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The Alchemist, v. 1, issue 5, February 1941
Page 5
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Robert W. Lowndes Descriptions of the Black Lass have often featured in various weird tales, notably among them Jules de Grandin stories of Seabury Quinn. However none can compare, either in force or accuracy, to the descriptions contained in "La Bas", the classic work of Joris Karl Huysmans. It is told from the viewpoint of one Durtal, who has been induced by his mistress, Madame Chantelouve (Hyacinthe) to attend a gathering. They go by carriage and by foot to a secluded house where a small man, his features concealed, salutes them in a sing-song accent. She salutes him and they are admitted; Durtal notices the flyblown face, liquid, gummy eyes, cheeks plastered with cosmetics, and gaudily painted lips of their sentry. They open a door, enter a chapel whose low ceiling is crossed by painted beams. The windows are heavily curtained; walls are cracked and filthy. The place reeks of alkali, resin, burn t
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Robert W. Lowndes Descriptions of the Black Lass have often featured in various weird tales, notably among them Jules de Grandin stories of Seabury Quinn. However none can compare, either in force or accuracy, to the descriptions contained in "La Bas", the classic work of Joris Karl Huysmans. It is told from the viewpoint of one Durtal, who has been induced by his mistress, Madame Chantelouve (Hyacinthe) to attend a gathering. They go by carriage and by foot to a secluded house where a small man, his features concealed, salutes them in a sing-song accent. She salutes him and they are admitted; Durtal notices the flyblown face, liquid, gummy eyes, cheeks plastered with cosmetics, and gaudily painted lips of their sentry. They open a door, enter a chapel whose low ceiling is crossed by painted beams. The windows are heavily curtained; walls are cracked and filthy. The place reeks of alkali, resin, burn t
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