After completing the bookkeeping course, Howard set about in earnest the business of becoming a writer. By early 1928, it was clear that he was going to be able to succeed in this, and indeed he never again worked at any other job. Weird Tales had published two Howard stories in 1925, one in 1926, and one (plus two poems) in 1927. In 1928 they would publish four stories (including the first Solomon Kane tale, Red Shadows) and five poems. From January 1928 until his death in June 1936, Howard stories or verse appeared in nearly three of every four issues of Weird Tales.
Several critics have noted that Howard’s writing can be divided into “periods.” Though they overlap to a degree, these periods, which seemed to last two to three years each, may reveal something about Howard’s writing style and methods. The most well-defined periods are those during which he wrote boxing stories, culminating in the Steve Costigan series; heroic fantasy stories, culminating with Conan; oriental adventure stories, culminating with the El Borak tales; and western stories–he was still “in” this period at his death. A close reading of Howard’s letters and stories, and placement of these along a timeline, reveals that he would develop an interest in a subject, read about it avidly, immerse himself in it so thoroughly that he virtually adopted a new identity (a persona, the “voice” through which a writer speaks, not to be confused with the writer’s own personality), whereupon he would begin, at first tentatively and then with increasing confidence and vigor, to write about the subject in this new “voice.” Although something of the pattern can be seen from his early writing, it is most vivid beginning with his “boxing” persona, Steve Costigan.
Howard’s passion for boxing is attested as early as age nine. He boxed with his friends at any opportunity, and in his late teens may have occasionally assisted in promoting fights at local clubs in Cross Plains. While working at the soda fountain at the Cross Plains Drug Store, he developed a friendship with one oil-field worker who introduced him to the amateur fighters at the local ice house, and he became a frequent participant in these bouts. Between 1925 (at the latest) and 1928, he put himself through a weight and strength program, and took on really heroic proportions. He read avidly about prizefighters, and attended fights whenever and wherever he could. By early 1929 he had begun writing and submitting boxing stories, though his first efforts mingled boxing with weird themes. (This was another of his patterns: when trying out a new literary field, he would often use characters, settings or themes with which he was already comfortable.) With the first Steve Costigan story, The Pit of the Serpent, in the July 1929 Fight Stories, he had found a market that would prove as steady for him as Weird Tales, at least until the Depression knocked out Fight Stories and its companion magazine, Action Stories, in 1932.
The same weekend he met Harold Preece in Austin, Howard had bought a copy of G. K. Chesterton’s book-length epic poem, The Ballad of the White Horse, which brings together Celts, Romanized Britons, and Anglo-Saxons under King Alfred in a battle of Christians against the heathen Danish and Norse invaders of the ninth century. Howard enthusiastically praised the poem in letters to Clyde Smith, sharing lengthy passages. It apparently inspired him to begin work on The Ballad of King Geraint, in which he brings together representatives of various Celtic peoples of early Britain in a valiant “last stand” against the invading Angles, Saxons, and Jutes. Chesterton’s idea of “telescoping history,” that “it is the chief value of legend to mix up the centuries while preserving the sentiment,” must have appealed to Howard greatly, for this is precisely what he did in many of his fantasy adventures, particularly in his creation of Conan’s Hyborian Age, in which we find represented many different historical eras and cultures, from medieval Europe (Aquilonia and Poitain) to the American frontier (the Pictish Wilderness and its borderlands), from Cossacks (the Kozaki) to Elizabethan pirates (the Free Brotherhood). Howard “mix(ed) up the centuries while preserving the sentiment”: this “telescoping” allowed him to portray what he saw as universal elements of human nature and historical patterns, as well as giving him virtually all of human history for a playground.
When Howard discovered that Harold Preece shared his enthusiasm for matters Celtic, he entered into his “Celtic” phase with his customary brio. His letters to Preece and to Clyde Smith from 1928 to 1930 are full of discussions of Irish history, legend, and poetry–he even taught himself a smattering of Irish Gaelic, and began exploring his genealogy in earnest (though he had a pronounced tendency to overstate the Irishness of his ancestry). Irish and Celtic themes came to dominate his poetry, and by 1930 he was ready to try out this new persona with fiction. In keeping with his general tendency to use older work as a springboard to the new, he first introduced an Irish character into a story featuring two earlier creations–Cormac of Connacht is often overlooked as one of the Kings of the Night, overshadowed by the teaming up of Bran Mak Morn and King Kull, but the story is told from the Irish king’s point of view. During 1930 Howard wrote a number of stories featuring Gaelic heroes, nearly all of them outlawed by clan and country.
In June 1930 Howard received a letter from Farnsworth Wright informing him that Weird Tales planned to launch a companion magazine dealing with oriental fiction, and asking him to contribute. This request rekindled the author’s avid interest in the Orient, particularly the Middle East, and he produced some of his finest stories for the new magazine (originally titled Oriental Stories, later Magic Carpet). But while these stories were set during the Crusades, or periods of Mongol or Islamic conquests, they inevitably featured Celtic heroes.
Also in June 1930, Howard wrote to Farnsworth Wright in praise of H. P. Lovecraft’s The Rats in the Walls, which had just been reprinted in Weird Tales. In the letter, he noted the use of a phrase in Gaelic, suggesting that Lovecraft might hold to a minority view on the settling of the British Isles. Wright sent the letter on to Lovecraft, who frankly had not supposed when he wrote the story that anyone would notice the liberty he had taken with his archaic language. He wrote to Howard to set the record straight, and so began what is surely one of the great correspondence cycles in all of fantasy literature. For the next six years, Howard and Lovecraft debated the merits of civilization versus barbarism, cities and society versus the frontier, the mental versus the physical, art versus commerce, and other subjects. At first Howard was very deferential to Lovecraft, whom he (like many of his colleagues) considered the pre-eminent writer of weird fiction of the day. But gradually Howard came to assert his own views more forcefully, and eventually could even direct withering sarcasm toward Lovecraft’s views, as when he noted how “civilized” Italy was in bombing Ethiopia.
These letters provide a vast store of information on Howard’s travels and activities during these years, as well as his views on many subjects, and in them we see the development of the persona that would come increasingly to dominate Howard’s fiction and letters in the last part of his life, “The Texican” (a term used for Texans prior to statehood). Lovecraft, and later August Derleth, with whom Howard also began corresponding, strongly encouraged Howard’s growing interests in regional history and lore, as did E. Hoffmann Price, with whom Howard was already corresponding in 1930 and who was the only writer of the Weird Tales group to actually meet him in person. It is unfortunate that this persona did not have a chance to develop fully by the time of Howard’s death. The evidence of his letters suggests that he might have become a great western writer.
Even before Howard bought his own car in 1932, he and his parents had made many trips to various parts of Texas, to visit friends and relatives, and for his mother’s health, which was in serious decline. After he bought his car, he continued to travel with his parents, but made a few trips with his friends, such as Lindsey Tyson and Truett Vinson. His travels ranged from Fort Worth to the Rio Grande Valley, from the East Texas oil fields to New Mexico. His letters to Lovecraft contain a good deal of description and discussion of the geography and history of these places, and are highly entertaining in their own right, apart from b
eing windows into Howard’s life.
In 1934, a new schoolteacher arrived in Cross Plains who was to become a major force in Bob Howard’s life. Bob had met Novalyne Price a little over a year previously, when introduced to her by their mutual friend Clyde Smith. Upon moving to Cross Plains, Novalyne made several attempts to call Bob, only to be told by his mother that he could not come to the phone, or was out of town. At last tiring of these excuses, she talked her cousin into giving her a ride to the Howard home, where she was greeted stand-offishly by his father but warmly by Bob. This was the beginning of a sometimes romantic, sometimes stormy relationship. For the first time, Bob had someone locally who shared his interests–and she was a woman! But his closeness to his mother, particularly his insistence upon attending to her in her illness, which Novalyne thought he should hire a nurse to do, rankled Novalyne, as did his refusal to attend social events. Marriage often entered their minds, and was even occasionally discussed–but the two never entertained the same feelings at the same time. When she would think she was in love, he would insist he needed his freedom. When he thought he was ready for love, she saw only the differences in their attitudes toward socializing. They were two headstrong, passionate, assertive personalities, which made for an interesting relationship, but one that was impossible to sustain. Their relationship became strained when Novalyne started dating others, including Howard’s friend Truett Vinson.
Through 1935 and 1936, Howard’s mother’s health was in rapid decline. More and more frequently Robert had to take her to sanitariums and hospitals, and even though Dr. Howard received a courtesy discount on services, the medical bills began to mount. Bob was faced with a dilemma: his need for money was more pressing than ever, but he had little time in which to write. Weird Tales owed him around $800, and payments were slow. Dr. Howard, his own meager savings exhausted, moved his practice to his home, so that patients came in and out all day and night. Father and son finally tried hiring women to nurse and keep house, further filling the house with people. Bob could find no time to be alone with his writing. This, and the despair he felt as his mother inexorably slid toward death, created enormous stress for the young writer. He resurrected an apparently longstanding plan not to outlive his mother.
This was no impulsive act. For years, he had told associates such as Clyde Smith that he would kill himself were it not that his mother needed him. Much of his poetry, most of it written during the 1920s and early 1930s, clearly and forcefully reflects his suicidal ideation. He was not at all enamored with life for its own sake, seeing it only as weary, gruelling toil at the behest of others, with scant chance of success and precious little freedom. A 1931 letter to Farnsworth Wright contains several statements of common Howard themes: “Like the average man, the tale of my life would merely be a dull narration of drab monotony and toil, a grinding struggle against poverty…. I’ll say one thing about an oil boom; it will teach a kid that life’s a pretty rotten thing about as quick as anything I can think of…. Life’s not worth living if somebody thinks he’s in authority over you…. I’mmerely one of a huge army, all of whom are bucking the line one way or another for meat for their bellies…. Every now and then one of us finds the going too hard and blows his brains out, but it’s all in the game, I reckon.”
His letters frequently express the feeling that he was a misfit in a cold and hostile world: “The older I grow the more I sense the senseless unfriendly attitude of the world at large.” In nearly all his fiction, the characters are misfits, outcasts, aliens in a world that is hostile to them. One wonders if the early childhood experience of being uprooted on a regular basis, as Dr. Howard gambled on one boom town after another–the Howards had at least eight different residences, scattered all over Texas, before Robert was nine years old–may have contributed to this feeling of being an outsider in an inhospitable land.
In some of his letters to Lovecraft he expressed another variation on this theme: the feeling that he was somehow born out of his proper time. He frequently bemoaned the fate that had him born too late to have participated in the taming of the frontier. “I only wish I had been born earlier–thirty years earlier, anyway. As it was I only caught the tag end of a robust era, when I was too young to realize its meaning. When I look down the vista of the years, with all the ‘improvements,’ ‘inventions’ and ‘progress’ that they hold, I am infinitely thankful that I am no younger. I could wish to be older, much older. Every man wants to live out his life’s span. But I hardly think life in this age is worth the effort of living. I’d like to round out my youth; and perhaps the natural vitality and animal exuberance of youth will carry me to middle age. But good God, to think of living the full three score years and ten!”
Howard also seems to have had an abhorrence of the idea of growing old and infirm. A month before his death he’d written to August Derleth: “Death to the old is inevitable, and yet somehow I often feel that it is a greater tragedy than death to the young. When a man dies young he misses much suffering, but the old have only life as a possession and somehow to me the tearing of a pitiful remnant from weak fingers is more tragic than the looting of a life in its full rich prime. I don’t want to live to be old. I want to die when my time comes, quickly and suddenly, in the full tide of my strength and health.”
For a young man, Howard seems to have had an exaggerated sense of growing old. When he was only twenty-four he wrote to Harold Preece, “I am haunted by the realization that my best days, mental and physical, lie behind me.” Novalyne Price recalls that during the time they were dating, in 1934–35, Bob often said that he was in his “sere and yellow leaf,” echoing a phrase from Macbeth: “I have lived long enough, my way of life / Is fal’n into the sere, the yellow leaf…”
Also in his May 1936 letter to Derleth, Howard mentioned that “I haven’t written a weird story for nearly a year, though I’ve been contemplating one dealing with Coronado’s expedition on the Staked Plains in 1541.” This suggests that Nekht Semerkeht may well have been the last story Howard started, and if so, it is of interest here, in that it dwells upon the idea of suicide. “The game is not worth the candle,” thinks the hero, de Guzman:
[Man] fondles his favorite delusion that he is guided wholly by reason, even when reason tells him it is better to die than to live. It is not the intellect he boasts that bids him live, but the blind, black, unreasoning beast-instinct.
This de Guzman knew and admitted. He did not try to deceive himself into believing that there was any intellectual reason why he should not give up the agonizing struggle, place the muzzle of a pistol to his head and quit an existence whose savor had long ago become less than its pain.
And in the end, it may be that stress played an important role in his decision to take his own life. His mother’s worsening illness had necessitated frequent absences from home, to take her to medical facilities in other parts of the state, and even when the Howards were home, Bob had little uninterrupted time, or peace, in which to write. He worried constantly about his mother. It may be that a complex array of forces coalesced to convince him of the futility of existence, and to impel him to take a long-contemplated course of action.
Howard planned for his death very carefully. He made arrangements with his agent, Otis Kline, for the handling of his stories in the event of his death. He carefully put together the manuscripts he had not yet submitted to Weird Tales or the Kline agency, with instructions on where they were to be sent. He borrowed a gun, a .380 Colt automatic, from a friend who was unaware of his plans. Dr. Howard may have hidden Bob’s own guns, aware of what he might be contemplating. He said that he had seen his son make preparations on earlier occasions when it appeared Mrs. Howard might die. He said that he was trying to keep an eye on his son, but that he did not expect him to act before his mother died.
Hester Howard sank into her final coma about the 8th of June, 1936. Bob asked Dr. J. W. Dill, who had come to be with Dr. Howard during his wife’s final illness, whether anyone had been known to live after
being shot through the brain. Unaware of Bob’s plan, the doctor told him that such an injury meant certain death.
Dr. Howard related that Robert had disarmed him of his intentions the night before, assuming “an almost cheerful attitude”: “He came to me in the night, put his arm around me and said, buck up, you are equal to it, you will go through it all right.” He did not know, he said, that on the morning of the 11th, Robert asked the nurse attending Mrs. Howard if she thought his mother would ever regain consciousness, and that the nurse had told him she would not.
He then left the room, and was next seen leaving the house and getting into his car. The cook he and his father had hired said later that, looking through the kitchen window, she saw him raise his hands in prayer, though what looked to her like prayer may have been holding up the gun. She heard a shot, and saw Robert slump over the steering wheel. She screamed. Dr. Howard and Dr. Dill ran out to the car and carried Bob back into the house. Both were country doctors, and they knew that no one could live with the kind of injury Bob had sustained. He had shot himself above the right ear, the bullet emerging on the left side.
Robert Howard’s robust health allowed him to survive this terrible wound for almost eight hours. He died at about 4:00 in the afternoon, Thursday, June 11, 1936, without ever regaining consciousness. His mother died the following day, also without regaining consciousness. A double funeral was held on June 14, and the mother and son were transported to Brownwood for burial.
A four-line stanza was found and said to be the last thing Robert E. Howard wrote on his old Underwood:
All fled, all done
The Best of Robert E. Howard Volume One: Crimson Shadows Page 63
