Cthulhu’s Reign: Talking with John R. Fultz

This April saw the release of a new book certain to delight fans of H.P. Lovecraft and his Cthulhu Mythos stories. Edited by Darrell Schweitzer and published by DAW Books, Inc., the anthology is called Cthulhu’s Reign and includes stories by Ian Watson, Don Webb, Mike Allen, Ken Asamatsu, Will Murray, Matt Cardin, Darrell Schweitzer, John R. Fultz, John Langan, Jay Lake, Gregory Frost, Brian Stableford, Laird Barron, Richard A. Lupoff, and Fred Chappell. Cthulhu Mythos stories as Lovecraft wrote them (though he never used the term “Cthulhu Mythos”) foreshadow a time when the Great Old Ones — unspeakably monstrous beings that descended from the stars in a primordial age and are now sleeping in the deep places of the Earth and beneath the sea — will awaken, arise, and make the world their own. In Lovecraft’s tales, we catch glimpses of the cosmic horror in secretive cults, isolated New England towns (redolent with rotting gambrel roofs and moldering crypts), ancient dusty tomes, and strange human-monster hybrids who are the firstfruits of horrors to come.

Lovecraft’s stories look ahead to this time “when the stars are right” and “the Earth will be wiped clean.” For the most part, very few of the multitude of writers who have added to the Mythos in the years since Lovecraft have tackled the question of what the world will be like after sunken R’lyeh rises from ocean depths and Cthulhu begins his squamous reign. (A noteworthy exception is Neil Gaiman’s story “A Study in Emerald” in his collection Fragile Things, which presents a most unique take on Sherlock Holmes and the royal families of the world.)

This anthology steps into the breach. As its title suggests, the stories take us to a world in which Cthulhu is no longer sleeping.

One of the writers, John R. Fultz, graciously agreed to answer my interview questions here. (You may recall that he chatted with us on this blog in November of last year, in the post called “Pen and Sorcery: An Interview with John R. Fultz.”)

My apologies for some slight redundancies: I sent John all the questions first, and in a few cases his earlier answers partially address later questions. I didn’t want to alter what he actually said, so everything is presented here in full. (Just so you know the instances of repetition are not a case of my not listening!)

1. First of all, the table of contents of this anthology reads like a hall of fame. Every writer here is a recognizable name in the industry; many of them have been hugely successful and have produced award-winning fiction for years. How did you feel when Darrell Schweitzer asked you to contribute a tale?

I was totally honored by the chance to be in this book. Darrell mentioned it and wasn’t sure if he had any more room for additional stories, so I wrote one that wasn’t terribly long. It was the story itself that drew his final “Yes.” If I had written something he didn’t feel was good enough for the book, I know he would have told me. So I was elated when he accepted “This Is How the World Ends.” This is such a great anthology, I’m really proud of it.  

2. Most of your previous work has been fantasy, not horror. How far back does your interest in Lovecraft’s Cthulhu stories go? [I was drawn to the books in about 5th or 6th grade by the delightfully horrendous covers on the paperbacks in our family’s bookstore.] Can you remember how you first encountered them and what your reaction was?


I don’t recall reading my first Lovecraft tale, but I believe the first HPL book I ever read was THE DOOM THAT CAME TO SARNATH AND OTHER STORIES. Followed by THE DREAM-QUEST OF UNKNOWN KADATH. I’m talking about the Del Rey Lovecraft series with the amazing Michael Whelan covers (see attached images). I’m not sure exactly which one came first, but a friend of mine in high school was reading these and recommended them. It was the exquisitely creepy cover art that got my interest. And when I read stories such as “The Doom that Came to Sarnath,” “The Other Gods,” “Polaris,” “Ex Oblivione,” and the beautiful “Quest of Iranon,” I became an instant fan. They were fantasies unlike anything else I had experienced at the time: lyrical, poetic, full of brilliant images and mythic grandeur, with a current of subtle horror reminiscent of the best dreams and nightmares.
That’s when I started looking for anything by Lovecraft…and that lead me to THE DREAM-QUEST collection. “The Dream-Quest of Uknown Kadath” absolutely blew my mind, and that book also featured the magnificent stories “Celephais,” “The White Ship,” “The Silver Key,” and the stunning “Through the Gates of the Silver Key.” Lovecraft’s cycle of “Dunsanian” or “Dreamlands” stories remain my favorites of all his works. Some purists decry that part of his body of work as less exceptional than his more “pure” horror…but I disagree. Another terrific thing about these stories is that they led me to the spectacular fantasy work of Lord Dunsany, who was one of Lovecraft’s literary heroes (and with good reason). Some see these tales as Lovecraft simply “trying to be Dunsany,” but I see them as a vital part of Lovecraft’s output…and even though they are fantasy they are laced with the elements of cosmic horror that infuse the rest of his work.
So my HPL fanhood began with these two books, but led me to the other books in the series, all bearing gorgeous Michael Whelan covers: THE TOMB AND OTHER TALES and AT THE MOUNTAINS OF MADNESS AND OTHER TALES OF TERROR. Finally, during my first year of college (’87-’88) I discovered August Derleth’s THE TRAIL OF CTHULHU, which entertained me to no end. It was a perfect blend of pulp adventure and Lovecraft fiction. I remember really enjoying this story of Professor Laban Shrewsbury and his colleagues seeking out the Black Island where Cthulhu was soon to rise. Still, when it comes to Lovecraft, nothing beats the stories in those first two collections for me…although “At the Mountains of Madness” is also a favorite.
[Fred here: “The Quest of Iranon” was a big influence on my story “The Place of Roots” (Fantasy & Science Fiction, February 2001). I was also enchanted with Lord Dunsany as a teenager. But I must confess I have never really delved into Lovecraft’s “Dunsanian” or “Dreamlands” stories. I think I’ve read pretty much everything else of his, and my favorites are the “witchy” New England stories, with the secret attic rooms, the impossible angles, the swamps full of croaking frogs, and the people that are not quite people. I love how, rare as the forbidden Necronomicon is, copies seem to turn up everywhere, just when some innocent character is enjoying too much sanity. Oh — and for me, the Michael Whelan covers are beautiful, but they represent the Lovecraft of my twenties and thirties. The Lovecraft I devoured in my childhood had the Great Old covers — the incomparable Gervasio Gallardo and some other artists whose names I never knew. I wish I had those books here so I could scan the covers and offer glimpses!]
 3. Reading “This Is How the World Ends,” I was deeply impressed that you were able to tell a story in a contemporary voice, a modern setting, that also felt quite true to Lovecraft’s intentions and sensibilities. Did your editor give you any specific guidelines concerning what your tale should or should not be?
No, Darrell simply told me the “hook” of the anthology, i.e. that it involved stories set after Cthulhu and the Old Ones rose up to reclaim the earth (or “wipe it clean” as the case may be). From there I was free to pursue my own Lovecraftian muse. Darrell is one of fantasy’s Truly Great Editors, and that’s what truly great editors do — they get out of the way and let writers write. I decided to go in a very survivalist, post-apocalyptian vein. I didn’t want the typical scholars trudging through libraries or detectives tracking cultists. I wanted to see how an “Average Joe” would survive when these preposterous space-gods started crushing humanity into pulp. My initial thought was “Sort of like TERMINATOR with giant monsters instead of robots…”
[Fred here: It’s excellent that your character was meant to be an “Average Joe,” and his name actually is “Joe”!]
 4. And in a related question: was there some back-and-forth between you and the editor as you revised your story? Did he ask for changes, or did he pretty much trust you all to produce polished stories on your own?
Darrell handled all his editing on a case-by-case basis. I had no knowledge of his process with other writers. But most of them were people he invited to participate, so knowing Darrell I’m pretty sure he didn’t mess with their writing processes very much. Again, the sign of a terrific editor. In the case of my finished story, he didn’t ask for a single change as far as I remember. Of course, he’s been a fiction mentor for me for many, many years, so over the course of our friendship he’s taught me how to write the best possible story I can. We’ve known each other for over twenty years, although we didn’t meet face-to-face until a few years ago at the 2006 WorldCon (where he actually introduced me to Harlan Ellison!…I was dumbstruck.).
5. When you set out to write this story, were there any particular aspects of Lovecraft’s vision and style that you wanted to maintain or perhaps explore further? Was there a specific quote or passage that you kept before you as a guide? And, without giving away your plot, is there a dimension to the vision that you added, that is uniquely your own? What is the John Fultzness of this story?
Ha! “Fultzness”…I love that, Fred. Let’s see…the aspect that I wanted to explore was the sheer monstrosity of HPL’s creations…I wanted to dive deep into “monster tale” territory and let the blood and slime fly. In this I was probably inspired by Mike Mignola’s terrific HELLBOY and B.P.R.D. comics — which are very Lovecraftian and visually brilliant. Many of the other authors went into the depths of sheer “strangeness”…exploring the metaphysical, cosmic, and spiritual side of Cthulhu’s Reign…but I chose to take a more direct route to horror. This was a conscious choice…I wanted it to feel almost like a western. I did do some research about what HPL said would actually happen when the Old Ones returned and took back the planet, then I let my imagination run wild. If I added anything that is uniquely my own, it might be that I filtered my twelve years as a Californian into the story. I wanted to write a “West Coast Cthulhu Apocalypse Western Survivalist Horror Tale.” I guess I did that. If I did it all over, I might go in a more metaphysical or cosmic direction…but I still like the way this story flies in the face of all that phantasmal stuff by staying “down to earth” until the final scene.
[Fred here: That’s fascinating! Lovecraft’s stories are mainly focused on the East, on New England. You took things out West, and yes, as I read the story, I noticed how Californian it is. I was thinking, “I’ll bet he’s actually been to all these places.”]
 6. Lovecraft wrote his stories in the 1920s-’30s. Since that time, generations of writers have produced an uncountable number of Cthulhu Mythos tales, some faithful to Lovecraft’s vision, some horrendously not so. If one adds in the fiction more generally influenced by the originals, the number of Lovecraft-inspired stories increases exponentially. There are Lovecraft scholars who have written dissertations on him; there are lifelong fans who know every detail of his stories — and you knew such people would read this anthology. Given all that, was it daunting to write a Cthulhu Mythos story? Did it come easily? How did you set about the task?
Actually, it did come rather easily because I didn’t really think of it as a “Cthulhu Mythos” story…I thought of it more as a Survivalist Horror story with Western elements…and of course, Lovecraft elements. This is one reason I wanted a protagonist who was as far removed from the Cthulhu Mythos as possible…not a professor, or occultist, or other typical Lovecraftian character. Just an average, everyday American (albeit, a war vet), who has to deal with a World Gone Mad. Once I had a firm handle on my character, Joe, the story began to write itself. The driving theme was SURVIVAL. That is Joe’s goal throughout the entire story…how do you survive in a world that is essentially un-survivable? This story is the answer to that question.
7. Your protagonist is a military veteran, a man who has known loss and disillusionment, but he’s a determined survivor. (He’s quite different from the typical protagonists Lovecraft chose!) Was that a conscious deliberation on your part, or did that character just come to you whole cloth from the beginning?
Yes, very conscious choice, as I described above. Since I wanted to explore the concept of SURVIVAL, I needed a protagonist who literally knew how to survive. Those brave men and women who go fight their countries’ battles know all about surviving in a world gone to hell. So a vet seemed a natural choice for the soft-spoken “badass” that I needed for this story. Joe was inspired to a large degree by some of the farmers I encountered in the San Joaquin Valley (central California’s “salad bowl”), which ironically reminded me of the farmers I had known back in my native state Kentucky. Farmers are tough folk…a farmer who is also a veteran…that is someone who will survive. Remember that old Hank Williams Jr. song “A Country Boy Can Survive”? That could actually be the theme song of this story. I’ll remember that when it’s optioned as a movie. 🙂
[Fred here: Your Joe is certainly no pale young man given to bouts of melancholy and inclined to sit up far into the night poring over eldritch texts.]
8. Somewhat related (and this is more of an observation than a question): in Lovecraft’s tales, the conflict is almost never physical. It’s a battle against gradually-awakening, often unwanted awareness. The character goes to an unfamiliar place, uncovers information (willingly or unwillingly), and the knowledge comes at a terrible cost. In your story, there’s no “uncovering of forbidden knowledge” to be done. There’s no need for a copy of the Necronomicon. The Old Ones are back, and their presence is unmissable. The conflict becomes, at least on the surface, very physical. (Your story doesn’t stop at the surface, though.) Any thoughts on this? (Again, I haven’t given you a question to answer . . . so you’re entitled to say “Yes, Chris Farley, I remember that. Yes, I liked it.”)
Chris Farley reference! Nice…
Your observation is spot-on. I wanted to write a story that would defy all that “forbidden knowledge” and “esoteric mysteries” rigamarole and take a more direct route. I mean, after all, this is a world where A GIANT SQUID-GOD FROM SPACE HAS RISEN FROM THE OCEAN AND CONQUERED THE WORLD! There aren’t many mysteries left at this point! When terrors lurk in the shadows and awful secrets are learned from ancient tomes, you are in Lovecraft territory…but in this anthology all bets are off. CTHULHU has won. It doesn’t matter what you do…what you know…you’re in the same boat as every other shlub. So even though some of the other stories in CR really boggled my mind, I’m glad my story was more of a knuckle sandwich than a terrifying thought.
9. Your editor, Darrell Schweitzer, is a living treasure of our genre(s) [fantasy and horror]. He coedited Weird Tales for years and won a World Fantasy Award for it. He’s written and edited a very long shelf-load of amazing books and given us “about three hundred short stories, hundreds of essays, reviews, and poems” (I’m quoting from the bio notes). He even writes Cthulhu limericks and will recite them if provoked. For all this, in my firsthand experience, he’s always willing to talk to “the little guy,” to encourage the relatively unknown writer. What was it like working with him?
I love Darrell. He is an unsung genius. I don’t say this because he’s a friend of mine. I knew it before I ever met him. Back in ’89 when I picked up a copy of WEIRD TALES and read his story “The Mysteries of the Faceless King” I became an instant fan. I set out searching for any stories of his I could find. Every one of his story collections is full of timeless, glimmering prose jewels. Like Clark Ashton Smith and Robert E. Howard, he’s also an amazing poet…which is probably why his prose is so lyrical and engaging. I consider him one of the Greatest Living Fantasy Writers, although he gets more attention for his critical/essayist/editor role. Anyone who takes the time to explore his back catalog of story collections and read MASK OF THE SORCERER will see what I’m talking about. He’s an author that EVERY fantasy fan should be reading.
As you mentioned, in addition to being a literary genius, Darrell is also one of the nicest guys you could ever meet. His sense of humor is staggering…he may be the biggest Three Stooges fan I ever met. And he really knows how to give writing advice that works. I started sending story submissions to WEIRD TALES many years before I was ready to be published…I was a sophomore at the University of Kentucky, writing fantasy tales in my Creative Writing class and sending them to WT. Darrell always gave me the greatest responses and told me how to improve my writing, unlike most other rejections I got early in life, which were basically just form letters. Darrell was extremely encouraging to me as a young writer…which meant a lot to me because he was already one of my favorite writers. And still is. I knew that, someday, if I could only write a story that was good enough for Darrell Schweitzer, I could call myself a Writer. That day finally came in early 2004 when he accepted my story “The Persecution of Artifice the Quill” for WEIRD TALES. It appeared in WT #340. Until that time I had only really been published in small-press mags.
[Fred here: About Darrell’s sense of humor: I remember talking with him at a very late hour at a World Fantasy Con, and from his pocket he pulled a collection of rare, ancient coins and explained that he was a “dealer in bargain-rate antiquities.”]
10. I don’t think there are many who would dispute the claim (I’m quoting Mr. Schweitzer here, in his introduction) that “Lovecraft (1890-1937) was the greatest writer of weird and horrific fiction in English in the 20th century.” Why do you think Lovecraft’s impact has been so enormous? What is his appeal? Why do you think he’s still being read, when so many writers from the pulp era have become historical footnotes?
Who can say why an author truly achieves immortality? It might be the sheer quality of his work. It might be the cult-like devotion of his fans and readers (and all their work to preserve his legacy). I do think the appeal of Lovecraft’s fiction is a universal one…fear being the oldest emotion…and the power of his writing is so great that it rises above outdated diction, verbiage, and style. Just like the work of Edgar Allen Poe does. It’s the STORIES that are so good, we don’t mind the “old-fashioned” style in which they are told. With Lovecraft, as with many other fantasy/horror authors, that antiquated style is actually part of the charm. I also think his appeal lies in how he merged fantasy and horror in unique and expansive ways that opened new doors for other writers. Howard and Smith were so inspired by HPL’s stories, they started writing tales set in his universe! That tells you something right there.
11. Although your story is gruesome and horrific (as a Cthulhu story ought to be), your language often reads like poetry — descriptive, vivid, and understated, leaving much to the reader’s imagination. To quote: “. . . something big as the moon crawled out of the ocean.” It amazes me that a mere half-sentence can be at once beautiful and terrifying. And this part: “A single day and all the major cities . . . gone.” I couldn’t help hearing an echo of Plato’s description of how Atlantis was destroyed in “a single day and night of misfortune.” Do you have any thoughts about the relationship of poetry to tales of the strange and terrible?
Oh, definitely. Most of my favorite writers (especially fantasy and horror writers) were also poets. Poetry is the bare distillation of words…the sheer essence of words themselves…it requires a mastery of imagery and word choice. Every word matters MORE because there are so few of them. Even a long poem has waaay less words than a short story. Poetry cuts right to the heart of what makes fantasy and horror work: effective imagery and the joy of language. I never considered myself a poet…but I try to achieve a lyrical quality in my prose. The fact that I wrote songs for many, many years does help, songs and poetry being closely related. But I think it’s more a matter of being aware of metaphor, simile, and figurative language. Using those well is far more effective than throwing in a bunch of adjectives. It’s all about creating images in your reader’s mind by appealing to the five senses…as well as the spiritual sensations. Robert E. Howard was a terrific poet, and Clark Ashton Smith (despite his tremendous verbosity) was as well. Their stories sing with lyrical imagery that brings their fantasies to life. So there is definitely a link between prose and poetry, especially in the realm of weird/fantastic fiction.
[Fred here: This reminds me that John has also written a series of excellent articles on the craft of writing fantasy. His blog is in my blogroll over there at the right. Click on that, and you’ll get to his blog; from there, I think you can find links to the Black Gate website where his articles are.]
12. Do you have a favorite among Lovecraft’s stories? [I would be hard pressed to choose just one, though I think I could single out four or five. Is that an oxymoron, “singling” out “four or five”?]
That is tough. I think I would have to choose “The Dream-Quest of Unknown Kadath.” It’s sort of the crown jewel of his “Dunsanian/Dreamlands” stories…which are my favorite HPL tales.
[Fred here: For atmosphere, I love “The Shadow Over Innsmouth,” “The Dunwich Horror,” and “The Dreams in the Witch-House.” I believe “The Strange High House in the Mist” completely supersedes genre and should be included in the English lit survey texts used in colleges and universities. My #1 favorite HPL story just might be “The Shunned House,” because in a way it encapsulates the cosmic horror of Lovecraft much as John 3:16 encapsulates the Gospel.]
13. Finally, what’s next for John R. Fultz? What’s out, what’s coming out, and can you give any hints about what you’re working on? I believe your epic fantasy graphic novel Primordia is due for release in a complete, remastered, beautiful edition very soon. Would you care to tell readers why they should rush out and get it, and where to do so?
The PRIMORDIA graphic novel is a “stone-age faerie tale” written by me, beautifully drawn by Roel Wielinga, colored by Joel Chua, and published by Archaia Comics. It is truly a feast for the eyes, and anyone who likes epic fantasy will dig the story. It combines everything I’ve ever loved about fantasy in the comics medium…and the hardcover includes a new short story from me called “The Tale of the Dawn Child,” as well as a lot of other extras.
I have a really cool wizard story called “The Thirteen Texts of Arthyria” coming up in THE WAY OF THE WIZARD, an anthology coming in November from Prime Books. This one will be packed with “big-name” fantasy writers like Neil Gaiman and George R.R. Martin, to name a couple.
My story “The Vintages of Dream” should be appearing in the very next issue of BLACK GATE, and I have a new tale called “The Gnomes of Carrick County” slated for an upcoming issue of SPACE AND TIME.
[Quick interruption from Fred: My story “World’s End” should be in that very same issue of Black Gate, so everyone: that’s the issue to get, this fall, BG #15!]
This October LIGHTSPEED, the new online science-fiction magazine from John Joseph Adams, will be featuring my sci-fi/horror story “The Taste of Starlight.” It is the most disturbing and horrific thing I’ve ever written…just in time for Halloween. Can’t wait!
I’m currently working on a novel that blends high fantasy with Native American adventure fiction to create something that is neither. Tentative title: THE LIFE AND DREAMS OF TALL EAGLE.
John, thank you so much for your time and for agreeing to do this interview!
Thanks, Fred!
This is Fred again: for those of you who are wondering how to pronounce “Cthulhu”: I remember reading Lovecraft’s specific explanation. It must have been in one of his letters, though I don’t remember which one or to whom. He explained that it was meant to be a representation of a name produced by a physical speech mechanism not even remotely human. It’s a use of our alphabet to approximate an utterly alien utteration. That being said, Lovecraft pronounced it by saying “Kluh-loo,” two syllables, with the first being extremely guttural. Just pretend you’re a colossal squid from space, and say what feels natural.
There is also a Lovecraft-based movie that those who appreciate his fiction should know about. In 2005, the H.P. Lovecraft Historical Society released a labor of love . . . and craft, heh, heh (25 cents to the Pun Fund) . . . called The Call of Cthulhu, a film version of his story by that title, which is one of the three key stories for understanding the Cthulhu Mythos (the other two being The Dunwich Horror and The Shadow Over Innsmouth). What sets this movie apart and makes it rise (like sunken R’lyeh) over the morass of mostly poor attempts to bring Lovecraft tales to the screen is that the filmmakers took great pains to create a movie that might have been made in Lovecraft’s day. It’s silent and black-and-white, very carefully made to look like a vintage relic of the early thirties — yet behind the grainy, authentically-primitive presentation are state-of-the-art techniques. A bunch of people worked really hard, knowing what moviemakers know now, to produce a stark, haunting 47-minute movie that looks for all the world like it was made then. And this, I truly believe, is the way to bring Lovecraft’s Mythos to a visual medium. This is the HPL Historical Society, so they’re sensitive to what his stories are supposed to feel like, what is important about them, and what oughtn’t to be sacrificed. There are abundant special features in full color, which are every bit as much fun as the movie itself. I am a discriminating buyer of DVDs: I try to buy only ones that I’m pretty sure I’ll watch again and again. And I consider this one to be a good investment.
By the way, you’ve gotta love the H.P. Lovecraft Historical Society’s motto: Ludo Fore Putavimus. They claim that’s Latin for “We Thought It Would Be Fun.”

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19 Responses to “Cthulhu’s Reign: Talking with John R. Fultz”

  1. I am unmoved Says:

    Sorry, but I just cannot make myself interested, despite having numerous friends whose opinions I respect strongly suggesting these works.

    This is where Fred and I part in our love for books: whereas he is ever-ready to unlock new worlds and wonders in the world of “fantasy/fiction” I find myself drawn more to American History, politics and military (not just U.S. military) history. A good book on theology (especially Catholic apologetics) will nab me as well.

    Neither is wrong, of course, just different.

    To those who love this topic: enjoy! I look forward to reading all of your comments as I bow out of this one…

    • fsdthreshold Says:

      The pattern so far has been that interviews don’t seem to draw a whole lot of comments. But if there’s another quiet stretch, this time you’ll know it’s not your fault!

  2. Morwenna Says:

    Great interview. Thank you, Fred and John!

  3. jhagman Says:

    I loved this interview! However,,,,,Fred, the ultimate H.P Lovecraft movie of ALL TIME is that Roger Corman work of art “The Dunwich Horror”, how can you beat Sandra Dee and Dean Stockwell? As to CAS-he was an established poet long before he wrote fiction. H.P. Lovecraft wrote him a fan letter in 1922 after he had published” Ebony and Crystal”. The CAS collection of poems “The Star Treader and Others”, was lifted by Jack London and turned into a novel. I think H.P. Lovecraft read CAS, before CAS read Lovecraft- though I could be wrong about this. As to length-of-poems, we can’t forget the epic form, the intensity of it’s language comes form it’s relationship to ritual.

  4. Gabe Dybing Says:

    Thanks for this interview, Fred!

    And thanks for introducing me to John Fultz! I can’t wait to explore this writer! And I think the concept for that Lovecraftian anthology is brilliant – stories set AFTER the prophecies unfold. I’m definitely gonna get a hold of this one.

    And I love the cover art.

  5. Nicholas Ozment Says:

    Terrific interview! And I never thought I’d read a Durbin interview on Lovecraft that would contain allusions both to a classic Farley SNL character AND to Hank Jr.’s “A Country Boy Can Survive” (that song is truly a guilty pleasure for me: sooo redneck and yet I love it).

    I remember reading Fultz’s story “The Persecution of Artifice the Quill” in WT and being impressed–thinking something along the lines of “Yes, this is the sort of story that WT needs more of!”

    The Lovecraft Historical Society’s film is just brilliant. I screened it for my Fear in Fiction and Film class last year, and most of the students liked it too.

  6. John R. Fultz Says:

    Thanks, Nicholas! I felt the same way about “Quill”… 🙂

    However, shortly after that issue the mag was taken over by entirely new management and editors who went in an entirely different direction. WT had bought TWO more Artifice stories that were going to follow-up the “Quill’ story, but the new editors chose not to run them. The good news? One of them will be appearing in a future issue of BLACK GATE! It’s called “When the Glimmer Faire Came to the City of the Lonely Eye.” Basically BLACK GATE picked up the Artifice tales where WT left off.

  7. Nicholas Ozment Says:

    John, it sounds like you and I were in the same boat with new WT management, similarly affected by their housecleaning! Two of my poems were on file when the change-over happened. The new editors dropped one of them–the other one should still run, though.

    BLACK GATE is not a bad place to be. I’m thinking of Enge’s Morlock series, which went from BG straight to full-scale publication of a novel and a collection under the Pyr Books imprint.

  8. I am unmoved Says:


  9. Nicholas Ozment Says:

    What does “PROD” mean?

  10. I am unmoved Says:

    N.O.: Please refer to comments 24 and 25 on “July 4th is Here Again.”

    In that spirit…PROD: What do Japanese college students do between terms? How many have jobs? What do they earn? Can they bring pop/water to class with them? How many are turned away from Sensei Durbin’s class because there is no more room? Are you the only American sensei at N.U.?

  11. Marquee Movies Says:

    Thanks to both Fred and John for creating and participating in this very interesting interview! I confess that my knowledge of most science fiction and fantasy genres is limited to mostly what I learn/witness in film, I did enjoy the interview, because there is always much to learn. I must also admit that I never knew the term “cthulhu” until I read it here on this blog some months ago – and now I have a general idea of it, as well as a pronunciation. When I think of things hidden in the dark places of the earth, I’m reminded of Spielberg’s terrifying introduction of the aliens in his “War of the Worlds” – it showed us that the aliens had been here all along, or at least the ships –
    And don’t forget the arrival of the Mother Ship in the masterpiece “Close Encounters of the Third Kind” – while every other ship comes in from the skies (“Watch the skies!”), when the Mother Ship arrives, it’s actually rising UP FROM the ground, as it appears behind Devil’s Tower. How and why it works that way, who knows – but man, is it cool!
    I’m also reminded of where the gods in the 1981 film “Clash of the Titans” kept the Kracken, while it wasn’t being used as a temp to destroy cities. (OK, that city’s toast, clock out, pick up your pay envelope, and go back to that huge cave at the bottom of the sea.)
    The thing is about HUGE entities hiding beneath us is that it reminds us a) how truly large our planet is, and b) how little we’ve actually explored of it. (Obviously, these are relative sizes – this planet is huge compared to our patch of earth we consider “ours,” and yet it’s tiny when thought of in an interplanetary sense. Now, if something were to be hiding BENEATH the universe……oh, my!)

  12. I am unmoved Says:

    “We are going to need a geodatic survey map of Wyoming. I want this down to the square yard!”

    “He said the sun came out last night. He said it sang to him.”

    “I don’t understand! Who flies crates like these anymore?”
    “No one! These planes were reported missing in 1945!”

    “Target is now at my 10 o’clock, about 1,000 feet below me, and is exhibiting some non-ballistic movement, over.”

    — CE3K is firmly anchored in my all-time Top 10, no doubt about it!

    • fsdthreshold Says:

      Mr. Brown Snowflake:
      Remember how excited my dad was when he was first telling us that CE3K was coming out, and explaining to us with great relish what an “encounter of the third kind” was?

      Remember being so young that we got our upcoming movie information from my dad? 🙂

      And then remember how disappointed he was when he saw the film, because it was “fictionalized”? That man loved his documentaries! Heh, heh! God bless him!

  13. fsdthreshold Says:

    And Marquee–thank you for that wonderful comment, too! Those are great examples of stories in which monstrous things are slumbering beneath the Earth, awaiting their time. . . .

    What’s always fascinated me is the one common link between the fantasy worlds of Tolkien and Lovecraft. The two are never mentioned in the same breath, except by me. The writers couldn’t have been more different: Tolkien was Christian, Lovecraft was an atheist. But Tolkien, too, wrote: “There are older and viler things than Orcs in the deep places of the Earth.”

    Tolkien’s works are full of monstrous things sleeping beneath the ground that ought not be disturbed. In his mythos, these are mostly remnants of the evil of Melkor/Morgoth (the Balrog, for example) and the lingering descendants of Ungoliant (Shelob and the great spiders of Mirkwood).

    But consider the Watcher in the Water outside Moria! The way Tolkien described it . . . and the way Peter Jackson’s crew brought it to the screen . . . that Watcher could not possibly be more Lovecraftian!

  14. Daylily Says:

    Interesting post and comments, even for such a one as I, who does not usually read horror stories.

  15. I am unmoved Says:

    I DO remember Joe being let down — almost to the point of taking it personally — that CE3K ended up being a “movie.” I seem to recall that he had me thinking it was going to be a documentary, too, and with the opening in the Mexican desert and the air traffic controller scene I was taken in — until my 11-yr old noggin figured out there should have been a Richard Kiley or Sir David Attenborough providing narration.

    “Air East this is Indianapolis Center. Can you identify aircraft type?”
    “Uh, negative center. Have to be the most brilliant anti-collision lights I have every seen, just flashing colors, alternating blue and green. Tell you the truth, the colors are a little striking.”
    “Indianapolis Center this is TWA 517. Target now looks like extra-bright landing lights. I thought Air East had his landing lights on.”

    FYI CE3K fans: check out youtube.com under “close encounters, missing scene” for a real thrill: the unused scene of the Air East flight landing in Indianapolis and the immediate government cover-up. About 3-4 minutes, if I recall, and a scene that should have made the final cut! (Can’t wait to hear from you on this, Marquee!)

  16. Nicholas Ozment Says:

    Marquee Movies: Re the things of which we may not be aware, deep deep down: I just read in one of my daughter’s picture books that the deepest [OMG as I was typing this, a moth the size of a hummingbird flew in through the open window of my truck (where I’m sitting with my laptop smoking a cigar) and buzzed right in front of my face! Now I’m on tenterhooks–I don’t know where it went…if it’s still in the cab with me…] Um, where was I? The deepest place in the ocean goes seven miles down, deep enough that the Himalayan Mountain range could be dropped into it and there’d still be a mile of clearance. What could be down there?

    Lovecraft’s Chtulhu stories were predicated on the idea that there are facts dispersed out there in seemingly unrelated news reports, ships’ logs, obscure explorers’ journals, etc. that, if pieced together, would reveal some hidden truths (about the existence of the Old Ones, in this case) that would shatter our cozy worldview with knowledge that might drive us insane.

    Taking a cue from that, I’m thinking about the recent report that the dinosaur we always thought of as triceratops has now been discovered to be a juvenile version of another dinosaur, not an adult specimen of a separate species at all. So… What if the same were true of “giant” squid? That they are just baby versions of what really lives way deep down? Also, I remember being struck by a claim made in a nature doc that octopi have a baseline intelligence comparable to ours… Only they are limited by life spans of about two years and so can’t develop it (they don’t live long enough to create things like language and civilization). Put all that together and speculate: an octopoid race miles undersea whose specimens are gargantuan and who live long enough that they have developed their own underwater civilization. There you go: a spec-fic writer’s mind at work! 😉

    • fsdthreshold Says:

      Nick, That’s very cool! Steve Alten’s book Meg uses the premise that the prehistoric super-shark C. megalodon still survives in that deep Marianas Trench beneath the Pacific. There’s a sequel, too, which I haven’t read.

      Oh, and you know that hummingbird-sized moth that just flew into your cab? That’s a juvenile form. . . .

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