When we last left de Montour, the gentleman from Lombardy, he had narrowly escaped being eaten by the evil werewolf Carolus le Loup, (see earlier post, “The Allure of the Loup-garou”). De Montour was the narrator of Robert E. Howard’s short story In the Forest of Villefère, published in August of 1925. Within a year Howard published a much more ambitious tale, Wolfshead (1926). De Montour returns, but as a character of interest—he is no longer the narrator.
Wolfshead has a relatively large cast of
characters for a Weird Tales
story. Various nationalities are represented;
there are two women, numerous restless natives, and a werewolf. Typical of the times, politically incorrect
stereotypes abound. Women are either
demure and virginal, or loose and ‘fallen’.
The two females serve mainly to start fights among the male characters
who want to possess them. Hispanics are
lascivious and prone to rage, and Africans—‘black devils’—are depicted as
unintelligent slaves. People of various Caucasian
ethnicities are also stereotyped by nationality.
The
sensitivity to racial and ethnic diversity (or rather, lack thereof) is similar
to that displayed in such movies as The
Lost World (1925), King Kong
(1933), and Flash Gordon (1936). Perhaps this can be excused as consistent
with early 20th century attitudes, but it is dismaying that nearly
100 years have passed and these prejudices are still prevalent. One can see how far we have come—not far.
Wolfshead is a sprawling combination of
historical fiction, detective story, swashbuckler, and horror tale. Pierre, the narrator, is a guest of Dom
Vincente, and stays with him in the latter’s fortress-like castle on the west
coast of Africa. Dom Vincente has made a
fortune by oppressing the local inhabitants and trading in rare woods, ivory, and
slaves. Vincente’s guests amuse
themselves with parties and romantic intrigues, while treating the native
population appallingly. However, when de
Montour arrives, the bodies begin to pile up, both inside the castle and in the
nearby village. There is a subplot
involving a rival of Dom Vincente, who stirs up a revolt among the natives.
But
the subject of interest is de Montour, who has become a werewolf himself after
killing Carolus le Loup in the previous story.
He tells Pierre that he had failed to take precautions when dispatching the
other werewolf: the moon was not yet at
its highest point in the sky, and le Loup was only partially transformed into
his werewolf form. The werewolf has to
be fully a wolf; otherwise its spirit haunts and inhabits its slayer. De Montour jumped the gun, or rather, sword,
and so is now afflicted himself. He
seeks redemption for all the murders he committed as a werewolf since his
mortal struggle with le Loup.
We
learn that being a werewolf gives de Montour superhuman, fiend-like powers, and
these come in handy when the conspiracy to stir up the natives and over throw
Dom Vincente comes to a head. There is a
happy ending, insofar as de Montour obtains a cure for his lycanthropy, but the
process involves decimating most of the native population.
Wolfshead is worth reading for Howard’s
novel explanation of how lycanthropy came to be. Suffice it to say that it involves ancient fiends
from outer space, an epic struggle between good and evil, the biblical King
Solomon, and lupine evolution. The most
startling insight that Robert E. Howard offers is that “the true werewolf is
not (as many think) a man who may take the form of a wolf, but a wolf who takes the form of a man!” Although
the story is marred by overt racism and chauvinism, it is a good example of the
exuberance and inventiveness of 1920s era pulp fiction.
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