In his foundational essay Supernatural Horror in Literature (1927), H.P. Lovecraft offered that the true weird tale contains “a malign or particular suspension or defeat of those fixed laws of nature which are our only safeguard against the assaults of chaos…” Just such a suspension or defeat occurs near the end of Escape, a short story by Paul Ernst that was published in the July issue of Weird Tales in 1938. Escape appeared along with Henry Kuttner’s Spawn of Dagon, Clark Ashton Smith’s Mother of Toads and poems by H.P. Lovecraft, (“The Messenger”) and Robert E. Howard, (“Ships”).
Ernst’s
story is an informal case study of a patient named Gannet, who has been
institutionalized because of recent violent and inexplicable behavior. He is an educated man, a mathematician and an
inventor. The narrator is a reporter
named Freer. He is visiting the asylum
in order to write a story about the treatment of the patients and the
conditions in the local state institution.
This allows Freer to observe Gannet and interact with him, as well as
his attendant.
The
patient presents as calm and reasonable to the narrator. The reporter is impressed with Gannet’s mild
manner and “sad, determined eyes”. Why
is he here? Yet every day the man busies
himself with the construction of some kind of mysterious contraption in a
corner of his cell—which no one can see, and which Gannet will not talk about. Nick, the asylum attendant, resembles almost
every fictional asylum worker of book or film.
He can barely repress his cynical, shop weary smirkiness. He tells Freer that staff will not approach
that part of Gannet’s room, even to clean, because he becomes violent.
“It
certainly looks,” I said in a low tone to the attendant, “as though there
should be something there.”
Ernst
cannot describe the device directly—it is invisible—so he meticulously
describes Gannet’s movements as he is working on it. The reader is then able to imagine the
outlines of Gannet’s work, and the cleverness of the description builds mystery. What is the device for? Readers will suspect at once that Gannet’s
unusual technology will help him escape the asylum. But it is clear from Gannet’s conversation
with Freer that a more profound escape is intended. Gannett comments on Freer’s occupation as a
reporter:
“Your
work. The madness and despair of
humanity—that’s your stock in trade. You
deal in war and famine and flood, in social injustice and political and civil
brutalities. They’re the intimate facts
of your life. I don’t see how you can
live among such things. I can’t even
read about them.”
Does the
asylum where Gannet is incarcerated encompass the entire world? Paul Ernst wrote Escape in the late 1930s, publishing the story in 1938. The previous two years saw the start of the Spanish
Civil War, the election of Adolf Hitler, the beginnings of World War II, and violent
labor unrest in the United States, among other troubling events. It was a time of great anxiety around the globe.
Gannet the inventor wants to escape the
world that the reporter Freer documents.
H.P.
Lovecraft’s character of Randolph Carter also searches for an escape from the
modern world in The Silver Key (1929),
which was published a decade earlier, in a relatively more peaceful time. It is interesting to compare the two
stories. Carter, through the manipulation
of dream and fantasy, is able to retreat to an idyllic childhood—he escapes
into a personal past. He escapes from a
world that he has great difficulty establishing a personal connection with, much like his creator, Lovecraft.
In
Ernst’s story, Gannet’s motive is more social—he
cannot abide with the evil running rampant in the world, and perhaps can see
the great disaster on the horizon.
Because of its nearness to the beginnings of the Golden Age of Science
Fiction, Ernst’s story requires an external device, the application of a weird science,
to effect escape. Dreams alone will not
do.
Some
readers will be disappointed with the abrupt ending, which arrives without the
explanation one expects, given all the detail that preceded it. But perhaps that is the story’s strongest
point: the solution, the means of
escaping from the troubles looming in the world of the late 1930s, was unknown
and unseen.
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