By: A. Merritt
August 1, 2021

A 1951 paperback edition.

HiLoBooks is pleased to serialize A. Merritt’s 1919 proto-sf novel The Moon Pool for HILOBROW’s readers. Often cited as an influence on Lovecraft’s Cthulhu mythos, it was first published in All-Story Weekly (1918–19) as two short stories.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36.



The Moon Rock

“I do not intend to tell you now,” Throckmartin continued, “the results of the next two weeks, nor of what we found. Later—if I am allowed, I will lay all that before you. It is sufficient to say that at the end of those two weeks I had found confirmation for many of my theories.

“The place, for all its decay and desolation, had not infected us with any touch of morbidity—that is not Edith, Stanton, or myself. But Thora was very unhappy. She was a Swede, as you know, and in her blood ran the beliefs and superstitions of the Northland—some of them so strangely akin to those of this far southern land; beliefs of spirits of mountain and forest and water werewolves and beings malign. From the first she showed a curious sensitivity to what, I suppose, may be called the ‘influences’ of the place. She said it ‘smelled’ of ghosts and warlocks.

“I laughed at her then—

“Two weeks slipped by, and at their end the spokesman for our natives came to us. The next night was the full of the moon, he said. He reminded me of my promise. They would go back to their village in the morning; they would return after the third night, when the moon had begun to wane. They left us sundry charms for our ‘protection,’ and solemnly cautioned us to keep as far away as possible from Nan-Tauach during their absence. Half-exasperated, half-amused I watched them go.

“No work could be done without them, of course, so we decided to spend the days of their absence junketing about the southern islets of the group. We marked down several spots for subsequent exploration, and on the morning of the third day set forth along the east face of the breakwater for our camp on Uschen-Tau, planning to have everything in readiness for the return of our men the next day.

“We landed just before dusk, tired and ready for our cots. It was only a little after ten o’clock that Edith awakened me.

“‘Listen!’ she said. ‘Lean over with your ear close to the ground!’

“I did so, and seemed to hear, far, far below, as though coming up from great distances, a faint chanting. It gathered strength, died down, ended; began, gathered volume, faded away into silence.

“‘It’s the waves rolling on rocks somewhere,’ I said. ‘We’re probably over some ledge of rock that carries the sound.’

“‘It’s the first time I’ve heard it,’ replied my wife doubtfully. We listened again. Then through the dim rhythms, deep beneath us, another sound came. It drifted across the lagoon that lay between us and Nan-Tauach in little tinkling waves. It was music—of a sort; I won’t describe the strange effect it had upon me. You’ve felt it—”

“You mean on the deck?” I asked. Throckmartin nodded.

“I went to the flap of the tent,” he continued, “and peered out. As I did so Stanton lifted his flap and walked out into the moonlight, looking over to the other islet and listening. I called to him.

“‘That’s the queerest sound!’ he said. He listened again. ‘Crystalline! Like little notes of translucent glass. Like the bells of crystal on the sistrums of Isis at Dendarah Temple,’ he added half-dreamily. We gazed intently at the island. Suddenly, on the sea-wall, moving slowly, rhythmically, we saw a little group of lights. Stanton laughed.

“‘The beggars!’ he exclaimed. ‘That’s why they wanted to get away, is it? Don’t you see, Dave, it’s some sort of a festival—rites of some kind that they hold during the full moon! That’s why they were so eager to have us keep away, too.’

“The explanation seemed good. I felt a curious sense of relief, although I had not been sensible of any oppression.

“‘Let’s slip over,’ suggested Stanton—but I would not.

“‘They’re a difficult lot as it is,’ I said. ‘If we break into one of their religious ceremonies they’ll probably never forgive us. Let’s keep out of any family party where we haven’t been invited.’

“‘That’s so,’ agreed Stanton.

“The strange tinkling rose and fell, rose and fell—

“‘There’s something—something very unsettling about it,’ said Edith at last soberly. ‘I wonder what they make those sounds with. They frighten me half to death, and, at the same time, they make me feel as though some enormous rapture were just around the corner.’

“‘It’s devilish uncanny!’ broke in Stanton.

“And as he spoke the flap of Thora’s tent was raised and out into the moonlight strode the old Swede. She was the great Norse type—tall, deep-breasted, moulded on the old Viking lines. Her sixty years had slipped from her. She looked like some ancient priestess of Odin.

“She stood there, her eyes wide, brilliant, staring. She thrust her head forward toward Nan-Tauach, regarding the moving lights; she listened. Suddenly she raised her arms and made a curious gesture to the moon. It was—an archaic—movement; she seemed to drag it from remote antiquity—yet in it was a strange suggestion of power, Twice she repeated this gesture and—the tinklings died away! She turned to us.

“‘Go!’ she said, and her voice seemed to come from far distances. ‘Go from here—and quickly! Go while you may. It has called—’ She pointed to the islet. ‘It knows you are here. It waits!’ she wailed. ‘It beckons—the—the—”

“She fell at Edith’s feet, and over the lagoon came again the tinklings, now with a quicker note of jubilance—almost of triumph.

“We watched beside her throughout the night. The sounds from Nan-Tauach continued until about an hour before moon-set. In the morning Thora awoke, none the worse, apparently. She had had bad dreams, she said. She could not remember what they were—except that they had warned her of danger. She was oddly sullen, and throughout the morning her gaze returned again and again half-fascinatedly, half-wonderingly to the neighbouring isle.

“That afternoon the natives returned. And that night on Nan-Tauach the silence was unbroken nor were there lights nor sign of life.

“You will understand, Goodwin, how the occurrences I have related would excite the scientific curiosity. We rejected immediately, of course, any explanation admitting the supernatural.

“Our—symptoms let me call them—could all very easily be accounted for. It is unquestionable that the vibrations created by certain musical instruments have definite and sometimes extraordinary effect upon the nervous system. We accepted this as the explanation of the reactions we had experienced, hearing the unfamiliar sounds. Thora’s nervousness, her superstitious apprehensions, had wrought her up to a condition of semi-somnambulistic hysteria. Science could readily explain her part in the night’s scene.

“We came to the conclusion that there must be a passage-way between Ponape and Nan-Tauach known to the natives—and used by them during their rites. We decided that on the next departure of our labourers we would set forth immediately to Nan-Tauach. We would investigate during the day, and at evening my wife and Thora would go back to camp, leaving Stanton and me to spend the night on the island, observing from some safe hiding-place what might occur.

“The moon waned; appeared crescent in the west; waxed slowly toward the full. Before the men left us they literally prayed us to accompany them. Their importunities only made us more eager to see what it was that, we were now convinced, they wanted to conceal from us. At least that was true of Stanton and myself. It was not true of Edith. She was thoughtful, abstracted—reluctant.

“When the men were out of sight around the turn of the harbour, we took our boat and made straight for Nan-Tauach. Soon its mighty sea-wall towered above us. We passed through the water-gate with its gigantic hewn prisms of basalt and landed beside a half-submerged pier. In front of us stretched a series of giant steps leading into a vast court strewn with fragments of fallen pillars. In the centre of the court, beyond the shattered pillars, rose another terrace of basalt blocks, concealing, I knew, still another enclosure.

“And now, Walter, for the better understanding of what follows—and—and—” he hesitated. “Should you decide later to return with me or, if I am taken, to—to—follow us—listen carefully to my description of this place: Nan-Tauach is literally three rectangles. The first rectangle is the sea-wall, built up of monoliths—hewn and squared, twenty feet wide at the top. To get to the gateway in the sea-wall you pass along the canal marked on the map between Nan-Tauach and the islet named Tau. The entrance to the canal is bidden by dense thickets of mangroves; once through these the way is clear. The steps lead up from the landing of the sea-gate through the entrance to the courtyard.

“This courtyard is surrounded by another basalt wall, rectangular, following with mathematical exactness the march of the outer barricades. The sea-wall is from thirty to forty feet high—originally it must have been much higher, but there has been subsidence in parts. The wall of the first enclosure is fifteen feet across the top and its height varies from twenty to fifty feet—here, too, the gradual sinking of the land has caused portions of it to fall.

“Within this courtyard is the second enclosure. Its terrace, of the same basalt as the outer walls, is about twenty feet high. Entrance is gained to it by many breaches which time has made in its stonework. This is the inner court, the heart of Nan-Tauach! There lies the great central vault with which is associated the one name of living being that has come to us out of the mists of the past. The natives say it was the treasure-house of Chau-te-leur, a mighty king who reigned long ‘before their fathers.’ As Chan is the ancient Ponapean word both for sun and king, the name means, without doubt, ‘place of the sun king.’ It is a memory of a dynastic name of the race that ruled the Pacific continent, now vanished—just as the rulers of ancient Crete took the name of Minos and the rulers of Egypt the name of Pharaoh.

“And opposite this place of the sun king is the moon rock that hides the Moon Pool.

“It was Stanton who discovered the moon rock. We had been inspecting the inner courtyard; Edith and Thora were getting together our lunch. I came out of the vault of Chau-te-leur to find Stanton before a part of the terrace studying it wonderingly.

“‘What do you make of this?’ he asked me as I came up. He pointed to the wall. I followed his finger and saw a slab of stone about fifteen feet high and ten wide. At first all I noticed was the exquisite nicety with which its edges joined the blocks about it. Then I realized that its colour was subtly different—tinged with grey and of a smooth, peculiar—deadness.

“‘Looks more like calcite than basalt,’ I said. I touched it and withdrew my hand quickly for at the contact every nerve in my arm tingled as though a shock of frozen electricity had passed through it. It was not cold as we know cold. It was a chill force—the phrase I have used—frozen electricity—describes it better than anything else. Stanton looked at me oddly.

“‘So you felt it too,’ he said. ‘I was wondering whether I was developing hallucinations like Thora. Notice, by the way, that the blocks beside it are quite warm beneath the sun.’

“We examined the slab eagerly. Its edges were cut as though by an engraver of jewels. They fitted against the neighbouring blocks in almost a hair-line. Its base was slightly curved, and fitted as closely as top and sides upon the huge stones on which it rested. And then we noted that these stones had been hollowed to follow the line of the grey stone’s foot. There was a semicircular depression running from one side of the slab to the other. It was as though the grey rock stood in the centre of a shallow cup—revealing half, covering half. Something about this hollow attracted me. I reached down and felt it. Goodwin, although the balance of the stones that formed it, like all the stones of the courtyard, were rough and age-worn—this was as smooth, as even surfaced as though it had just left the hands of the polisher.

“‘It’s a door!’ exclaimed Stanton. ‘It swings around in that little cup. That’s what makes the hollow so smooth.’

“‘Maybe you’re right,’ I replied. ‘But how the devil can we open it?’

“We went over the slab again—pressing upon its edges, thrusting against its sides. During one of those efforts I happened to look up—and cried out. A foot above and on each side of the corner of the grey rock’s lintel was a slight convexity, visible only from the angle at which my gaze struck it.

“We carried with us a small scaling-ladder and up this I went. The bosses were apparently nothing more than chiseled curvatures in the stone. I laid my hand on the one I was examining, and drew it back sharply. In my palm, at the base of my thumb, I had felt the same shock that I had in touching the slab below. I put my hand back. The impression came from a spot not more than an inch wide. I went carefully over the entire convexity, and six times more the chill ran through my arm. There were seven circles an inch wide in the curved place, each of which communicated the precise sensation I have described. The convexity on the opposite side of the slab gave exactly the same results. But no amount of touching or of pressing these spots singly or in any combination gave the slightest promise of motion to the slab itself.

“‘And yet—they’re what open it,’ said Stanton positively.

“‘Why do you say that?’ I asked.

“‘I—don’t know,’ he answered hesitatingly. ‘But something tells me so. Throck,’ he went on half earnestly, half laughingly, ‘the purely scientific part of me is fighting the purely human part of me. The scientific part is urging me to find some way to get that slab either down or open. The human part is just as strongly urging me to do nothing of the sort and get away while I can!’

“He laughed again—shamefacedly.

“‘Which shall it be?’ he asked—and I thought that in his tone the human side of him was ascendant.

“‘It will probably stay as it is—unless we blow it to bits,’ I said.

“‘I thought of that,’ he answered, ‘and I wouldn’t dare,’ he added soberly enough. And even as I had spoken there came to me the same feeling that he had expressed. It was as though something passed out of the grey rock that struck my heart as a hand strikes an impious lip. We turned away—uneasily, and faced Thora coming through a breach on the terrace.

“‘Miss Edith wants you quick,’ she began—and stopped. Her eyes went past me to the grey rock. Her body grew rigid; she took a few stiff steps forward and then ran straight to it. She cast herself upon its breast, hands and face pressed against it; we heard her scream as though her very soul were being drawn from her—and watched her fall at its foot. As we picked her up I saw steal from her face the look I had observed when first we heard the crystal music of Nan-Tauach—that unhuman mingling of opposites!”


RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.

SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit” | Max Brand’s The Untamed | Julian Huxley’s “The Tissue-Culture King” | Clare Winger Harris’s “A Runaway World” | Francis Stevens’s “Thomas Dunbar” | George Gurdjieff’s “Beelzebub’s Tales” | Robert W. Chambers’s “The Harbor-Master” | Mary E. Wilkins Freeman’s “The Hall Bedroom” | Clare Winger Harris’s “The Fifth Dimension” | Francis Stevens’s “Behind the Curtain” | more to come.