“All
too late I recalled the tales of the virtual indestructibility, even through
centuries of burial, of the hair of the dead.”
The line
above is taken from Medusa’s Coil,
(1930), one of several collaborations between H.P. Lovecraft and Zealia Bishop. It occurs near the end of the novella, as the
narrator becomes ever more aware of the horror unfolding, or perhaps uncurling, on the upper floor of
his mansion. Like the other two stories,
Medusa’s Coil is considered by S.T.
Joshi to be a “primary revision”—an effort that involved extensive editing,
revision and rewriting by Lovecraft.
The Curse of Yig (1928) was the least successful of Lovecraft’s three joint efforts with
Bishop, but is notable for its Freudian charms. (See Snakes
on a Plain (In Oklahoma)) However, The
Mound (1930) is as near to a
masterpiece as Lovecraft comes, and is comparable in quality and
conceptualization to more ambitious works like At the Mountains of Madness (1936) and The Case of Charles Dexter Ward (1941). The
Mound is strongly recommended to enthusiastic readers of Lovecraft. (See also 1.H.P.
Lovecraft, Ethnographer of Doom
and 2.But
Zamacona Does the Heavy Lifting.)
As with
many of Lovecraft’s collaborative efforts, Medusa’s
Coil is interesting primarily because of its relationship to other work by
the author. Had it ended somewhere
around part IV, it might have been a more accomplished piece of weird fiction. The first half of the story, which may show
more of Bishop’s contribution, is fairly effective, if conventional. Unfortunately, the story deteriorates and
becomes increasingly preposterous in the last two sections, during which the
characters struggle unsuccessfully against monstrous, serpentine…hair.
Lovecraft
used his various joint efforts to recycle and inflict several of his favorite
images and motifs on less competent writers.
The collaborations also appeared to allow Lovecraft a venue in which to
be “edgier” and less restrained than he was in his more familiar work, as for
example in the 1923 story The Loved Dead,
with C.M. Eddy, Jr.
Medusa’s Coil borrows heavily from some of
Lovecraft’s earlier fiction. For
example, there is an artist who paints a ghastly soul shattering portrait that
recalls Pickman’s Model (1927)—and perhaps
Oscar Wilde’s The Picture of Dorian Gray
(1890). The opening is almost identical
to that in The Picture in the House
(1921), and there are subsequent scenes that are reminiscent of that ill-fated
visit to a cannibal’s abode, (for example, a tell-tale spreading blood stain on
the ceiling). Reading the stories side
by side, one gets the impression that the author has returned as an older man,
if only in nightmare, to a previous horror.
There
is an autobiographical passage early in the story that mirrors Lovecraft’s own
upbringing by his grandfather—a common feature in several of his tales. There
is also mention of R’lyeh, Yuggoth, the Necronomican,
and “Iä! Iä! Shub-Niggurath!” But the most obvious contribution that
Lovecraft makes is a passage of awful dialogue near the end of the story. This is when “Ol’ Sophy” the Zulu witch-woman,
discovers that her mistress has been hacked to death with a machete by her
husband, who also cut off her mysterious snake like braids. (I can’t explain all this here.) Lovecraft has Sophy first utter some unpronounceable
Cthulhu-ese, and then quotes her:
“…Ya,
yo, pore Missy Tanit, pore Missy Isis!
Marse Clooloo, [that is, Cthulhu] come up outen de water an’ git you
chile—she done daid! She done daid! De hair ain’ got no missus no mo’, Marse
Clooloo. Ol’ Sophy, she know! Ol’ Sophy, she done got de black stone outen
Big Zimbabwe in ol’ Affriky! Ol’ Sophy,
she done dance in de moonshine roun’ de crocodile-stone befo’ de N’bangus cotch
her and sell her to de ship folks…”
Just
plain dreadful, and one suspects that Twain’s rendering of Jim’s slave dialect
in Huckleberry Finn was the source
material. However, the dialogue in the first
four parts of the novella, which includes a vignette in which a young man and woman converse, as well as the aged
narrator’s story within a story, is competently handled, and cannot have been Lovecraft’s
contribution. Lovecraft was notoriously
incapable of rendering believable dialogue.
The
last three sections show Lovecraft’s heavier hand, and also emphasize the profoundly
racist ideology that underlies Medusa’s
Coil. The fact that the story is set
in a decrepit old mansion, once served by African-American domestic servants,
is reminiscent of similar stories by two of Lovecraft’s colleagues.
It is
the same perspective that informs stories like Robert E. Howard’s Black Canaan (1936) and H.S. Whitehead’s
The Passing of a God (1931), to
mention just a few. In fact, racial
fear, especially of miscegenation and the cultural interaction such unions
imply, is the central horror of Medusa’s
Coil—as it was for Lovecraft personally. In my view at least, the racist content in
many of the horror stories from this time period was not superficial or accidental
or commonplace. It was the core
component of the social nightmares that helped produce this work.
This is
not to say that these stories should be suppressed or ignored because of their
racism, which is often the recommendation of more politically correct
reviewers. On the contrary, this
material represents “baseline data” and should be kept in view for discussion,
analysis and reflection. These days, some
feel that social ills can be corrected by erasing unpleasant words and ideas,
that is, by curtailing free speech and free thought—however odious—through an
ill-defined and anti-democratic consensus of opinion. (Why the classic Huckleberry Finn is unfortunately banned in some schools.)
But
this is a form of clinical denial, and expresses the stupidity and naiveté of
political correctness. Our various social
and collective wounds must be cleaned and debrided in the open air and in a
bright light for them to heal. The
terrifying fact is that we are still experiencing nightmares about racism—and feminism,
ageism, socialism, anti-Semitism and all the other “isms”—which nightmares are
still being acted out in broad daylight because we are still asleep.
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