DIY History | Transcribe | Hevelin Fanzines | Pan Demos, v. 1, issue 2, March 1949

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Pan Demos, v. 1, issue 2, March 1949

Page 9

complete the work. 
   Three weeks were consumed by Hannes in an intricate card-file system of notes, and in discussions of plot-sequence and narrative. He re-read all the Merritt works in their bibliographical order, and experimented with the Merritt style of writing, the interlocking sentence. 
   Then I came into the picture. My early life had been highly involved with things Chinese, and it was to me that Hannes turned for the color which he deemed necessary after his multitudinous researches into Chinese legend and superstition. The skeleton of the story had begun to shape.
   Jean Meredith's Oriental clothing and vocabulary came from the distant shadows of my past. The objects d' art were actual things which had passed through my hands at one time or another in the course of my business as a dealer in fine art. The gowns that Margot wore came from a wardrobe of an old friend of mine but in actuality they were never invested with the breathtaking beauty and loveliness that the wondrous imagination that Hannes gave them.
   The disposal of Wilde the psychologist while under the delusion that he was a fox use the husk-and-running-water trick to rid itself of fleas. Hannes enjoyed this device extremely as he had little regard for patterned mental specialists and Freud in general, and he considered it a stroke of genius to have Wilde fall prey to the delusions which he had scoffed.
   Again in the matter of the T'ang magical painting, a chance remark of Merritt's and an old Oriental painting in my collection wedded to give Hannes material for one of the finest sequences in the novel. Hannes had once credited Merritt with saying that "Through the Dragon Glass" was meant to be the experimental bit for the previously mentioned novel about Oriental sorcery. Therefore, a pair of T'ang pictures were perfect foil for the scene in which the vicious but wholly likeable Margot was accomplished by a 

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complete the work. Three weeks were consumed by Hannes in an intricate card-file system of notes, and in discussions of plot-sequence and narrative. He re-read all the Merritt works in their bibliographical order, and experimented with the Merritt style of writing, the interlocking sentence. Then I came into the picture. My early life had been highly involved with things Chinese, and it was to me that Hannes turned for the color which he deemed necessary after his multitudinous researches into Chinese legend and superstition. The skeleton of the story had begun to shape. Jean Meredith's Oriental clothing and vocabulary came from the distant shadows of my past. The objects d' art were actual things which had passed through my hands at one time or another in the course of my business as a dealer in fine art. The gowns that Margot wore came from a wardrobe of an old friend of mine but in actuality they were never invested with the breathtaking beauty and loveliness that the wondrous imagination that Hannes gave them. The disposal of Wilde the psychologist while under the delusion that he was a fox use the husk-and-running-water trick to rid itself of fleas. Hannes enjoyed this device extremely as he had little regard for patterned mental specialists and Freud in general, and he considered it a stroke of genius to have Wilde fall prey to the delusions which he had scoffed. Again in the matter of the T'ang magical painting, a chance remark of Merritt's and an old Oriental painting in my collection wedded to give Hannes material for one of the finest sequences in the novel. Hannes had once credited Merritt with saying that "Through the Dragon Glass" was meant to be the experimental bit for the previously mentioned novel about Oriental sorcery. Therefore, a pair of T'ang pictures were perfect foil for the scene in which the vicious but wholly likeable Margot was accomplished by a 9