Stuart Strauss remains an enigmatic figure in the world of weird fiction, with scant information available about his life. He is known for a limited body of work, including "The Shadow on The Moor" (1928), "The Soul Tube" (1928), and "The Clenched Hand" (1934). The use of a pseudonym and language suggesting potential unfamiliarity with British culture has led to the assumption that Strauss might be an American author.
"The Shadow on The Moor" is a tale that first appeared in the February 1928 issue of "Weird Tales." Its republication in the 2023 British Library anthology "Circles of Stone: Weird Tales of Pagan Sites and Ancient Rites," edited by Katy Soar, attests to the lasting intrigue and relevance of Strauss's work. The story captures a sense of foreboding in the British countryside, with standing stones taking on a malevolent presence.
Strauss's work, including "The Shadow on The Moor," reflects thematic elements akin to the cosmic horror pioneered by H.P. Lovecraft. Lovecraft's influence is discernible in the eerie atmospheres and otherworldly entities that often pervade Strauss's narratives. Additionally, Strauss, like Lovecraft, explores the theme of ancient cults in remote villages, inhabited by seemingly backward rural characters. The fusion of cosmic horror and folk-horror themes creates an unsettling and atmospheric reading experience.
The thematic exploration of ancient cults in Strauss's work aligns with Margaret Murray's witch-cult hypothesis, a theory that suggests accusations against witches in Europe were rooted in a clandestine pagan religion. Published in Murray's "The Witch-Cult in Western Europe" (1921), the hypothesis posits the existence of a pre-Christian religion centered around a horned god, symbolizing the cycle of seasons and harvests. The horned god's representation on Earth through chosen individuals, ritual sacrifices, and the preservation of this religion through secret covens are central elements of Murray's theory.
Strauss's incorporation of such themes in "The Shadow on The Moor" aligns with the broader cultural fascination with ancient rites and mysterious practices. The narrative, enveloped in cosmic horror and folk-horror, echoes the anxieties of a bygone era, reflecting the convergence of literary imagination and anthropological speculation.
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