This is it.
The penultimate story. And it’s a story that asks an important question: What if Weird Tale writers didn’t have so many sex hang-ups?
“Great Pan is Here” by Greye La Spina (November 1943)
Our narrator’s driving along after having five cocktails with his cousin Cecily and their chaperone, Aunt Kate. They are on their way to the symphony. Now Craig, our narrator, has the hots for cousin Cecily and fears that her upbringing under the old-fashioned Aunt Kate is making her too reserved. He wishes something would wake the girl up to the world of love and emotions. Especially his emotions for her. Then side the road he glimpses a pan pipe. It’s just lying.
Was it real? Was it not?
He hesitates to bring it up. Aunt Kate hates missing the opening movements of a symphony. But he does, and no one believes him.
Later back at home our narrator drinks some more and appraises the effects of moonlight on his garden. He’s got a new nymph statue he brought back from Italy, and it’s pretty sweet. Musing such, he’s surprised when he glimpses someone in his garden. He goes to investigate and finds no one but hears the faint piping of a pan flute.
Was someone taunting him?
But no matter how desperately he searches he can’t find anyone, so eventually he goes back to the house.
The next morning Cecily’s dressed for yachting and our narrator’s thinking thoughts of love and goddesses and basically being a lusty horndog except in an Edith Wharton sort of way. He’s about annoyed when she suggests inviting along a friend, Tom Leatherman, they bump into. They all pile into the boat and our narrator fumes as he gets the yacht going. Meanwhile Tom’s talking about the pan pipes he found on the road the day before. Cecily hears that and apologizes to our narrator for not believing him the day before. Craig accuses Tom of sneaking into the garden and playing the pipes. But Tom denies it was him. Then Cecily startles everyone by saying she heard the piping too, and if it wasn’t Tom who was it then?
If only they had read the title of the story they are in.
There’s more sailing. More brooding over pan pipes. More talk of strange notes being played in the air. They go back to shore and ditch Tom Leatherman. Then Craig and Cecily go in the garden for a picnic. They’re starting to warm to each other. The mystery of the pan pipes has made a bond between them. But as they walk they find they’re not alone in the garden. A strange man is there.
Strange and foreign looking.
It’s the Great God Pan.
He then gives them the pitch. He’s an old god making his way in the new world and he’s looking for gardens that bear something of the old ways about them. Craig’s garden with the imported nymph statue is one such place. And Pan wants it. In exchange he offers to give Craig what he desires (Cecily).
This is where something interesting happens. First there’s talk of haggling and buying affection with gold, but Craig says that’s not how it’s done these days. Now it’s love that seals the deal and love that is exchanged freely between individuals. Cecily needs to give her consent in order for there to be a deal. And she does much to Craig’s delight.
Pan’s pleased and says he’ll be back later that night.
Now Craig and Cecily start to wonder what exactly they’ve done. They’ve invited an old god into the garden. That’s not something you can just admit to the yacht club. However they do decide to get married and when back inside they tell Aunt Kate and she’s happy, but still doesn’t want them to be alone together.
Night arrives. Time for bed. Once the house is asleep Cecily and Craig sneak out into the garden. The music starts. The Great God Pan is there.
Ecstasy, dance, sex, etc.
And it was all okay.
I’m not quite certain at the level of consanguineous between Craig and Cecily. I’m thinking they’re like third cousins, which strikes me as weird but not awful. There’s a bit more the next morning where Aunt Kate mentions the nymph statue seems to have lost her scarf, but that’s pretty much the end. But overall, nothing awful happens.
At least nothing awful relative to your views of conjugal relations between distantly consanguine relatives and Paganism taking root in the USA. If you’re cool with all that this story is simply The White Goddess meets Edith Wharton. Premarital sexy times are had and no one is hurt who isn’t already more than a little bit dead inside, and they’re only hurt by having a bad night’s sleep.
La Spina likes her purple prose and manages to dress all her words in such a way that they wear diaphanous gowns. Sure, it reads a bit stilted and melodramatic, but it’s not without its charms. And the sex positivism and enthusiastic consent ideas are refreshing. Like why would I be outraged that two young adults who are obviously into each other sleep together? Is it because they do it under the influence of strange rites conducted by a swarthy foreign man? That’s silly.
Of course, it’s possible that I missed some sinister element in the story. But I don’t think so.
Next week, our last story from The Women of Weird Tales. It’s another from Greye La Spina, and it’s called “The Antimacassar”.
Until then stay well.
This is one of those stories where someone in a barroom meets a long lost someone else and listens as the lost someone tells how they got so lost, and in between the telling the first someone, the narrating someone, has a multi-page flashback detailing their relationship to the lost someone, because who the heck ever pays attention to anyone when they’re telling their life story?
“The Deadly Theory” by Greye La Spina (May 1942)
Our narrator is in a bar. They’ve bumped into an old acquaintance named Julian Crosse. Julian joined the French Foreign Legion and disappeared in 1914. He’d long been presumed dead. But maybe not, because there he was with his piercing blue eyes, smoking, and sipping gin and tonic. So as the narrator smokes and drinks they listen to this man who may or may not be Julian Crosse tell his story. Except first comes the exposition.
Julian was a painter of the Corot sort. Paintings of ladies. Paintings of ladies in nature. Except it’s only one lady. A beautiful lady. Beautiful paintings too. For a time. Then a change happens. Lady becomes hidden. Beauty’s gone. Something “unhealthy” has seeped into the pictures. Reporters want to know what happened. They track Crosse down and hear a story about sisters. One died. One lost her mind. Julian loved that one. Painted her before her accident and after. Hence the “unhealthiness”. Julian didn’t affirm or deny this story. He said it’s best not to talk about such important things. Then he split for France and the Foreign Legion. First though he said good bye to the Narrator. Goodbye. He said. I loved a woman and she died. Now I’d rather be dead. So I go die now in France like a bridegroom on his wedding day. Backstory done, time now to listen to what this guy who might be Julian Crosse is talking about.
Julian met a girl. Her name was Marzha. Her sister was Idell. Their father was a sea captain. Their mother a “passionate” Persian. They died and the girls were left with their Uncle, the Occultist. He home schooled them. There’s no mention of how Julian met Marzha, but he does. And she’s totally great and perfect. She brings Julian home to meet her Uncle, the Occultist. He looks like Moses and always has some occult experiment going on. He likes Julian. Hurray. Hurrah. But Idell the younger sister was not happy at all. She was more highly sexed then her sister and she wanted Julian. But he was like no thank you. So he leaves with the Uncle the Occultist to buy “herbs” in the city. When they come back Idell greets them in hysterics. Turns out Marzha ate some poisoned mushrooms. Turns out Marzha is dead. But wait, Uncle Occultists says, Marzha knew mushrooms too well. She’d never eat a poisonous one. What if Idell did it on purpose! Shock. Surprise. The girl flees. Uncle Occultist gets an idea.
That’s the pseudo-science name for the reproductive method of phoenixes. Burn yourself up, get born again. Easy peasy, lemon squeezey. Be reborn. Life after death.
They built a fire and burned Marzha’s body. An urn was found for the ashes. All of the ashes down to the finest particle. Then there’s more occult shenanigans. Blood. Magic circles. Incantations. The whole shebang. After some time Idell has to get roped into the ritual, because it’s a three person thing. From the urn rises a phantom of ash. Marzha!
Except the body is as it was upon the moment of death, gas-inflated and bloated from the poison’s rapid action. Oops, Uncle Occultist says.
In the aftermath, Julian’s freaked out. Idell’s freaked out. Uncle Occultist is pleased because it’s cool to bring people back from the dead. Marzha’s body is a soulless zombie that needs to be misted with magic blood fluid from a spray bottle like she’s a house plant. The more blood mist she gets the more alive Marzha becomes. Except Idell kills herself unbeknownst to all, swapping in her own blood. Whoopsie, it’s her soul now in Marzha and she still has the hots for Julian! He bales. He bales faster than Christian Bale baling at Bale-Fest. Marzha-Idell is like what! how dare you. Julian smashes the spray bottle. Haha. No more blood. Marzha-Idell dies. Uncle Occultist is sad. Julian skips town and tells the narrator he died in 1915.
But how can that be? Julian is here drinking with the narrator. Suddenly an Old Man appears. It’s Uncle Occultist. He escorts Julian away. But before leaving Julian says, “Some folks never know when to quit.” The pair exits the bar. The narrator decides to get drunk which is saying something because at this point in the story I think they’d already had four scotch and soda. The end.
The Great God Pan makes a mess… again.