago, I was at a Bigfoot conference in Ohio and stopped at the table of the Explorers Club. One of their promotional items, a flyer or postcard, showed William George's cover for Ritual of the Savage but missing all identifying information. In other words, I think they swiped his artwork and violated somebody or other's copyright. But these are the things people do to the work of the artist. Anyway, I'll have more to say about the Explorers Club in a future article.

Speaking of swipes, here's a movie poster for House of Usher (1960), for which Richard Matheson (1926-2013) wrote the screenplay and Les Baxter wrote the music. The swipe is from Harry Clarke's illustration for "The Premature Burial" by Edgar Allan Poe (1809-1849). (Click on the previous sentence to see it.) It's strange to think that Edgar Allan Poe and Abraham Lincoln were born less than a month apart.

By 1970, when The Dunwich Horror was released, H.P. Lovecraft had name recognition. Moviemakers didn't have to hide his story behind Poe's byline as they had done just seven years before in The Haunted Palace. I wish I had the name of the cover artist here: he or she deserves some credit for this full-color illustration of a story that had seldom--or maybe never--gotten this kind of treatment before.

Tonight (February 16, 2021), I heard on the radio a story about the 100-year anniversary of The Planets by the British composer Gustav Holst (1874-1934). I'm not sure why the story was on tonight. Holst wrote The Planets in 1914-1916, and it was first performed in 1918. The first performance of the entire suite took place on November 15, 1920. That's still more than 100 years ago.

Anyway, Holst began his work by composing "Mars, The Bringer of War," the intended or eventual first movement of The Planets.* Holst didn't bring on the war in his composition of "Mars," but it came anyway, war that is, on July 28, 1914, just a few months after he had begun. The Planets made its premiere on September 29, 1918, just a few weeks before the war ended.

Mars was on people's minds in those years. It all began with Giovanni Schiaparelli's observations of what he called canali on the surface of the Red Planet in 1877. Percival Lowell picked up the ball and ran with it in the early 1890s with his own observations of an intricate webwork of canals, as well as other features on Mars. He wrote about these things in three books, Mars (1895), Mars and Its Canals (1906), and Mars As the Abode of Life (1908). His visions of Mars endured for generations, even into the 1960s and '70s.

H.G. Wells carried Lowell's interpretation to a logical and terrifying conclusion in The War of the Worlds (1897, 1898). Finally there came along a lowly pulp story, "Under the Moons of Mars" by Norman Bean, aka Edgar Rice Burroughs, serialized in The All-Story beginning 109 years ago this month, in February 1912. His story was published in book form as A Princess of Mars in 1917. Since then, gazillions of young fans have wanted to be his hero, John Carter, and have fallen in love with Burroughs' princess, Dejah Thoris.

Gustav Holst was influenced by astrology, not pulp fiction, but that hasn't stopped anybody from giving his record covers the science fiction treatment. Here are a few of them. I saved the most science-fiction-y--and the only scandalous one among them--for last.

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*Update (Feb. 2, 2022): The part of the soundtrack of Star Wars backing the destruction of the Death Star has its similarities to "Mars, The Bringer of War."

That looks enough like Mars in the background for this image to earn its place as first in this series. In the foreground is an aerial view of the current state of Texas.

I like these highly stylized versions of Saturn, Jupiter, and Mars. The faces of Jupiter and Mars look almost like those of living beings. And Mars here is the Mars of the popular imagination, Percival Lowell's Mars with its canals and oases.

Here's a version done by the great space artist Chesley Bonestell (1888-1986). Entitled Saturn as Seen from Iapetus, it appeared in the book The Conquest of Space by Willy Ley (1949) and before that in Life magazine. The difference is that the image here is flipped for some reason, maybe to make Saturn read better in visual terms: as your eye drifts across the image, it can ride the ramp of Saturn's rings to reach the title "The Planets."

This is a pretty small picture, but I can still detect a swipe . . .

The picture on the right is by Jean-Auguste-Dominique Ingres, that on the left by Margaret Brundage. I've showed this juxtaposition before in "Brundage and Ingres," dated April 4, 2019, and accessible by clicking here. Chesley Bonestell seems to have swiped Ingres' painting, too. See the endpapers of The Art of Chesley Bonestell by Ron Miller and Frederick C. Durant III (2001) for that and for another depiction of Percival Lowell's Mars.

This version of The Planets is supposed to have been banned. You can kind of see why. Comic strip fans will recognize the more fully dressed of these two figures as a repurposed Flash Gordon. Here's another one:

On the cover of the hardbound edition of The Best of C.L. Moore (1975). The figure on the left is the Shambleau from the story of the same name. If you haven't read "Shambleau" yet, you should. Those who have read it know that it takes place on Mars, the Red Planet and Bringer of War. Anyway, one of these images was banned while the other was not. Go figure. The art, by the way, is by Chet Jezierski (b. 1947).