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Tales of the Cthulhu Mythos: Stories Paperback – September 14, 1998
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From the Inside Flap
"The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown."
--H. P. LOVECRAFT, "Supernatural Horror in Literature"
Howard Phillips Lovecraft forever changed the face of horror, fantasy, and science fiction with a remarkable series of stories as influential as the works of Poe, Tolkien, and Edgar Rice Burroughs. His chilling mythology established a gateway between the known universe and an ancient dimension of otherworldly terror, whose unspeakable denizens and monstrous landscapes--dread Cthulhu, Yog-Sothoth, the Plateau of Leng, the Mountains of Madness--have earned him a permanent place in the history of the macabre.
In Tales of the Cthulhu Mythos, a pantheon of horror and fantasy's finest authors pay tribute to the master of the macabre with a collection of original stories set in the fearsome Lovecraft tradition:
, The Call of Cthulhu by H. P. Lovecraft: The slumbering monster-gods return to the world of mortals.
, Notebook Found in a Deserted House by Robert Bloch: A lone farmboy chronicles his last stand against a hungering backwoods evil.
, Cold Print by Ramsey Campbell: An avid reader of forbidden books finds a treasure trove of deadly volumes--available for a bloodcurdling price.
, The Freshman by Philip Jose Farmer: A student of the black arts receives an education in horror at notorious Miskatonic University.
PLUS EIGHTEEN MORE SPINE-TINGLING TALES!
Excerpt. © Reprinted by permission. All rights reserved.
The Call of Cthulhu
H. P. LOVECRAFT
(Found Among the Papers of the Late Francis Wayland Thurston, of Boston)
Of such great powers or beings there may be conceivably a survival … a survival of a hugely remote period when … consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity … forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds.…
I. THE HORROR IN CLAY
The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.
Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden aeons which chills me when I think of it and maddens me when I dream of it. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things—in this case an old newspaper item and the notes of a dead professor. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain. I think that the professor, too, intended to keep silent regarding the part he knew, and that he would have destroyed his notes had not sudden death seized him.
My knowledge of the thing began in the winter of 1926–27 with the death of my grand-uncle George Gammell Angell, Professor Emeritus of Semitic Languages in Brown University, Providence, Rhode Island. Professor Angell was widely known as an authority on ancient inscriptions, and had frequently been resorted to by the heads of prominent museums; so that his passing at the age of ninety-two may be recalled by many. Locally, interest was intensified by the obscurity of the cause of death. The professor had been stricken whilst returning from the Newport boat; falling suddenly, as witnesses said, after having been jostled by a nautical-looking negro who had come from one of the queer dark courts on the precipitous hillside which formed a short cut from the waterfront to the deceased’s home in Williams Street. Physicians were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, induced by the brisk ascent of so steep a hill by so elderly a man, was responsible for the end. At the time I saw no reason to dissent from this dictum, but latterly I am inclined to wonder—and more than wonder.
As my grand-uncle’s heir and executor, for he died a childless widower, I was expected to go over his papers with some thoroughness; and for that purpose moved his entire set of files and boxes to my quarters in Boston. Much of the material which I correlated will be later published by the American Archaeological Society, but there was one box which I found exceedingly puzzling, and which I felt much averse from shewing to other eyes. It had been locked, and I did not find the key till it occurred to me to examine the personal ring which the professor carried always in his pocket. Then indeed I succeeded in opening it, but when I did so seemed only to be confronted by a greater and more closely locked barrier. For what could be the meaning of the queer clay bas-relief and the disjointed jottings, ramblings, and cuttings which I found? Had my uncle, in his latter years, become credulous of the most superficial impostures? I resolved to search out the eccentric sculptor responsible for this apparent disturbance of an old man’s peace of mind.
The bas-relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much familiarity with the papers and collections of my uncle, failed in any way to identify this particular species, or even to hint at its remotest affiliations.
Above these apparent hieroglyphics was a figure of evidently pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. Behind the figure was a vague suggestion of a Cyclopean architectural background.
The writing accompanying this oddity was, aside from a stack of press cuttings, in Professor Angell’s most recent hand; and made no pretence to literary style. What seemed to be the main document was headed “CTHULHU CULT” in characters painstakingly printed to avoid the erroneous reading of a word so unheard-of. This manuscript was divided into two sections, the first of which was headed “1925—Dream and Dream Work of H. A. Wilcox, 7 Thomas St., Providence, R.I.,” and the second, “Narrative of Inspector John R. Legrasse, 121 Bienville St., New Orleans, La., at 1908 A. A. S. Mtg.—Notes on Same, & Prof. Webb’s Acct.” The other manuscript papers were all brief notes, some of them accounts of the queer dreams of different persons, some of them citations from theosophical books and magazines (notably W. Scott-Elliot’s Atlantis and the Lost Lemuria), and the rest comments on long-surviving secret societies and hidden cults, with references to passages in such mythological and anthropological source-books as Frazer’s Golden Bough and Miss Murray’s Witch-Cult in Western Europe. The cuttings largely alluded to outré mental illnesses and outbreaks of group folly or mania in the spring of 1925.
The first half of the principal manuscript told a very peculiar tale. It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas-relief, which was then exceedingly damp and fresh. His card bore the name of Henry Anthony Wilcox, and my uncle had recognised him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur-de-Lys Building near that institution. Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating. He called himself “physically hypersensitive,” but the staid folk of the ancient commercial city dismissed him as merely “queer.” Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of aesthetes from other towns. Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless.
On the occasion of the visit, ran the professor’s manuscript, the sculptor abruptly asked for the benefit of his host’s archaeological knowledge in identifying the hieroglyphics on the bas-relief. He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy; and my uncle shewed some sharpness in replying, for the conspicuous freshness of the tablet implied kinship with anything but archaeology. Young Wilcox’s rejoinder, which impressed my uncle enough to make him recall and record it verbatim, was of a fantastically poetic cast which must have typified his whole conversation, and which I have since found highly characteristic of him. He said, “It is new, indeed, for I made it last night in a dream of strange cities; and dreams are older than brooding Tyre, or the contemplative Sphinx, or garden-girdled Babylon.”
It was then that he began that rambling tale which suddenly played upon a sleeping memory and won the fevered interest of my uncle. There had been a slight earthquake tremor the night before, the most considerable felt in New England for some years; and Wilcox’s imagination had been keenly affected. Upon retiring, he had had an unprecedented dream of great Cyclopean cities of titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror. Hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters, “Cthulhu fhtagn.”
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Mostly the book manages to expand on the Cthulhu Mythos in an innovative manner, avoiding the mere immitation of Lovecraft's style.
Four stars since there are one or two stories within which I personally found disappointing (and 5 stars means a book is trully 100%). But I'll definitely look for more stories by the vast majority of the new authors.
In my comment I focus mostly on the quality of the new authors because the classics (Mythos-inspired authors who were contemporaries of Lovecraft or mostly) like Clark A. Smith Derleth, Robert E. Howard, Bloch (and the two stories by Lovecraft, stories I had already read many times but which are always a delight to re-read) included in the beggining of the book, are trully masters of the Mythos and high quality fiction is always to be found in their writing. If you don't know these authors, give this book a go and soon enough you'll be ordering their other works.
I was actually playing the popular game World of Warcraft when my friend off-handedly said, "The boss is Yog-Saron? They keep stealing stuff from Lovecraft!" I didn't know who that was or what he wrote about, but decided to read into it on wikipedia. There I read "The Hound" and was quickly ready for more. It seemed so different than anything I had read before. There was no hero to aspire to, no fate that seemed desirable. It was a showcase of the reality of man's fleeting presence here delivered with pure fantasty. I really enjoyed it.
So I came to amazon.com to find the best starting point for this author and eventually determined that this was the one, despite the fact that it is not entirely H.P. Lovecraft originals. But it did deliver all the creeping darkness I had waited for, indeed. I found myself staring at the shadow's in the corner of my room on the nights that I read.
However, about three of the stories are just straight-up misses. "The Boat" comes to mind immediately. They left me slightly confused and not at all entertained.
HOWEVER (again), the vast majority are great, fitting like a puzzle-piece into Lovecraft's written world.