But
of course, someone almost always does. As
described in Islamic mythology, a djinn is a sub-angelic spirit capable of
taking human or animal form. Its motives
are not always clear. Does it intend good?
Evil? Something in between? This is not the “Genie” of Aladdin’s lamp, and
certainly not the character of “Jeannie” played by Barbara Eden in the late
1960s sitcom. The root of the word can
be translated as “the hidden”. In some
sources a djinn is believed to be invisible to humans, and composed of a very
hot but smokeless flame. They often take
the role of guardian spirits, either of individual people, or of hallowed
property.
And
some fairly unhallowed property as
well. In Robert E. Howard’s entertaining
The Fire of Asshurbanipal (1936), an
entity that the locals call a djinn is most likely an avatar of Yog-Sothoth or
even Cthulhu—despite the desert setting. This inventive tale will almost
certainly remind readers of one of the adventures of Indiana Jones, but it also
borrows heavily from some of the best known creations of H.P. Lovecraft. It is primarily an adventure tale involving
two hapless adventurers, a fabled lost “City of Devils”, a mysterious gemstone,
and a bad guy named Nereddin El Mekru—he is the one who manages to offend the
djinn. Its Lovecraftian trappings make The Fire of Asshurbanipal a ‘mythos’
story.
Steve
Clarney, an American, and his Afghan sidekick Yar Ali are trying to find the
famed and dreaded city of Beled-el-Djinn, mentioned in the Necronomicon of the mad Arab Alhazred. The relationship between these two men parallels
that of Solomon Kane and N’Longa, though the former duo is perhaps a bit more
light hearted—insofar as that is possible in a Howard story. Hidden in the shadowy ruins of a temple in Beled-el-Djinn
is the “Fire of Asshurbanipal”, a mysterious stone thought to have belonged to
an ancient Assyrian king. Howard is
masterful in reworking the ancient history of Persia, Assyria, and Nineveh to
form a seamless backstory to his tale.
Aside
from its entertainment value, The Fire of
Asshurbanipal (1936) is interesting because of its connection with an
earlier story of Howard’s, The Thing on
the Roof (1932), as well as H.P. Lovecraft’s classic The Haunter of the Dark (1936).
All three of these stories are focused on the effects of a strange
stone, which has the capacity to psychically link its admirers with other
dimensions and open doors to various eldritch horrors.
As in
The Fire of Asshurbanipal, the
titular ‘thing on the roof’ is summoned by the theft of a powerful ruby colored
stone—in this case, one carved into a toad-shaped Tsathogguan idol—which originally
belonged to a temple high priest. An
arrogant archaeologist locates the stone in an ancient ruin in Central America,
with the aid of a copy of Von Junzt’s Nameless
Cults. Lovecraft refers to this tome as the Unaussprechlichen Kulten. (See
also Always
Read the Manual First.)
In The Fire of Asshurbanipal, the hazardous
stone had belonged to a magician with the suspiciously Mayan sounding name of
Xuthtlan. Howard cleverly used names and
geographic locations to imply a worldwide connection of prehistoric worshippers
of the Old Ones. In both of these
stories the stone acts as a key to release a horrific guardian entity that is
mercifully never fully described.
H.P.
Lovecraft’s The Haunter of the Dark
(1936) is the well-known story of Robert Blake’s fateful encounter with the “shining
trapozohedron”, an item he finds in the belfry of an ancient, desecrated
church. This large gem-like rock was
also used by an occult priest to summon “something that can’t exist in light.” Blake cannot resist gazing into the crystal,
which initiates a kind of psychic possession and the eventual appearance of a
version of Nyarlathotep. Interestingly,
both Lovecraft’s The Haunter of the Dark and
Howard’s The Fire of Asshurbanipal
appeared together in the December 1936 issue of Weird Tales.
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