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Reproduction of the original: The Firing Line by Robert W. Chambers
As the wind veered and grew cooler a ribbon of haze appeared above the Gulf-stream. Young Hamil, resting on his oars, gazed absently into the creeping mist. Under it the ocean sparkled with subdued brilliancy; through it, shoreward, green palms and palmettos turned silvery; and, as the fog spread, the sea-pier, the vast white hotel, bathing-house, cottage, pavilion, faded to phantoms tinted with rose and pearl. Leaning there on his oars, he could still make out the distant sands flecked with the colours of sunshades and bathing-skirts; the breeze dried his hair and limbs, but his swimming-shirt and trunks still dripped salt water. Inshore a dory of the beach guard drifted along the outer line of breakers beyond which the more adventurous bathers were diving from an anchored raft. Still farther out moving dots indicated the progress of hardier swimmers; one in particular, a girl capped with a brilliant red kerchief, seemed to be already nearer to Hamil than to the shore. It was all very new and interesting to him—the shore with its spectral palms and giant caravansary, the misty, opalescent sea where a white steam-yacht lay anchored north of him—the Ariani—from which he had come, and on board of which the others were still doubtless asleep—Portlaw, Malcourt, and Wayward. And at thought of the others he yawned and moistened his lips, still feverish from last night's unwisdom; and leaning forward on his oars, sat brooding, cradled by the flowing motion of the sea. The wind was still drawing into the north; he felt it, never strong, but always a little cooler, in his hair and on his wet swimming-shirt. The flat cloud along the Gulf-stream spread thickly coastward, and after a little while the ghosts of things terrestrial disappeared. All around him, now, blankness—save for the gray silhouette of the Ariani. A colourless canopy surrounded him, centred by a tiny pool of ocean. Overhead through the vanishing blue, hundreds of wild duck were stringing out to sea; under his tent of fog the tarnished silver of the water formed a floor smoothly unquiet. Sounds from the land, hitherto unheard, now came strangely distinct; the cries of bathers, laughter, the muffled shock of the surf, doubled and redoubled along the sands; the barking of a dog at the water's edge. Clear and near sounded the ship's bell on the Ariani; a moment's rattle of block and tackle, a dull call, answered; and silence. Through which, without a sound, swept a great bird with scarce a beat of its spread wings; and behind it, another, and, at exact intervals another and another in impressive processional, sailing majestically through the fog; white pelicans winging inland to the lagoons. A few minutes later the wind, which had become fitful, suddenly grew warm. All around him now the mist was dissolving into a thin golden rain; the land-breeze freshened, blowing through distant jasmine thickets and orange groves, and a soft fragrance stole out over the sea. As the sun broke through in misty splendour, the young man, brooding on his oars, closed his eyes; and at the same instant his boat careened violently, almost capsizing as a slender wet shape clambered aboard and dropped into the bows. As the boat heeled under the shock Hamil had instinctively flung his whole weight against the starboard gunwale. Now he recovered his oars and his balance at the same time, and, as he swung half around, his unceremonious visitor struggled to sit upright, still fighting for breath.
During the Silent Era, when most films dealt with dramatic or comedic takes on the "boy meets girl, boy loses girl" theme, other motion pictures dared to tackle such topics as rejuvenation, revivication, mesmerism, the supernatural and the grotesque. A Daughter of the Gods (1916), The Phantom of the Opera (1925), The Magician (1926) and Seven Footprints to Satan (1929) were among the unusual and startling films containing story elements that went far beyond the realm of "highly unlikely." Using surviving documentation and their combined expertise, the authors catalog and discuss these departures from the norm in this encyclopedic guide to American horror, science fiction and fantasy in the years from 1913 through 1929.
It has taken me 37 years to write this biography of author Robert W. Chambers. Along the way, I wrote and published many articles about him, but did not complete the biography until 2014. I got the idea of writing it when I was 15, and the reason I got the idea is the same reason it has taken so long to write the book. There simply is not that much information about Chambers out there. Despite his fame and thorough integration in New York high society, very little was written about him during his lifetime. This volume contains the Expanded Edition of the biography, Robert W. Chambers: Maker of Moons, as well as the collection of articles, originally titled, Robert W. Chambers: In Search of the Unknown Author of The King in Yellow.
Reproduction of the original: The Maids of Paradise by Robert W. Chambers
Robert W. Chambers: Maker of Moons: Author of The King in Yellow Unmasked traces the history of the author of The King in Yellow, the book that influenced H.P. Lovecraft and the Cthulhu Mythos. Chambers was a top selling author in the early 20th century writing nearly 90 books, but has been largely forgotten except by the readers of horror fiction, particularly fans of the Cthulhu Mythos. This is the first full biography of Chambers, researched over nearly four decades by Shawn M. Tomlinson who grew up in the small town where Chambers summered. Tomlinson wrote many articles about Chambers previous to this book, primarily for area newspapers, as well as for several magazines including Adirondack Life and Ride of the Horsemen. His chapbook about Chambers, first published in 1996, went to three editions. Robert W. Chambers: Maker of Moons: Author of The King in Yellow Unmasked includes portraits of Chambers, interior and exterior photos of his summer home (Broadalbin House) and a full bibliography.