Showing posts with label 1920's horror. Show all posts
Showing posts with label 1920's horror. Show all posts

Friday, December 5, 2014

"Ooze" (1923) by Anthony M. Rud, with Notes and Review

"Ooze"

© 1923

by
Anthony M. Rud


In the heart of a second-growth piney-woods jungle of southern Alabama, a region sparsely settled by backwoods blacks and Cajans  — that queer, half-wild people descended from Acadian exiles of the middle eighteenth century (1) — stands a strange, enormous ruin.

Interminable trailers of Cherokee rose, white-laden during a single month of spring, have climbed the heights of its three remaining walls. Palmetto fans rise knee high above the base. A dozen scattered live oaks, now belying their nomenclature because of choking tufts of gray, Spanish moss and two-foot circlets of mistletoe parasite which have stripped bare of foliage the gnarled, knotted limbs, lean fantastic beards against the crumbling brick.

Immediately beyond, where the ground becomes soggier and lower — dropping away hopelessly into the tangle of dogwood, holly, poison sumac and pitcher plants that is Moccasin Swamp — undergrowth of ti-ti and annis has formed a protecting wall impenetrable to all save the furtive ones. Some few outcasts utilize the stinking depths of that sinister swamp, distilling “shinny” of “pure cawn” liquor for illicit trade (2).

Tradition states that this is the case, at least — a tradition which antedates that of the premature ruin by many decades. I believe it, for during evenings intervening between investigations of the awesome spot I often was approached as a possible customer by woodbillies who could not fathom how anyone dared venture near without plenteous fortification of liquid courage.

I know “shinny,” therefore I did not purchase it for personal consumption. A dozen times I bought a quart or two, merely to establish credit among the Cajans, pouring away the vile stuff immediately into the sodden ground. It seemed then that only through filtration and condensation of their dozens of weird tales regarding “Daid House” could I arrive at understanding of the mystery and weight of horror hanging about the place.

Certain it is that out of all the superstitious cautioning, head-wagging and whispered nonsensities I obtained only two indisputable facts. The first was that no money, and no supporting battery of ten-gauge shotguns loaded with chilled shot, could induce either Cajan or darky of the region to approach within five hundred yards of that flowering wall! The second fact I shall dwell upon later.

Perhaps it would be as well, as I am only a mouthpiece in this chronicle, to relate in brief why I came to Alabama on this mission (3).

I am a scribbler of general fact articles, no fiction writer as was Lee Cranmer — though doubtless the confession is superfluous. Lee was my roommate during college days. I knew his family well, admiring John Corliss Cranmer even more that I admired the son and friend — and almost as much as Peggy Breede whom Lee married. Peggy liked me, but that was all. I cherish sanctified memory of her for just that much, as no other woman before or since has granted this gangling dyspeptic even a hint of joyous and sorrowful intimacy.

Work kept me to the city. Lee, on the other hand, coming of wealthy family — and, from the first, earning from his short stories and novel royalties more than I wrested from editorial coffers — needed no anchorage. He and Peggy honeymooned a four-month trip to Alaska, visited Honolulu the next winter, fished for salmon on Cain's River, New Brunswick, and generally enjoyed the outdoors at all seasons.

They kept an apartment in Wilmette, near Chicago, yet, during the few spring and fall seasons they were “home,” both preferred to rent a suite at one of the country clubs to which Lee belonged. I suppose they spent thrice or five times the amount Lee actually earned, yet for my part I only honored that the two should find such great happiness in life and still accomplish artistic triumph.

They were honest, zestful young Americans, the type — and pretty nearly the only type — two million dollars cannot spoil. John Corliss Cranmer, father of Lee, though as different from his boy as a microscope is different from a painting by Remington, was even further from being dollar-conscious. He lived in a world bounded only by the widening horizon of biological science — and his love for the two who would carry on that Cranmer name.

Many a time I used to wonder how it could be that as gentle, clean-souled and lovable a gentleman as John Corliss Cranmer could have ventured so far into scientific research without attaining small-caliber atheism. Few do. He believed both in God and humankind. To accuse him of murdering his boy and the girl wife who had come to be loved as the mother of baby Elsie — as well as blood and flesh of his own family — was a gruesome, terrible absurdity! Yes, even when John Corliss Cranmer was declared unmistakably insane!

Lacking a relative in the world, baby Elsie was given to me — and the middle-aged couple who had accompanied the three as servants about half of the known world. Elsie would be Peggy over again. I worshiped her, knowing that if my stewardship of her interests could make of her a woman of Peggy's loveliness and worth I should not have lived in vain. And at four Elsie stretched out her arms to me after a vain attempt to jerk out the bobbed tail of Lord Dick, my tolerant old Airedale — and called me “papa.”

I felt a deep-down choking… yes, those strangely long black lashes some day might droop in fun or coquetry, but now baby Elsie held a wistful, trusting seriousness in depths of ultramarine eyes — that same seriousness which only Lee had brought to Peggy.

Responsibility in one instant become double. That she might come to love me as more than foster parent was my dearest wish. Still, through selfishness I could not rob her of rightful heritage; she must know in after years. And the tale that I would tell her must not be the horrible suspicion which had been bandied about in common talk!

I went to Alabama, leaving Elsie in the competent hands of Mrs. Daniels and her husband, who had helped care for her since birth.

In my possession, prior to the trip, were the scant facts known to authorities at the time of John Corliss Cranmer's escape and disappearance. They were incredible enough.

For conducting biological research upon forms of protozoan life, John Corliss Cranmer had hit upon this region of Alabama. Near a great swamp teeming with microscopic organisms, and situated in a semitropical belt where freezing weather rarely intruded to harden the bogs, the spot seemed ideal for his purpose.

Through Mobile he could secure supplies daily by truck. The isolation suited him. With only an octoroon man to act as chef, houseman and valet for the times he entertained visitors, he brought down scientific apparatus, occupying temporary quarters in the village of Burdett's Corners while his woods house was in process of construction.

By all accounts the Lodge, as he termed it, was a substantial affair of eight or nine rooms, built of logs and planed lumber bought at Oak Grove. Lee and Peggy were expected to spend a portion of each year with him; quail, wild turkey and deer abounded, which fact made such a vacation certain to please the pair. At other times all save four rooms were closed.

This was in 1907, the year of Lee's marriage. Six years later when I came down, no sign of a house remained except certain mangled and rotting timbers projecting from viscid soil — or what seemed like soil. And a twelve-foot wall of brick had been built to enclose the house completely! One partion of this had fallen inward!


II

I wasted weeks of time first, interviewing officials of the police department at Mobile, the town marshals and county sheriffs of Washington and Mobile counties, and officials of the psychopathic hospital from which Cranmer made his escape.

In substance the story was one of baseless homicidal mania. Cranmer the elder had been away until late fall, attending two scientific conferences in the North, and then going abroad to compare certain of his findings with those of a Dr. Gemmler of Prague University. Unfortunately, Gemmler was assassinated by a religious fanatic shortly afterward. The fanatic voiced virulent objection to all Mendelian research as blasphemous. This was his only defense. He was hanged.

Search of Gemmler's notes and effects revealed nothing save an immense amount of laboratory data on karyokinesis — the process of chromosome arrangement occurring in first growing cells of higher animal embryos. Apparently Cranmer had hoped to develop some similarities, or point out differences between hereditary factors occurring in lower forms of life and those half-demonstrated in the cat and monkey. The authorities had found nothing that helped me. Cranmer had gone crazy; was that not sufficient explanation?

Perhaps it was for them, but not for me — and Elsie.

But to the slim basis of fact I was able to unearth:

No one wondered when a fortnight passed without appearance of any person from the Lodge. Why should anyone worry? A provision salesman in Mobile called up twice, but tailed to complete the connection. He merely shrugged. The Cranmers had gone away somewhere on a trip. In a week, a month, a year they would be back. Meanwhile he lost commissions, but what of it? He had no responsibility for those queer nuts up there in the piney-woods. Crazy? Of course! Why should any guy with millions to spend shut himself up among the Cajans and draw microscope-enlarged notebook pictures of — what the salesman called — “germs”?

A stir was aroused at the end of the fortnight, but the commotion confined itself to building circles. Twenty carloads of building brick, fifty bricklayers, and a quarter-acre of fine-meshed wire — the sort used for screening off pens of rodents and small marsupials in a zoological garden — were ordered, damn expense, hurry! by an unshaved, tattered man who identified himself with difficulty as John Corliss Cranmer.

He looked strange, even then. A certified check for the total amount, given in advance, and another check of absurd size slung toward a labor entrepreneur, silenced objection, however. These millionaires were apt to be flighty. When they wanted something they wanted it at tap of the bell. Well, why not drag down the big profits? A poorer man would have been jacked up in a day. Cranmer's fluid gold bathed him in immunity to criticism.

The encircling wall was built, and roofed with wire netting which drooped about the squat-pitch of the Lodge. Curious inquiries of workmen went unanswered until the final day.

Then Cranmer, a strange, intense apparition who showed himself more shabby than a quay derelict, assembled every man jack of the workmen. In one hand he grasped a wad of blue slips — fifty-six of them. In the other he held a Luger automatic.

“I offer each man a thousand dollars for silence!” he announced. “As an alternative — death! You know little. Will all of you consent to swear upon your honor that nothing which has occurred here will be mentioned elsewhere? By this I mean absolute silence! You will not come back here to investigate anything. You will not tell your wives. You will not open your mouths even upon the witness stand in case you are called! My price is one thousand apiece.

“In case one of you betrays me I give you my word that this man shall die! I am rich. I can hire men to do murder. Well, what do you say?” (4)

The men glanced apprehensively about. The threatening Luger decided them. To a man they accepted the blue slips — and, save for one witness who lost all sense of fear and morality in drink, none of the fifty-six has broken his pledge, as far as I know. That one bricklayer died later in delirium tremens.


III

They found him the first time, mouthing meaningless phrases concerning an amoeba — one of the tiny forms of protoplasmic life he was known to have studied. Also he leaped into a hysteria of self-accusation. He had murdered two innocent people! The tragedy was his crime. He had drowned them in ooze! Ah, God!

Unfortunately for all concerned, Cranmer, dazed and indubitably stark insane, chose to perform a strange travesty on fishing four miles to the west of his lodge — on the further border of Moccasin Swamp. His clothing had been torn to shreds, his hat was gone, and he was coated from head to foot with gluey mire. It was far from strange that the good folk of Shanksville, who never had glimpsed the eccentric millionaire, failed to associate him with Cranmer.

They took him in, searched his pockets — finding no sign save an inordinate sum of money — and then put him under medical care. Two precious weeks elapsed before Dr. Quirk reluctantly acknowledged that he could do nothing more for this patient, and notified the proper authorities.

Then much more time was wasted. Hot April and half of still hotter May passed by before the loose ends were connected. Then it did little good to know that this raving unfortunate was Cranmer, or that the two persons of whom he shouted in disconnected delirium actually had disappeared. Alienists absolved him of responsibility. He was confined in a cell reserved for the violent.

Meanwhile, strange things occurred back at the Lodge — which now, for good and sufficient reason, was becoming known to dwellers of the woods as Dead House. Until one of the walls fell in, however, there had been no chance to see — unless one possessed the temerity to climb either one of the tall live oaks, or mount the barrier itself. No doors or opening of any sort had been placed in that hastily contructed wall!

By the time the western side of the wall fell, not a native for miles around but feared the spot far more than even the bottomless, snake-infested bogs which lay to west and north.

The single statement was all John Corliss Cranmer ever gave to the world. It proved sufficient. An immediate search was instituted. It showed that less than three weeks before the day of initial reckoning, his son and Peggy had come to visit him for the second time that winter — leaving Elsie in company of the Daniels pair. They had rented a pair of Gordons for quail hunting, and had gone out. That was the last anyone had seen of them.

The backwoods Negro who glimpsed them stalking a covey behind their two pointing dogs had known no more — even when sweated through twelve hours of third degree. Certain suspicious circumstances (having to do only with his regular pursuit of “shinny” transportation) had caused him to fall under suspicion at first. He was dropped (5).

Two days later the scientist himself was apprehended — a gibbering idiot who sloughed his pole — holding on to the baited hook — into a marsh where nothing save moccasins, an errant alligator, or amphibian life could have been snared.

His mind was three-quarters dead. Cranmer then was in the state of the dope fiend who rouses to a sitting position to ask seriously how many Bolshevists were killed by Julius Caesar before he was stabbed by Brutus, or why it was that Roller canaries sang only on Wednesday evenings. He knew that tragedy of the most sinister sort had stalked through his life — but little more, at first.

Later the police obtained that one statement that he had murdered two human beings, but never could means or motive be established. Official guess as to the means was no more than wild conjecture; it mentioned enticing the victims to the noisome depths of Moccasin Swamp, there to let them flounder and sink.

The two were his son and daughter-in-law, Lee and Peggy! (6)


IV

By feigning coma — then awakening with suddenness to assault three attendants with incredible ferocity and strength — John Corliss Cranmer escaped from Elizabeth Ritter Hospital.

How he hid, how he managed to traverse sixty-odd intervening miles and still balk detection, remains a minor mystery to be explained only by the assumption that maniacal cunning sufficed to outwit saner intellects.

Traverse those miles he did, though until I was fortunate enough to uncover evidence to this effect, it was supposed generally that he had made his escape as stowaway on one of the banana boats, or had buried himself in some portion of the nearer woods where he was unknown. The truth ought to be welcome to householders of Shanksville, Burdett's Corners and vicinage — those excusably prudent ones who to this day keep loaded shotguns handy and barricade their doors at nightfall.

The first ten days of my investigation may be touched upon in brief. I made headquarters in Burdett's Corners, and drove out each morning, carrying lunch and returning for my grits and piney-woods pork or mutton before nightfall. My first plan had been to camp out at the edge of the swamp, for opportunity to enjoy the outdoors comes rarely in my direction. Yet after one cursory examination of the premises, I abandoned the idea. I did not want to camp alone there. And I am less superstitious than a real estate agent.

It was, perhaps, psychic warning: more probably the queer, faint, salt odor as of fish left to decay, which hung about the ruin, made too unpleasant an impression upon my olfactory sense (7). I experienced a distinct chill every time the lengthening shadows caught me near Dead House.

The smell impressed me. In newspaper reports of the case one ingenious explanation had been worked out. To the rear of the spot where Dead House had stood — inside the wall — was a swampy hollow circular in shape. Only a little real mud lay in the bottom of the bowl-like depression now, but one reporter on the staff of The Mobile Register guessed that during the tenancy of the lodge it had been a fishpool. Drying up of the water had killed the fish, who now permeated the remnant of mud with this foul odor.

The possibility that Cranmer had needed to keep fresh fish at hand for some of his experiments silenced the natural objection that in a country where every stream holds gar, pike, bass, catfish and many other edible varieties, no one would dream of stocking a stagnant puddle.

After tramping about the enclosure, testing the queerly brittle, desiccated top stratum of earth within and speculating concerning the possible purpose of the wall, I cut off a long limb of chinaberry and probed the mud. One fragment of fish spine would confirm the guess of that imaginative reporter.

I found nothing resembling a piscal skeleton, but established several facts. First, this mud crater had definite bottom only three or four feet below the surface of remaining ooze. Second, the fishy stench become stronger as I stirred. Third, at one time the mud, water, or whatever had comprised the balance of content, had reached the rim of the bowl. The last showed by certain marks plain enough when the crusty, two-inch stratum of upper coating was broken away. It was puzzling.

The nature of that thin, desiccated effluvium which seemed to cover everything even to the lower foot or two of brick, came in for next inspection. It was strange stuff, unlike any earth I ever had seen, though undoubtedly some form of scum drained in from the swamp at the time of river floods or cloudbursts (which in this section are common enough in spring and fall). It crumbled beneath the fingers. When I walked over it, the stuff crunched hollowly. In fainter degree it possesed the fishy odor also.

I took some samples where it lay thickest upon the ground, and also a few where there seemed to be no more than a depth of a sheet of paper. Later I would have a laboratory analysis made.

Apart from any possible bearing the stuff might have upon the disappearance of my three friends, I felt the tug of article interest — that wonder over anything strange or seemingly inexplicable which lends the hunt for fact a certain glamor and romance all its own. To myself I was going to have to explain sooner or later just why this lay er covered the entire space within the walls and was not perceptible anywhere outside! The enigma could wait, however — or so I decided.

Far more interesting were the traces of violence apparent on wall and what once had been a house. The latter seemed to have been ripped from its foundations by a giant hand, crushed out of semblance to a dwelling, and then cast in fragments about the base of wall — mainly on the south side, where heaps of twisted, broken timbers lay in profusion. On the opposite side there had been such heaps once, but now only charred sticks, coated with that gray-black, omnipresent coat of desiccation, remained. These piles of charcoal had been sifted and examined most carefully by the authorities, as one theory had been advanced that Cranmer had burned the bodies of his victims. Yet no sign whatever of human remains was discovered.

The fire, however, pointed out one odd fact which controverted the reconstructions made by detectives months before. The latter, suggesting the dried scum to have drained in from the swamp, believed that the house timbers had floated out to the sides of the wall—there to arrange themselves in a series of piles! The absurdity of such a theory showed even more plainly in the fact that if the scum had filtered through in such a flood, the timbers most certainly had been dragged into piles previously! Some had burned — and the scum coated their charred surfaces! What had been the force which had torn the lodge to bits as if in spiteful fury? Why had the parts of the wreckage been burned, the rest to escape?

Right here I felt was the keynote to the mystery, yet I could imagine no explanation. That John Corliss Cranmer himself — physically sound, yet a man who for decades had led a sedentary life — could have accomplished such a destruction, unaided, was difficult to believe.


V

I turned my attention to the wall, hoping for evidence which might suggest another theory.

That wall had been an example of the worst snide construction. Though little more than a year old, the parts left standing showed evidence that they had begun to decay the day the last brick was laid. The mortar had fallen from the interstices. Here and there a brick had cracked and dropped out. Fibrils of the climbing vines had penetrated crevices, working for early destruction.

And one side already had fallen.

It was here that the first glimmering suspicion of the terrible truth was forced upon me. The scattered bricks, even those which had rolled inward toward the gaping foundation ledge, had not been coated with scum! This was curious, yet it could be explained by surmise that the flood itself had undermined this weakest portion of the wall. I cleared away a mass of brick from the spot on which the structure had stood; to my surprise I found it exceptionally firm! Hard red clay lay beneath! The flood conception was faulty; only some great force, exerted from inside or outside, could have wreaked such destruction.

When careful measurement, analysis and deduction convinced me — mainly from the fact that the lowermost layers of brick all had fallen outward, while the upper portions toppled in — I began to link up this mysterious and horrific force with the one which had rent the Lodge asunder. It looked as though a typhoon or gigantic centrifuge had needed elbow room in ripping down the wooden structure.

But I got nowhere with the theory, though in ordinary affairs I am called a man of too great imaginative tendencies. No less than three editors have cautioned me on this point. Perhaps it was the narrowing influence of great personal sympathy — yes, and love. I make no excuses, though beyond a dim understanding that some terrific, implacable force must have made spot his playground, I ended my ninth day of note-taking and investigation almost as much in the dark as I had been while a thousand miles away in Chicago.

Then I started among the darkies and Cajans. A whole day I listened to yarns of the days which preceded Cranmer's escape from Elizabeth Ritter Hospital — days in which furtive men sniffed poisoned air for miles around Dead House, finding the odor intolerable. Days in which it seemed none possessed nerve enough to approach close. Days when the most fanciful tales of medieval superstitions were spun. These tales I shall not give; the truth is incredible enough.

At noon upon the eleventh day I chanced upon Rori Pailleron, a Cajan — and one of the least prepossessing of all with whom I had come in contact. “Chanced” perhaps is a bad word. I had listed every dweller of the woods within a five-mile radius. Rori was sixteenth on my list. I went to him only after interviewing all four of the Crabiers and two whole families of Pichons. And Rori regarded me with the utmost suspicion until I made him a present of the two quarts of “shinny” purchased of the Pichons.

Because long practice has perfected me in the technique of seeming to drink another man's awful liquor — no, I'm not an absolute prohibitionist; fine wine or twelve-year-in-cask Bourbon whiskey arouses my definite interest — I fooled Pailleron from the start. I shall omit preliminaries, and leap to the first admission from him that he knew more concerning Dead House and its former inmates than any of the other darkies or Cajans roundabout.

“…But I ain't talkin'. Sacre! If I should open my gab, what might fly out? It is for keeping silent, y'r damn right!…”

I agreed. He was a wise man — educated to some extent in the queer schools and churches maintained exclusively by Cajans in the depths of the woods, yet naive withal.

We drank. And I never had to ask another leading question. The made him want to interest me; and the only extraordinary in this whole neck of the woods was the Dead House.

Three-quarters of a pint of acrid, nauseous fluid, and he hinted darkly.

A pint, and he told me something I scarcely could believe. Another half-pint… But I shall give his confession in condensed form (8).

He had known Joe Sibley, the octoroon chef, houseman and valet who served Cranmer. Through Joe, Rori had furnished certain indispensables in way of food to the Cranmer household. At first, these salable articles had been exclusively vegetable — white and yellow turnip, sweet potatoes, corn and beans — but later, meat!

Yes, meat especially — whole lambs, slaughtered and quartered, the coarsest variety of piney-woods pork and beef, all in immense quantity!


VI

In December of the fatal winter, Lee and his wife stopped down at the Lodge for ten days or thereabouts.

They were en route to Cuba at the time, intending to be away five or six weeks. Their original plan had been only to wait over a day or so in the piney-woods, but something caused an amendment to the scheme.

The two dallied. Lee seemed to have become vastly absorbed in something — so much absorbed that it was only when Peggy insisted upon continuing their trip that he could tear himself away.

It was during those ten days that he began buying meat. Meager bits of it at first — a rabbit, a pair of squirrels, or perhaps a few quail beyond the number he and Peggy shot. Rori furnished the game, thinking nothing of it except that Lee paid double prices — and insisted upon keeping the purchases secret from other members of the household.

“I'm putting it across on the Governor, Rori!” he said once with a wink. "Going to give him the shock of his life. So you mustn't let on, even to Joe, about what I want you to do. Maybe it won't work out, but if it does…! Dad'll have the scientific world at his feet! He doesn't blow his own horn anywhere near enough, you know.”

Rori didn't know. Hadn't a suspicion what Lee was talking about. Still, if this rich, young idiot wanted to pay him a half dollar in good silver coin for a quail that anyone — himself included — could knock down with a five-cent shell, Rori was well satisfied to keep his mouth shut. Each evening he brought some of the small game. And each day Lee Cranmer seemed to have use for an additional quail or so...

When he was ready to leave for Cuba (9), Lee came forward with the strangest of propositions. He fairly whispered his vehemence and desire for secrecy! He would tell Rori, and would pay the Cajan five hundred dollars — half in advance, and half at the end of five weeks when Lee himself would return from Cuba — provided Rori agreed to adhere absolutely to a certain secret program! The money was more than a fortune to Rori; it was undreamt of affluence. The Cajan acceded.

“He wuz tellin' me then how the ol' man had raised some kind of pet,” Rori confided, “an' wanted to get shet of it. So he give it to Lee, tellin' him to kill it, but Lee was sot on foolin' him. W'at I ask yer is, w'at kind of a pet is it w'at lives down in a mud sink an' eats a couple hawgs every night?” (10)

I couldn't imagine, so I pressed him for further details. Here at last was something which sounded like a clue!
He really knew too little. The agreement with Lee provided that if Rori carried out the provisions exactly, he should be paid extra and at his exorbitant scale of all additional outlay, when Lee returned.

The young man gave him a daily schedule which Rori showed. Each evening he was to procure, slaughter and cut up a definite — and growing — amount of meat. Every item was checked, and I saw that they ran from five pounds up to forty!

“What in heaven's name did you do with it?” I demanded, excited now and pouring him an additional drink for fear caution might return to him.

“Took it through the bushes in back an' slung it in the mud sink there! An' suthin' come up an' drug it down!”

“A gator?”

“Diable! How should I know? It was dark. I wouldn't go close.” He shuddered, and the fingers which lifted his glass shook as with sudden chill. “Mebbe you'd of done it, huh? Not me, though! The young fellah tole me to sling it in, an' I slung it.

“A couple times I come around in the light, but there wasn't nuthin' there you could see. Jes' mud, an' some water. Mebbe the thing didn't come out in daytimes…”

“Perhaps not,” I agreed, straining every mental resource to imagine what Lee's sinister pet could have been. “But you said something about two hogs a day? What did you mean by that? This paper, proof enough that you're telling the truth so far, states that on the thirty-fifth day you were to throw forty pounds of meat — any kind — into the sink. Two hogs, even the piney-woods variety, weigh a lot more than forty pounds!”

“Them was after — after he come back!”

From this point onward, Rori's tale became more and more enmeshed in the vagaries induced by bad liquor. His tongue thickened. I shall give his story without attempt to reproduce further verbal barbarities, or the occasional prodding I had to give in order to keep him from maundering into foolish jargon.

Lee had paid munificently. His only objection to the manner in which Rori had carried out his orders was that the orders themselves had been deficient. The pet, he said, had grown enormously. It was hungry; ravenous. Lee himself had supplemented the fare with huge pails of scraps from the kitchen.

From that day Lee purchased from Rori whole sheep and hogs! The Cajan continued to bring the carcasses at nightfall, but no longer did Lee permit him to approach the pool. The young man appeared chronically excited. He had a tremendous secret — one the extent of which even his father did not guess, and one which would astonish the world! Only a week or two more and he would spring it. First he would have to arrange certain data.

Then came the day when everyone disappeared from Dead House. Rori came around several times, but concluded that all of the occupants had folded tents and departed — doubtless taking their mysterious “pet” along. Only when he saw from a distance Joe, the octoroon servant, returning along the road on foot toward the Lodge, did his slow mental processes begin to ferment. That afternoon Rori visited the strange place for the next to last time.

He did not go to the Lodge himself — and there were reasons. While still some hundreds of yards away from the place a terrible, sustained screaming reached his ears! It was faint, yet unmistakably the voice of Joe! Throwing a pair of number two shells into the breech of his shotgun, Rori hurried on, taking his usual path through the brush at the back.

He saw — and as he told me, even “shinny” drunkenness fled his chattering tones — Joe, the octoroon. Aye, he stood in the yard, far from the pool into which Rori had thrown the carcasses — and Joe could not move!

Rori failed to explain in full, but something, a slimy, amorphous something, which glistened in the sunlight, already engulfed the man to his shoulders! Breath was cut off. Joe's contorted face writhed with horror and beginning suffocation. One hand — all that was free of the rest of him! — beat feebly upon the rubbery, translucent thing that was engulfing his body!

Then Joe sank from sight…


VII

Five days of liquored indulgence passed before Rori, along in his shaky cabin, convinced himself that he had seen a phantasy born of alcohol. He came back the last time — to find a high wall of brick surrounding the Lodge, and including the pool of mud into which he had thrown the meat!

While he hesitated, circling the place without discovering an opening — which he would not have dared to use, even had he found it — a crashing, tearing of timbers, and persistent sound of awesome destruction came from within. He swung himself into one of the oaks near the wall. And he was just in time to see the last supporting stanchions of the Lodge give way outward!

The whole structure came apart. The roof fell in — yet seemed to move after it had fallen! Logs of wall deserted layers of plywood in the grasp of the shearing machine!

That was all. Soddenly intoxicated now, Rori mumbled more phrases, giving me the idea that on another day when he became sober once more, he might add to his statements, but I — numbed to the soul — scarcely cared. If that which he related was true, what nightmare of madness must have been consummated here!

I could vision some things now which concerned Lee and Peggy, horrible things. Only remembrance of Elsie kept me faced forward in the search — for now it seemed almost that the handiwork of a madman must be preferred to what Rori claimed to have seen! What had been that sinister translucent thing? That glistening thing which jumped upward about a man, smothering, engulfing?

Queerly enough, though such a theory as came most easily to mind now would have outraged reason in me if suggested concerning total strangers, I asked myself only what details of Rori's revelation had been exaggerated by fright and fumes of liquor. And as I sat on the creaking bench in his cabin, staring unseeing as he lurched down to the floor, fumbling with a lock box of green tin which lay under his cot, and muttering, the answer to all my questions lay within reach!


It was not until next day, however, that I made the discovery. Heavy of heart I had reexamined the spot where the Lodge had stood, then made my way to the Cajan's cabin again, seeking sober confirmation of what he had told me during intoxication.

In imagining that such a spree for Rori would be ended by a single night, however, I was mistaken. He lay sprawled almost as I had left him. Only two factors were changed. No “shinny” was left — and lying open, with its miscellaneous contents strewed about, was the tin box. Rori somehow had managed to open it with the tiny key still clutched in his hand.

Concern for his safety alone was what made me notice the box. It was a receptacle for small fishing tackle of the sort carried here and there by any sportsman. Tangles of Dowagiac minnows, spool hooks ranging in size to silver-backed number eights; three reels still carrying line of different weights, spinners, casting plus, wobblers, floating baits, were spilled out upon the rough plank flooring where they might snag Rori badly if he rolled. I gathered them, intending to save him an accident.

With the miscellaneous assortment in my hands, however, I stopped dead. Something had caught my eye — something lying flush with the bottom of the lock box! I stared, and then swiftly tossed the hooks and other impediments upon the table. What I had glimpsed there in the box was a loose-leaf notebook of the sort used for recording laboratory data! And Rori scarcely could read, let alone write!

Feverishly, a riot of recognition, surmise, hope and fear bubbling in my brain, I grabbed the book and threw it open. At once I knew that this was the end. The pages were scribbled in pencil, but the handwriting was that precise chirography I knew as belonging to John Corliss Cranmer, the scientist!

Could he not have obeyed my instructions! Oh, God! This…

These were the words at top of the first page which met my eye.

Because knowledge of the circumstances, the relation of which I pried out of the reluctant Rori only some days later when I had him in Mobile as a police witness for the sake of my friend's vindication, is necessary to understanding, I shall interpolate.

Rori had not told me everything. On his late visit to the vicinage of Dead House he saw more. A crouching figure, seated Turk fashion on top of the wall, appeared to be writing industriously. Rori recognized the man as Cranmer, yet did not hail him. He had no opportunity.

Just as the Cajan came near, Cranmer rose, thrust the notebook, which had rested across his knees, into the box. Then he turned, tossed outside the wall both the locked box and a ribbon to which was attached the key.

Then his arms raised toward heavens. For five seconds he seemed to invoke the mercy of Power beyond all of man's scientific prying. And finally he leaped, inside…!

Rori did not climb to investigate. He knew that directly below this portion of wall lay the mud sink into which he had thrown the chunks of meat!



VIII

This is a true transcription of the statement I inscribed, telling the sequence of actual events at Dead House. The original of the statement now lies in the archives of the detective department.

Cranmer's notebook, though written in a precise hand, yet betrayed the man's insanity by incoherence and frequent repetitions. My statement has been accepted now, both by alienists and by detectives who had entertained different theories in respect to the case. It quashes the noisome hints and suspicions regarding three of the finest Americans who ever lived – and also one queer supposition dealing with supposed criminal tendencies in poor Joe, the octoroon.

John Corliss Cranmer went insane for sufficient cause!


As readers of popular fiction know well, Lee Cranmer's forte was the writing of what is called — among fellows in the craft — pseudo-scientific story. In plain words, this means a yarn, based upon solid fact in the field of astronomy, chemistry, anthropology or what-not, which carries to logical conclusion improved theories of men who devote their lives to searching out further nadirs of fact (11).

In certain fashion these men are allies of science. Often they visualize something which has not been imagined even by the best of men from whom they secure data, thus opening new horizons of possibility. In a large way Jules Verne was one of these men in his day; Lee Cranmer bade fair to carry on the work in worthy fashion — work taken up for a period by an Englishman named Wells, but abandoned for stories of a different — and, in my humble opinion, less absorbing — type (12).

Lee wrote three novels, all published, which dealt with such subjects — two of the three secured from his own father's labors, and the other speculating upon the discovery and possible uses of inter-atomic energy. Upon John Corliss Cranmer's return from Prague that fatal winter, the father informed Lee that a greater subject than any with which the young man had dealt now could be tapped.

Cranmer, senior, had devised a way in which the limiting factors in protozoic life and growth, could be nullified; in time, and with cooperation of biologists who specialized upon karyokinesis and embryology of higher forms, he hoped — to put the theory in pragmatic terms — to be able to grow swine the size of elephants, quail or woodcock with breasts from which a hundredweight of white meat could be cut away, and steers whose dehorned heads might butt at the third story of a skyscraper!

Such result would revolutionize the methods of food supply, of course. It also would hold out hope for all undersized specimens of humanity — provided only that if factors inhibiting growth could be deleted, some methods of stopping gianthood also could be developed.

Cranmer the elder, through use of an undescribed (in the notebook) growth medium of which one constituent was agar-agar, and the use of radium emanations, had succeeded in bringing about apparently unrestricted growth in the paramoecium protozoan, certain of the vegetable growths (among which were bacteria), and in the amorphous cell of protoplasm known as the amoeba — the last a single cell containing only nucleolus, nucleus, and a space known as the contractile vacuole which somehow aided in throwing off particles impossible to assimilate directly. This point may be remembered in respect to the piles of lumber left near the outside walls surrounding Dead House!

When Lee Cranmer and his wife came south to visit, John Corliss Cranmer showed his son an amoeba — normally an organism visible under low-power microscope — which he had absolved from natural growth inhibitions. This amoeba, a rubbery, amorphous mass of protoplasm, was of the size then of a large beef liver. It could have been held in two cupped hands, placed side by side.

“How large could it grow?” asked Lee, wide-eyed and interested.

“So far as I know,” answered his father, “there is no limit now! It might, if it got food enough, grow to be as big as the Masonic Temple!

“But take it out and kill it. Destroy the organism utterly — burning the fragments — else there is no telling what might happen. The amoeba, as I have explained, reproduces by simple division. Any fragment remaining might be dangerous.”

Lee took the rubbery, translucent giant cell — but he did not obey orders. Instead of destroying it as his father had directed, Lee thought out a plan. Suppose he should grow this organism to tremendous size? Suppose, when the tale of his father's accomplishment were spread, an amoeba of many tons weight could be shown in evidence? Lee, of somewhat sensational cast of mind, determined instantly to keep secret the fact that he was not destroying the organism, but encouraging its further growth. Thought of possible peril never crossed his mind (13).

He arranged to have the thing fed — allowing for normal increase of size in an abnormal thing. It fooled him only by growing much more rapidly. When he came back from Cuba the amoeba practically filled the whole of the mud sink hollow. He had to give it much greater supplies…

The giant cell came to absorb as much as two hogs in a single day. During daylight, while hunger still was appeased, it never emerged, however. That remained for the time that it could secure no more food near at hand to satisfy its ravenous and increasing appetite.

Only instinct for the sensational kept Lee from telling Peggy, his wife, all about the matter. Lee hoped to spring a coup which would immortalize his father, and surprise his wife terrifically. Therefore, he kept his own counsel — and made bargains with the Cajan, Rori, who supplied food daily for the shapeless monster of the pool.

The tragedy itself came suddenly and unexpectedly. Peggy, feeding the two Gordon setters that Lee and she used for quail hunting, was in the Lodge yard before sunset. She romped alone, as Lee himself was dressing.
Of a sudden her screams cut the still air! Without her knowledge, ten foot pseudopods — those flowing tentacles of protoplasm sent forth by the sinister occupant of the pool — slid out and around her putteed ankles.

For a moment at first she did not understand. Then, the horrid suspicion of truth, her cries rent the air. Lee, at that time struggling to lace a pair of high shoes, straightened, paled, and grabbed a revolver as he dashed out.

In another room a scientist, absorbed in his note-taking, glanced up, frowned, and then — recognizing the voice — shed his white gown and came out. He was too late to do aught but gasp with horror.

In the yard Peggy was half engulfed in a squamous, rubbery something which at first he could not analyze.

Lee, his boy, was fighting with the sticky folds, and slowly, surely, losing his own grip upon the earth!


IX

John Corliss Cranmer was by no means a coward; he stared, cried aloud, then ran indoors, seizing the first two weapons which came to hand — a shotgun and hunting knife which lay in sheath in a cartridged belt across hook of the hall-tree. The knife was ten inches in length and razor-keen.

Cranmer rushed out again. He saw an indecent fluid something which as yet he had not had time to classify — lumped into a six-foot-high center before his very eyes! It looked like one of the micro-organisms he had studied! One grown to frightful dimensions. An amoeba!

There, some minutes suffocated in the rubbery folds — yet still apparent beneath the glistening ooze of this monster — were two bodies.

They were dead. He knew it. Nevertheless he attacked the flowing, senseless monster with his knife. Shot would do no good. And he found that even the deep, terrific slashes made by his knife closed together in a moment and healed. The monster was invulnerable to ordinary attack!

A pair of pseudopods sought out his ankles, attempting to bring him low. Both of these he severed — and escaped. Why did he try? He did not know. The two whom he had sought to rescue were dead, buried under folds of this horrid thing he knew to be his own discovery and fabrication.

Then it was that revulsion and insanity came upon him.

There ended the story of John Corliss Cranmer, save for one hastily scribbled paragraph — evidently written at the time Rori had seen him atop the wall.

May we not supply with assurance the intervening steps?

Cranmer was known to have purchased a whole pen of hogs a day or two following the tragedy. These animals were never seen again. During the time the wall was being constructed is it not reasonable to assume that he fed the giant organism within — to keep it quiet? His scientist brain must have visualized clearly the havoc and horror which could be wrought by the loathsome thing if it ever were driven by hunger to flow away from the Lodge and prey upon the country-side!

With the wall once in place, he evidently figured that starvation or some other means which he could supply would kill the thing. One of the means had been made by setting fire to several piles of the disgorged timbers; probably this had no effect whatever.

The amoeba was to accomplish still more destruction. In the throes of hunger it threw its gigantic, formless strength against the walls from the inside; then every edible morsel within was house assimilated, the logs, rafters and other fragments being worked out through the contractile vacuole.

During some of its last struggles, undoubtedly, the side wall of brick was weakened — not to collapse, however, until the giant amoeba no longer could take advantage of the breach. In final death lassitude, the amoeba stretched itself out in a thin layer over the ground. There it succumbed, though there is no means of estimating how long a time intervened.

The last paragph in Cramer's notebook, scrawled so badly that it is possible some words I have not deciphered correctly, reads as follows:

In my work I have found the means of creating a monster. The unnatural thing, in turn, has destroyed my work and those whom I held dear. It is in vain that I assure myself of innocence of spirit. Mine is the crime of presumption. Now, as expedition — worthless though that may be — I give myself…

It is better not to think of that last leap, and the struggle of an insane man in the grip of the dying monster.

END.


NOTES

(1) - Variant spelling of "Cajuns," whose derivation is indeed as Mr. Rud explains. H. P. Lovecraft would famously use this same setting in part of The Call of Cthulhu (written 1926, published 1928).  It is fairly likely that Lovecraft read "Ooze," so this may have been one of his inspirations.

(2) - A reminder that this story was written during Prohibition, though of course the avoidance of taxes by moonshine-makers happened before and continued to happen after Prohibition — it continues into the present day.  However, there was a lot more money in it during the Prohibition Era.

(3) - The Cajun ethnic culture is actually more common in Louisiana than in Alabama, though there's no particular reason why some Cajuns couldn't have migrated to Alabama at some point in history.

(4) - This is seriously insane behavior even by the standards of over a century ago, though at that time rich eccentrics really could reasonably expect to get away with murder, in back-country areas such as the one described.  Remember, this was also the time when labor disputes not infrequently led to pitched battles with dozens of casualties on a side.

(5) - This is pretty brutal treatment meted out to the black man — and, sadly, all too plausible for a black suspect with known criminal tendencies in the South c. 1910.  The police were in general brutal by modern standards, a century ago, and the South extremely racist.  He was actually fortunate not to be lynched.

(6) - In comparison, Corliss is rich, obviously crazy, and confessing — brutality to him would be totally counter-productive.  The problem is that his confession is so incoherent that the police can't figure out what actually happened; if they presented it as given he could not be convicted upon it, and any competent defense attorney (which his friends and relatives would provide for him) could throw the complete confession back at them and tear it full of holes as the obvious rantings of a lunatic.

(7) - This would have stuck in Lovecraft's mind if he ever read this; he hated seafood, a dislike we see expressed in The Call of Cthulhu and The Shadow Over Innsmouth.

(8) - This may have been the scene that inspired Lovecraft to write the similar liquor-based interrogation of Zadok Allen by Robert Olmstead in The Shadow Over Innsmouth.

(9) - This was, of course, when Cuba was still relatively free and prosperous, having recently (1898) been liberated from Spanish rule by the United States of America.  Fidel Castro would not afflict that unfortunate island nation for over half a century.

(10) - The sequence with the growing demand for raw meat may have inspired Lovecraft to plant the similar clue regarding the growth of Wilbur Whateley's Twin in The Dunwich Horror.  In fact this story -- especially its use of layered revelation and interviews with persons speaking in fully-rendered rural dialects -- strikes me as very Lovecraftian in tone.  So Lovecraftian, in fact, that it makes me wonder if this wasn't actually an early example of Lovecraft doing a ghost-rewrite, as he frequently did in his later career.

(11) - This story was written before the term "science fiction" had been coined to describe this sort of tale.

(12) - H. G. Wells stopped writing much science fiction after the early 1900's, preferring instead to write science fact, speculative essays, and social novels.  By the late 1910's and 1920's he had pretty much abandoned science fiction, though he was to return to it in the 1930's with The Shape of Things To Come -- both the book and the (more famous) movie.

(13) - To be fair to Lee, this was before the concept of attacks by scientifically-created, artificially-enlarged creatures was common.  Indeed, this story may have been the first, or one of the first, uses of this trope.


REVIEW

This is a remarkably-powerful, creepy and well-presented science fiction horror tale.  It contains numerous Lovecraftian touches, at a time before H. P. Lovecraft was a well-known horror writer, including the celibate hero, the revelation of the horror one layer at a time, the rustic informants with dialogue rendered in phonetic dialect, the revulsion against anything smelling of the sea, and the amorphous creature.  In fact it is so Lovecraftian that I strongly suspect, having finished it, that Lovecraft either helped Rud write this, or was inspired to parts of some of his later works, notably The Call of Cthulhu, The Dunwich Horror, The Shadow Over Innsmouth and At the Mountains of Madness, by elements of this fiction.

I have never seen this story reprinted anywhere, even though it is very obviously ancestral to later several amorphous-horror stories, including one I've reprinted here, Charles Willard Diffin's Spawn of the Stars.  This story deserves much wider distribution -- I'm honored to have had the chance to run it on my zine.  I hope you all enjoyed it as much as did I.

END.

Wednesday, September 4, 2013

"Pickman's Model" (1927) by H. P. Lovecraft, with Comments


"Pickman's Model"

© 1927

by

H. P. Lovecraft
 

You needn’t think I’m crazy, Eliot—plenty of others have queerer prejudices than this. Why don’t you laugh at Oliver’s grandfather, who won’t ride in a motor? If I don’t like that damned subway, it’s my own business; and we got here more quickly anyhow in the taxi. We’d have had to walk up the hill from Park Street if we’d taken the car.

I know I’m more nervous than I was when you saw me last year, but you don’t need to hold a clinic over it. There’s plenty of reason, God knows, and I fancy I’m lucky to be sane at all. Why the third degree? You didn’t use to be so inquisitive.

Well, if you must hear it, I don’t know why you shouldn’t. Maybe you ought to, anyhow, for you kept writing me like a grieved parent when you heard I’d begun to cut the Art Club and keep away from Pickman. Now that he’s disappeared I go around to the club once in a while, but my nerves aren’t what they were.
 

No, I don’t know what’s become of Pickman, and I don’t like to guess. You might have surmised I had some inside information when I dropped him—and that’s why I don’t want to think where he’s gone. Let the police find what they can—it won’t be much, judging from the fact that they don’t know yet of the old North End place he hired under the name of Peters. I’m not sure that I could find it again myself—not that I’d ever try, even in broad daylight! Yes, I do know, or am afraid I know, why he maintained it. I’m coming to that. And I think you’ll understand before I’m through why I don’t tell the police. They would ask me to guide them, but I couldn’t go back there even if I knew the way. There was something there—and now I can’t use the subway or (and you may as well have your laugh at this, too) go down into cellars any more.
      

I should think you’d have known I didn’t drop Pickman for the same silly reasons that fussy old women like Dr. Reid or Joe Minot or Bosworth did. Morbid art doesn’t shock me, and when a man has the genius Pickman had I feel it an honour to know him, no matter what direction his work takes. Boston never had a greater painter than Richard Upton Pickman. I said it at first and I say it still, and I never swerved an inch, either, when he shewed that “Ghoul Feeding”. That, you remember, was when Minot cut him.
      

You know, it takes profound art and profound insight into Nature to turn out stuff like Pickman’s. Any magazine-cover hack can splash paint around wildly and call it a nightmare or a Witches’ Sabbath or a portrait of the devil, but only a great painter can make such a thing really scare or ring true. That’s because only a real artist knows the actual anatomy of the terrible or the physiology of fear—the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness. I don’t have to tell you why a Fuseli really brings a shiver while a cheap ghost-story frontispiece merely makes us laugh. There’s something those fellows catch—beyond life—that they’re able to make us catch for a second. Doré had it. Sime has it. Angarola of Chicago has it. And Pickman had it as no man ever had it before or—I hope to heaven—ever will again.
      

Don’t ask me what it is they see. You know, in ordinary art, there’s all the difference in the world between the vital, breathing things drawn from Nature or models and the artificial truck that commercial small fry reel off in a bare studio by rule. Well, I should say that the really weird artist has a kind of vision which makes models, or summons up what amounts to actual scenes from the spectral world he lives in. Anyhow, he manages to turn out results that differ from the pretender’s mince-pie dreams in just about the same way that the life painter’s results differ from the concoctions of a correspondence-school cartoonist. If I had ever seen what Pickman saw—but no! Here, let’s have a drink before we get any deeper. Gad, I wouldn’t be alive if I’d ever seen what that man—if he was a man—saw!
      

You recall that Pickman’s forte was faces. I don’t believe anybody since Goya could put so much of sheer hell into a set of features or a twist of expression. And before Goya you have to go back to the mediaeval chaps who did the gargoyles and chimaeras on Notre Dame and Mont Saint-Michel. They believed all sorts of things—and maybe they saw all sorts of things, too, for the Middle Ages had some curious phases. I remember your asking Pickman yourself once, the year before you went away, wherever in thunder he got such ideas and visions. Wasn’t that a nasty laugh he gave you? It was partly because of that laugh that Reid dropped him. Reid, you know, had just taken up comparative pathology, and was full of pompous “inside stuff” about the biological or evolutionary significance of this or that mental or physical symptom. He said Pickman repelled him more and more every day, and almost frightened him toward the last—that the fellow’s features and expression were slowly developing in a way he didn’t like; in a way that wasn’t human. He had a lot of talk about diet, and said Pickman must be abnormal and eccentric to the last degree. I suppose you told Reid, if you and he had any correspondence over it, that he’d let Pickman’s paintings get on his nerves or harrow up his imagination. I know I told him that myself—then.
      

But keep in mind that I didn’t drop Pickman for anything like this. On the contrary, my admiration for him kept growing; for that “Ghoul Feeding” was a tremendous achievement. As you know, the club wouldn’t exhibit it, and the Museum of Fine Arts wouldn’t accept it as a gift; and I can add that nobody would buy it, so Pickman had it right in his house till he went. Now his father has it in Salem—you know Pickman comes of old Salem stock, and had a witch ancestor hanged in 1692.
      

I got into the habit of calling on Pickman quite often, especially after I began making notes for a monograph on weird art. Probably it was his work which put the idea into my head, and anyhow, I found him a mine of data and suggestions when I came to develop it. He shewed me all the paintings and drawings he had about; including some pen-and-ink sketches that would, I verily believe, have got him kicked out of the club if many of the members had seen them. Before long I was pretty nearly a devotee, and would listen for hours like a schoolboy to art theories and philosophic speculations wild enough to qualify him for the Danvers asylum. My hero-worship, coupled with the fact that people generally were commencing to have less and less to do with him, made him get very confidential with me; and one evening he hinted that if I were fairly close-mouthed and none too squeamish, he might shew me something rather unusual—something a bit stronger than anything he had in the house.
      

“You know,” he said, “there are things that won’t do for Newbury Street—things that are out of place here, and that can’t be conceived here, anyhow. It’s my business to catch the overtones of the soul, and you won’t find those in a parvenu set of artificial streets on made land. Back Bay isn’t Boston—it isn’t anything yet, because it’s had no time to pick up memories and attract local spirits. If there are any ghosts here, they’re the tame ghosts of a salt marsh and a shallow cove; and I want human ghosts—the ghosts of beings highly organised enough to have looked on hell and known the meaning of what they saw.
      

“The place for an artist to live is the North End. If any aesthete were sincere, he’d put up with the slums for the sake of the massed traditions. God, man! Don’t you realise that places like that weren’t merely made, but actually grew? Generation after generation lived and felt and died there, and in days when people weren’t afraid to live and feel and die. Don’t you know there was a mill on Copp’s Hill in 1632, and that half the present streets were laid out by 1650? I can shew you houses that have stood two centuries and a half and more; houses that have witnessed what would make a modern house crumble into powder. What do moderns know of life and the forces behind it? You call the Salem witchcraft a delusion, but I’ll wage my four-times-great-grandmother could have told you things. They hanged her on Gallows Hill, with Cotton Mather looking sanctimoniously on. Mather, damn him, was afraid somebody might succeed in kicking free of this accursed cage of monotony—I wish someone had laid a spell on him or sucked his blood in the night!
     

“I can shew you a house he lived in, and I can shew you another one he was afraid to enter in spite of all his fine bold talk. He knew things he didn’t dare put into that stupid Magnalia or that puerile Wonders of the Invisible World. Look here, do you know the whole North End once had a set of tunnels that kept certain people in touch with each other’s houses, and the burying-ground, and the sea? Let them prosecute and persecute above ground—things went on every day that they couldn’t reach, and voices laughed at night that they couldn’t place!
      

“Why, man, out of ten surviving houses built before 1700 and not moved since I’ll wager that in eight I can shew you something queer in the cellar. There’s hardly a month that you don’t read of workmen finding bricked-up arches and wells leading nowhere in this or that old place as it comes down—you could see one near Henchman Street from the elevated last year. There were witches and what their spells summoned; pirates and what they brought in from the sea; smugglers; privateers—and I tell you, people knew how to live, and how to enlarge the bounds of life, in the old times! This wasn’t the only world a bold and wise man could know—faugh! And to think of today in contrast, with such pale-pink brains that even a club of supposed artists gets shudders and convulsions if a picture goes beyond the feelings of a Beacon Street tea-table!
      

“The only saving grace of the present is that it’s too damned stupid to question the past very closely. What do maps and records and guide-books really tell of the North End? Bah! At a guess I’ll guarantee to lead you to thirty or forty alleys and networks of alleys north of Prince Street that aren’t suspected by ten living beings outside of the foreigners that swarm them. And what do those Dagoes know of their meaning? No, Thurber, these ancient places are dreaming gorgeously and overflowing with wonder and terror and escapes from the commonplace, and yet there’s not a living soul to understand or profit by them. Or rather, there’s only one living soul—for I haven’t been digging around in the past for nothing!
      

“See here, you’re interested in this sort of thing. What if I told you that I’ve got another studio up there, where I can catch the night-spirit of antique horror and paint things that I couldn’t even think of in Newbury Street? Naturally I don’t tell those cursed old maids at the club—with Reid, damn him, whispering even as it is that I’m a sort of monster bound down the toboggan of reverse evolution. Yes, Thurber, I decided long ago that one must paint terror as well as beauty from life, so I did some exploring in places where I had reason to know terror lives.
      

“I’ve got a place that I don’t believe three living Nordic men besides myself have ever seen. It isn’t so very far from the elevated as distance goes, but it’s centuries away as the soul goes. I took it because of the queer old brick well in the cellar—one of the sort I told you about. The shack’s almost tumbling down, so that nobody else would live there, and I’d hate to tell you how little I pay for it. The windows are boarded up, but I like that all the better, since I don’t want daylight for what I do. I paint in the cellar, where the inspiration is thickest, but I’ve other rooms furnished on the ground floor. A Sicilian owns it, and I’ve hired it under the name of Peters.
      

“Now if you’re game, I’ll take you there tonight. I think you’d enjoy the pictures, for as I said, I’ve let myself go a bit there. It’s no vast tour—I sometimes do it on foot, for I don’t want to attract attention with a taxi in such a place. We can take the shuttle at the South Station for Battery Street, and after that the walk isn’t much.”
     

 Well, Eliot, there wasn’t much for me to do after that harangue but to keep myself from running instead of walking for the first vacant cab we could sight. We changed to the elevated at the South Station, and at about twelve o’clock had climbed down the steps at Battery Street and struck along the old waterfront past Constitution Wharf. I didn’t keep track of the cross streets, and can’t tell you yet which it was we turned up, but I know it wasn’t Greenough Lane.
     

 When we did turn, it was to climb through the deserted length of the oldest and dirtiest alley I ever saw in my life, with crumbling-looking gables, broken small-paned windows, and archaic chimneys that stood out half-disintegrated against the moonlit sky. I don’t believe there were three houses in sight that hadn’t been standing in Cotton Mather’s time—certainly I glimpsed at least two with an overhang, and once I thought I saw a peaked roof-line of the almost forgotten pre-gambrel type, though antiquarians tell us there are none left in Boston.

From that alley, which had a dim light, we turned to the left into an equally silent and still narrower alley with no light at all; and in a minute made what I think was an obtuse-angled bend toward the right in the dark. Not long after this Pickman produced a flashlight and revealed an antediluvian ten-panelled door that looked damnably worm-eaten. Unlocking it, he ushered me into a barren hallway with what was once splendid dark-oak panelling—simple, of course, but thrillingly suggestive of the times of Andros and Phipps and the Witchcraft. Then he took me through a door on the left, lighted an oil lamp, and told me to make myself at home.
      

Now, Eliot, I’m what the man in the street would call fairly “hard-boiled”, but I’ll confess that what I saw on the walls of that room gave me a bad turn. They were his pictures, you know—the ones he couldn’t paint or even shew in Newbury Street—and he was right when he said he had “let himself go”. Here—have another drink—I need one anyhow!
      

There’s no use in my trying to tell you what they were like, because the awful, the blasphemous horror, and the unbelievable loathsomeness and moral foetor came from simple touches quite beyond the power of words to classify. There was none of the exotic technique you see in Sidney Sime, none of the trans-Saturnian landscapes and lunar fungi that Clark Ashton Smith uses to freeze the blood. The backgrounds were mostly old churchyards, deep woods, cliffs by the sea, brick tunnels, ancient panelled rooms, or simple vaults of masonry. Copp’s Hill Burying Ground, which could not be many blocks away from this very house, was a favourite scene.
      

The madness and monstrosity lay in the figures in the foreground—for Pickman’s morbid art was preëminently one of daemoniac portraiture. These figures were seldom completely human, but often approached humanity in varying degree. Most of the bodies, while roughly bipedal, had a forward slumping, and a vaguely canine cast. The texture of the majority was a kind of unpleasant rubberiness. Ugh! I can see them now! Their occupations—well, don’t ask me to be too precise. They were usually feeding—I won’t say on what. They were sometimes shewn in groups in cemeteries or underground passages, and often appeared to be in battle over their prey—or rather, their treasure-trove. And what damnable expressiveness Pickman sometimes gave the sightless faces of this charnel booty! Occasionally the things were shewn leaping through open windows at night, or squatting on the chests of sleepers, worrying at their throats. One canvas shewed a ring of them baying about a hanged witch on Gallows Hill, whose dead face held a close kinship to theirs.
      

But don’t get the idea that it was all this hideous business of theme and setting which struck me faint. I’m not a three-year-old kid, and I’d seen much like this before. It was the faces, Eliot, those accursed faces, that leered and slavered out of the canvas with the very breath of life! By God, man, I verily believe they were alive! That nauseous wizard had waked the fires of hell in pigment, and his brush had been a nightmare-spawning wand. Give me that decanter, Eliot!
      

There was one thing called “The Lesson”—heaven pity me, that I ever saw it! Listen—can you fancy a squatting circle of nameless dog-like things in a churchyard teaching a small child how to feed like themselves? The price of a changeling, I suppose—you know the old myth about how the weird people leave their spawn in cradles in exchange for the human babes they steal. Pickman was shewing what happens to those stolen babes—how they grow up—and then I began to see a hideous relationship in the faces of the human and non-human figures. He was, in all his gradations of morbidity between the frankly non-human and the degradedly human, establishing a sardonic linkage and evolution. The dog-things were developed from mortals!
      

And no sooner had I wondered what he made of their own young as left with mankind in the form of changelings, than my eye caught a picture embodying that very thought. It was that of an ancient Puritan interior—a heavily beamed room with lattice windows, a settle, and clumsy seventeenth-century furniture, with the family sitting about while the father read from the Scriptures. Every face but one shewed nobility and reverence, but that one reflected the mockery of the pit. It was that of a young man in years, and no doubt belonged to a supposed son of that pious father, but in essence it was the kin of the unclean things. It was their changeling—and in a spirit of supreme irony Pickman had given the features a very perceptible resemblance to his own.
      

By this time Pickman had lighted a lamp in an adjoining room and was politely holding open the door for me; asking me if I would care to see his “modern studies”. I hadn’t been able to give him much of my opinions—I was too speechless with fright and loathing—but I think he fully understood and felt highly complimented. And now I want to assure you again, Eliot, that I’m no mollycoddle to scream at anything which shews a bit of departure from the usual. I’m middle-aged and decently sophisticated, and I guess you saw enough of me in France to know I’m not easily knocked out. Remember, too, that I’d just about recovered my wind and gotten used to those frightful pictures which turned colonial New England into a kind of annex of hell. Well, in spite of all this, that next room forced a real scream out of me, and I had to clutch at the doorway to keep from keeling over. The other chamber had shewn a pack of ghouls and witches overrunning the world of our forefathers, but this one brought the horror right into our own daily life!
      

Gad, how that man could paint! There was a study called “Subway Accident”, in which a flock of the vile things were clambering up from some unknown catacomb through a crack in the floor of the Boylston Street subway and attacking a crowd of people on the platform. Another shewed a dance on Copp’s Hill among the tombs with the background of today. Then there were any number of cellar views, with monsters creeping in through holes and rifts in the masonry and grinning as they squatted behind barrels or furnaces and waited for their first victim to descend the stairs.
      

One disgusting canvas seemed to depict a vast cross-section of Beacon Hill, with ant-like armies of the mephitic monsters squeezing themselves through burrows that honeycombed the ground. Dances in the modern cemeteries were freely pictured, and another conception somehow shocked me more than all the rest—a scene in an unknown vault, where scores of the beasts crowded about one who held a well-known Boston guide-book and was evidently reading aloud. All were pointing to a certain passage, and every face seemed so distorted with epileptic and reverberant laughter that I almost thought I heard the fiendish echoes. The title of the picture was, “Holmes, Lowell, and Longfellow Lie Buried in Mount Auburn”.
      

As I gradually steadied myself and got readjusted to this second room of deviltry and morbidity, I began to analyse some of the points in my sickening loathing. In the first place, I said to myself, these things repelled because of the utter inhumanity and callous cruelty they shewed in Pickman. The fellow must be a relentless enemy of all mankind to take such glee in the torture of brain and flesh and the degradation of the mortal tenement. In the second place, they terrified because of their very greatness. Their art was the art that convinced—when we saw the pictures we saw the daemons themselves and were afraid of them. And the queer part was, that Pickman got none of his power from the use of selectiveness or bizarrerie. Nothing was blurred, distorted, or conventionalised; outlines were sharp and life-like, and details were almost painfully defined. And the faces!
      

It was not any mere artist’s interpretation that we saw; it was pandemonium itself, crystal clear in stark objectivity. That was it, by heaven! The man was not a fantaisiste or romanticist at all—he did not even try to give us the churning, prismatic ephemera of dreams, but coldly and sardonically reflected some stable, mechanistic, and well-established horror-world which he saw fully, brilliantly, squarely, and unfalteringly. God knows what that world can have been, or where he ever glimpsed the blasphemous shapes that loped and trotted and crawled through it; but whatever the baffling source of his images, one thing was plain. Pickman was in every sense—in conception and in execution—a thorough, painstaking, and almost scientific realist.
      

My host was now leading the way down cellar to his actual studio, and I braced myself for some hellish effects among the unfinished canvases. As we reached the bottom of the damp stairs he turned his flashlight to a corner of the large open space at hand, revealing the circular brick curb of what was evidently a great well in the earthen floor. We walked nearer, and I saw that it must be five feet across, with walls a good foot thick and some six inches above the ground level—solid work of the seventeenth century, or I was much mistaken. That, Pickman said, was the kind of thing he had been talking about—an aperture of the network of tunnels that used to undermine the hill. I noticed idly that it did not seem to be bricked up, and that a heavy disc of wood formed the apparent cover. Thinking of the things this well must have been connected with if Pickman’s wild hints had not been mere rhetoric, I shivered slightly; then turned to follow him up a step and through a narrow door into a room of fair size, provided with a wooden floor and furnished as a studio. An acetylene gas outfit gave the light necessary for work.
      

The unfinished pictures on easels or propped against the walls were as ghastly as the finished ones upstairs, and shewed the painstaking methods of the artist. Scenes were blocked out with extreme care, and pencilled guide lines told of the minute exactitude which Pickman used in getting the right perspective and proportions. The man was great—I say it even now, knowing as much as I do. A large camera on a table excited my notice, and Pickman told me that he used it in taking scenes for backgrounds, so that he might paint them from photographs in the studio instead of carting his outfit around the town for this or that view. He thought a photograph quite as good as an actual scene or model for sustained work, and declared he employed them regularly.
      

There was something very disturbing about the nauseous sketches and half-finished monstrosities that leered around from every side of the room, and when Pickman suddenly unveiled a huge canvas on the side away from the light I could not for my life keep back a loud scream—the second I had emitted that night. It echoed and echoed through the dim vaultings of that ancient and nitrous cellar, and I had to choke back a flood of reaction that threatened to burst out as hysterical laughter. Merciful Creator! Eliot, but I don’t know how much was real and how much was feverish fancy. It doesn’t seem to me that earth can hold a dream like that!
      

It was a colossal and nameless blasphemy with glaring red eyes, and it held in bony claws a thing that had been a man, gnawing at the head as a child nibbles at a stick of candy. Its position was a kind of crouch, and as one looked one felt that at any moment it might drop its present prey and seek a juicier morsel. But damn it all, it wasn’t even the fiendish subject that made it such an immortal fountain-head of all panic—not that, nor the dog face with its pointed ears, bloodshot eyes, flat nose, and drooling lips. It wasn’t the scaly claws nor the mould-caked body nor the half-hooved feet—none of these, though any one of them might well have driven an excitable man to madness.
      

It was the technique, Eliot—the cursed, the impious, the unnatural technique! As I am a living being, I never elsewhere saw the actual breath of life so fused into a canvas. The monster was there—it glared and gnawed and gnawed and glared—and I knew that only a suspension of Nature’s laws could ever let a man paint a thing like that without a model—without some glimpse of the nether world which no mortal unsold to the Fiend has ever had.
      

Pinned with a thumb-tack to a vacant part of the canvas was a piece of paper now badly curled up—probably, I thought, a photograph from which Pickman meant to paint a background as hideous as the nightmare it was to enhance. I reached out to uncurl and look at it, when suddenly I saw Pickman start as if shot. He had been listening with peculiar intensity ever since my shocked scream had waked unaccustomed echoes in the dark cellar, and now he seemed struck with a fright which, though not comparable to my own, had in it more of the physical than of the spiritual. He drew a revolver and motioned me to silence, then stepped out into the main cellar and closed the door behind him.
      

I think I was paralysed for an instant. Imitating Pickman’s listening, I fancied I heard a faint scurrying sound somewhere, and a series of squeals or bleats in a direction I couldn’t determine. I thought of huge rats and shuddered. Then there came a subdued sort of clatter which somehow set me all in gooseflesh—a furtive, groping kind of clatter, though I can’t attempt to convey what I mean in words. It was like heavy wood falling on stone or brick—wood on brick—what did that make me think of?
      

It came again, and louder. There was a vibration as if the wood had fallen farther than it had fallen before. After that followed a sharp grating noise, a shouted gibberish from Pickman, and the deafening discharge of all six chambers of a revolver, fired spectacularly as a lion-tamer might fire in the air for effect. A muffled squeal or squawk, and a thud. Then more wood and brick grating, a pause, and the opening of the door—at which I’ll confess I started violently. Pickman reappeared with his smoking weapon, cursing the bloated rats that infested the ancient well.
      

“The deuce knows what they eat, Thurber,” he grinned, “for those archaic tunnels touched graveyard and witch-den and sea-coast. But whatever it is, they must have run short, for they were devilish anxious to get out. Your yelling stirred them up, I fancy. Better be cautious in these old places—our rodent friends are the one drawback, though I sometimes think they’re a positive asset by way of atmosphere and colour.”
      

Well, Eliot, that was the end of the night’s adventure. Pickman had promised to shew me the place, and heaven knows he had done it. He led me out of that tangle of alleys in another direction, it seems, for when we sighted a lamp post we were in a half-familiar street with monotonous rows of mingled tenement blocks and old houses. Charter Street, it turned out to be, but I was too flustered to notice just where we hit it. We were too late for the elevated, and walked back downtown through Hanover Street. I remember that walk. We switched from Tremont up Beacon, and Pickman left me at the corner of Joy, where I turned off. I never spoke to him again.
      

Why did I drop him? Don’t be impatient. Wait till I ring for coffee. We’ve had enough of the other stuff, but I for one need something. No—it wasn’t the paintings I saw in that place; though I’ll swear they were enough to get him ostracised in nine-tenths of the homes and clubs of Boston, and I guess you won’t wonder now why I have to steer clear of subways and cellars. It was—something I found in my coat the next morning. You know, the curled-up paper tacked to that frightful canvas in the cellar; the thing I thought was a photograph of some scene he meant to use as a background for that monster. That last scare had come while I was reaching to uncurl it, and it seems I had vacantly crumpled it into my pocket. But here’s the coffee—take it black, Eliot, if you’re wise.
      

Yes, that paper was the reason I dropped Pickman; Richard Upton Pickman, the greatest artist I have ever known—and the foulest being that ever leaped the bounds of life into the pits of myth and madness. Eliot—old Reid was right. He wasn’t strictly human. Either he was born in strange shadow, or he’d found a way to unlock the forbidden gate. It’s all the same now, for he’s gone—back into the fabulous darkness he loved to haunt. Here, let’s have the chandelier going.
     

 Don’t ask me to explain or even conjecture about what I burned. Don’t ask me, either, what lay behind that mole-like scrambling Pickman was so keen to pass off as rats. There are secrets, you know, which might have come down from old Salem times, and Cotton Mather tells even stranger things. You know how damned life-like Pickman’s paintings were—how we all wondered where he got those faces.
      

Well—that paper wasn’t a photograph of any background, after all. What it shewed was simply the monstrous being he was painting on that awful canvas. It was the model he was using—and its background was merely the wall of the cellar studio in minute detail. But by God, Eliot, it was a photograph from life.

END.

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COMMENTS:  One of the minor horrific secrets of the Cthulhu Mythos (1) is that, when we bury our beloved dead, we are in reality but giving unto the ghouls their charnel foodstuffs.  This is bad enough in Lovecraft and Smith's original tales, but it is far, far worse with the revelation by Brian McNaughton that ghouls can consume the corpse's emotions and memories, and in some cases also appearance (2).  This means that not only may ghouls have eaten your dearly departed's flesh, but may also know what the deceased knew in life.  That's right, none of your secrets are safe from them, if they care.  The facts that they can and do burrow all over the place, are intelligent tool-users, and can be very stealthy,  is but spoiled icing on the rotten cake.

Ghouls appear to be some sort of human variation, possibly caused by a virus transmissible through long, close contact (similar to leprosy).  It is probable that the ghoul variation lurks latent in the human genetic code, only waiting the touch of the virus to be unleashed.  There are advantages to being a ghoul, as ghouls are physically tougher and more adept at survival than mere humans; on the other hand, no ghouls -- neither the relatively well-organized African ghouls described by David Conyers in Secrets of Kenya, nor the super-powered ghouls of Brian McNaughton, seem to have developed any truly independent civilization.

Instead, ghouls appear to be culturally, just as they are physically, parasitic on Mankind.  In the case of ghouls who were once human, they bring the skills they learned in their human lives; in the case of natural-born ghouls, what they can copy from observation or consumption of humans.  If true humans went extinct (as they well may, in the world of the Cthulhu Mythos, one could envision the ghouls outliving them for a time (there is no reason to assume that they must eat decomposing humans), but culturally devolving, growing more and more bestial, and perhaps eventually regressing to pre-sapience.

In any case, this story is where it all begins -- and it's a classic, which any afficionado of weird fiction should read at least once.

END.

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NOTES:

(1) - "Minor" by comparison with forgotten eldritch creatures rising from unfathomable abysses of spacetime to devour your city, country, civilization or whole planet, that is.  Which is what happens repeatedly in the various tales of the Cthulhu Mythos.

(2) - McNaughton's ghouls seem stronger and harder to kill than typical Lovecraftian ghouls, though, and may represent an especially powerful subspecies:  it may be that common ghouls aren't as good at or even capable of consuming memories with their meals.