Literary Techniques
In the kaleidoscope of new realms and characters, Burroughs finds a canvas to explore societies crafted from diverse threads. Echoing the satirical echoes of Gulliver's Travels, some narratives mirror real-world follies, while others soar into imaginative realms built on theoretical frameworks. In their splendid opus, Dictionary of Imaginary Places, Alberto Manguel and Gianni Guadalupi chronicle over fifty entries from Burroughs's creations — a number surpassed only by Tolkien. These entries span Earthly and subterranean settings, leaving aside the countless Martian landscapes. Carter meticulously records the social and cultural tapestries of the peculiar peoples he encounters, delving into the Tharks' customs of education, child-rearing, warfare, and courtship. In crafting The Chessmen of Mars, Burroughs introduced the chess-inspired jetan, with elaborate rules and instructions, praised by John Gollon in Chess Variations (1968) as "quite good — very playable and entertaining." This novel unfolds with a game played by living pieces, locked in lethal duels when their paths cross. Moreover, Burroughs weaves a tapestry of enchanting names for characters, creatures, and locales, inviting readers to learn the Barsoomian language as they would a companion to Ape-English.
A Shift in Narrative Technique
The transition from Tarzan's exploits brings a pivotal change in technique, as the narrative lens shifts to Carter's first-person viewpoint in the inaugural trilogy. Departing from the omniscient gaze that defined the Tarzan tales, Burroughs trades his usual narrative dance across characters for a more intimate and engaging portrayal of action. Carter's recounting feels liberated, more fluid; it sheds much of the ornate "pseudo-literary" flair of Tarzan's omniscient chronicler. Carter's wonder and exploration of his new worlds echo the reader's own, deepening their connection. Furthermore, Carter's narration is sparse on dialogue, likely due to his active role, contrasting with the omniscient narrator's more staged dialogues, which often felt less convincing. Carter's breathless, yet straightforward storytelling dilutes the impact of frequent coincidences, as he overlooks them, allowing them to glide past the reader's notice as well.
Adaptations
The Legacy of John Carter
"John Carter," illustrated by the talented John Coleman Burroughs, made a fleeting appearance as a Sunday comic strip between 1941 and 1943. Though intriguing, none of Burroughs's other creations managed to capture the staggering commercial prowess of Tarzan. However, with the resurgence of paperbacks, the Carter and Pellucidar series received a significant boost from their artful illustrations, potentially surpassing the legendary ape-man in popularity. Nowadays, Carter and some of Burroughs's other adventurous figures find life primarily in the pages of comic books.
Burroughs's Timeless Appeal
Despite the passage of time, Burroughs's works continue to be published, likely enchanting new generations rather than the audience who first embraced them. These stories, quintessential examples of pulp fiction's golden age, remain captivating distractions brimming with the boundless creativity Burroughs wielded to conjure his extraordinary realms. His occasional ventures into realism, including novels like The Mucker (1914) and The Girl from Hollywood (1922), were intended to establish his credentials as a "serious" author. However, they fell prey to the same shortcomings that characterized his fantasies: lackluster dialogue, shaky plot structures, and melodramatic leanings, albeit his two novels featuring Native Americans offer rare, empathetic portrayals of the Apache tribes.
Nevertheless, Burroughs's unparalleled flights of imagination, painting the vivid landscapes of Africa, Pellucidar, Mars, and Venus, remain virtually unmatched and have paved the way for a vast tapestry of fantasy fiction. It seems that the legend of Tarzan, in particular, is destined to endure through the ages.
