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THE PHOENIX ON THE SWORD

10/30/2024

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Here we are. At long last, I've reached the beginning. After four solid months of reading and writing about Conan the Barbarian stories, I've come to the very first one every published, and it really feels like it's been a journey.

I made a lot of hay about the fact that Robert E. Howard presented Conan as a sort of memory reaching him from a long-forgotten past when I was writing about his poem "Cimmeria" and his essay "The Hyborian Age." It feels very thematically appropriate that he would continue with that theme (to a lesser extent) in "The Phoenix on the Sword." Instead of Conan reaching Howard through time, it's Conan's barbarism and a sage named Epemitreus reaching out to King Conan.

​"The Phoenix on the Sword" is the earliest Conan anything to exist- with its first drafts reaching back to 1929 as an unpublished King Kull story "By This Axe I Rule!" My Kull reading is pretty much limited just to Kull comics, but he's nowhere near as cool as Conan. Patrice Louinet notes in the essay "Hyborian Genesis" that Kull was transformed into King Conan with very few edits, mostly just the color of his eyes: "grey for the Atlantean, blue for the Cimmerian."

I wrote way back in my second column on this blog that Robert E. Howard wrote the first Conan stories in a quick blast: before any had been published, he had written "The Frost-Giant's Daughter," "The Phoenix on the Sword," "The God in the Bowl," and had outlined another, this one about Conan thieving in a Zamorian city. Some version of that story would eventually become "The Tower of the Elephant."

Howard submitted "The Frost-Giant's Daughter" and "The Phoenix on the Sword" to Fransworth Wright at Weird Tales together, and received this response on March 10th, 1932:
“Dear Mr. Howard: I am returning ‘The Frost Giant’s Daughter’ in a separate envelope, as I do not much care for it. But ‘The Phoenix of [sic] the Sword’ has points of real excellence. I hope you will see your way clear to touch it up and resubmit it. It is the first two chapters that do not click. The story opens rather uninterestingly, it seems to me, and the reader has difficulty in orienting himself. The first chapter ends well, and the second chapter begins superbly; but after King Conan’s personality is well established, the chapter sags from too much writing. I think the very last page of the whole story might be re-written with advantage; because it seems a little weak after the stupendous events that precede it.”
"Frost-Giant" was reworked for another mag, "Bowl" was stashed, and "Phoenix" would receive heavy edits.

Patrice Louinet says that Howard cut huge chunks of the story out to condense the opening to "The Nemedian Chronicles" bit we always see. Conan very quickly became the man we all know him, though starting at the end of his career and then jumping back toward the beginning in "Tower." I always wonder how that felt to back-fill a character's history like that. Howard wrote to his friend HP Lovecraft the following month:
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“I’ve been working on a new character, providing him with a new epoch—the Hyborian Age, which men have forgotten, but which remains in classical names, and distorted myths. Wright rejected most of the series, but I did sell him one—‘The Phoenix on the Sword’ which deals with the adventures of King Conan the Cimmerian, in the kingdom of Aquilonia.”
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"The Phoenix on the Sword" picks up about a year after Conan has seized the crown of Aquilonia. At this time, Conan is said to be in this "early to mid forties." As Conan stuff frequently repeats, he wears the crown upon a troubled brow. Though King Numedides was broadly disliked when Conan deposed him, society has a short memory, and people are now upset at Conan and regularly call him a tyrant, though there's nothing in the story to suggest he's anything of the kind. 

The narrative alternates back and forth between King Conan in his court with his single loyal advisor Prospero and the shadowed rooms of those who wish to replace him: mostly Ascalante, Dion, and their supposed slave, Thoth-Amon.

This is the second story in a row (not counting the Conanless interlude of "Wolves Beyond the Border" or the half-century-removed Conan the Liberator) to feature Thoth-Amon as its principle antagonist, and I understand that he'll be sticking around for most of the rest of these stories. Ascalante and Thoth both do their best to assassinate Conan, both failing because of Conan's immense strength. Visited in a dream by the sage Epemitreus, Conan is whisked away to the dark crypts below Mount Golamira and given some extra oomph to save his life, as Conan is apparently favored by the gods (something we also saw in "Black Colossus")- though not all gods, as Nebethet in "The Ivory Goddess" seems pretty nonplussed with the Cimmerian.

"The Phoenix on the Sword," though not quite as excellent as some of the immediately-preceding stories, is pretty darn good. Although it was written on the other end of Howard's time writing Conan, it is a nice addendum to "Beyond the Black River" and "The Treasure of Tranicos." I would argue that "The Phoenix on the Sword" is Howard's treatise on the nature of power.

When writing about "Beyond the Black River," I spent a bunch of ink on how it's clear that Robert E. Howard believes that barbarism will always win when pitted against civilization. However, I was left with one lingering question: what exactly is it about barbarism that helps it win all the time? "Phoenix" offers on possible answer: it's men of action who drive that victory.

Conan and Thoth-Amon are really on the same side in this story- the side of barbarism. Both men are surrounded by pencil-pushers, sycophants, ladder-climbers, and navel-gazers who are utterly unnecessary. Howard draws the line between Conan and the other men in Aquilonia toward the end of the story:
"Yes, yes!" cried Publius, who was a man of plans rather than action. "We must bind his wounds. Send for every leech of the court! Oh, my lord, what a black shame on the city! Are you entirely slain?"
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Conan and Thoth, however, are men of action, and therefore are the ones who hold the true power throughout the story.

Conan gained power by himself beheading King Numedides. He, at least within the fiction of the narrative, rightfully gained this power by being the strongest and the best. Though the country has quickly forgotten that they chanted his name while he slew Numedides and have confused themselves with who is a martyr and who is a tyrant, Conan earned his crown.

He doesn't need the fluff of society to defend him: he can do that on his own.

Then as he stood, a stealthy sound in the corridor outside brought him to life, and without stopping to investigate, he began to don his armor; again he was the barbarian, suspicious and alert as a gray wolf at bay.
While Conan's barbarism is the source of his power and not his kingship, ironically (if anything, his kingship gets in the way), Thoth-Amon's on the other end of the social strata for now.

Thoth is currently acting as a slave to Ascalante. Because of his temporary guise, this asshole Dion can't even tell that Thoth is one of the most powerful sorcerers on the planet. He sees Thoth as nothing more than a slave, incapable of challenging him. Even when Thoth outright tells Dion about his past, Dion is so checked out that he doesn't really hear, and accidentally hands Thoth's source of power right back to him. He dies in the process, needless to say. 
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"Ring? Ring?" Thoth had underestimated the man's utter egoism. Dion had not even been listening to the slave's words, so completely engrossed was he in his own thoughts, but the final word stirred a ripple in his self- centeredness.
​

"Ring?" he repeated. "That makes me remember—my ring of good fortune. I had it from a Shemitish thief who swore he stole it from a wizard far to the south, and that it would bring me luck. I paid him enough, Mitra knows. By the gods, I need all the luck I can have, what with Volmana and Ascalante dragging me into their bloody plots—I'll see to the ring."
The epigraphs that proceed each chapter in "The Phoenix on the Sword" seem to support this theme of power. They've been pulled from "The Nemedian Chronicles" and a poem or ballad called "The Road of Kings," and the one at the beginning of chapter 5 seems to have the most to say.
What do I know of cultured ways, the gilt, the craft and the lie?
I, who was born in a naked land and bred in the open sky.
The subtle tongue, the sophist guile, they fail when the broadswords sing;
Rush in and die, dogs—I was a man before I was a king.
--The Road Of Kings
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Howard proved to be somewhat of a anti-colonialist in "Beyond the Black River." He had Conan spit that the Aquilonian oligarchy should split up their lands and not take up so much space, that they should squeeze the common man less. Here, he implies that common man is above a king. Subtle tongues, sophist guile, and cultured ways all fall to broadswords. All this fuss and feathers is just distraction from pure ways of living that are in touch with the world.

Our next story is "The Scarlet Citadel," which I'm really excited for. Jim Zub, the current writer of Conan comics at Titan, recently posted a write-up about it on Reddit, which someone in the comments called "the original dungeon crawl." Can't wait!

★★★★☆

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WOLVES BEYOND THE BORDER

10/28/2024

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One of my biggest obsessions when I was between about 5 and 10 was Teenage Mutant Ninja Turtles (along with Batman and Pokémon). In the 1990 Teenage Mutant Ninja Turtles movie, premiering about 18 months before I was born, there's a stellar opening sequence where you are titillated over and over again about seeing the turtles. This was their first time being seen in live action, after all, and they were built by the Jim Henson Creature Shop for this risky independent movie.

The film holds off quite a bit. First, the turtles destroy a lightbulb, so while they're fighting some would-be muggers, we don't get to see them as they're in total darkness. Right afterword, we see only Raphael's eyes lit intermittently by flashing police lights. After the music picks up and move into the sewers, we hear the boys celebrating their win and we can see their shadows around a corner. And at the last moment, as you're hyped as fuck to finally see the turtles, Leonardo jumps. You think that this is it, but for just one moment longer we're denied seeing them because we're hit with a freeze frame and the title card. And then, finally, they appear in all their glory.

It's great how they hold off on showing them to great effect. But we eventually do get to see them.

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"Wolves Beyond the Border" is unique in the Conan canon in that it's the only story in which Conan does not appear at all. He's mentioned a couple of times, but we never actually see him, as he's off leading the revolt in Aquilonia against King Numedides.

This is one of those stories which was abandoned by Robert E. Howard for one reason or another during his lifetime, so it never saw publication. Howard's fragment truly feels like half a story, and it ends extremely abruptly, with only about 18 pages of text. L. Sprague de Camp found the fragment of the story in 1965 in a pile of Howard's papers given to him by Glenn Lord, whose praises I've previously sung. de Camp did his best to complete the narrative, but I can't say it's super compelling. 

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I thought it might be interesting to spend a full story with someone in the periphery of Conan's path, but it was a lot less satisfying than I'd guessed. We've spent time with other characters in this world throughout this chronology; stories often don't introduce Conan until a good way in when we've met commoners, thieves, sorcerers, or others, and it just wasn't that compelling to spend time with Gault Hagar's son. "Black Colossus," for example, opens with an incredibly compelling dungeon dive without Conan. Then, we hold off even a bit longer while we see people praying to Mitra for help. But we eventually get Conan in on the action.

I've seen some people claim that the main character is unnamed, referring only to his dad, but I feel like this is a naming convention in his region: his name is Gault, and he's Hagar's son. He's not unnamed, his name is Gault Hagar's son. If I remember right, this is how last names like Johnson and Harrison came about. They were John's and Harris's sons. 

Anyway, this story just isn't very compelling and it doesn't help that I'm rather bored with the Picts after four straight stories in which they're the villains. While the western setting of "Beyond the Black River" was interesting and fresh and "The Treasure of Tranicos" kept it alive by adding the pirate element and dense plotting, right now I'm yearning to return to marbled domes and lost cities and horrifying monsters.

​This is probably the shortest column I've written for this chronology, and I'm okay with that. "The Phoenix on the Sword" is next.

★★☆☆​☆

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CONAN THE LIBERATOR

10/25/2024

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Just right off the bat, like Conan and the Sorcerer, I didn't actually read the novel here, I'm just including it because I read the Roy Thomas adaption while reading through Savage Sword.

Savage Sword of Conan issues 49, 50, 51, and 52 are a four-part adaption of Conan the Liberator, the novel by L. Sprague de Camp and Lin Carter. The four stories: "When Madness Wears the Crown," "Swords Across the Alimane," "Satyr's Blood," and "The Crown and the Carnage" were written by Roy Thomas and drawn by Sal Buscema, each with a cover by Nestor Redondo.

This story, showing Conan become King of Aquilonia, is a direct sequel to "The Treasure of Tranicos," and opens with Conan offloading that treasure. Howard & de Camp's “Treasure of Tranicos” was published in 1953, and this sequel was published in 1979, with the comic adaption in Savage Sword being published just one year later.

Conan is about 40 years old here, as corroborated by a line in one issue, and is well-known enough that should he fail his military campaign against the king of Aquilonia, he laments he won’t be able to slink away into anonymity like his younger years. This one leans much more heavily on political intrigue, with spies and plants in Conan’s army as they prepare to attack Aquilonia’s mad king.

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The essay by Jeff Shanks included in Titan Comics' Savage Sword #3 (from 2024) describes Conan as “qualified good versus unqualified evil,” which felt very fitting for this tale of Conan as a “liberator.” While his rebel army of the lion is hailed as breakers of chains where they go, it’s not like Conan ever really seems to have the good of the people at the forefront of his mind and while the story clearly considers him the good guy, it comes across more as a power grab and hatred for the mad king Numedides than a desire to be a champion for the common man. He’s not conquering Aquilonia out of altruism, anyway, and I feel like the story’s just a bit weaker for the lack of motivation there. While Thulandra Thuu is definitely unqualified evil, Conan can only be said to be qualified good.

Maybe Conan the Regime Changer or Conan the Slightly Better would be fitting titles.

​Because Conan is mostly confined to wooded camps and basic prairies and canyons, it’s missing some of the more adventuresome elements to the best Conan tales, though there are some magicians and satyrs and spells.

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The parts with the king Numedides being enchanted by a Khitan magician named Thulandra Thuu are probably the best parts. We don’t often get to see the far eastern side of the Hyborian map, so it’s fun to have a character from Khitai (Howard’s stand-in for China) at the center of it. I don't think we've seen many people from Khitai since "The Curse of the Monolith."

It seems that the authors were aiming for a story epic in scope, but the pacing feels a little drawn-out to me, we decently long stretches of little happening between Conan being poisoned, armies being ambushed, and Conan’s army of liberation marching on Tarantia, capital of Aquilonia. It is a great scene when Conan finally confronts Numedides and Thulandra, becomes king, and then quickly begins to regret it. Everybody loves paperwork.

Howard often borrowed from the Cthulu mythos of his friend and contemporary HP Lovecraft, and Thulandra Thuu calls out the names of a few deities like Cthulu and Nyarlathotep during Conan’s attack.

Because of how this story confines Conan to thoroughly unimaginative settings and mostly sticks to just politicking, I can't say it's a great story. While I didn't hate it, it's certainly a lesser one. Lucky for me, "The Phoenix on the Sword" and "The Scarlet Citadel" are up next! "Phoenix" I already know I love, but I've never read "Scarlet Citadel!"

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Marginally fun fact: this was the first little blurb I ever wrote for this blog. I was reading Savage Sword, having already decided I would read every Conan story in order. I love to write, so I wondered if it would be fun to write about the experience as I went, so I banged this out as a proof of concept to myself (obviously, I have edited it quite a bit seeing as that was months and months ago). I decided it would be fun to do, and here I am! If you've read literally any of my posts here, thanks for reading!

★★☆☆​☆
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THE TREASURE OF TRANICOS "(A.K.A. "THE BLACK STRANGER")

10/23/2024

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There are few events in the life of Conan the Cimmerian that are completely, inexorably fixed in time. There are two events, though, on opposite ends of his life that are immovable in Conan's story. The first is the siege of the Aquilonian outpost of Venarium, when Conan has "not yet seen fifteen snows," mentioned in countless Conan stories. It's like the starting place for Conan's adulthood and the prologue to the entire saga. Is the novel Conan of Venarium the only story that takes place at that siege? I've never read any.

The other event is Conan's kingship of Aquilonia, happening later in his life, usually about 40. It has been alluded to in at least half a dozen stories as something that "perhaps" he would even do one day. We're finally approaching that event as we round out this Pictish trilogy of "Beyond the Black River," "Moon of Blood," and now "The Treasure of Tranicos."

"Tranicos" began life under the title "The Black Stranger," and underwent quite a few edits between initial drafting and today. While it was written by Robert E. Howard in the 1930s along with all the other original Conan manuscripts, it wasn't published during his lifetime.

This story was edited by L. Sprague de Camp to fit more perfectly into that timeline than perhaps Robert E. Howard even intended. According to Conan the Usurper, where I read this story, de Camp found the manuscript of "The Black Stranger" amongst some other unpublished works.

"In preparing this manuscript for publication, I edited and rewrote it somewhat drastically, condensing it by more than fifteen per cent and adding a number of interpolations to tie the story in with King Numedides, Thoth-Amon, and the subsequent revolution in Aquilonia, to fit the story snugly into the saga."
Unlike many Conan works which we can point to a two- or three-week period in which Robert E. Howard penned it, we have nothing that exact for "The Black Stranger." Most Howard scholars agree that he wrote it after Weird Tales accepted The Hour of the Dragon for publication, perhaps in the last months of 1934 or the early parts of 1935.

​We know at least that Howard had written to HP Lovecraft about the possibility of a follow-up to "Beyond the Black River," saying:
"Some day I’m going to try my hand at a longer yarn of the same style, a serial of four or five parts."
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de Camp made some edits to bring "The Black Stranger" close the form we know today. The story was then further altered by editors at Fantasy Magazine and was published under its original title, "The Black Stranger." When the story was republished in the volume King Conan, de Camp changed the name to "The Treasure of Tranicos" because of the abundance of Conan titles with the word "black" in them. He's right, and it keeps getting worse. Right now, in late 2024, we've got:
  • Queen of the Black Coast
  • Black Colossus
  • Black Tears
  • The People of the Black Circle
  • The Pool of the Black One
  • The Treasure of the Red Black Shadows in the Dark Tower of the God Skulls
  • Beyond the Black River
  • The Black Stranger
  • Black Sphinx of Nebthu
  • Conan, Lord of the Black River
  • Battle of the Black Stone
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I only made up one of those, but I defy you to tell me which one. What I'm trying to say is that Conan story titles follow a pattern.

Apparently, prior to Conan the Usurper's publication, de Camp un-did most of his changes, saying that he edited it only lightly and tried to only make changes that he deemed "urgently necessary." He did keep the timeline stuff that keeps it anchored to this period in Conan's life.

I was glad to see that this story quickly answers a question I had last time. I was confused as to why Conan would be back up in the northwest after supposedly being whisked away to Aquilonia after "Moon of Blood," and it turns out that he somehow pissed off King Numedides, rousing his suspicions and sending Conan packing. Sometimes there's really good-sounding stuff that happens between stories entirely, and I wish we got to see it on the page. That's the kind of shit that de Camp and Lin Carter usually wrote about when they penned their own, original Conan stories, like adding "The Star of Khorala" to tie up a hanging thread that sounded cool from "Shadows in Zamboula."
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Conan is now about 40 years old, which means that by my count, we will see him gain the kingship of Aquilonia within a year. Conan definitely seems like he is at the point where he could become a ruler. When I started this chronology, he was a provincial barbarian, suspicious of and scared of anything he deemed unnatural. He was illiterate and unworldly. Now, he's clever, ruthless, shrewd, and dare I say even a little bit sophisticated in this story, without having lost his wolfish grin or his bear-like strength. The scene in which Conan details how he snuck into the castle and infiltrated a secret meeting, totally commanding the room once he enters, is gold. 

Unlike a lot of Conan fare where essentially the plot is "Conan wants the McGuffin. Will he get the treasure?" this story is as densely plotted as a Game of Thrones episode. 

We have a bunch of competing interests. There's Count Valenso of Korzetta, a disgraced noble who's exiled himself on the coast. There's the brutal Barachan pirate Strombanni who's after the treasure of Tranicos. There's the more suave pirate, Black Zarano, who's also after the treasure. Thoth-Amon, the Stygian sorcerer, is there to complicate matters and torment Count Valenso. The Picts are a constant threat from the wilderness, especially since Thoth-Amon is fucking with Valenso by baiting the Picts. There's Count Valenso's daughter Belesa who is terrified of being sold as property in a deal to the pirates.

I love the stories Howard writes where he forces characters into unlikely and tenuous partnerships and that's exactly what we get here. They all want the treasure of Tranicos, but Valenso is the only one with a crew of men. Strombanni is the only one with a ship, and Zarono is the only one with a map.

Then of course there is Conan, who burns the map, making him the only one who knows the location of the treasure. It makes for a great adventure.

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Now, if you had asked me before I read all of these stories in order who Conan's arch-nemesis was, I would have said Thoth-Amon. There are tons of comics where he's the villain, he's got a great look, he represents everything Conan fears most. But truly, this story made me realize that he's not actually in that many of these stories. I understand that L. Sprague de Camp and Lin Carter make Thoth the villain of the last four short stories in Conan's life, four consecutive sequels that take place after The Hour of the Dragon, but he's only popped his head up here and there so far, never really interacting much with Conan. 

​He was merely mentioned in "The God in the Bowl," he floats around in "Treasure of Tranicos," but doesn't really do much to Conan, and he'll have to deal with only being mentioned in The Hour of the Dragon, too. He's also in some Conan novels.

Conan ends this story by being enlisted into a command position during the Aquilonian revolt, so he's ready to depose Numedides. It's all been leading up to this!

For some reason, when I read Roy Thomas's adaption of this story in Savage Sword 47-48, I didn't much care for it. The Howard / de Camp version totally rocks, though. I've consistently wanted to be conservative about my ratings of Conan stories- far too many bloggers in my opinion act like everything Howard ever wrote was gold, but I do find myself adding ever-more stories to the 5-star pile. When I think "What more could I ever ask for in an adventure story?" I figure I have to give it five stars. So far, I've got "The Tower of the Elephant," "Black Colossus," "Beyond the Black River," "Red Nails," "Queen of the Black Coast," "Rogues in the House," "The People of the Black Circle," and now "The Treasure of Tranicos."
Despite this story being an absolute fucking ripper, it ping-ponged through publisher purgatories for decades without seeing the light of day.

Conan scholar Patrice Louinet assumes that "The Black Stranger" failed to sell to Weird Tales, but there are no surviving records. That would be a little odd seeing as Conan stories were huge headliners for Farnsworth Wright at the time, and were routinely gracing the cover. 

The way Louinet tells it, Howard would go about trying a new route and rewrote the story with an Irishman named Terence Vulmea at the center of it, filing the Hyborian Age serial numbers off, and sending it to his agent in May 1935. For what is, by my count, a second time that I've written this, the story was accepted but the magazine went bankrupt before the story could go public ("The Road of the Eagles" was the first and The Hour of the Dragon will be the last). 
Apart from the names of the protagonists this story is almost identical with the Vulmea story "Swords of the Red Brotherhood". The manuscripts of both stories were found in Robert E. Howard's papers after his death. The order in which he wrote them is disputed. In his essay "The Trail Of Tranicos" (1967) L. Sprague de Camp wrote: "There is reason to believe that the pirate version came before the Conan one." On the other hand, Karl Edward Wagner, in his introduction to "The Black Stranger" in Echoes of Valour, claimed: "I have the photocopy of Howard's original manuscript of 'The Black Stranger', which clearly shows Howard's efforts to change the story from the Conan to the Black Vulmea version."
I'm not sure who to believe. It seems odd that Howard would have turned in a Conan story that Farnsworth Wright was such a dud when he was on a streak of serious winners (and this one's a serious winner too!), but if a photocopy exits that shows Howard making Conanly edits to the pirate version, it's hard to argue with that.

​The pirate version of the story, titled "Swords of the Red Brotherhood," would eventually see publication in 1976. The Conanized version wouldn't make it public until 1987, which is an incredibly long gap of fifty-two years between writing and publication. That also makes it technically Howard's final bow on Conan.


​I'm glad we have it.

★★★★★
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Collaborating on a Conan video

10/22/2024

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If you're interested, I did some fact-checking and made suggestions for this video by Exits Examined on Conan along with Darth Matu's Holocron. It's fun!
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MOON OF BLOOD

10/21/2024

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"Moon of Blood," a Conan pastiche written by L. Sprague de Camp and Lin Carter in 1978, is a direct sequel to "Beyond the Black River." As such, the two beg comparisons, mostly unfavorably to "Moon of Blood."

I was pretty excited to read this one because of the dynamite Savage Sword cover painted by Earl Norem for when Roy Thomas adapted the story in November 1979. But my disappointment is immeasurable and my day is ruined to report that "Moon of Blood" is a pretty middling Conan story. 

"Moon" is more meaningful in its continuity than it actually is as a quality story. It certainly represents a big step forward in Conan's career. Everywhere Conan goes, he gains the admiration and loyalty of fighting men, be they pirates of the Red Brotherhood, Zuagirs of the desert, the armies of Khoraja, or now the forces of Aquilonia. Conan earned their trust to delay the invasion of the Picts in "Beyond the Black River" and he has since ascended to the role of Captain in the Aquilonian army.

As usual, Conan is the smartest, most cautious, most tactful leader of the bunch. I actually felt like this was quite a ding against the story. Whereas Conan is always on his back foot in "Black River" as the best-laid plans fail and further up the stakes, Conan is just... always right in this story. If he says hordes of Pictish fighters are about to pour over the horizon, you can look up and count the seconds on one hand before you see the enemy. 

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However, it is rather notable that by the end of this story, Conan has achieved the rank of General for Aquilonia and is supposedly off to the capital city of Tarantia to meet King Numedides (though our next story, "The Treasure of Tranicos," picks up with Conan still in the Pictish Wilderness).

With such a major personal victory for Conan, it's disappointing that "Moon of Blood" is just a vastly inferior version of "Beyond the Black River." Conan is once again in the Pictish Wilderness, they once again team him up with a younger fighter a la Batman and Robin, there's once again an evil sorcerer leading the Picts, and the town of Velitrium is once again threatened. Everything's just a little less satisfying here, though. 

Flavius is less interesting and less fun to be around than Balthus was. 

The shaman Sagayetha who is apparently Zogar Sag's nephew (weirdly enough, my copy of Conan The Swordsman spelled it "Zogar Zag" instead- there are strange little variations in spelling all across the Conan world) is dispatched all too quickly. He manages to get one snake bite on Conan before the Cimmerian unceremoniously and very easily lops his head off.

There is a little bit of fun to be had with the upper ranks of the Aquilonian army betraying their country because of bureaucratic infighting leading them to think they'll be replaced. The best scene in my estimation is when Conan and Flavius wade into a river up to their necks, with foliage on their heads to hide themselves from the Picts. In a daring episode of crucial war reconnaissance, they stay there for hours in the cold water until they spy the Picts and their traitorous Aquilonian.

Unfortunately, "Moon of Blood" doesn't do much to build on the themes of "Beyond the Black River." Its predecessor was a tour de force with really strong philosophy, but the sequel just kind of gestures at a few of the same ideas. 

"Beyond the Black River" took a surprisingly anti-imperialist stance, and and "Moon of Blood" has just a few lines that hint at similar ideals. Conan notes that treaties between the Aquilonians and the Picts were perhaps unfair or even entirely invalid, similar to how the US government squeezed Native American tribes into making deals not in their interest and then completely abandoned their side of the bargain. Google the Sand Creek Massacre if you need to.
"'What do you mean "plucked"?' said Arno with indignation. 'The land was bought from them, piece by piece, by legal treaties bearing royal seals.'

Conan snorted: 'I know those treaties, signed by some Pictish drunken ne'er-do-well who knew not what he placed his mark upon. I love not Picts, but I can understand the fury that drives them now.'"

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So that seems kind of progressive. 

I have the world's smallest gripe about characterization as well. Conan says, "Praise be to Crom" at one point, which just seems weird. Though Conan seems to believe in him and swears by him all the time, I don't think I've ever once heard Conan send praises to Crom. By Conan's own admission, Crom seems to be an incredibly hands-off deity, so it seems unlikely that he would interfere much here.

"Moon of Blood" was adapted into the story for Savage Sword 46, as previously mentioned. It also became a role-playing module using the GURPS system and words as the second part to an adventure started with "Conan: Beyond Thunder River," which seems to be their "Beyond the Black River" adaption.

We'll still be in the Pictish wilderness next time to round out a sort of trilogy with "The Black Stranger," AKA "The Treasure of Tranicos."

★★☆☆​☆

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BEYOND THE BLACK RIVER

10/18/2024

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Robert E. Howard’s short stories “Red Nails” and “Beyond the Black River” make an interesting pair of narratives that support the same thesis statement. "Red Nails" is Robert E. Howard's story about how civilization often eats itself, cautioning its readers against closing themselves and their society off from the natural world as the people of a lost city literally cut themselves off from all of nature. Their doors are perpetually locked, the sky is blocked by glass that warps sunlight, and even plants are grown away from soil. 

If “Red Nails” is anti-civilization, "Beyond the Black River" is the other half of the equation: the proponent for barbarism. I like how Frank Coffman phrases it in his essay Barbarism Ascendant: "Barbarism [is] the natural human condition, with the many historical cycles of great civilizations and any attempts to establish a lasting order in the face of chaos always and ultimately futile." This is the story in which Howard not only makes his case for eschewing societal comforts, but inviting his reader to marvel at the power of nature. "Beyond the Black River" is an excellent Conan story. In fact, it's one of the best ever. It's thematically rich, very interesting, and a total blast to read.

Serialized in Weird Tales from May to June in 1935, this is one of the later publications, with only four more to be published before Howard's suicide.

"Black River" is one of the Conan stories that gives you ample hints as to where it sits in the chronology. As I noted in my post about "The Devil in Iron," Conan gives a whole speech about what he's done in his life, placing this one later on. 

"​I've seen all the great cities of the Hyborians, the Shemites, the Stygians, and the Hyrkanians. I've roamed in the unknown countries south of the black kingdoms of Kush, and east of the Sea of Vilayet. I've been a mercenary captain, a corsair, a kozak, a penniless vagabond, a general—hell, I've been everything except a king of a civilized country, and I may be that, before I die."
Conan is about to become king of a "civilized" country very soon. "Beyond the Black River" is his first step in Aquilonia toward that eventual kingship. Like usual, Conan will gain people's trust and admiration quickly, and he starts very simply as a scout for the kingdom.

According to "A Probable Outline of Conan's Career," Conan is likely in his late 30s, about 39 years old. 
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"Conan as a scout in Conajohara, fighting against the Pictish wizard, Zogar Sag. This is very shortly before he seized the throne; he may be 39."
While we're in a part of the Hyborian world we've never been to before, the area is very finely drawn by Howard in his descriptions. We're on the western reaches of the Kingdom of Aquilonia, which is colonizing to the west. The fertile land of the Bossonian Marches lays nearby. Two rivers mark the western border of the country of which Conan will soon become king: the Thunder River and the Black River, the latter is the one further into the wilderness. 

The Aquilonians have pushed out far, perhaps too far, colonizing what has been Pitcish territory up to this point. They've built a fort named Tuscalan as the farthest outpost of the "civilized" world into the wilderness.
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Conan is working as a sellsword scout for the militias at Fort Tuscalan, protecting not only the men of the fort, but also the nearby town of Velitirum and the entire western border of Aquilonia, by extension. He meets young Balthus, who is definitely one of the most interesting companions of Conan's so far, who unfortunately doesn't make it out of the story (why do the best companions always stick around for only one story? I'm looking at you, Belit, Valeria, and Balthus!)

Conan fights ruthlessly against the Picts, who are portrayed as backwards, savage, cultish, animal-like, and completely bloodthirsty. Conan has a ticking clock on his quest this time- in fact, it's one of the strongest setups in any Conan story so far- the evil sorcerer Zogar Sag had been captured by the Aquilonians, but recently escaped and is picking off prominent members of the settlers as revenge. If he beheads five Aquilonians, terrible things will happen, meaning Conan has to act quickly. 

The fort allows Conan to lead a detachment of 12 men to attack the Pict village of Gwawela while they still have time. What results is a constant thrill ride of stealth missions, heart-pounding chase scenes, fierce battles against prehistoric beasts, and a magical showdown at the end. It's an old saying that to write a good adventure story, your hero should lose every battle but win the war, and that's almost exactly what happens to Conan in this story (though Conan does, yeah, lose the war, technically). Through setback after setback, he perseveres, losing most of the people he meets along the way, but ultimately surviving.
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Every now and then, we see Robert E. Howard push at the boundaries of pulp fiction. "The God in the Bowl" was a mystery story. "A Witch Shall Be Born" implements elements of epistolary writing into it. "The Tower of the Elephant" plays with science fiction. "Beyond the Black River" is another peculiar Conan story. It seems to be an experimentation on two fronts for its author.

​One, it is almost entirely devoid of women characters. It's true that many Conan stories feature exactly one (1) woman character, so dropping that count to zero might not seem like much.

​But Conan stories had on-and-off become dependent on having a sexy, young woman who's completely smitten with Conan rounding out the cast. It seems like the more desperate Howard was to sell a story to the editors at Weird Tales, the more likely he was to write one of those ladies into his plot. While it appears that he was generally negative about this and felt that adventure story readers were too reliant on sex, which I wrote about extensively in my "Red Nails" post, he played the game frequently. Howard confirmed that this lack of a female companion was intentional when he wrote in a letter to his friend:

"​My latest sales have been a 23,000 word Oriental adventure yarn to Top- Notch, and a two-part Conan serial to Weird Tales; no sex in the latter. I wanted to see if I could write an interesting Conan yarn without sex interest."
And two, the far more interesting part of the experiment, is that "Beyond the Black River" is a western. It may take place about 12,000 years ago on another continent, but it's absolutely a western in the same way that Firefly and Star Wars are westerns. Howard thought so too:
"My latest sales to Weird Tales have been a two-part Conan serial: 'Beyond the Black River' — a frontier story... In the Conan story I’ve attempted a new style and setting entirely—abandoned the exotic settings of lost cities, decaying civilizations, golden domes, marble palaces, silk-clad dancing girls, etc., and thrown my story against a back-ground of forests and rivers, log cabins, frontier outposts, buckskin-clad settlers, and painted tribesmen."
Howard's world in this story is actually reminiscent of something much older than westerns. The fact that the west is "normal" and the east is exotic reminds me of maps going as far back as the 13th century (I loved studying these in my Old English class back in undergrad). In the Psalter map, the farther one gets from England, the more horrid and fantastic the world is, ranging from Christ on one end of the map to horrifying monster creatures called blemmyae on the far sides. Howard takes this a step further by making "the west" in his world so far removed from the exotic that it ceases to be even a fantasy world. It instead becomes the much more recent, much more mundane (but I mean that as a "normal" way, not in a bad way) American frontier that he himself called home.

​The sides of the battles in "Beyond the Black River" are drawn along the lines of the traditional western myth, long established in American literature. Daniel Weiss explains in his essay "Robert E. Howard's Barbarian and the Western:"
Howard’s life in Texas was shaped by Texan history, while at the same time, he fantasized about distant lands. But his interest in western history — its influence on the American imagination — was never far from his mind.
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Conan and the Aquilonians are the pilgrims, the settlers, the white frontiersmen. The Picts are the Native Americans, standing in the way of "taming" the west. He even goes as far as to drape his Pictish shaman Zogar Sag in feathers.

I think these tropes will be instantly recognizable to any American reader (They definitely hit close to home for me, since I grew up across the highway from Bent's Old Fort in southeast Colorado, an old west trading post), and while they are incredibly problematic, it is very interesting to see how Howard uses them to inform a sword-and-sorcery story. Some of these tropes just sort of sit in the story and he doesn't do much with them, while other parts are almost transformed by moving the western from the American frontier to the Hyborian Age.

The trope that is the most troubling is also the one that Howard does the least with in the narrative. The Picts, Howard's analogue for Native American cultures, fit perfectly into the racist stereotype employed by most films in the high western genre and a lot of frontier fiction. He chooses to give them widely-known plains Indian characteristics rather than many of the markers that other pseudo-historical accounts have given Picts, like blue tattoo-like skin markings, as John Bullard notes over at Adventures Fantastic. They're bloodthirsty semi-humans as far as the story is concerned, with no culture of their own save for their pagan rituals that inevitably revolve around sacrifices. I mean, holy fuck Howard, you named one of your bodies of water Scalp Creek in this thing. Subtlety was never his strong suit.

The thing that is interesting about Native American tropes in this story, though, is that Conan also fits into one. In many tales, Conan is depicted as the "noble savage:" simple, but also glorious in the way he goes about life. Howard even decides to draw further connections between the Picts and the Cimmerians by pointing out that disparate Cimmerian clans were united at the siege of Venarium to become victorious over Aquilonia when Conan was just 15, exactly as the Picts are doing now. It turns the story into a two-pronged use of stereotypes, as the villains are one and the hero is another form of anti-indigenous racism.

I find it hard to call it anything other than racism, because when a white, blue-eyed character like Conan is living the simple life, it is upheld as an example of peak existence, while any character naturally darker-skinned than Conan is to be pitied at best, or to be eliminated at worst. When Conan fights against his land being colonized, it ignites the righteous rage of a proud people. When the Picts do it, the innocent settlers of Aquilonia need to be protected at all costs. The head of Balthus at the end of the story is worth the heads of ten Picts, according to Conan himself.

Strangely enough, Howard writes early in the story, "The Picts were a white race, though swarthy, but the border men never spoke of them as such." I find it strange that this line exists in the story when it's clear that whiteness is the reason why Conan sides with the Aquilonians rather than with fellow "barbarians," the Picts. Additionally, the next Howard-penned story chronologically, "The Black Stranger" / "The Treasure of Tranicos" clearly deems the Picts not white, saying, "​The Cimmerian knew he was the only white man ever to cross the wilderness that lay between that river and the coast." 

Conan even verbally draws a line between "white men" and "Picts" when choosing not to abandon some of his acquaintances in "The Treasure of Tranicos:"

"'But I'm not going to do that!' Conan roared. 'Not because I have any love for you dogs, but because a white man doesn't leave white men, even his enemies, to be butchered by Picts.'"
If we put aside the detestable action of siding with someone solely because you see them as your own race, the Picts are apparently white, but not white white and they’re nonwhite enough to be othered by most of the white characters. In a way, Howard is agreeing with the progressive idea that race is a social construct. Paradoxically, Howard is expressing viciously racist views while also predicting antiracist concepts from decades on.

​But "Beyond the Black River" is far from just regressive western tropes, though. Whether Howard intended all of the political messaging in this story or if it showed up by accident isn't super important, but I am reminded of playwrights like Sophocles and Shakespeare writing politically-coded stories that help the blow land softer because they set them in earlier, mythical times. Goddamn, did I really just compare a pulp story to Sophocles and Shakespeare? Give me a second to make my point.

Conan, frequently as the mouthpiece for Howard's politics, makes some interesting statements in this story. In the first chapter, Conan makes almost a socialist and anti-colonialist argument.
"​Some day they'll try to sweep the settlers out of Conajohara. And they may succeed—probably will succeed. This colonization business is mad, anyway. There's plenty of good land east of the Bossonian marches. If the Aquilonians would cut up some of the big estates of their barons, and plant wheat where now only deer are hunted, they wouldn't have to cross the border and take the land of the Picts away from them."
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Surprising. That's a pretty good case for the redistribution of wealth and for them to end colonization. If the oligarchy would avoid opulent overconsumption, there would be less case for the poor people of Aquilonia to have to strike out into dangerous conditions to just scrape by with subsistence farming. And Conan is acknowledging that the land they're on belongs to the Picts: colonization is not the filling in of a blank space, but the replacement of one population with another. Conan says, "Free Palestine." 

As REH was a lifelong Texan, it's interesting to see that he might have held some sympathies for the tribes displaced by Texas settlers, or at least may have felt bitter about the burdens that he saw country people carrying during the Depression.

What is for sure is that "Beyond the Black River" makes it clear that Howard believes society softens and weakens a person and that it's nature that gives a person the physical prowess that Conan possesses. Describing Conan from Balthus's perspective, he says:
"​Evidently Conan had spent much time among civilized men, though that contact had obviously not softened him, nor weakened any of his primitive instincts. Balthus' apprehension turned to admiration as he marked the easy catlike stride, the effortless silence with which the Cimmerian moved along the trail. The oiled links of his armor did not clink, and Balthus knew Conan could glide through the deepest thicket or most tangled copse as noiselessly as any naked Pict that ever lived."
I noted briefly in my "Red Nails" writing that barbarism for Howard is a kind of simplicity. I like how Daniel Weiss says it:
...an uncluttered intellect, unsullied with the political cravings, irrational desires, or other distractions a civilized man suffers.
Conan remains untainted by the weakness of society and retains the strength given to him by his barbarism. For Howard, there is even a mystical quality to holding onto that simplicity of barbarian life. It gives a person a natural, animal-like power that apparently has threads to the very dawn of man in his philosophy.
"​The barbarian's eyes were smoldering with fires that never lit the eyes of men bred to the ideas of civilization. In that instant he was all wild, and had forgotten the man at his side. In his burning gaze Balthus glimpsed and vaguely recognized pristine images and half-embodied memories, shadows from Life's dawn, forgotten and repudiated by sophisticated races—ancient, primeval fantasms unnamed and nameless."
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This is also mirrored in the fact that Zogar Sag summons forth only incredibly ancient beasts from the forest. In the logic of a Conan the Barbarian story, older is better, stronger. Then, only through even somehow more ancient knowledge, is Conan able to fend off the beasts, using the sigil of Jhebbal Sag. It has been long forgotten with the exception of the memories of a few, and its age is its power.​

​I'm very easily reminded of the concept of the sublime (not the terrible band) that was inspiring to Romantic-era British writers like Percy and Mary Shelley. Jesus Christ, I've compared Howard to both Shakespeare and Mary Shelley in the same blog post, so I think I need to ease up on the coffee.

The sublime is the awesome (as in awe-inspiring power of capital-G God and capital-N Nature rather than, like, something that's totally tubular, dude) feeling within ourselves that we experience looking at an enormous mountain range, or a raging sea, for example. We could so easily be crushed like an ant beneath the boot of Nature. There's a fear there, but also an appreciation of a type of beauty. Conan's strength, for Howard, is clearly something to be revered, awed at, and strived toward.

We get some of Howard's best-ever lines describing the sublime qualities of the forested frontier, reminding us that nature is an unconquered thing of its own:
"The shadows were thickening. A darkening blue mist blurred the outlines of the foliage. The forest deepened in the twilight, became a blue haunt of mystery sheltering unguessed things."
Like Conan's barbarism lending him strength, Howard speaks highly of the unnamed settler characters in the narrative, imbuing them with a quiet strength that leaves the unshaken even when they're threatened. This even extends, surprisingly, to his female characters on the frontier.
"They stared at him seriously, making no outcry. The woman took the horse's halter and set out up the road. She still gripped her ax and Balthus knew that if cornered she would fight with the desperate courage of a she-panther."
"But the old woman, a stern old veteran of the frontier, quieted them harshly; she helped Balthus get out the two horses that were stabled in a pen behind the cabin and put the children on them. Balthus urged that she herself mount with them, but she shook her head and made one of the younger women ride.

'She's with child,' grunted the old woman. 'I can walk—and fight, too, if it comes to that.'"
These characters are pretty unique in the Hyborian canon. Not only is one of them old, as opposed to the young, sexy ladies hanging off of Conan's arm, but they're unflappable and ready to defend themselves- with lethal force if they must. 

Not all of this is detective work on my part, though. Howard finishes the story by just coming out and saying his thesis plainly.
"The forester stared at him, comparing him with the men about them, the men who had died along the lost river, comparing him with those other wild men over that river. Conan did not seem aware of his gaze.

'Barbarism is the natural state of mankind,' the borderer said, still staring somberly at the Cimmerian. 'Civilization is unnatural. It is a whim of circumstance. And barbarism must always ultimately triumph.'"
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So barbarism is more natural than civilization and will always win when the two are pitted against one another.

I'm inclined to think that this unnamed forester is Howard himself, inserting a stand-in into the story. The forester stares at Conan and speaks to him, with Conan seemingly unaware of either, the same way Howard follows Conan's adventures on the page. He compares the Cimmerian with the other frontiersmen around, as Howard has often compared Conan to the men in the taverns of Zamora and the palaces of Shem and the tents of Turan. Knowing Howard's penchant for considering Conan stories to be remembrances that have sprung up from the past, it just seems like an incredibly Howardian thing to have this line spoken by Conan's chronicler himself. 

"Beyond the Black River" is perhaps Howard's magnum opus on Conan. I wouldn't say it's quite as purely entertaining as "The Tower of the Elephant" or "Black Colossus," but it is far more worth discussing. It's Howard's thesis on plain living, the power of nature, and the American frontier myth. It's weird western with actual philosophical things to say. It's absolutely Howard raising a twenty-five cent pulp publication into the realm of literature. 

"Moon of Blood" is up next!

★★★★★

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Mapping Conan's career (part 6)

10/16/2024

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Conan hasn't moved very far since the last time I made a map, but it sure feels like forever since I've posted one. For this mid-late period of his career, Conan's stayed pretty far south and sure hasn't spent much time at sea for this being his Barachan "pirate" career.
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1. Coming west from the mountains of Afghulistan in "The People of the Black Circle," Conan spends some time doing what he's best at: mercenary work, of course. He joins up with the army of Shem to fight in the grasslands to the south in what "A Probable Outline of Conan's Career" terms "big wars in the west." He spends "The Slithering Shadow" / "Xuthal of the Dusk" near and in the city of Xuthal, in Kush.

2. Conan finds himself separated from his army near the city of Gazal, in Darfar, during the events of "Drums of Tombalku."

3. Conan makes his way to the western sea in the beginning of the Barachan pirate episodes in "The Gem in the Tower." As second mate of the ship the Hawk, Conan's crew goes to a nameless isle that's marked on the map I'm using as "Siptah's Isle," named for the fabled wizard who may live there.

4. Heading back to the mainland, Conan ends up in the lost city Xuchtol, unmarked on any map he knows for "Red Nails." It's a weird place, in the middle of a forest, but with vast expanses of empty grassland surrounding it; it's cut off from the Hyborian world by being completely walled-in and covered by ceiling. Weirdly, Conan and Valeria explicitly note at the end of the story that they'll head for the coast again, but our next story picks up with Conan even more inland. Conan and Valeria part ways somewhere here.

5. Seeking fortune in "Jewels of Gwahlur" / "The Servants of Bit-Yankin," Conan goes to to the nation of Keshan. He goes by the city of Keshia, but doesn't stay there for long, as he's really only out for the Teeth of Gwahlur.

6. Looking for the teeth, Conan ends up in the haunted palace in the abandoned city of Alkmeenon. He ends the story fleeing the country for Punt with Muriela.

7. In "The Ivory Goddess," Conan and Muriela are in Punt, though the specific location of the temple to Nebethet is never named. Muriela stays at the temple of Nebethet and Conan continues on, alone again.
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THE IVORY GODDESS

10/14/2024

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You know how prior to Empire Strikes Back, when they did movie sequels, they basically just had the characters go through exactly the same thing they did the first time? That's how "The Ivory Goddess" feels. Throughout this chronology, as I read each story in context, I feel like that adds a lot to my understanding and enjoyment of the stories, but here, it feels like it does the opposite. 

"The Ivory Goddess" is credited to L. Sprague de Camp and Lin Carter, but it seems pretty widely accepted that Carter didn't contribute to this one. Instead, it was fellow sci-fi writer and wife Catherine Crook de Camp who co-wrote with Sprague. I first read "The Ivory Goddess" in comic form in Savage Sword #60, which I thought was pretty decent. But reading the story right after "Jewels of Gwahlur" makes it feel like entirely a retread.

Directly following from the events of "Jewels of Gwahlur," Conan is on the run with Muriela. They're collecting enemies pretty fast and they know they're not in the favor of Keshan because that asshole Thutmekri is bending their ears. The pair come across a large, marble, domed structure, which is the home of the goddess Nebethet. Inside, there's an ivory statue with the body of a beautiful woman, but the head of a skull.

There's some suspense as it's clear that the temple is being tended to by someone, but the caretaker is unseen. It turns out to be, just like it was in the holy city of Alkmeenon, to be a grayish man-ape thing. His old hag of a mom is hanging around too, but she's pretty easily dispatched by Conan. 
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Conan has Muriela try to do the same con they pulled back in Alkmeenon, where they pretend she's the voice of a goddess to get their way. The twist, and really, the only reason to read this story, is that this time, Muriela actually becomes possessed by the goddess instead of just replacing her. I've seen some people argue that it's just the same old trick she pulled in "Jewels of Gwahlur" again and that she found a way to get her bag from the worshippers of Nebethet by permanently pretending to be a goddess, but she changes physically and is able to kill with a look, so I'm inclined to take her word for it.

This story isn't entirely devoid of fun. It's fun to see when the gods take note of Conan and participate in the story. Nebethet is pretty nonplussed about him and is more than fair in her assessment of his plans. In fact, I'm trying to count how many gods we've encountered by this point in Conan's life. Mitra seems aware of him because of the events of "Black Colossus," and also that he receives a Mitra-approved sword eventually in "The Phoenix on the Sword." If Yag-Kosha counts, we met him back in "Tower of the Elephant." With how much Thoth-Amon eventually appears, Set has to be aware of Conan eventually, right? Crom still seems silent, though.

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The setting is cool enough; I'm always up for a hidden temple deep in the mountains. And Muriela getting taken over for realsies this time is alright. Plus, the story's only about 20 pages, making it one of the shortest Conan reads. 

I've got "Beyond the Black River" up next, which I'm incredibly excited for. I've never read it, but everyone says it's great. I've been counting down the stories to it since "A Witch Shall Be Born," pretty much. There's a long jump in physical space between these two. Conan has been putzing around near Stygia and the coasts by it for about 7 stories now, but he's headed way north for next time! As such, this story is the last one that I'm considering part of his Barachan pirate days, because he's clearly moving on to become Conan of Aquilonia.

★★☆☆​☆
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JEWELS OF GWAHLUR (A.K.A. "THE SERVANTS OF BIT-YAKIN", "TEETH OF GWAHLUR")

10/11/2024

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Following "Red Nails," I'm sad we don't get to see more of Valeria. She was great! "Jewels of Gwahlur," originally titled "The Servants of Bit-Yakin" and also sometimes called "Teeth of Gwahlur" was written by Robert E. Howard and published in the March 1935 issue of Weird Tales. According to Conan scholar Howard Andrew Jones, "Jewels of Gwahlur" was probably written pretty quickly in order to replenish Weird Tales's stock of Conan stories to publish, and I think it kind of shows. It's far from bad, but it has some of that distinct filler feel.

While none of the titles for this story are incredibly attention-grabbing, Howard's original "Servants of Bit-Yakin" (which I always want to write as "Bit-Yankin" for some reason) is probably the best of them, just like how "Xuthal of the Dusk" and "Iron Shadows in the Moon" were the better titles of their multi-named stories. I think this is the only one that has three different titles, weirdly. Quick question before moving on: how do you pronounce the first vowel in "Yakin?" Short like the word "yak" or long like the A in "ache?" I can never settle on a pronunciation.

According to the essay "Hyborian Genesis," Howard was particularly inspired by a recent trip to Carlsbad Caverns:

“God, what a story you could write after such an exploration! . . . Anything seemed possible in that monstrous twilight underworld, seven hundred and fifty feet below the earth. If some animate monster had risen horrifically from among the dimness of the columns and spread his taloned anthropomorphic hands above the throng, I do not believe that anyone would have been particularly surprized.”
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Conan is in the nation of Keshan, trying to make a bit of money. He's on the hunt for the fabled Teeth of Gwahlur and his cover is that he's trying to make it as a commander in their army. Conan goes to the abandoned holy city of Alkmeenon in this one and spends most of the story there.

​The city of Alkmeenon is apparently inspired by the location, although I didn't really feel like the two felt very similar. Patrice Louinet goes on to note that this was the first time a piece of the US made it into Conan tales, which doesn't mean nothing, I just wish the story was better. ​

"Conan the Cimmerian, late of the Baracha Isles, of the Black Coast, and of many other climes where life ran wild, had come to the kingdom of Keshan following the lure of a fabled treasure that outshone the hoard of the Turanian kings."
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I'm grouping this one kind of like I did with "The Lair of the Ice Worm" and "The Blood-Stained God" in that it's clearly after the meat of that portion of Conan's life, but I don't really have anywhere better to put it. While he's not a Barachan pirate at the moment- in fact, he's quite inland- I don't really have another grouping to put it in yet. Here's what "A Probable Outline of Conan's Career" says of these stories:
   12.   Red Nails    (WT, July 36):    The end of Conan's buccaneer days, and the story of his trek to the south with Valeria, to Xuchotl and its dragons, and other parts unknown.

       J.    Somewhere Conan loses Valeria.    Hearing of the fabulous Teeth of Gwahlur, legendary jewels hidden somewhere in the black kingdom of Keshan, he signs up as a trainer for Keshan's armies.   Losing the jewels, he goes over to the neighboring kingdom of Punt to see how much he can make at simple swindling, from there to the trade-centers of Zembabwe, and via various caravans northward into Turan and the Hyborian realms.

       13.    Jewels of Gwahlur   (WT, Mar 35):   The adventure in Keshan.    Conan may be a little over 38 at the this stage in his career.
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Weirdly enough "Jewels of Gwahlur" is somehow less than the sum of its parts, leading me to want to like it more than I do. The opening of the story is stellar. Conan is climbing perilous cliffs to find a small outcropping in which a mummy sits upright, with treasure secrets held in his hand. I'd say that the story never surpasses that thrilling moment.

The city of Alkmeenon is pretty decently crafted. And I love the gimmick of Muriela trying to trick the priests of Keshan by impersonating goddesses. Conan companions are usually better when they have a "thing," and Muriela's goddess trick is pretty funny. Some of the descriptions of her as posing as a goddess are pretty fun, too! Each time I think about all of those things individually, I think Yeah, that was a pretty good bit. But It never really comes together as anything other than a mid-level Conan story at best, though. 


Thutmekri, the alleged villain of the piece, is hardly in the story at all. The political intrigue of him trying to begin a war between Keshan and Zembabwei never really lands.

"The Ivory Goddess" is up next, and it's a direct sequel to this one. 


★★★☆☆​

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An interview with Conan author Jim Zub

10/9/2024

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It's a great time to be a Conan fan right now: not only is Conan appearing in his ongoing title Conan the Barbarian, but he's also in the relaunched, quarterly Savage Sword of Conan, and we're even getting an event series called Conan: Battle of the Black Stone. 

Jim Zub is the lead writer for Conan at Titan Comics under the Heroic Signatures label, and not only is he an excellent writer, but he is also very generous with his time. He was very kind to exchange a few words for a brief interview about Conan chronology! 

I watched Jim's interview with Chris from ComicTropes last night (Chris is an awesome comic youtuber who I've been following for years and you should definitely check out) and he said something that I think is insightful:
"These stories are cool and exciting and wonderful. You don't have to worry about continuity: everywhere Conan goes, something exciting and amazing is going to happen, and the longer you read, the more you appreciate all these different places and these different eras of the character and all this cool stuff... but you don't need to know that to start. That's what makes me happy is you can just dive into any story and read them and enjoy them."
He's right! Below is what he had to say about Conan and some of the considerations he takes when placing a story in Conan's chronology.

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Conan Chronology: When writing Conan the Barbarian and Savage Sword material today, how much concern do you give to the chronology of Conan’s career? Do you, for example, think, “This story is set shortly after ‘The Phoenix on the Sword’ and before ‘The Scarlet Citadel?’”

Jim Zub: Yes, absolutely. Since I’m the flagship writer on the series, I need to pay attention to how these stories work in and around the canon Conan tales written by Robert E. Howard. On the new Titan series, we are jumping around the timeline on each story arc, just like Howard did when he wrote the original prose stories, but there is an overall plan in place and I know where each one fits together.

Thankfully, Heroic Signatures has Jeff Shanks, an REH scholar who writes the essays in the back of each issue. He’s a resource on hand to provide additional feedback and suggestions when it comes to getting our details right.

​You told me that Heroic Signatures only considers the original REH typescripts to be the Conan canon. How much is Heroic concerned with the Conan timeline? Do you know if editorial has their own internal, fixed timeline of Conan’s career?

JZ: For the monthly comic series, Heroic does care a great deal about the overall timeline. When I started working on the new Conan comic series they gave me the timeline they decided upon in terms of story order and Conan’s age during each one, but so far they haven’t decided to publicize it.

On an anthology series like Savage Sword of Conan where all kinds of different creators are contributing their own self-contained tales, that master timeline is less of a concern. They’re not trying to subvert any of the canon stories, but also don’t need to chart every single anthology story into our overall plan.

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If I had to guess based on the first issue alone (I haven’t had a chance to pick up #2 yet!), Battle of the Black Stone seems to take place some time around “Beyond the Black River,” as Conan is in the Pictish Wilderness and the prologue implies that Conan is a decent way into his life. Have I placed that book near the right spot?

That’s correct. Battle of the Black Stone takes place just before the events of Beyond the Black River, with Fort Tuscelan and Conajohara, and we reference that Conan is older than in the previous stories we’ve done so far in the new series.

While some stories have clues as to their chronology, like Conan being in the Pictish Wilderness or being king, others are comparatively squishy, like your story Sacrifice in the Sand in Savage Sword #1. Do you have your own conclusion about when such stories take place, even if you don’t suggest them to the reader?

JZ: Yes, I have an internal sense of where it fits and, in the case of Sacrifice in the Sand, I might do another story to show when Conan first met Nkosi, the Stygian soldier he kills in that story.

​Have you ever explored the various Conan chronologies that Conan fans debate, and do you have one you think is most correct?

JZ: I’ve seen many of them and have read them over but have not spent much time comparing detailed notes between them. Once Heroic Signatures gave me their preferred timeline that was the one I started using and will stick to until they tell me otherwise.

I appreciate that there’s reader debate around the order of those stories but, in the end, that’s not how I measure an effective Conan story. I’m paying attention to where my stories fit and do want to get the details right, but I’m also not trying to tie off every single thread introduced in those tales or fill in every gap.

The larger plan I have for the comic series is built around those canon ‘pillars’, but it also uses a lot of new elements because I want to keep new readers and old guessing about what will come next.

​Do you have a personal favorite period in Conan’s life? His thief period, his buccaneering days, his kingship, etc?

JZ: I’ve always been partial to Conan in his impetuous youth as a thief, exploring a lot of new places for the first time and getting into situations way over his head.

That said, I’ve been building a few new stories around King Conan and am really enjoying exploring that completely different side of his life, especially in the context of Howard’s classic “Civilization VS Savagery” theme.

I'd like to thank Jim for being so generous with his time as to speak with a rando with a blog who's passionate about Conan. Jim Zub hosts his own blog as well as a Substack newsletter that you should check out; it's entertaining to read his thoughts on Conan, the medium of comics, and storytelling in general. It's cool to see that his circle consists of many of the Conan-adjacent people I've been reading from and quoting in this chronology for months. His Conan books are in comic shops, so go pick one up. 
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RED NAILS

10/6/2024

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The beating heart near the center of almost every Conan story written by Robert E. Howard is a conflict between civilization and barbarism. The lost and decaying / wicked and villainous / decadent and ignorant cities of the Hyborian Age represent civilization, while Conan the Cimmerian represents the barbarism. For Howard, barbarism wins every time. I'm not the first person to write about that.

We've seen these civilizations often by this point, 37 stories into this chronology by my count. The seedy taverns in Zamora. The secretive lairs in Stygia. The almighty dollar-driven Messantia. The wasteful decadence of Shambullah. Conan's been to all of them, and he always comes out on top, never really letting the traits of civilization affect him.

It's clear that Howard's admiration for "barbarism" is a sort of rugged individualism. To him, Conan represents the Occam's razor of life: to be barbaric is simpler and better. It keeps Conan strong and quick. It eschews the temptations that turn men evil, as Conan only occasionally needs money or engages in vices like gambling and drinking before he's thrust back out into the wilderness. Conan has an innate aversion to all things he sees as unnatural, like sorcery.

As Conan said a few stories ago in "The People of the Black Circle," his view on civilization at best is that it's overcomplicated and restricting:
"'But because I am a queen, I must consider my kingdom...'
'Would you make me your king?' he asked sardonically.
'Well, there are customs---' she stammered, and he interrupted her with a hard laugh.
'Yes, civilized customs that won't let you do as you wish. You'll marry some withered old king of the plains, and I can go my way with only the memory of a few kisses snatched from your lips. Ha!'
'But I must return to my kingdom!' she repeated helplessly.
'Why?' he demanded angrily. 'To chafe your rump on gold thrones, and listen to the plaudits of smirking, velvet-skirted fools? Where is the gain?'"
"Red Nails" is thus far the clearest example of all of those anti-civilization values put to the page. ​
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Conan and Valeria fighting the "dragon." Painting by Manuel Perez Clemente
"This exhibition of primordial fury chilled the blood in Valeria's veins, but Conan was too close to the primitive himself to feel anything but a comprehending interest. To the barbarian, no such gulf existed between himself and other men, and the animals, as existed in the conception of Valeria. The monster below them, to Conan, was merely a form of life differing from himself mainly in physical shape. He attributed to it characteristics similar to his own, and saw in its wrath a counterpart of his rages, in its roars and bellowings merely reptilian equivalents to the curses he had bestowed upon it. Feeling a kinship with all wild things, even dragons, it was impossible for him to experience the sick horror which assailed Valeria at the sight of the brute's ferocity."
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"Red Nails" was written in mid-1935, and was clearly the confluence of a lot of strife going on in Howard's life at the time. Patrice Louinet in his essay "Hyborian Genesis" lays out the long sequence of events that would form "Red Nails" in Howard's mind. 

That previous Christmas, instead of getting his girlfriend, Novalyne Price (shoutout to a fellow English teacher), a history book as she asked, he pigheadedly bought her The Complete Works of Pierre Louÿs, which he insisted was "a kind of history" of our "rotting civilization."

Frustrated by the fact that money hadn't been rolling in for his writing (Farnsworth Wright at Weird Tales owed him at least eight hundred dollars), Howard perceived vice to be the problem: people wanted gory, sex-filled stories, which he promised to Novalyne by describing the future "Red Nails" story as, “I think this time I’m going to make it one of the sexiest, goriest yarns I’ve ever written."

It's clear that Howard chafed against what he perceived to be this new norm, saying, "I’m going to have to work to catch up with the market...  Damn it to hell, girl, sex will be in everything you see and hear. It’s the way it was when Rome fell."

​Somewhat paradoxically though, Howard apparently perceived his stories to already be very lurid, saying to Novalyne, "My god. My Conan yarns are filled with sex." Which I find pretty hilarious because there's a lot of leering at women (a fun but perhaps dangerous drinking game would be taking a shot every time Howard describes a woman as having a "supple figure") and pulling soft flesh into Conan's iron arms, but there are never any explicit sex scenes.

In the summer of 1935, Howard and a friend named Truett Vinson took a trip to New Mexico, which obviously was inspiring for REH. Not only did he load up on Aztec names, but he was fascinated by the Lincoln County War in which Billy the Kid fought. Seeing a feud play out in a town that felt stuck in time was interesting enough to him to become to bones of "Red Nails."
"You will find Lincoln now just as it was when Murphy and McSween and Billy the Kid knew it. The village is an anachronism, a sort of mummy town...

If there is a haunted spot on this hemisphere, then Lincoln is haunted. I felt that if I slept the night there, the ghosts of the slain would stalk through my dreams. The town itself seemed like a bleached, grinning skull. There was a feel of skeletons in the earth underfoot."
Much to Howard's chagrin, he also realized that Novalyne Price had started seeing Truett Vinson romantically, so it's not a huge leap of logic to understand that the possessive, volatile Howard was probably feeling particularly betrayed and distrustful at the time. 
So Howard was frustrated with modern life, which he saw as a godforsaken Babylon. He'd become fascinated with a feud that tore a town apart into a shell of its former self, and an interest in Aztec-sounding names. And he was feeling wary of women. These factors form "Red Nails."
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In Stygia, Conan and his crush Valeria defeat a hideous dragon-like creature in a forest, while spotting a city unknown to either of them. In a peculiar fashion, there is a huge length of untilled, dead plain between the edge of the forest and this gleaming city, with no signs of life anywhere. Upon entering the city, the two get embroiled in a feud between two equally strange factions of the city's inhabitants.

The city's name is Xuchotl, and it's probably one of Howard's most imaginative settings. It's the size of a city, but instead of streets and buildings, the whole thing is a closed system of great halls, passageways, and chambers. It represents the total divorcing of society from the barbarism Conan knows: there's no connection at all to the outside world. Fruit is raised in unnatural hydroponic-style air crops. All light into the city is refracted through strange glass blocks and mirrors. Everybody in the city was born there and has never once set foot outside of it, with the exception of their princess. 

As Louinet puts it:

"Xuchotl is the epitome of a decayed civilization as Howard conceived it. It is the place where, as he had it, 'the abnormal becomes normal.'"
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There are twists and turns around every corner in this city, with plenty of little magical goodies dredged up from the catacombs, all of which seem to have been forgotten for a time and then some enemy figures out its purpose and uses it against his enemies.

Conan and Valeria are enlisted into the feud between the Xotalanc people and the Tecuhltli people on the side of the Tecuhltli, and the war is incredibly pointless. It's a real Hatfields and McCoys situation, and as I type this, I'm wondering if that means anything to anyone reading this who's not American. The Xotalanc and Tecuhltli are slowly destroying one another one at a time. The Xotalanc kill a Tecuhltli, so the Tecuhltli kill a Xotalanc in revenge and then the Xotalanc retaliate, to no avail. Conan recognizes this and tries to leave, but he's goaded into helping the Tecuhltli by promises that it will be made worth his while.

"​'Five red nails for five Xotalanca lives!' exulted Techotl, and the horrible exultation in the faces of the listeners made them inhuman."
Both the Xotalanca and Tecuhltli are dwindling in numbers and surely going to destroy themselves, but they fight on. Jason Ray Carney makes an interesting classification of the "stalemate war" in his piece "Dehumanizing Violence and Compassion in Robert E. Howard's 'Red Nails.'"
“'The stalemate war' generally consists of two sides locked in a violent, hatred-fueled conflict. At the beginning of the story, the original cause of the conflict is often obscured by the passage of time and has been forgotten by both sides; therefore, the war has become interminable, even absurd. The original injustice cannot be rationally judged and righted because, sadly, no one really understands it or cares about it. Raw thirst for blood now defines the unending conflict. Each sides’ victory conditions have become amorphous, dangerously ill-defined; if they are expressed, victory consists, quite simply, in the complete destruction of the enemy. The war has become one of mutual extermination because reconciliation between the two sides is no longer possible; the conflict has festered to the extent that both sides have completely dehumanized the other side and they have dehumanized themselves as well. A key feature of the trope is that the lives of the combatants have become a kind of strange, ahistorical purgatory, where nothing happens except violent death after violent death. History doesn’t proceed amidst this never ending, bloody melee."
Carney lays out several historical examples of stalemate wars, and Howard even takes the time to explore the strangeness of it through the brief dialogue between two guards:
"Suppose with their aid we destroy Xotalanc," he said. "What then, Xatmec?"

"Why," returned Xatmec, "we will drive red nails for them all. The captives we will burn and flay and quarter."

"But afterward?" pursued the other. "After we have slain them all? Will it not seem strange, to have no foes to fight? All my life I have fought and hated the Xotalancas. With the feud ended, what is left?"
​

Xatmec shrugged his shoulders. His thoughts had never gone beyond the destruction of their foes. They could not go beyond that.
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This society, as unnatural as can be, is devouring itself quickly and absolutely cannot see that it is doing so. I'd imagine that Robert E. Howard felt like the modern world and the Depression-era United States was doing the same thing. 

So we've seen how Howard is playing out his themes of civilization losing to barbarism through its vice, and the fruits of his trip to New Mexico, but what of his spat with Novalyne Price? From my read of it, this is where the princess Tascela comes in. 

Tascela is clearly up to something throughout the story: she's the only nonnative inhabitant of Xuchotl, and as a Stygian, Howard's likely to make her the villain anyway. Here's where much of the violence and sex REH was talking about really rear their head. Tascela has been pulling the strings this whole time, draining the life out of those in the city for her own eternal youth. Perhaps this was his dig at Novalyne, feeling used and scorned by a woman. He hints at this in his personal life, explaining to Novalyne at one point:

"Girl, I’m working on a yarn like that now—a Conan yarn. Listen to me. When you have a dying civilization, the normal, accepted life style ain’t strong enough to satisfy the damned insatiable appetites of the courtesans and, finally, of all the people. They turn to Lesbianism and things like that to satisfy their desires. . . . I am going to call it ‘The Red Flame of Passion.'"
"The Red Flame of Passion" became "Red Nails." There's really only one scene within "Red Nails" that reads to me as really carrying lesbian undertones, and that's when Tascela is about to drain Valeria of her life. I agree with Howard on this one, it's rather steamy if you approach it from that view.
She came down from her dais, playing with a thin gold-hilted dagger. Her eyes burned like nothing on the hither side of hell. She paused beside the altar and spoke in the tense stillness.

"Your life shall make me young, white woman!" she said. "I shall lean upon your bosom and place my lips over yours, and slowly—ah, slowly!—sink this blade through your heart, so that your life, fleeing your stiffening body, shall enter mine, making me bloom again with youth and with life everlasting!"

Slowly, like a serpent arching toward its victim, she bent down through the writhing smoke, closer and closer over the now motionless woman who stared up into her glowing dark eyes—eyes that grew larger and deeper, blazing like black moons in the swirling smoke.
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The kneeling people gripped their hands and held their breath, tense for the bloody climax, and the only sound was Conan's fierce panting as he strove to tear his leg from the trap.
While this is essentially the climax of the "Red Nails" narrative, I have a feeling that's not the only climax Howard was thinking about when he wrote it. 

Howard was definitely trying to increase the prevalence of his themes of dying civilization and thriving barbarism into this story, writing to HP Lovecraft:
"​I have been dissatisfied with my handling of decaying races in stories, for the reason that degeneracy is so prevalent in such races that even in fiction it can not be ignored as a motive and as a fact if the fiction is to have any claim to realism. I have ignored it in all other stories, as one of the taboos, but I did not ignore it in this story. When, or if, you ever read it, I’d like to know how you like my handling of the subject of lesbianism."
Am I positive that Howard was lashing out against Novalyne by doing the 1930s equivalent of when chuds get rejected and then say, "Whatever, she's probably a lesbian anyway?" Absolutely not. Do I think there's a decent possibility of it? For sure. Did REH end up writing one of the best stories of his career when all bent out of shape about what was going on in his life at this time? Hell yeah, he did. I'm left wondering if what he meant was "decaying races" with "degeneracy" in them is just more garden-variety racism that he was so fond of, or if he means something more like the fall of empires.

​"Red Nails" is one of the few Conan stories to explicitly place itself in its timeline. Conan mentions having already been a kozak and a chief of the Zuagirs, while also implying that he's currently in the piracy profession, so that pretty solidly places "Red Nails" right around "The Pool of the Black One."

Reading the prologue written by L. Sprague de Camp for Conan the Warrior, it says that Conan has spent about two years as the captain of the Wastrel before knocking off to join the Free Companions. If that prologue is to be believed (which sometimes I think it is, sometimes I think it isn't), then Conan's got to be in his late 30s by this time.
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"Red Nails" got adapted for Marvel's Savage Tales featuring Conan the Barbarian and was reprinted in Conan Saga, a mag where they recycled old Conan comics, but somehow, it doesn't seem like it was ever adapted in Savage Sword. Maybe it's because Roy Thomas had already adapted it and nobody thought they could one-up him (Spoiler: they'd be right).

​Ron Perlman was supposed to voice Conan in an animated film version about 20 years ago, but it never materialized.

I'm not sure if Howard was completely satisfied with "Red Nails," but it seems as though it had satiated his need to get some of those themes down on paper. He wrote, once again to Lovecraft, "The last yarn I sold to Weird Tales—and it well may be the last fantasy I’ll ever write—was a three-part Conan serial which was the bloodiest and most sexy weird story I ever wrote."

Howard was more right than he knew. One June 11th, 1936, when it became clear that Howard's beloved and ailing mother was not going to make a recovery, Howard walked out to his car and shot himself in the head. "Red Nails" would begin its three-part serialization in Weird Tales just a few days later.

Thematically rich (hey, I wrote way the fuck more about this story than I have for literally any other Conan story thus far), totally thrilling, and epic in length, "Red Nails" is a top-tier Conan story. The one-off characters like king Olmec and the people of Xuchotl are really fun. Conan's companion Valeria rises above nearly all of Conan's other partners through her skill and personality. 

I'm winding down this era of Conan's career, as we'll get to his kingship of Aquilonia soon enough. 

​"Is there anything you haven't done?" inquired the girl, half in derision and half in fascination.

"I've never been king of an Hyborean kingdom," he grinned, taking an enormous mouthful of cactus. "But I've dreamed of being even that. I may be too, some day. Why shouldn't I?"
★★★★★
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THE POOL OF THE BLACK ONE

10/4/2024

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"The Pool of the Black One," first published in Weird Tales in 1933, is one of the only Conan tales that I've read at least three or four times. And at this point, I feel like we're kind of on a downswing in this section of Conan's career. The last couple stories have just been passable. "The Pool of the Black One," which not a major step up, is definitely the best one since "The People of the Black Circle." It has several elements we've seen before in "Iron Shadows in the Moon" and "The Devil in Iron" (and a few more, if we're being honest) but it does the job better with some of its creepy magic elements, especially later in the narrative.

The story opens with a poem as an epigraph, which I think is fun most of the time. Conan is now travelling with the pirate Zaporavo and Sancha, a beautiful and classy woman, as usual. Conan's entrance to the story is pretty classic, as he sort of just appears on their boat, dripping wet. When they ask him how the hell he got aboard, he just says, "I swam." We really get to see Conan have a good time while crewed up with the pirates.

“Hither came Conan, the Cimmerian, black-haired, sullen-eyed, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and ​gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet.”
We finally get to see some of the gigantic mirth talked about in the above quote, which is trotted out almost any time Conan is mentioned. Usually Conan is sullen and frequently monosyllabic, but he loosens up a bit in a really charming way here. At least, it's charming if you're not Zaporavo or Sancha, seeing as it's clear he's gunning for Zaporavo's captain post and Sancha's bed. But as long as you're a part of this crew or a third-party viewer, Conan's downright charming in this. 
"​His mates began to rely upon him. He did not quarrel with them, and they were careful not to quarrel with him. He gambled with them, putting up his girdle and sheath for a stake, won their money and weapons, and gave them back with a laugh. The crew instinctively looked toward him as the leader of the forecastle. He vouchsafed no information as to what had caused him to flee the Barachas, but the knowledge that he was capable of a deed bloody enough to have exiled him from that wild band increased the respect felt toward him by the fierce Freebooters. Toward Zaporavo and the mates he was imperturbably courteous, never insolent or servile."
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I remember running a "Pool of the Black One" module with my friends when DMing a Conan D&D campaign with them, and it was really fun in a way that leant itself well to a D&D session. The creepy pool of green water which seems to petrify people into hardened bone action figures. The way the water seems sentient. The ancient civilization's walls surrounding it. It's all pretty cool. 

The "black one(s)" themselves are a bit of a different story. Howard seems to be betraying some of his own personal beliefs here, as these clearly inhuman things are readily referred to as "blacks" by Conan, and it's specifically noted that he just seems to feel that's what's best to call them. As they carry off a white woman, it starts to feel pretty icky. 

"The Pool of the Black One" feels a lot like some of Post Malone's new country music. I know there's a long history of "going country" in popular music, but I can't think about it too much or it really ruins it for me. Post Malone's wearing multiple Cowboys jerseys and singing about Dallas (Isn't he from Syracuse? He is! I checked.). The whole video's basically just a Bud Light commercial. Blake Shelton's the feature (Is there a more horrendously bland pop country artist than Blake Shelton?) They're singing about working 40-hour weeks and keeping up with the Joneses (You're both rich pop singers! You've never worked a 40-hour week! You're the Joneses! Actually, the Joneses are trying to keep up with you!) And yet, for some reason, I really like that song. The less I think about it, the more I like it. It's the same for "The Pool of the Black One." If I don't think about the weird implications of the black creatures carrying off a defenseless white woman, I have a much better time. It's a shame you have to do that to enjoy some of these.

"Pool" was adapted into comic form by Roy Thomas and John Buscema in Savage Sword 22 and 23, which is kind of surprising to me since it doesn't seem like one of the stories that would need two parts for an adaption.

​"Red Nails" is next. I'm excited for this one!

★★★☆☆

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THE GEM IN THE TOWER

10/2/2024

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Conan has returned to the sea in "The Gem in the Tower." According to my copy of Conan The Swordsman (the 2002 hardback which seems to have once belonged to the library in Tempe, Arizona), the prologue states that Conan is now in his middle thirties. Though his days on the sea with Belit are far behind him (and let's be real, were extremely short to begin with), his nickname "Amra the Lion" still carries a lot of weight, gaining him a first mate position on the ship the Hawk with a group of Barachan pirates. The prologue notes that Conan will be with these Barachan buccaneers for quite some time, but there really aren't that many Barachan pirate stories in the Conan canon. 

"The Gem in the Tower" is a decent Conan story, but it never really rises above decent. Weirdly enough, it's a rewrite of a Lin Carter story, "Black Moonlight," featuring an original character named Thongor. While we've read four different stories that began their lives as Conanless Howard tales, and several others that began life as Conan stories but then first saw publication with the Hyborian Age serial numbers filed off such as "The Frost-Giant's Daughter" becoming "The Gods of the North," we've never yet read a story that started as a Conanless tale from someone else. 

​The weird thing to me is that "Black Moonlight" was already a published story in 1976. Like, it was already out there for the public. So when Lin Carter rewrites it to have Conan in it and puts out "The Gem in the Tower" two years later in 1978, I get a little confused. "Black Moonlight" is still available and everything; you can read it for free online in Fantastic, where it was originally published. My question is: if you're Lin Carter, why do you do this? It's not like one of Howard's unpublished stories that made its way to the page as a Conan story first. Can you imagine doing this in any other medium? Like two years after a sci-fi movie comes out, the same director gets hired to do a Star Wars film and just does the same movie from two years ago but with Star Wars characters and locations?

It feels a little bullshitty, and makes Carter seem like a hack who was just hoping to profit off of using Conan's name. I don't know. It's weird. I'll get back to the actual story now.

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There's some good description, mostly of the sunset, and some fun adventure in this story on a nameless island in the western sea. The bat creature is a decent villain, mostly because of how frustratingly durable he is against the pirates, and I really like that the tower is long-abandoned. Its feared sorcerer, we learn at the end of the story, is already dead, sitting on his throne. But the tower in which he lies is much, much older, and I think that's sort of fun.

This is one of those stories that I think Roy Thomas honestly did much better in Savage Sword 45.
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That issue of Savage Sword also has a totally ripping cover with art done by Nestor Redondo, which I've put at the top of this page. It kind of makes me wish more comic covers had elements like lightning and fire.
Conan's moved on to a new part of his career. Gone are his mercenary days (for now) and his second stint at piracy has begun. I'm not sure if this is only going to be a two-story stint with the pirates, though I've read other stories of Conan's runs with the Barachan pirates (Savage Sword issue 72, for example), so those may exist more elsewhere. One thing that I find interesting is that in this post about the novel Conan: The Road of Kings, Gary Romeo over at Sprague de Camp Fan publishes a letter from L. Sprague de Camp about some of his planned Conan books and their chronological order. He places it right after "Drums of Tombalku," and I've obviously filled that gap in with a few other stories.

I think when I'm done with my chronology, I'm going to try to fit as many Savage Sword stories as I can into the chronology and see where they sit. But right now, here's how I'm breaking up Conan's career to this point. 

The Coming of Conan
  1. The Frost-Giant's Daughter (Note: I think this one belongs early, not before "Ice Worm")
  2. Legions of the Dead
  3. The Thing in the Crypt
The thief period
  1. The Tower of the Elephant
  2. The Hall of the Dead
  3. The God in the Bowl
  4. Rogues in the House
The Turanian mercenary period
  1. The Hand of Nergal
  2. The City of Skulls
  3. The People of the Summit
  4. The Curse of the Monolith
  5. The Blood-Stained God
  6. The Lair of the Ice Worm
"Goin' Down South"
  1. Queen of the Black Coast
  2. The Vale of Lost Women
  3. The Castle of Terror
  4. The Snout in the Dark
  5. Hawks Over Shem
  6. Black Colossus
  7. Shadows in the Dark
The kozaki period
  1. Iron Shadows in the Moon (Note: I don't think this one should be canon)
  2. The Road of the Eagles
  3. A Witch Shall Be Born
  4. Black Tears
  5. Shadows in Zamboula
  6. The Star of Khorala
"Commander Conan"
  1. The Slithering Shadow
  2. Drums of Tombalku (Note: I'm not sure this one should be canon)
  3. The Devil in Iron
  4. The Flame Knife
  5. The People of the Black Circle
The Barachan pirate period
  1. The Gem in the Tower
  2. The Pool of the Black One, which we'll read next time.
​
★★★☆☆
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    Hey, I'm Dan. This is my project reading through the career of everyone's favorite sword-and-sorcery character, Conan the Cimmerian, in chronological order.

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