After
jumping face-first into old pulp novels this year, my personal
standout (and author I've been most angry about never hearing of
before) is Abraham Merritt. His 1918-1919 debut The Moon Pool was mind-blowingly fun and 1924's The Ship of Ishtar is a bona
fide fantasy masterpiece. Seriously. Read it. Read them both. They're
great.
In
1920, Merritt wrote The Metal Monster as the sequel to The Moon Pool featuring the
same narrator/protagonist, Dr. Walter T. Goodwin, off on another
exotic adventure. Originally serialized in the Argosy All-Story
Weekly, it was later edited into a full-length book and published in
1941.
In
it, Goodwin is traipsing around Central Asia near the Himalayas where
he meets Dick Drake, adventurer son of an old acquaintance of
Goodwin's. Then, investigating a strange aurora, they discover Martin
Ventnor and his sister Ruth. Then they're chased by a group descended
from a lost city of Persians (who war full battle armor and use
spears and bows). With their guides dead and most of the pack animals
run off, things look bad until a strange but beautiful and very, very
powerful redhead named Norhala rescues them. Human, but also
something else, Norhala can command electrical and magnetic forces
and is connected to a bizarre city made up millions of ever-shifting
living metal Things.
It
should work, and in many places it does, such as in Merritt's
specific style of beautifully grotesque action sequences. The
beginning sets a remote and bleak mood fitting for the setting and
the ending is wonderfully apocalyptic.
Unfortunately,
its all the stuff in the middle that doesn't quite click.
The
Metal Things are suitably weird, and possibly an alien hive mind. Its
difficult to tell, since they can't speak human languages. Their
origins are vague, as are their motives, but they're capable of
draining direct energy from the Sun and causing sunspots (in a fun
scene that actually takes into account the speed of light). The
Things themselves can move and combine and shape themselves into
various forms, including flying cubes, lumbering giants, and the very
structures of their city.
They're
weird and wonderful and predate John von Neumann's 1948 theory by 28
years and John Bernal's 1929 lecture “The World, the flesh and the
Devil” anticipating self-replicating machines by 9 years. (Suck on
that, Commies!)
They
also have a staggering visual and “sociological” similarity to
D&D Modrons, 63 years before their first appearance. And a full 94 years before Knack!
Seriously, they form up and move around like Knack
The
bad part is that Merritt spends a staggering amount of time trying to
explain how wondrous this is. The characters spend four full chapters
on a flying cube trying to wrap their heads around what's going on.
That's...not great pacing for an ADVENTURE story. There are great
ideas being played around with, but the closer it gets to Hard
Sci-Fi, the more it bogs down and frankly, starts to get boring.
Pacing
issues give way to a very clear demonstration that Merritt likes to
use certain stock characters: There's two intellectuals, except
Martin Ventnor spends most of the book either worrying about his
sister or in a coma. There's the two-fisted, upright man of action,
except Drake is a pale shadow of the quirky Larry O'Keefe from The
Moon Pool. There's a hunched, ugly but surprisingly strong
servant figure, only Yuruk is more treacherous than The Ship of
Ishtar's Gigi.
Then
there's the elephant in the room: This is the third Merritt book I've
read that prominently features an exotic, beautiful, immensely
powerful redhead. Lakla, Sharane, and now Norhala.
Merritt
clearly likes what he likes, and I'm more than fine with that.
Unlike
the other two, Norhala is destructively ferocious when roused (as the
Persians eventually learn) and never fully becomes a hero or a love
interest. There's the barest hint of a connection between her and
Goodwin, but that's all.
Ruth
is no slouch either, despite being off-camera taking care of her
comatose brother for most of the book. When it comes to shooting,
she's got the biggest body count out of the four protagonists.
I'm
beginning to suspect Merritt didn't know how to write weak women.
Finally got the hair right on this cover
For
me, the biggest problem with the book is that the main characters
remain observers throughout. Goodwin and Drake set out to try and
find a solution to the predicament, but merely end up going on a
Scooby-Doo chase through the Metal Monster city as they try to figure
out what the hell's going on.
The
plot carries on whether they get involved or not, and the climax is
spent on a hill watching the fireworks.
I
can see how this would impress H. P. Lovecraft (who crowed about the
story in a letter) with its unfathomable alien beings dwarfing human
understanding, but the characters don't glue the whole thing
together. Its difficult to care and Goodwin's dry personality works
better in The Moon Pool where he has the hot-blooded O'Keefe to
bounce off of. There's no real antagonist to speak of. The Persian
leader shows up for one chapter near the end and he's dealt with
handily by Norhala (in one of the best sequences in the entire book)
The
Metal Monster isn't bad. The
Metal Monster is a great concept and Norhala is a scene-stealer. It
just grinds itself to a halt describing the Metal Monster's mechanics
and Merritt does action/adventure/romance much better in other
stories.
This
one's optional.
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