By: A. Merritt
September 13, 2022

Illustration for “The People of the Pit” from Amazing Stories (1927)

HiLoBooks is pleased to serialize A. Merritt’s 1918 proto-sf story “The People of the Pit” for HILOBROW’s readers. Merritt’s yarn — an early example of “weird” fiction, which appeared in All-Story Weekly — destabilizes Enlightenment assumptions about the knowability of the universe, suggesting there are worlds here on Earth that lie beyond our understanding.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9.


“Nothing under them!” breathed Anderson.

“No,” he went on, “that was the terrible part of it — there was nothing under them. Yet certainly the lights were living things. They had consciousness, volition, thought — what else I did not know. They were nearly two feet across — the largest. Their center was a bright nucleus — red, blue, green. This nucleus faded off, gradually, into a misty glow that did not end abruptly. It too seemed to fade off into nothingness — but a nothingness that had under it a somethingness. I strained my eyes trying to grasp this body into which the lights merged and which one could only feel was there, but could not see.

“And all at once I grew rigid. Something cold, and thin like a whip, had touched my face. I turned my head. Close behind were three of the lights. They were a pale blue. They looked at me — if you can imagine lights that are eyes. Another whiplash gripped my shoulder. Under the closest light came a shrill whispering. I shrieked. Abruptly the murmuring in the street ceased. I dragged my eyes from the pale blue globe that held them and looked out — the lights in the streets were rising by myriads to the level of where I stood! There they stopped and peered at me. They crowded and jostled as though they were a crowd of curious people — on Broadway. I felt a score of the lashes touch me — 

“When I came to myself I was again in the great Place of the Stairway, lying at the foot of the altar. All was silent. There were no lights — only the mottled red glow. I jumped to my feet and ran toward the steps. Something jerked me back to my knees. And then I saw that around my waist had been fastened a yellow ring of metal. From it hung a chain and this chain passed up over the lip of the high ledge. I was chained to the altar!

“I reached into my pockets for my knife to cut through the ring. It was not there! I had been stripped of everything except one of the canteens that I had hung around my neck and which I suppose They had thought was — part of me. I tried to break the ring. It seemed alive. It writhed in my hands and it drew itself closer around me! I pulled at the chain. It was immovable. There came to me the consciousness of the unseen Thing above the altar. I groveled at the foot of the slab and wept. Think — alone in that place of strange light with the brooding ancient Horror above me — a monstrous Thing, a Thing unthinkable — an unseen Thing that poured forth horror — 

“After a while I gripped myself. Then I saw beside one of the pillars a yellow bowl filled with a thick white liquid. I drank it. If it killed me I did not care. But its taste was pleasant and as I drank my strength came back to me with a rush. Clearly I was not to be starved. The lights, whatever they were, had a conception of human needs.

“And now the reddish mottled gleam began to deepen. Outside arose the humming and through the circle that was the entrance came streaming the globes, They ranged themselves in ranks until they filled the Temple. Their whispering grew into a chant, a cadenced whispering chant that rose and fell, rose and fell, while to its rhythm the globes lifted and sank, lifted and sank.

“All that night the lights came and went — and all that night the chant sounded as they rose and fell. At the last I felt myself only an atom of consciousness in a sea of cadenced whispering; an atom that rose and fell with the bowing globes. I tell you that even my heart pulsed in unison with them! The red glow faded, the lights streamed out; the whispering died. I was again alone and I knew that once again day had broken in my own world.


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.