Wednesday, June 28, 2017

Review of The Dice Man by Luke Rhinehart



Albert Camus ("The Stranger"). Jean-Paul Sartre (Author of "Existentialism and Humanism"). Simone de Beauvoir ("She Came to Stay"). They are considered the leading French--if not the worldwide--proponents of existentialism. It's a big word that means, in essence, that to truly be free one kill their conscience; that one should act without fear of moral consequences.

Robert Smith, lead singer of The Cure, was greatly influenced by them. His song "Killing an Arab" was based on "The Stranger" and he stated that he read Sartre in the original French when in high school. It's believe that "Six Different Ways" by The Cure (Head on the Door Album) is about "The Dice Man" and it would seem to fit given Robert Smith's penchant for existentialism. See my Cure blog -- Disintegration Nation.

That's all fine and good, but where does that leave "The Dice Man"? The 1971 cult novel emulates these existential heroes by introducing readers to Dr. Luke Rhinehart, a fictional character (we think) who just happens to have the same name as the author of the novel. Hoomph. George Crockcroft is real name of the author and Luke Rhinehart is his penname, which makes tongue-in-cheek sense. Crockcroft sounds more like a penname or perhaps if you last name is Crockcroft you need a penname.

Dr. Rhinehart adopts the dicelifestyle by doing what a roll of dice tells him to do without regard to morality or social outcome. The protagonist tells readers: "The secret of the successful dicelife is to be a puppet on the strings of the die." We are told to "Create the options. Shake the dice. All else is nonsense."

If you are into existentialism or even nihilism, The Dice Man is for you. If not, the novel can drag over close to 600 pages and doesn't have the plotted storyline one might expect for a novel this size.

Andrew Barger author of The Divine Dantes trilogy.

#DiceManReview #ExistentialismInLiterature

Saturday, June 24, 2017

A New English Translation of "The Vampire of the Carpathian Mountains" by Alexandre Dumas



In 1848 Alexandre Dumas published "The Vampire of Carpathian Mountains" (also called "The Pale Lady") in his French short story collection One Thousand and One Ghosts. It is a fantastic book that contains some of the best supernatural tales Dumas ever penned. If you have at least a reading knowledge of the French language, it is well worth the effort of flagging it down on Gutenberg.org or some other site.

Of course if your French needs a bit of a refresher from high school, it becomes a more difficult task. This is especially true of Dumas's signature horror tale: "The Vampire of Carpathian Mountains". When BlooDeath: The Best Vampire Stories 1800-1849 was compiled, I included a 1848 translation of the Dumas vampire story from the London New Monthly Magazine. It was the rag, after all, that printed John Polidori's "The Vampyre" in 1819, which is also contained in my collection and is considered the first vampire short story to originate in the English language. So I figured the New Monthly Magazine knew a thing or two about vampire stories and would give the English translation the attention it rightly deserved.

Only after I published the classic vampire anthology did I realize I was wrong. It was brought to my attention that the original French version by Dumas included a poem that was nowhere to be found in English translation by theNew Monthly Magazine. Not only that, but the ending seemed rushed. I turned paler than a person under the throes of vampirism. I had done what is a no-no for one of my collections--I had published an abridged version of a classic short story and fallen victim the horrible magazine practice of trying to save space on the printed page.

With the aid of a translator in Montreal and a little help from online translators, I went to work. A month later I had in front of me an English translation of The Vampire of the Carpathian Mountains in a form that is much closer to what Dumas originally intended. I immediately updated the ebook versions of the collection and they are live now with the non-abridged story. I hope you enjoy it and forgive my faux pas.

#VampireCarpathianMountains #DumasVampireStory

Sunday, June 4, 2017

How to Write a T. S. Eliot Poem

T. S. Eliot
(1888-1965)

The routine and regimented ways in which to write a T. S. Eliot poem in 10 easy steps are as follows, ahem:

1. Come upon a cute turn of phrase,
2. Pen a rambunctious title loosely related to said turn of phrase,
3. Thumb the pages of Dante and pluck out an epigraph (preferably in the original Italian),
4. Insert said epigraph beneath said title,
5. Write slapdash quatrains,
6. Insert said turn of phrase at a random place in said quatrains,
7. Run the occasional line of said quatrains onto the next line,
8. Allude to a Bible verse (preferably the Old Testament),
9. Add italics to random words, and
10. Tell short tales within the poem that have no connection to the others.

Eliot is said to have ushered in the modernist movement in poetry. That is to say he largely did away with rhyming and sentimentality employed by the Victorians. He painted a dying world in the relatively few poems he gave us. "The Waste Land" is considered his best--perhaps because it is his longest. "The Hollow Men," however, shines brightest with its Shakespearean and Heart of Darkness references. A number of songs have been written about Eliot's poems and the famous play Cats was based on his Old Possum's Book of Practical Cats.

"The Love Song of J. Alfred Prufrock" "Afternoons and Coffeespoons" Crash Test Dummies God Shuffled His Feet 1993
"The Love Song of J. Alfred Prufrock" "Creep" Radiohead Pablo Honey 1993
"The Love Song of J. Alfred Prufrock" “Peaches” The Presidents of the United States of America Presidents of the United States of America 1995
"The Love Song of J. Alfred Prufrock" “The Message” Grand Master Flash The Message 1982
"The Love Song of J. Alfred Prufrock" "Thick as a Brick" Jethro Tull Thick as a Brick 1972
Old Possum’s Book of Practical Cats Cats Musical Andrew Lloyd Webber
"The Wasteland" "The First Day of Spring" Noah and the Whale
"The Wasteland" “Wasteland” Dan Bern Dan Bern 1993

Meh is how I would sum up the body of poetry Eliot left us. It certainly pails in scope and impact to the poems of Edgar Allan Poe. One has to wonder if he would be known at all without the litter of jellicle cat poems he penned, had more than nine lives on the West End and Broadway.

#tseliot #reviewoftseliot

 



Saturday, May 27, 2017

My Kindle Short Story is Free This Weekend - Azra'eil & Fudgie



Through Monday snag my free kindle short story "Azra'eil & Fudgie on Kindle.

In "Azra'eil & Fudgie" a group of marines stationed in Afghanistan meet a cute little girl who is not all that she seems. This only adds to the tension for Private Fudgerié ("Fudgie") who is on his first mission to diffuse IED roadside bombs that the team calls "skulls". Can Fudgie overcome the demons of his past and those of the present to triumph in the ever shifting sandscape of Afghanistan?

The short horror story is touching and even *gasp* has a little humor in it. In other words, "Azra'eil & Fudgie" is typical of the stuff I like to write. Enjoy.


#FreeKindleShort #BargerShortStory

Saturday, May 13, 2017

When Prince Co-wrote a Song with Morris Day Trying to Emulate the Sound of The Cure




Many fail to realize that Prince once tried to emulate The Cure. The sounds of their music was far apart, yet in 1984 Prince co-wrote "Ice Cream Castles" with Morris Day of The Time on the album of the same name. Morris Day recently told Rolling Stone that one of the favorite songs he collaborated with Prince on was "Ice Cream Castles."
[T]here were groups like the Fixx, the Cure [sic] doing those haunting, melodic songs and we wanted to do one of our own.
Robert Smith admired Prince, too. About a year ago I reported on my Cure blog that Robert Smith listed "Starfish and Coffee" as his favorite Prince song from the 1980s. When touring last summer in Minneapolis, Robert Smith again paid homage to the literary song. On his guitar was written a lyric from "Starfish and Coffee": "it was 7:45 we were all in line" Check out the photos at Glide Magazine.


Prince never wrote a Gothic song and The Cure never wrote an overtly sexy song. To at least some extent, however, Prince and The Cure liked each other's music and that's pretty cool.

#Prince #TheCure #TheTime

Saturday, April 15, 2017

Review of The Sorrows of Young Werther


Johann Goethe
(1749-1832)



Review of the Sorrows of Young Werther
by

Background
The literary impact of Johann Goethe's 1774 novel The Sorrows of Young Werther cannot be underestimated. It was the second Gothic novel, a decade after the first: Horace Walpole's The Castle of Ortranto. The Old English Barron followed in 1778 and The Mysteries of Udolpho in 1794. in 1796 The Monk was published and Mary Shelley's Frankenstein in 1818 where the unloved monster finds a worn copy of The Sorrows of Young Werther and likens himself to the protagonist. The Sorrows of Young Werther was impactful in ushering in the romantic age of literature--though Goethe nearly killed it off before it began. The novel was the foundation on which the German Sturm und Dang (storm and urge) literary style was launched, sporting reckless characters tossed about the seas of love.  

Comments
Poor, poor young Werther and his sorrows inflicted by a love interest who has a modicum of interest in him. Charlotte wants to be more friends than lovers. (Guys: Have you experienced that one before?) She is, after all, betrothed, and then married, to a plucky, self-absorbed man named Albert who can hardly be bothered with the young man named Werther who keeps hanging around the house.

In sharp contrast to his personality, Werther dresses like a bright canary (that alights on Charlotte's shoulder in the novel) in his blue suit jacket and yellow vest. He was Oscar Wilde a 100 years prior. His foppish outfit launched a fashion style during the late eighteenth century and the first rash of ancillary marketing ever experienced by a novel.













Think Eau de Werther cologne and China teapots on which portraits of the fictional Werther were hand painted as shown here, which the photo is copyright the Victoria and Albert Museum, and made in 1789. This is two years after the revised edition of The Sorrows of Young Werther was printed. The literary fever of the novel was still burning 15 years after its original publication. In Germany, where it was originally published, some 20 editions were already in print. Plays, operas, and satirical works soon followed. And copycat suicides that got the book banned in some German villages. The term "furor Wertherinus" was coined to reflect the suicidal passions of young men and woman scorned.






Parallels to Life
Most of the novel is written in epistolary form. Craftily, Goethe only lets the reader see the letters of Werther, not those of Wilhelm to whom he is writing. The Sorrows of Young Werther oozes in parallels to Goethe's own life. The novel is set in the fictional village of Walheim where "the reader need not take the trouble too look for the place...." But finding the real village was easy to do since, at the age of 19, Goethe met Charlotte Buff at a small dance in the German village of Whitsuntide in Wetzlar. (Stop it with the W names, Goethe!). He fell in love with her that evening but, just like in the novel, Charlotte was engaged to another.

The Forbidden Act
Two years prior to its publication, his friend Karl Wilhelm Jerusalem, committed suicide after falling in love with a married woman and "[in] that moment the plan of Werther was found...."
Consider this magazine excerpt from the early nineteenth century (Eight Historical Dissertations on Suicide, pg 117, 1859):
Let us, by way of specifying only a very few well-authenticated prominent instances, think of Captain Arenswald who shot himself Sept. 19, 1781, and had been fond of reading this Novel during the latter part of his life; 1) of Miss von Lassberg, one of Goethe's friends at the court of Weimar, who was found Jan. 17, 1778 drowned in the lime, with a copy of Werther's Leiden in her pocket; 2) of Gunderode who stabbed herself at Winkel on the Rhine from an unhappy attachment to an already married Heidelberg Professor, the learned and amiable Creuzer, and who used to read Werther together with her friend, the well-known Bettina von Arnim, and speak much about suicide. 3) — Aye, Mme. de Stael was not far wrong, when she asserted that it had "caused more suicides than the most beautiful woman," 4) nor does Goethe himself (in his Autobiography) deny that this aesthetical masterpiece of his proved a daemoniac charm which wrought deadly ruin unto many. Therefore, we cannot but pronounce it, in a moral point of view, a great error; for no book can be veritably of good which proves a sort of impulse and guide for the many unto self-destruction; — and what we may justly complain of is this: that Goethe, as far as we can learn, never regretted this its influence, never penned aught to counteract it, never, if I may here employ serious language, like a man and a christian repented of it!
IIL Ugo Fosoolo's le ultime lettere di Jacopo Orjtis (1802).

It was Goethe himself who stated: "Suicide is an event of human nature which, whatever may be said and done with respect to it, demands the sympathy of every man, and in every epoch must be discussed anew." My Life: Poetry and Truth

Rating & Recommendation
I recommend The Sorrows of Young Werner because of its high impact on literature. It was wholly cathartic for Goethe and left him feeling like he had made “a general confession, again happy and free and justified for a new life.”

I end this review with sage words of advice for our poor foppish Werther. Man-up, young Werther! Man-up. If the woman fails to reciprocate your love, forget her and move on as quickly as possible and you are sure to find your true love at another time.


#ReviewSorrowsofYoungWerther #WertherLiteraryImpact

Saturday, April 8, 2017

Top 10 Horror Short Stories from 1850-1899 Revealed by Andrew Barger

by
Andrew Barger

Over the past few months I have been counting down the best horror short stories from 1850-1899 under the guise that I would reveal the Top 10 Horror Short Stories in my new anthology. Well, the time has come and a hearty BOO! to all.
The best horror short stories from the last half of the nineteenth century are combined for the first time by Andrew Barger (that would be me), award-winning author and editor of 6a66le: Best Horror Short Stories 1800-1849. They are also annotated.

I have meticulously researched the finest Victorian horror short stories and combined them into one undeniable collection. I have added my familiar scholarly touch by annotating the stories, providing story background information, author photos and a list of horror stories considered.

Historic Horror. The best horror short stories from the last half of the 19th century include nightmare tales by Bram Stoker, Arthur Conan Doyle, Joseph Le Fanu, W. C. Morrow, H. G. Wells, Arthur Machen, Charlotte Perkins Gilman, and other early founders of the horror tale.
  • A Terror Tour Guide (2016) by Andrew Barger (A leading voice in the gothic literature space, I set the stage for this anthology of nightmares.)
  • The Pioneers of Pike’s Peak (1897) by Basil Tozer (Hoards of giant spiders on a Colorado mountain. What could go wrong?)
  • Lot No. 249 (1892) by Sir Arthur Conan Doyle (Perhaps the premier mummy horror story ever recorded from the master that is Sir Arthur Conan Doyle is measured out to its climatic ending.)
  • The Yellow Wallpaper (1892) by Charlotte Perkins Gilman (Explore the depths of insanity.)
  • Green Tea (1871) by Joseph Le Fanu (One of the most haunting horror stories by the Irish master.)
  • What Was It? (1859) by Fitz James O’Brien (Sometimes the worst horror is one you can't see.)
  • Pollock and the Porroh Man (1897) by H. G. Wells (Wells takes us deep into the jungle and its wrought supernatural horror.)
  • The Spider of Guyana (1857) by Erckmann-Chatrian (The first giant spider horror story is one of its best.)
  • The Squaw (1893) by Bram Stoker (The author of Dracula never disappoints.)
  • The Great God Pan (1894) by Arthur Machen (Mythic horror that gained much praise from H. P. Lovecraft.)
  • His Unconquerable Enemy (1889) by W. C. Morrow (A fiendish tale of torture sees Morrow at his best.)
  • Horror Short Stories Considered (I conclude the horror anthology by listing every horror short story he read to pick the very best.)
Read the premier horror anthology for the last half of the nineteenth century tonight! 
“But it now struck me for the first time that there must be one great and ruling embodiment of fear, a King of Terrors to which all others must succumb.”

1859 “What Was It?”
Fitz James O’Brien

#BestHorrorShortStories #NewHorrorAnthology

Friday, March 17, 2017

Robert Smith of The Cure and Morrissey Feud -- A Chronology




                                            Morrissey                                   Robert Smith                                           

The spat/feud/disagreement (whatever you want to call it) between Robert Smith of The Cure and Morrissey, formerly of The Smiths, has been percolating since 1984 when Morrissey first mouthed off to the press. Here is what my research found on the web. Enjoy.
                     
1984
UK music magazine The Face: "If I put you in a room with Robert Smith, Mark E. Smith and a loaded Smith and Wesson, who would bite the bullet first?"
Morrissey: "I'd line them up so that one bullet penetrated both simultaneously (chuckle). Mark E. Smith despises me and has said hateful things about me, all untrue. Robert Smith is a whingebag. It's rather curious that he began wearing beads at the emergence of The Smiths and (eyes narrowing) has been photographed with flowers. I expect he's quite supportive of what we do, but I've never liked The Cure... not even 'The Caterpillar'."

1989
UK music magazine NME, September 16, 1989 issues, Morrissey stated that The Cure gave "a new dimension to the word 'crap.'"

When told about the comment, Robert Smith said, "At least we've only added a new dimension in crap, not built a career out of it."

In the same article Morrissey added, "McDonald's bombed and Robert Smith popped (both actions require a similar voltage of explosives)."

1993
US music magazine SPIN, titled "Happily Ever After" for the November issues of 1993, Robert Smith stated: "I have never liked Morrissey and I still don't. I think it's hilarious actually, what things I've heard about him, what he's really like, and his public persona is so different. He's such an actor. There's one particular photo of Morrissey in his swimming trunks sitting by the pool in Los Angeles. I bet that one hasn't been approved!"

1997
US music magazine Rolling Stone, Robert opined: "I’d much rather have our fans than his — our fans are generally quiet, well-spoken and friendly and not pretentious in the slightest. Hopefully, that reflects the nature of the Cure. Despite what the mainstream media would have you believe, we’re a very natural group. The people who have been in the group over the years have been there because they have been friendly with each other. There has been no sense of purpose other than making music together. I think if Morrissey’s fans reflect what Morrissey is like as an individual or the way he projects himself as an individual then ... uh ... I’ll stop there."

2004
In the US Hollywood magazine Entertainment Weekly, Smith said about Morrissey: "He was constantly saying horrible things about [The Cure]. In the end, I kind of snapped and started retaliating. And it turned into some kind of petty feud. I've never liked anything he's done musically, but I don't have any kind of strong feelings of animosity towards him as a person because I've never met him."

Through the Years - Miscellaneous Statements
"The press tries to portray me as a gloom-and-doom-singer. But take a look at Morrissey. That man is a professional complainer!”"

"There's nothing that links Morrissey and The Cure in my mind," Smith commented. "As the years go by, it's very easy to think we were from the same generation, but we're not. The Cure recorded our first album in 1978 - we were on our third or fourth album by the time the Smiths started."

"[Morrissey] has been away for a number of years and has come back I think to capitalize on this resurgence of interest in a particular period of time," Smith says. "That has nothing to do with the Cure. We've been playing constantly every year for 25 years. We're a living and breathing band."

"Morrissey’s so depressing, if he doesn’t kill himself soon, I probably will."

"If Morrissey says not to eat meat, then I’m going to eat meat; that’s how much I hate Morrissey."

"fat clown with makeup weeping over a guitar."


#MorrisseyvsRobertSmith #RobertSmithMorrisseyFeud

By Andrew Barger - Author of the Rock trilogy of novels: The Divine Dantes.



Saturday, March 4, 2017

Review of Sometimes a Great Notion by Ken Kesey

Ken Kesey
(1935-2001)

Sometimes a Great Notion is an anti-union manifesto, a work of flowing literature that should be studied in the cloistering halls of higher learning--not as much for its deep meaning, but rather for the structure of its text (I dare a professor to take any one of the 600+ pages and study it for an entire semester), a masterpiece of prose, the second novel by The Great Ken Kesey, a juxtaposition of two brothers that has been unequalled since Tolstoy.

Sometimes a Great Notion is many things, including a followup to One Flew Over the Cuckoo's Nest published two years prior in 1962. The latter book is an undeniable classic of literature that has rarely been equaled. Read my review of One Flew Over the Cuckoo's Nest.

Sometimes a Great Notion was published in 1964 and Kesey's next novel would not be published until 1984 when Demon Box (a collection of short stories thinly-veiled as fiction) was launched. What was this supremely talented author doing for 20 years? Most would claim it was drugs. Kesey had spent time in clink to prove it. Who knows? And when he finally rid himself of the Technicolor synthetics flowing through his veins, his brain was fried into a pigskin cracklin'. Instead of the psychedelics unlocking fantastic worlds, they seem to have hidden them away from Kesey in a demon box.

Sometimes a Great Notion at times becomes a long-winded bore over vast swaths of pages. It makes one wonder if Ken Kesey lost the Oregon forest through the trees on which his characters hack out a living. At times he tries to be too literary. But Kesey pulls it out in the last 200 pages to a wonderful conclusion. A side note on the movie of the same name starring Robert Redford and Henry Fonda--skip over like a rolling log! It's a real Hollywood hack job that treats the novel as though it was a short story.

Sometimes
a
Great
Notion, in the hands of a master, is the closest you will ever get to the logging world of Oregon and the real-to-life characters Kesey created.

#ReviewSometimesaGreatNotion #KenKesey

By Andrew Barger - Author of The Divine Dantes trilogy

Saturday, February 25, 2017

The Permanent Stiletto by W.C. Morrow Picked as Best Horror Short Story 11 from 1850-1899


W. C. Morrow
(1854-1923)


William Chambers Morrow was an American writer known for his horror short stories. He was born in the Deep South of Selma, Alabama in 1854. He gained some fame--though not wealth--after moving to San Francisco and befriending Ambrose Bierce, who also gained fame from his supernatural stories. Yet the classic horror stories of Morrow do not need the supernatural. They are supported on their own two legs as undeniable masterpieces in the horror genre and are full of biting irony.

"The Permanent Stiletto" is one of W.C. Morrow's best tales of revenge. Upon encountering this singular story for the first time, Vincent Starrett commented:
There is more than a flavor of Poe in these lines; they are almost perfectly in the spirit of Poe; Poe in the half whimsical, half serious mood of The Cask of Amontillado. But Poe did not write them . . ..  


The Permanent Stiletto
1889


I had sent in all haste for Dr. Rowell, but as yet he had not arrived, and the strain was terrible. There lay my young friend upon his bed in the hotel, and I believed that he was dying. Only the jewelled handle of the knife was visible at his breast; the blade was wholly sheathed in his body.

"Pull it out, old fellow," begged the sufferer through white, drawn lips, his gasping voice being hardly less distressing than the unearthly look in his eyes.

"No, Arnold," said I, as I held his hand and gently stroked his forehead. It may have been instinct, it may have been a certain knowledge of anatomy that made me refuse.

"Why not? It hurts," he gasped. It was pitiful to see him suffer, this strong, healthy, daring, reckless young fellow.

Dr. Rowell walked in--a tall, grave man, with gray hair. He went to the bed and I pointed to the knife-handle, with its great, bold ruby in the end and its diamonds and emeralds alternating in quaint designs in the sides. The physician started. He felt Arnold's pulse and looked puzzled.

"When was this done?" he asked.

"About twenty minutes ago," I answered.

The physician started out, beckoning me to follow.

"Stop!" said Arnold. We obeyed. "Do you wish to speak of me?" he asked.

"Yes," replied the physician, hesitating.

"Speak in my presence then," said my friend; "I fear nothing." It was said in his old, imperious way, although his suffering must have been great.

"If you insist----"

"I do."

"Then," said the physician, "if you have any matters to adjust they should be attended to at once. I can do nothing for you."

"How long can I live?" asked Arnold.

The physician thoughtfully stroked his gray beard. "It depends," he finally said; "if the knife be withdrawn you may live three minutes; if it be allowed to remain you may possibly live an hour or two--not longer."

Arnold never flinched.

"Thank you," he said, smiling faintly through his pain; "my friend here will pay you. I have some things to do. Let the knife remain." He turned his eyes to mine, and, pressing my hand, said, affectionately, "And I thank you, too, old fellow, for not pulling it out."

The physician, moved by a sense of delicacy, left the room, saying, "Ring if there is a change. I will be in the hotel office." He had not gone far when he turned and came back. "Pardon me," said he, "but there is a young surgeon in the hotel who is said to be a very skilful man. My specialty is not surgery, but medicine. May I call him?"

"Yes," said I, eagerly; but Arnold smiled and shook his head. "I fear there will not be time," he said. But I refused to heed him and directed that the surgeon be called immediately. I was writing at Arnold's dictation when the two men entered the room.

There was something of nerve and assurance in the young surgeon that struck my attention. His manner, though quiet, was bold and straightforward and his movements sure and quick. This young man had already distinguished himself in the performance of some difficult hospital laparotomies, and he was at that sanguine age when ambition looks through the spectacles of experiment. Dr. Raoul Entrefort was the new-comer's name. He was a Creole, small and dark, and he had travelled and studied in Europe.

"Speak freely," gasped Arnold, after Dr. Entrefort had made an examination.

"What think you, doctor?" asked Entrefort of the older man.

"I think," was the reply, "that the knife-blade has penetrated the ascending aorta, about two inches above the heart. So long as the blade remains in the wound the escape of blood is comparatively small, though certain; were the blade withdrawn the heart would almost instantly empty itself through the aortal wound."

Meanwhile, Entrefort was deftly cutting away the white shirt and the undershirt, and soon had the breast exposed. He examined the gem-studded hilt with the keenest interest.

"You are proceeding on the assumption, doctor," he said, "that this weapon is a knife."

"Certainly," answered Dr. Rowell, smiling; "what else can it be?"

"It is a knife," faintly interposed Arnold.

"Did you see the blade?" Entrefort asked him, quickly.

"I did--for a moment."

Entrefort shot a quick look at Dr. Rowell and whispered, "Then it is not suicide." Dr. Rowell looked puzzled and said nothing.

"I must disagree with you, gentlemen," quietly remarked Entrefort; "this is not a knife." He examined the handle very narrowly. Not only was the blade entirely concealed from view within Arnold's body, but the blow had been so strongly delivered that the skin was depressed by the guard. "The fact that it is not a knife presents a very curious series of facts and contingencies," pursued Entrefort, with amazing coolness, "some of which are, so far as I am informed, entirely novel in the history of surgery."

A quizzical expression, faintly amused and manifestly interested, was upon Dr. Rowell's face. "What is the weapon, doctor?" he asked.

"A stiletto."

Arnold started. Dr. Rowell appeared confused. "I must confess," he said, "my ignorance of the differences among these penetrating weapons, whether dirks, daggers, stilettos, poniards, or bowie-knives."

"With the exception of the stiletto," explained Entrefort, "all the weapons you mention have one or two edges, so that in penetrating they cut their way. A stiletto is round, is ordinarily about half an inch or less in diameter at the guard, and tapers to a sharp point. It penetrates solely by pushing the tissues aside in all directions. You will understand the importance of that point."

Dr. Rowell nodded, more deeply interested than ever.

"How do you know it is a stiletto, Dr. Entrefort?" I asked.

"The cutting of these stones is the work of Italian lapidaries," he said, "and they were set in Genoa. Notice, too, the guard. It is much broader and shorter than the guard of an edged weapon; in fact, it is nearly round. This weapon is about four hundred years old, and would be cheap at twenty thousand florins. Observe, also, the darkening color of your friend's breast in the immediate vicinity of the guard; this indicates that the tissues have been bruised by the crowding of the 'blade,' if I may use the term."

"What has all this to do with me?" asked the dying man.

"Perhaps a great deal, perhaps nothing. It brings a single ray of hope into your desperate condition."

Arnold's eyes sparkled and he caught his breath. A tremor passed all through him, and I felt it in the hand I was holding. Life was sweet to him, then, after all--sweet to this wild dare-devil who had just faced death with such calmness! Dr. Rowell, though showing no sign of jealousy, could not conceal a look of incredulity.

"With your permission," said Entrefort, addressing Arnold, "I will do what I can to save your life."

"You may," said the poor boy.

"But I shall have to hurt you."

"Well."

"Perhaps very much."

"Well."

"And even if I succeed (the chance is one in a thousand) you will never be a sound man, and a constant and terrible danger will always be present."

"Well."

Entrefort wrote a note and sent it away in haste by a bell-boy.

"Meanwhile," he resumed, "your life is in imminent danger from shock, and the end may come in a few minutes or hours from that cause. Attend without delay to whatever matters may require settling, and Dr. Rowell," glancing at that gentleman, "will give you something to brace you up. I speak frankly, for I see that you are a man of extraordinary nerve. Am I right?"

"Be perfectly candid," said Arnold.

Dr. Rowell, evidently bewildered by his cyclonic young associate, wrote a prescription, which I sent by a boy to be filled. With unwise zeal I asked Entrefort,--

"Is there not danger of lockjaw?"

"No," he replied; "there is not a sufficiently extensive injury to peripheral nerves to induce traumatic tetanus."

I subsided. Dr. Rowell's medicine came and I administered a dose. The physician and the surgeon then retired. The poor sufferer straightened up his business. When it was done he asked me,--

"What is that crazy Frenchman going to do to me?"

"I have no idea; be patient."

In less than an hour they returned, bringing with them a keen-eyed, tall young man, who had a number of tools wrapped in an apron. Evidently he was unused to such scenes, for he became deathly pale upon seeing the ghastly spectacle on my bed. With staring eyes and open mouth he began to retreat towards the door, stammering,--

"I--I can't do it."

"Nonsense, Hippolyte! Don't be a baby. Why, man, it is a case of life and death!"

"But--look at his eyes! he is dying!"

Arnold smiled. "I am not dead, though," he gasped.

"I--I beg your pardon," said Hippolyte.

Dr. Entrefort gave the nervous man a drink of brandy and then said,--

"No more nonsense, my boy; it must be done. Gentlemen, allow me to introduce Mr. Hippolyte, one of the most original, ingenious, and skilful machinists in the country."

Hippolyte, being modest, blushed as he bowed. In order to conceal his confusion he unrolled his apron on the table with considerable noise of rattling tools.

"I have to make some preparations before you may begin, Hippolyte, and I want you to observe me that you may become used not only to the sight of fresh blood, but also, what is more trying, the odor of it."

Hippolyte shivered. Entrefort opened a case of surgical instruments.

"Now, doctor, the chloroform," he said, to Dr. Rowell.

"I will not take it," promptly interposed the sufferer; "I want to know when I die."

"Very well," said Entrefort; "but you have little nerve now to spare. We may try it without chloroform, however. It will be better if you can do without. Try your best to lie still while I cut."

"What are you going to do?" asked Arnold.

"Save your life, if possible."

"How? Tell me all about it."

"Must you know?"

"Yes."

"Very well, then. The point of the stiletto has passed entirely through the aorta, which is the great vessel rising out of the heart and carrying the aerated blood to the arteries. If I should withdraw the weapon the blood would rush from the two holes in the aorta and you would soon be dead. If the weapon had been a knife, the parted tissue would have yielded, and the blood would have been forced out on either side of the blade and would have caused death. As it is, not a drop of blood has escaped from the aorta into the thoracic cavity. All that is left for us to do, then, is to allow the stiletto to remain permanently in the aorta. Many difficulties at once present themselves, and I do not wonder at Dr. Rowell's look of surprise and incredulity."

That gentleman smiled and shook his head.

"It is a desperate chance," continued Entrefort, "and is a novel case in surgery; but it is the only chance. The fact that the weapon is a stiletto is the important point--a stupid weapon, but a blessing to us now. If the assassin had known more she would have used----"

Upon his employment of the noun "assassin" and the feminine pronoun "she," both Arnold and I started violently, and I cried out to the man to stop.

"Let him proceed," said Arnold, who, by a remarkable effort, had calmed himself.

"Not if the subject is painful," Entrefort said.

"It is not," protested Arnold; "why do you think the blow was struck by a woman?"

"Because, first, no man capable of being an assassin would use so gaudy and valuable a weapon; second, no man would be so stupid as to carry so antiquated and inadequate a thing as a stiletto, when that most murderous and satisfactory of all penetrating and cutting weapons, the bowie-knife, is available. She was a strong woman, too, for it requires a good hand to drive a stiletto to the guard, even though it miss the sternum by a hair's breadth and slip between the ribs, for the muscles here are hard and the intercostal spaces narrow. She was not only a strong woman, but a desperate one also."

"That will do," said Arnold. He beckoned me to bend closer. "You must watch this man; he is too sharp; he is dangerous."

"Then," resumed Entrefort, "I shall tell you what I intend to do. There will undoubtedly be inflammation of the aorta, which, if it persist, will cause a fatal aneurism by a breaking down of the aortal walls; but we hope, with the help of your youth and health, to check it.

"Another serious difficulty is this: With every inhalation, the entire thorax (or bony structure of the chest) considerably expands. The aorta remains stationary. You will see, therefore, that as your aorta and your breast are now held in rigid relation to each other by the stiletto, the chest, with every inhalation, pulls the aorta forward out of place about half an inch. I am certain that it is doing this, because there is no indication of an escape of arterial blood into the thoracic cavity; in other words, the mouths of the two aortal wounds have seized upon the blade with a firm hold and thus prevent it from slipping in and out. This is a very fortunate occurrence, but one which will cause pain for some time. The aorta, you may understand, being made by the stiletto to move with the breathing, pulls the heart backward and forward with every breath you take; but that organ, though now undoubtedly much surprised, will accustom itself to its new condition.

"What I fear most, however, is the formation of a clot around the blade. You see, the presence of the blade in the aorta has already reduced the blood-carrying capacity of that vessel; a clot, therefore, need not be very large to stop up the aorta, and, of course, if that should occur death would ensue. But the clot, if one form, may be dislodged and driven forward, in which event it may lodge in any one of the numerous branches from the aorta and produce results more or less serious, possibly fatal. If, for instance, it should choke either the right or the left carotid, there would ensue atrophy of one side of the brain, and consequently paralysis of half the entire body; but it is possible that in time there would come about a secondary circulation from the other side of the brain, and thus restore a healthy condition. Or the clot (which, in passing always from larger arteries to smaller, must unavoidably find one not sufficiently large to carry it, and must lodge somewhere) may either necessitate amputation of one of the four limbs or lodge itself so deep within the body that it cannot be reached with the knife. You are beginning to realize some of the dangers which await you."

Arnold smiled faintly.

"But we shall do our best to prevent the formation of a clot," continued Entrefort; "there are drugs which may be used with effect."

"Are there more dangers?"

"Many more; some of the more serious have not been mentioned. One of these is the probability of the aortal tissues pressing upon the weapon relaxing their hold and allowing the blade to slip. That would let out the blood and cause death. I am uncertain whether the hold is now maintained by the pressure of the tissues or the adhesive quality of the serum which was set free by the puncture. I am convinced, though, that in either event the hold is easily broken and that it may give way at any moment, for it is under several kinds of strains. Every time the heart contracts and crowds the blood into the aorta, the latter expands a little, and then contracts when the pressure is removed. Any unusual exercise or excitement produces stronger and quicker heart-beats, and increases the strain on the adhesion of the aorta to the weapon. A fright, fall, a jump, a blow on the chest--any of these might so jar the heart and aorta as to break the hold."

Entrefort stopped.

"Is that all?" asked Arnold.

"No; but is not that enough?"

"More than enough," said Arnold, with a sudden and dangerous sparkle in his eyes. Before any of us could think, the desperate fellow had seized the handle of the stiletto with both hands in a determined effort to withdraw it and die. I had had no time to order my faculties to the movement of a muscle, when Entrefort, with incredible alertness and swiftness, had Arnold's wrists. Slowly Arnold relaxed his hold.

"There, now!" said Entrefort, soothingly; "that was a careless act and might have broken the adhesion! You'll have to be careful."

Arnold looked at him with a curious combination of expressions.

"Dr. Entrefort," he quietly remarked, "you are the devil."

Bowing profoundly, Entrefort replied: "You do me too great honor;" then he whispered to his patient: "If you do that"--with a motion towards the hilt--"I will have her hanged for murder."

Arnold started and choked, and a look of horror overspread his face. He withdrew his hands, took one of mine in both of his, threw his arms upon the pillow above his head, and, holding my hand, firmly said to Entrefort,--

"Proceed with your work."

"Come closer, Hippolyte," said Entrefort, "and observe narrowly. Will you kindly assist me, Dr. Rowell?" That gentleman had sat in wondering silence.

Entrefort's hand was quick and sure, and he used the knife with marvellous dexterity. First he made four equidistant incisions outward from the guard and just through the skin. Arnold held his breath and ground his teeth at the first cut, but soon regained command of himself. Each incision was about two inches long. Hippolyte shuddered and turned his head aside. Entrefort, whom nothing escaped, exclaimed,--

"Steady, Hippolyte! Observe!"

Quickly was the skin peeled back to the limit of the incisions. This must have been excruciatingly painful. Arnold groaned, and his hands were moist and cold. Down sank the knife into the flesh from which the skin had been raised, and blood flowed freely; Dr. Rowell handled the sponge. The keen knife worked rapidly. Arnold's marvellous nerve was breaking down. He clutched my hand fiercely; his eyes danced; his mind was weakening. Almost in a moment the flesh had been cut away to the bones, which were now exposed,--two ribs and the sternum. A few quick cuts cleared the weapon between the guard and the ribs.

"To work, Hippolyte--be quick!"

The machinist had evidently been coached before he came. With slender, long-fingered hands, which trembled at first, he selected certain tools with nice precision, made some rapid measurements of the weapon and of the cleared space around it, and began to adjust the parts of a queer little machine. Arnold watched him curiously.

"What----" he began to say; but he ceased; a deeper pallor set on his face, his hands relaxed, and his eyelids fell.

"Thank God!" exclaimed Entrefort; "he has fainted--he can't stop us now. Quick, Hippolyte!"

The machinist attached the queer little machine to the handle of the weapon, seized the stiletto in his left hand, and with his right began a series of sharp, rapid movements backward and forward.

"Hurry, Hippolyte!" urged Entrefort.

"The metal is very hard."

"Is it cutting?"

"I can't see for the blood."

In another moment something snapped. Hippolyte started; he was very nervous. He removed the little machine.

"The metal is very hard," he said; "it breaks the saws."

He adjusted another tiny saw and resumed work. After a little while he picked up the handle of the stiletto and laid it on the table. He had cut it off, leaving the blade inside Arnold's body.

"Good, Hippolyte!" exclaimed Entrefort. In a minute he had closed the bright end of the blade from view by drawing together the skin-flaps and sewing them firmly.

Arnold returned to consciousness and glanced down at his breast. He seemed puzzled. "Where is the weapon?" he asked.

"Here is part of it," answered Entrefort, holding up the handle.

"And the blade----"

"That is an irremovable part of your internal machinery." Arnold was silent. "It had to be cut off," pursued Entrefort, "not only because it would be troublesome and an undesirable ornament, but also because it was advisable to remove every possibility of its withdrawal." Arnold said nothing. "Here is a prescription," said Entrefort; "take the medicine as directed for the next five years without fail."

"What for? I see that it contains muriatic acid."

"If necessary I will explain five years from now."

"If I live."

"If you live."

Arnold drew me down to him and whispered, "Tell her to fly at once; this man may make trouble for her."

Was there ever a more generous fellow?

* * * * *

I thought that I recognized a thin, pale, bright face among the passengers who were leaving an Australian steamer which had just arrived at San Francisco.

"Dr. Entrefort!" I cried.

"Ah!" he said, peering up into my face and grasping my hand; "I know you now, but you have changed. You remember that I was called away immediately after I had performed that crazy operation on your friend. I have spent the intervening four years in India, China, Tibet, Siberia, the South Seas, and God knows where not. But wasn't that a most absurd, hare-brained experiment that I tried on your friend! Still, it was all that could have been done. I have dropped all that nonsense long ago. It is better, for more reasons than one, to let them die at once. Poor fellow! he bore it so bravely! Did he suffer much afterwards? How long did he live? A week--perhaps a month?"

"He is alive yet."

"What!" exclaimed Entrefort, startled.

"He is, indeed, and is in this city."

"Incredible!"

"It is true; you shall see him."

"But tell me about him now!" cried the surgeon, his eager eyes glittering with the peculiar light which I had seen in them on the night of the operation. "Has he regularly taken the medicine which I prescribed?"

"He has. Well, the change in him, from what he was before the operation, is shocking. Imagine a young dare-devil of twenty-two, who had no greater fear of danger or death than of a cold, now a cringing, cowering fellow; apparently an old man, nursing his life with pitiful tenderness, fearful that at any moment something may happen to break the hold of his aorta-walls on the stiletto-blade; a confirmed hypochondriac, peevish, melancholic, unhappy in the extreme. He keeps himself confined as closely as possible, avoiding all excitement and exercise, and even reads nothing exciting. The constant danger has worn out the last shred of his manhood and left him a pitiful wreck. Can nothing be done for him?"

"Possibly. But has he consulted no physician?"

"None whatever; he has been afraid that he might learn the worst."

"Let us find him at once. Ah, here comes my wife to meet me! She arrived by the other steamer."

I recognized her immediately and was overcome with astonishment.

"Charming woman," said Entrefort; "you'll like her. We were married three years ago at Bombay. She belongs to a noble Italian family and has travelled a great deal."

He introduced us. To my unspeakable relief she remembered neither my name nor my face. I must have appeared odd to her, but it was impossible for me to be perfectly unconcerned. We went to Arnold's rooms, I with much dread. I left her in the reception-room and took Entrefort within. Arnold was too greatly absorbed in his own troubles to be dangerously excited by meeting Entrefort, whom he greeted with indifferent hospitality.

"But I heard a woman's voice," he said. "It sounds----" He checked himself, and before I could intercept him he had gone to the reception-room; and there he stood face to face with the beautiful adventuress,--none other than Entrefort's wife now,--who, wickedly desperate, had driven a stiletto into Arnold's vitals in a hotel four years before because he had refused to marry her. They recognized each other instantly and both grew pale; but she, quicker witted, recovered her composure at once and advanced towards him with a smile and an extended hand. He stepped back, his face ghastly with fear.

"Oh!" he gasped, "the excitement, the shock,--it has made the blade slip out! The blood is pouring from the opening,--it burns,--I am dying!" and he fell into my arms and instantly expired.

The autopsy revealed the surprising fact that there was no blade in his thorax at all; it had been gradually consumed by the muriatic acid which Entrefort had prescribed for that very purpose, and the perforations in the aorta had closed up gradually with the wasting of the blade and had been perfectly healed for a long time. All his vital organs were sound. My poor friend, once so reckless and brave, had died simply of a childish and groundless fear, and the woman unwittingly had accomplished her revenge.

#PermanentStiletto #BestHorrorShortStories