Thanks to everyone’s support, we’ve hit our $10k goal and will be starting a Cirsova Classics imprint focused on bringing previously unscanned and uncollected Public Domain pulp works back into print in modern formats. I know that Michael and Robert are already chomping at the bit to get started on the next project. We may even be able to begin as early as this fall [roughly as soon as we get The Cosmic Courtship out the door]. Most likely the next work we get out will be the uncollected Hawthorne novel, Sara Was Judith, and with the novella A Goth From Boston as a companion volume. We’ll try to get both of those by mid-2022.
Hawthorne was fascinated by the concepts of astral travel, out of body and out of time experiences, hypnotism, and clairvoyance. These play a central role in several of the short stories of his that I have read and is the means by which the heroes travel to Saturn in The Cosmic Courtship. While I have not yet had a chance to read Sara Was Judith, it’s not hard to guess from the pitch that it will be about some form of clairvoyant astral discorporation.
We’ve got an idea or two for the third project/fourth book, but haven’t quite settled on it just yet. We’ll let you know when we do.
A few people have asked about illustrations–unfortunately, The Cosmic Courtship, like many stories published in All-Story, did not have accompanying illustrations [many of the well-known later pulps that were fully illustrated tended to be monthly or quarterly]
We are, however, including a facsimile reprint of Scenes of Hawthorne’s Romances in all formats but the pocketbook [it’s just too small, sorry!], which IS lavishly illustrated.
Below is just a small sample of the work, and you’ll understand why we went with a facsimile approach–also why, even though the text is extant, we felt it worth including in its original presentation, as it is available nowhere else.
Mary Faust, a brilliant scientist, has developed a machine that can allow the conscious human soul to explore the cosmos! Her promising young assistant Miriam Mayne has accidentally transferred her consciousness to Saturn, where she falls under the enchantment of an evil sorcerer! Jack Paladin, her love, sets out after her on a thrilling celestial journey to the ringed planet! Swashbuckling adventure and high romance await in Julian Hawthorne’s The Cosmic Courtship!
While most are at least somewhat familiar with Nathaniel Hawthorne as one of the great American authors, less well known is that his son Julian was an incredibly prolific writer in his own right. Julian wrote on a wide variety of subjects, ranging from literary analysis of his father’s works to poetry to period romances and adventures. Late in his career, Julian even dabbled in the emerging genre of Science Fiction.
The Cosmic Courtship was serialized in Frank A. Munsey’s All-Story Weekly across four issues, beginning with the November 24, 1917 issue and running through the December 15, 1917 issue. While this story has been in the public domain for some time, it has never been collected or published elsewhere until now.
Cirsova Publishing has taken on this exciting project with the aim of preserving this story for posterity and ensuring that it is not lost to future generations.
Michael Tierney is a pulp historian and archivist who has written extensively on Edgar Rice Burroughs, having created the massive four volume Edgar Rice Burroughs 100 Year Art Chronology, and is currently working on another Art Chronology about Robert E. Howard. He has been involved in the comic book industry for 40 years, owning two of the oldest comic book stores in Central Arkansas until switching to mail-order only in 2020. He is also an accomplished science fiction writer and artist, having worked on his Wild Stars saga since the 1970s. Michael not only made his pulp library available for this project, he provided the photographic images of these rare magazines so that a manuscript could be produced. He has also lent his years of experience digitally restoring damaged pulp art to restore the original cover by Fred W. Small to create a unique cover for this edition.
Robert Allen Lupton is a prolific author, pulp historian, and commercial hot air balloon pilot. He has published nearly 200 short stories across numerous anthologies, including the New York Times Best Selling Chicken Soup For the Soul series, and has published several anthologies and novels. His most recent novel, “Dejanna of the Double Star” was published in December 2020. Robert has been an active Edgar Rice Burroughs historian, researcher, and writer since the 1970s, including at ERBzine, where several of his articles and stories are published. Robert has painstakingly recreated the text as it was originally published from the digital images provided from Michael’s collection.
Cirsova Publishing has been publishing thrilling adventure science fiction and fantasy since 2016. They have published nearly 20 issues of their flagship publication, Cirsova Magazine. Additionally, they have published a number of anthologies, a fully illustrated edition of Leigh Brackett’s Planet Stories-era Stark adventures, Jim Breyfogle’s Mongoose and Meerkat, and the 35th Anniversary Editions of Michael Tierney’s Wild Stars.
Very soon, we’ll have an audiobook edition of Misha Burnett’s Endless Summer available. Read by Brandon Casinelli, this is a work that Misha Burnett considers his masterpiece. You will not want to miss it.
We have some enormous stuff just on the horizon that we can’t wait to share with you, but until then, let me vamp by reminding everyone that MANY Cirsova back issues are available from our Aerio store for under $7. If you need to fill gaps in your collection, the best way is to visit our Aerio store!
There’s always a bit of a discussion on just how gonzo D&D should be and those “weird” modules that had rayguns in them.
How can you have rayguns in D&D? It doesn’t make sense! Why would there be swords and magic and ALSO rayguns!? It’s just not supported!
Except it totally is.
I’ve been reading an Andrew. J. Offutt novel, Chieftain of Andor [hat tip to Schuyler Hernstrom], which features stone age atomic death rays.
The setting is a Sword & Planet world where there are explicitly no firearms [lack of saltpeter is cited], primitive swords are the weapon of choice for most civilized peoples, and sorcery is real [‘A does not necessarily equal A’]. Yet the hero ends up with an atomic death ray. How?
Two races of mermen live in the caverns underneath a mountain composed in part of a radioactive mineral. The blind albino mermen in the upper part of the mountain have devised a weapon: a small obsidian mirror-box that contains a tiny chunk of highly radioactive material. There’s a door flap that is opened by pulling on a simple trigger. Whatever is in front of the box gets Lou Slotined.
Of course construction of the device is always fatal to whomever harvests the rock and assembles it, so there are necessarily very few and they are only made when absolutely necessary.
The hero observes that in the hands of anyone else on the world other than the blind albino mermen who never leave their mountain, the device could lead to a devastating holocaust, and he’s reluctant to accept the one that is gifted to him for saving the beautiful blind albino mermaids from the chief of the not-blind albino mermen.
So, uh… yeah. If you need some sort of justification for why or how you might have death rays in your AD&D game where swords and wizardry are the words of the day, you need look no further than Appendix N.
We received a number of great presents and well-wishes from everyone this season, including this lovely gift art from StarTwo.
For those who don’t know, StarTwo illustrated our 70th Anniversary Leigh Brackett’s Stark. They’re currently working on a comic project for friend-of-the-magazine, James Streissand, and we can’t wait to see it come to fruition!
We also got a wonderful Christmas gift from Team Shanghai Alice, getting permission to include some original Touhou art on our upcoming 5th Anniversary Issue.
We’ve just received Schuyler Hernstrom’s foreword for Endless Summer, and we thought it was too good not to share.
Discussing stories is a complicated business. Buried somewhere underneath layers of criticism, commerce, and identity you might find some deep understanding of Misha’s work. But I worry that careless digging will disturb the landscape. I challenge myself to think about his work with the care and sensitivity that he puts into it.
For me, Misha is the consummate craftsman. He carefully constructs vessels designed to take you to other places. Each one is different yet bears certain hallmarks that identify its maker. The people populating Misha’s stories are understandable and relatable. Misha understands what people want and what they need. A rhythm beats behind the prose. It is plain when you want it to be plain and colorful when you want it to be colorful. You see and experience things that are at times bizarre, outlandish or horrifying, and yet it seems plausible and real.
How does he pull all this off? It is his craft, a thing he has studied and worked at a long time.
It’s an interesting paradox. Misha is a deeply sensitive and intelligent man interested in the fantastic. But this is wedded with another side to his personality, the engineer and the tinkerer. The two sides come together and create art and you have a watertight vessel for exploring all the dark and strange corners of the universe. Ultimately, it reminds me of Japanese joinery. Timbers are locked together without nails or plates. If you squint and stare long enough up at the rafters, you may perceive the lines hinting at interlocking tenons. It’s a kind of sorcery gained from hard work and a special something that the artists possesses.
Misha is a treat for me. As a writer, it is difficult to read something for enjoyment without trying to pull it apart. But reading an author with such command, such careful control, I can relax and enjoy the magic. After all, I’m the sort of person that doesn’t want to know the magician’s secrets. I want to enjoy the show. This collection is a front row seat.