Frank
Belknap Long’s The Hounds of Tindalos
(1946) opens with the classic debate between a materialist, also named Frank,
and his author and journalist friend Halpin Chalmers. Chalmers is the visionary dreamer, impatient
with modernism and dogmatic science. He
is more comfortable with a subjective and intuitive approach to understanding
the nature of reality.
The discussion
closely resembles that between Randolph Carter and his “orthodox sun-dweller”
friend Joel Manton in H.P. Lovecraft’s The
Unnamable (1925). The stories seem
to be mirror images of each other. It is
interesting that in both the author—as first person narrator—argues from the opposite side of the debate that is more
characteristic of his views.
Thus
Lovecraft, through his fictional representative Randolph Carter, argues in
favor of supernatural explanations for what he and his friend Joel Manton are
about to experience. Long, as ‘Frank’ in
The Hounds of Tindalos, urges his
friend Chalmers to be cautious and trust in science rather than succumb to the
hazards of occultism and subjective experience.
Ironically, Manton the materialist suffers the most harm from the
supernatural horror in The Unnamable, while
Chalmers the mystic has his head handed to him—literally—in The Hounds of Tindalos.
Long
was a friend of H.P. Lovecraft’s. They
met as members of the United Amateur Press Association around 1920. S.T. Joshi notes that the two were different
in temperament and in world view. Long,
ten years younger, went through ‘phases’ where his intellectual passions
included avant-garde literature, mediaeval Catholicism, and Bolshevism, among
other subjects. This served as a basis
for good natured debate between the two.
Reading the repartee between Frank and Chalmers, one can imagine a
similar spirited discussion between Long and Lovecraft.
The Hounds of Tindalos is told in five sections. The first two contain the aforementioned
philosophical debate as well as a description of Chalmers’ experiment and its
aftermath. The author takes a powerful
drug called ‘Liao’ to expand his consciousness.
It allows him not only to travel back in time, but perceive the
underlying nature of reality. Chalmers
persuades Frank to take notes on what he experiences while under the influence.
In a
hallucinatory passage Chalmers experiences all of human history and the
evolution of life on primordial Earth. Long
borrows and modifies ideas from Chinese Taoism to describe a dark and threatening
view of what lies beyond normal awareness in the fourth dimension, where the
evil ‘Doels’ and ‘Hounds of Tindalos’ lie in wait. A confusing section seems to suggest a role
for these evil entities in the story of Adam and Eve and the Fall. However, Chalmers states “They are beyond good
and evil as we know it. They are that
which in the beginning fell away from cleanliness.”
After
his experience, Chalmers begins to deteriorate.
Hysterically afraid, he has his friend help him plaster the corners of
his room so that all the sharp angles are replaced by smooth curves—“Frank,
they must be kept out...They can only reach us through angles. We must eliminate all angles from this room.”
Frank doubts there is reality to
Chalmers’ terrible anxiety. He ascribes
it a drug-induced psychosis. (Perhaps
the breakdown is also caused by too much metaphysics).
The
remaining sections of The Hounds of
Tindalos are fragments. The narrator’s
voice disappears and the story becomes less coherent—this may have been Long’s
intent. A newspaper reports an unusual
tremor and subsequent fires in the city; there is also news of the grizzly
death of the occult writer Halpin Chalmers.
In the fourth segment, a biologist describes the chemical contents of a
strange blue slime that covered Chalmers’ remains—the slime is alive, yet lacks
enzymes typical of familiar life forms.
Finally, the story ends with a haunting passage from one of Chalmers’ writings, where he speculates—and explains to the reader—how life might thrive in another dimension. “Some day I shall travel in time and meet it face to face.” The story can be read as a cautionary tale: writers who eschew science and materialism for a solo journey into the underlying nature of reality risk insanity, sliming, and decapitation.
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