Interview: METEOR HOUSE PRESS

Today I chat with Meteor House founders Paul Spiteri, Win Scott Eckert, and Michael Croteau, to discuss their new collection Savageology, showcasing Philip José Farmer’s love of Doc Savage and some of the work it has inspired. Savageology is available to order from the Meteor House website and will also be available for purchase at Pulpfest.

Meteor House is a publisher of science fiction and fantasy. They publish The Worlds of Philip José Farmer anthology series, authorized limited edition novellas set in Farmer’s worlds written by other authors, and high-end limited-edition hardcovers of Farmer’s classic works.

Philip José Farmer fans are well aware of his love for, and work on, Doc Savage. What made Meteor House decide that now was the time to publish a collected volume of Farmer’s non-book-length Doc writings, along with writing about Farmer and Doc by other authors?

METEOR HOUSE: We published The Man Who Met Tarzan in 2021, a collection of Farmer’s writings about the jungle lord, including an interview he did with Lord Greystoke. We knew then we wanted to also publish a collection of his writings on Doc. When we heard last year that DocCon would be held at PulpFest this summer, we thought Savageology would be a great way to celebrate.

How would you compare Savageology and The Man Who Met Tarzan?

There is a fundamental difference. The Man Who Met Tarzan is, apart from introductory essays, all by Farmer and looks at how Farmer built his theories about Tarzan. Savageology takes a wider perspective and includes many pieces from fans and scholars influenced by Farmer and his varied writings about Doc.
    The commonality is Savageology is a fan focused love letter to Doc, and The Man Who Met Tarzan is his love letter to the lord of the jungle.

Savageology sports a truly impressive table of contents. Are there any pieces that are particularly rare or that were difficult to get included?

We really wanted to include “Doc Savage and the Cult of the Blue God,” a screen treatment Farmer wrote for George Pal as a potential sequel to the movie, Doc Savage: The Man of Bronze. It took a bit of time to negotiate with Condé Nast for permission to reproduce this, but it worked out in the end.
    Another item that was a lot of work, but really worth the effort, is the expanded version of the 8,000-word interview Will Murray did with Farmer in 1989 for Starlog magazine (published in 1990). Murray gave us access to the tapes of the over three-hour long interview, and we were able to expand it by over 10,000 words.

Meteor House has now brought out two editions of Doc Savage: His Apocalyptic Life. Is it accurate to describe Savageology as a companion piece to that biography?

Yes, absolutely. We believe anyone who enjoyed Doc Savage: His Apocalyptic Life will find this book just as educational and entertaining.

Doc fans can be notoriously split on how they view Farmer’s Savage-related writings. Would you say Savageology is aimed more at Farmer fans or Doc fans?

Both. We’re hoping this book may bridge that gap some. We always want to stress that Farmer absolutely loved Doc Savage. He had many different takes on Doc; he was not a black-and-white thinker and creator. So one of the points of the book is not adherence to one, strict interpretation, but rather an all-encompassing enthusiasm for the character and for fandom, something that everyone can share in. As Farmer and Murray discuss in the interview, Farmer was striving to explore the character of Doc Savage, to get into the essence of what a superhuman would actually be like.

Of course, some of that split has to do with Farmer’s creation of Doc Caliban, as Chuck Welch points out in his piece that acts as an introduction to the collection. There is some Doc Caliban content in this book. What are the essential differences between Doc Savage and Doc Caliban?

Put simply, Doc Savage is not flawed. He rarely makes mistakes, and he rarely, if ever, regrets a course of action he has taken. Doc Caliban is just as brilliant, both mentally and physically, but he comes with all the hangups and neuroses that we all have, coupled with the baggage of his highly unusual upbringing. Consequently, Caliban made a deal with the Devil when he joined The Nine. That’s not a decision (a mistake) that Savage would have made.

I never got to meet or interact with Phil before his and Bette’s passing, but you all at Meteor House did. Do any of you recall having conversations with him about Doc (Savage/Caliban) that readers here may find interesting?

Not about Savage or Caliban specifically, but rather pertaining to the novel about Doc’s daughter, Patricia Wildman. Win Eckert and Chris Carey were sitting with Phil and Bette, having a deep discussion about the approach Win should take in completing Phil’s unfinished novel The Evil in Pemberley House. At issue was whether to excise the highly graphic sex scenes Phil had written, or leave them in. Bette was in favor of deleting the sexual material; Phil wanted it left in but seemed resigned that due to the sensibilities of the late twenty-aughts (the book saw publication in 2009), the material would be removed. In the end, the sex scenes were deemed essential to the plot, theme, and character, and were left intact. It was an interesting conversation, to say the least.

Do you have plans for any more themed collections like Savageology and The Man Who Met Tarzan?

MH: We would like to someday publish a collection of Farmer’s writings relating to Sherlock Holmes, both fiction and non-fiction. And if we ever reprint his novel, A Barnstormer in Oz, we’d like to also include several shorter pieces he wrote about Oz. Perhaps one day we’ll collect his original Sturch stories and maybe do a collection of his shorter Riverworld stories.

And finally, what do you think Farmer would have made of books like Savageology and The Man Who Met Tarzan?

Farmer loved these characters so much he spent years researching them and writing about them. We think he would have liked how the pieces were presented and how, in concise volumes, he could see how his own thinking on these two iconic characters developed over time. And also appreciate the further study of these characters he inspired.

Thank you, Paul, Win, and Mike for your time. I look forward to seeing you all at PulpFest.

Thank you, Anthony, this has been a lot of fun!

Readers, it is not too late to register for and attend Pulpfest 2025 (THE pulp magazine-focused convention in the Northeast) and the other three conventions it hosts: FarmerCon (dedicated to the works of Philip Jose Farmer), ERBFest (dedicated to the works of Edgar Rice Burroughs) and DocCon (dedicated to all things Doc Savage related). Check out the Pulpfest website for registration and hotel information!

PULPFEST 2024 Report

Those who follow me on Instagram or are friends with me on Facebook know that I spent this past weekend (actually, 5 days: July 31 to Aug 4) at Pulpfest in Cranberry, Pennsylvania. Pulpfest is a convention dedicated to the pulp magazines of the early 20th century (so called because they were printed on pulp/newsprint paper as compared to the “slick” magazines). It’s a convention I look forward to every year, probably my favorite. (Yes, I also love Readercon, held in Quincey, Massachusetts in July, but for different reasons.)

Before I talk about why I love Pulpfest so much and tell you a bit about this year’s convention, allow me to present you with a photo featuring every pulp magazine I own:

Yes, that’s it. Five pulp magazines. One issue of Startling Stories (which happens to include stories by the great Robert Bloch and also John Broome); one issue of Doc Savage (including the novel The Flaming Falcons); three issues of Planet Stories (one of which has a story by Fredric Brown, another of which has a short novel by Gardner F. Fox). And I am perfectly fine with the fact that I only own five pulp magazines, none of them in any salable condition (in fact, they were all gifts from a friend, duplicates of his own collection).

So why go to a convention dedicated primarily to pulp magazines, if I don’t collect pulp magazines?

Camaraderie.

See, Pulpfest is really three conventions in one. While the focus of Pulpfest panels is the preservation of the history of pulp magazines in all their multi-genre splendor (pulps ranged from romance/spicy to horror, adventure, mystery, western, science fiction, fantasy, and probably some genres I’m forgetting, to the “single character” pulps (both heroic, like The Shadow, The Avenger, and Doc Savage, and the villainous, like Doctor Satan.)), they also have welcomed FarmerCon (dedicated to celebrating the work of Philip Jose Farmer) and ERBFest (dedicated to celebrating the work of Edgar Rice Burroughs). And next year (2025), Pulpfest will expand to being “FOUR conventions for the price of one!” with the addition of DocCon, celebrating Doc Savage.

I started going to Pulpfest because of FarmerCon. I’d been online friends for quite a few years with a group of fans of Philip Jose Farmer and was finally convinced to meet them in person when Pulpfest relocated from Columbus, Ohio to Pittsburgh (Cranberry) Pennsylvania around 2018. I could (and will, one of these days) write an entire post, or even series of posts, about how Phil Farmer’s books (most notably, his fictional biographies of Tarzan and Doc Savage) inspired and intrigued me. Among the group of Farmer fans, I am easily the least knowledgeable about Farmer and his works. But that’s okay, they don’t hold it against me. They welcomed me with open arms, and I absorb their knowledge (and their book recommendations and writing advice) eagerly. These people have become more than friends (and far more than just online acquaintances) over these past few Pulpfest/FarmerCons.

Many of the FarmerCon folks are also big fans of Edgar Rice Burroughs – another relatively early influence on me (thanks in part to an adult neighbor who lent me some of the novels after seeing me reading some Marvel and DC Tarzan and John Carter of Mars comics), and another author about whom I am the least knowledgeable among our friend group when we gather. (See above for why I’m fine with that.) This year, it was decided to hold an ERBFest as part of Pulpfest, including the 2024 Dum Dum Banquet (if you’re fan of the Tarzan books, you know why it’s called that).

Many of the FarmerCon and ERBFest folks are also big fans of Doc Savage. You see where this is going – lather, rinse, repeat the above.

I LOVE (yes, in all caps) just hanging out and talking with all of these people in the hotel lobby until way later than is healthy for me, as well as attending panels and dinners and wandering the dealers’ room having conversations with the people I know, and people I’ve never met before. I usually don’t stop smiling and laughing the whole time I’m there unless I’m sleeping. These folks are “good medicine,” as my father used to say.

The panels I attended this year included:

·       “The Women of Edgar Rice Burroughs,” where panelists Cathy Mann Wilbanks (Vice-President of Operations at Edgar Rice Burroughs Inc.) and Bernice Jones discussed both the real women in Burroughs’ life (his mother, daughter, and two wives) and the strong, independent, progressive-for-the-time women in his fiction (Jane Porter Clayton, wife of Tarzan; Dejah Thoris, wife of John Carter of Mars; Duare, wife of Carson of Venus; Maggie Lynch, the main character of Burroughs’ novel The Girl From Farris’s; and many others). If there was one complaint from the attendees, it was that the panel wasn’t long enough to cover all of the strong, capable female characters Burroughs created (notable absences: Meriem, wife of Korak (son of Tarzan); Betty Caldwell and Llana of Gathol (from the John Carter books); and Virginia Maxon (from Burroughs’ The Monster Men).

·       “Flinch!Fest,” focused on current and recent releases from small press publisher Flinch! Books, during with Flinch co-publishers Jim Beard and John C. Bruening read passages from their stories in the western anthology Six Gun Legends, Bruening’s novel The Midnight Guardian: Gods and Sinners, and the Flinch anthology Quest for the Space Gods: The Chronicles of Conrad von Honig, which led into panel guest Brian K. Morris reading from the newest Flinch release, Quest for the Delphi Occulus, which Morris wrote for the press and which also features Conrad von Honig.

·       “The Universe According to Edgar Rice Burroughs,” during which ERB Inc Vice-President of Operations Cathy Mann Wilbanks and Vice-President of Publishing / Creative Director Christopher Paul Carey were joined by Joe Ferrante, one of the producers of the upcoming John Carter of Mars: the Audio Series (currently funding on Kickstarter), to discuss the audio project (including a video message from Sean Patrick Flannery, who will be voicing John Carter)  before launching into announcements of the next slate of ERB Universe books (including a new Land That Time Forgot novel, Fortress Primeval, by Mike Wolfer in 2025, as well as the very soon to release A Princess of Mars: Shadows of the Assassins by Ann Tonsor Zeddies (the first full length Dejah Thoris novel) and several projects featuring Victory Harben), as well as the next slate of books in the Edgar Rice Burroughs Authorized Library.

·       “Farmercon XIX Panel,” moderated by Keith Howell, during which Meteor House Press publishers Paul Spiteri and Win Scott Eckert discussed the recent Meteor House releases of The Full Account (which combines, in alternating chapters, Jules Verne’s Around the World in 80 Days with Philip Jose Farmer’s The Other Log of Phileas Fogg, which tells the same story from a different, more science fictional, angle) and the Secrets of the Nine Omnibus (which brings together under one cover Farmer’s A Feast Unknown, The Mad Goblin, and Lord of the Trees, as well as some connected short stories and essays by Eckert, Frank Schildiner, and others). They were joined by Meteor House author Sean Lee Levin, who talked about his non-fiction release Crossovers Expanded: The Secret History of the World Volume 3 as well as his fiction debut chapbook The Lazarus Cabal.

Sadly, due to my own poor scheduling, I had to miss several panels, including “Burroughs, Farmer, and Pulp,” in which author Craig McDonald interviewed one of my favorite artists, Douglas Klauba, about his work on various book covers for Edgar Rice Burroughs Inc and Meteor House. I would have loved to listen to Doug talk about his process.

I also got to see the world premiere of We Are Doc Savage, a documentary about Doc Savage fandom directed by Ron Hill, which will soon be making the film festival rounds. I readily admit I teared up several times, and finished the documentary thinking not only how wonderful Doc Savage fandom is in general and how the Doc Savage stories have influenced so many people but also thinking “Damn, I know some really incredibly cool and wonderful people,” since so many of my friends were interviewed for the film.

And of course, I bought stuff. Too much stuff. No pulps, but a lot of paperbacks, some hardcovers, two art prints (one by Doug Klauba, the other by Mark Wheatley), some comics, and a small pile of DVDs. On the vintage paperback side, I made progress filling in some series I’m re-collecting (including Dark Shadows and The Man from U.N.C.L.E.) and started (and possibly completed) two more (Strange Paradise and Mathew Swain). I also found a first edition hardcover of the novelization of Miracle on 34th Street. And I bought current releases from the tables of small press publishers Flinch! Books, Becky Books, Stormgate Press, Edgar Rice Burroughs Inc., and Meteor House, as well as from authors Craig McDonald and Brian K. Morris. If you’d like to see pictures of everything I purchased, head on over to my Instagram page.

I could go on and on about the dinner time and late-night conversations; there were SO MANY in-jokes, and so many instances of just basking in friends talking about the things they love. But this post is already way longer than my usual.

Pulpfest 2024 is over … but Pulpfest 2025 (including Farmercon XX, ERBFest, and DocCon!) is a mere 53 weeks away: Thursday, August 7th through Sunday, August 10th, 2025, at the Doubletree by Hilton in Cranberry, PA. Join us!

Book Review: Up from the Bottomless Pit

TITLE: Up from The Bottomless Pit

AUTHOR: Philip José Farmer

251 pages, Meteor House Press, ISBN 9781945427176 (paperback)

DESCRIPTION: (from the back cover): Philip José Farmer’s Up from the Bottomless Pit, originally written in the late 1970s with the working title The Dragon’s Breath, is a near-mainstream novel about the ultimate ecological nightmare. Set in an alternate/near future 1970s, Up from the Bottomless Pit tells of a world so ravenous in its desire for oil that it has thrown caution to the wind. Using an experimental deep-water laser drill off the California coast, humankind burns a hole through the ocean floor only to unleash a deadly torrent that initially threatens the greater Los Angeles area, but quickly escalates to a catastrophe of worldwide proportions with the potential to wipe out all life on the planet. Published for the first time in an affordable standalone edition, Up from the Bottomless Pit does an amazing job predicting both the government’s and citizens’ reactions to large-scale crises such as Hurricane Katrina, the BP oil spill, and the COVID-19 pandemic. Strap in for an edge-of-your-seat adventure.

MY RATING: 5 stars out of 5.

MY THOUGHTS: The back-cover text does not lie when it calls this book an edge-of-your-seat adventure. Had it been published in the 1970s, I can easily imagine it being filmed by Irwin Allen with an “all-star cast.” If it were to be filmed now, the lead character, James Cable, would likely be portrayed by Dwayne Johnson. It has everything such a movie needs: massive fires, riots, lots of gunshots.

But to describe Up from the Bottomless Pit as just an edge-of-your-seat adventure is to undercut the real marvel of the novel: that in the 1970s, Philip José Farmer didn’t just write a disaster novel but rather a novel which uses that disaster to comment on social strata, disaster relief, corporate greed, government overreach, and religious fanaticism. I would like to hope any movie adaptation would retain these headier, more introspective qualities. (But let’s be honest, I’d probably be wrong.)

James Cable is the project lead for a cutting-edge new oil drill that uses lasers and therefore can cut through the rock under the seabed faster: saving money for his employers, Cal-Pax, and getting oil to the masses faster. Just before the novel opens, there’s been an earthquake near the drill site that resulted in cracks releasing oil into the ocean. Cable’s team has capably stoppered those cracks, and the drilling continues. Cable, as much as he hates it, has been tasked with bringing a news crew out to the platform for a feature about the new technology and how safe it is.

Of course, just before they arrive, there’s a breach, followed by a massive gusher and the platform going up in flames. There are equal odds the disaster was an accident or that there was sabotage by a religious group called The Soldiers of Jehovah. Cable and the news crew make it back to Los Angeles, where Cable’s job becomes stopping the largest-ever on-going oil spill from decimating the Pacific Ocean. That task is complicated by government officials who want someone to blame, corporate over-seers who are upset at the bad PR and loss of money, and the Soldiers of Jehovah who know a chance to foment religious rebellion when they see one. With each bad decision by the government and corporate, with each new attack by the Soldiers of Jehovah, the stakes get higher and the odds for survival slimmer.

It’s no surprise that Farmer expertly drives those stakes, and the tension, up by alternating massive disaster scenes with quieter moments. In the middle of a veritable riot in downtown LA, with people climbing over cars and other people to get to safety, Cable stops to help an injured old man. But by the time Cable gets the water the man needs the man has died. It’s a small moment, almost blink-and-you-miss-it, but it drives home the human cost of this mass exodus in a way the crowd scenes almost can’t. There are several moments like this in the center of the book that took my breath away; I could feel the noise of the riot fall away, could feel the space between breaths while Cable debates who to help and who he needs to be to survive.

Since the story is told through a tight POV on Cable, it’s a good thing he’s a complex character. He disdains his needy ex-wife, misses his estranged daughter, genuinely seems to like the challenges of his job. He’s willing to make hard decisions but isn’t a total heartless bastard (see the old man above, and several such moments, including a real heartbreaking one towards the end of the mass exodus, which is not the end of the novel). He’s also prone to judgement and doesn’t set aside his formed opinions of people easily, which sets up several bad decisions but also a couple of good ones. And of course, because this is a 1970s disaster novel after all, he falls in love with the intrepid reporter tasked initially with interviewing him and later with documenting everything he does to try to stop the worsening spill and its aftermath. (This is about the only real “trope-y” moment in the novel, and I think Farmer can be forgiven for it; thanks to novels like The Lovers and A Feast Unknown, he was almost expected to include a sex scene in every book he wrote, and romance on top of that.)

That tight POV means that we don’t get as deep a look into the motivations and actions of The Soldiers of Jehovah or the various government officials calling the shots. This allows for some surprises in the narrative. I find it amazingly prescient that Farmer predicted the rise of not just a Christian religious fanaticism within the United States, but also a well-organized and armed such group. I felt the echoes of today’s “local militias” in the moments where we encounter members of the Soldiers, and where we see the fruits of their labors. Cable spends more of his time in the company of the greedy upper management of Cal-Pax and the government “liaisons” telling him what to do and watching every move he and his team make. Again, in a bit of incredible foresight Farmer gives us a roadmap for how a government could restrict civil liberties and do away with normal rule-of-law under the guise of responding to a national disaster. In the 70s, audiences might have called this aspect of the novel far-fetched, but is it really?

Also in typical Farmer style, the author doesn’t tie everything up in a neat “happy ever after, the world is saved!” bow. There’s a “we’re safe for now” type of ending, but lots of work for the characters to do. The Soldiers of Jehovah are not totally routed; the government overreach isn’t immediately scaled back. I’m not going to spoil exactly how the characters who survive get to where they are at book’s end, but I felt like I needed to warn readers who don’t like loose ends that there are some. And that I’m sure Farmer did this totally on purpose.

I could probably write several essays on this book, but this review is getting lengthy. So: tl;dr: Up from the Bottomless Pit is indeed action-packed, and massively thought-provoking. One wonders what Phil Farmer would be saying if he were still here to see how truly he forecast the world we’re living in now.