Consequently, the article is filled with De Camp's signature amateur psychoanalysis of Howard, suggesting, for example, that
Around 1933, Howard's characters began to show a more normal interest in sex. It may not be a coincidence that in the next year he began regularly dating a young lady.or that
Many stories end with the entire cast, save one or two, dead. In one of his last stories he kills off absolutely everybody, leaving none to tell the tale. A psychologist could plausibly argue that such plots foreshadow Howard's own end.And of course he couldn't resist concluding that Howard "never grew up."
We can be grateful that the long shadow De Camp cast across Howard's legacy is at last being chased away by some sunlight. Over the last few decades, a fuller picture of REH has emerged, a more complex one than the Peter Pan-cum-Oedipus that De Camp peddled for so long. That's why it was so weird reading this article; it's a blast from a past that's increasingly been discredited and forgotten -- and thank Crom for that.