Broken Honour

Broken Honour by Robert Earl. A Warhammer Fantasy book, originally published by The Black Library, February 2011. Approx. 416 pages.

Robert Earl's Broken Honour is another one of those books that has been winking at me from the "To Read" pile (now an estimated half-mile high) for close to three years. It is the type of fantasy work that usually appeals the most to me; a tale of rank and file infantry versus seemingly insurmountable odds. Now, I had never read any of Earl's work before (I actually had not heard of him until the Florin & Lorenzo omnibus was released), but Honour garnered mostly positive reviews, including a glowing one from none other than Graeme Flory.

So, taking this into consideration, and adding a badass cover, and neat a premise (a company comprised of former prisoners vs. a horde of beastmen) into the mix, we have the makings of a great read. Does Earl deliver? The answer is a near-emphatic yes.

Trouble is quickly closing in on the city of Hergig. Vast numbers of beastmen, in all shapes and forms, have eluded the efforts of Hochland's annual cull by employing such foreign behavior as strategy and tactics. Every able-bodied man is already wielding a weapon under the baron's banner, and still, the outlook is grave. Enter Free Captain Erikson, late of Praag, late of Reikland. Knowing the need for troops, and the profit to be had in the business that is war, he sets off for Hergig with a pouch full of gold to raise a regiment and secure a commission.

But as already mentioned, anyone that can stand upright and wield a weapon at the same time is already doing so; therefore, Erikson's only choice is to fill his ranks with the city's leftovers: the 'guests' of the Hergig gaol. So, rounding up roughly 160 "soldiers" from this pool, Erikson forms the "Gentleman's Free Company of Hergig", and the festivities commence.

The narrative of Broken Honour focuses mainly on the Free Company (naturally), with some time devoted to the supporting cast. To its credit, there are also portions focusing on the beastmen, and their leader, Gulkroth. Gulkroth is a particularly nasty specimen (and considering these are beastmen, that is pretty bad), a formerly shifty and sneaky character who is "touched" by a local herdstone and achieves a godly level. It is he, in this enlightened and enhanced form, that consolidates the various herds and integrates the techniques that they bring to bear.

Earl's writing style, I can only imagine, may not be for everyone. When he writes for the human characters, he injects a lot of humor into his prose. Playful jibes, sarcasm, these are the norm. There is little to no character development to be had here. These characters are absolute stock characters; and would be immediately recognizable onscreen. Don't get me wrong, he used stock character tropes, but made them engaging and likable. My point is, if you are looking for poignant character studies, look elsewhere. Case in point, there is precious little insight offered as to what motivated Erikson to form his army. It's just put forward that he has been a lifelong soldier and mercenary and now he has decided to be a troop commander.

Earl's writing for the beastmen is quite superb; he has immersed himself into what the psychology of these bovine bastards of Chaos might be.

One field in which Earl more than excels is in writing battle scenes. The actions committed to paper are neither extravagant nor sparse. He understands the anatomy of the monsters he is writing about, understands which movements are fluid, and which are ungainly. He utilizes a rich vocabulary to flesh them out (I have never seen another author write about beastmen and use the word "dewlaps". Kudos, Robert). Empire soldiers fight with precision, the freed prisoners fight with the desperation of street-fighters.

Other than that, there are few surprises to be had here. Very few of the Free Company are even given names (less than 10), the rest are pared down via redshirting. The Company is sent on various "certain death" missions, which you know that through grit and guile they will make it through, because, well, there attendance in the final brouhaha is obligatory.

This is all fine though, since, as already mentioned, there is a fine cast keeping things lively. Erikson and the few Company members that get fleshed out are good protagonists, and you enjoy rooting for them. There is the "cool aloof character" in Freimann, the morally-ambiguous leader of the guerrilla longrifle troop. Throughout the book there is a subplot featuring a cowardly officer in the baron's employ whose relationship to a company member causes the suicide missions they find themselves deployed on.

There are only two more minor quibbles to be had here, and one is a tad spoiler-y, so read on at your own risk. The first problem is that one character arc goes largely unresolved. Understandably, this may be because the book leaves itself open for a sequel, even though it ends well as a standalone (very craftily done, in a way that shows that events are ultimately cyclical). The other problem, and is just in one scene, is that...

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SPOILER: In the final battle, when the baron is fighting Gulkroth, the Free Company members get a free swipe when his back is turned. In that moment they inflict "half a dozen" wounds on him. Then, the baron gets a swing with his runefang sword, which, Earl writes, is the only type of weapon that can do any real damage to him, adding that normal swords or spears would just break against his hide. But, on the same page, the Company just did damage against him with ordinary weapons. Not to be petty, but that is quite the contradictory WTF moment to transpire over the course of a page.
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Back to our regularly scheduled review.

I know it seems that a lot of nit-picking is going on here, but that is not the case. I am only listing a handful of objections. The rest of the book is 400 pages of well-paced, action-packed, cleverly written fun. It would be great if a sequel novel would present itself. Maybe Honour was intended to be a series, hence its release as a standalone and not as an entry in the "Empire Armies" series. Either way, grab a copy if you can. It is one of the few Black Library out of print titles that doesn't cost a small fortune in the secondary market, or you can opt for the ebook version, available directly at the Black Library website. Highly recommended.

Here's what it is:
An excellent Warhammer Fantasy standalone title that focuses on the lowly infantryman. The first book I have read that features Chaos Beastmen as the main antagonists. A fast-paced read with well-rendered battle scenes, and clever dialogue.


Final Score:

81/100


Cover Score:

Pretty nice cover indeed. I am not too crazy about the title font, but the gold background color scheme works well, especially when paired with the red of the pistolier's garb. This soldier serves as a fine avatar for the grimdark mood of Warhammer Fantasy, square-jawed, rough around the edges, and death dealing pistol firmly in hand.

Cover Final Score:

82/100

The Mouse And His Child

The Mouse and his Child by Russell Hoban. With illustrations by Lillian Hoban. Originally published in 1967 (this edition by Harper & Row). 182 pages.

Sometimes it helps to take a step back from the usual genres being reviewed and remember that there are so many children's literary works worthy of real consideration. I've always had a fascination with Russell Hoban's The Mouse and his Child, although this was mostly in regards to the 1977 animated version. I used to catch it on frequent HBO showings, and to be honest, I don't remember much of the movie itself. I do remember that (to my younger self), it did succinctly convey those notions of fear, wonder, and love that are the integrals pillars of the work. Luckily, since I am long overdue for a re-visit of the film, it is available to view in its entirety on Youtube:

A few years ago, memories of watching the film popped into my head one day, and I reserved the book through a local library. I read a few pages in, enjoyed it immensely, and then decided to wait until my children were a little bit older, so that I could read it with them, and then we could all enjoy the book together for the first time. So, a few months ago, I grabbed a copy, and began reading two or three pages a night to my older daughter. All I can say is that this is a beautiful piece of writing that so deserves to be read by young and old (preferably together). But enough about my personal investment in the story; on to the book itself.

The Mouse and his Child tells the tale of the two titular wind-up toys. In the world of the narrative, the toys "come to life" at the stroke of midnight; although this animation is limited, since they become able to think, and talk, but still rely on manual winding for movement. The mouse and child, while technically one toy (they are joined at the hands and share a winding key), have separate personalities. The tale opens with their first awakening in a toy shop, and with coming to grips with what they are in fact, are. Being Christmastime, they are soon bought, played with for a while, and then discarded. Finding themselves alone and abandoned in a dump, this is where there journey truly begins.

One of the greater themes of TMahC (and there are quite a few themes within) is societal structure and finding ones place within. At the onset, the pair learned of the establishment that was the toy store, with its great dollhouse and monarch wind-up pink elephant. In the dump, however, it is a different story. The animals reign in the denizens of the dump. Striding atop the hierarchies of the dump are the rats, led by the odious Manny Rat. Manny is a particularly nasty customer; conniving, shrewd, sharp at business and handy with mechanical parts. He also runs a 'forage squad' of tossed wind-up toys that he uses to gather junk, by both honest and dishonest means. The hapless mouse and child, incapable of self-winding, are shanghaied by Manny. After a botched robbery attempt in which they were forced to participate, the wind-ups find themselves fleeing the dump and certain death from the pursuing Manny. They are aided in their urgent egress by the prophetic Frog, a kindly fortune-teller/surveyor who finds his fate intertwined with theirs.

Along their journey, the mouse and child run into colorful characters, and latch onto new concepts. From observing a turf war between two groups of warring shrews, they learn the idea of territory, and why it is so important (and they decide they want their own). From an eccentric avian theater troupe, they learn companionship, and glean hope as to the fate of a fellow former toy store wind-up. And. at the end of their trek, they hope to meet up with Muskrat, a genius mathematician who may hold the secret to self-winding.

To divulge any more would compromise too many story points, but suffice to say, as in life, there are many ups and downs, and the downs seem to outnumber the ups.

Hoban is an author who obviously does not feel the need to pander to a young audience. Rather, he embraces and celebrates their resilient optimism, and simple common-sense. There are some mature elements in the book; extended periods where things just do not go well for the protagonists, and there is a good deal of violence, blood, and death. Again though, kids know what these things are, and Hoban knows that they know. The focus here is on this father and son pair, lost in this new, dark, bleak world, facing danger at every turn. The son strengthening and developing into a spiritual and moral compass, as the father focuses on their day to day safety and survival. The trying voyage that cements their bond as each other's whole world. Wait a minute, I think that I've read a story like this recently.....

I can't decide which one had more heartbreaking moments to be honest.

The prose is charming throughout. As mentioned before, there are some big words which will need explaining for kids (especially those in the 7-11 range, which I think is a good target audience). There are many strong instances of imagery throughout; central of which is the fact that father and son are joined at the hands for the book. A small drum, salvaged from a shrew drummer boy, beats time near the child's chest, simulating a heartbeat.

Hoban also incorporates many different philosophies into TMahC, without giving any a preference as the superior. There are Frog's oracular prophecies, Muskrat's mathematical tangents, the deep, philosophical ramblings of C.Serpentina, and the mechanical "know-how" of Manny Rat. Each mindset has its own chance to shine, to show its strength and validity.

Now, for all the accolades, this is not a flawless book, either. There are scenes that meander, and dialogue that drags on. The ending is wrapped up just a little too tidily for my taste, as if a box bounced in the back of a parcel truck on a cross-country jaunt just to get decked out in a shiny red ribbon. But these are minor quibbles that barely mar a great piece.

Very highly recommended.

Here's what it is:
A great bedtime story tome that truly stresses the wonders and values of friends, family, home, and belonging, while also incorporating high stakes, danger, and sadness. Get it, read it, love it.


Final Score:

91/100

Cover Score:

As with most older titles, there are various covers for The Mouse and his Child. The one read, the Harper & Row edition, has the same picture as in the picture at the top, although with a bluer background palette and a different dollhouse design. I like the covers that utilize the artwork of Lillian Hoban, who also provided the inside illustrations. They are simple, and sketchy, but sufficiently emotional.

Cover Final Score:

80/100

Dracula

Dracula by Bram Stoker. Originally published 1897 by Archibald Constable and Company. Signet Classic edition reviewed. 380 pages.

Tall, dark, handsome, and dressed to the nines, Count Dracula, courtesy of his many cinematic manifestations, has ruled for nearly a century as the godfather of all things Halloween. He has been at times cool, cruel, suave, terrifying, seductive, and distinguished (or any combination of those listed traits). But the lion's share of this iconic referencing is, as mentioned, associated with the thespians who have brought the un-dead count "to life". How much is known of the seminal work which started it all. I can count on one hand, amongst my reading friends, the number that have read Bram Stoker's book in its entirety when it hasn't been a class assignment. I myself am guilty as charged; a few attempts to finish it in the past remained unresolved, until now; until , fittingly, today.

Bram Stoker's Dracula is told in the epistolary format (the success of this attempt will be addressed later). It focuses not on the titular Count, but on those who become intertwined with him and his machinations to establish himself in England. Therefore, it is an assembly of diary and journal entries, news clippings, notes and memorandums.

The tale opens with young Jonathan Harker, a freshly minted solicitor, on a train to Transylvania to cement some real estate purchases with the reclusive, mysterious, Count Dracula. As he travels deeper and deeper into these mysterious Eastern European lands, he finds a pervading aura of fear and superstition. So many locals pray for his safety and adorn him with talismans and fetishes, much to his confusion. Upon arrival at Castle Dracula, he becomes increasingly aware that there is not only something amiss with the Count's intentions for his purchases, but he comes to experience what kind of creature this Dracula truly is.

Back in England, we meet Harker's fiancee, Mina, and her best friend, Lucy Westenra. While Mina awaits the return of her beloved, Lucy contemplates three separate proposals from young men enthralled with her; Dr. John Seward, steward at a local asylum, Arthur Holmwood (later Lord Godalming), a society gentleman already in courtship of Lucy, and Quincey Morris, a brave and adventurous Texan. Little do the members of this circle realize how closely the events about to transpire will bring them together as they rend their lives apart.

This occurs when Dracula, now in England, makes a wicked thrall out of Lucy. To assist in deciphering this unfamiliar malady, the aforementioned group enlists the esteemed Dutch doctor, Abraham Van Helsing. It is he who first ventures to guess the contribution of an unholy force in Lucy's suffering, and it is he who acts as the linchpin in ferreting out and trying to destroy Dracula. This proves to be a task much easier said than done, especially as the work must be done on the sly, since no one would be apt to believe the nature of this creature.

There are so many other details, which are best left to the reader to discover. Suffice to say that the events of the story differ greatly from Browning's picture, and go so far beyond Coppola's interpretation.

Dracula's supernatural powers in the book are pretty amazing, and all have some clearly drawn limits. He has his sharp intellect and cunning, as well as the strength of twenty mortal men. He can change the appearance of his 'human form', as well as transforming into a giant bat,or an ominous mist. He can impact the weather, and bring on fog and winds. And, not only can he makes thralls out of humans, but he holds mastery over the nastier animals of the world; wolves, rats, etc. However, he slumbers during the day, and needs the earth of his homeland for his vulgar rest. He cannot cross moving water, and if he cannot get back to his familiar earth, he will be trapped in his current form until the next sunup/down. Also, he cannot enter a home without being invited, or allowed in. Although once he gains access to an abode, he has free reign to come and go as he pleases.

Now that we have all the basics out of the way, what is there to say of the prose? Of the many works and shows that attempt to dissect Stoker's masterpiece, many nitpick on two main points: first, the lack of accuracy in the depiction of the Transylvania locale, and the fact that Stoker's writing is a tad on the dry side (I've seen some go so far as to argue that without cinematic fame, Dracula the book would have faded into obscurity). Let's address the latter first.

Dracula is not, suffice to say, a "rip-roaring" action romp. It doesn't need to be. And it might be a bit lean on the main villain, simply because for the most of the work, he is acting as a quarry that is stubbornly hard to root out. Therefore, after a great, and chilling opening portion (covering Harker's plight in Castle Dracula), things pretty much level out.

Where Dracula suffers is that there is precious little character development. While there are attempts to try and inject urgency into the text, most characters remain relatively stable despite the extraordinary events. There are many melodramatic outbursts and declarations, but the despair, frustration, elation, etc., it just doesn't show. This is especially true regarding the contributions of Van Helsing and Seward, who, as it just so happens, constitute the bulk of the narrative from the middle to the end. As a note, I will say that Jonathan Harker's character is the one best rendered throughout the novel, making the middle portion where he is absent noticeably lacking.

Another point I will make is this; there is a lot of dialogue. A lot. And most of it is done by Van Helsing, whose expositions go on and on for paragraphs. He serves as the moral compass for the group, and injects what little humor there is to be found. But quite honestly, I can see how his broken-English caricature can be grating at times. So, if you read this book, after a page or two of Van Helsing, if you find him annoying, just put the book down.

And this leads me to the next little gripe about Dracula. While the attempt was made to convey the story in the epistolary format, there are times when the prose unmistakably falls into a traditional narrative. Honestly, the book would have thrived more within the parameters of that format, with the diary entries and news clippings peppering the story throughout.

As for Stoker's efforts in fleshing-out the Eastern European locales that he had never himself visited, all I can say is that it is easy enough to be a Monday morning quarterback over a century after a book comes out. Working from whatever available resources on those lands, he creates a plausible, imaginary area that would gel with contemporary assumptions. What I find more mournful is how little description England itself gets. Street names are rattled out as if the reader has complete familiarity with them. Therefore, it is truly a work that was made for his English contemporaries.

All in all, Dracula is a classic in regards to what it has spawned, more than what it is. It is completely and utterly dated, where a true literary masterpiece is timeless. And yet, it is spectacularly imaginative, and even disturbing at times. It is a book that has truly earned its respect.

Here's what it is:
It's the book that introduces the world's most famous vampire. On that merit alone it deserves a look.

Final Score:

83/100

Cover Score:

This Signet Classic cover isn't too bad. A nice, evocative pic, which gives the impression of emerging from dark woods and happening upon the nightmarish Castle Dracula. Not bad at all.

Cover Final Score:

64/100

The Thing On The Doorstep

The Thing on the Doorstep by H.P. Lovecraft. Originally published in Weird Tales, January 1937.

There is simply no way that a month of telling creepy Halloween tales would be complete without a little bit of Lovecraft. Now, I'll make a confession; I have not read as much Lovecraft in my years as I should have. My younger self did not properly appreciate the suggestive and cerebral pervasiveness of his work, opting for tales with more "in your face" shock. But I digress, as it is always better late than never.

Today's story comes courtesy of this amazing list of 25 chillers to read, absolutely free. What better source of quick Halloween scares than that?

The Thing on the Doorstep is told in the first person narrative of Daniel Upton, and it serves as an account to justify his actions in emptying the contents of a revolver into the face of his dear friend Edward Pickman Derby. The declaration of this actual deed constitutes the opening lines of the tale. The remainder of the story recounts the bizarre events that led to that tragic moment.

Upton tells us of how he befriended Derby, an odd, coddles, socially inept youth eight years his junior. Even though their career paths took different routes, the two became and remained fast friends. Upton always maintains a high regard for Derby's authorial talents, and penchant for dark themes, black magic, and the occult.

Derby, who, as already mentioned, was critically introverted, finds love with one Asenath Waite. She is some fifteen years younger than him; a student at Miskatonic University, and quite the phenom in regards to black magic and such. She is a very odd character, but pretty nonetheless, her looks marred only by what appears to be a tad of the old "Innsmouth Taint"....

Yeah, I can see that being a bit of a dealbreaker.

However, from the get-go, Asenath seems to have some kind of hold on Edward (HINT: foreshadowing), and, soon enough, they are wed, and things are free to take a Lovecraftian-manic turn.

Look, there is no spoilers involved in just saying outright that Asenath is vying to take control of Derby's body. This is hinted at in an extremely blatant fashion, numerous times throughout the work. The fun is in watching it happen, and feeling a sympathetic response to Upton's plight of frustrating impotence in salvaging his good friend's soul.

In fact, the narrative of the tale is terribly predictable, leaving all to rest on the money shot: the titular "thing" on the doorstep. In this, Lovecraft pulls out a win. The final payoff to this tale is suitably scary, creepy, and haunting.

The rest of the tale is Lovecraft by-the-numbers; and there is even mention of an Old One, just because the story wouldn't be complete without one.

In this story, Shub-Niggurath.

And that's really all we can say about it. Great opening, great ending, a lot of dragging out in the middle.

Here's what it is:
Not exactly a classic from Lovecraft, but a solid, quick, free read. Solid characters bring to horrid life the tragedy of love in Arkham.


Final Score:

75/100


Cover Score:

No real cover score here, as the story was read in the public domain from a free website. It has also been anthologized many times. So, I just posted the pic of the cover of the Weird Tales that it was originally printed in. Enjoy!

Night Winds

Night Winds by Karl Wagner. A collection of Kane short stories originally published by. Approx pages.

HachiSnax Note: Like some unearthed treasure, I have only just recently discovered the work of Karl Edward Wagner. This is a sad testimonial for one who grew up in the fantasy heyday of the 80's. Whatever the reasons may be, now I have heard of him, and how highly his work is regarded. The first Kane book that I was able to obtain was "Night Winds", which I believe runs fifth in the series. It is a collection of short stories, and it works fine as a standalone, although I don't know yet if any of the supporting cast appear in previous volumes. Each tale will get a grade with an overall score below. Cheers, Hach.

Undertow: 
My first foray into Kane's world was everything that I had expected based on what I had heard of Wagner's writing. Undertow is dark, moody, atmospheric, dark, and even slightly chilling. Undertow tells the story of Marvsal and Dessylyn. Marvsal is the captain of a cargo ship, in Carsultyal to be patched up and manned. He meets the beautiful, yet obviously troubled Dessylyn as she is trying to escape the city via his ship. Her demeanor is vague and elusive, but there is one surety; she wants to escape the attentions of Kane, the dreaded wizard that she once loved and who loves her still. As she posits it, that "love" is a twisted mockery of the word; he treats her as a trophy, and dedicates his efforts of necromancy towards concocting foul potions to keep her as his thrall.

But Kane's reputation proceeds him, and therefore freeing Dessylyn from his tendrils will be no easy task. To stress this point, Dessylyn recounts the tale of Dragar, the young barbarian who she loved, and who would have been her erstwhile savior as well.

There are sufficient twists and turns, making the title of this story very appropriate.

Wagner's writing is haunting and ominous here. It takes a lot for a story to actually frighten me, but certain scenes in Undertow do so. Wagner writes with a precision that taps into your subconscious reservoir of fears and lets your inner five year old wonder what is under the bed. As for Kane, his depiction here is everything that I expected; a massive, formidable fighter that is also adept at profane sorcery.

My only question regards continuity; is Dessylyn a character from previous stories or is this her sole outing? It doesn't really matter; as Undertow works masterfully as a standalone piece. There are discussions, or spiritual dialogues, between Kane and Dessylyn that a poetic and brilliant. They have a flow akin to the ripples of the ocean, as heard by someone stranded in its ice depths.

Final Score: 93/100

Two Suns Setting:
This story appears second in the book, but is not a direct sequel. Two Suns Setting finds Kane on a (possibly) self-imposed exodus from Carsultyal. While traversing a vast desert in search of lands where he is not infamous, he happens upon the giant Dwassllir, one of the last of his ancient race. As they sit by a campfire and share a meal, they engage in discussions of their respective races. Kane agrees to accompany Dwassllir on his journey; a perilous venture to explore the nearby caverns and try to discover the legendary tomb of Brotemllain, the last great king of the giants.

Let me start off by saying that this story is masterfully written. There is the great metaphor of the "two setting suns"; the literal sense (although one of the 'suns' is actually the moon, brilliant in the sun's light), and also in reference to the two wanderers; a proud pair that are both licking their emotional wounds. The dialogue between them rings true since it reflects themes that have been relevant across time; the fading elder race scoffs at the soft beings that have usurped them; weak, mewling things that only survive due to the speed with which they breed. The voice of the younger race counters the merits of his kind; arts, literature, architecture, science, technology. Variations of this conversation pass from generation to generation; there is indignation regarding change as well as respect for the strengths of others.

The scenes down in the caverns have a great claustrophobic flair about them. The dusty darkness is palpable, and there is a true creepiness about the denizens of these depths, creatures that time and light forgot.

My big question mark regarding "Two Suns Setting" is: who is this Kane? The Kane in this tale is no different than a standard adventurer. He is still physically formidable, but where have his arcane skills gone? Am I missing something? Does he need tomes or potions to work his art? When he is pinned behind a rock, he is effectively useless, while in Undertow he was blowing doors and shutters off of hinges. Don't get me wrong, this is a great story. I am just guessing that Kane was chosen as the protagonist so as to help the audience feel more invested.

Two Suns Setting is a great parable about pride and former glory. There is some great action in it, and there is a sense of loss and sadness, as well as vindication, that permeates it throughout. What it does not seem to be, however, is a true "Kane" story. Don't miss this tale though!

Final Score: 88/100

This Day In History....Karl Edward Wagner

It was on this day, October 13th, in 1994, that Karl Edward Wagner lost his battle with his inner demons and succumbed to his alcoholism. As I mention in the "Night Winds" review, I am only just recently discovering his work, and am very happy for the discovery.

Now, Wagner is of course best known for his character Kane, a sword & sorcery heavyweight definitely in the vein of Howard pulp-fantasy. Wagner was also prolific in the horror genre as well; and integrated elements of horror into his fantasy works. If you ask me, horror-fantasy is a vastly under-served market, so it is a treat to get good stuff. The other great thing about Wagner was, well, his mind at work. It must be remembered that Wagner held a degree in psychiatry, and he injects a cerebral element into his prose.

I had hoped to get the full review for Night Winds up by today; but sadly it hasn't worked out that way. So I will be putting up a partial review (which I abhor the notion of doing), which covers the first two stories in the compilation, and then I'll revisit with updates as more tales are read. The first tale in the book, Undertow, has some definite horror elements and plays well into the October/Halloween theme.

So, if you can, track down some work by Wagner (it's getting harder and harder to find). You'll be happy that you did.

Born Of Man And Woman

Today's entry is less a review than a mention; a mention in keeping with the trend this month of spooky stories. This year, we have seen the passing of some real literary heavyweights, such as Elmore Leonard, and, more recently, Tom Clancy. But, of all those that passed this year, none had had the impact of Richard Matheson. Even the most casual reader/viewer of horror material has probably encountered one or more of his creations. He was that integral to the genre.

Looking back, you can how Matheson's star was shining in even his first sold work. Published in 1950, a 1,200 word masterpiece titled "Born of Man and Woman", was penned by a then 22 year old Matheson. It tells the tale of a creature; some kind of child abomination, that is kept chained in a basement by its 'normal' parents. As the story is told from a first-person POV, you see the entire landscape of its world through the mentality of an ashamed, uneducated, juvenile mind. And there's a lot of sorrow in that kind of concept.

In the span of what equates to be two pages, Matheson delivers three fully-realized characters. The parents have real emotions; they do not simply chain up and beat the child. There are palpable notes of love, sadness, and, most of all, shame and anger. These might be part of the whole gamut of emotions endured by parents of special needs children, elevated to an astronomical level. The child has a palette of feelings as well; inquisitiveness, need to explore, love, shame, and eventually, pride and anger.

Matheson lets the tale unfold with a true mastery; as the trio that is the central cast reach their individual breaking points, we can see more and more just how inhuman this child is. And yet, even as the last lines give you a glimpse at the abomination, the true horror, like all good horrors, remains implied:

For no explanation is given; as to why this creature was born. It is not attributable to aliens, the Devil, or the cruel humors of demons. It could be born to anyone, a true affront to the security of white picket fence suburbia,  it could be lurking in any basement, and, as it asserts its independence, it will not be bound by chains or man.

Born of Man and Woman can be read in .pdf format here, and, I cannot recommend highly enough that you do so. If you have never read works by Richard Matheson, or, if you do not know that he is the man behind many great horror works that you've probably enjoyed, then you are in for a treat. For those who already know, make sure you read it again this Halloween season.

Like I said earlier, I am not assigning this short a numerical grade, but trust me, it is five out of five star reading.