Tuesday, June 27, 2017

Wednesday, June 21, 2017

not yet...


I'm in ye mood to write--yet my mind is void of imaginary content, and I don't know where my pen wants to take me. It doesn't feel like writer's block, because if I had any actual ideas for stories I wou'd be working like a mad thing. One thing I usually do when I am confronted with this situation is try to write poetry, and I think I am going to give that a go once I return from driving Ghostboy to his work-place.

But my big aesthetic yen is to begin writing a new series of Sesqua Valley stories. The more I dwell on my creation, the more it seems an endless source of fictive possibilities. And, strangely, seeing that Twin Peaks has been revived also triggers a desire to revive my own valley. I began writing tales of Sesqua Valley in the 1970s, and it was strange and delightful when I watched a tv series that was inspir'd by the same source--North Bend in Washington State. As a kid I wou'd visit North Bend eery summer for two weeks, staying with my cousins, floating down the river on a tire tube, walking along the rail road tracks, and being hypnotized by the site of that amazing mountain.


My relatives actually climbed the mountain--something I never had ye chance to do. But I could sit and gaze on it for hours; and when I decided to write my own Lovecraftian tales, I knew I wanted to invent an eerie, sinister local--as Lovecraft had done when he invented Innsmouth and Dunwich--and base it on North Bend.

I cannot now remember when last I wrote a story about the valley. It is time to return. There is so much more I can investigate about this supernatural vale and its fantastic inhabitants. Ye time has come to make a serious effort.


Friday, June 9, 2017

to be publish'd in August


This is going to be a fabulous edition! Edited by David E. Schultz and S. T. Joshi, with jacket art by David C. Verba, this limited edition hardcover will be 800 pages and include:
Postcard to Clark Ashton Smith from Annhie E. P. Gamwell;
Lovecraft's review of Smith's EBONY AND CRYSTAL extracted from Supernatural Horror in Literature;
"Treader of Obscure Stars" by Clifford Gessler;
In re exhibitions of Smith's artwork from The Boiling Point;
and the following by Clark Ashton Smith:
[Fantasy and Human Experience]
C. A. Smith on Garbage-Mongering"
[Realism and Fantasy]
[On the Forbidden Books]
The Tale of Macrocosmic Horror
[Crossword Puzzles).

Available now at discount price of $65.00 (eventual price $75.00.

The publication of the fifteen-year correspondence of two...titans of weird fiction, H. P. Lovecraft (1890-1937) and Clark Ashton Smith (1893-1961) is a landmark event. This mammoth volume, containing 330 letters written between 1922 and 1937, allows an unprecedented glimpse into the lives, minds, and creative instincts of two brilliant writers who lived a continent apart and never met, but who shared a fascination withthe weird and the cosmic and had the highest regard for each other's work.

Lovecraft initiated the correspondence by writing a fan letter to Smith, who in 1922 was already an established poet. A warm exchange of views ensured; and as Lovecraft gained early success in Weird Tales, he urged Smith to send his poetry to the magazine. Smith, meanwhile, repeatedly read Lovecraft's stories in manuscript, and by the late 1920s he himself had begun to write tales of fantasy and science fiction that found ready acceptance in the pulp magazines of the day.

But the two authors were far more than pulp fictioneers. They held profound and at times conflicting views on the nature and purpose of weird fiction: Lovecraft admitted that he was a "prose realist," whereas Smith claimed that "I am far happier when I can create everything in a story." Their discussions on the theory of the weird tale are some of the most illuminating pages in this book.


Tuesday, May 30, 2017

Re: Lovecraft Film Fest 2007 Promo

St. John Ervine's OSCAR WILDE



This is an amusing old video, methinks, in which I brood a wee bit about an overtly-religious fellow's bad attitude toward Oscar Wilde. I have an opposite opinion, feeling that Wilde's sexuality was one of his greatest assets--but then I may think that cos I love being queer meself. The sin of Wilde, for me, was the way he treated his beautiful, loving wife. To see the effect of Wilde's behavior on his children, we have an excellent book by his youngest son, Vyvyan Holland:
I used to borrow this book over again & again from ye library. I always regretted that my own father was not a man who read many books, except for books by leaders of the Mormon Church. In many ways, my dad was a very good father; but we were so different from each other that I spent my childhood avoiding him. Oscar Wilde was, in many ways, a father that a son could not avoid, although during the "Bosie years" he became very distant from his family.

I became enchanted with Oscar Wilde when I saw him portrayed in the 1978 television series. Lillie. where she was portray'd by Francesca Annis. Peter Egan's portrayal of Wilde in that series fascinated me, and as a result I found every biography of Wilde that I could get my hands on in the library. I found that some local shops sold green carnations for St. Paddy's Day, and thus I bought a few and safety-pinned them to my Oscar Wilde jacket. Wilde has influenced my writer's prose style more than anyone else, I think.

I love the video from LILLIE below--except for ye bloody awful pop song that infiltrates its...




Tuesday, May 16, 2017

Eldritch Kickstarter


Oh, my darlings, I am getting SO excited about S. T.'s new anthology forthcoming from Dark Regions Press! Really great Mythos anthologies are a rare thing, and this is one of ye greatest. And now I have learned that my story, "Pickman's Lazuarus" (a story I consider one of my very finest) will have a new illustration created for it if the Kickstarter campaign reaches its first stretch goal by this Friday (May 19th) night. That has me quivering--for one thing I adore is to see my own weird fiction illustrated. It's a strange thing, but an artist's illustration can bring out an aspect of my own tale that I never fully realized mentally, imaginatively.

To support ye kickstarter, go to
https://www.kickstarter.com/projects/chrismorey/cthulhu-mythos-books-from-dark-regions-press/

Whoohoo!
I mean Ia fhtagn!!

Tuesday, May 9, 2017

Say Whut?


Been sitting here this morning trying to think of a new story beginning, and I found myself muttering, "I just don't know where to begin. I have nothing to say." And that made me smile queerly and laugh a little. I've rarely, to my memory, thought of myself as a writer "with a message"--I have no special wisdom to impart. I see myself as a story-teller, and if my work has any kind of theme it is that of being an Outsider. Sesqua Valley itself, over ye years, has come to represent ye Outsider motif--something or someone who exist outside of normality. "Normality" is a curious idea as far as human mentality is concerned. I suppose, for me, it means those who never have to stop and think about their place in society, because they fit so snugly in ye system. Yet that seems too simple a concept, and people who seem to "fit in" may indeed be monsters, murderers or rapists. 


For me, being an Outsider came from being a gay child; and I didn't know I was a freak until society pointed it out and punish'd me for it. I liked playing with dolls as a kid, and I wou'd innocently carry one of my sister's small dolls in my pants or jacket pocket when I went to grade school. Instead of being told directly that I was weird, grownups would pull me aside and ask things like, "Why do you do that?" or "Why are you like that?" Being sexually ignorant and innocent, I had no idea what "that" was; I knew only that I was bullied for "being a girl." My father punished me once by pushing me into the bathroom and forcing me toi bathe one of my sister's dolls in the sink. This didn't stop me from playing with dolls, it just made me more secretive in doing so. I'm surprised that dolls don't figure more in my weird fiction. 

So I'm gonna stop trying to think of story ideas and go back to my armchair and read. Later, when it begins to warm up, I'll go outside and do a wee bit of yard work. Or maybe I'll really shock myself and begin writing a new wee thing! Perhaps if I watch a video of when I was in a writing mood it may inspire me! Usually, these days, watching my videos just makes me happy that I am no longer able to record yem on YouTube. I behave like such a goon...



Friday, May 5, 2017

Thank ye, Graeme

My buddy Graeme Phillips has been publishing some of my older work in chapbook form as his contribution to the Lovecraftian apa, Esoteric Order of Dagon. He is now going to include ye above poem illustrated by Jeffrey Thomas--but neither Jeff nor I can now remember in whut small press journal it was publish'd! He plans on a print run of just 50 copies, thirty of which need to go to ye EOD; so there will be few to spare, but if he has any extras left over he wou'd like to sell them for five or ten quid @. His email is www.cyaegha@live.co.uk
This new booklet will be entitled Antient Dreams--and he be ye Contents:
Essay
"The Publishers From Beneath" (unpublished; written for The Eldritch Fantaisiste)
Fiction
"Calling to the Hills" (Midnight Shambler 1, Feby 1988)
"Crimson and Clown White" (Version 1--Astral Dimensions 6, August 1977)
"Crimson and Clown White" (Version 2, Imelod 18, October 2001)
"Darkness in an Antient Town" (Imelod Volume 5, issue 17, Autumn/October 2000)
"The Face that Screams" (The Pnakotic Series 1, October 1995)
"Fetch" (Sozoryoku 5, March 1992)
"Her Ghost on Glass" (Fantasy & Terror 12, 1989)
"The Isolated Dead" (Sozoryoku 2, June 1991)
"Mephistopheles" (Scorpia 7, October 1972)
"The Mythos Planet" (Charnel Glyphs #7, February 1979)
"The Seashell" (Version 1, Scorpia 7, October 1972)
"The Spectre of Romance" (Lore 4, Spring 1996)
"Whispering Wires" (Space & Time 20, September 1973 
"The Winds Awaken" (Imelod 18, October 2001)
Poetry
"Blocked" (publisher unknown)
"Deep Mysteries" (Myrddin 2, August 1975)
"The Grin of Death" (Inner Circle 2, 1976)
"Kurt" (The End 3, 1995)
"Martian Dreams" (Beneath Twin Moons, Running Dinosaur Press, 1980)
"My Worms" (Inner Circle 1. 1976)
"November Lust" (with Chad Hensley, Rouge et Noir 3, Fall 1992)
"A Song of Ghastly Joy" (Deathrealm 12, Summer 1990)
"The Succubus Kiss" (The End 5, April 1997)
"Upon a Lonely Hill" (as by "Brant Lundley, a fictional character I based on Brian Lumley!! Ia!!), Visions of Khroyd'hon, Summer 1776)
"Wail" (The End 2, 1994)
"Wild Shoggoths" (cannot recall if it was ever publish'd, written for Bleak December)

Dang! That's a lot of old stuff. I shall have to pinch me nostrils as I peruse it, methinks. I mean, some of it ain't stellar. The opening lines of "My Worms," for example, go something like
"I like worms, indeed I do.
I like them fat, with lots to chew."
oy........


Wednesday, May 3, 2017

New Life for Old Words

"Our very dress makes us grotesques. We are the zanies of sorrow. We are clowns whose hearts are broken."
--Oscar Wilde, De Profundis


Some time ago, in 2015, I read over ye manuscript of whut I have often consider'd my finest story--"The Zanies of Sorrow"--and grew alarm'd at whut I consider'd several weaknesses in ye text. Although I had no plan to offer a new version of ye tale to any publisher, I wrote a complete and thorough revision--so thorough that it was in many ways a "new" story. As usual, I sent ye doc to S. T. Joshi, and he so liked it that he felt this new version shou'd indeed be publish'd; & so we submitted it to an editor for a journal he was planning to create, where my tale found acceptance. Well, many small press journals that are plotted do not in ye end materialize, & ye editor/publisher of this new thing has lost interest in bringing it forth. Happily, S. T. is editing a new anthology to be entitled Apostles of the Weird--& he has express'd interest in publishing my tale therein. I am delighted, for nothing pleases me more than having my work appear in a Joshi book. I had hoped to write a new story for the book, but writing is increasingly difficult and I was beginning to fret that I wouldn't have something to offer. Now I need not worry.

Other than that, nothing is going on. I live a quiet life. spending moft of my time here before ye keyboard, answering emails and being goofy on Facebook, or in my armchair, reading and writing and watching Rachel Maddow. As ye can see from ye photo, Rachel is not only a gay
sister--she is a book-lover like me! She also writes book, as I do. 

Now that I have several stories pending appearances in various anthologies, I feel it is time to try and work on, maybe, a new collection, probably one that lacks a theme. There is still a part of me that wants to write a book of stories that are influenced by the fiction of Clark Ashton Smith--but it troubles me that I never seem able to sit down and begin writing such a collection. My plans to collaborate with Jeffrey Thomas on an Enoch Coffin novel have extinguish'd, although I still feel a faint ache to write some of those stories anyway--although I doubt I cou'd do an entire book of such. I'd like to try writing some stories of real length--even though my talent for doing so is faint and such stories are never my best work. 

In ye meantime, I can sit back and relax and enjoy ye publication of stories that will appear this year or early next. Loving publication as I do, that is always something I look forward to.

wishing ye my love,

~~Wilum

Wednesday, April 26, 2017

new interview

There is a new interview with me that is fairly in-depth.
https://frasortsand.wordpress.com/

Sunday, April 23, 2017

only 12 copies left

There are just 12 remaining copies of this magnificent edition of Poe available at Centipede Press. http://www.centipedepress.com -- an edition limited to 500 copies and featuring an Introduction by ye book's editor, S. T. Joshi. It's a massive 800-page, low-cost edition of Poe's finest fiction, with ribbon marker, head and tail bands, cloth binding, with an embossed Poe signature on ye front board. Inside one finds several photographs of Poe, Layout is attractive and text is easy to read.

Even if ye have an old edition of Poe in some dusty pocket of your grim and ghastly chamber, this edition is worth getting, especially at this low price. Although quick thick in size, the tome is not overly weighty and I find it easy to hold as I peruse ye Contents. This is a series of books from Centipede Press that concentrates on whut S. T. considers classics of supernatural fiction, from such early tales as "Metzengerstein" and "Berenice" to masterworks such as "Ligeia" and "The Fall of the House of Usher." Ye jacket is printed on a very sturdy stock and features a photo on the inside-back flap that I don't recall having seen--a rather intense-looking Poe, as if he has been dwelling on dark matters. I have been obsess'd with Poe ever since I first read him (in junior high school) and sat bewitch'd at cinemas watching ye Roger Corman films. Poe haunts much of my fiction, and actually appears as a character in ye novel I penned with David Barker, Witches in Dreamland.



Wednesday, April 19, 2017

H. P. LOVECRAFT'S "THE SHADOW OUT OF TIME" -part one



Let's see if this light blue text on black background works. Oh, yes, easy to read. Strangely, of late I've been missing my ability to record videos on YouTube. I used to be able to go and record/download directly there, but they've changed ye system and made it too difficult for computer-clueless goons like me to easily recird video blogs. Doing videos there was a great outlet for my exhibitionist proclivities and my love of wearing bizarre makeup. 

Things here are slow-going. I'm trying to work up ye energy to begin writing a non-Lovecraftian yarn for one of S. T.'s forthcoming anthologies--but I'm finding it difficult to enter into ye writing zone, to think like a writer and actually begin to weave a story in my head. My first "draft", so to speak, is always a mental outline, where I brood on an idea and try to dream a story in vague inner visuals. I usually don't have a lot of writing energy until I begin to work on a new book--& then I become obsessive and write furiously. But I simply can't begin to work on any new book, or begin to shape what such a book wou'd consist of, what will be its theme or plot motif. This doesn't feel like writer's block--it feels like boredom.

One rather surprising aspect of not writing is that I am feeling very little in the way or beginning work on a book of stories in the Clark Ashton Smith tradition. I wou'd have thought that Smith's fiction, whut I adore, wou'd certainly inspire a new fictive direction and fresh new work--but I simply don't know where to begin inye writing of such tales. In a way, this is a good sign--it's difficult to begin because I'm really trying to do something "different" and "new" compar'd to my old Lovecraftian work. 

I'm not stressing too much about not writing because I have two new books forthcoming--perhaps both to be publish'd this year. They are both utterly Lovecraftian, one being a novel written in collaboration with David Barker and set entirely in Lovecraft's dreamalnds; & ye other being a new, massively-illustrated edition of my finest newer work (stuff that I've written in ye past decade). I think as ye time of publication for those books draws nearer I'll begin to feel that aesthetic fit that results in new stories. 

Hope this finds ye well, my ducks.


Monday, April 17, 2017

new stuff

I cannot now remember if I mention'd in any earlier blog ye new Lovecraftian anthology, The Children of Gla'aki, edited by Brian M. Sammons & Glynn Owen Barrrass for Darl Regions Press. The book contains all-original stories--with ye exception of Ramsey Campbell's "The Inhabitant of the Lake," in which he introduced Gla'aki--by authors such as Orrin Grey, Tom Lynch, Tim Curran, John Langan, Thana Niveau, and many others. My own tale is a wee thing of 2,200 words, in which I bring ye eidolon of this great old one to a lake in Sesqua Valley. I wou'd never have written such a tale if I had not been invited to this anthology, so my story came as a nice surprise to me. 

I have been feeling an ache to write some new Sesqua stories, but writing is bloody difficult these days. I had to bow out of an anthology of stories tied to "Pickman's Model"--I just couldn't come up with an idea, perhaps because I had so thoroughly explor'd the theme in ye story I wrote for S. T.'s forthcoming anthology, The Red Brain. I have agreed to write a new weird tale for a non-Lovecraftian book that S. T. has started to work on--and hopefully because my tale will not be Lovecraftian I can come up with an original and interesting idea. 

Here's some old videos I did concerning ye creation of Sesqua.


Saturday, April 1, 2017

Re: The Sex Pistols - God Save The Queen



Sometimes I miss ye exhibitionist thrill of recording videos on YouTube, where they changed their policy so that one can no longer record vids directly at ye site. I used YouTube in a number of ways, moftly to review books or plug my own writing. YouTube was like a filmed journal, and I sometimes go back and watch my old videos so as to remember aspects of my past. Because I have, since childhood, had a "thing" about makeup and dressing up, recording my own video blogs gave me a superb outlet for creating weird looks. I've mellow'd a lot with old age, & now I rarely take the trouble to do makeup (it can be a lot of work, and I'm lazy...). There was a time, decades ago, when I wouldn't leave the house unless I was completely made up in punk drag. Influenced by Quentin Crisp, I felt a need to "announce to the world" what I was, shew yem ye essence of my transvestite soul. Then I realized that "the world" couldn't care less.

Friday, March 31, 2017

"Fungi from Yuggoth" part VI, by H.P. Lovecraft - creepypasta audiobook ...



I am consum'd with reading FUNGI FROM YUGGOTH--AN ANNOTATED EDITION, recently publish'd by Hippocampus Press. The book is edited and annotated by David E. Schultz, and for it ye brilliant Jason C. Eckhardt has created an illustration for each of Lovecraft's sonnets. The book also reproduces Lovecraft's original manuscript of the poem, & looking at it one can again sympathize with those brave editors who work on Lovecraft's texts.

Besides the sonnets and annotations, the book includes a fifty-page essay, "Dim Essences: The Origin of Fungi from Yuggoth. There are five appendixes: "Notes for Additional Sonnets," "The Book" [HPL's prose rendition of the sequence, which he never completed], "Chronology of Appearances of Fungi from Yuggoth," "Textual Variants," "The Musical Compositions of Harold S. Farnese.

I feel a potent "connection" to Fungi from Yuggoth because it inspir'd me to write "Some Unknown Gulf of Night," my prose-poem sequence that will be included in my forthcoming collection from Centipede Press at ye end of this year. Looking over this book to-day has me determin'd to write two or four new sonnets, as I need to print up two or four more pages for my new contribution to ye Esoteric Order of Dagon Amateur Press Association
Wish me luck with me Muse, my ducks.


Sunday, March 5, 2017

Judy Garland - The Man That Got Away (A Star Is Born, 1954)



Every time I watch this I get chills. I knew this rendition, first, as a child, when I would spend my chores money on 2nd hand records of musical comedies and movies such as this. Powerful as the performance is as a recording, nothing could prepare me for the power evident in the cinematic presentation. The power, passion, and poignancy of that singing voice has never been equaled.

Friday, February 10, 2017

hooray!

"Dreams in the Witch House" is a fascinating story, although many modern scholars dismiss it as one of Lovecraft's "failures"; and, for me, part of the tale's fascination comes from HPL's treatment of occult stereotypes: the witch hag, the Black Man of ye Sabboath, the familiar, &c &c. I remember how shocked I was, when I first read ye tale as a young lad, by the extreme violence and gore of its conclusion. I loved Lovecraft's fiction for its mood and dreamy atmosphere, having no taste for blood-&-guts horror (as perhaps my own fiction shews). I've been enchanted with the idea of beihng a witch since early childhood, and my elder sister and I identified as witches when we were young children. I used to stage "voodoo" rituals in my bedroom for neighborhood boys when I was a kid, dancing evocatively around my bedroom as I played Yma Sumac 45's on ye phonograph. My grandparents had bought me a knife when they visited Germany, ye handle of witch was a goat hoof, and that seemed a perfect ritual tool. 

I've depicted a number of witches in my weird fiction, and thus it delighted me when my charming collaborator David Barker wrote en entire novel concerning witches in H. P. Lovecraft's dreamlands. The novel was originally to be publish'd by Dark Regions Press, who publish'd my other collaborations with David; but they recently passed on the new novel, and so I offer'd it to Derrick Hussey at Hippocampus Press. S. T. Joshi, who assists Derrick in selection of projects, ad read and praised the novel, and went out of his way to copy edit the entire text. They have many other books to bring forth before they can get to WITCHES, so the book may have to9 wait until next year to see publication.

Below is a photo of me at work at the Jones Fantastic Museum in the 1960's. Mine was a rather unimaginative "traditional" approach to ye witch image.


Wednesday, February 1, 2017

as weird as weird can be...

Age changes your personality, I find. In ye olde days, I almoft never left home without wearing a shoggoth-load of makeup. I cannot, this morning, recall ye last time I wore makeup. I've simply lost interest in taking time to put all that stuff on me mug. Part of this results from no longer using publick transportation. It was such a trudge, taking the bus just to do grocery shopping. If I had to make all that effort going out, I wou'd make it amusing and look punk-queer. Part of ye exhibitionist thrill of punk, for me, was the variety of ways people reacted. It allow'd me to interact with people who wou'd otherwise never speak to me. Usually the people who stopped to speak were as kind as they were curious. It was only the blockheads who shouted insults from a safe distance. Another reason for no longer feeling ye need to dress up is, I think, a secure identity. In younger years I cultivated a variety of identities with which I proclaim'd myself in publick: queer, punk, transvestite, freak, ghoul, whutever. Now I have one solid identity: Lovecraftian author. 

One of ye great pleasures of writing and being publish'd, I find, is having my work illustrated. I cannot draw, and I admire those who have that wonderful talent. When they use that talent to bring to visual life a moment from one of my weird tales, oh honey, it thrills me. Check it out:



This is ye newest illustration by Tom Brown for my forthcoming Centipede Press book, An Ecstasy of Fear and Others. It is one ye strangest things my eyes have ever feasted on--eerie and hypnotic. I love his shading--and then, those two bright pinpoints that are daemonic eyes! Ia!! This illustrates a segment from my prose-poem sequence, "Some Unknown Gulf of Night," I believe. 

I find that I really have ye ache to write new stories. I'm just having a wee bit of difficulty getting started. Out of practice, so I am.



Monday, January 16, 2017

Thriller S1 Ep15 The Cheaters (1960)

To See Beyond



Above is Tom Brown's illustration for "To See Beyond." The illustration will appear in An Ecstasy of Fear and Others, whut will be publish'd by Centipede Press at the end of this year. I love Tom's work, and this drawing is almost perfect--in ye story the lens of these magick glasses are black in hue. My story is a sequel to Robert Bloch's amazing short story, "The Cheaters," which was later turned into an effective episode for Boris Karloff's THRILLER television series. In Bho's original tale, a fellow named Grimm (who narrates the story's final section) prepares to shoot himself while wearing the glasses, thus destroying both himself and the daemonic lens. In my tale--well, I'll let ye read how the fellow is interrupted in his preparation for extinction:

Grimm glanced down at the last page of his manuscript and saw its final word: finis. Yes, this was the end. A chill ran down his spine as he reached for the revolver that sat upon the desk, the metal of which was so horribly frigid to the touch. His fingers raised the tip of the barrel to one of the lenses as the author sought the courage needed to pull the trigger.
"The won't be required, Grimm," spoke a soft voice near his ear. A large hand wrapped its talons around the revolver's barrel. "It would be a crime to destroy those so amusing spectacles. Here, let me take them from your face."

Who is this bold interrupter, and why does he care about the fate of these sinister spectacles? If you've not read my story, you will get a chance when it is republished in my book at year's end. This is not ye first time I have written a story influenced by ye work of Robert Bloch (my favourite weird writer after Lovecraft), nor will it be ye last.

 

Saturday, January 7, 2017

More HPL


Above is S. T. Joshi and his lovely wife, Mary.
One of S.T.'s newest books is soon to be publish'd: Collected Fiction: A Variorum Edition: Revisions and Collaborations. The book will have a paperback edition only, and cost $25. Included will be an index to Variorum volumes 1 through 4. Ye cover art by Fergal Fitzpatrick shews Lovecraft's detested nemesis--ye typewriter.

from ye Hippocampus Press website:
"Following S. T. Joshi's acclaimed three-volume variorum edition of Lovecraft's fiction, this final collection includes al known revisions and collaborations undertaken by Lovecraft on behalf of his friends and clients. As with previous volumes in this series, the texts preserved herein scrupulously follow archival manuscripts, typescripts, or original publications, and constitutes the definitive edition of these stories.
"Since Lovecraft's customary procedure as a revisionist was to discard his client's draft and entirely rewrite the story in his own words, much of the fiction in this collection represents original work by Lovecraft, including such notable contributions to the Cthulhu Mythos as 'The Electric Executioner,' 'Out of the Aeons,' and 'The Diary of Alonzo Typer.' Supreme among the revisions in this volume is the brilliant novella, 'The Mound,' which embodies Lovecraft's satirical commentary on the Machine Age 'decadence' of his era.
"For the first time, students and scholars of Lovecraft can see at a glance all the textual variants in all relevant appearances of a story--manuscript, first publication in magazines, and first book publications. The result is an illuminating record of the textual history of the tales, in an edition that supersedes all those that preceded it."