Gull’s From Hell and John’s From Glasgow

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

It’s the late 1880s, and royal party boy Prince Albert “Eddy” Victor – grandson of Queen Victoria and second in line to the throne – has been having all manner of fun. Encountering Annie Clark, a Catholic woman who works behind the till at a sweet shop just across the road from Eddy’s favourite rent boy brothel, he begins an affair with her which culminates in an ill-advised secret marriage and the birth of a child – one who, strictly speaking, would then be in line for the throne.

Queen Victoria will not stand for this, and she uses all the covert influence available to her to make sure that Eddy and Annie are forcibly separated. Among the resources available to her is the power structure of British Freemasonry. With members riddled throughout the British aristocracy and respectable professions, the Masons were a microcosm of the establishment of the time, and a large cross-section of Victoria’s male family members were Masons. Between that and a perennial desire for Royal patronage, it was no surprise that the Brotherhood was willing to do favours for Victoria. In this case, this included enlisting Dr William Henry Gull – Freemason, physician, and mystic – to the task of performing an operation on Annie to profoundly damage her mental capabilities. Even if she could get someone to listen to her story and she were able to coherently tell it through the cognitive fog imposed on her, nobody would give it any credence.

However, Annie’s fate wasn’t unknown to all. Marie Kelly, an East End prostitute and friend of Annie’s, is aware of what happened, and also knows that painter Walter Sickert – who had accompanied Eddy on his visits to the seedier side of town – is aware of what’s happened. When she and a group of her fellow prostitutes are shaken down for protection money they don’t have by a local gang, they hit on a plan of blackmailing Sickert for cash. Alas, they get greedy, ask for more money than Sickert has available, and when he turns to his Royal connections for help word of the matter gets back to Victoria, who dispatches Gull to silence the women, permanent-style.

Alas, Gull’s work is no clean, surgical strike this time around. Having suffered a stroke, Gull has become prone to mystic visions and occult obsessions, and he regards the work to be done in averting Royal embarrassment as a mere pretext for his true goal. The 20th Century is looming, and Gull believes that by conducting the murders in a particular manner and pattern, aligned with the occult geometry of London, he can turn them into a ritual act which will shape the very nature of the coming century. His intention is to make it safe from the rising tide of feminist and other progressive challenges to the status quo, winning the day for what he sees as the inherently masculine force of Apollonian rationality. The actual outcome is, well, the history we got…

Continue reading “Gull’s From Hell and John’s From Glasgow”

Alan Moore’s Yuggoth Pastiches

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

So, now that we’ve taken a look at The Starry Wisdom and its Alan Moore-flavoured inclusion, the short prose story The Courtyard, we can now put Moore’s latter-day forays into Mythos fiction under the microscope. These have largely taken place with the aid and encouragement of Avatar Press; first there was the limited series Alan Moore’s Yuggoth Cultures, collected into a trade paperback of the same name, which covered a mixture of archival Mythos and non-Mythos works by Moore, as well as some work not by Moore at all thrown in for the sake of the ride; then there was a comic book adaptation of The Courtyard, then a graphic novel sequel (Neonomicon), until finally and most recently Moore has treated us to a three-act graphic novel sequence collected in three trade paperbacks, entitled Providence. Over the course of these he develops a range of ideas about the Mythos – but does he really manage to grow beyond the kernel of a concept offered in The Courtyard’s original appearance? Well… let’s see.

Alan Moore’s Yuggoth Cultures

The title of this implies far more conceptual unity than it actually possesses. Yuggoth Cultures and Other Growths was originally conceived by Moore as a full collection of Cthulhu Mythos works, but Moore lost most of the manuscript in a London taxi. The most substantial of the surviving pieces was The Courtyard, originally intended for being adapted here until it was spun out into its own adaptation, whilst the other scraps – Zaman’s Hill and Recognition – were brief poems.

What you get here, then, is not Yuggoth Cultures as originally envisioned by Moore, not least because he never envisioned it as a comic in the first place. Instead, it’s a mixture of long-lost odds and ends from Moore’s back catalogue, a range of interviews, essays, and supporting pieces, adaptations by Antony Johnston of non-comic works by Moore (including the two non-Courtyard bits of Yuggoth Cultures that survive and a couple of songs), and Yuggoth Creatures, a big fat slab of Antony Johnston’s own comics-format Mythos pastiches.

Continue reading “Alan Moore’s Yuggoth Pastiches”

Starry Wisdom, Vapid Songs

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

So, a while back it was suggested that I should cover Alan Moore’s various Cthulhu Mythos works, Moore having gotten deep into the Lovecraft tribute business right about the time I was doing my epic Lovecraft review and its various followups. To tell that story, though, I have to go back a little and tell the story of The Starry Wisdom, a curious little volume issued by Creation Books in 1994. Creation Books, back in the day, was a publisher that was vaguely associated with Creation Records and specialising in cult and underground books; edited by D.M. Mitchell, The Starry Wisdom has gained a reputation as perhaps the weirdest and most out-there Cthulhu Mythos anthology you can find, incorporating as it does texts from other authors (such as William Burroughs or J.G. Ballard) who, whilst not writing directly in the Lovecraft tradition, seem to conceptually butt up against it here and there, as well as contributions from the world of comics (both in terms of comics authors turning their hands to prose and some of the stories being presented in graphic novel format) and industrial music (Michael Gira of Swans has got a rant in here, for instance).

What it does, in short, is mash up extreme stories by traditional Mythos authors, Mythos-adjacent stories from extreme authors, and generally go broad as broad as you can in terms of what can constitute a Cthulhu Mythos story without losing sight of Lovecraftian cosmic horror altogether, and by and large it’s a great little ride. Heck, they’re even able to get a half-decent story out of Robert M. Price: his contribution, A Thousand Young, is an intensely sexualised story about a Shub-Niggurath cult posing as a society of modern-day Sadean libertines. The cod-Lovecraftian prose that Price seems to like to write in, when applied to this subject matter, actually seems weirdly apt for its confessional format. Here, supernatural horror is largely incidental to the horror of what narrator does in pursuit of his purported spiritual goals – Price once again scraping his way to a good story by engaging with his theological and philosophical interests in an imaginative manner.

Continue reading “Starry Wisdom, Vapid Songs”