Today in pulp... "It is the colour of a bleached skull, his flesh; and the long hair which flows below his shoulders is milk-white." This is how we are introduced to Michael Moorcock's anti-hero Elric of Melniboné.
Elric, also known as The Albino Emperor, Elric Kinslayer and the Pale Prince of Ruins is the 428th emperor of Melniboné, and the last. A sickly sorcerer sustained by enchanted herbs, he is a brooder and an outsider to his people.
Elric is the sole heir to the Ruby Throne of Melniboné, after his mother died in childbirth. Like Hamlet he is a prince who studied the world and questions his role within it. He is also a moral person, which makes his people think of him as weak.
Elric's story is both a 'voyage and return' narrative of his travels amongst humans and a 'killing the monster' tale of his struggles against his cousin Yyrkoon and indeed his own role as an Eternal Champion.
Elric is set in the Michael Moorcock multiverse: a series of different versions of Earth at various times. Law and Chaos battle in each one, and an Eternal Champion must strive - often unwillingly - to maintain the balance between them.
To aid his role as Eternal Champion - and to provide his sickly body with strength - Elric wields the runesword Stormbringer: a sentient weapon that feeds on souls. However he must feed it souls whenever he draws it - a curse that causes him bitter grief.
Elric first appeared in Science Fantasy magazine in 1961, featuring in five novelettes. Four novellas followed, with the last one "Doomed Lord's Passing" published in 1964.
A number of other Elric stories were published in the 1960s and 70s, filling in gaps between the novellas. Collections of the original stories were also published by DAW, Lancer Books, Mayflower and Quartet.
The next original novel, "Elric of Melniboné" was published in 1972 as a a prequel to the earlier stories explaining how he came to possess Stormbringer...
...but it was another 17 years before the next Elric novel "The Fortress Of The Pearl" was published in 1989. Moorcock published further original Elric novels in the early 2000s.
Many influences on Moorcock's Elric saga have been cited, including Poul Anderson and Fletcher Pratt. But in the end Elric is unique to Michael Moorcock and his fictional multiverse.
Elric is a hugely complex character; not quite a tragic hero, not quite an anti-hero. Moorcock's concise style in describing him in his world adds to the sense that an elegant but intense narrative is being offered to the reader.
The world of Elric is also rich and complex, but not unfamiliar. The saga has been described as anti-Tolkein, unredemptive and Norse inspired. There is something in all of those assertions.
There are many excellent Elric graphic novels and role-playing games, so you can enjoy the world of Melniboné and the struggle for (and against) the Ruby Throne however you wish.
I don't think you have to start reading Elric in canonical order to enjoy it: I started with The Weird Of The White Wolf and worked backwards. That's the joy of a well constructed saga, you understand what you have missed from what you are already reading.
That's it for my look at Elric of Melniboné today. I hope I've whetted your appetite to read (or re-read) Michael Moorcock's epic tale.
More stories another time...
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It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.
Al Hartley may have been famous for his work on Archie Comics, but in the 1970s he was drawn to a very different scene: God.
Today in pulp I look back at Hartley's work for Spire Christian Comics - a publisher that set out to spread the groovy gospel...
Spire Christian Comics was an offshoot of Spire Books, a mass-market religious paperback line launched in 1963 by the Fleming H. Revell company. The point of Spire Books was to get religious novels into secular stores, so a move into comic books in 1972 seemed a logical choice.
The idea was to create comic book versions of popular Spire Books like The Cross and the Switchblade; David Wilkinson's autobiographical tale of being a pastor in 1960s New York. It had already been turned into a film, but who could make it into a comic?