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Flannigan Trilogy #1-2
Godman
With modern weapons Michael Flannigan fought against the terrors of a hidden universe of monsters and primitive city-states to save the woman he loved!
Haunted by a mysterious distant call, Michael Flannigan was drawn to the moon to discover an ancient lens that thrust him into another universe where modern weapons were unknown. There, in this other life, he became known as Gurund Ritroom, the long-awaited Avenger. With Yankee ingenuity he battles for survival and the woman he loves against horrid monsters and the brutal armies of primitive city-states. When he introduces modern weapons such as gunpowder and bazookas against a society equipped only with swords, spears, bows and arrows, the effect is startling and unexpected.
Contains the first two Michael Flannigan stories: Land Beyond the Lens and The Golden Gods.
Haunted by a mysterious distant call, Michael Flannigan was drawn to the moon to discover an ancient lens that thrust him into another universe where modern weapons were unknown. There, in this other life, he became known as Gurund Ritroom, the long-awaited Avenger. With Yankee ingenuity he battles for survival and the woman he loves against horrid monsters and the brutal armies of primitive city-states. When he introduces modern weapons such as gunpowder and bazookas against a society equipped only with swords, spears, bows and arrows, the effect is startling and unexpected.
Contains the first two Michael Flannigan stories: Land Beyond the Lens and The Golden Gods.
- GenresCanon
207 pages
First published January 1, 1970
11 people want to read
About the author
Stuart J. Byrne
43 books3 followersStuart James Byrne or S.J. Byrne (born October 26, 1913) is an American screenwriter and writer of science fiction and fantasy. He published under his own name and the pseudonyms Rothayne Amare, John Bloodstone, Howard Dare, and Marx Kaye (a house pseudonym).
Byrne was born in St. Paul, Minnesota. Later, he recalled, "I was in there early enough to see magic lantern slides instead of movies, to watch the little man in the black suit climb his ladder to light our gas lamp out front, and in the early twenties I was excited by whisperings of a thing called radio!" Favorite fiction memories of the time included Grimm's Fairy Tales, Alice in Wonderland, L. Frank Baum's Oz stories, the Rover Boys, the Boy Allies, Gernsback science-fiction, and "the life-changing impact of the Edgar Rice Burroughs books."
At the age of twelve, he moved with his family to California. In his teen years, his interest in science fiction continued. He also became an avid amateur astronomer. Years later, he recalled that "many a summer night ... were spent in awe ... in the Pleiades and the great Orion Nebula, or surfing the moons of Jupiter and rings of Saturn. In fact at fifteen I was grinding parabolic mirrors for my amateur telescope."
In the 1930s, he married Joey and fathered two children, Richard and Joanne. He earned an M.A. at UCLA. He published his first science fiction story, entitled "Music of the Spheres" in Amazing Stories in 1935. It told how a young man sacrificed his life to send a passenger spaceship away from a fatal encounter with the sun. In their capsule review of the book, Bleiler and Bleiler state, "The story, which is purple in writing, now considers the sensations of the young man as he approaches death in the sun, fancying that he hears the music of the spheres."
In the 1940s and 1950s, Byrne published in Science Stories, Amazing Stories, Imagination, and Other Worlds.
He was especially noted as the creator of Michael Flanagan, the hero of three stories that appeared in Amazing Stories: "The Land Beyond the Lens," "The Golden Gods," and "The Return of Michael Flannigan," all listed as by John Bloodstone. The first two of these stories were collected as Godman (spelled "Godman!" on the cover) in 1970. According to Byrne's later reminiscence, the name "John Bloodstone" was suggested by Ray Palmer to fool Howard Browne, the editor of Amazing, who had requested that Palmer write a story about a picture showing a man going through some kind of lens. Palmer passed the job over to Byrne, but eventually confessed the switch to Browne.
In 1955, Byrne became known as the author of an unpublishable new Tarzan novel called Tarzan on Mars via an editorial called "Tarzan Never Dies," by editor Ray Palmer, in Other Worlds Science Stories magazine. The novel could not be published because Palmer was unable to get authorization from the estate of Edgar Rice Burroughs.
As a screenwriter, Byrne wrote for the "Men into Space" TV show in 1959 and 1960. He is credited with writing the episode entitled "Quarantine" (1959) and providing the story for the one entitled "Contraband" (1960). He received credit for the story of the 1971 film called "The Deserter" as well as the original story and screenplay for the 1972 film "The Doomsday Machine". According to Bleiler and Bleiler, he was also a screenwriter for the 1975 film Journey into Fear, although he is not so credited in the IMdb online database.
Byrne reverted to the Bloodstone pseudonym for the publication of his original paperback novel Thundar. This vivid novel of the adventures of Michael Storm, also known as Thundar, on earth in the far future is one of Byrne's best. After a framing device concerning Michael Storm's diaries, the story begins with Storm's adventures in the Peruvian mountains searching for the legendary time-gate of Viricocha. According to Byrne, "The scenes and locale of the opening adventure in the Peruvian Andes are authenticated by the fact that I spent
Byrne was born in St. Paul, Minnesota. Later, he recalled, "I was in there early enough to see magic lantern slides instead of movies, to watch the little man in the black suit climb his ladder to light our gas lamp out front, and in the early twenties I was excited by whisperings of a thing called radio!" Favorite fiction memories of the time included Grimm's Fairy Tales, Alice in Wonderland, L. Frank Baum's Oz stories, the Rover Boys, the Boy Allies, Gernsback science-fiction, and "the life-changing impact of the Edgar Rice Burroughs books."
At the age of twelve, he moved with his family to California. In his teen years, his interest in science fiction continued. He also became an avid amateur astronomer. Years later, he recalled that "many a summer night ... were spent in awe ... in the Pleiades and the great Orion Nebula, or surfing the moons of Jupiter and rings of Saturn. In fact at fifteen I was grinding parabolic mirrors for my amateur telescope."
In the 1930s, he married Joey and fathered two children, Richard and Joanne. He earned an M.A. at UCLA. He published his first science fiction story, entitled "Music of the Spheres" in Amazing Stories in 1935. It told how a young man sacrificed his life to send a passenger spaceship away from a fatal encounter with the sun. In their capsule review of the book, Bleiler and Bleiler state, "The story, which is purple in writing, now considers the sensations of the young man as he approaches death in the sun, fancying that he hears the music of the spheres."
In the 1940s and 1950s, Byrne published in Science Stories, Amazing Stories, Imagination, and Other Worlds.
He was especially noted as the creator of Michael Flanagan, the hero of three stories that appeared in Amazing Stories: "The Land Beyond the Lens," "The Golden Gods," and "The Return of Michael Flannigan," all listed as by John Bloodstone. The first two of these stories were collected as Godman (spelled "Godman!" on the cover) in 1970. According to Byrne's later reminiscence, the name "John Bloodstone" was suggested by Ray Palmer to fool Howard Browne, the editor of Amazing, who had requested that Palmer write a story about a picture showing a man going through some kind of lens. Palmer passed the job over to Byrne, but eventually confessed the switch to Browne.
In 1955, Byrne became known as the author of an unpublishable new Tarzan novel called Tarzan on Mars via an editorial called "Tarzan Never Dies," by editor Ray Palmer, in Other Worlds Science Stories magazine. The novel could not be published because Palmer was unable to get authorization from the estate of Edgar Rice Burroughs.
As a screenwriter, Byrne wrote for the "Men into Space" TV show in 1959 and 1960. He is credited with writing the episode entitled "Quarantine" (1959) and providing the story for the one entitled "Contraband" (1960). He received credit for the story of the 1971 film called "The Deserter" as well as the original story and screenplay for the 1972 film "The Doomsday Machine". According to Bleiler and Bleiler, he was also a screenwriter for the 1975 film Journey into Fear, although he is not so credited in the IMdb online database.
Byrne reverted to the Bloodstone pseudonym for the publication of his original paperback novel Thundar. This vivid novel of the adventures of Michael Storm, also known as Thundar, on earth in the far future is one of Byrne's best. After a framing device concerning Michael Storm's diaries, the story begins with Storm's adventures in the Peruvian mountains searching for the legendary time-gate of Viricocha. According to Byrne, "The scenes and locale of the opening adventure in the Peruvian Andes are authenticated by the fact that I spent
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Displaying 1 of 1 review
March 5, 2015
Admittedly it doesn't present a good face to the world: the cover art is bland, it has punctuation in the title, and on the back cover, where you'd expect to see a synopsis, you see a space where THE FOLLOWING WRITERS AND CRITICS HAVE OVERWHELMINGLY PRAISED THIS BOOK! Said writers and critics being: Stuart J Byrne, the real name behind "John Bloodstone"; Forrest J Ackerman, whose company owns the copyright to the book; Charles Nuetzel, who wrote quite a bit in this vein and misspells "Merritt" in a literary comparison; Albert Augustus Jr, a pseudonym of Charles Nuetzel; William Hughes, this book's cover artist; and two people I can't identify.
The reader is soon assaulted by names such as "Mnir'sr Nikin'ra" and "Xlar'nr Marna'ri"--no idea how to pronounce such a mouthful of marbles--which can be contracted into just the first and last syllables by a convention that is never explained and used inconsistently.
And, finally, the central concept is that the protagonist has entered a land of very short elfin beings, but has also shrunk to scale. It has the merit of explaining the superhuman strength conventional to the sword-and-planet genre, in that his human frame has been condensed into a smaller form. It has the detriment of being a pretty dumb idea, especially since he has no frame of reference that would clue him to the difference.
But I am prepared to accept a certain amount of preposterousness in my sword and planet. After you consign yourself to its ridiculousness, this turns out to be highly entertaining. The first half works out to a sort of Burroughs by way of A. Merritt and Lord Kalvan of Otherwhen, where Michael Flannigan works to defend his adopted countrymen by advancing their weapons technology.
While this was of no great shakes (and spends too much time on prelude), it fits nicely into the second half, "The Golden Gods", which changes things up entirely, bringing Flannigan back to the hidden world by reincarnating him into the body of his greatest enemy, the ruler of the green men.
The reader is soon assaulted by names such as "Mnir'sr Nikin'ra" and "Xlar'nr Marna'ri"--no idea how to pronounce such a mouthful of marbles--which can be contracted into just the first and last syllables by a convention that is never explained and used inconsistently.
And, finally, the central concept is that the protagonist has entered a land of very short elfin beings, but has also shrunk to scale. It has the merit of explaining the superhuman strength conventional to the sword-and-planet genre, in that his human frame has been condensed into a smaller form. It has the detriment of being a pretty dumb idea, especially since he has no frame of reference that would clue him to the difference.
But I am prepared to accept a certain amount of preposterousness in my sword and planet. After you consign yourself to its ridiculousness, this turns out to be highly entertaining. The first half works out to a sort of Burroughs by way of A. Merritt and Lord Kalvan of Otherwhen, where Michael Flannigan works to defend his adopted countrymen by advancing their weapons technology.
While this was of no great shakes (and spends too much time on prelude), it fits nicely into the second half, "The Golden Gods", which changes things up entirely, bringing Flannigan back to the hidden world by reincarnating him into the body of his greatest enemy, the ruler of the green men.
Displaying 1 of 1 review