Writing
Merritt's writings were heavily influenced by H. Rider Haggard, Robert W. Chambers, and Gertrude Barrows Bennett (writing as Francis Stevens), with Merritt having "emulated Bennett's earlier style and themes." Merritt's stories typically revolve around conventional pulp magazine themes: lost civilizations, hideous monsters, etc. His heroes are gallant Irishmen or Scandinavians, his villains treacherous Germans or Russians and his heroines often virginal, mysterious and scantily clad.
What sets Merritt apart from the typical pulp author, however, is his lush, florid prose style and his exhaustive, at times exhausting, penchant for adjective-laden detail. Merritt's fondness for micro-description nicely complements the pointillistic style of Bok's illustrations.
In 1917, he published his first fantasy, "Through the Dragon Glass", in All-Story Weekly. This was followed by many more tales, including The People of the Pit (1918), The Moon Pool (1919), The Metal Monster (1920), The Face in the Abyss (1923), The Ship of Ishtar (1924), The Woman of the Wood (1926), Seven Footprints to Satan (1927), Burn Witch Burn! (1932), Dwellers in the Mirage (1932), Creep, Shadow! (1934), and The Drone Man (1934).
He also contributed to the round robin story The Challenge from Beyond with Lovecraft, Robert E. Howard, C. L. Moore, and Frank Belknap Long.
The Fox Woman and the Blue Pagoda (1946) combined an unfinished story with a conclusion written by Merritt's friend Hannes Bok. The Fox Woman and Other Stories (1949) collected the same fragment, minus Bok's conclusion, with Merritt's short stories. The book The Black Wheel was published in 1948, after Merritt's death; it was written by Bok using previously unpublished material as well.
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Famous quotes containing the word writing:
“As I am writing my thought, it sometimes escapes me; but this makes me remember my weakness, which I constantly forget. This is as instructive to me as my forgotten thought; for I strive only to know my nothingness.”
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“To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a heartbreaking task for men who know good writing from bad. They do it, but instinctively draw out of harm’s way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin.”
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“The importance to the writer of first writing must be out of all proportion of the actual value of what is written.”
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