I’ve often lamented that, despite there being no less than four films released which claim to be based on his work, none could truly be considered an adaptation. The world of television was not much better, with the three Conan programs virtually unrecognizable as Howard’s creation. It would seem that despite the hundreds of stories and eighty years’ worth of influence on many genres of fiction, there hadn’t been a single professional adaptation of a Robert E. Howard story.

However, there was one. Surprisingly, the first attempt to adapt Howard was also the only example which could be called a true adaptation – taking the plot, themes, title and characters, and translating them to screen. I am, of course, referring to the “Pigeons from Hell” episode of the TV series, Thriller.

The upcoming “adaptation” of “Pigeons from Hell” doesn’t look so worthwhile. Recently, the director Mark Steensland talked about his work, including his upcoming film:

Steensland and Hautala are now working on PIGEONS FROM HELL based on a short story by Robert E. Howard, the author who created Conan, the Barbarian. “It’s my favorite short story,” Steensland said. “It is the scariest thing I have ever read.” He has always wanted to film this Howard story. It took a long time to find out who owned the rights to the story. His plan is to make it into a feature-length film, with a release date in 2012.

Time will tell.

*Art by Virgil Finlay

The latest Harold Lamb volumes from Bison books, Swords from the Sea and Swords from the East, already announced last December on The Cimmerian, are now available.

Richard L. Tierney’s poetry collection Savage Menace and other poems of horror is also out now. Some additional information not included in my January 26th blog post on this promising book can be read below.

From the editor:

Inside there are Lovecraftian poems aplenty in “Midsummer Nightmare,” “Kingsport,” “Yuletide in Kingsport,” “Alhazred’s Legacy,” “The Nameless City,” “Harag-Kolath,” “Turn On the Heat” and others; a threesome of poems based on The Lord of the Rings by Tolkien and two on ER Eddison’s worlds, as well as a triplet of poems based on Chambers’ the King in Yellow, as also a whole sonnet cycle (15) concerning Robert E. Howard’s immortal Hyboria, with an equally immortal portrait poem of Conan himself in one of them! A wistful remembrance of Simon Magus, Richard’s famous warrior-wizard from biblical times, rounds off the collection.
Lastly it possesses a Preface by ST Joshi, indexes of titles and first lines, and a painstaking full bibliography of the poems’ history.

Finally, here is a third announcement: the latest issue of Sorcerous Signals, a free Fantasy e-zine edited by Carol Hightshoe, is now online. Friend of The Cimmerian David A. Hardy has “a tale of Vikings, curses, and monsters in the frozen North” entitled “Prisoners of the Glittering Plain” therein.

Hippocampus Press will release this month a new anthology edited by Robert M. Price dedicated to the murderous Hounds who enter our reality through angles, The Tindalos Cycle. Evidently Frank Belknap Long, who wrote “The Hounds of Tindalos,” one of the earliest Mythos stories by anyone other than H. P. Lovecraft (it was published in 1931), is the author with the most tales in this volume, which collects yarns first published in the pulps as well as more recent stories.

From the blurb:

Frank Belknap Long first alerted the world to the those infamous other-dimensional entities, The Hounds of Tindalos. In so doing he mined a rich vein of macabre antecedents, whose devisers included Robert W. Chambers, Ambrose Bierce and others. Since Belknap’s time, others have distilled and perpetuated his prophetic vision, perhaps unwisdely affording the Hounds ongoing ingress to our dimension, as a mainstay of the Mythos.

Now, the steady hand of editor Robert M. Price gathers all the relevant Tindalos writings in one mind-blasting tome, tracing the Hounds’ lineage from the dawn of the weird tale through their first explicit revelation, to the modern day with its full flowering.

Its table of contents:

Introduction: Chock Full o’ Mutts
The Maker of Moons, Robert W. Chambers
The Death of Halpin Frayser, Ambrose Bierce
The Space-Eaters, Frank Belknap Long
The Hounds of Tindalos, Frank Belknap Long
The Letters of Halpin Chalmers, Peter Cannon
The Death of Halpin Chalmers, Perry M. Grayson
The Madness out of Time, Lin Carter
The Hound of the Partridgevilles, Peter Cannon
Through Outrageous Angles, David C. Kopaska-Merkel and Ronald McDowell
Firebrands of Torment, Michael Cisco
The Shore of Madness, Ann K. Schwader
Gateway To Forever, Frank Belknap Long
The Gift of Lycanthropy, Frank Belknap Long
The War Among the Gods, Adrian Cole
The Ways of Chaos, Ramsey Campbell
Juggernaut, C. J. Henderson
Scarlet Obeisance, Joseph S. Pulver, Sr.
The Horror from the Hills, Frank Belknap Long
Pompelo’s Doom, Ann K. Schwader
Confession of the White Acolyte, Ann K. Schwader
When Chaugnar Wakes, Frank Belknap Long
The Elephant God of Leng, Robert M. Price
Death Is an Elephant, Robert Bloch
The Dweller in the Pot (or, The Past out of Space Eaters) By Frank Chimesleep Short, Robert M. Price
But It’s A Long Dark Road, Joseph S. Pulver, Sr.
Nyarlatophis, A Fable of Ancient Egypt, Stanley C. Sargent
Mind-Pilot, William Laughlin

Survival of the Dead, the latest installment in George A. Romero‘s iconic “Dead” series of zombie films, just came out through video on demand services, Amazon and Xbox LIVE, before a limited theatrical release in the United States on May 28. It is the sixth film in the series.

A minor protagonist of the latest episode Diary of the Dead, the colonel portrayed by Alan Van Sprang, comes back in this one, making it a direct sequel.
Here’s the blurb:

Immediately following the events of “Diary of the Dead,” “Survival of the Dead,” is the 6th film from George A. Romero to look at a world where humans are in the minority and the zombies rule. Off the coast of Delaware sits the cozy Plum Island where two families are locked in a struggle for power, as it has been for generations. The O’Flynn’s, headed by patriarch Patrick O’Flynn (Kenneth Welsh) approach the zombie plague with a shoot-to-kill attitude. The Muldoons, headed by Shamus Muldoon (Richard Fitzpatrick), feel that the zombies should be quarantined and kept ‘alive,’ in hopes that a solution will someday be found. The O’Flynn’s, who are clearly outnumbered, are forced to exile Patrick by boat to the mainland, where he meets up with a cynical band of soldiers, headed by Guardsman Sarge (Alan Van Sprang). They join forces and return to the island, to find that the zombie plague has fully gripped the divided community, and the body count is rising. As the battle between humans and zombies escalates, the master filmmaker continues to reinvent the modern horror genre with wicked humor and pointed social commentary.

In the following interview, the master explains the western influences on his new flick:

In this other clip, the Grandfather of the Zombie Flick speaks of his movies as vehicles for his political opinions:

A few other clips of the film can be seen here.

I’m a big fan of Romero’s movies. I’m really looking forward to this one.

Christopher certainly has a massive task ahead of him. According to his Web site, King has written 56 books, including 46 novels, seven short story collections, and three works of non-fiction. Christopher also plans to intersperse his entries with reviews of film and television adaptations of King’s works and other King esoterica. To date he’s completed reviews of Under the Dome (which he’s calling Book #0—it’s King’s latest and out of order, hence the “zero” appellation), and has since reviewed Book #1, Carrie. Next up is ‘Salem’s Lot.

I’ve always been a big admirer of King, and while my ardor for his works has cooled considerably over the years as his page count has increased, I still believe he’s one of the finest storytellers of our generation with a handful of brilliant novels to his credit. And I maintain that Night Shift and large swathes of Skeleton Crew stand as some of the finest examples of short-form horror in the history of the genre. In fact, I think King is arguably at his best when writing short stories.

I’ve often considered a similar project as Christopher’s. Had I struck when the iron was hot—many years ago when King was at the center of my reading universe—I may have had the endurance and will to complete such a Herculean task. Those days are behind me now, but in the mid-80s through the early 90’s, I was immersed in King’s world, enthralled with its big terrors lurking in small Maine towns, tractor-trailers and laundry machines come to horrifying life, and Walking Dudes. My first encounter with King was The Shining, which I plucked off my grandfather’s bookshelf as a curious kid and scared myself half to death with (while loving every second of it). From there I diligently read his entire backlist, starting with his debut novel Carrie (1974) up through Cycle of the Werewolf (1985) or thereabouts.

When I was done with everything King had written, I proceeded to read each new King novel as fast as he wrote them. For a while King was pumping them out every year, or even quicker, but I ate up titles like Misery, The Eyes of the Dragon, The Tommyknockers, and The Dark Half with insatiable gusto. But eventually, King fatigue set in. My tastes changed and broadened. The king of horror eventually lost his grip on me.

While I still read King from time to time, I’m no longer obsessed with him, and have skipped some of his newer stuff entirely (interestingly, this is the exact opposite experience as Christopher, who had never read anything by King until picking up his 2000 non-fiction work On Writing: A Memoir of the Craft, which I also highly recommend). These days I can no longer lay claim to having read every King title, but I still count him among my favorite authors, for the simple fact that he’s given me more pleasure than just about any other author I’ve read. King’s prose is just so damned readable. Christopher describes a similar moment of enlightenment while reading Under the Dome:

It was compulsive, addictive. It was also beautifully written. There was something indefinable about the prose. I suddenly understood.

Like Robert E. Howard, the secret of King’s success is the fact that he’s a terrific storyteller with a great writing “voice,” with the ability to spin compelling and page-turning yarns. Reading King is effortless, and most of the time within a page—sometimes even after a single paragraph—I find myself swept up into his stories. Some might associate that ability with eating tasty but non-nutritious comfort food, but I call it rare talent.

There’s no way I could embark on a 56-book King-binge these days (nor eat a literary diet consisting solely of any one author, for that matter), but I wish Christopher the best. I admire his gumption and I will be following his Web site. It will be interesting to see if he has the stamina to finish the job.

Thanks to Scott Danielson over at SFFaudio.com for the tip-off.

Among Steve Tompkins’ many interesting blog entries written here on The Cimmerian, there was this piece about Lovecraft-inspired motions pictures.  The movie he was looking forward to see (as I am), Del Toro’s At the Mountains of Madness, is not even in production yet, but another story written by the Man from Providence should make it to the silver screen sooner. Thanks to Grim Blogger, I learned a few days ago that the H.P. Lovecraft Historical Society had released a new trailer for their adaptation of  Howard Phillips Lovecraft‘s horror/science-fiction short story first published in the August 1931 issue of Weird Tales, ”The Whisperer in Darkness.” The film is supposed to be released in October.

Beware, Howard fans, viewing the video embedded in this blog post (thanks to shieldbrother Al for helping out someone who is only semi-literate with computers) might be painful. To see the (impressive) effort of a bunch of enthusiasts, who are genuinely caring for the source material, with this attempt to adapt their favorite’s author creation into film format, is something we’re not accustomed too. No compromise, no update of the story to a contemporary setting in a lame effort to please a modern audience; just the honest attempt to adapt faithfully on the silver screen what was written in the tale. In short, a purist’s dream come true. Exactly what has always been needed for movies based on Robert E. Howard’s stories, and never been supplied. When will the Texan’s tales get this kind of treatment?

The HPLHS is the organization hosting Cthulhu Lives!, a group of live-action roleplayers for the Call of Cthulhu role-playing game. It was founded in Colorado in 1984 and is now based in California. Its purpose is to celebrate Lovecraft’s Cthulhu Mythos by producing movies, audio CDs, live action gaming, and miscellaneous other stuff like props. In 2005, their first 46–minutes motion picture, The Call of Cthulhu, was also shot in black and white and in ‘Mythoscope’ –a blend of vintage and modern filming techniques used to produce the look of a ’20s/’30s–era movie.

The Whisperer in Darkness, unlike their previous effort, will not be silent. This week-end the crew shot the last scenes with cast members, as you can read in this blog, which regularly provides updates on the project. I’m really looking forward to see the full motion picture.

Caveat Lector

It is suggested that the reader not attempt to read this book at one sitting. The emotional content of these stories, taken without break, may be extremely upsetting. This note is intended most sincerely, and not as hyperbole.

I will vouch for the fact that Ellison’s warning is no cheap ploy, like a horror film declaring itself the most terrifying or gruesome ever to hook in a big gate. Rather, it lets the reader know that he or she is about to embark into a group of short stories whose combined effect is to deaden the spirit. This is the net effect of Deathbird Stories.

Written over a span of ten years, the tales of Deathbird Stories are tied together by the concept that gods are real only as long as they have followers. “When belief in a god dies, the god dies,” writes Ellison. Old gods like Thor and Odin dissipated when Vikings took up the cross; Apollo was reduced to rubble when his temple fell, Ellison says in the book’s introduction. I’m not sure whether this idea of religious belief preceding divine essence was Ellison’s creation, but it may be (Neil Gaiman’s much-hailed American Gods also employs this concept, but Deathbird Stories, published more than twenty-five years prior, did it first and better). All I know is that thirty-five years later, its stories still resonate, and disturb.

Deathbird Stories is hard to pigeonhole (no pun intended): It’s probably closest to horror with a good deal of science fiction and fantasy elements thrown in. Story after story drives home the point that mankind has drifted away from belief in a benevolent, all-knowing and all-loving God and transferred its faith to soulless pursuits and material possessions. Deathbird Stories is Ellison’s negation (or perhaps more accurately, execution) of the Christian God, who is replaced by numerous, squalid, selfish (small g) gods upon whose sordid altars we now worship: The gods of cars, of gambling, of the modern metropolis, of pollution, and many more debased pursuits. The monstrous, twisted forms (both literal and symbolic) of these new gods are a marvelous work of Ellison’s creation. Ancient creatures of myth—basilisks, gargoyles, dragons, minotaurs—all make appearances, too.

Some of my favorite stories include “Pretty Maggie Moneyeyes,” about the god of the slot machine and the mind-numbing dead-end that is Las Vegas; “Along the Scenic Route,” a short but memorable tale about a freeway autoduel of the future with equal relevance to our current road-rage fueled obsession with the automobile; “Basilisk,” which artfully combines the Greek myth of a serpent-like creature with a lethal gaze with Mars, the hungry and (well-fed) God of War; and “The Deathbird,” a disturbing inversion of the Genesis story which features serpent as hero and Adam’s search for the truth on a dying, ash-choked earth of the future.

One story is quite different in tone than the rest of the collection, “On the Downhill Side.” Here the ghosts of a deceased man and woman meet on a midnight street in New Orleans; the god of love has given them one last chance to find love in each other’s arms (the man, Paul, loved too much in life, while Lizette is a virgin who was unable to commit herself to a relationship). A great sacrifice is needed to consummate their love, which does not culminate in a playing of harps or choir of angels singing, merely a compromise “forming one spirit that would neither love too much, nor too little.” Along with “The Deathbird,” “On the Downhill Side” is Ellison at his rawest and most exposed—one gets the feeling that this how he truly believes that love and religion operate.

Ellison has always been a polarizing figure, a man of very strong opinions that he’s not afraid to share (his rants are everywhere on Youtube). You may or may not buy his cynical views, but they’re impossible to ignore. Likewise no reader will ever cuddle up with Deathbird Stories. It’s a difficult, often painful read. But it makes us think, and it immerses its reader in the beauty of the written word and the limitless potential of the short story. Love him or hate him, Ellison is an immense talent, and thirty-five years on Deathbird Stories still deserves to be read and discussed.

Author John Pelan, editor of Centipede’s Conversations with the Weird Tales Circle, has included Robert E. Howard “Pigeons from Hell,” H.P. Lovecraft‘s “The Outsider,” C.L. Moore‘s “Shambleau,” Clark Ashton Smith‘s “The Dark Eidolon,” Fritz Leiber‘s “Horrible Imagings,” Lord Dunsany’s “Thirteen at Table,” H. G. Wells “The Valley of the Spiders,” Karl Edward Wagner‘s “Sticks“ and Ray Bradbury’s “The Jar” in The Century’s Best Horror Fiction.

This massive (one hundred stories, nearly sixteen hundred pages and over seven hundred thousand words of fiction!) two-volume set anthology by Cemetery Dance Publications is heading to the printer this summer. John Pelan did only one selection per author and has chosen one tale per each year of the twentieth century (1901-2000) as the most notable story of that year. Robert E. Howard’s masterpiece fits right in.

Its (lengthy) Table of Contents:

1901: Barry Pain — The Undying Thing
1902: W.W. Jacobs — The Monkey’s Paw
1903: H.G.Wells — The Valley of the Spiders
1904: Arthur Machen — The White People
1905: R. Murray Gilchrist — The Lover’s Ordeal
1906: Edward Lucas White — House of the Nightmare
1907: Algernon Blackwood — The Willows
1908: Perceval Landon — Thurnley Abbey
1909: Violet Hunt — The Coach
1910: Wm Hope Hodgson — The Whistling Room
1911: M.R. James — Casting the Runes
1912: E.F. Benson — Caterpillars
1913: Aleister Crowley — The Testament of Magdelan Blair
1914: M. P. Shiel — The Place of Pain
1915: Hanns Heinz Ewers — The Spider
1916: Lord Dunsany — Thirteen at Table
1917: Frederick Stuart Greene — The Black Pool
1918: H. De Vere Stacpoole — The Middle Bedroom
1919: Ulric Daubeny — The Sumach
1920: Maurice Level — In the Light of the Red Lamp
1921: Vincent O’Sullivan — Master of Fallen Years
1922: Walter de la Mare — Seaton’s Aunt
1923: George Allen England — The Thing from Outside
1924: C.M. Eddy — The Loved Dead
1925: John Metcalfe — The Smoking Leg
1926: H.P. Lovecraft — The Outsider
1927: Donald Wandrei — The Red Brain
1928: H.R. Wakefield — The Red Lodge
1929: Eleanor Scott — Celui-La
1930: Rosalie Muspratt — Spirit of Stonhenge
1931: Henry S. Whitehead — Cassius
1932: David H. Keller — The Thing in the Cellar
1933: C.L. Moore — Shambleau
1934: L.A. Lewis — The Tower of Moab
1935: Clark Ashton Smith — The Dark Eidolon
1936: Thorp McCluskey — The Crawling Horror
1937: Howard Wandrei — The Eerie Mr Murphy
1938: Robert E. Howard — Pigeons from Hell
1939: Robert Barbour Johnson — Far Below
1940: John Collier — Evening Primrose
1941: C.M. Kornbluth — The Words of Guru
1942: Jane Rice — The Idol of the Flies
1943: Anthony Boucher — They Bite
1944: Ray Bradbury — The Jar
1945: August Derleth — Carousel
1946: Manly Wade Wellman — Shonokin Town
1947: Theodore Sturgeon — Bianca’s Hands
1948: Shirley Jackson — The Lottery
1949: Nigel Kneale — The Pond
1950: Richard Matheson — Born of Man & Woman
1951: Russell Kirk — Uncle Isiah
1952: Eric Frank Russell — I Am Nothing
1953: Robert Sheckley — The Altar
1954: Everill Worrell — Call Not Their Names
1955: Robert Aickman — Ringing the Changes
1956: Richard Wilson — Lonely Road
1957: Clifford Simak — Founding Father
1958: Robert Bloch — That Hell-Bound Train
1959: Charles Beaumont — The Howling Man
1960: Frederic Brown — The House
1961: Ray Russell — Sardonicus
1962: Carl Jacobi — The Aquarium
1963: Robert Arthur — The Mirror of Cagliostro
1964: Charles Birkin — A Lovely Bunch of Coconuts
1965: Jean Ray — The Shadowy Street
1966: Arthur Porges — The Mirror
1967: Norman Spinrad — Carcinoma Angels
1968: Anna Hunger — Come
1969: Stefan Aletti — The Last Work of Pietro Apono
1970: David A Riley — The Lurkers in the Abyss
1971: Dorothy K. Haynes — The Derelict Track
1972: Gary Brandner — The Price of a Demon
1973: Eddy C. Bertin — Like Two White Spiders
1974: Karl Edward Wagner — Sticks
1975: David Drake — The Barrow Troll
1976: Dennis Etchison — It Only Comes Out at Night
1977: Barry Malzberg — The Man Who Loved the Midnight Lady
1978: Michael Bishop — Within the Walls of Tyre
1979: Ramsey Campbell — Mackintosh Willy
1980: Michael Shea — The Autopsy
1981: Stephen King — The Reach
1982: Fritz Leiber — Horrible Imagings
1983: David Schow — One for the Horrors
1984: Bob Leman — The Unhappy Pilgrimage of Clifford M
1985: Michael Reaves — The Night People
1986: Tim Powers — Night Moves
1987: Ian Watson — Evil Water
1988: Joe Lansdale — The Night They Missed the Horror Show
1989: Joel Lane — The Earth Wire
1990: Elizabeth Massie — Stephen
1991: Thomas Ligotti — The Glamour
1992: Poppy Z. Brite — Calcutta Lord of Nerves
1993: Lucy Taylor — The Family Underwater
1994: Jack Ketchum — The Box
1995: Terry Lamsley — The Toddler
1996: Caitlin R. Kiernan — Tears Seven, Times Salt
1997: Stephen Laws — The Crawl
1998: Brian Hodge — As Above, So Below
1999: Glen Hirshberg — Mr. Dark’s Carnival
2000: Tim Lebbon — Reconstructing Amy

An interesting selection, which confirms Mr Pelan’s good taste. It is nice to look at this fine list of authors and stories and to see the Bard of Cross Plains in such a good company.

The Trade Edition is composed of two volumes featuring full color dustjackets and will cost $150. The Deluxe Traycased Lettered Edition is limited to just 52 copies that will feature a different binding and signatures from many of the living authors, for a hefty $1000. The cover artist is Alan M. Clark.

Friend of The Cimmerian G.W. Thomas is publishing Masters of Adventure, a public domain anthology. It is fully illustrated by M. D. Jackson and the multi-talented Mr. Thomas himself.

The title isn’t exaggerated since the line-up is simply incredible, as you can see for yourselves in the table of contents. I think that ‘Grandmasters of Adventure’ would not have been a too strong a superlative.

“Ms. Found in a Bottle” by Edgar Allan Poe
“Smith and the Pharaohs” by H. Rider Haggard
“The Brazilian Cat” by A. Conan Doyle
“The Grove of Astaroth” by John Buchan
“Tarzan Rescues the Moon” by Edgar Rice Burroughs
“A Thousand Deaths” by Jack London
“A Tropical Horror” by William Hope Hodgson
“The Breath of Allah” by Sax Rohmer
“The People of the Pit” by A. Merritt
“Wings in the Night” by Robert E. Howard

This anthology was announced in November 2008 by Mr Thomas. It is a true pleasure to finally see its release.

The Robert E. Howard tale contained in the anthology is “Wings in the Night,” one of his Solomon Kane yarns  recounting the gory fight of the iron-willed Puritan from Devonshire against the horrible, bat-winged akaanas.

*The wraparound cover featured at the top of this blog entry is by M. D. Jackson, while the following illo for an A. Merrit’s story was done by G. W. Thomas.

The next REH volume published by Subterranean Press in Limited Edition will be The Horror Stories of Robert E. Howard. It is scheduled for this fall. Fellow blogger Jeffrey Shanks recaps the history of Subterranean’s Howard-related limited editions here on The Cimmerian.

Greg Staples has done the black-and-white illustrations and Subterranean promises some never before published full-color plates.

The Limited run is of 750 numbered copies, signed by the artist, housed in a custom slipcase for $150. The Deluxe edition consists of 50 numbered copies, signed by the artist, bound in leather, housed in a leather slipcase for $400.

Its (massive) table of contents:

Foreword
Introduction
In the Forest of Villefère
A Song of the Werewolf Folk
Wolfshead
Up, John Kane!
Remembrance
The Dream Snake
Sea Curse
The Moor Ghost
Moon Mockery
The Little People
Dead Man’s Hate
The Tavern
Rattle of Bones
The Fear That Follows
The Spirit of Tom Molyneaux
Casonetto’s Last Song
The Touch of Death
Out of the Deep
A Legend of Faring Town
Restless Waters
The Shadow of the Beast
The Dead Slaver’s Tale
Dermod’s Bane
The Hills of the Dead
Dig Me No Grave
The Song of a Mad Minstrel
The Children of the Night
Musings
The Black Stone
The Thing on the Roof
The Dweller in Dark Valley
The Horror from the Mound
A Dull Sound as of Knocking
People of the Dark
Delenda Est
The Cairn on the Headland
Worms of the Earth
The Symbol
The Valley of the Lost
The Hoofed Thing
The Noseless Horror
The Dwellers Under the Tomb
An Open Window
The House of Arabu

The Man on the Ground
Old Garfield’s Heart
Kelly the Conjure-Man
Black Canaan
To a Woman
One Who Comes at Eventide
The Haunter of the Ring
Pigeons from Hell
The Dead Remember
The Fire of Asshurbanipal
Fragment
Which Will Scarcely Be Understood

Miscellanea

Golnor the Ape
Spectres in the Dark
The House
Untitled Fragment
Appendix
Notes on the Original Howard Texts

There’s currently a 50% Off on preorders at Subterranean, but you need to order five to ten different books costing 150$ or less.