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ATTENTION ALL SCHOLARS!!!!


scholarFor some time now, I’ve wondered if there might be little caches of Hodgson letters squirreled about in various libraries and universities and the like.  So, I am issuing the call to all those readers of this blog to help me find them!

Seriously, the cause of Hodgson research and criticism has long suffered from a lack of primary sources such as letters and the such.  We need to find out if there are any out there which are available for scholars and historians to use.  This is a project that will benefit everyone looking to do research on/about Hodgson and those who want to read it!  And we’re not just looking for letters that Hodgson may have written but those by his family, friends, etc.

Please use all your resources.  Check everywhere you can!  Post your findings here in the comments section.  I will take all of them (hopefully, there will be some) and create a new page here on the blog listing these resources and those scholars who brought it to my attention.

The only collection I am aware of is the letters that form part of a collection at the Harry Ransom center at the University of Texas at Austin.  Anything else is fair game.

So, as Carnacki would say at the end of a story, “out you go!”

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100!!!!!!


100posts11This marks the 100th posting on the William Hope Hodgson Blog!

Back when I started this blog, several people questioned if there would be enough material to keep it going.  It wasn’t an entirely unjustified question.  After all, Hodgson doesn’t have as much devoted to him as, say, Lovecraft does.  But I felt that, whatever material I did have was important enough to present.

WHHHodgson is kind of the underdog in weird literature.  Doesn’t get a lot of press.  Guillermo del Toro isn’t lining up to direct a move based on THE NIGHT LAND.  There isn’t a convention devoted to Hodgson taking place in Blackburn.  There aren’t even any comic books doing “Hodgsonian” tales.

When I was a small press publisher back in the 1990s, I had a table at a local convention/show where I was selling my Hodgson reprints as well as a couple of Machen books and others.  The convention’s GOH was Neil Gaiman who was kind enough to stop by the table and talk a bit.  We chatted about Machen for a few minutes and gave him complimentary copies of my Machen books but, when I tried to interest him in the Hodgson, he wasn’t biting.  He just wasn’t all that keen on WHH…even when I was trying to give him FREE copies.  I’ve gotten that reaction a lot.

I guess that kind of stuck with me over the years as an example of Hodgson being the “Rodney Dangerfield” of weird fiction.  “He don’t get no respect!”

Through the years, that has always been one of the driving forces behind my efforts.  I want Hodgson to get more respect both from the readers and the literary circles.  WHH will never reach the stature of a Poe or Lovecraft (nor would even I say he deserves to be elevated so far) but there is much in WHH to enjoy and study.

This staged photo of WHH at a ship's wheel was used in his lectures about life at sea.

This staged photo of WHH at a ship’s wheel was used in his lectures about life at sea.

That was one of the reasons why I started this blog because there was no place on the internet to get a lot of this information.  You might get a bit here and there but it wasn’t centralized.  I wanted there to be a place where everyone could come to get old and new material and find out what’s going on in the world of Hodgson.

I hope that I have succeeded in that endeavor.

As we enter 2013, there are already new things in store for Hodgson and his fans.  Some new books are scheduled to come out and WHH is finally getting some of that critical attention that has been denied him for so long.

Hopefully, this year will see the publication of a new collection of Hodgson criticism and studies edited by Massimo Berruti and published by Hippocampus Press called VOICES FROM THE BORDERLAND.  It is an anthology of some old pieces and a lot of new ones as well.  I am happy to say that I will be represented in this volume by several articles and am honored to be included.

One of the most important items in VOICES FROM THE BORDERLAND will hopefully be the long-awaited Hodgson Bibliography which S. T. Joshi, Mike Ashley and I have been working on for well over 10 years now.  It is already over 100 pages long and covers international appearances as well as English.  It has been an invaluable resource in my own work and I look forward to sharing it with others.

A early photo of WHH.  I am not sure of the year but probably roughly around 1903 or so.

A early photo of WHH. I am not sure of the year but probably roughly around 1903 or so.

Already this year we have seen a new paperback of Hodgson stories from Night Shade Books called THE GHOST PIRATES AND OTHERS edited by Jeremy Lassen.  This has marked the first appearance by WHH in an inexpensive, mass produced paperback in several years.  Hodgson also was mentioned in S.T. Joshi’s two volume history of weird literature; UNUTTERABLE HORROR.

Later this year, Centipede Press will be releasing a collection of Hodgson stories compiled by S. T. Joshi.  I do not know the full contents of this book yet but I do know that it will contain the text of the original edition of THE HOUSE ON THE BORDERLAND.  Unfortunately, given the tendency of Centipede Press to produce expensive items, I fear it will not be cheap but I am sure that it will be a very attractively pro1 sargassoduced book.

In addition, 2013 will see the first issue of SARGASSO: The Journal of William Hope Hodgson Studies.  This will be a yearly publication highlighting new articles about Hodgson as well as Hodgson inspired art and stories.  I’ve already gotten a number of submissions and am expecting new articles by some of the biggest names in Hodgson criticism.

carnackiAnother project which I’m putting together is a special, 100th anniversary edition of CARNACKI.  This will be a deluxe edition, reprinting the original texts along with annotations.  With luck, I hope to have it available by November.  Going along with that, I would like to announce a collection of all-new Carnacki tales!  I’m opening this up to submissions today, with this post, in the hopes that everyone will spread the word!  I am looking for new tales of Carnacki in the Hodgson tradition so I encourage all of our writers out there to submit a story.  Details are still being negotiated so keep watching the blog for more announcements.

Already I am looking forward to the future.  Within the last 20 years, Hodgson has made great strides in critical and reader popularity.  Virtually all of his major fiction is now available either through e-books, print-on-demand or free online sites.  The next steps are to increase availability of his poetry and non-fiction so that, for new readers, everything is available.  This is a major difference from just a few years ago when it was difficult to easily find even Hodgson’s novels.  Today, we can state that Hodgson is better known and read than ever before.

William Hope Hodgson (1877-1918)

William Hope Hodgson (1877-1918)

And there is still so much more to learn!  Genealogy research has barely been touched and there is a great need for more study about Hodgson’s own life, opinions and beliefs.  Plus Hodgson has suffered from one major disadvantage: there has yet to be a full, book-length critical study of his works.  I hope to change this in the future.

It’s been a great 100 posts and I hope everyone will still around for the next 100!!

(I’d like to thank everyone who has helped with this blog over the last 100 posts.  I could not have done it without your overwhelming support and I humbly thank you all.  Whether you have contributed materials, shared knowledge, spread the word or just read the blog regularly, you are why I keep going and posting week after week.  I may be the person behind the blog but it is really for all of you.)

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CARNACKI #6: “The Thing Invisible”


carnacki 1(Spoiler warning!  This blog posts discusses plot details in the story, “The Thing Invisible”.  If you have not read this story yet, you can do so here.)

We come now to the sixth, and final, Carnacki story to appear in a magazine during Hodgson’s lifetime.  “The Thing Invisible” was published in the January, 1912, issue of The New Magazine.   It was also the last story to be included in the book collection of Carnacki stories that first appeared in 1913.   It is significant to note that there was a space of 18 months between the publication of this story and June, 1910’s, appearance of “The Searcher of the End House” (which was the last Carnacki story to appear in The Idler).  I have several theories as to why this may have been so which I will take up after the story recap.

After dinner with his friends, Carnacki reveals that he has just returned from South Kent where he was called for a most interesting case.  Sir Alfred Jarnock’s estate has a chapel which has a reputation for being haunted.  There is a legend that if any enemy were to enter the chapel after nightfall, they would be attacked by a dagger which rests over the altar.  Just another curious folktale that would have been ignored had a recent, dangerous, incident not have happened.

One Sunday, after service, the Rector had been talking with Sir Jarnock and Jarnock’s eldest son while the butler was going about extinguishing the candles.  Remembering that he had left his small prayer book on the Communion table, the Rector called to the butler to retrieve it.  As the three men looked towards the butler, he opened the small chancel gate and, before their eyes, was struck by the dagger.

“The Rector’s version was clear and vivid, and he had evidently received the astonishment of his life. He pictured to me the whole affair—Bellett, up at the chancel gate, going for the prayer book, and absolutely alone; and then the blow, out of the Void, he described it; and the force prodigious—the old man being driven headlong into the body of the Chapel. Like the kick of a great horse, the Rector said, his benevolent old eyes bright and intense with the effort he had actually witnessed, in defiance of all that he had hitherto believed.”

The butler survived the attack as the blade missed his heart but broke his collarbone.  It was then that Jarnock’s eldest son, George, had sent for Carnacki.  Sir Jarnock’s nerves had gotten the better of him and he appeared unable to deal with the situation.

After arriving, Carnacki makes his usual exact examination of the place and even spends three days painstakingly inspecting the roof.  He comes to the conclusion that there is no way for someone to hide in the chapel which is problematic as all witnesses, including the butler, claim that there was no one at all near him when the attack occurred.

“Above the altar hangs the ‘waeful dagger,’ as I had learned it was named. I fancy the term has been taken from an old vellum, which describes the dagger and its supposed abnormal properties. I took the dagger down, and examined it minutely and with method. The blade is ten inches long, two inches broad at the base, and tapering to a rounded but sharp point, rather peculiar. It is double-edged.

“The metal sheath is curious for having a crosspiece, which, taken with the fact that the sheath itself is continued three parts up the hilt of the dagger (in a most inconvenient fashion), gives it the appearance of a cross. That this is not unintentional is shown by an engraving of the Christ crucified upon one side, whilst upon the other, in Latin, is the inscription: ‘Vengeance is Mine, I will Repay.’ A quaint and rather terrible conjunction of ideas. Upon the blade of the dagger is graven in old English capitals: I WATCH. I STRIKE. On the butt of the hilt there is carved deeply a Pentacle.”

Finally speaking to Sir Jarnock, Carnacki proposes that he spend the night in the chapel to which Sir Jarnock completely refuses.  It is Sir Jarnock’s habit to lock the chapel every evening so that none would risk harm and he would not yield on this point especially after what had happened to the butler.

Undaunted, Carnacki decides to make an impression of the key when he borrows it the following day and have a duplicate made in secret.  He sets up his camera and takes a picture of the quite chapel in daylight.  Carnacki then goes into town to develop the plate and have the duplicate key made.

That night, Carnacki sneaks into the chapel.  In preparation, he dons several pieces of plate mail over which he wears a shirt of chain mail ‘borrowed’ from the Jarnock’s Armory.  He carries with him a lantern and his gun.

“Now it would be silly to say I did not feel queer. I felt very queer indeed. You just try, any of you, to imagine yourself standing there in the dark silence and remembering not only the legend that was attached to the place, but what had really happened to the old butler only a little while gone, I can tell you, as I stood there, I could believe that something invisible was coming toward me in the air of the Chapel. Yet, I had got to go through with the business, and I just took hold of my little bit of courage and set to work.”

Carnacki resets his camera and re-examines the chapel again to no avail.  He takes another picture of the chapel with the use of his flash and then sits down in one of the pews to wait.  As the evening wears on, he hears odd noises like the sound of a metallic ‘clank’ from the direction of the altar and soft steps near him.  The dark and the quiet bear down on him:

“Suddenly my courage went. I put up my mailed arms over my face. I wanted to protect it. I had got a sudden sickening feeling that something was hovering over me in the dark. Talk about fright! I could have shouted if I had not been afraid of the noise…. And then, abruptly, I heard something. Away up the aisle, there sounded a dull clang of metal, as it might be the tread of a mailed heel upon the stone of the aisle. I sat immovable. I was fighting with all my strength to get back my courage. I could not take my arms down from over my face, but I knew that I was getting hold of the gritty part of me again. And suddenly I made a mighty effort and lowered my arms. I held my face up in the darkness. And, I tell you, I respect myself for the act, because I thought truly at that moment that I was going to die. But I think, just then, by the slow revulsion of feeling which had assisted my effort, I was less sick, in that instant, at the thought of having to die, than at the knowledge of the utter weak cowardice that had so unexpectedly shaken me all to bits, for a time.”

When nothing happens, Carnacki recovers his courage.  He turns on his lantern but sees nothing amiss or worrying so shuts it off and sits for awhile more in the dark.

His nerves fading, Carnacki becomes convinced that he is hearing a slithering sound near the camera and shines his lantern to find nothing there.  Standing up, he is determined to see if the dagger has moved and walks up to the chancel gate to find that the dagger is no long in the scabbard above the altar.

Afraid that it might be floating about somewhere near, he steps up the gate and, as he opens it, is struck mightily in the chest by the dagger!  Thrown backward, he loses his gun and the lantern smashes on the floor.  Panic stricken, Carnacki runs blindly down the aisle, knocking over his camera and out the door.

In his room, Carnacki regains his calm and examines his armor.  The dagger had pierce both the chain and plate armor and left a scratch on his chest.  With a chill, Carnacki realizes that it had been pointed at his heart.

At dawn the next morning, Carnacki returns to the chapel and examines his equipment.  The lantern is shattered but his gun is untouched and the camera only  slightly damaged.  The dagger is lying in the aisle.

With a sudden, unreasoned action, I jumped forward and put my foot on it, to hold it there. Can you understand? Do you? And, you know, I could not stoop down and pick it up with my hands for quite a minute, I should think. Afterward, when I had done so, however, and handled it a little, this feeling passed away and my Reason (and also, I expect, the daylight) made me feel that I had been a little bit of an ass. Quite natural, though, I assure you! Yet it was a new kind of fear to me. I’m taking no notice of the cheap joke about the ass! I am talking about the curiousness of learning in that moment a new shade or quality of fear that had hitherto been outside of my knowledge or imagination. Does it interest you?

Carnacki cleans up and takes the plates out of the camera before heading back to town.  He wakes up the local photographer who grants Carnacki access to his darkroom.  The first plate he develops is of the chapel, taken with the flash but there is nothing unusual in the picture.  The second plate is of what had been in the camera at the time of the attack with the lens open.  It is Carnacki’s hope that something might have imprinted upon the unexposed plate.  Although the second plate shows some shapes which could have been the dagger, they are too vague to be sure.  It is while examining the other photo that Carnacki makes an exciting discovery.

Arriving back at the castle, Carnacki is told that Sir Jarnock is unwell and would prefer that no one enter the chapel without him.  George Jarnock states that it is in keeping with his father’s personality as he would never allow anyone into the chapel.

Carnacki sneaks off and conducts some experiments in the chapel which confirm his suspicions.  He gets George to come with him and they bring a dummy dressed in plate armor to the chapel.  Although surprised when Carnacki produces a key, George says nothing.

16_thingThey place the dummy in the same position where the butler had been attacked.  When George makes a motion to open the chancel gate, Carnacki warns him that he is in danger and to step away.  George steps away to the left and Carnacki, well to the right of the dummy, leans it forward so that it presses on the chancel gate which springs open.  Suddenly, the dummy is stuck by a tremendous blow and thrown to the floor where it lays with the dagger buried in the armor.

Carnacki shows George how the trick was done.  A section of the left hand gatepost has a hinge which, when pressed down, opens a gap in the floor into which the post fits snugly with a click.  Carnacki then takes the dagger and places it in a hole in the post, point upward.  Then, pressing further, the section lifts back up, covering the dagger and closing the hole in the floor.  It is nothing more than a trap set for an unsuspecting enemy.

The case is resolved when Sir Jarnock confesses to setting the trap every night out of habit and that, the day of the butler’s injury, had set it too early.  The hole, Carnacki surmises, was used in previous ages to hide valuables and, indeed, that is where Sir Jarnock has hidden his late wife’s jewelry.

As there was no permanent injury with the butler recovering, the affair is hushed up and the chapel retains it’s ‘haunted’ reputation.

“The Thing Invisible” is definitely one of Carnacki’s weakest cases as written by Hodgson.  Not only is there no supernatural cause but the ‘haunting’ itself is handled poorly and is hardly interesting.  Compare this to other stories where even the manufactured hauntings are more dramatic and we can see why this story lacks.   The only ‘fear’ comes as Carnacki sits alone in the chapel and even this is not as effective as in other stories.

In addition, there is no mention of any of Carnacki’s previous cases (like there are in other stories), the Sigsand Manuscript, or even the SaaaMaaa Ritual.  In some ways, it seems as if this case happened to a completely different Carnacki!  None of his investigative techniques are used here such as sealing the doors or placing wires to determine if anyone else is walking nearby.

It is for this reason that I feel that this is quite possibly the first Carnacki story written by Hodgson.  The story feels as if Hodgson is working his way towards the ‘Carnacki’ that we grow to know in the other stories and even some of his prose style is reminiscent of early works.  In addition, the beginning is written in such as way as to set up the formula for the later stories.  It explains the narrative frame far more than the later tales do and reads like an introduction to the series.

I believe that it was for this reason that August Derleth chose this story to lead the 1947 collection whereas, in the original 1913 edition, it is the last story in the book.  Although I can understand this reasoning, I feel that, in some ways, it is a mistake to lead with this weaker story.  Someone new to Carnacki might read this tale and wonder what all the fuss is about and not bother to read any further.  Far better to maintain either the original collection’s order (with the three additional stories added) or place this story closer to the middle when the strength of the other stories will prop up it’s deficiencies.

I feel that it is likely that The Idler rejected this story and maybe even for the same reasons I’ve just noted.  Perhaps they also felt that this was a ‘weaker’ story.  This would explain the time gap between the Idler appearances and this story later in The New Magazine.  My conclusion is that Hodgson had to shop this story around before finding it a home and that would not happen until 1912.  This was the last Carnacki story to appear in Hodgson’s lifetime.  We don’t know exactly when Hodgson stopped writing stories about his “ghost-finder” but others, like Sam Moskowitz, believe that at least “The Hog” was written closer to Hodgson’s death in 1918.  It is yet another Hodgson question that we will never be able to fully answer.

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A Blog Post and Bits & Pieces


There is a very excellent post about Hodgson at the blog, “Roles, Rules & Rolls“.  Although the blog is devoted to role-playing games, the author provides a wonderful essay titled: “Fungi and Swine: William Hope Hodgson’s Disgust Morality”.   This is very informative reading and highly recommended.  I wonder if there might be any RPG modules out there that are Hodgson based or influenced?  Thanks to Andy Robertson for pointing out this great article and make sure you read the comments there too!

DID YOU KNOW…

That there was a character on the popular TV show LOST who was named “Captain Gault”?  Reportedly a shady ship captain, did he owe more than his name to Hodgson’s smuggler?

That the only son born to infamous Satanist Anton LaVey was named Satan Xerxes CARNACKI LaVey?

That, according to one source, Hodgson once proposed to his publisher that they build a life size boat, fill it with pirates and use it on the streets of London as a promotional campaign for one of his books?

CARNACKI, THE GHOST-FINDER was the only book to get more than one printing during Hodgson’s lifetime?

Hodgson’s widow never remarried?

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An Index to the Blog!


I love indexes!  They’re just such wonderfully marvelous things!  One of the very first things I usually do when I get a new book is to flip to the back and check out the index and bibliography.  If I like them, I know I’ll like the book!

Given that this blog has now had 65 posts (believe it or not!), there are probably a lot of people who are just now discovering it and want to read more but who wants to wade through 65 posts looking for something?  Well, fear not, true believer! (I grew up on Stan Lee comics obviously.)  What follows is a clickable index of all of the posts so that you can jump to any of them from here.

I’ve also organized them by subjects so you can easily find more of what you’re interested in.

HODGSON’S LIFE

“A Life on the Borderland”

“Smile for the Camera, William Hope Hodgson”

“The Man Who Saved Hodgson”

“Sail on One of Hodgson’s Ships!”

“Meet Mrs. Hodgson!”

“William Hope Hodgson, This is Your Life!”

“A Hodgson Mystery”

“The Kernahan Letters, Part One”

“The Kernahan Letters, Part Two”

“The Kernahan Letters, Part Three”

“The Kernahan Letters, Part Four”

“The Kernahan Letters, Part Five”

“Hodgson Memorial”

“HPL & WHH”

“Mr. Hodgson, Second Mate”

“A Medal for Hodgson”

HODGSON’S FICTION

“Hodgson’s First Story”

“From the Tideless Sea”

“More News from the Homebird”

“The Baumoff Explosive”

“The Voice in the Night”

HODGSON’S NON-FICTION, POETRY, ETC.

“Physical Culture: A Talk with an Expert”

“Why Am I Not At Sea?”

“The Calling of the Sea”

HODGSON CRITICISM

“Hodgson’s Publishing History”

“Writing Backwards: The Novels of William Hope Hodgson”

“A Brief History of Hodgson Studies”

“The First Literary Copernicus”

“WHH: Master of the Weird and Fantastic by H.C. Koenig”

“The Weird Work of William Hope Hodgson by H. P. Lovecraft”

“In Appreciation of William Hope Hodgson by Clark Ashton Smith”

“William Hope Hodgson by August Derleth”

“The Poetry of William Hope Hodgson by E. A. Edkins”

“William Hope Hodgson and the Detective Story by Ellery Queen”

“WHH: Writer of Supernatural Horror by Fritz Leiber, Jr.”

“An Appreciation”

“A NIGHT LAND Review”

“A Biographical Item”

HODGSON TEXTS AND MEDIA

“Free Hodgson”

“What’s That I Hear?”

“William Hope Hodgson and Arkham House”

“MATANGO!!!!”

“Canacki on the TV!”

“Hodgson on the Web!”

MISC.

“The Dreamer in the Night Land”

“My First Hodgson”

“Updates”

“A Borderland Gallery”

“Why Carnacki?”

“E. A. Edkins and some Updates!”

“New Sargasso Sea Story”

“The REAL Sargasso Sea”

“A Carnacki Gallery”

“The Derelict of Death by Ford and Clark”

“The House on the Borderland by Corben and Revelstroke”

“Why I’m doing this…”

“Sign Here, Please”

“Announcing SARGASSO!!!”

“Updates and New Poll”

“A Curious Matter of Books”

“A Hodgson Parody”

“Odds and Ends”

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“The Voice in the Night”


Today we look at what is probably William Hope Hodgson’s most famous short story, “The Voice in the Night”.

First published in November, 1907, “The Voice in the Night” was a startlingly unique story.  It begins with a ship becalmed in the ocean.  Two sailors in the night watch are suddenly hailed by a strange voice from out in the dark.  The mysterious voice begs for provisions but refuses to come close to the ship.  Puzzled, the sailors float out some food to the voice which abruptly disappears.  A short time later the voice reappears and tells the sailors a horrifying tale of shipwreck, starvation and fungus.  The ending remains one of the most powerful in the history of short weird fiction.

“The Voice in the Night” was Hodgson’s fourth published short story and appeared in the same year that his novel The Boats of the “Glen Carrig” was published.  Given that Hodgson took to writing full time around 1903 (the year he closed his School of Physical Culture), we can reasonably assume that this was one of WHH’s earlier works.  Already Hodgson shows a strong grasp of his style and the construction of the plot and climax show remarkable skill and ability.  In keeping with his Sargasso Sea stories, it is an expertly crafted story of sea-horror.

So far, “The Voice in the Night” has been twice adapted in the media.  The first occasion came when it appeared as a segment of the television show, Suspicion, in 1958.  This adaptation starred James Coburn and Patrick Macnee as the sailors and is a straight-forward retelling of the story.  Despite the limitations of 1950’s television, it is surprisingly effective.  The other media version of the tale is, of course, 1963’s MATANGO!  Produced by Toho Studios, the motion picture version of the story takes some liberties but remains an eerie and disturbing film.  (Read more about Matango in an earlier post on this blog at: https://williamhopehodgson.wordpress.com/2012/08/22/matango/)

One of the more unusual incidents in the history of “The Voice in the Night” is it’s appearance in Playboy Magazine in July, 1954.  I cannot help but wonder what Hodgson would have thought of the magazine which reprinted his story!  Undoubtedly, Hodgson’s sister, Lissie, must not have realized the salacious content of the issue.

Since it’s first appearance in 1907, “The Voice in the Night” has been reprinted at least 43 times.  It remains one of Hodgson’s most anthologized stories and is often described as one of the greatest horror short stories ever written.

If you haven’t read the story, you can find it free online here:

http://gaslight.mtroyal.ca/voicenig.htm

And even if you have read it before, read it again!

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Index


We’re coming up on the two month mark since I began this blog!  I’m thrilled at all the great response it’s received but also the amount of new information and items we’ve been able to bring to a wider public.  Because many might only now be discovering this blog, I present the following index to the previous posts for your convenience.  It will keep people from having to search through all of the entries.

The Dreamer in the Night Land (Intro to the blog)
A Life on the Borderland (A short bio of WHH)
Free Hodgson! (A listing of where to find WHH writings free online)
Hodgson’s First Story (A look at the first story WHH had professionally published)
My First Hodgson (Hints on what Hodgson new readers should start with)
Smile for the Camera, William Hope Hodgson!  (A gallery of WHH photos)
The Man Who Saved Hodgson! (A look at H. C. Koenig, WHH’s early champion)
Hodgson’s Publishing History (A Chronological listing of WHH’s publishing)
Sail on One of Hodgson’s Ships! (A look at a ship Hodgson sailed on that still exists today!)
Writing Backwards: The Novels of WHH (Important article on the order in which WHH wrote his novels)
A Brief History of Hodgson Studies (An overview of critical work on WHH)
Meet Mrs. Hodgson! (Article about WHH’s wife and the only known photo of her)
William Hope Hodgson, This is Your Life! (Chronology of WHH’s life)
What’s that I Hear? (List of audio adaptations)
“The First Literary Copernicus” (Reprint of important article about WHH’s cosmicism)
A Borderland Gallery (Gallery of covers of HOUSE ON THE BORDERLAND)
Why Carnacki?  (Author William Meikle explains why he writes new Carnacki stories)
“WHH: Master of the Weird and Fantastic” (Important article by H.C. Koenig)
“The Weird Work of Willam Hope Hodgson” by H. P. Lovecraft (essay on Hodgson’s works by HPL)
“In Appreciation of William Hope Hodgson” by Clark Ashton Smith (essay by CAS)
“William Hope Hodgson” by August Derleth (Brief essay by co-founder of Arkham House)
“The Poetry of William Hope Hodgson” by E. A. Edkins (essay on WHH’s poetry)
“William Hope Hodgson and the Detective Story” by Ellery Queen (essay about Carnacki)
“WHH: Writer of Supernatural Horror” by Fritz Leiber (essay about WHH’s horror stories)
“An Appreciation” (portion of one of WHH’s obituaries)
E.A. Edkins and Some Updates!  (updating some previous items)
William Hope Hodgson and Arkham House (essay about the importance of AH in Hodgson’s career)
MATANGO!!!  (A look at the only film length adaptation of a WHH story)
New Sargasso Sea Story (presenting a new sea-horror tale by John B. Ford)

And that brings us up to date! Hard to believe how much we’ve covered and how much is left to do!  Next week, we’ll be looking at WHH’s Sargasso Sea stories as well as presenting the history behind that unique area.  Hope to “sea” you then!–Sam Gafford

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MATANGO!!!


For some reason, William Hope Hodgson has not been widely adapted in television or movies.  There are only three known television adaptations and just one film adaptation: MATANGO.

Based on Hodgson’s well-known short story, “The Voice in the Night”, MATANGO is an odd little film.  Produced by Toho Studios in 1963, it has gone on to achieve cult status and remains popular today.

MATANGO was directed by Ishiro Honda, who also directed such Toho classics as the original GODZILLA, RODAN, MOTHRA, DESTROY ALL MONSTERS and many others.  The script was written by Takeshi Kimura who allegedly threw out the original adaptation written by Masami Fukushima and Shinichi Hoshi.  Kimura would later consider MATANGO to be his best work and it reflected his dark and gloomy personality.

The film was nearly banned in Japan due to the fact that the characters makeup as they become mushroom was too reminiscent of survivors of the atomic bombing of Hiroshima and Nagasaki.  In following years, it would be considered that the mushroom eating was symbolic for drug use which, considering the color scheme and the often psychedelic episodes, is extremely likely.

At some point between 1963 and 1965, Toho had the film dubbed in English in Hong Kong, conceivably for international distribution.  However, MATANGO was never released theatrically in America but did enjoy a limited UK release under its original name.  In 1965, American International Pictures syndicated a version on 16mm color film to television.  AIP changed the film’s name to ATTACK OF THE MUSHROOM PEOPLE which, for many people in the US, remains the name under which it is best known.  Despite the change in title, AIP left the movie virtually intact.

The filmed version deviates from the original story in several ways.  The original, doomed couple is now replaced with a group of seven diverse people who are caught in a storm during a pleasure trip on a private yacht.   The characters include the skipper, his assistant, a writer, a university professor, and a celebrity who has brought along his female guests (a professional singer and a student).  Because of this assortment, some have made connections between this movie and the television sitcom, GILLIGAN’S ISLAND.

After landing on a deserted island, they find that the land is overgrown with mushrooms which they worry may be poisonous.  They discover a mysterious, wrecked ship on the shore which appears to have only been there for a year despite the fact that the sails are rotted and the interior is covered with mold and fungus.  After cleaning the ship, they surmise that it may have been involved in some kind of nuclear testing which has caused the giant mushrooms and other mutations.

As their food supply dwindles, they begin to fight with each other and anarchy develops.  Eventually most of the party succumb to eating the fungi which is highly addictive.  They eventually discover that eating the fungi changes people into the giant mushrooms who attack the survivors.  Finally, the professor escapes but it is too late for him as his face is already being covered with the fungi.

In many ways similar to such horror films as INVASION OF THE BODY SNATCHERS, MATANGO has an overwhelming feeling of crushing doom.  The feeling that there is no escape permeates much of the last half of the film and the climax reveals that, even though you think you have survived, you are wrong.

MATANGO has been released on dvd and is available via Amazon at:

http://www.amazon.com/Matango-Attack-Mushroom-Akira-Kubo/dp/B00076ON28/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1345590871&sr=1-1&keywords=Matango

However, it seems to have increased greatly in price recently indicating either a greater demand or dwindling supply.

If you’d like to watch the complete, dubbed version of the film online, you can do it here for free:

http://archive.org/details/TheMushroomAttackAkaMatango

MATANGO remains an excellent film and worth watching by any fan of William Hope Hodgson.  Now I need to find some of those great toys!–Sam Gafford

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Filed under Hodgson, William Hope Hodgson