Once you accept Hamlet as the archetypal modern hero (or anti-hero), you begin seeing him everywhere. Case in point, my wife and I were watching "Phantom of the Opera" the other night. There's a line toward the end of the movie where the Phantom sings: "Down once more to the dungeon of my dark despair; down once more to the prison of my mind." All I could think of was Hamlet's line to Guildenstern and Rosencranz: "I could be bounded in a nutshell and count myself king of infinite space, were it not that I had bad dreams." Here, once more, was the star-crossed prince, slighted and overlooked, falling back within his own mind to recreate the world as a play, with himself as the main character, and wreck his revenge. Of course Christine is no Ophelia, and that alters the whole course of the story.
I needed a break from A Treasury of Modern Fantasy (too many authors and too many styles coming in too fast) so I decided to turn back to an author whose work I've enjoyed exploring: Robert E. Howard. This time, however, I decided to skip over Howard's famous Conan yarns and instead take a look at one of his earlier creations, Solomon Kane. The idea of a puritan occult detective was too intriguing to pass up. I have the whole collection of Kane's tales and I do intend to blog them all. Right now, my little literary detour has only encompassed the first two short stories so I'm going to record my thoughts on them right away and get back to the rest as I have time. Skulls in the Stars Solomon Kane makes his debut with this classic bit of English Gothic including a haunted moor, a vengeful ghost, and a solitary miser. Howard's Kane fits the portrait of the archetypal puritan: grim, principled, metaphysical, with an iron sense of right and wrong. I h...
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