Clark Ashton Smith - Collected Fantasies Vol 5 - The Last Hieroglyph

I recently inquired about this last volume in the series of CAS's collected fantasies (highly recommended for their quality and presentation).  Here's what Tomra @ Nightshade Books wrote back:

"I just received the book from the printer and I'll be shipping it out this week.  I'm not sure exactly off the top of my head but I'm assuming we printed somewhere around 3 - 4,000. Enjoy!

Best Regards,
Tomra Palmer
Night Shade Books"

It's a go!  My order's already in.

Here are the links for those die-hard CAS collectors like me:

LINK 1  Overview order page for all 5 volumes

LINK 2  Order Page for Volume 5

"How now varlet!"  quoth Ralibar Vooz... :)

Reading Selections from Smith, Bierce and Blackwood to Stay in the Mood

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CA Smith: The Rennaisance Man of Fantasy

I am always amazed at CA Smith's versatility in his art and the range of subjects that he learned (self-taught for the most part).  Poet, short-story writer, painter, sculptor, translator (of French and Spanish poetry).  Certainly not the ploymath like Da Vinci, but for a man with little more than a grade school education, more than just quite impressive. Link.

Vampirism Revamped

Vampires as we commonly imagine them are sourced from the folklore of 18^th century Southeastern Europe. Variations of the vampire-like demons and other manifestations trace back thousands of years, but our stereotypical perception of these undead is largely the result of popular fiction and cinema. There is little doubt that Bram Stoker's Dracula is the most readily conjured image when one considers vampires. Further cementing and popularizing this brand of vampire was the 1931 horror film, Dracula, starring Bela Lugosi.

In the Advanced Dungeons & Dragons game, the accepted paradigm of vampirism was embraced and utilized by Gary Gygax, and David Trampier's illustration at once reminds us of Bela Lugosi peering over his cloak-wrapped arm bent at the elbow. Indeed, Gygax touches on many of the popularized attributes of the modern vampire when he states the following:

"...These creatures must rest in a coffin or similar receptacle during hours of sunlight..."

Gygax's AD&D vampire drinks blood, can shape change into a bat, and can charm with its gaze; it also recoils from garlic, the face of a mirror, or a cross (or other holy symbol). They can be killed by sunlight or if a wooden stake is driven through its heart, followed by a beheading. Of course, some AD&D-isms are included, such as the vampire being subject only to magical weapons, an 18/76 strength, and the fact that it can be turned by a high level cleric, but these gaming components are adroitly woven into the presentation.

Whilst the standardized representation of the vampire works perfectly well within the framework of the AD&D game, I must admit I have personally grown rather jaded by this take on vampires. Fiction and film have likewise reduced the vampire to one of triteness for me, perhaps in part due to the voluminous amount of vampire "chick-lit" crowding the shelves of local book store chains. Stephen King's Salem's Lot was a fresh deviation from the paradigm, and so I held it in high esteem as a young man, and to some degree I still do. There are, however, two 20^th century authors who portray some of the most thought provoking deviations to the popular notion of vampirism. They are HP Lovecraft and Clark Ashton Smith.

The Shunned House (written 1924, published 1937) by Howard Phillips Lovecraft and Genius Loci (1933) by Clark Ashton Smith challenge our modern notion of the vampire. Gone is the stereotypical image wrought by Bram Stoker, where the vampire has humanlike form and motivation. What Lovecraft and Smith respectively accomplish is the creation of a nonstandard form of vampirism. It is not my intention to summarize these stories point by point, for I feel that readers of this article would derive greater enjoyment by experiencing each tale for themselves. Notwithstanding, I would have to stop writing now were I to completely avoid any "spoiler" material.

In each tale the respective author takes the concept of vampirism and applies it to an a malign force or entity, a wraith-like manifestation that drains its human victims, evoking, in my opinion, greater fear and madness than any man with fangs and cloak could ever accomplish.Whilst Stoker's Dracula (and its many and sundry derivatives) has a palpable form and identity, Lovecraft and Smith present a vampire that can scarcely be quantified on such terms; indeed, what each author has accomplished is the manufacture of a nameless horror that depletes its victims and reduces them to shells of their former selves as they plunge into sheer insanity and, eventually, death.

In The Shunned House and Genius Loci, respectively, the vampire is presented as an incorporeal entity that feeds off its victims, distorts perceptions, and inspires aberrant behavior. Each vampiric entity is distinctive, as is the style and execution of each author. Of the two I feel that HPL more closely touches upon the sort of vampire popularized by Stoker, but only in the broadest of strokes. All who dwell in The Shunned House, generation after generation, suffer various forms of wasting diseases, anaemia, and mild forms of insanity. The closest Lovecraft comes to Stoker's vampirism (and the folklore from which Stoker derived his inspiration) is when he writes the following:

"...an appallingly grisly circumstance whose duplication was remarkable. It seems that in both instances the dying person...became transfigured in a horrible way; glaring glassily and attempting to bite the throat of the attending physician."

Smith, for his own part, explores what begins as a landscape artist's morbid fascination with a boggy meadow of disturbing quality. Fascination soon escalates to a species of mesmerization or enthrallment that can not be defied. Smith's vampire is perhaps more of a formless entity than Lovecraft's, but both are presented with a focus on a locale that suffers the manifestation of some preternatural malevolence. Notwithstanding, the semblance of a physical form is observed near the end of The Shunned House, particularly when the narrator notes the

"...unthinkable abnormality whose titan elbow I had seen."

But in Genius Loci we never actually see a physical form made manifest, and at length the horror is observed when the narrator relates the following:

"The true horror lay in that thing, which, from a little distance, I had taken for the coils of a slowly moving and rising mist. It was not vapor, nor anything else that could conceivably exist -- that malign, luminous, pallid emanation that enfolded the entire scene before me..."

Exploring vampirism as an environmental event, hazard, or location as opposed to a palpable enemy combatant is an intriguing option for a swords & sorcery role-playing game adventure, and as I type this article, I am inspired by its myriad possibilities. A location that drains its inhabitants of their vitality . . . Might it affect the family of a PC, or some notable villagers whom the local clergy seem unable to assist? Perhaps the PCs themselves are the afflicted by the manifestation. How can such an entity be exorcised? The PCs might have to engage upon some harrowing quest to obtain an artifact that might vanquish the vampiric haunting, or if not some artifact, the clandestine knowledge that might reveal some form of ritual that would banish the affliction. For a more combat oriented adventure, below the locale there might be vast catacombs where past victims dwell in various states of undeath. Perhaps the entity drains from its victims to give itself physical form, some underworld titan vampire as hinted at in The Shunned House.

Experimenting with alternative forms of vampirism could enrich your game, keep your players on their toes, and prevent them from the using meta-knowledge to combat an otherwise stereotypical enemy. I think I might start working on such an adventure soon . . .

(Jeffrey Talanian, 2009)

The Great God Awto

I readily and heartily admit to being a die-hard Clark Ashton Smith fan. His stories are so like being buried in quicksand and enjoying every moment of it. I read one I hadn't in the past here.

It's a very timely story that caught me unaware, and it made me think and laugh at once. One more for Smith's genius, one more to ponder and appreciate. Classics never die.

Origin of the Black Pudding? Roots in CA Smith Conceptions?

One might wonder where EGG came up with all the puddings, slimes and oozes apparent in OD&D and later expanded (pun intended) into so many forms.

I have thought about the pulp story connections, especially those aligned to Clark Ashton Smith's mythos contributions. Strangely, Smith was never recognized as a primary influence in EGG's DMG Recommended Reading list, which I later, and gently, took him to task for while pushing a copy of Timescape's City of the Singing Flame into his hand, which he indeed read, thereafter complimenting the stories therein [1980, while he was visiting with me at my house]. How could Smith, being part of the great triumvirate of REH>HPL>CAS which was so recognized in the pulp community of the 30's & 40's on through the Arkham House reprints, and into the present, have been missed by him?

But I digress. I have tracked many influences for the "puddings" over the years, and I could even extrapolate (and have) from Star Trek's "The Devil in the Dark" episode's "monster" that bored tunnels and was very "pudding-like" in appearance. Of course there is also the "Blob," and perhaps even more to think about, no doubt. We shall never know, unless EGG recounted the influence somewhere I am not aware of.

But do read with care the following about C. A. Smith's "Formless Spawn," and then reference the monsters we described on page #63 of Greyhawk: Supplement #1 to D&D, particularly noting the second to last paragraph there. Could these manifestations have been influenced by such a source as well as used by EGG? At the time there was no connection to Smith's stories by myself (this would begin in 1976, as I had read almost all of the SF & F books that EGG had recommended from his shelves then, and Smith had been completely absent ). We contrived these Greyhawk monstrosities rather quickly then, especially the ogre jelly, as it had that double meaning that we both found humorous thinking future-wise about when its description would (gleefully, for us) elicit the suitable reactions of horror we foresaw from our players. But if Smith was the source, then why no mention of him at all? I have always found Smith's decidedly dark and fantastic stories very inspiring on a fantasy level and have always wondered of his omission from the earliest days of OD&D.

Formless spawn [as referenced from the Wikpedia article]

The basin ... was filled with a sort of viscous and semi-liquescent substance, quite opaque and of a sooty color.... [T]he center swelled as if with the action of some powerful yeast [and] an uncouth amorphous head with dull and bulging eyes arose gradually on an ever-lengthening neck ... Then two arms — if one could call them arms — likewise arose inch by inch, and we saw that the thing was not ... a creature immersed in the liquid, but that the liquid itself had put forth this hideous neck and head, and [it was now forming arms] that groped toward us with tentacle-like appendages in lieu of claws or hands! ... Then the whole mass of the dark fluid began to rise [and] poured over the rim of the basin like a torrent of black quicksilver, taking as it reached the floor an undulant ophidian form which immediately developed more than a dozen short legs.
—Clark Ashton Smith, "The Tale of Satampra Zeiros"
Tsathoggua's will is carried out by the formless spawn, polymorphic entities made of black goo. They are extremely resilient and very difficult to dispatch. Formless spawn can take any shape and can attack their targets in nearly every conceivable way. They are surprisingly flexible and plastic-like, and can quickly flow into a room through the tiniest of cracks. They attack by trampling their targets, biting them, or crushing them with their grasp. The Call of Cthulhu roleplaying game's entry on Formless Spawn also claims that they are powerfully acidic in substance and can dissolve human flesh with even a slight touch [bold emphasis points mine--RJK].

Formless spawn often rest in basins in Tsathoggua's temples and keep the sanctuary from being defiled by nonbelievers.