Heart of the Hollow Earth

I recently watched Apocalypse Now for the first time. It is undoubtedly the best and most beautiful film I've seen in some time. People generally regard it as the best Vietnam film. Though gritty and realistic in its details, and, to some extent, inspired by real events, it represents an almost mythical vision, floating from The Ride of the Valkyries to Dante's Inferno and man's primordial roots in the jungle.

What made me want to see it was a comparison someone made between it and my Tashyas story. Actually, as I've said, I was thinking about Herzog's Aguirre, the Wrath of God and Conrad's Heart of Darkness. As is well known, though, Francis Ford Coppola cited both of these as major influences on Apocalypse Now. As a matter of fact, it's fair to say that Apocalypse Now is nothing more than a film treatment of Heart of Darkness, translating the Company's involvement in equatorial Africa into that of the United States in Vietnam, each presented just as imbecilic, futile, and destructive as human endeavors tend to be.

I've started to regard Heart of Darkness as a kind of modern myth. It has two basic motifs: the dark journey inward, and the great man who goes native and betrays humanity. The moral is that civilization is a veneer over something very dark indeed. Like the plot of Red Harvest (which I regard as another modern myth), it seems to have become part of the dream-logic of our culture. Aguirre and Apocalypse Now have been mentioned; I'm reminded also of Ridley Scott's Alien (whose ship and shuttle are named from Conrad stories) and James Cameron's popcorn-selling sequel. And, as a very recent and not-quite-legitimate descendant, we have Kong: Skull Island, which I went to see at the $4.00 matinee last week.

It's pretty plain that the makers of Skull Island were wanting to evoke and/or perfectly willing to plunder the visuals and general atmosphere of Apocalypse Now. It opens at the close of the Vietnam war, and the first scenes are chock-full of in-your-face historical details that let you know exactly what era you're looking at, while the jungle scenes are overlaid with the predictable rock songs so that you don't forget that this is the Vietnam era despite the overwhelming chronological ambiguity. (Me, to my eight-year-old son: "They played a Creedence song in that movie I just saw. Can you guess which one?" Him, without a moment's thought: "'Run Through the Jungle'!")  It's one of those movies where the older, uglier, and/or more annoying actors tend to meet grisly fates, and the young, pretty, highly paid actors do not. There's one guy I knew was destined to get picked apart by pterodactyls or something from the first moment I saw him.

Well, so, kind of a stupid movie.* But, as you may know, I'm a sucker for movies about little people running from giant monsters, and this one is pretty awesome in that department.

One really cool aspect is the hint that all these weird creatures are coming out of gigantic caverns beneath the earth's surface, where MUTOs have apparently been thriving for millions of years. Skull Island is set in the same universe as that Godzilla movie that came out in 2014 (also stupid, but also quite enjoyable), and it seems likely that we're looking at appearances by Mothra, Rodan, and Ghidora in the near future. Bring on the MUTOs! All monsters attack! I'm giddy with excitement!

But back to the hollow earth thing. Since my earliest childhood, I've known deep down in my heart that the whole earth-is-just-melted-rock-until-you-get-to-China theory is false. I mean, no one has actually been down there, have they? It's much more likely that there are massive caverns inhabited by gigantic prehistoric creatures and forested with huge mushrooms. Otherwise, the planet would be mostly wasted space, and, if there's one thing we know about Nature, it's that she hates for things to go to waste.

So I was very interested to read some of the amazing hollow earth theories recounted by Ryan Harvey over at Black Gate in some of his Pellucidar posts. Clearly, I'm not alone in my deep-seated convictions. But the most interesting, I think, is the theory of Cyrus Teed, an amateur scientist who founded a religious sect (Koreshanity) in the belief that we are already living on the inside of the world. From his Cellular Cosmogony:

The sun is an invisible electromagnetic battery revolving in the universe's center on a 24-year cycle. Our visible sun is only a reflection, as is the moon, with the stars reflecting off seven mercurial discs that float in the sphere's center. Inside the earth there are three separate atmospheres: the first composed of oxygen and nitrogen and closest to the earth; the second, a hydrogen atmosphere above it; the third, an aboron atmosphere at the center. The earth's shell is one hundred miles thick and has seventeen layers. The outer seven are metallic with a gold rind on the outermost layer, the middle five are mineral and the five inward are geologic strata. Inside the shell there is life, outside a void.**

Teed established a commune in Florida in 1894, which finally fizzled out in the 1960s. The place is now a state historical site. Strangely enough, soon after reading Mr. Harvey's post, I met a professor who lives near the site and takes his students there on occasion. So when he started talking about this theory that we live on the inside of the earth, I actually knew what he was talking about and could respond intelligently. It's called social networking, people. "You see?" I told my wife. "Reading weird stuff on the Internet isn't just wasting time after all!"

But it's strange, isn't it, how many "alternative" scientific theories (hollow earth, Atlantis, spiritualism, etc.) of the turn of the century gave birth to subgenres of fantastic literature? One wonders what theories Burroughs was familiar with in creating Pellucidar. At any rate, he was apparently unfamiliar with the shell theorem, first proved by Isaac Newton, which states that, at any given point in a spherically symmetric distribution of mass, only the mass closer to the center than the point contributes to the gravitational force at that point; all other mass can be ignored because its gravity cancels itself out, so to speak. The upshot is that, inside a perfectly hollow spherical shell, there would be no gravity at all; if, as in Pellucidar, there were a massive sun-like body at the center of the hollow, everything would fall into that body and burn. Of course, there would be nothing to keep such a body in its place at the center.

Speaking of Pellucidar and stupid movies, I recently watched At the Earth's Core, an Amicus production starring Peter Cushing and Doug McClure, with my kids. ("Hi! I'm Doug McClure! You may remember me from such films as At the Earth's Core!") Not so great, but the kids loved it. We also recently watched The Valley of the Gwangi, a Ray Harryhausen film about cowboys trying to capture dinosaurs for their wild west show in Mexico. It has same basic plot as King Kong (another modern-myth candidate) and ends with an allosaurus stalking a cowboy, his girlfriend, and a boy named Lope through an empty cathedral, which is pretty awesome.

Kong-derived stories seem always to feature some kind of dark journey upriver to primordial beginnings, which we saw as a key element in the Heart of Darkness myth. And so we're brought back to the primordial beginnings of this post, that is, Apocalypse Now.

* At one point, a search party happens upon a letter that a guy who got eaten was writing to his family. They make a big deal about how they're going to see that his widow gets his things. It's a solemn moment, but I couldn't help but imagine how that would go: "Ma'am, I'm very sorry to inform you that your husband was killed in action. Well, no, actually it wasn't in Vietnam. No, he survived that. What happened was, we were sent on this special mission to a secret unexplored island inhabited by prehistoric monsters, where he was eaten by a giant lizard creature. I'm so sorry for your loss."

** Actually, I imagine that there's probably prehistoric creatures on the outside.

Hard at Work or...

Let's take a little break from our long-winded castigations of much-loved children's book authors to take a look at what I've been working on lately.

First exhibit, the cover of my upcoming book The King of Nightspore's Crown:

Ha ha ha, just kidding. (I probably had too much fun making that.) Here is the actual painting, in its current state of completion:

For your viewing pleasure, here's a close-up of the lovely mosses:

and here's the two dudes fighting:

As you can see, I've got some Oceanic and Central American influences going on here. Wouldn't this make a cool movie? I'd go see it. Maybe I'll try to interest Guillermo del Toro in optioning the series. If that works out, I'll probably insist that Doug Jones portray at least some of the abhuman characters.

I'm still leaning toward making the left-hand side of this image the front cover, which would maybe look something like this:

As I hope is abundantly clear, I'm still going for the Ballantine Adult Fantasy look. The design's a bit busy, perhaps, but that's kind of my trademark.

*

I've been listening to Joseph Conrad while painting, which seems fitting. I've also been re-listening to the Imaro books, in anticipation of acquiring the further volumes. Something about the Imaro stories reminds me of the freshness of the old pulps. No doubt this owes partly to the newness of the setting, but there's an earnest seriousness to Saunders' stories that puts me in mind of Robert E. Howard. I like the wilderness stories the best.

A reader objected the other day to attempts to "erase" authors from history. Regular readers of my blog know that, while I may get in a high dudgeon about this or that, I'm quite shameless when it comes to filling my own skull with garbage. I would also defend to the death (or some such rhetorical extremity) the right of the writer to depict the ugly side of life in an ambiguous way. And I don't apologize for reading and liking authors who hold opinions that I or others regard as morally repugnant.

But that doesn't mean that commenting on authors' viewpoints is off-limits, either. It's a free country!

So, suppose you get irritated by something that pervades an author's work – an author you happen to really like on the whole. You want to do something about it. There's a few things you can try. You can grouse about it on your blog, and see where that gets you. That's one approach. You can repudiate and utterly contemn the author's works and urge others to do so. We might call this the bonfire-of-the-vanities approach. Or you can just write your own awesome stories in the same genre, with a certain amount of subversion and subtle commentary.

Which seems like the most fun?

Inspired by such ruminations, I here announce the inception of an alternate-history sword-and-sorcery subgenre set during the time of the Spanish conquests. Of course my protagonist will hail from Puerto Rico. Of course he will be of mixed ancestry. And of course his adventures will take him across an alternate Texas in search of God, gold, and glory. Just like me!

After careful consideration, I propose "sword-and-santería" as a name for the subgenre, having briefly considered but ultimately rejected the "arquebus-and-sorcery" label. I've written one story so far, set in the location of the town where I live. From here I think he will wander out to the painted canyons of the west, to encounter cosmic weirdness and mete out sudden vengeance. No doubt his perambulations will eventually take him to all the really interesting places in the American Southwest, Mexico, and Central America. It's Conrad and Cather meet Howard and Lovecraft, Kane and Conan meet Coronado and Cortés. I wish my antihero luck in his morally dubious adventures.

The Devil's Land

We (ahem) continue to work on the publication of Dragonfly. Tweaking it has been more time-consuming than anticipated, but we (my publisher and I) are still on for our April 27 release date. In the meantime, I'll ruminate a bit on Texas and Mexico, which have been much on my mind for various reasons lately.

Blooming ocotillo and acacia near the Pecos River and Rio Grande.
The former, also aptly known as the devil's walking stick, usually
looks like a dead stick with murderously long, sharp thorns, but after a
spring rain it sprouts leaves and vermilion flowers.

I am, as my bio reads, a circuit-riding professor living in the Texas hinterlands. My work this week took me deeper than usual into the open spaces on the map.* My young son accompanied me. Among other things, we paid a nighttime visit to the Marfa lights, where mysterious orbs of golden fire appear and disappear over the distant desert for no apparent reason. Sometimes the lights fail to show, but we were fortunate on this occasion. The night was chilly and star-pricked, and storm cells flashed in the distance.

I've been visiting the spot since I was a boy. But the place is on the itineraries now, and there's a viewing platform and public restrooms; my son and I were subjected to a busload of senior citizen tourists who swarmed the stop and complained loudly that the lights weren't as spectacular as they'd been led to believe. One lady right behind us, after having exclaimed to all and sundry that she couldn't see what everyone was talking about, finally had the little orbs pointed out to her by a neighbor, and bitterly commented, "Well they should be bigger."Sigh.

Because Texas is a Gulf state, it's easy to forget that the westernmost tip, occupied by El Paso, is closer to the Pacific Ocean than to Louisiana. The wedge of land between the Pecos and the Rio Grande belongs to the Chihuahuan Desert of northern Mexico and the high plains of New Mexico. What rain it gets typically sails over from the west. It's a land where your heart expands, a land that makes you feel wild and free, a land for which I have a deep and abiding love. But, as I said, it's becoming increasingly well known, which sends persons like me hunting for places farther from such well-trodden ways.

My home lies in the east, at the Edge of Beyond, as I call it, on the ecological borderland where the Winter Garden region, known for its winter vegetable growing season, ends and the South Texas Badlands begin. Farther west, beyond the Amistad Reservoir and the Devil's River, civilization gives out altogether. The stretch of country between the Pecos canyon and the town of Sanderson is particularly desolate.


The Pecos River, that sediment-choked symbol of death, hell, and
the devil, gateway to the semi-mythical Old West.

The land is open and rolling and completely treeless, an undulating, rocky plain of prickly, dark green acacia cut here and there by canyons and arroyos. Most of the buildings are abandoned and roofless and have a haunted, almost demonic look. Marfa and the rest lie far beyond it, and there's little danger of a popular inundation so far from the Interstate and any points of interest.

The U. S. highway hugs the Rio Grande. Looking northeast you have eighty or a hundred miles of trackless, houseless wilderness, bordered on the far side by the Interstate. In the other direction, on clear days, you can see far away into the southwest, beyond the Rio Grande and across the uninhabited deserts of northern Coahuila, to where the Sierra del Burro rise up from the arid flats; perhaps you can even catch a glimpse of the Sierra del Carmen beyond, a "sky island" in a sea of desert that attains heights of more than 8000 feet, putting me in mind of one of my favorite films. Together these two ranges form the northernmost limits of the Sierra Madre Oriental. There are no paved roads there and no towns. What inhabitants there are live on large ranches. It has been called one of the remotest places on earth.

I've traveled a bit in Coahuila, having spent some time in Saltillo, the capital city, in my tumultuous youth. It's a wild and beautiful region, and one that I've longed to explore ever since. Perhaps one day, when my children are older and Mexico is more settled, I'll do so. More than anything I long to penetrate those blank spaces on the map, the Sierra del Burro and Sierra del Carmen.

Joseph Conrad's Marlow puts the desire thusly:

Now when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration. At that time there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map (but they all look that) I would put my finger on it and say, 'When I grow up I will go there.' The North Pole was one of these places, I remember. Well, I haven't been there yet, and shall not try now. The glamour's off. Other places were scattered about the hemispheres. I have been in some of them, and...well, we won't talk about that. But there was one yet – the biggest, the most blank, so to speak – that I had a hankering after.

True, by this time it was not a blank space any more. It had got filled since my boyhood with rivers and lakes and names. It had ceased to be a blank space of delightful mystery – a white patch for a boy to dream gloriously over. It had become a place of darkness. But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land.

Sometime soon perhaps I'll write a little narrative of my strange journey to Saltillo.

* Since my bio also reads that I live eighty miles from the nearest bookstore, I will mention that, in a tiny used bookstore I frequent out there in the Old West, I discovered a number of Arkham House books, including three collections of Clark Ashton Smith's stories, dust jackets and all, but, alas!, they are priced far beyond my limited means.

Nightspore Forest of Ir

My most recently published story, "The Goblin King's Concubine," has now appeared in podcast form in Beneath Ceaseless Skies. Journey through Nightspore Forest of Ir on your commute!

Lois Tilton of Locus Online reviewed the story, and had this to say:

Maugreth is on an expedition to find the lost princess of the house of Adul, there being a reward for her return. After a perilous journey of murder and betrayal, much of it on his part, he discovers her living comfortably in a village of the goblins, here called helborim. She agrees to be rescued but insists on bringing along her half-breed offspring.

"I know what you're thinking," said Minuë. "It's true, we're hideous to them. But to Cheirod I was a peerless prize. He brooks no dissent and consummates his every desire. Several of his wise men objected when he chose to adopt the fruit of my womb as heir. They were promptly impaled."

A dark, cruel fantasy, where the unlucky are devoured by spiders or suffer other gruesome fates. There is a strong retro tone to the tale, as the central image is that of a naked white woman held as a sex slave by a monster – or a creature that most humans would consider a monster. But this princess is a match for human or goblin. There is also a sense here of a larger world beyond the backwater where the story finds itself, nations and races and languages yet unseen. A maugreth, for example, is a term of disgust and we don't know why our character has chosen to call himself by such a name, although it certainly seems fitting, given his actions.

Which I suppose about sums it up. I wrote a bit about the story's inspiration in a previous post. I should probably also mention Heart of Darkness as a rather obvious source of inspiration. As to the sense of a larger world, I appreciate that insight; this is an episode in a cycle of stories centered on Zilla and his fate in Enoch, explored in a number of yet-to-be-published short stories and a complete full-length novel.

UPDATE: Thanks also to Fletcher Vredenburgh for his kind review over at Black Gate. I aim to please!