Here you will find reviews of new and classic stories, articles, and points of interest by various DMR contributors. Have something you'd like to share? Contact us to be considered.
After examining some of Robert E Howard’s approaches to opening a yarn, in part two it’s time for a snapshot overview to show how other famous pulp and Swords and Sorcery authors have also used these eight opening elements to great effect.
Since Robert E. Howard was a master at story openings, it pays to take a look at some of the ways he begins his own yarns to catch a glimpse of what he may possibly have advised us had he spoken on the topic at greater length.
The merits of Robert E. Howard’s fiction have long been overshadowed by public perception of him as a one-dimensional writer of simple-minded adventure and fantasy stories. Despite the fact that Howard’s work was roundly praised by readers during his lifetime, postwar awareness of the man and his works consisted of faintly damning praise.
Howard distilled the proud, heroic tradition of works like the Iliad and the Odyssey into pulse-pounding, blisteringly-paced novelettes, novellas, and shorts. Nowhere is this more obvious than in "Spears of Clontarf" and "The Grey God Passes."
Today, I'm looking to crowdsource answers to some Merritt-related enigmas, one of which has plagued me for well over a decade.
As important to me as A. Merritt is, it constantly surprises me that there are still many today who have never heard of him. Actually - let me walk that back a bit. It used to surprise me.