Sometimes, at the end of a long day, you just want to sit and relax with a simple, gruesome monster story. It is exactly what you need to avoid ruminating on worse horrors you may actually know personally. William Hope Hodgson’s A Tropical Horror, (1905), is perfectly suited for this.
Like
the ill-fated Nostromo of Alien, (1979)
the merchant ship Glen Doon is far from home, out at sea somewhere near
Melbourne, Australia, and on its way back to London. The ship, a four masted barque—one of Hodgson’s
favorite vessels—stalls out in a calm area, with little ocean current or wind
to move the sails. This is almost always
bad. Sure enough, by the third
paragraph, the ship is attacked and commandeered by a specimen of Hydrophiinae
giganticus, var. esurienti, (not actually identified as such in the story.)
The monster
is familiar; a variation on “sea serpent”, but Hodgson has given it a few
physical details that make it a more unique critter. For one thing, it comes with “a vast
slobbering mouth a fathom across…from the huge dripping lips hang great
tentacles”. It has evil, swinish,
intelligent eyes, and when its mouth opens it displays four huge fangs. But the most horrific aspect of the creature
is its tongue, “a long, broad blade of glistening white, set with fierce teeth.” When in use, the effect of this tongue is
exactly the same as the menacing metallic proboscis of the creature in Alien.
The plot
is simple and direct. It consists of the ship’s crew being eaten alive, one by
one. There are a few moments of
suspense, when there is a brief trembling hope of escape from carnage. Unusual for the time it was written, a 14
year old child is one of the creature’s victims. Even the ship’s cat is not spared.
Here
I’m reminded of Jones—‘Jonesy’ to those who are about to punctured and shredded—who
is the only other survivor besides Ripley on board the Nostromo in Alien. There is that brilliant nail biting scene in
which crewmember Brett tries to find Jonesy in the dripping cavernous bowels of
the ship, and finds something else.
Brett and Jonesy both scream, Brett for the last time. There are similar scenes of suspense in A Tropical Horror, though virtually all
of the action occurs up on the deck of the ship.
Hodgson’s
story is told almost entirely in the present tense, which gives a sense of
immediacy and tension, but strangely collapses the time frame in which the terrors
occur. (This effect may have been
intended by the author.) Unlike other
Hodgson stories, this one is devoid of sentiment or moralizing. The men on board the Glen Doon are as doomed
as the mice and frogs that show up—briefly—in nature documentaries about
snakes.
Hodgson’s
sea serpent is solid, muscular, “slobbering” and plausible enough. The voracious creature is an immediate physical
threat to life and limb, and one can either fight it, (not a good plan) or flee
from it. Relentless, it attacks at night
as well as in broad daylight. Of course,
a monster like this activates primal fears of being eaten by large predators.
Lovecraft’s
monsters on the other hand tend to be insubstantial, even abstract. With the exception of his ghouls, and some
Dagon worshiping half-breeds, his creatures are often intangible, without clear
borders or locations. They are most like
the fearful entities in nightmares. As
such, they tend to be more disturbing than frightening. They are not really all there. (Even mighty,
world-changing Cthulhu was deflated
by the prow of Johansen’s ship when it pursued him from the temporarily risen
city of R’lyeh.) Lovecraft’s monsters
are more conceptual, even philosophical—they seem to stand for notions like chaos,
(Nyarlathotep), miscegenation, (Dagon, Cthulhu), or subversion, (Yog-Sothoth).
But
in Hodgson’s A Tropical Horror, the
monster is in your face, a hungry and evil critter
that you have to run or hide from. On a
Friday night, at the end of a long work week, this is as complex as a story
needs to be.
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