By S. T. Joshi
S. T. Joshi is likely one of the preferable critics of supernatural fiction. His pioneering learn on H. P. Lovecraft, Lord Dunsany, Ambrose Bierce, and different writers has set a regular of scholarship that few have equaled. within the Evolution of the unusual Tale--an casual follow-up to his past reviews, The bizarre Tale (1990) and The glossy bizarre Tale (2001)--Joshi assesses a wide range of yank and British supernatural writers of the prior century or extra, meticulously scrutinizing their bizarre paintings and gauging their position within the canon of horror fiction.
Such American writers from the past due nineteenth and early twentieth centuries as W. C. Morrow, F. Marion Crawford, Robert W. Chambers, and Edward Lucas White come lower than scrutiny, in addition to their British opposite numbers E. F. Benson, Rudyard Kipling, and L. P. Hartley. Joshi comprises titanic essays on Lovecraft and his disciples Robert Bloch, Fritz Leiber, and Frank Belknap Long.
In a provocative part on modern writers, Joshi dissects the vampire novels of Les Daniels, the fast tales of "Twilight quarter" writer Rod Serling, David J. Schow and the varsity of splatterpunk, and the novels and stories of Poppy Z. Brite. All in all, Joshi has supplied essentially the most in-depth analyses of either vintage and glossy bizarre writers ever written.
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Extra info for The Evolution of the Weird Tale
I am the great Panegoist, the would be Conservator of Self, the inspired prophet of the Universal I. I—I—I!
Not a hundred miles” from the earth! There is not a single redeeming element in this novel. Some general remarks can now be made on Chambers’ fantastic work. One of its most interesting features is a proto-science-fictional element that emerges in some works cheek by jowl with the overt supernaturalism of other tales. Chambers never precisely explains the nature of the petrifying fluid used in the story, but we are led to believe that it would not be beyond the bounds of chemistry to encompass it.
Like Lord Dunsany, Chambers liked the “great outdoors,” and was an ardent hunter and fisherman. He collected butterflies, Oriental rugs and vases, and—if the photograph of his study printed in Rupert Hughes’ laudatory sketch of Chambers in Cosmopolitan is any guide—he was in no small way a bibliophile. He died, presumably in comfort and peace, on 16 December 1933. ”) is surely a reference to himself. It is, however, ironic that Chambers’ very popularity drove each of his works into obscurity as its successor emerged; and so early as 1927 August Derleth complained in a letter to H.