The Savage Tales of Solomon Kane Read online

  In addition to his reading, Bob Howard had a passion for oral storytelling. It is well attested that he frequently told his stories aloud as he typed them: his neighbors reported that they sometimes had difficulty sleeping at night because of the racket Howard was making. His youthful buddies in Cross Cut remember that he liked to have them all play out stories he made up, and the literary friends of his adulthood recall being often enthralled by the stories he would tell when they were together. He seemed never to tire of telling stories, though he generally would not relate a tale he was actually writing: he told Novalyne Price that once the story was told, he had difficulty getting it on paper. Sometimes, however, his oral stories were the inspiration or basis for the stories he would write. He loved, too, to listen to others tell stories: in his letters he relates how as a young boy he was thrilled and terrified by the tales of the family's cook, a former slave, and those of his grandmother. Novalyne Price remembers him sitting riveted by the stories of her grandmother, and that he loved to find old-timers who could relate tales of pioneer days. It may well be the quality of the oral story, the well-spun yarn, that makes Howard's stories so enthralling.

  Howard seems to have determined upon a literary career at an early age. In a letter to H.P. Lovecraft he says that his first story was written when he was “nine or ten,” and a former postmistress at Burkett recalls that he began writing stories about this time and expressed an intention of becoming a writer. He submitted his first story for professional publication when he was but 15, and his first professional sale, “Spear and Fang,” was made at age 18. Howard always insisted that he chose writing as his profession simply because it gave him the freedom to be his own boss:

  “I've always had a honing to make my living by writing, ever since I can remember, and while I haven't been a howling success in that line, at least I've managed for several years now to get by without grinding at some time clock-punching job. There's freedom in this game; that's the main reason I chose it.”

  Whatever his reasons, once Howard had determined upon his path, he kept at it.

  The Cross Plains school only went through tenth grade during Bob Howard's day, but he needed to complete the eleventh grade to qualify for college admission. Therefore, in the fall of 1922 Bob and his mother moved to Brownwood, a larger town that served as the county seat for Brown County, so that he could finish high school there. It was there that he met Truett Vinson and Clyde Smith, who would remain his friends until the end of his life: they were the first of his friends to share and encourage his interest in literature and writing. Smith, in particular, shared much of Howard's literary taste, and the two encouraged each other in writing poetry. Also at Brownwood High, Howard enjoyed his first appearances as a published author: two of his stories won cash prizes and publication in the high school paper, The Tattler, December 22, 1922, and three more were printed during the spring term.

  After his graduation from high school, Howard returned to Cross Plains. His father, in particular, wanted him to attend college, perhaps hoping that he, too, would become a physician. But Bob had little aptitude for and no interest in science. He also claimed a passionate hatred for school. As he wrote later to Lovecraft: “I hated school as I hate the memory of school. It wasn't the work I minded; I had no trouble learning the tripe they dished out in the way of lessons – except arithmetic, and I might have learned that if I'd gone to the trouble of studying it. I wasn't at the head of my classes – except in history – but I wasn't at the foot either. I generally did just enough work to keep from flunking the courses, and I don't regret the loafing I did. But what I hated was the confinement – the clock-like regularity of everything; the regulation of my speech and actions; most of all the idea that someone considered himself or herself in authority over me, with the right to question my actions and interfere with my thoughts.”

  Although he did eventually take courses at the Howard Payne commercial school, these were business courses – stenography, typing, and a program in bookkeeping; despite his interest in history, anthropology, and literature, Howard never took college courses in these subjects. During the period from his high school graduation in spring of 1923 to his completion of the bookkeeping program in the spring of 1927, he continued writing. While he finally made his first professional sale during this period, when Weird Tales accepted “Spear and Fang,” he also accumulated many rejection slips. Further, because most of his early sales were to Weird Tales, which paid upon publication, rather than acceptance, he found that the money was not coming in as he might have liked. He therefore took a variety of jobs during these years. He tried reporting oil-field news, but found he did not like interviewing people he did not know or like about a topic that did not interest him. He tried stenography, both in a law office and as an independent public stenographer, but found he was not particularly good at it and did not like it. He worked as an assistant to an oil-field geologist, and while he did enjoy the work, he one day collapsed in the fearsome Texas summer heat, which led him to fear that he had heart problems (it was later learned that his heart had a mild tendency to race under stress), so he was just as glad when the survey ended and the geologist left town. He spent several months as a soda jerk and counterman at Robertson's Drug Store, a job that he actively detested, and which required so much of his time that he had little left over for writing or recreation. Thus he made a pact with his father: he would take the course in bookkeeping at the Howard Payne Academy, following which he would have one year to try to make a success of his writing. If at the end of that year he was not making it, he would try to find a bookkeeping job.

  During the summer of 1927, Bob Howard met Harold Preece, who would be an important friend and correspondent for the next few years. It was Preece who encouraged Bob's interest in Irish and Celtic history and legend: he had earlier shown some interest in the subject, and now, inspired by Preece's enthusiasm, it would become an active passion. He also met, the same weekend, Booth Mooney, who would become the editor of a literary circular, The Junto, to which Howard, Preece, Clyde Smith, Truett Vinson, and others contributed over a period of about two years.

  After completing the bookkeeping course, Howard set about in earnest the business of becoming a writer. By early 1928, it was clear that he was going to be able to succeed in this, and indeed he never again worked at any other job. Weird Tales had published two Howard stories in 1925, one in 1926, and one (plus two poems) in 1927. In 1928 they would publish four stories (including the first Solomon Kane tale, “Red Shadows”) and five poems. From January 1928 until his death in June 1936, Howard stories or verse appeared in nearly three of every four issues of Weird Tales.

  Several critics have noted that Howard's writing can be divided into “periods.” Though they overlap to a degree, these periods, which seemed to last two to three years each, may reveal something about Howard's writing style and methods. The most well-defined periods are those during which he wrote boxing stories, culminating in the Steve Costigan series; heroic fantasy stories, culminating with Conan; oriental adventure stories, culminating with the El Borak tales; and western stories – he was still “in” this period at his death. A close reading of Howard's letters and stories, and placement of these along a timeline, reveals that he would develop an interest in a subject, read about it avidly, immerse himself in it so thoroughly that he virtually adopted a new identity (a persona, the “voice” through which a writer speaks, not to be confused with the writer's own personality), whereupon he would begin, at first tentatively and then with increasing confidence and vigor, to write about the subject in this new “voice.” While something of the pattern can be seen from his early writing, it is most vivid beginning with his “boxing” persona, Steve Costigan.

  Howard's passion for boxing is attested as early as age nine. He boxed with his friends at any opportunity, and in his late teens may have occasionally assisted in promoting fights at local clubs in Cross Plains. While working at the soda fountain at Robertson's Drug Store,
he developed a friendship with one oil-field worker who introduced him to the amateur fighters at the local ice house, and he became a frequent participant in these bouts. Between 1925 (at the latest) and 1928, he put himself through a weight and strength program, and took on really heroic proportions. He read avidly about prizefighters, and attended fights whenever and wherever he could. By early 1929 he had begun writing and submitting boxing stories, though his first efforts mingled boxing with weird themes. (This was another of his patterns: when trying out a new literary field, he would often use characters, settings or themes with which he was already comfortable.) With the first Steve Costigan story, “The Pit of the Serpent,” in the July 1929 Fight Stories, he had found a market that would prove as steady for him as Weird Tales, at least until the Depression knocked out Fight Stories and its companion magazine, Action Stories, in 1932.

  The same weekend he met Harold Preece in Austin, Howard had bought a copy of G.K. Chesterton's book-length epic poem, The Ballad of the White Horse, which brings together Celts, Romanized Britons, and Anglo-Saxons under King Alfred in a battle of Christians against the heathen Danish and Norse invaders of the 9th century. Howard enthusiastically praised the poem in letters to Clyde Smith, sharing lengthy passages. It apparently inspired him to begin work on “The Ballad of King Geraint,” in which he brings together representatives of various Celtic peoples of early Britain in a valiant “last stand” against the invading Angles, Saxons, and Jutes. Chesterton's idea of “telescoping history,” that “it is the chief value of legend to mix up the centuries while preserving the sentiment,” must have appealed to Howard greatly, for this is precisely what he did in many of his fantasy adventures, particularly in his creation of Conan's Hyborian Age, in which we find represented many different historical eras and cultures, from medieval Europe (Aquilonia and Poitain) to the American frontier (the Pictish Wilderness and its borderlands), from Cossacks (the Kozaki) to Elizabethan pirates (the Free Brotherhood). Howard “mix(ed) up the centuries while preserving the sentiment”: this “telescoping” allowed him to portray what he saw as universal elements of human nature and historical patterns, as well as giving him virtually all of human history for a playground.

  When Howard discovered that Harold Preece shared his enthusiasm for matters Celtic, he entered into his “Celtic” phase with his customary brio. His letters to Preece and to Clyde Smith from 1928 to 1930 are full of discussions of Irish history, legend, and poetry – he even taught himself a smattering of Irish Gaelic, and began exploring his genealogy in earnest. Irish and Celtic themes came to dominate his poetry, and by 1930 he was ready to try out this new persona with fiction. In keeping with his general tendency to use older work as a springboard to the new, he first introduced an Irish character into a story featuring two earlier creations – Cormac of Connacht is often overlooked as one of the “Kings of the Night,” overshadowed by the teaming up of Bran Mak Morn and King Kull, but the story is told from the Irish king's point of view. During 1930 Howard wrote a number of stories featuring Gaelic heroes, nearly all of them outlawed by clan and country.

  In June 1930 Howard received a letter from Farnsworth Wright informing him that Weird Tales planned to launch a companion magazine dealing with oriental fiction, and asking him to contribute. This request rekindled the author's avid interest in the Orient, particularly the Middle East, and he produced some of his finest stories for the new magazine (originally titled Oriental Stories, later Magic Carpet). But while these stories were set during the Crusades, or periods of Mongol or Islamic conquests, they inevitably featured Celtic heroes.

  Also in June 1930, Howard wrote to Farnsworth Wright in praise of H.P. Lovecraft's “The Rats in the Walls,” which had just been reprinted in Weird Tales. In the letter, he noted the use of a phrase in Gaelic, suggesting that Lovecraft might hold to a minority view on the settling of the British Isles. Wright sent the letter on to Lovecraft, who frankly had not supposed when he wrote the story that anyone would notice the liberty he had taken with his archaic language. He wrote to Howard to set the record straight, and so began what is surely one of the great correspondence cycles in all of fantasy literature. For the next six years, Howard and Lovecraft debated the merits of civilization versus barbarism, cities and society versus the frontier, the mental versus the physical, art versus commerce, and other subjects. At first Howard was very deferential to Lovecraft, whom he (like many of his colleagues) considered the pre-eminent writer of weird fiction of the day. But gradually Howard came to assert his own views more forcefully, and eventually could even direct withering sarcasm toward Lovecraft's views, as when he noted how “civilized” Italy was in bombing Ethiopia.

  These letters provide a vast store of information on Howard's travels and activities during these years, as well as his views on many subjects, and in them we see the development of the persona that would come increasingly to dominate Howard's fiction and letters in the last part of his life, “The Texian” (a term used for Texans prior to statehood). Lovecraft, and later August Derleth, with whom Howard also began corresponding, strongly encouraged Howard's growing interests in regional history and lore, as did E. Hoffmann Price, with whom Howard was already corresponding in 1930 and who was the only writer of the Weird Tales group to actually meet him in person. It is unfortunate that this persona did not have a chance to develop fully by the time of Howard's death. The evidence of his letters suggests that he might have become a great western writer.

  Even before Howard bought his own car in 1932, he and his parents had made many trips to various parts of Texas, to visit friends and relatives, and for his mother's health, which was in serious decline. After he bought his car, he continued to travel with his parents, but made a few trips with his friends, such as Lindsey Tyson and Truett Vinson. His travels ranged from Fort Worth to the Rio Grande Valley, from the East Texas oil fields to New Mexico. His letters to Lovecraft contain a good deal of description and discussion of the geography and history of these places, and are highly entertaining in their own right, apart from being windows into Howard's life.

  In 1934, a new schoolteacher arrived in Cross Plains, who was to become a major force in Bob Howard's life. Bob had met Novalyne Price a little over a year previously, when introduced to her by their mutual friend Clyde Smith. Upon moving to Cross Plains, Novalyne made several attempts to call Bob, only to be told by his mother that he could not come to the phone, or was out of town. At last tiring of these excuses, she talked her cousin into giving her a ride to the Howard home, where she was greeted stand-offishly by his father but warmly by Bob. This was the beginning of a sometimes romantic, sometimes stormy relationship. For the first time, Bob had someone locally who shared his interests – and she was a woman! But his closeness to his mother, particularly his insistence upon attending to her in her illness, which Novalyne thought he should hire a nurse to do, rankled Novalyne, as did his refusal to attend social events. Marriage often entered their minds, and was even occasionally discussed – but the two never entertained the same feelings at the same time. When she would think she was in love, he would insist he needed his freedom. When he thought he was ready for love, she saw only the differences in their attitudes toward socializing. They were two headstrong, passionate, assertive personalities, which made for an interesting relationship, but one that was impossible to sustain. In the spring of 1936, Novalyne was accepted into the graduate program in education at Louisiana State, and left Cross Plains.

  Through 1935 and 1936, Howard's mother's health was in rapid decline. More and more frequently Robert had to take her to sanitariums and hospitals, and even though Dr. Howard received a courtesy discount on services, the medical bills began to mount. Bob was faced with a dilemma: his need for money was more pressing than ever, but he had little time in which to write. Weird Tales owed him around $800, and payments were slow. Dr. Howard, his own meager savings exhausted, moved his practice to his home, so that patients came in and out all day and night. Father and son finally trie
d hiring women to nurse and keep house, further filling the house with people. Bob could find no time to be alone with his writing. This, and the despair he felt as his mother inexorably slid toward death, created enormous stress for the young writer. He resurrected an apparently long-standing plan not to outlive his mother.

  This was no impulsive act. For years, he had told associates such as Clyde Smith that he would kill himself were it not that his mother needed him. Much of his poetry, most of it written during the 1920s and early 1930s, clearly and forcefully reflects his suicidal ideation. He was not at all enamored with life for its own sake, seeing it only as weary, gruelling toil at the behest of others, with scant chance of success and precious little freedom. A 1931 letter to Farnsworth Wright contains several statements of common Howard themes: “Like the average man, the tale of my life would merely be a dull narration of drab monotony and toil, a grinding struggle against poverty. . . . I'll say one thing about an oil boom; it will teach a kid that life's a pretty rotten thing about as quick as anything I can think of. . . . Life's not worth living if somebody thinks he's in authority over you. . . . I'm merely one of a huge army, all of whom are bucking the line one way or another for meat for their bellies. . . . Every now and then one of us finds the going too hard and blows his brains out, but it's all in the game, I reckon.”

  His letters frequently express the feeling that he was a misfit in a cold and hostile world: “The older I grow the more I sense the senseless unfriendly attitude of the world at large.” In nearly all his fiction, the characters are misfits, outcasts, aliens in a world that is hostile to them. One wonders if the early childhood experience of being uprooted on a regular basis, as Dr. Howard gambled on one boom town after another – the Howards had at least eight different residences, scattered all over Texas, before Robert was nine years old – may have contributed to this feeling of being an outsider in an inhospitable land.