Jeff Duntemann's Contrapositive Diary Rotating Header Image

Memoir

Remembrances of things past, in my own life and those near to me

Trunk Archaeology, Part 2

As I mentioned in my entry for January 10th, I recently found a bunch of ancient fiction manuscripts from my high-school days, which (old guy that I am now at 71) were 1966-1971. In the same folders was a list of stories (written pre-Selectric) that appears to be in chronological order, with over forty stories listed. Some few of the later ones have dates on them. Most are undated. I know I wrote my first SF short story in the spring of 1967. Alas, a copy of that story was not present in the folders. Still, a lot of interesting material was there, including a significant number of stories that I had utterly forgotten.

In reading through them here and there over the past couple of weeks I realized that the ones I had forgotten were, for the most part, forgettable. I had no training whatsoever in fiction until I attended the Clarion workshop in the summer of 1973. As with a lot of other things, I learned to write fiction by imitating the stories of others.

This explains a feeling I had reading some of my ancient stuff: It sounds like the pulps of the 40s and 50s. Well, that’s because a great deal of what I was reading in that era were story collections full of stories written in the golden age of the pulps, from 1940 or so to the early-mid ‘60s. My local public library had several of Kingsley Amis’ Spectrum anthology series, and a few of Horace Gold’s Galaxy Reader series, which gathered stories originally published in Galaxy Science Fiction. Once I exhausted what the library had I bought a pile of other anthologies as 75c mass-market paperbacks, most of which have fallen apart and were dumped in the 50-odd years since I was in high school. Groff Conklin edited quite a few, of which I only have two left: Elsewhere and Elsewhen (1968) and Great Science Fiction By Scientists (1962). I miss some of the casualties, like the marvelous Science Fiction Oddities (1966) granting that if I still had them, these old eyes would require a serious magnifying glass to read them.

I never did anything with my high-school stories. The earliest story I have that saw print is “Whale Meat,” (written in February 1971; I was in college by then) which appeared in Starwind Magazine (Published by Ohio State University’s SF club) in the early ‘80s and most recently in my collection Cold Hands and Other Stories.

The first draft of ”Whale Meat” sounded peculiar and somehow oddly modern to me for a significant reason: I wrote it in present tense. Not because present tense was stylish in 1971. In truth, I don’t recall reading any fiction in present tense while I was in high school. Rather, I guessed that immortal witches who had been born in the 1300s would live their lives and think their thoughts in the literal now. “Whale Meat” passed through a couple of later drafts during my college years. At some point I decided, Nahhh, that’s too strange. Nobody’s going to like a story told all in present tense. I then rewrote it in conventional past tense. So much for SF writers predicting the future…of SF, at least.

An incomplete first draft titled “Prayers at the Plaster Virgin” came to hand, undated but as best I recall, 1974. I finished it sometime during the 1980s, and renamed it “Born Again, with Water.” You can find it in my collection Cold Hands and Other Stories. It’s as close as I ever came (or likely will ever come) to writing a horror story.

Everything else I wrote in the late 1960s and early 1970s remains unpublished, mostly for good reasons. The bulk of those reasons hover around my failure to create credible characters in high school. Keep in mind (especially if you’re young and haven’t read any of the pulps) that I was in good company: Most of the pulps were action/adventure or tech/science puzzle stories that didn’t really require fully fleshed-out characters to engage the reader. I was writing what I was reading, pretty much.

Clarion changed all that—which is the reason I sold my first stories into professional markets shortly after the Clarion Workshop.

Here and there I think I succeeded in telling a story…by accident. Among my high school stories is one called “The Strongest Spell,” which I remembered badly. It’s a battle of wills between science and witchcraft. In some peculiar post-apocalyptic future, humanity has divided itself into Scientists and Witches. A young boy scientist and a young witch-girl meet periodically at the border between their respective territories, and get into spell-casting contests. The boy has an invisibility technology skullcap. The girl imposes invisibility on herself with a spell. The boy has an antigravity belt that allows him to fly. The girl has a spell for that too. Year by year they grow up and it’s the same old stuff every year: the boy practicing bravado and the girl a quiet and subtle one-upmanship.

There’s something on the table: There are ancient starships in the Scientists’ camp—but the Scientists can’t make them work. The girl knows why, but she’s not talking.

When they’re sixteen the game changes. This time the girl leads off by casting a complicated and (to the scientist boy) inexplicable spell. She summons a Cthuloid monster, which the boy assumes is a weapon directed at himself. Except—the monster attacks the girl instead.

Brute force doesn’t work. The boy attacks the monster with his gadgets and gets nowhere. The creature has dozens of eyes. The boy gets in the monster’s face and forces it to make eye contact. No technology, no science, no muscle: When the monster meets the boy’s furious eyes, it caves, releases the girl from its tentacles, and vanishes.

The boy doesn’t really understand: He was showing off the power of his technology, but she was testing him. She could match him, gadget for spell. But what she wanted to know was something different: Does he have the courage to face down a monster that cares nothing for his technology? Would he risk his life to rescue someone who had always been his rival?

He does. When he bends down to pick her up, assuming she’s injured and intending to carry her back to her own people, she tells him the Big Secret: That the starships need both science and magic to work. Her final spell wasn’t really about the monster. It was an invitation to work with her to make the starships operate, for Scientists and Witches both. He puts his arms around her, puzzled but pleased. You can almost see her thinking:

It worked.

Her spell was stronger than his: Cooperation beats competition. It wasn’t explicitly a love story, but one gets the impression that the girl added something a little extra to her spell.

None of my other stories in that era ever came close to this in terms of subtlety, and I assume that my success with “The Strongest Spell” was purely accidental. It was full of tropes and typos, and on the surface a little dumb. Hey, I was fourteen. Sometimes you just get lucky.

I still haven’t finished reading that quirky pile of yellowing paper. If other insights occur to me, you’ll see them here.

Trunk Archaeology

Sometime back I was digging around in one box or another in the shed and happened across something remarkable: two fat folders full of typewritten manuscripts I wrote while I was still in high school; that is, 1966-1970. It was a lot of paper: stacked up, the pile was over two inches thick. A handful were things I wrote in college from the very early ‘70s. Nearly all were high school stuff.

That box (and another box of more recent material) are what authors call their “trunk,” a sort of dead letter office for old manuscripts. I thought all that really old stuff was gone forever. I was sharp enough to write dates on the back pages of a few, which helped. Another clue lay in the nature of the typescript. I’ve owned three typewriters in my life:

  1. My grandmother Sade Duntemann’s 1920-vintage Underwood Standard #5, which she gave me in 1962, when I was ten.
  2. My Smith Corona electric, which my godmother Aunt Kathleen gave me for my birthday in mid-1968.
  3. My IBM Selectric, which I bought in 1972 and kept until laser printers made it unnecessary. I sold it in 2003.

The clues lay in the characters impressed by the type bars. The Underwood had seen a lot of use in its life, and its characters were not all crisply aligned. The type bars had clearly been jammed together now and then (I’d seen it happen, heh) and the characters were not in perfect alignment. The lowercase “a” in particular was a smidge higher than all the other letters. The Smith Corona’s type looked a great deal like the Underwood’s, except that I’d received it brand-new and all the type bars were perfectly aligned. The Selectric produced typescript obviously different from that of both earlier typewriters.

Another clue is that I wrote first drafts of all my high school stuff single-spaced.

The biggest clue of all was a stapled set of two sheets containing the titles of 46 short stories and one poem. As best I could tell, the titles were in chronological order. The list itself was typed on the Smith Corona, which dates it somewhere between mid-1968 and early 1972. The first draft of my story “Whale Meat” had the date February 8, 1971 written on the last sheet but was not on the list, so that means the list was drawn up earlier than that date.

Scanning the list of titles was profoundly weird. Although most of the titles were at least vaguely familiar (hey, how could I ever forget a title like “The Man Who Drove a Bulldozer Into Hell”?) about a third had slipped my memory utterly. Of the stories themselves I remembered almost nothing, save for a couple of my favorites. In reading manuscripts from that box, I didn’t even know what would happen next. It was like reading someone else’s stories entirely.

The list was not exhaustive. In digging through the paper-clipped sheet sets, I found two stories that had been written on the Underwood but were not on the list at all.

So here I am, reading through two inches of my fiction juvenalia. If you thought that finding the stories and the list of their titles was peculiar, stay tuned. I learned a lot about my progress as a writer from those stories. I’ll cite a few examples in my next entry here.

Still More Things That Are Slowly Vanishing (Or Gone)

Here’s another bunch, some from me, some from readers. Time passes. The world changes. More and more, the world that’s vanishing is the one we grew up in.

  1. Mechanical charge-card imprinters. You know, when charge cards used to have embossed numbers, and the store clerk would put your card down and a 3-carbon slip over it, and go snick-snick to transfer the embossed card number onto the charge slip. I haven’t had an embossed card for quite a few years, so these are well and truly gone.
  2. Pocket radios. I still have a couple of these, but I don’t remember when I last listened to any of them. Carol and I have had a “kitchen radio” (the solid state successor to the archetypal “All-American Five”) for over forty years. It’s in the kitchen. It doesn’t get much use.
  3. 4:3 computer monitors. Although you can get them used on EBay, the canonical 4:3 aspect ratio flat-screen monitor is long out of production. I have several, but if they ever flake out on me I suspect I’m going to buy a big-ass 9:16 and force myself to get used to it.
  4. Churchkeys. And by that I mean the kind with two ends: One to pop the tops from soda/beer bottles, and the other to poke triangular holes in soda and beer cans. Cans are all pull-tab now, and it’s only imported sodas (and some beers) that need a churchkey to open.
  5. Rolodexes. I still have one, and I still use it to keep significant business cards within easy reach. However, I’m pretty sure that my generation will be the last to use them on a daily basis.
  6. Green River soda. This was and would probably remain my all-time favorite soda—if I could still get it. We used to buy it at a quirky grocery store near our condo in Des Plaines IL. They had regular and diet, both in glass bottles and in 2-liter plastic bottles. I used to get the 2-liter diet sku, which I haven’t seen since we sold the condo in 2015. It still exists (and has its own web page) but can mostly be found in quirky little grocery stores in or near Chicago.
  7. In-house intercoms. The 1958 house Carol grew up in had one. Ours (1949) did not. The new house we bought here in AZ in 1990 had one, and that’s as recent as I’ve seen one. My folks had a Talk-a-Phone intercom put in when my sister was born, and for awhile it was a baby monitor. I took the two units apart circa 1969.
  8. Dehumidifiers. These generally sat in the basement, and a refrigerated coil of aluminum tubing would condense all that Chicago humidity into drips that gathered in a pull-out well in the bottom. These may still be in use in humid climates; needless to say, they aren’t necessary in Arizona.
  9. Superballs. Again, these may still exist, but I’ve never seen one recently like those we used in the mid-1960s: Their surfaces were under considerable tension, and even a tiny scratch would spread into a crack. Eventually they just split into chunks. But damn, those things bounced high.
  10. Pocket calculators. When every smartphone is a pocket calculator, there isn’t much call for standalone pocket calculators. I still have my late ‘70s red-LED TI Programmer, and my 1982-ish TI-30 SLR.
  11. Slot cars and retail slot car tracks. Bill Beggs reminded me of slot cars, which were never an interest of mine but in their heyday were a very big thing. There was a storefront slot-car track less than a mile from where I grew up, on Devon in Park Ridge. Long-gone. Still with us, however, is Dad’s Slot Cars in downtown Des Plaines, just outside Chicago. Fifteen years or so ago they added an ice-cream parlor at the back of the storefront. It’s only open on weekends now, but there must be slot car fans somewhere or it would not be open at all.
  12. Car CD players. My 1996 Jeep Cherokee was the first car I had that came with a CD player. The 2001 4Runner we bought not only had a CD player but a CD changer that could play six CDs without needing to reload. By the time we bought our 2014 Durango, the CD player had been superceded by the now-ubiquitous USB port and thumb drive player in the console.
  13. Rear-projection TVs. We bought one of these just before Christmas 2005, and used it until something inside it fizzled out and died in 2012. The picture, while big, was never exceptionally sharp, and once LED panels could be mass-produced in 56” (or more) diagonal sizes, rear projection died in a hurry. I had to pay $75 to a recycling company to get rid of it after it croaked.
  14. Pastel-colored toilets. These were huge in the late 1950s. Carol’s childhood home (1958) had three bathrooms, each with a toilet/sink of a different color. I believe we added a pink toilet and sink when my folks had a second bathroom put in in 1957. You can still get them, but they are now Midcentury Modern retro exotica.
  15. Pastel-colored Kleenex. This was common through the 1970s and then started getting scarce. Carol and I passed a light blue tissue between us as we knelt on the prie deux during our wedding mass in 1976, alternately mopping our eyes.
  16. Paper encyclopedias. My family bought the 1958 Encyclopedia Britannica. It was wonderful. Carol and I bought the 1974 edition shortly before we married in 1976. I read it a lot until the Internet happened, and then little by little Alta Vista searches (and later Google) made research a whole lot easier. We sold it to the people who bought our Colorado house when we moved back to Arizona in 2015. The leather bindings were drying out and cracking, and in truth we went years between sessions with it. I’ve heard they’re now “shelf candy,” and can be rented to stage houses.
  17. Dollar coins. Half-dollar coins died about 2001, though the US Mint struck collectables for a few years thereafter. Just to be perverse, I asked my bank for a few Sacajawea dollar coins circa 2012 and spent them. Older cashiers just grinned. Young people at the register looked hard at them. But really: When was the last time you handled or spent one?
  18. Horse racing. Like slot cars, I’ve never been interested in horse racing, but Rich Rostrom told me that the Chicago Bears bought Arlington Park racetrack, had the grandstands demolished, and may be planning a new football stadium there. Apparently horse racetracks are shutting down all over the country.
  19. Smoking pipes. (And I don’t mean crack pipes, or anything else in the line of drug paraphernalia.) This again came from Rich Rostrom, and he’s right. My father had a pipe but I never saw him smoke it. A friend and I tried to smoke marijuana in a cheap pipe in 1971, and mostly failed. I truly don’t remember the last time I was in the presence of a pipe smoker.
  20. Stove-top percolators. (This from Bill Beggs.) When I was a kid, my folks used a beat-up aluminum percolator to make their coffee. Mr. Coffee drove percolators off the edge of the world, and I think Mr. Coffee is now being shoved toward the same abyss by K-machines. I now mostly buy my coffee at McDonald’s.

RIP Aero 2007-2023

Aero - Tarry-All 2010 - Best of Winnres - New Champion - 500 Wide

Our little dog Aero has left us, at 16 years 7 months. Last week he was in some sort of discomfort, and by Monday it was pretty clear that his liver and gall bladder were failing. Carol set up an appointment with our mobile vet for Wednesday morning to put him to sleep. But Tuesday noonish, I checked him as I’ve been checking him for several weeks, to make sure he was still breathing.

This time, he was not.

I made sure that his heart was no longer beating, straightened his head, and with my hand on his forehead said my Prayer of Returning over him, as is our custom when dogs leave us:

From our Creator we took you;

To our Creator we return you,

That your life with us may glorify our Creator,

And in the hope that we may someday meet again.

Go with God, my good and faithful companion!

Aero on couch 2007 - 500 wide

When we bought Aero from his breeder, the late Jimi Henton, in 2007, he quickly told us his name by his ears, which as a puppy often stuck straight out either side of his head, like a plane. He was on the small side for a Bichon Frise, and a little shy, so Jimi suggested that Carol start showing him. Doing this required show grooming and a multitude of other details, but Carol bore down, mastered whatever skills were necessary, and by the spring of 2010 Aero became an AKC Champion. (See top photo.)

He was a lot of fun out in the yard, chasing cheap Wal-Mart playground balls with the rest of the pack. As soon as the balls lost enough air pressure so that Aero could push his sharp little teeth against the plastic, he went for the kill and the ball popped.

His kennel name was Champion Jimi’s Admiral Nelson. He lived longer than any other dog we have ever had, both as a couple or earlier, as kids. (Chewy came close, at 16 years 4 months.) He was a lot of fun and we will always thank God for sharing such a wonderful creature with us.

The First Total Solar Eclipse I Didn’t See

Fifty years ago today, I didn’t see my first total solar eclipse. And thereby hangs a tale.

I had just turned 20. I was a college sophomore. Although I tinkered with electronics now and then, my primary passion (apart from Carol) was astronomy. (Ham radio was another year off.) I don’t remember at all who in my inner circles originally had the idea, but as ideas go, it was huge: We would all convoy 1200 miles around the south end of Lake Michigan, across the State of Michigan, and then across a great deal of Canada, to reach the path of totality, which was damned near at the mouth of the St. Lawrence River.

We called it Project Moonshadow, under the influence of the well-known Cat Stevens song of the same name and era.

Some of my friends had cars. I had a car, but it was a 2-door sedan that didn’t lend itself to lugging my ginormous telescope anywhere. I prevailed upon my parents to do a temporary car swap: my 1968 Chevelle for my father’s 1970 Rambler station wagon. We’ve become a lot more cautious as a culture since then. I doubt I could have pulled it off had it happened today.

But happen it did: Four cars carrying ten hapless amateur astronomers and a lot of handmade gear got underway before the crack of dawn on (I think) July 7. I had discovered CB radio earlier that year, and persuaded my convoy colleagues to equip their cars with radios and antennas. So it was Sundog, Houston, Gaspain and…I forget my friend George’s CB handle. I was Sundog. I believe Gaspain was a play on Gaspe, the name of the peninsula that the Sun’s umbra would cross a few days later. Houston, well, I’m pretty sure it was because of that evergreen catchphrase: “Houston, we have a problem.”

That name was…peculiarly…appropriate, as I’ll describe a little later.

Five of us had belonged to the Lane Tech Amateur Astronomical Society as high schoolers. One was my best friend Art, whom I’d known since kindergarten. One was Ellen, a girl Art and I knew from our church. The names of the other three I’ve simply forgotten.

Moonshadow Group Cropped 1972 - 500 Wide.jpg

On our first day on the road, we made it to the outskirts of Toronto. I was nervous about passing through Canadian customs with a huge aluminum tube strapped to the top of the Rambler, but the officer had evidently seen a fair number of telescopes heading east already, and grinned as he waved us through. We camped, we cooked, we slept, and the next morning we roared off again, this time to (I think) somewhere near Quebec City. The final leg took us to a campground in Cap Chat, Quebec, where we had reserved a few campsites. There was lots of room, good facilities, and gorgeous summer weather. The landscape was rolling hills and pine forest, and down a gnarly slope, the St. Lawrence River.

Cap Chat Campground 1972 - 500 wide.jpg

I boggle that I have as few photos of the adventure as I do, and how crude those photos are. (How quickly we have forgotten the Age of Film…) I also have to admit that most of them will not let go of the sticky pages of the photo album they’ve lived in for the last thirty or forty years. So the ones you see here will be the ones I could pry out of the album.

The morning of Monday, July 10 dawned bright and clear. The telescopes had been set up the day before. We tinkered and aligned and adjusted and got everything ready to rock. After that, we simply sat around and waited. First contact came, and we cheered. Solar filters and cameras were ready. As minutes passed, the bite out of the Sun’s disk grew larger and larger.

Jeff and scope at Cap Chat 1972 - 500 wide.jpg

But then–damn!–clouds began to roll in from the west. We saw most of the partial eclipse. We had, however, already seen a partial solar eclipse, right at home in Chicago on March 7, 1970, when we were still high schoolers. This time, totality was the whole point of the adventure.

By 45 minutes before totality, the sky had almost completely clouded over.

We got some photos of the partial phase. And we saw a strange thing as totality happened: The undersides of the clouds got very dark. Once totality was over, we sat around and moped. The next day we packed up for home.

We went home by another way, to borrow from an excellent James Taylor song of the same name. I was so annoyed by missing totality that my memories of the trip back are sparser than those of the trip out. We crossed the Gaspe Peninsula, bored our way south across New Brunswick, and then drove the entire length of Maine. I believe we stopped at a beach just north of Boston, where I touched the Atlantic Ocean for the first time. Sparse, except for when we were burning our way west across Ohio, and one of the ball joints in Ernie’s venerable early ’60s Chrysler New Yorker gave out. Ernie got the vehicle off the pavement and out of traffic. Then he keyed his CB mic: “Houston, we have a problem.”

Weirdly, I don’t recall in detail how we solved the problem. We got a towtruck to pull the Chrysler to a service station, and they replaced the ball joint. The rest of the way back to Chicago occurred without incident.

We did our best, and the failure of Project Moonshadow was no fault of ours. I consider it a coming-of-age adventure, since we got four cars and ten people to the mouth of the St. Lawrence and back, and didn’t lose more than a ball joint.

And an eclipse.

Ahh, well. I’ve since seen three total solar eclipses, including the fabulous one down in Baja on July 11, 1991. Win a few, lose a few. The trip was fun, and had other advantages: I got tired enough of CB that I started working on getting my ham radio license. I enjoyed the company of my friends. And I began learning how to deal with adversity. That may have been the biggest win of all.

But damn, the fifty years since have gone fast!

Flashback: Ash Wednesday

From my Contrapositive Diary entry for February 25, 2004. I have a conflicted relationship with Lent, as I suggest here and may explain in more detail in coming days as time permits.


Ash Wednesday. Lent is not my favorite season. I spent my Catholic youth up to my nostrils in penitential sacramentality, and it’s taken me a long time to get over it. I’m mostly there; St. Raphael’s parish here [in Colorado Springs] is about as close to perfect a Catholic parish as I’ve seen in my years-long search-and it’s Episcopalian. The boundaries are slippery, but there’s something called Anglo-Catholicism, and…well, that may have to be an entry for another time. Right now, I’m kind of exhausted, but I wanted to relate a quick story of why I really love St. Raphael’s.

We went to the small noon service for Ash Wednesday, a reverent, quiet, music-less Mass with ashes distributed after the sermon. I hadn’t had ashes put on my forehead for a lot of years, nor had I seen a church with the statues and crucifixes covered with violet cloth for even longer-the Romans don’t do such things anymore. Carol was acting as acolyte-an adult altar girl-and I was in the pew by myself. It was hard to see something as deeply mythic as the enshrouded crosses without thinking back to my own childhood, and remembering being in the pews with my parents during Lent, with all the statues covered and in the air that inescapable sense of misdirected contemplation that somehow always came across as fatalistic gloom. As Deacon Edwina made the ashy cross on my forehead, whispering, “Remember that you are dust, and unto dust you will return,” I could only think of my father, who became dust far sooner than the father of a confused and anxious young man should. There were tears on my cheeks as I walked back to my pew, and as I began to kneel again, a little girl in the next pew back (whom I didn’t know) reached out and touched my arm.

“Why are you crying?” she asked, her face full of concern.

“I was thinking of my father,” I said, trying to smile and failing, “who died a long time ago.”

She didn’t say anything in reply, but she leaned over the pew, put her arms around my waist, and gave me a quick hug. I was thunderstruck. She was maybe nine years old, and I had never seen her before. (Her family goes to the 8:00 liturgy, and we attend the 10:30.) There are times that I find myself thinking that cynicism has won, and we who believe that all manner of thing will (eventually) be well should just pack it in. But at that moment I felt that if a nine-year-old girl will reach out to comfort an old bald man she doesn’t even know, well, the Bad Guys don’t stand a chance in Hell.

And on Ash Wednesday, to boot. The contrarian moment passed, and I felt wonderful all afternoon. What power our children have over us!

More Monsters

Well, I asked yesterday, and I got: Reader Bob Wilson reminded me of the blob monster flick H-Man (1958; trailer) a Japanese effort featuring a transparent radioactive blob that has a trick I don’t recall seeing in other cinematic blobs: It can change its shape and become humanoid. It’s still transparent (and still radioactive) but it’s still a blob, with an appropriately radium-dial green tint. I only vaguely remembered it, but I did see it in the early ’60s. There were a lot of Japanese people running around, and more monster time-on-screen than most monster movies of that era could boast. YouTube does not have the full movie, so I can’t warn you if there’s kissing. You’ll have to take your chances.

Now, I deliberately left out a film from yesterday’s entry with one of the scariest monsters I’ve ever seen in cinema, for what you might consider a bogus reason: It’s not in a monster movie. It’s in a Disney movie. And not only do you get a really effective monster, you also get to hear a young Sean Connery … singing. Of course, it needs no introduction but I’ll give it one anyway: Darby O’Gill and the Little People (1959.) I saw it first-run in the theaters when I was 7, and again in 1977, on a date with Carol. Seeing it the first time with my mom at the Gateway Theater in Chicago, I scrunched down in my seat as far as I could go when Darby first encounters…the banshee.

Ooooooh, did that damned thing freak me out! I’d never heard of banshees at age 7 and didn’t ask a lot of questions. (My mom was Polish, not Irish.) It didn’t look like a ghost, exactly. In truth, I’ve never seen anything quite like it, in cinema or my own fever dreams. I’m pretty sure it was an early use of motion-picture photographic solarization, melted into the main footage with considerable skill. And even 18 years later, at 25, I admired the effect. It was still scary as hell. The movie is good fun, and mostly silliness. (But not all, heh.) If you’ve never seen it before, rent it or watch it online. Prepare to twitch when the banshee first appears. I still do. You will too.

So what other effective monsters might have appeared in non-monster flicks? The obvious answer is the spate of films with Harryhausen monsters. Joe Schwartz reminded me of The Valley of Gwangi, which is basically a western with monsters. The monsters are dinosaurs, which may or may not count as monsters. After all, there really were dinosaurs. I’m pretty sure there aren’t banshees. The film was released in 1969, some years after my monster phase was over. I’ve never seen it, but here’s the monster-rich (not to mention cowboy-rich) trailer.

Now, I did see a few more Harryhausen monsterfests, the earliest of which was The Seventh Voyage of Sinbad (1958). Lotsa monsters, including (among others) a (single) skeleton swordsman, a two-headed giant bird, a dragon, and of course the film’s emblematic cyclops, all beautifully done, and integrated into the actual story. I went to see it with my older cousin Diane at the Lyric theater in Blue Island. As with most Harryhausen films, the whole movie is not to be had on YouTube, but here’s another reasonably monster-y sampler.

By 1963, Harryhausen was the world master of stop-motion animation, and created another monster-saturated toga epic that is probably his best-known work: Jason and the Argonauts (1963; full 720p rip, not sure how they got away with it.) The Golden Fleece, Talos, the Hydra, a talking ship figurehead, harpies, Neptune (ok, not Harryhausen) lotsa dancing girls (ditto) and, oh, how marvelously: the Children of the Hydra’s Teeth. I was 11 and at the tail-end of my monster phase, but those guys scared me silly. Of all the wonders Harryhausen ever created, that climactic battle is what he’ll be remembered for a thousand years from now.

When I graduated 8th grade at 13, I traded monster movies for better things, like telescopes and electronics. Again, as I said yesterday, I’m sure I saw lots more that I don’t remember well enough to describe, probably because they were terrible. No matter. As the curtain came down on my monster era, I suddenly realized that I had a whole new category of Things To Be Afraid Of…girls.

But that’s a whole ‘nother story entirely.

Revisiting the Monsters of My Youth…

…on YouTube. I’ve been poking around on YouTube in my odd moments, looking for tutorials, music videos, cartoons, and anything else that popped into my head that might be sound and/or video. The other day, I went looking for monsters. And not just any monsters. What I searched for were the monsters I saw on TV when I was quite young. Some of them scared the hell out of me when I was 8 or 9. Some of them were so cheesy that I laughed at them even then. The really scary thing about this YouTube adventure is that I found every last one of them. (Or at least their trailers.) On YouTube. Most were free to watch in their entirety–not that I did.

First on my list was The Creeping Unknown, (1955) which in the UK was called The Quatermass Experiment. This got a lot of play when I was in grade school, and my father, having seen it on the family-room TV a few too many times, dubbed it The Creeping Kilowatt Crud. You can see the whole thing on YouTube. I wasn’t expecting it to be remastered to film resolution, which makes it look way better than it did on any of our TVs. I didn’t watch all of it. I mostly ran the slider across until I found “the good parts;” i.e., where they actually show the monster or at least the cool Heinleinian spaceship it rode in on. I vividly recall my annoyance at seeing most monster movies having a lot of talking and running around and (occasionally) some kissing (yukkh!) but…not much monster. The Creeping Unknown was better than most in that regard, though the monster was a not-quite-a-blob creature who was originally an astronaut who brought back an alien infection from…somewhere…and gradually turned into the monster. It crawled around and was eventually electrocuited on a repair scaffold somewhere inside Westminster Abbey, hence my father’s nickname for it.

I remembered the monster badly; I thought it was a true blob monster, but hey–at late 1950s TV resolution, it might as well have been. If you like period pieces, watch the whole thing. For the monster genre, it was surprisingly well done.

Not all were. For a true blob monster (which were a sort of Hollywood cottage industry in that era) I had to dredge up X the Unknown (1956.) It was an obvious ripoff of The Creeping Unknown, done on the cheap. The monster was a big black tarry glob that bubbles up out of a hole in the Scottish highlands and starts eating people. The monster didn’t get much screen time, but I remember one very well-executed shot of the monster rolling toward a town. I recognized the technique immediately: They had mixed up something viscous but cohesive, colored it black, and photographed it rolling down a sloping miniature set, with the camera in the plane of the set. On screen, it was a house-sized blob monster rolling down a country road on its merry way. Well-done, and scary in spots, even if the seams were often visible.

Much scarier in a body-horror way is a blob movie called Caltiki, The Immortal Monster (1959.) (Italian titles; dubbed in English.) A sort of spaghetti monster movie, it came from Italy and scared the crap out of a lot of young Americans, myself included. A researcher in Mexico discovers that the Mayans didn’t just disappear; a blob monster ate them. And sunuvugun if the monster isn’t still there, and still hungry. The monster gets a reasonable amount of screen time, especially toward the end. And yes, it looks like a livingroom’s worth of bad ’70s carpeting dyed black with a couple of extras underneath it, pushing it around in bloblike ways. The scary parts are seeing what it does to the unfortunates it latches onto. Even when I was ten, I could tell the dialog did not match the lip movements of the actors. I didn’t care. Monsters are a language in and of themselves.

Sure, I watched it (back in the Sixties) but the less said about The Unknown Terror (1957) the better. I’ll give you a rank spoiler here and say that the monster looks a lot like…man-eating soapsuds.

Oddly, I never saw The Blob (1958) when I was a kid. Maybe the local TV stations thought it was too scary. Dunno. If it had been on Chicago’s Channel 7 (as most monster flicks were) well, I would have seen it. You can watch the whole thing (this time in color) at the link above. Lots of footage of the pinkish-purple Blob eating people, though as blobs go it was kind of featureless and, given the color they made it, did not carry much sense of menace.

So much for blobs. There are doubtless other blob movies that I haven’t heard of. (Got any?) Blobs, are, well, cheap, compared to dinosaurs or aliens. Now for a much better monster; indeed, one of my all-time favorites: 20 Million Miles to Earth (1957; the link is to a monster-rich excerpt) has a Ray Harryhausen animated monster. And, weirdly, the scriptwriter was the older sister of the nice lady who lived next door to where I grew up. Charlott Knight (1894-1977) used to come visiting from Hollywood circa 1960, and she would sit on the front porch of her sister’s house and tell stories to the neighborhood kids, including me. She told us she wrote 20 Million Miles to Earth, (which we had seen on TV more than once) and I admit I didn’t believe her at the time. It wasn’t until IMDB appeared that I could look her up, and…yes. That was her. She also played bit parts on Pettitcoat Junction. The monster in the movie (which Charlott called a “Ymir,” though the word is not used in the film itself) was the first I’d seen with a sympathetic edge. Astrononauts took an egg from Venus, brought it to Earth, and hatched the poor thing into a world its kind had never known. It grew quickly, though as best I recall the only thing it ate was sulfur. (The full movie, being a Harryhausen, is still being marketed and is not available on YouTube.) It gets loose in Rome, fights a hapless elephant, and is harrassed by the Italian military as it climbs around on the Colosseum, making a mess. By the end I felt sorry for it. Sympathetic monsters have since become a thing, but this is the oldest example I can think of. And I knew the person who thought it up, wow.

Now, I recall a childhood fear of robots. I dreamed once that a gigantic metal robot foot stomped on the Weinbergers’ house across the street. Where that came from is a bit of a mystery. Scary robots were less common than other monsters, and the ones I remember seeing weren’t all that scary. Gog (1954) starred two mini-tank robots built to ride a rocket into outer space. The robots were cool, though we don’t actually see them until half the film is over. In truth, they got very little screen time at all, and were not in fact the actual villains in the story. In Tobor the Great (1954) the robot was the good guy, as was Robbie in Forbidden Planet (1956).

For a real robot bad guy from my childhood, I have to cite Kronos (1957). The premise is stone-dumb: Aliens somewhere are running short on something, so they send a sort of gigantic robot battery to Earth to suck up all our electricity and take it home–so that the aliens can convert that energy into matter. (They must have run out of asteroids.) The robot itself, however, was unlike anything else in monster cinema: It consisted of two huge cubes connected by a neck, with a dome and a pair of antennae on top. It was several hundred feet tall. It had four cylindrical legs that went up and down, and some kind of rotating force cushion beneath it, or something. It lands on the Mexican coast, and marches north toward LA, stepping on Mexicans and sucking up energy from any powerplant it encounters. It even inhales the energy of a nuclear bomb, dropped on it by an actual B-36. Eventually they decide to short it out, and like any battery with a sufficiently low internal resistance would, it melts. Dumb as the premise was, Kronos the robot had considerable novelty value: It was not just some guy in a robot suit. The models and the opticals were pretty decent for 1957. It’s good enough to waste an hour and a half on the next time you catch a bad cold, though with a warning: There’s…kissing.

So, apart from Kronos, I’m not sure what gave me robotophobia as a five-year-old. Mutant dinosaurs like The Giant Behemoth (1959; nice 1080p rip) and Godzilla (1954) didn’t do much for me. Ditto Rodan (1956) and Gorgo (1961), though Rodan had his moments. Dinosaurs were already scary; making them even bigger did not make them any scarier. Mothra? (1962) A giant…moth? ummm…no. For real chills and grade-school nightmares, nothing in that era could compare to… The Crawling Eye (1958).

The film was made in England, and called The Trollenberg Terror over there. Mountain climbers in the Trollenberg (a German mountain range) start getting their heads torn off up at the summit. Cold-climate aliens are holed up in the crags somewhere, trying to get ahead. (Sorry.) When the supply of mountain climber heads thins out, they start edging down the mountain, looking for more.

I had literally not seen the film in fifty-odd years, and remembered the monsters badly. They were huge fat octopus-like things, with lots of squirmy tentacles and one great big bloodshot eye in the middle of it all. In 1965 or so, I thought the special effects people had cheaped out and painted a pupil on a beachball for the eye. It was better than that. You don’t have to take my word for it. And you don’t even have to watch the whole damned movie. Somebody with a serious monster fetish has copied out all the scenes that actually show the monster, and you can see it here. Got three and a half minutes to waste? That’s all it takes. Way back in the Sixties, we watched the whole thing for three minutes of monster. My research tells me that that’s not an aberration. That’s how the monster genre worked.

There were a lot of other monster flicks in that era. The ones I cite here are the ones I remember most vividly. The ones more easily forgotten had cheesy monsters or almost no monsters at all. Curse of the Demon was originally filmed without a visible monster. They put one in because everybody wanted to see the Demon. It was cheesy as…hell, heh. It was onscreen for maybe a minute and a half. I saw it once and that was plenty. I saw The She Creature, but it was a cheap ripoff of The Creature from the Black Lagoon and I confess I don’t recall anything but the fact that the monster was visibly female. The Monolith Monsters were gigantic crystals that grew and spread before the good guys do…something. (I forgot what.) My only clear impression is that the crystals would be relatively easy to outrun.

Oh, there were lots more. The Amazing Collosal Man (1957) and its way dumber sequel, War of the Collosal Beast (1958.) Reptilicus (1961) which I saw at an outdoor theater in Green Bay, with my cousins. The monster was a puppet; kind of like Cecil the Seasick Sea Serpent, with fangs. The Giant Claw (1957.) It looked like an enormous turkey buzzard. I already knew what turkey buzzards looked like. Making one huge only made it look silly.

And on and on and on. We have better monsters these days, including some really scary robots, like AMEE from Red Planet (2000). (AMEE may be the scariest robot in any movie, ever.) And, of course, Alien/Aliens (1979/86), Predator (1987), Cloverfield (2008) and numerous others. The big difference is that I wasn’t ten years old when I saw Alien. (I was 27.) As I wrote here some years ago, monster movies are how young boys learn bravery. It was certainly true for me. Now, I can look back at the whole silly-ass genre…and laugh.

That was a lot harder in 1962, trust me.

Frank W. Duntemann’s 100th Birthday

Frank&Alex - Cropped - 500 Wide.jpg

Today is my father’s 100th bithday. For newcomers: No, he’s not still with us. He died 44 years ago, after a hideous nine-year battle against smoking-caused cancer. I was 16 when he was diagnosed, and my sister only 12. As you might imagine (especially if you’ve had loved ones struck by cancer) our family life was never the same after that.

I’ve already told most of the good stories about him in this space, and I’ve posted nearly all of the good photos I have of him. He was the photographer in the family, so in most cases when things were going on he was on the other side of the camera. The photo above is not my scan and isn’t terrific. But it represents one of his stories that I don’t think I’ve yet recounted here: When he was in high school, one of his father’s friends sent him a baby alligator while she vacationed in Florida. Alex was a real alligator, and family legend holds that when he grew big enough to be a hazard, ate a neighbor’s cat. The family then donated Alex to the Lincoln Park Zoo, and, according to my father, they went to see him now and then.

A few years ago I told the story about how, when he returned from the War, he smuggled home a mongrel puppy that the GIs at an experimental radar base in Mali had adopted. He was never without a dog (or sometimes two) after that.

So, with all the stories told, what more can I say? Something I can say in only two words, which I will put in big bold type so that nobody can mistake them:

Fathers Matter.

Why? Fathers civilize us. Mothers have a role there too, but (especially for boys) fathers teach us how to put our killer-ape genes on a leash and contribute to the peace and prosperity on which our very uneven world depends.

In my first 16 years my father taught me a great many things, but what I consider his most important lessons are these:

  • That girls are not playthings, but colleagues, friends, and…soulmates. “If you’re lucky and smart, you’ll marry your best friend. I did.”
  • That the best part about being smart is the ability to teach yourself new things. “The most important subjects in school are English and Math. Ace those, and you already know everything else. You just have to read the books and work the problems.”
  • That fighting is a last resort. “If other kids laugh at you, laugh with them. Life demands a sense of humor. Then walk away. But if some SOB ever corners you, hit him where it hurts.”
  • That responsibilities must be met. “A man provides for and protects his wife, his kids, his animals, and his property.”
  • Finally, and most crucially, that life demands energy and enthusiasm, but also discernment: “Kick ass. Just don’t miss.”

Thanks, dad. I never learned to love beer or baseball, but what I learned from you turned out to be most of what counts in life. Godspeed.

Aero’s 15th Birthday

Today is Aero’s 15th birthday. He was our first show dog, and became an AKC champion in 2010, under Carol Duntemann’s expert handling. The photos below are of Aero when we first got him in 2006, and from the 2009 Bichon Frise National Specialty show in St. Louis.

He’s still reasonably spry for a dog that old, though he doesn’t see very well and gets confused now and then. Given that he’s now 105 in dog years, I’m very happy he’s still with us and still running around.

We’ll be giving him his usual birthday “cake” of raw hamburger a little later today after supper. Everybody gets some–and sometimes I think it’s gone in nanoseconds. But however he wants to enjoy his birthday is fine by us. He’s been a terrific dog, loved the show ring, and brought us a great many ribbons. If he mostly sleeps in one of the (many) dog beds scattered around the house these days, that’s ok. He’s earned it.


100_0951 - 500 Wide.jpg


IMG_0275 - 500 Wide.jpg