I've also been lax in my reading. So I'm going to double dip and reprint a piece that I wrote for Weird Tales. I hope that you all forgive me for not returning with an original piece. I promise that those will follow.
90 Years of Weird
Keeping the brand alive:
The Paperback Years
Don't cry, Karen, Frosty's not gone for good. You see, he was made out
of Christmas snow and Christmas snow can never disappear completely. It
sometimes goes away for almost a year at a time and takes the form of spring
and summer rain. But you can bet your boots that when a good, jolly December
wind kisses it, it will turn into Christmas snow all over again.
Frosty the Snowman 1969
As kitschy as it sounds, the above quote is a perfect
analogy for Weird Tales Magazine. For you see, just like the Christmas
snow that Santa was speaking of, Weird Tales never really went away.
It just took on different forms between its original demise in September 1954
and it’s rebirth in 1988. The major form it took was recycled stories that were
massively reprinted in paperback anthologies from the 1950s up until the end of
the 1970s.
The birth of the American paperback at the end of the
1940s was one of the larger nails in Weird Tales coffin. Not that it was
just the Paperback that killed Weird Tales and many of the other pulps,
Television also played a large part. It's just that the paperback's duel nature
as innovator and anthropophagist gave the role that they played in Weird Tales
history a special irony. For not only did the paperback help kill Weird
Tales by taking readership away from the unique magazine, but by
cannibalizing Weird Tales corpse did they also manage to give it a pseudo form
of life. The magazine literally becomes one of the Undead! Weird Tales truly
became the magazine that never died.
The very first time that I remember actually being
conscious of the name Weird Tales and understanding that it was a, at
the time, defunct magazine was while reading the introduction to the 1971 Scholastic
Books collection The Shadow over Innsmouth and other Stories of Horror.
I think I actually got a nose bleed trying to wrap my 10 year old brain this
collection's Lovecraftian delights such as The Festival, The Colour
out of Space and The Shadow over Innsmouth! And even when I didn't
know what Weird Tales actually was, I sure as hell knew that it must
have been something mighty special by the time I finished that collection of
stories! It still boggles my mind to this day that Scholastic was peddling Lovecraft
to 10 year olds. May the gods bless who ever was on their board of advisers.
And on a side note; only after producing a physical copy of the book did my
fourth grade teacher Mrs. Sennef let me get away with colour on a
spelling test.
This was how Weird Tales became a larger than life
living entity to me. I had already discovered horror at this time, but it was only
after reading that Scholastic edition of Baby's First Lovecraft did I
actually start to bother paying attention to or even start caring about where
all these wonderful tales came from. And From then on it was an entirely new
world.
Once I started checking out the copyright pages, of
the horror paperbacks I was buying, I noticed that Weird Tales was all
pervasive. And even though I didn't know it until many years later, Popular
Fiction Publishing Co., which was practically the 2nd most
common copyright source in these collections, was also Weird Tales. You
couldn't get away from the magazine even if you were deranged enough to want
to. I also discovered that such divine, in my eyes, personages as August
Derleth and Lin Carter held the magazine in the highest esteem. Even
my beloved Alfred Hitchcock collections Monster Museum and Ghostly
Gallery were reprinting stories from Weird Tales. You have to
understand that up until the 1980s, horror anthologies with original content
were extremely rare creatures. The anthologists back then were scavengers of
the most special sort. They weren't feeding on carrion. They were taking, for
the most part, only the choicest cuts. And being such fine connoisseurs, the
corpse that they fed upon the most was Weird Tales. I have to be fair
and point out that this was simply how business was done back then. They
obviously took the most economical path and reprinted stories from the fiction
and pulp magazines. And as the old saying goes, if you’re going to steal, then
steal from the best. And Weird Tales had the best. Just consider their
top rank authors, Lovecraft, Bob Howard, Clark Ashton Smith,
Catherine Moore,Henry Kuttner, Robert Bloch and Ray Bradbury.
To this day these people are the personification of weird fiction. Even Weird
Tales` second tier writers such as Seabury
Quinn, August Derleth, Mary Elizabeth Counselman, Edmond Hamilton,
Robert Arthur and Davis Grubb stood head and shoulders above most other genre
writers of the time.
One of the earliest Weird Tales plunderings was Ballantine
Books' edition of Ray Bradbury's October Country which appeared in
1956. This is a quasi-reprinting of the earlier Arkham House edition of Dark
Carnival, a collection of Mr. Bradbury's early horror stories. Several of
which were debut stories written for Weird Tales. The trend really took off in
1959 when Avon Books Cry Horror! took the post-Weird Tales reprint route by being the first HPL
collection to appear in paperback after the magazine folded. This is an iffy
honour since it's actually a reprint of Avon 's 1947 HPL
collection The Lurking Fear. Still, if for nothing else, this
collection, with its memorable Richard Powers cover, does have the
honour of being the very collection that introduced Mr. Ramsey Campbell
to the works of that oh so weird gentleman from Providence.
One of the earliest multi-author paperback collections
to feast heavily upon the magazine's remains, after it's untimely, undeserved
and ultimately non-final demise was The Macabre Reader edited by
Donald Wolheim back in 1959. This volume contained stories culled almost
exclusively from Weird Tales. The Macabre Reader utilized
wonderful stories from authors such as H. P. Lovecraft, Robert Bloch, Clark
Ashton Smith and Robert E. Howard along with other lesser known but just as
talented word smiths. Strangely, as far as I know, this was one of the few
horror anthologies that Ace ever published. It would be such publishers
as Belmont , Pyramid, Manor and Lancer who
would almost immediately pick up the ball that Ace dropped. Luckily for us Mr.
Wolheim did not repeat this mistake when he left Ace Books in 1971
to establish DAW Books a year later in 1972.
Not wanting to denigrate Ace, Mr. Wolheim did manage
to publish two volumes of Edmond Hamilton's Interstellar Patrol stories
which originally appeared in Weird Tales during the late 1920s when he was
still at Ace.
The 1960s were a good time for fans of the magazine
that never died. Both the H. P. Lovecraft and Robert E. Howard booms/revivals
kept the memory of the magazine alive. There wasn't a single introduction
written for these collections that didn't fail to mention the significance of
Weird Tales and to mourn it's passing. Most of these introductions were written
by August Derleth who was himself a member of the original Lovecraft Circle,
Weird Tales author, and editor and co-founder of Arkham House Publishing
which did more than any other entity has ever done to keep Weird Tales alive in
hardback format. During the early 1960s it was Belmont books, capitalizing on the success of Alfred
Hitchcock’s Psycho, who published
4 volumes of Robert Bloch stories. These four collections from Belmont reprinted the two Arkham House collections
that contained Mr. Bloch's entire Weird Tales output from the 1930s and 1940s.
It was also during this period that Pyramid Books
brought out four volumes of horror that used exclusively Weird Tales
contents. These four collections were "edited" by Leo Margulies
with much of the work being done by genre historian Sam Moskowitz. These
were The Unexpected, The Ghoul Keepers, Weird Tales, and Worlds
of Weird. These were all multi-author collections that highlighted the
width and breadth of the type of story that appeared in Weird Tales. As
a bonus to collectors, the covers were done by John Schonherr and Virgil
Finlay. Sam Moskowitz then went on to publish three Weird Tales collections
for Berkley Medallion at the beginning of the 1970s called Horrors
Unseen, Horrors in Hiding and Horrors Unknown.
One of the strangest examples of cannibalizing the
cannibals was Avon Books attempted revival of The Avon Fantasy Reader. 1969 saw Avon release both The Avon Fantasy Reader and The Second Avon Fantasy
Reader. These were edited by Donald Wolheim who did some serious double-Double
Dipping. The original Avon Fantasy Reader could probably be considered the
missing link between pulps and paperbacks. It was a digest sized magazine that
was distributed like a paperback. The Fantasy Reader ran from 1947 to
1952 and relied exclusively on reprinting already classic material, with a new
issue appearing only after the previous issue turned a profit. And of course it
is no surprise that Weird Tales was a very large source of material for the
digest. So what Mr. Wolheim did was to reprint material that have been first
reprinted in the digest during its original 5 year run that had ended 17 years
earlier. So what you bought was two collections reprinting reprints. Thank the
gods that at least Weird Tales appeared on the copyrights page.
Lin Carter has a special place among the ranks of Weird Tales preservationists and
revivalists. During the late 1960s and early 70s he edited and reprinted many H.
P. Lovecraft and Clark Ashton Smith collections as part of his Adult
Fantasy Series published by Ballantine. Mr. Carter never failed to sing
praises to Weird Tales from the roof tops in his numerous introductions
to the collections in this series. At the beginning of the 1980s Mr. Carter
even went as far as to revive Weird Tales in paperback format for four
issues. This incarnation wasn't a darling of the critics, but I found it to be
enjoyable and true to the original vision of the magazine. Even if Mr. Carter's
editing of the Lancer Conan editions along with L. Sprague de camp is
highly controversial, this more than made up for by championing the cause of
Weird Tales Magazine and weird fiction in general. Thank you Mr. Carter, I
drink to your Shade!
Weird Tales was also kept alive in the UK thanks mostly to anthologists Peter Haining, Christine
Campbell Thompson, Kurt Singer, Mike Ashley, and August
Derleth. Peter Haining alone, edited over a dozen anthologies that
utilized the unique magazine. Most notable were his two Weird Tales best
of collections Weird Tales and More Weird Tales. Mrs.
Thompson was active during 1930s by publishing a series of UK hardback horror anthologies know as the Not at
Night collections. Four of these collections were reprinted during the 1960s
and early 70s. Kurt Singer was also not opposed to using many post WWII era Weird
Tales stories to fill up many of his anthologies. But Mike Ashley
has the honour of printing the first Weird Tales tribute collection in the UK with 100 % Weird Tales content called Weird
Legacies. This collection came out in 1977. One year before Peter Haining's
two Best of collections. It must be noted that the situation with August
Derleth is the strangest by far. During his time running Arkham House, Mr.
Derleth edited and published 8 horror anthologies consisting entirely of
reprinted material. And as usual in the situation, these collections relied heavily
on Weird Tales as the source of many of the stories used. Now here is
what seems so odd with the situation surrounding these eight collections All
were reprinted in the UK as paperbacks while only two of them were released in this format in
the U.S. The two that were released as Stateside paperbacks
were Stories from Sleep no More and Nights Yawning Peal. This is
a terrible shame considering the high quality of content in these eight
collections. Mr. Derleth was an outstanding editor and anthologist who was
always digging up lesser known but superb stories from the pages of Weird Tales.Two
prime examples of which are Clark Ashton Smith's The Seed from the Sepulchre
and The Canal by Everil Worrell.
The UK also was fortunate in that they saw many single
author collections being published several years before they ever appeared in
the U.S. One notable example was the two volume collection
which consisted of Jumbee and other Voodoo Tales and The Black Beast.
Both of these volumes showcased the Weird Tales appearances
of the Rev. Henry S. Whitehead for the first time in paperback. Two
collections of Carl Jacobi's weird tales were also available in the UK several years before any American paperback
collections of Mr. Jacobi's works appeared. And I can't neglect to mention that
the number of British paperbacks collecting Lovecraft, Howard and Smith during
their initial revivals were just as large, numerous and popular as they were in
the States.
So even with the magazine's blood on their hands, the
paperback houses and their editors were the driving forces behind keeping Weird
Tales alive in the hearts and imaginations of millions of readers who never
had the opportunity read the magazine during its initial incarnation.
I don't know whether it was luck or fate, but the
trend of using magazine reprints as the main source of material for paperback
anthologies lasted up till the beginning of the 1980s when the publishers
switched over to using more and more original material for their anthologies.
Even though Lovecraft, Howard and Smith are all still around in paperback
format, most other Weird Tales authors are now the stuff of inter-net
auctions, small specialty publishers or simply forgotten. What's amazing for Weird
Tales Magazine itself, was that this trend in paperback anthologies using
only original material would have removed the magazine from the consciousness
of younger and newer genre readers. But
it was exactly at the same time that this shift in focus was happening that Lin
Carter attempted his Weird Tales re-launch paperback which only lasted
for four issues from 1980 until 1983. All was mostly quit for the next few
years and it looked dire for the unique magazine's memory and legacy. But, it
was then during 1988 that the magazine was finally revived and still exists to
this day, 25 years later.
So even though the paperback played a major role in
killing the pulps, it also saved Weird Tales from becoming simply a footnote in
the history of the genre. Just by looking at my own collection alone and using
Justin Marriot's Paperback Fanatic Weird Tales Special as a quick
reference, I've counted 58 multi-author anthologies that each use at least
several Weird Tales stories each. If you want to count single author
collections, then the number would at least double. That's quite a legacy for a
magazine that was supposedly dead at the time. I guess that this proved for
once and for all that Weird Tales truly is the magazine that never died.
Thanks fro stopping by!
Take care.
Doug
All Scans were made by me from books in my collection.
Doug Draa
Welcome back and please continue to update this awesome site. I discovered it randomly and can't wait to dig deeper. Love it!
AntwortenLöschenThanks Justin!
AntwortenLöschenGlad to see you back. And thank you for the information above. I look forward to more.
AntwortenLöschenI remember buying the book THE MACABRE READER not knowing what macabre meant but liking the cover painting. I liked the book and learned what the word meant along with my bent for the macabre.
AntwortenLöschenThanks Rick!
AntwortenLöschenJust found this page and really enjoyed reading your history of Weird Tales.
AntwortenLöschenDo you think you could add a list of those 58 multi-author anthologies you mentioned so I can get started finding them myself!?
I've never listed them, but I did scan my collection.....
AntwortenLöschenhttp://vintage-horror-paperbacks.tumblr.com/
Thanks Doug. I look forward to looking through all 34 pages!
AntwortenLöschen