PulpFest Profile — Christopher Paul Carey: To Khokarsa & Beyond

Oct 19, 2020 by

Pulp magazines have influenced writers, artists, film directors, software developers, and countless others over the years. Our “PulpFest Profiles” focus on contemporary creators who have drawn inspiration from these rough-paper fiction magazines.

 

 

William Patrick Maynard (WPM): Chris, you’re Director of Publishing at Edgar Rice Burroughs, Inc., as well as one of the leading lights in the Wold Newton Universe. How did you first discover the works of Edgar Rice Burroughs and Philip José Farmer?

Christopher Paul Carey: The first time I read ERB was at age eight, after my father took me to see the film adaptation of AT THE EARTH’S CORE. I picked up the Ace Books movie edition of the same novel off a grocery store spinner rack. My uncle was a big Burroughs fan. He used to read the Barsoom novels aloud to my siblings and me during my family’s annual summer trips from Pennsylvania to Illinois. It was a magical time. When I was twelve, I read A PRINCESS OF MARS. That was it — I became obsessed. I had to read every single story that ERB wrote as quickly as I could track them down, in addition to knowing I wanted to be a writer. During that glorious three-year period when I read almost all of ERB’s fiction, I found Farmer’s TARZAN ALIVE, HADON OF ANCIENT OPAR, and FLIGHT TO OPAR on the bookstore shelves. I was drawn to them, of course, because of the Burroughs connection. I could see right away that Farmer was modernizing and innovating on the same adventure formula that Burroughs had implemented in his own novels. So I began devouring all of Farmer’s works as well.

WPM: What is your approach to bringing Edgar Rice Burroughs and the Wold Newton Universe to new readers?

Christopher Paul Carey: My first several books were set in Farmer’s Khokarsa, the motherland civilization of Burroughs’ Opar. First and foremost, I tried to write them like I thought Phil would have. So you’re going to have a grittier, darker, more realistic story. But as I continued to write about Khokarsa and Ancient Opar, I decided to dial up ERB’s style very subtly. Actually, there’s a little H. Rider Haggard mixed in there, too. I’d like to write another trilogy in the Khokarsa cycle, which I’ve been referring to as the “Foundation of Kôr” series. This would be inspired by H. Rider Haggard’s Ayesha novels. I’ve got a lot of it outlined already. I’d also like to write two more novellas about Lupoeth, the priestess-heroine who was the protagonist in my novella EXILES OF KHO.

When I turned to writing SWORDS AGAINST THE MOON MEN, an authorized sequel to ERB’s THE MOON MAID, I tried to be as faithful to Burroughs’ works and style as possible. There’s no Farmer in there at all. Right now, I’m working on a novel in the Edgar Rice Burroughs Universe series titled VICTORY HARBEN: FIRES OF HALOS. This will be just as faithful to ERB’s works, though it begins in 1950 and features a young woman who was born in the hollow world of Pellucidar. Victory’s mother is from the outer crust and her father is from the Earth’s core.

Victory Harben is something of a prodigy in physics and science. She was university-educated in the outer world. So her voice and perspective are going to be different from the typical Burroughs hero, a bit more modern. She’s grown up with ERB’s famous heroes and heroines all around her: David Innes, Dian the Beautiful, Abner Perry, Jason Gridley, Tarzan, Jane, etc. She’s the most challenging and ambitious character I’ve written to date. A hybrid of old world and new. It’s exciting because she brings an opportunity to breathe new life into the canon.

A lot of people forget that when ERB was writing, he was expanding the canon and doing new and crazy things with it. It must have blown readers’ minds in 1929 when Burroughs sent Tarzan to the Earth’s core or in 1932 when he wrote a new series about a suicidal stunt pilot who, trained by a Hindu mystic in the art of mental projection, launched himself in a rocket intended for Mars and ended up on Venus instead. If he’d had an immortality elixir like Tarzan and was still writing today, Edgar Rice Burroughs would be taking his universe off in directions that people would never anticipate to keep things fun and fresh. The present and the past don’t have to compete with one another; they can blend gracefully together into the future.

WPM: As Creative Director of The Edgar Rice Burroughs Universe titles, tell us what is available, what is next in the pipeline, and which past continuation works are considered part of the ERB Universe canon?

Christopher Paul Carey: CARSON OF VENUS: THE EDGE OF ALL WORLDS by Matt Betts kicked off the new ERB Universe novels with what we’re calling the “Swords of Eternity” super-arc. TARZAN: BATTLE FOR PELLUCIDAR by Win Scott Eckert is up for preorder at ERBurroughs.com and will be published on October 27. That will be followed by JOHN CARTER OF MARS: GODS OF THE FORGOTTEN by Geary Gravel next spring, and my own novel, VICTORY HARBEN: FIRES OF HALOS later in the year. Moreover, we have two “Classic ERB Universe” titles available, TARZAN AND THE VALLEY OF GOLD by Fritz Leiber and TARZAN AND THE DARK HEART OF TIME by Philip José Farmer (the latter published through Meteor House, but also under the Edgar Rice Burroughs Universe banner). These are all considered canon alongside ERB’s original works.

WPM: Edgar Rice Burroughs, Inc., has taken on the ambitious task of reprinting all of ERB’s works in uniform hardcover editions. The first eight Tarzan books are presently available. What can fans expect to see over the next few years?

Christopher Paul Carey: We’re hard at work right now on volumes 9–12 of the Tarzan series. We’ll continue to put out batches of four volumes until we’ve published all of the Tarzan books. Then we’ll move on to the Barsoom series, and then each series in turn until we move on to the standalone books. In total, the Edgar Rice Burroughs Authorized Library will comprise eighty-plus volumes. It will be a multiyear project to release them all. Joe Jusko is adorning all of the books with stunning cover art and frontispieces. We’re also getting luminaries from different fields to write forewords and afterwords. As we continue to produce more volumes, we’ll dig deeper into the archives. So the bonus material included in each of the books will get even more interesting and in many cases longer.

WPM: How do you see Edgar Rice Burroughs’ place in the twenty-first century, particularly as the past is held up to an increasingly critical light?

Christopher Paul Carey: I think Edgar Rice Burroughs stands the test of time because his stories hit the same touchpoint as mythology. He was also a more complex writer than he is sometimes portrayed. There’s a lot of commentary, humor, and satire in ERB’s writing that is often missed or misinterpreted, but lofty critical and scholarly studies don’t really matter in the end. More than a hundred years after he began writing, Edgar Rice Burroughs’ stories remain popular. I can say that with certainty because it’s all we can do to keep up with all the orders that are pouring in for the new books we’re publishing!

WPM: You’ve done quite a bit to educate our readers as to the goals of Edgar Rice Burroughs, Inc. What personal creative aspirations have you set for yourself as an author that you still hope to achieve?

Christopher Paul Carey: One of the things I plan to write next is an original novel and a short story collection set in the continuity of my novelette “With Dust Their Glittering Towers,” about the mysterious legacy of Sir Francis Bacon. I also have a cross-genre historical/science fiction/fantasy novel set in Mongolia that I’d like to tackle someday. If I can get all the books I’ve talked about writing in this interview done in the time remaining to me, that would be more than good enough for me.

WPM: Chris, thank you for your time. This has truly been a pleasure.

(William Patrick Maynard is the licensed continuation author for the Sax Rohmer Literary Estate. His short fiction has been published in anthologies by Titan Books, Black Coat Press, Edge Publishing, Bold Venture Press, Riviere Blanche, Airship 27, and MX Books. He has authored over 250 articles for numerous magazines and websites. He has contributed Blu-ray commentary tracks and produced bonus features for releases by MGM, Shout Factory, Kino Lorber, and The Serial Squadron. Bill is on the editorial board of The Battered Silicon Dispatch Box and is a member of the PulpFest Organizing Committee where he serves as Assistant Director of Marketing and Afternoon Programming Director. He resides in Northeast Ohio.

The banner that heads our post is based on Chris Peuler‘s dust jacket art for SWORDS AGAINST THE MOON MEN by Christopher Paul Carey.)

 

Trademarks Edgar Rice Burroughs®, Edgar Rice Burroughs Universe™, Edgar Rice Burroughs Authorized Library™, Tarzan®, Opar™, John Carter of Mars®, Carson of Venus®, Pellucidar®, At the Earth’s Core™, David Innes™, Dian the Beautiful™, Abner Perry™, The Moon Maid™, Jason Gridley™, Victory Harben™, and Swords of Eternity™ owned by Edgar Rice Burroughs, Inc., and used by permission.

The Edgar Rice Burroughs Chain of Friendship

Aug 31, 2020 by

The 2020 Edgar Rice Burroughs Chain of Friendship (ECOF) Gathering will be held Sunday, October 11 through Tuesday, October 13 in Fort Atkinson, Wisconsin. Guest of Honor is acclaimed comic book artist and Hollywood illustrator Daniel Parsons.

COVID-19 restrictions dictate this will be a small gathering in two large meeting rooms at the Country Inn & Suites located at 1650 Doris Drive. Fort Atkinson is located just 35 miles from Madison or 65 miles from Milwaukee. It’s 100 miles from Chicago O’Hare International Airport.

The gathering is for registered attendees only and will not be open to the public. A limited dealer room with guest speakers will be open on October 11 and 12. The annual banquet dinner will be replaced with dinner at a local restaurant adhering to COVID-19 restrictions. October 13 will begin with a hotel breakfast followed by a tour of the local printing plant where THE BURROUGHS BULLETIN and ECOF organizer and host Gary Buckingham’s new authorized continuation collection, TARZAN: UNTAMED FRONTIERS, are printed.

A special reduced hotel rate of $99 per night plus taxes is available with the code ERBLIT when you call Radisson Reservations at (800) 333-3333 or direct at (920) 542-1600. The reduced rate is guaranteed through September 10 only. Tables are free for dealers, but space is limited for health concerns.

Convention registration includes a membership button, dinner at a local restaurant, a signed and numbered limited edition trade paperback of the new authorized novel, TARZAN: UNTAMED FRONTIERS featuring the bonus short story, “Tarzan and the Secret of Katanga” by Gary Buckingham (former editor of ERB, Inc.’s authorized continuation novels) with a full-color wraparound cover painting (and interior drawings) by 2020 ECOF Guest of Honor Daniel Parsons.

The gathering’s $85 registration fee may be sent via check payable to Gary Buckingham, 5009 Ladera Ct NE, Albuquerque, NM  87111.

(Gary Buckingham’s two-story collection, TARZAN: UNTAMED FRONTIERS — free to all members of the 2020 ECOF — features a color wraparound cover painting and four interior drawings by Daniel Parsons. This year’s ECOF guest of honor, Parsons is an award-winning American comic book artist and illustrator, best known for his work on Dark Horse Comics’ STAR WARS comic books. He has also drawn for HBO’s GAME OF THRONES.

Like many other contemporary creators, Parsons and Buckingham are “Children of the Pulps.” Both have been inspired by the fiction and the art found in the rough-paper magazines of the early twentieth century.

Conventions like the 2020 ECOF help keep alive the spirit of the pulps. Hopefully, the Wisconsin gathering’s safety precautions will keep everyone safe, sound, and more than ready to join PulpFest 2021 from August 18 – 21 at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, PA.)

PulpFest Historical — Rudolph Belarski

May 27, 2020 by

Rudolph Belarski was born 120 years ago today on May 27, 1900. The son of unskilled immigrants from Europe, he grew up in the mining town of Dupont, Pennsylvania. Forced to quit school after sixth grade, he labored for ten years at the Pittston Mines. Young Rudolph’s nights were spent following his dream to become a professional illustrator as he completed mail-order art courses from the International Correspondence School, Inc. of Scranton, Pennsylvania.

Moving to New York City in 1922, Belarski studied at the Pratt Institute in Brooklyn. He began teaching there in 1928, the same year he entered the pulp industry through Dell Publications, providing interiors and covers for WAR ACES, WARBIRDS, WAR NOVELS, and WAR STORIES. He would leave the Pratt Institute behind in 1933 to work for Fiction House, Thrilling Publications, and Munsey. Rudolph Belarski painted covers for ACES, ALL-AMERICAN FICTION, ARGOSY, CAPTAIN FUTURE, DETECTIVE FICTION WEEKLY, MYSTERY BOOK, POPULAR DETECTIVE, RED STAR ADVENTURES, THRILLING DETECTIVE, WINGS, and other rough-paper titles.

Too old to serve in the Second World War, Belarski drew portrait sketches for hospitalized servicemen on both sides of the Atlantic. After the war, he became one of Ned Pines’ top paperback cover artists at Popular Library as well as a leading illustrator for the men’s adventure magazines. He finished his career as a teacher at the world’s foremost correspondence art school, the Famous Artists School of Westport, Connecticut. He retired in 1972. Rudolph Belarski passed away at age 83 on Christmas Eve, 1983.

(We had hoped to find a Ray Bradbury cover painted by Rudolph Belarski to go along with this article. However, by the time Bradbury was writing, Earle Bergey was painting most of the science fiction and fantasy covers for the Standard Magazines pulp line. So instead, we decided to go with a Belarski painting of Tarzan, one of Ray Bradbury’s longtime heroes.

Rudolph Belarski’s painting was created for the cover of the March 19, 1938 ARGOSY WEEKLY, illustrating the Edgar Rice Burroughs serial, “The Red Star of Tarzan.” The story — which was originally published in six weekly installments — would be titled TARZAN AND THE FORBIDDEN CITY when it appeared later the same year in book form.

We’ll have plenty of programming related to the work of Edgar Rice Burroughs. So please stayed tuned to pulpfest.com in the weeks ahead.

William Patrick Maynard was born and raised in Northeast Ohio. An avid reader of vintage thriller fiction and a keen student of film and comic art, he has been writing fiction since childhood. Since 2009, he has been authorized by the Sax Rohmer literary estate to continue the Fu Manchu series. Apart from his novels, he also writes mystery and sci-fi short fiction and screenplays. He has authored nearly 300 pop culture articles and has contributed DVD commentaries to classic films of the last century. In late 2018, Bill joined the PulpFest marketing department as a writer. Since then, he has contributed significantly to our website. Bill is the convention’s assistant director of marketing and director of afternoon programming. To reach him by email, write to wpm@pulpfest.com.)

Visions of Mars: The Modern Years

May 15, 2020 by

Since the dawn of civilization, humankind has looked toward the heavens for renewal and redemption. From the Ancient Greeks and Romans — who believed the stars and planets to be their gods and heroes — through the utopian writers of the late nineteenth century and Edgar Rice Burroughs’ John Carter gazing toward a red star on the horizon . . .

As I gazed upon it, I felt a spell of overpowering fascination — it was Mars, the god of war, and for me, the fighting man, it had always held the power of irresistible enchantment. As I gazed at it on that far-gone night it seemed to call across the unthinkable void, to lure me to it, to draw me as the lodestone attracts a particle of iron. . . . 

Even in H.G. Wells’s apocalyptic THE WAR OF THE WORLDS and its more recent sequels including Stephen Baxter’s THE MASSACRE OF MANKIND (2017), humanity is drawn to the heavens . . .

If the Martians can reach Venus, there is no reason to suppose that the thing is impossible for men, and when the slow cooling of the sun makes this earth uninhabitable, as at last it must do, it may be that the thread of life that has begun here will have streamed out and caught our sister planet within its toils. Dim and wonderful is the vision I have conjured up in my mind of life spreading slowly from this little seed bed of the solar system throughout the inanimate vastness of sidereal space.

The countless alien invasion and bug-eyed-monster pulp yarns inspired by Wells’s novel likewise end with humankind triumphant and gazing toward the heavens or the next galaxy with a sense of wonder.

As the pulps gave way to digest magazines and paperback books, the fiction of Mars also changed. Stepping away from the largely romantic adventures found in the Barsoom of Edgar Rice Burroughs and the monster yarns, it turned toward the frontier notions found in Ray Bradbury’s THE MARTIAN CHRONICLES.

Although the Mars of this 1950 fix-up novel is a dead and haunted planet, it still beckoned to readers and other writers. Despite an oftentimes more realistic approach to the red planet, a sense of wonder and romance is very much present in the Martian fiction of the 1950s and beyond.

Bradbury’s influence is readily seen in stories such as Clifford D. Simak’s “Seven Came Back” (AMAZING STORIES, October 1950), Robert A. Heinlein’s STRANGER IN A STRANGE LAND (1961), J.G. Ballard’s “The Time-Tombs” (IF, March 1963), Roger Zelazny’s “A Rose for Ecclesiastes” (THE MAGAZINE OF FANTASY AND SCIENCE FICTION, November 1963), John Varley’s “In the Hall of the Martian Kings” (THE MAGAZINE OF FANTASY AND SCIENCE FICTION, February 1977), Ian McDonald’s DESOLATION ROAD (1988), and even Leigh Brackett‘s adventurous “Black Amazon of Mars” (PLANET STORIES, March 1951) and “The Last Days of Shandakor” (STARTLING STORIES, April 1952). The human newcomers are redeemed by accepting Mars, similar to the family in Ray Bradbury’s “The Million Year Picnic” (PLANET STORIES, Summer 1946), the last story in THE MARTIAN CHRONICLES.

The Martians were there — in the canal — reflected in the water. Timothy and Michael and Robert and Mom and Dad. The Martians stared back up at them for a long, long silent time from the rippling water. . . .

In the more realistic portrayals of Mars found in Arthur C. Clarke’s THE SANDS OF MARS (1951), Cyril Kornbluth’s and Judith Merrill’s OUTPOST MARS (originally serialized as “Mars Child” in GALAXY, May – July, 1951, as by Cyril Judd), Isaac Asimov’s “The Martian Way,” (GALAXY, November 1952), Walter M. Miller’s “Crucifixus Etiam” (ASTOUNDING SCIENCE FICTION, February 1953), Theodore Sturgeon’s “The Man Who Lost the Sea” (THE MAGAZINE OF FANTASY AND SCIENCE FICTION, October 1959), James Blish’s WELCOME TO MARS (originally serialized as “The Hour Before Earthrise” in IF, July – September 1966), Frederick Turner’s A DOUBLE SHADOW (1978), Greg Bear’s MOVING MARS (1993), Ben Bova’s MARS (1992) and RETURN TO MARS (1999), Kim Stanley Robinson’s award-winning Mars trilogy — RED MARS (1992), BLUE MARS (1993), and GREEN MARS (1996) — Geoffrey A. Landis’s MARS CROSSING (2000), and even Andy Weir’s survival story, THE MARTIAN (2011) and the young adult anthology, THE CALLAHAN KIDS: TALES OF LIFE ON MARS (2013), the romance and wonder of the Martian frontier and the redemption of humanity are very much present for those who accept it.

One can even discern wonder and redemption in the twisted realities of Frederick Brown’s comical “Martians Go Home” (ASTOUNDING SCIENCE FICTION, September 1954), Kurt Vonnegut’s THE SIRENS OF TITAN (1959), and Philip K. Dick’s MARTIAN TIME-SLIP (originally serialized as “All We Marsmen” in WORLDS OF TOMORROW, August – December 1963) and THE THREE STIGMATA OF PALMER ELDRITCH (1964).

These are just a few of the many fine tales of Mars and Martians to be published since the release of THE MARTIAN CHRONICLES over seventy years ago. Please join PulpFest 2020 on Friday, August 7, as we welcome Albert Wendland to discuss modern visions of the planet Mars at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, Pennsylvania. It’s the third and final segment of our series exploring “Visions of Mars,” celebrating the 100th anniversary of the birth of author Ray Douglas Bradbury.

(Pictured here are William Lampkin’s modified version of  Hannes Bok’s wrap around cover-art for THE MAGAZINE OF FANTASY AND SCIENCE FICTION for November 1963, as well as GALAXY SCIENCE FICTION for May 1951 with front cover art by Chesley Bonestell.

To learn more about the fiction of Mars, we recommend the Mars entry in the online SFE: THE SCIENCE FICTION ENCYCLOPEDIA (which also includes a look at Mars in film and television), Book Riot’s MARS IN FICTION: A TIMELINE, 21 BEST MARS SCIENCE FICTION BOOKS on The Best Sci Fi Books, goodreads’s “100 Science Fiction and Fantasy Books set on or about Mars,” and Mike Ashley’s “A Brief History of Sci-Fi’s Love Affair With the Red Planet,” a somewhat abridged version of his introduction to his anthology, LOST MARS, a collection of “Stories from the Golden Age of the Red Planet.”

Albert Wendland has made a career out of his life-long interests in science fiction — and photography, art, film, and travel. He teaches popular fiction, literature and writing at Seton Hill University, where he was director of its MFA in Writing Popular Fiction (the first program with exclusive attention to genre writing). His science-fiction “space noir” novel from Dog Star Books, THE MAN WHO LOVED ALIEN LANDSCAPES, was a starred pick-of-the-week by PUBLISHER’S WEEKLY. It was followed by the prequel, IN A SUSPECT UNIVERSE, described as “planetary-romance noir.” Dog Star just published a book of his poetry supposedly written by the protagonist of both novels, TEMPORARY PLANETS FOR TRANSITORY DAYS, on both interstellar and terrestrial subjects. He’s also written and published a study of science fiction, a chapter in MANY GENRES, ONE CRAFT, a poem in DRAWN TO MARVEL: POEMS FROM THE COMIC BOOKS, and several articles on science fiction and writing. He enjoys landscape photography, astronomy, film studies, graphic novels, and the “sublime.”

For a look at our entire programming schedule, please click the Programming button below the PulpFest banner on our home page.)

 

Visions of Mars: The Pulp Years

May 13, 2020 by

August 22, 2020 will be the 100th anniversary of author Ray Bradbury’s birth. With that occasion very much in mind, PulpFest 2020 plans to celebrate the centennial of the author’s birth as part of its salute to “Bradbury, BLACK MASK, and Brundage.”

So what better way is there to start the party than by talking about Ray Bradbury’s much lauded fix-up novel . . .

THE MARTIAN CHRONICLES

The first story to be published from THE MARTIAN CHRONICLES is the “The Million Year Picnic” (PLANET STORIES, Summer 1946). Appearing last in Bradbury’s book, the tale isn’t about Martians at all. . . . At least, not at first. Its readers eventually discover a whole new race of Martians. You’d recognize one of them if you looked in a mirror.

THE MARTIAN CHRONICLES constructs a complex pastiche of Mars, as imagined by Ray Bradbury. Many of the stories are melancholic, wistful. The book’s Martians are frequently dangerous, but not in ordinary ways. In “The Earth Men” (THRILLING WONDER STORIES, August 1948) the first humans to land on Mars are taken for madmen. They end up in a Martian insane asylum and are considered incurable.

Bradbury’s Martians are telepathic. This adds an unusual twist to their defense against colonization and invasion. In “Mars is Heaven!” (PLANET STORIES, Fall 1948), the Martians use telepathic trickery to convince the astronauts that they’ve returned home. The visitors are shown familiar sights and loved ones, long dead. This keeps the Earthmen off guard until it’s too late. They are killed. One wonders if Bradbury’s telepathic Martians are simply too sensitive to bear human contact.

In “Impossible” (SUPER SCIENCE STORIES, November 1949), a shape-shifting Martian is “caught” by the thoughts of the human settlers. The Martian is forced to change shape again and again, according to the whims of the nearest mind. Most of the humans, greedy for the apparent resurrection of their departed loved ones, care little for the being that is tortured by their thoughts. The Martian eventually dies from their callousness. The story was retitled, “The Martian,” for its appearance in THE MARTIAN CHRONICLES.

Ray Bradbury’s vision isn’t a simple or happy one. In many ways his stories are well ahead of their time, contemplative and complex, rather than seat-of-the-pants pulp adventures. Bradbury himself called them fantasies and not science fiction:

“I don’t write science fiction. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So MARTIAN CHRONICLES is not science fiction, it’s fantasy. It couldn’t happen, you see?”

By this definition, most of the pulp era’s Mars stories should be considered fantasy. They are certainly unreal, encompassing everything from Bug-Eyed Monsters to sword and sandal epics. The red planet is a screen onto which dreams are projected, much like Edgar Rice Burroughs projected John Carter across space to take up his new life on Barsoom, his Martian’s name for Mars.

A Land of Myth and Legend

Many who wrote after Burroughs describe human-like Martians that are slightly different from Earthly humans. However, they are not so different that a love story can’t ensue. Sometimes, the resemblance is so close that a Martian may come to Earth and live as human.

Such is the case in Edmond Hamilton’s “The Prisoner of Mars” (STARTLING STORIES, May 1939). In this novel, a lost Martian prince, born on Earth and with no knowledge of his extraterrestrial heritage, ends up returning to his home planet and saving both worlds.

In “Shambleau” (WEIRD TALES, November 1933), Catherine Lucille Moore’s gun-for-hire, Northwest Smith, has a fateful encounter with a malevolent entity in a seedy Martian colony city. The ancient creature met by Smith is not a Martian, but resembles both a vampire and Medusa. It attacks in an appropriately chilling way.

In Leigh Brackett’s story, “Sea-Kings of Mars” (THRILLING WONDER STORIES, June 1949), Matt Carse unluckily stumbles into Mars’ distant past and becomes possessed by an ancient and powerful god. When published in paperback by Ace Books in 1953, Brackett’s story would be called THE SWORD OF RHIANNON.

In Bryce Walton’s “Man of Two Worlds” (SPACE STORIES, October 1952), the Earthman hero, Lee Thorsten, becomes trapped in a time loop on Mars that reveals him to be a hero from Earth’s ancient mythical past.

Unhuman Monsters

Not all Mars stories are sword and sandal adventures in the Burroughs tradition. Some follow the model established by H.G. Wells’s THE WAR OF THE WORLDS. In “The Human Pets of Mars” by Leslie F. Stone (AMAZING STORIES, October 1936), gigantic alien invaders — true Bug-Eyed Monsters — arrive on Earth. They have come to collect specimens (including a dog and a horse) to take back to Mars as pets. Whereas a more modern story might play this for laughs, Stone is quite serious in her commentary about human nature.

We also see unhuman Martians in both “A Martian Odyssey,” by Stanley G. Weinbaum (WONDER STORIES, July 1934), and Raymond Z. Gallun’s “Old Faithful” (ASTOUNDING STORIES, December 1934). In them, we see weird beings that are not at all human. However, the Martians in these two classics are helpful aliens and not hostile. In 1970, when the Science Fiction Writers of America voted on the best science fiction short stories to be published before the advent of the Nebula Award, “A Martian Odyssey” came in second behind Isaac Asimov’s “Nightfall.”

Death and the Afterlife

In several accounts, Mars is related to the afterlife. If not our Heaven, then a Martian version instead. In both “Seven Came Back,” by Clifford D. Simak (AMAZING STORIES, October 1950), and “The Mating of the Moons,” by Bryce Walton — writing as Kenneth O’Hara — (ORBIT SCIENCE FICTION, December 1953), we see a paradisiacal land only accessible to humans when access is granted through an act of service or by some other resonance with the Martians.

This connection to the dead and the dying leads us to back to Bradbury’s celebrated work, THE MARTIAN CHRONICLES. Although the stories are diverse, the overarching feeling is melancholia for a worn and tired ancient world, slowly crumbling to bits amidst the red planet’s cold desert sands.

Please join PulpFest 2020 on Thursday, August 8, as we welcome Sara to discuss these and other pulp visions of the planet Mars at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, Pennsylvania. It’s the second part of our series exploring “Visions of Mars,” celebrating the 100th anniversary of the birth of author Ray Douglas Bradbury.

(Sara Light-Waller is a writer, illustrator, and avid pulp fan. Science fiction pulps are her favorites, especially space opera and thought variant stories. The Grand Prize winner of the 2020 Cosmos Prize — offered by First Fandom Experience for the best ending to the seventeen-part round-robin story that began in June 1933 — Sara has also published two illustrated New Pulp books with more to come. Catch up with her at Lucina Press where you can learn about her work and so much more.

Earle K. Bergey painted the cover art for the June 1949 THRILLING WONDER STORIES, one of many paintings he created for Standard Magazines’ science fiction line. Bergey’s art illustrates Leigh Brackett’s “The Sea-Kings of Mars.”

Although Robert Gibson Jones’s cover art for the October 1950 AMAZING STORIES is certainly not set on Mars, the issue features the Clifford D. Simak story, “Seven Came Back.” A reading of this exceptional short story suggests that it was inspired by Bradbury’s THE MARTIAN CHRONICLES and the P. Schuyler Miller story, “The Cave,” published in the January 1943 number of ASTOUNDING SCIENCE-FICTION. Simak’s tale was later reprinted in the May 1966 FANTASTIC.

For a look at our entire programming schedule, please click the Programming button below the PulpFest banner on our home page.)

Visions of Mars: The Early Years

May 11, 2020 by

Mars has long fascinated people, due to its color and not being “fixed” as were most other lights in the night sky. The ancient Greeks and the Romans christened the red planet, both naming it after their god of war.

Following the invention of the telescope in 1609, early astronomers began to discern some features of Mars, notably a dark spot on the planet’s surface — probably Syrtis Major — and a white one near its south pole. In 1877, Italian astronomer Giovanni Schiaparelli called the lines he observed on Mars, “canali,” or “channels.” Unfortunately, Schiaparelli’s word was misinterpreted as “canals,” suggesting that intelligent life existed on Earth’s neighbor.

One person who helped popularize the Martian canals was French astronomer and popular science writer, Nicolas Camille Flammarion. A prolific author of more than fifty titles — including some early works of science fiction — Flammarion researched the so-called “canals” during the 1880s and 1890s. In his book, LA PLANÈTE MARS ET SES CONDITIONS D’HABITABILITÉ, Flammarion suggested, “the canals were the product of an intelligent species attempting to survive on a dying world.”

The idea of Martian canals inspired many of the writers of the late nineteenth century to imagine utopias on the red planet. Science fiction and pulp historian Mike Ashley lists Percy Greg’s ACROSS THE ZODIAC (1880), Robert Cromie’s A PLUNGE INTO SPACE (1890), Thomas Blot’s THE MAN FROM MARS (1891), James Cowan’s DAYBREAK (1896), UNVEILING A PARALLEL: A ROMANCE (1893) by “Two Women of the West,” and others in the anthology, LOST MARS (2018). Charles Cole’s VISITORS FROM MARS (1901) has Jesus Christ educated on the red planet, while Hugo Gernsback describes an advanced Martian civilization in “The Scientific Adventures of Baron Münchausen,” published in THE ELECTRICAL EXPERIMENTER from October 1915 through February 1917.

A much grimmer view of the inhabitants of Mars was postulated in the 1897 serialization of the science fiction novel, “The War of the Worlds.” Although H.G. Wells‘s Martians are still an advanced race, the author depicts them as many legged alien creatures who are wedded to giant walking machines in their war to conquer our planet. Wells’s invasion would inspire countless other popular tales including Homer Eon Flint’s “The Planeteer” (ALL-STORY WEEKLY for March 9, 1918), Austin Hall’s “The Man Who Saved the Earth” (ALL-STORY WEEKLY for December 13, 1919), and Edmond Hamilton’s “Across Space” (serialized in WEIRD TALES for September through November 1926). THE WAR OF THE WORLDS remains a popular story in contemporary media.

While H.G. Wells was scaring the bejesus out of the reading public, a more romanticized version of the red planet was also growing in popularity. In Gustavus W. Pope’s A JOURNEY TO MARS (1894), Mars is populated by three races with different skin tones, struggling for the throne of the red planet. Similarly romanticized versions of Mars can be found in British writer Edwin Lester Arnold’s LIEUT. GULLIVAR JONES: HIS VACATION (1905), Avis Hekking’s A KING OF MARS (1908), and other works.

Perhaps the impetus for the more romantic Mars was the work of American astronomer Percival Lowell. Between 1895 and 1908, Lowell wrote three books about Mars that “championed the now-abandoned theory that intelligent inhabitants of a dying Mars constructed a planet-wide system of irrigation, utilizing water from the polar ice caps, which melt annually. He thought the canals were bands of cultivated vegetation dependent on this irrigation.”

Which brings us to “Under the Moons of Mars,” a six-part serial credited to Norman Bean. The story began in the February 1912 issue of THE ALL-STORY. Retitled A PRINCESS OF MARS for its book publication, Bean’s serial is told by Captain John Carter of Virginia. A wondrous tale of four-armed Tharks and red-skinned Heliumites, of fantastic airships and many-legged thoats, of vast dead seas and long-abandoned cities, and of a lost princess and the man from another world who won her heart, the novel was actually the work of a gifted storyteller named Edgar Rice Burroughs. His tale inspired ten sequels and a host of adventures written by Otis Adelbert Kline, Leigh Brackett, Michael Moorcock, Will Murray, Mike Resnick, and a “magician of words” named Ray Bradbury.

At PulpFest 2020, we’ll be celebrating the 100th anniversary of the birth of author Ray Bradbury. Our keynote address will be presented by Professor Garyn G. Roberts. Bradbury’s pal for more than thirty years, Garyn will discuss the life and works of the Science Fiction Grand Master and “Poet of the Pulps.”

As part of our celebration of the Ray Bradbury centennial, PulpFest 2020  will also pay tribute to the author’s lifelong affair with the planet Mars, best remembered through his work, THE MARTIAN CHRONICLES. As Ray Bradbury wrote in his introduction to Irwin Porges’s EDGAR RICE BURROUGHS: THE MAN WHO CREATED TARZAN:

“For how can one resist walking out of a summer night to stand in the middle of one’s lawn to look up at the red fire of Mars quivering in the sky and whisper, “Take me home.”

Please join PulpFest 2020 on Thursday, August 8, as we welcome Henry G. Franke, III to discuss early visions of the planet Mars at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, Pennsylvania. It’s the first part of our series exploring “Visions of Mars,” celebrating the 100th anniversary of the birth of author Ray Douglas Bradbury.

(As many other creators before and after him, Frank R. Paul was very much inspired by the Martians of H.G. Wells. Pictured here is William Lampkin’s modified version of the artist’s cover art for the August 1927 issue of AMAZING STORIES. Wells’s “The War of the Worlds” was serialized in two parts by the Hugo Gernsback science fiction magazine.

P.J. Monahan, on the other hand, was inspired by Edgar Rice Burroughs’ romantic adventures on the planet Mars. Pictured here is Monahan’s cover art for the April 8, 1916 issue of ALL-STORY WEEKLY, depicting a scene from Burroughs’ fourth novel of Barsoom, “Thuvia, Maid of Mars.” The story was serialized in three parts in the Munsey magazine.

Henry G. Franke, III is the Editor of The Burroughs Bibliophiles, the non-profit literary society devoted to the life and works of Edgar Rice Burroughs. The Bibliophiles publish THE BURROUGHS BULLETIN journal and THE GRIDLEY WAVE newsletter.  Henry is only the third editor of THE BURROUGHS BULLETIN since its debut in 1947. He was the Contributing Editor and penned the introductions for IDW Publishing’s Library of American Comics archival series reprinting Russ Manning’s Tarzan daily and Sunday newspaper comic strips. The first volume won the 2014 Eisner Award for Best Archival Collection – Strips. He has written articles and other book introductions on Tarzan comic books and strips for TwoMorrows Publishing, Titan Books, and IDW’s Library of American Comics. Henry was the Official Editor of the Edgar Rice Burroughs Amateur Press Association (ERBapa) in 1994-1996, 2004, and 2019-2020. He served in the United States Army from 1977 to 2009 and is now a government civilian employee of the Army.

For a look at our entire programming schedule, please click the Programming button below the PulpFest banner on our home page.)

Ray Bradbury’s THE MARTIAN CHRONICLES

May 4, 2020 by

In his introduction to Irwin Porges’s EDGAR RICE BURROUGHS: THE MAN WHO CREATED TARZAN, Ray Bradbury suggested that during the summer of 1930, “a mob of boys and girls” were running away from him. That he made the summer excruciating and unbearable “for everyone.” Why you may ask?

You see my problem was Edgar Rice Burroughs and Tarzan and John Carter, Warlord of Mars.

Problem, you ask. That doesn’t sound like much of a problem.

Oh, but it was. You see, I couldn’t stop reading those books. I couldn’t stop memorizing them line by line and page by page. Worst of all, when I saw my friends, I couldn’t stop my mouth. The words just babbled out. Tarzan this and Jane that, John Carter here and Dejah Thoris there. And when it wasn’t those incredible people it was Tanar of Pellucidar or I was making noises like a tyrannosaurus rex and behaving like a Martian thoat, which, everyone knows, has eight legs.

In the view of Ray Bradbury, Edgar Rice Burroughs stands above other writers because of his . . .

. . .  unreason, because of his natural impulses, because of the color of the blood running in Tarzan’s veins, because of the blood on the teeth of the gorilla, the lion, and the black panther. Because of the sheer romantic impossibility of Burroughs’ Mars and its fairytale people with green skins and the absolutely unscientific way John Carter traveled there. Being utterly impossible, he was the perfect fast-moving chum for any ten-year-old boy. For how can one resist walking out of a summer night to stand in the middle of one’s lawn to look up at the red fire of Mars quivering in the sky and whisper, “Take me home.”

As a writer, Ray Bradbury first visited Mars in print in the story, “The Piper,” self-published in the Spring 1940 issue of his fanzine, FUTURIA FANTASIA. A revised version under the same title would appear in the February 1943 number of THRILLING WONDER STORIES. 

Originally published as by Ron Reynolds, “The Piper” is far removed from the Mars depicted in his seminal work, THE MARTIAN CHRONICLES. The first of his “Chronicles” stories — “The Million Year Picnic” — would first appear in the Summer 1946 PLANET STORIES. “Lorelei of the Red Mist,” a novella started by his friend and mentor, Leigh Brackett, and completed by Bradbury would also run in the same issue.

Initially released by Doubleday & Company seventy years ago today, THE MARTIAN CHRONICLES was a “fix-up” novel comprised of a mixture of previously published stories and bridge chapters. Crediting Sherwood Anderson’s WINESBURG, OHIO and John Steinbeck’s THE GRAPES OF WRATH as major influences on the book’s structure, Ray Bradbury labeled his book, a “half-cousin to a novel.”

Inspired by a suggestion by Doubleday editor Walter I. Bradbury (no relation), the initial outline for THE MARTIAN CHRONICLES was put together on a portable typewriter at the Sloane House YMCA in New York City in 1949. As the author later recalled, “It was a typical hot June night in New York. Air conditioning was still a luxury of some future year. I typed until 3 A.M., perspiring in my underwear as I weighted and balanced my Martians in their strange cities in the last hours before arrivals and departures of my astronauts.”

According to Sam Weller’s biography of the author — THE BRADBURY CHRONICLES: THE LIFE OF RAY BRADBURY — Walter Bradbury loved the idea behind THE MARTIAN CHRONICLES:

This idea for a novel-in-stories would provide a mirror for humanity, its faults, foibles, and failures. The book would be a cautionary tale, warning against the cultural perils that lay ahead.

Recognizing Ray Bradbury as a “rising literary talent who could be a key player in Doubleday’s new science fiction line,” the editor offered the writer a book deal on the spot, sending him back to Southern California with a check for $1500 for a pair of books.

Over the next year, Ray Bradbury reviewed all of his Martian stories, selecting and revising those to be included in his “book of stories pretending to be a novel.” Initially compiled as eighteen stories and eleven bridge chapters, it was paired down by the author and his editor, Walter Bradbury. Four segments were removed from the final manuscript.

THE MARTIAN CHRONICLES would be welcomed by both the science fiction community and, later, by mainstream critics led by the respected author, Christopher Isherwood. It has remained in print since 1950 and has been adapted for radio, comic books, theater, television, and as an opera and a video game. To date, although both MGM and Paramount have owned the book’s film rights, no motion picture version has ever been produced.

In Sam Weller’s book, LISTEN TO THE ECHOES: THE RAY BRADBURY INTERVIEWS, the Science Fiction Grand Master and “Poet of the Pulps” suggests:

I love to say it because it upsets everyone terribly — Burroughs is probably the most influential writer in the entire history of the world . . . . By giving romance and adventure to a whole generation of boys, Burroughs caused them to go out and decide to become special. That’s what we have to do for everyone, give the gift of life with our books. Say to a girl or boy at age ten: “Hey, life is fun! Grow tall!” I’ve talked to more biochemists and more astronomers and technologists in various fields, who, when they were ten years old, fell in love with John Carter and Tarzan and decided to become something romantic. Burroughs put us on the moon. All the technologists read Burroughs.

Like Edgar Rice Burroughs before him, Ray Bradbury has inspired a fair share of “technologists.” As astronaut Chris Hadfield wrote in his introduction to the 2015 Folio Society edition of THE MARTIAN CHRONICLES:

The spaceship was improbable, at best. Having been blasted from the Earth’s surface, pushed hard to an incredible speed, and then having to endure a silent nine-month coast through interplanetary space, it was now being pulled unstoppably by the gravity of planet Mars, inexorably down into the Martian atmosphere. Jealously protecting its precious cargo, a carton-of-eggs rover named Curiosity, the ship gradually, deliberately gave its life to the wicked heat, the punishing deceleration and the sudden, final impact onto the dusty surface of Mars. And as the newly landed Curiosity slowly, safely awoke and began to look around, its robot eyes showed us a new place in our history – just south of Mars’ equator, on an ancient sea floor in Gale Crater, forevermore known as Bradbury Landing. The dreamers and scientists and engineers who guided Curiosity to the landing site chose that name because “many of us and millions of other readers were inspired in our lives by stories Ray Bradbury wrote to dream of the possibility of life on Mars.” Those stories, the sparks of imagination that helped fire the flames that lifted Curiosity, are . . . THE MARTIAN CHRONICLES.

(At PulpFest 2020, we’ll be celebrating the 100th anniversary of the birth of author Ray Bradbury. Our keynote address will be presented by Professor Garyn G. Roberts. Bradbury’s pal for more than thirty years, Garyn will discuss the life and works of the Science Fiction Grand Master and “Poet of the Pulps,” including “The Million Year Picnic,” originally published in the Summer 1946 PLANET STORIES and featuring front cover art by Chester Martin.

We’ll also have presentations on Bradbury in comic books, television, and film. Filling out our Bradbury salute will be several presentations concerning Mars in fiction, a look at early science fiction fandom, and more.)

Visions of Bradbury: The Author at 100

May 1, 2020 by

Although he got his start as a writer of fantasy, horror, detective, and science fiction for the pulp magazines, author Ray Bradbury defied categorization. He referred to himself as a “magician of words.”

Bradbury was born on August 22, 1920, in Waukegan, Illinois and decided to become a writer around the age of twelve. From his earliest memories, he was a voracious reader and consumer of popular genre fiction (and the pulp magazines in which these stories flourished),
silent movies, radio programming, newspaper comic strips, circuses, magicians and more. From his earliest years forward, Ray Douglas Bradbury was enamored with the Buck Rogers newspaper strip and the works of Jules Verne, L. Frank Baum, Edgar Rice Burroughs and others.

After moving with his family to Los Angeles in 1934, the teenaged Bradbury discovered science fiction fandom. Through the Los Angeles Science Fiction Society, he met such people as Forrest J Ackerman, Hannes Bok, Leigh Brackett, Ray Harryhausen, Henry Hasse, Robert A. Heinlein, and Henry Kuttner. It was Kuttner, in particular, who took the young Bradbury under his wing, urging him to read more outside the fields of fantasy and science fiction, critiquing his stories, and simply telling the budding author to simply write and “shut up.”

Collaborating with Henry Hasse, Ray Bradbury sold his first story in 1941. Based on a work originally published in Bradbury’s self-published fanzine, FUTURE FANTASIA, “Pendulum” ran in the November 1941 issue of SUPER SCIENCE STORIES. The issue featured front cover art by Robert C.  Sherry. The Bradbury and Hasse team would sell two more collaborations before the younger Bradbury set off on his own.

With the help of writers Henry Kuttner and Leigh Brackett, as well as literary agent Julius Schwartz, Ray Bradbury began to find regular markets for his science fiction and fantasy in AMAZING STORIES, PLANET STORIES, SUPER SCIENCE STORIES, THRILLING WONDER STORIES, and WEIRD TALES. It was largely from the latter that Bradbury would draw the stories for his first book, the legendary DARK CARNIVAL, published by Arkham House in 1947.

In 1944, Ray Bradbury also began to contribute crime and detective fiction to DETECTIVE TALES, DIME MYSTERY MAGAZINE, NEW DETECTIVE MAGAZINE, and other pulps. At the urging of a friend, the young writer also started to submit his work to the more prestigious (and better paying) “slicks.” These included AMERICAN MERCURY, CHARM, COLLIER’S, MADEMOISELLE, and THE NEW YORKER. His story, “The Big Black and White Game,” published in the August 1945 issue of AMERICAN MERCURY, was included in THE BEST AMERICAN SHORT STORIES OF THE YEAR anthology. “The Homecoming,” published in the October 1946 issue of MADEMOISELLE (after being rejected by WEIRD TALES), found its way into the pages of THE O. HENRY PRIZE STORIES OF 1947.

As his fiction began to be read by a wider audience, Bradbury came to the attention of former COLLIER’S editor Don Congdon. About a year after writing Bradbury to express his admiration for the author’s work, Congdon became Ray Bradbury’s literary agent. During the summer of 1949, Bradbury’s representative arranged a meeting with Doubleday editor Walter I. Bradbury (no relation) in New York City. According to Sam Weller’s THE BRADBURY CHRONICLES, it was during this meeting that the Doubleday editor suggested: “What about all those Martian stories you’ve been writing for PLANET STORIES and THRILLING WONDER? Wouldn’t there be a book if you took all those stories and tied them together into a tapestry?”

Thus was born THE MARTIAN CHRONICLES, published in 1950 by Doubleday and Company. It would be this work — a “fix-up” novel consisting of a mixture of previously published and new, loosely connected stories — that would assure Ray Bradbury’s success as an author.

Other books would follow his Mars collection, including THE ILLUSTRATED MAN in 1951, FAHRENHEIT 451 and THE GOLDEN APPLES OF THE SUN in 1953, THE OCTOBER COUNTRY in 1955, DANDELION WINE in 1957, A MEDICINE FOR MELANCHOLY  in 1959, R IS FOR ROCKET and SOMETHING WICKED THIS WAY COMES in 1962, THE MACHINERIES OF JOY in 1964, as well as many others. Bradbury would also make significant contributions to ESQUIRE, GALAXY, THE MAGAZINE OF FANTASY AND SCIENCE FICTION, PLAYBOY, THE SATURDAY EVENING POST, and other magazines.

Ray Bradbury won the World Fantasy Award in 1977, the SFWA Grand Master Award in 1989, the Bram Stoker Award for Lifetime Achievement in 1989, an Emmy Award in 1994, the National Medal of Arts in 2004, a special citation from the Pulitzer Prize jury “for his distinguished, prolific, and deeply influential career as an unmatched author of science fiction and fantasy” in 2007, and many other awards. The author died on June 5, 2012, a few months shy of 92.

On Saturday, August 8, PulpFest 2020 welcomes Professor Garyn G. Roberts for “Visions of Bradbury: The Author at 100.” Bradbury’s pal for more than thirty years, Professor Roberts will discuss the Science Fiction Grand Master and “Poet of the Pulps,” beginning at 7:50 PM. Our 2013 Munsey Award winner promises to share many unique items that he collected during his long friendship with Ray Bradbury.

(To learn more about Ray Bradbury, we recommend BECOMING RAY BRADBURY, by Jonathan R. Eller (University of Illinois Press, 2011), NOLAN ON BRADBURY, by William F. Nolan (Hippocampus Press, 2013), and THE BRADBURY CHRONICLES: THE LIFE OF RAY BRADBURY, by Sam Weller (HarperCollins Publishers, 2005).

The November 1942 issue of WEIRD TALES — with cover art by Richard Bennett — features the first Ray Bradbury story to be published by “The Unique Magazine,” “The Candle.” The story’s ending was suggested by Bradbury’s mentor, Henry Kuttner.

Garyn G. Roberts, PH.D., has written extensively about the pulps, both professionally and as a fan. He has edited or co-edited some of the best collections from the pulps including A CENT A STORY: THE BEST FROM TEN DETECTIVE ACES, MORE TALES OF THE DEFECTIVE DETECTIVE IN THE PULPS, THE COMPLEAT ADVENTURES OF THE MOON MAN, THE MAGICAL MYSTERIES OF DON DIAVOLO, and THE COMPLEAT GREAT MERLINI SAGA.

Roberts’s anthology, THE PRENTICE HALL ANTHOLOGY OF SCIENCE FICTION AND FANTASY, a college level textbook, is notable for the attention paid to the pulp magazines. It was honored with the Ray and Pat Browne National Popular Culture Book Award. His comprehensive examination of Chester Gould’s creation, DICK TRACY AND AMERICAN CULTURE, was a Mystery Writers of American Edgar Allan Poe Award finalist.

Garyn regularly contributes research for, edits, and provides introductions for books by Battered Silicon Press Dispatch Box, Haffner Press, Steeger Books, and other publishers. He has published extensively on the life and works of his friends, Ray Bradbury and Robert Bloch, and often serves as a presenter and panelist at conventions.)

The Return of Carson of Venus — And Other True Accounts from Strange Worlds!

Apr 29, 2020 by

The secret is out! We at Edgar Rice Burroughs, Inc., are again receiving transmissions from other worlds, just as Edgar Rice Burroughs himself did during the first half of the twentieth century. And just like Mr. Burroughs, we are presenting the accounts of these transmissions to an eager reading public under the guise of “novels,” featuring a spectacular array of heroes and heroines such as Tarzan, John Carter of Mars, and more.

The first out of the gate is CARSON OF VENUS: THE EDGE OF ALL WORLDS, transcribed by author Matt Betts. The whole thing began when Matt visited our Tarzana offices last year and had an unexpected encounter with Carson Napier. In Matt’s book, which was released last week, we finally catch up with Carson on the planet Amtor after more than a half century of silence. Napier’s last recorded adventure, THE WIZARD OF VENUS, was first published in 1964.

CARSON OF VENUS: THE EDGE OF ALL WORLDS is set in 1950, the year of Mr. Burroughs’ passing. It launches what we are calling the Swords of Eternity super-arc, a cycle of “novels” and “novelettes” set in the interconnected Edgar Rice Burroughs Universe. Here is a teaser for the new tale:

When a mysterious enemy attacks his adopted nation of Korva, Earthman Carson Napier discovers his own arrival on Venus years ago may have unknowingly triggered the strike. The invaders’ trail of death and destruction leads Carson and his beloved princess Duare headlong into battle against a seemingly invincible, primordial race. But that is not Carson’s only challenge, for an uncanny phenomenon has entangled him with two strange individuals from beyond spacetime. Will Carson be able to solve the mysteries of his past and the enigmatic visitors before the entire planet descends into chaos?

But wait — I can already hear your question! How can these “novels” and “novelettes” possibly be real? We know that Venus is too hot and inhospitable to support human life, and that the many Martian landers have indicated that Mars — the adopted home of that famed fighting man of Virginia, John Carter — appears to be uninhabited. Moreover, Pellucidar, the hollow world at the Earth’s core that Mr. Burroughs wrote of — how could it feasibly exist?

The latter is just the question that young physics student Victory Harben asks at the opening of “Pellucidar: Dark of the Sun,” the bonus “novelette” at the end of CARSON OF VENUS: THE EDGE OF ALL WORLDS. I have personally transcribed this tale from transmissions received via our Gridley Wave set, here in Tarzana. We recently discovered the device in a locked drawer in Mr. Burroughs’ old desk. As the Swords of Eternity super-arc continues in new releases over the next year, the reader will discover the answers to these enigmatic questions and learn to ask new ones.

The saga of the Edgar Rice Burroughs Universe is just getting started! Stay tuned for further accounts of adventure and wonder over the coming months, including TARZAN: BATTLE FOR PELLUCIDAR by Win Scott Eckert, JOHN CARTER OF MARS: GODS OF THE FORGOTTEN by Geary Gravel, and VICTORY HARBEN: FIRES OF HALOS by yours truly. I can assure you, the ERB Universe is a reality you’re going to want to get lost in!

(Christopher Paul Carey is the author of several books, including SWORDS AGAINST THE MOON MEN — an authorized sequel to Edgar Rice Burroughs’ THE MOON MAID — and the forthcoming ERB Universe novel VICTORY HARBEN: FIRES OF HALOS. He has also scripted comic books featuring Burroughs’ characters such as Tarzan, Dejah Thoris, and Carson of Venus. He is Director of Publishing at Edgar Rice Burroughs, Inc., and the creative director of the Edgar Rice Burroughs Universe series.

Covered by clouds and shrouded in mystery, the planet Venus was the last place Carson Napier expected to touch down when he launched his rocket for Mars. But a miscalculation sent him hurtling out of control through the cloaking mists of Earth’s sister world. When Napier’s rocket crashed on Venus, he knew that there would be no return to Earth for him.

Edgar Rice Burroughs originally wrote about the world of Venus — known as Amtor — during the 1930s for ARGOSY. The first novel in the series — “The Pirates of Venus” — was serialized in six parts by the Munsey pulp magazine. The initial segment of the story appeared in the September 17, 1932 issue, behind a cover by Paul Stahr.

Burroughs’ original Venus series included five novels, first published between 1932 and 1964. Matt Betts continues the adventures of Carson Napier this April with THE EDGE OF ALL WORLDS. Published by Edgar Rice Burroughs, Inc., it features cover art by Chris Peuler.

Copyright © Edgar Rice Burroughs, Inc. All rights reserved. Trademarks Edgar Rice Burroughs®, Edgar Rice Burroughs Universe™, ERB Universe™, Tarzan®, John Carter®, John Carter of Mars®, Carson of Venus®, Pellucidar®, and Victory Harben™ owned by Edgar Rice Burroughs, Inc. All relevant logos, characters, names, and the distinctive likenesses thereof are trademarks or registered trademarks of ERB, Inc. Used by permission.)

And Then There Was One

Apr 27, 2020 by

PulpFest 2020 is still over three months away. The coronavirus lockdown is impacting many of the great conventions we normally would look forward to attending come June.

For now, pulp con history still looks to be made when you attend the very first Pulp Fiction Convention on June 14 at the Doubletree by Hilton Cleveland-Westlake. It’s being organized by Jeff Harper, a longtime comic book convention promoter and friend and supporter of PulpFest. Forty dealers will gather from 10:00 AM to 4:00 PM  alongside special guests: Edgar-nominated historical mystery author Craig McDonald; new pulp writers Charles F. Millhouse, S. T. Hoover, and Faryl Hoover; Flinch! Books author/publishers John Bruening and Jim Beard, and vintage pulp continuation authors William Patrick Maynard and Jim Fix. Check out Jeff’s webpage for more information. In the event, circumstances dictate a cancellation; you can be certain Jeff will re-schedule as he has with other shows earlier this year.

Unfortunately, the 2020 Edgar Rice Burroughs Dum-Dum planned for the weekend of June 24 – 28 has been cancelled. Roger and Sheila Herzog had planned to host guests Burroughs Bibliophile Jim Goodwin, Edgar Rice Burroughs Books’ Jim Gerlach, and the good folks at Edgar Rice Burroughs, Inc. at the Embassy Suites by Hilton in San Antonio, Texas. Attendees were to receive a copy of “The Terrible Tenderfoot” (the pulp version of ERB’s THE DEPUTY SHERRIFF OF COMANCHE COUNTY), take part in tours of The Alamo, and sail away on a river barge tour of San Antonio. Regrettably, concerns over the Coronavirus have caused the cancellation of the 2020 Dum-Dum. Refunds of registrations will be processed shortly. If you have further questions, please contact the burroughsbibliophiles@gmail.com.

We would be remiss if we did not mention at this time the passing of George T. McWhorter, the retired Curator of the Edgar Rice Burroughs Collection at the University of Louisville. McWhorter passed away on April 25, 2020 at the age of 89. Please visit the Reminiscences Page on the ERBzine website for more on this giant from the world of Burroughs fandom.

Hopefully, life has reverted to normal enough that we can enjoy PulpFest 2020 —  the destination for fans and collectors of genre fiction — both old and new — pop art and illustration, and much more. This year’s PulpFest will begin on Thursday, August 6, and run through Sunday, August 9.  Join the convention at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry, just north of Pennsylvania’s “Steel City” of Pittsburgh. PulpFest will be celebrating “Bradbury, BLACK MASK, and Brundage” at this year’s gathering. Click the Programming button below the PulpFest homepage banner to get a preview of all the great presentations at this year’s event.

To join PulpFest 2020, click the Register button below our homepage banner. To book a room at the DoubleTree by Hilton — the convention’s host hotel — click the Book a Room button, likewise on the PulpFest homepage.

(Usually, we also have great news to share about Robert E. Howard Days, held annually in the author’s hometown of Cross Plains, Texas. This year, unfortunately, all we can say is that the 2020 edition of Robert E. Howard Days has been cancelled.

According to the convention’s homepage, “The uncertainty of the current timelines for the outbreak, the potential risks involved in bringing people from all over the US and other countries, from places with varying rates of infection, to a very small town with limited health care resources, and the need to make a decision now so everyone can adjust their plans, have led the Board of the Robert E. Howard Foundation and our partners at Project Pride to this extremely difficult decision. Ultimately, we had to come down on the side of everyone’s safety.”

So here’s a salute to our friends in Howard Fandom and the fine folks of Cross Plains, Texas. We’ll be here for you when you get ready to mount Robert E. Howard Days in June of 2021.

Although Robert E. Howard wrote about many different characters — Pike Bearfield, Sailor Steve Costigan, Solomon Kane, Kull of Atlantis, Turlogh O’Brien, and others — his most famous is Conan.

Howard’s inspired character was introduced to readers in the story “The Phoenix on the Sword.” Published in the December 1932 issue of WEIRD TALES, it was quickly followed the next month by “The Scarlet Citadel.” By the time of his death in 1936, Howard had completed twenty-one stories of the Cimmerian. WEIRD TALES would publish seventeen of them, including “The People of the Black Circle,” serialized over three monthly issues. The initial segment — published in the September 1934 number — would garner a cover illustration by Margaret Brundage.

On Friday evening, August 7, we hope you’ll join PulpFest as we welcome award-winning writer and publisher Doug Ellis for “The Weird Tales of Margaret Brundage.” It’s part of the convention’s celebration of the 120th anniversary of the birth of this great female pulp artist.

Please join us for “Bradbury, BLACK MASK, and Brundage” at PulpFest 2020. We’ll be at the DoubleTree by Hilton Hotel Pittsburgh – Cranberry in Mars, Pennsylvania from August 6 – 8.)