“You know how tiring it is for me to keep my left arm strategically positioned in the viewer’s line of sight like this?” Margaret Brundage illustrating Robert E. Howard on the July 1936 cover of Weird Tales. Virgil Finlay’s pencil was also busy, providing a noble profile and a pair of shapely buttocks for C.L. Moore’s story “Lost Paradise.”
This issue of Weird Tales is available to read and download at the Internet Archive.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
PAGE 3 (Four panels)
Panel 1: ELIZA FANSHAW (“Eliza”) sits in a big wicker chair in a kind of hippie-ish apartment. She’s a bubbly-sexy blond girl. She wears thin cotton tie-dyed shirt that stretches a bit over her breasts (she’s obviously braless) and a floral skirt and sandals. Her posture indicates she’s being interviewed.
Eliza (1): People ask me, “What on earth do you think you’re doing, Eliza?” and “Don’t you know you have your whole life ahead of you?”
Comment (1): The material in quotation marks are things that Eliza has been hearing about her plans and which she is quoting back to the interviewer. The expression “what on earth” is a figurative expression meant to express incredulity or surprise. It shouldn’t be translated literally – substitute an equivalent expression if one exists in the target language.
Translation (1): Eliza (1): As pessoas me perguntam: “Que diabos você pensa que está fazendo, Eliza?” e “Você não sabe que tem a vida inteira pela frente?”
Eliza (2): And I see their point but, the thing is, about me…
Translation (2): Eliza (2): E eu entendo seu ponto de vista, mas o fato é que, em relação a mim…
SUBTITLE (3): Eliza Fanshaw, prospective subject.
Translation (3): SUBTITLE (3): Eliza Fanshaw, possível voluntária.
Panel 2: Close-up on Eliza’s smiling face, which should emphasize that she has a cute little snub nose.
Eliza (4): …is that I think that the most amazing thing about being alive…
Translation (4): Eliza (4): …é que eu acho que a coisa mais incrível quanto a estar viva…
Elize (5): … is sex!
Translation (5): …é o sexo!
Panel 3: View of Eliza (in very soft focus, to the point that we can scarcely identify her as Eliza) naked, seen from behind on top of a guy).
CAPTION – ELIZA NARRATING (6): I’m not supposed to say things like this, but ever since I was fifteen, I have been seeking out sexual adventure.
Comment (6): “Ever since I was fifteen” is short for “ever since I was fifteen years old.”
Translation (6): CAPTION – ELIZA NARRATING (6): Eu não deveria dizer coisas assim, mas desde que eu tinha quinze anos, tenho buscado aventuras sexuais.
CAPTION – ELIZA NARRATING (7): I’ve even acted in some experimental adult films, just to see what it would be like.
Comment (7): “Adult films” here is a semi-euphemism for pornographic films, or at least films with explicit sexual content.
Translation (7): CAPTION – ELIZA NARRATING (7): Até atuei em alguns filmes para adultos, só para ver como seria.
Panel 4: Eliza, back in the same pose as in Panel 1.
Unseen interviewer (out-of-panel balloon) (8): And what was it like?
Translation (8): Unseen interviewer (out-of-panel balloon) (8): E como é que foi?
Eliza (9): It was awesome!
Translation (9): Eliza (9): Foi sensacional!
Eliza (10): But I don’t think anything could compare with those movies I saw in Anthro.
Comment (10): “Anthro.” This is a colloquial way for Eliza to say that she saw the movies in a college-level class in Anthropology.
Translation (10): Eliza (10): Mas acho que nada se compara aos filmes que eu vi no curso de Antro.
A Isca (Português/Versão em página longa)
A Isca (Português/Versão em carrossel)
Hugh Rankin gives us an Egyptian princess in a filmy gown and some other weird stuff for the the April 1930 cover of Weird Tales. He did a fair amount of interior illustration duty as well that seems equally strange, such as the one below for David H. Keller’s story “Creation Unforgiveable.” Two female figures, one being menaced by what looks like an ape man and another by a…Centrosaurus maybe?
This issue of Weird Tales is available to read and download at the Internet Archive.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
PAGE 2 (Splash page)
Singple panel: Helicopter view of the RV Seagoon, plowing through turquoise sea against the backdrop of a brilliant tropical sunrise. The RV Seagoon is a good-sized vessel, with an extended midsection that appears to contain some sort of giant tank. There is also a crane of sorts on deck.
CAPTION – PSEUDO-NARRATION (1): What is it that Professor Eustace Turpentine is proposing that so disturbs Captain Drummingdale?
Translation (1): CAPTION – PSEUDO-NARRATION (1): O que o Professor Eustace Turpentine está propondo que incomoda tanto o Capitão Drummingdale?
CAPTION – PSEUDO-NARRATION (2): Only one of the strangest and most significant scientific adventures yet recorded.
Translation (2): Apenas uma das aventuras mais estranhas e significativas jamais registradas.
CAPTION – PSEUDO-NARRATION (3): And we document it here for you for the first time!
Translation (3): E estamos documentando tudo aqui para você, pela primeira vez!
A Isca (Português/Versão em página longa)
A Isca (Português/Versão em carrossel)
The October 1932 issue of Weird Tales didn’t disclose too much in the way of interesting interior illustration, but Margaret Brundage’s early cover is both a nice example of an endangered woman and presages much that is to come from easel.
This issue of Weird Tales is available to read and download at the Internet Archive.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
PAGE 1 (Four panels)
Panel 1: CAPTAIN IVAN DRUMMINGDALE (“Drummingdale’) stands at the bow of his ship, the RV SEAGOON. Drummingdale is a gaunt, tall, naval-looking man. He wears a short-sleeved white shirt with captain’s epaulets and a seaman’s cap. It is dawn in the tropics. Drummingdale is staring out to sea and speaks without turning around.
Drummingdale (1): You’re up early today, Professor Turpentine.
Translation (1): Acordou cedo hoje, Professor Turpentine.
Panel 2: Drummingdale stands on the rail next to PROFESSOR EUSTACE TURPENTINE (“Turpentine”). Turpentine is a short, fat man with a white mustache and a white fringe of hair around a head which would otherwise be bald. However in this panel he is wearing a pith helmet and a twin-pocketed shirt. He looks relaxed. Drummingdale, still staring over the rail out to sea, looks anything but.
Turpentine (2): It’s a big day for us, Captain Drummingdale. Our first attempt.
Translation (2): É um grande dia para nós, Capitão Drummingdale. Nossa primeira tentativa.
Drummingdale (3): Oh, aye.
Comment (3): “Aye” is “yes” with an archaic or maritime flavor. To to the extent possible, the translation should reflect this.
Translation (3): Drummingdale (3): Ah, é sim.
Panel 3: Close-up on Drummingdale’s face. His jaw is clenched.
Drummingdale (4): Can’t say I approve of what you’re going to put those girls through.
Comment (4): “Can’t say” here means “I can’t say.”
Translation (4): Não posso dizer que aprovo o que você vai fazer as meninas passarem.
Panel 4: Close-up on Turpentine, though not quite as close up as on Drummingdale in the previous panel. Turpentine’s expression is one of jolly unconcern.
Turpentine (5): They both signed the release, Captain.
Turpentine (5): A “release” in this context is a legal document in which one person agrees not to sue another person for certain damages that might be incurred in an activity both are involved in.
Translation (5): Ambas assinaram a autorização, Capitão.
Turpentine (6): They understand what they’re doing.
Translation (6): Elas estão cientes do que estão fazendo.
A Isca (Português/Versão em página longa)
A Isca (Português/Versão em carrossel)
Something nice in the readers’ stockings in the form of another exquisite Virgil Finlay Weird Tales cover, this one for December 1937. Finlay had a standalone interior illustration in this issue, a real graveyard honey.
Finlay took on more usual interior illustration duties as well, such as this flame-dancer for Seabury Quinn’s “Flames of Vengeance.”
This issue of Weird Tales is available to read and download at the Internet Archive.