Satan's garden — Context and Discussion

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Price, E. Hoffmann, 1898-1988, Brundage, Margaret, 1900-1976 [Illustrator], Hammond, H. R. [Illustrator] Project Gutenberg 2025 Not confirmed
Fantasy fiction; Paranormal fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 27,257
Reading time 119 min
Text sections 10

Satan's garden — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 27,257 words, 1 hr 59 min estimated reading time, and 10 detected text sections.

The text analysis averages about 14.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fantasy fiction,” connecting these edition facts with the source record’s subject description.

In this 1934 Weird Tales serial, E. Hoffmann Price blends occult fantasy with hard-boiled adventure as a scarred protagonist infiltrates a hasheesh-eating cult in Bayonne. The catalog subjects 'Fantasy fiction' and 'Paranormal fiction' fit, but the excerpts emphasize gritty action, drugged perception, and a vividly described setting over supernatural elements.
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Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

here were two who sat in a room on the second floor of a house that faced the street running along the city wall. One was old and leathery, with fierce, upturned gray mustaches, and eyes that smoldered beneath shaggy brows; the other was not more than half his age, a lean, broad-shouldered man whose bronzed features were rugged as the masonry of the fortress, and seamed with a saber slash that ran from his cheek-bone almost to the chin.

The younger emerged from the depths of his chair like a panther leaving his cage. He paced the length of the room and paused at the window to stare out into the dazzling moon-brightness that slowly marched from the rolling, tree-clustered parkway and invaded the shadows cast by the city wall across the dry moat that skirted it. Then, as he retraced his steps, he glanced at his watch.

"Later than usual tonight, Pierre," he observed. His voice was weary from baffled wrath. "Do you suppose that It may skip a night?"

Pierre d'Artois shook his gray head and sighed.

"Why should It fail to torment her? We sit here like dummies, you and I. And to what purpose? Look!" He indicated the seals on the door at his left. "It could get through neither door nor window without breaking those seals----"

"But It did, by heaven!" exclaimed the younger. And Glenn Farrell resumed his pacing the length of the Boukhara rug that carpeted the room. He made a gesture of futile rage, then resumed, "But how, Pierre--and why?"

Pierre d'Artois twisted his mustache, shook his head again, and struck light to a cigarette. Farrell sank into the depths of his chair and retrieved the cigar butt he had laid on its arm.

"We couldn't have slept on post without one of us being aware of it," resumed Farrell. His voice was monotonous from repetition of a statement so often made that he himself had begun to doubt it. "And if we had----"

He regarded the waxen seals on the door.

"Those seals couldn't have been duplicated, with your die locked in a bank vault each night. And she couldn't have escaped."

"No, she could not," agreed d'Artois. "But some one--some _thing_--got in."

"A weasel, a cat, a snake," enumerated Farrell, "might slip through those bars. Nothing larger. Certainly nothing large enough to--good God! _Listen!_"

Grim and trembling they stood at the sealed door. They heard a moaning and a sobbing, then the screams of a woman seeking to stifle her outcry.

"Give me that key!" demanded Farrell.

He unlocked the door and flung it open, shattering the seals and breaking the cord that ran from panel to jamb. D'Artois followed him. They halted a few paces past the threshold.

"Look, damn it, look!"

As Farrell switched on the lights, he pointed at the woman who lay face down on the broad, canopied bed. She was writhing and moaning. At regular intervals she flinched as from a blow, then shuddered, and relaxed.

"Lord! I can almost hear the whip," muttered Farrell. He leaped forward and thrust out his arm as if to ward off blows that flailed the girl's bare shoulders. Then he retreated, shaking his head.

"If we can't see it, how can we stop it?" he muttered despairingly.

They stood, fascinated and horrified, watching a lovely girl being flayed by an invisible scourge. They saw the red welts rising, crossing and recrossing her shoulders, and cropping up under the filmy silken folds of her nightgown.

"Look at it! Her gown didn't move a hair's breadth, but the whip raised another welt! Pierre, it's impossible! That gown ought to be cut to pieces by that flogging. Or else nothing's really hitting her. Or else"--Farrell shook his head in bewildered despair--"or else we're both crazy as hoot-owls!"

"_Tenez donc_," said the old Frenchman, taking his friend by the arm. Though he himself shrank in sympathy with the girl who writhed under the invisible lash, his voice was calmer than Farrell's. "Let us study this thing. And man or devil, in the end we will have his hide!"

"You take the devils, Pierre, and give me a handful of whatever men you think are messed up in it! I'll--eh, what's that?"

He knelt beside the bed, gestured to d'Artois.

"Listen to that, Pierre!" he said in a tense whisper.

"_Junayn' ash-Shaytan_ ..." they heard her say.

"Holy smoke!" gasped Farrell. "_Junayn' ash-Shaytan_ ... and did you get what she said after that?" Then, before d'Artois could reply, "It's over now."

The sleeping girl had ceased writhing and tossing. Her cries had subsided to a drowsy murmuring. The two watchers stared at each other for a moment.

The opening chapter of Satan's Garden establishes a mood of moonlit tension in Bayonne, where two men wait in a room overlooking the city wall. The younger, a lean, broad-shouldered man with a saber scar, paces and checks his watch, while the older, Pierre d'Artois, sits with fierce upturned mustaches. Their dialogue hints at an invisible tormentor that has breached sealed doors—a premise more aligned with the catalog's 'paranormal' tag than with pure fantasy. Yet the prose dwells on physical details: the dry moat, the masonry, the seals on the door. The threat remains unnamed, referred to only as 'It,' and the men's baffled wrath suggests a creature or force that defies rational explanation.

Drugged Wine and the Hasheesh-Eaters

The excerpts reveal that the story's occult core is mediated through intoxication. When the protagonist, Farrell, enters the lair of Hassan, he is offered a flagon of wine 'reeking of hasheesh.' His internal monologue treats the drug as both a test and a weapon: he must drink to avoid suspicion, but fears the loss of control. The narrative shifts into a hallucinatory register—heartbeats slow, arms lengthen, the room expands—and Farrell experiences a 'duality of identity.' This is not a generic fantasy trope; it is a specific, physiological ordeal. The catalog's 'paranormal' label is earned less by ghosts than by chemically induced visions, such as a ceiling 'dusted with stars in unfamiliar constellations' and a fountain's spray. The story grounds its supernatural in the pharmacology of hasheesh, making the reader question where the drug ends and the occult begins.

Violence and the Cult's Discipline

Price's prose is lean and physical. The cult of the Ismailians, led by Hassan, enforces obedience through mutilation and summary execution. In one scene, Hassan orders three tongueless negroes to dispose of two dead men and one with a snapped arm, commanding, 'To the black pool with them.' The violence is swift and unadorned. Farrell, an infiltrator, notes that the value of a fedawi (devotee) 'could scarcely balance the self-slain and the two killed in action,' implying a calculus of sacrifice. This is not a mystical brotherhood but a brutal organization. The catalog's 'fantasy fiction' tag may mislead: the excerpts show no magic, only harsh discipline and the threat of torture. The story's world is one of spies, imposture, and lethal tests, where a wrong gesture means death 'by torture administered to find out how much the outside world knew.'

Setting as Character: Bayonne and the Lair

The opening description of Bayonne—'gray-walled,' sleeping 'like an odalisque overcome with wine'—is ornate but precise. The city has stood 'for more than nineteen centuries at the junction of the Nive and the Adour, guarding the road to Spain.' This historical weight contrasts with the claustrophobic interior of Hassan's lair, which is arranged 'after the fashion of a majlis, or reception hall of an Arabian house.' The juxtaposition of a French fortress town and an Orientalist den reflects the story's hybrid genre. The excerpts do not explain how a cult of hasheesh-eaters operates in Bayonne, but the setting is not incidental: the dry moat, the city wall, and the moonlight 'invading the shadows' create a threshold between the rational and the forbidden. The catalog subjects do not capture this geographical specificity, which grounds the fantastic in a real place.

Readers should note that the excerpts cover only the first third of the serial. The catalog's 'fantasy fiction' and 'paranormal fiction' labels are broad; the text itself is more concerned with physical ordeal, drugged perception, and cult violence than with overt magic. Pay attention to how Price uses sensory detail—the weight of a flagon, the smell of hasheesh, the gurgling of tongueless slaves—to build a world that feels tangible even at its most hallucinatory.

There’s something comforting about returning to old pulp adventures like Satan’s Garden, where the grime of Bayonne feels almost tangible. It makes me think of childhood afternoons with The Rover Boys In The Mountains; Or, A Hunt for Fun and Fortune — Reading Notes—different dangers, sure, but that same quiet thrill of boys stumbling through unfamiliar terrain, seeking nothing more than the next curious moment.

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