The impact of female editors of pulp magazines is not always acknowledged, and this is especially true when considering the legacy of H. P. Lovecraft and Mythos fiction. Three of these women stand out: Dorothy McIlwraith, the editor of Weird Tales (1940-1954); Mary Gnaedinger, editor of Famous Fantastic Mysteries (1939-1953); and Cele Goldsmith Lalli, editor of Fantastic (1958-1965). Together, these three women would essentially bridge the gap, accounting for most Mythos magazine fiction that was published between 1940 and 1965.
After his death on 15 March 1937, Lovecraft’s literary legacy continued in Weird Tales, which had been the home to most of his professional fiction and continued to be the mainstay of his most devoted fans. Editor Farnsworth Wright published at least one Lovecraft item, be it a story or verse, in nearly every issue for the next three years—including collaborations with Hazel Heald and Zealia Bishop, stories which Wright had previously rejected, and material from amateur publications.
In late 1938, Weird Tales was sold to William Delaney, owner of Short Stories, Inc. and publisher of the successful Short Stories pulp magazine, which was edited by Dorothy McIlwraith, a Canadian woman of Scottish descent. (What About Dorothy McIlwraith?) The Weird Tales offices were moved to New York City in November of that year, with editor Farnsworth Wright moving his family from Chicago for the transition. Beginning with the December 1938 issue, Weird Tales officially listed its offices in New York. Robert Weinberg claimed that McIlwraith was made associate editor of Weird Tales at this point, but if so she was never listed as such in the magazine itself. (The Weird Tales Story 6)
Farnsworth Wright had been suffering from progressive Parkinson’s disease for years, and the finances for Weird Tales continued to worsen. In part this may have been due to the death of prominent writers like Henry S. Whitehead (1932), Robert E. Howard (1936), and H. P. Lovecraft (1937), but it was also due in part to new competition. While Weird Tales had been the predominant purveyor of fantastic fiction in the pulp field since its inception in 1923, outlasting rivals such as Ghost Stories (1926-1932), Tales of Magic and Mystery (1927-1928), and Strange Tales (1931-1933), but in 1939 several strong competitors emerged, including Strange Stories (1939-1941), Unknown (1939-1943), Famous Fantastic Mysteries (1939-1953), Fantastic Adventures (1939-1953), Planet Stories (1939-1955), and Startling Stories (1939-1955).
Added to these woes, New York Mayor Fiorello La Guardia began cracking down on nude covers on the newstands; while aimed at the weird terror or “shudder” pulps, the ban also caught Weird Tales, which had been using nudes from Chicago artist Margaret Brundage for the cover, to both fan appreciation and consternation. In addition, Brundage was unable to continue to move to New York and found shipping her delicate pastels economically unfeasible—especially when publisher Bill Delaney cut payment rates for artists. (Alluring Art of Margaret Brundage 32) Delany also tried changes to reduce costs and increase sales:
Delaney was more concerned than Henneberger or Cornelius in turning the pulp into a paying, profit-making proposition. His first idea was to increase the page count from 128 to 160 pages. He also used a cheaper quality of paper, making the issue look even thicker than before. The first of these thick issues appeared in February 1939. However, the idea did not catch on and sales dropped steadily. Another of Delaney’s ideas was to cut rates, both to artists and authors. the policy showed as quality quickly dropped. In another effort to boost sales, the size was cut to 128 pages in September 1939 and the price was dropped to 15 cents. The magazine still did not sell. (The Weird Tales Story 6)
In January 1940, Farnsworth Wright left Weird Tales; the magazine by this point had gone to a bimonthly schedule, and his final issue as editor was March of that year. While some sources claim Wright retired or resigned, what few firsthand accounts I’ve come across suggest he was fired:
I am no longer connected with Weird Tales. Miss McIlwraith has taken over the editorship. The publisher was losing too heavily, and he figured that the elimination of my salary would help to cut down the deficit.—Farnsworth Wright to Virgil Finlay, 17 Jan 1940, BOK 66The magazine has two stories and four poems of mine (accepted by Farnsworth Wright) still unpublished, but I think seriously of withdrawing these, even though I need the money like hell and am not likely to find another market for these particular items. Wright was let out by the publishers to cut down expenses, and W.T. is now being edited by a woman, who also edits Strange Stories. [sic] It is to be hoped that Wright will soon secure another editorship, or perhaps even start a rival magazine himself. In the meanwhile, W.T.‘s best contributors are sticking with him, in the belief that he has had a raw deal.—Clark Ashton Smith to Margaret St. Clair, 22 Feb 1940, Selected Letters of Clark Ashton Smith 328Wright was cold-bloodedly fired from Weird Tales, because of circulation drop. It’s being carried on by McIlwraith. Wright is hit pretty hard, and our gang has pledged to boycott the mag. If Wright succeeds in getting another publisher interested in backing a new weird mag, we’ll submit only to him. It’s all we can do for one of the best and most liked editors in our field. With Wellman, Juttner, Hamilton, Quinn, Williamson, and others not submitting to Weird, I’m thinking McIlwraith will have to print blank pages.—Otto Binder to Jack Darrow, 10 Mar 1940, The Thing’s Incredible! The Secret Origin of Weird Tales 219When he was dismissed because of physical disabilities, many of the younger contributors to W.T. emoted all over the place, and waged a campaign to boycott the magazine. I did not join in this piece of juvenile idiocy. To expect a publisher to retain an editor incapable of coming to work was unrealism beyond the norm, even for youth! Finally, Wright’s successor, Dorothy McIlwraith, certainly was not responsible for his having been relieved of duty. As editor of Short Stories, her position was far more important than was the editorship of W.T. All she could gain was extra work, a bonus of headaches. Why penalize her by depriving her of desirable contributors?—E. Hoffmann Price, Book of the Dead: Friends of Yesteryear: Fictioneers & Others 25None of these loyal nit-wits realize that the publisher scrapped Wright’s long established editorial policies, and told Dorothy what to do, and how to do it. As an employee, she had to obey orders, or, bail out. Anyone who ever knew the magazine business was aware that her leading magazine, Short Stories, was for a readership far more discriminating and mature than that of the W.T. fanciers.
—Price, Book of the Dead: Friends of Yesteryear: Fictioneers & Others 112After Wright left WEIRD TALES (banished into outer space, is the way he wrote me about it), I happened to be in New York. I found out that he was living out at Jackson Heights, so I went out to see him, and was always glad I did, for he died only a few weeks later.—Edmond Hamilton, “He That Hath Words,” Deeper Than You Think #2, Jul 1968, 12
Farnsworth Wright died on 12 June 1940. Dorothy McIlwraith took up the editorship with the May 1940 issue of Weird Tales, while simultaneously editing Short Stories, and would remain at the helm of both until Delaney sold the business in 1954. Assisting her was Lamont Buchanan, credited as the associate editor and referred to as the art editor
Having inherited a magazine that was bleeding readers and in the shadow of Wright’s departure, McIlwraith’s tenure in what turned out to be Weird Tales’ waning days is often overlooked or mischaracterized. Robert Weinberg’s comments echo those of many critics down the years:
As an editor, Ms. McIlwraith was a competent craftsman but was not on the same level as Farnsworth Wright. She was a veteran pulp editor and handled the magazine as best she could. Her biggest trouble was that she was not as familiar with weird fiction as her predecessor. Another problem was that her ideas on what Weird Tales should be were somewhat narrower in scope than the beliefs Wright worked by. A publisher who did not let her run the magazine with as free a hand was no help. She did the best she could. (The Weird Tales Story 43)
This is damning with faint praise; while Wright was a personable and intelligent editor, he was also notoriously indecisive, rejecting some of the best work of H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, and other writers; and Weird Tales under his watch was often characterized by wide variety as Wright chased the readers in the next pulp over with planetary science fiction by Edmond Hamilton & Otis Adelbert Kline, shudder pulps or detective pulps with Seabury Quinn, Robert E. Howard’s bloody historical adventures, hero pulps with Paul Ernst’s abominable Doctor Satan series—and that leaves out such ambitious botches as The Moon Terror and Other Stories (1927), Oriental Stories/The Magic Carpet Magazine (1930-1934), and Wright’s Shakespeare Library (1935), all of which ultimately failed and drew resources away from Weird Tales.
McIlwraith & Delaney faced a crowded market, and yet they were still paying the lowest rate of the fantasy pulps, 1 cent per word. Changes were made; the popular “Weird Tales Reprint” feature which Wright had instituted was dropped, as were serials, with the magazine promising “All Stories Complete” and “All Stories New—No Reprints.” McIlwraith convinced several of her most prominent authors at Short Stories to submit material for Weird Tales, including H. Bedford Jones, “The King of the Pulps.” While she couldn’t always afford to keep them, Weird Tales under McIlwraith’s direction continued to see the talents of some of the greatest artists and writers of the 40s and 50s: Ray Bradbury, Greye Le Spina, Robert Bloch, Margaret St. Clair, Manly Wade Wellman, Mary Elizabeth Counselman, Joseph Payne Brennan, Robert Barbour Johnson, Fritz Leiber, Virgil Finlay, Hannes Bok, and Kelly Freas, to name a few.
One valid criticism of McIlwraith’s tenure is general failure to engage with writers, artists, or fans on the same level as Wright. Under her editorship, the letter-column “The Eyrie” ceased to be a fan-forum, but a place where authors could expand on the background of their stories. In its place was started “The Weird Tales Club”—those who wrote in received a free membership card and had their names and addresses posted and encouraged to write to each other, but there was no apparent effort to generate an official fan club newsletter or real organization. Remembrances of McIlwraith are far fewer and less personal. Still, not all commentary on McIlwraith is negative:
But a magazine can’t survive by living off the past. It has to grow and change, like a living thing. Dorothy McIlwraith’s Weird tales did grow and change in several ways. there was a subtle difference in the whole attitude of the magazine. […] If anything, the new editor was more artistically minded than her predecessor. the glaringly trashy covers (imitative of the more successful sex and sadism pulps like Terror Tales and Horror Stories) and occasionally godawful formula story, which Wright seemed to regard as good business practices, disappeared.
—Darrel Schweitzer, “What About Dorothy McIlwraith?” in WT50: A Tribute to Weird Tales 95Actually, I think she’s been far too neglected; I can’t dismiss anyone who published Bradbury, Sturgeon, Brown and other top talents. And I think she would have published more, had she been given the budget to compete with Unknown Worlds, F&SF and the other comparable markets. But that lousy 1 cent a word—and sometimes bimonthly publication—induced few writers to remain in WT once better rates were obtainable elsewhere.—Robert Bloch, The Robert Bloch Companion 33
While McIlwraith courted new and old authors, and was restricted in reprints for the first few years by policy, Lovecraft and the nascent Cthulhu Mythos were far from neglected—but there was a shortage of material. Lovecraft & Robert E. Howard were dead and with most of their Mythos-fiction already published in Weird Tales, Clark Ashton Smith largely alienated from fiction-writing (although he would contribute “The Enchantress of Sylaire” (Jul 1941), “The Master of the Crabs” (Mar 1948), and”Morthylla” by Clark Ashton Smith (May 1953)), and after Lovecraft’s death few of his immediate circle such as Frank Belknap Long, Henry Kuttner, or Robert Bloch seemed interested in continuing the shared mythology…but there was August Derleth.
We plan to use “The Sandwin Compact” in the next issue which will be made up—that is, November, published September first—Dorothy McIlwraith to August Derleth, 25 June 1940, A Look Behind the Derleth Mythos 131
Arkham House, founded by August Derleth & Howard Wandrei after the death of Lovecraft explicitly to publish his fiction, had done just that in 1939 with The Outsider & Others—and much of their catalog for the next ten years would include reprints of stories that had first appeared in Weird Tales, and Arkham House would take out full-page advertisements in the pulp for their books. Derleth, a tireless promoter of Lovecraft’s work and a frequent contributor to the magazine as a writer, began to develop a series of original Mythos fiction in the magazine, beginning with “The Sandwin Compact” (Jan 1941) and “Beyond the Threshold” (Sep 1941).
Derleth had also become the de facto literary executor of Lovecraft’s fiction, and as material was uncovered that had not previously appeared in Weird Tales, sold it to McIlwraith for Weird Tales; this included “The Mound” by Zealia Bishop & H. P. Lovecraft (Jan 1941), The Case of Charles Dexter Ward (May & Jul 1941), “The Shadow over Innsmouth” (Jan 1942, with its classic illustration by Hannes Bok), and “Herbert West—Reanimator” by H. P. Lovecraft (May, July, Sep, Nov 1942; Sep, Nov 1943). The Dream-Quest of Unknown Kadath was also uncovered from Lovecraft’s files during this period, but if Derleth offered it to McIlwraith, she turned it down—as she did sword & sorcery fiction like Fritz Leiber’s “Fahfrd & Grey Mouser” series, which appeared in Unknown.
Wartime paper rationing and lackluster sales still hit hard, however. Weird Tales dropped to 112 pages in 1943, and the ban on reprints was dropped; Lovecraft’s “Fungi from Yuggoth” sonnets would be reprinted (May 1944; Jan, Sep 1946; Jan, Mar 1947), as well as “The City” (Jul 1950), “The Horror at Red Hook” (Mar 1952), and “Hallowe’en in a Suburb” by H. P. Lovecraft (Sep 1952). Eager for a new attraction, McIlwraith also looked for a series character from a promising regular:
John Thunstone first appeared in 1943, after Wright retired as editor of Weird Tales and was succeeded by Dorothy McIlwraith. She and her associate, Lamont Buchanan, sat down with me for several careful discussions of how Thunstone might act and look, and what he might find to do.—Manly Wade Wellman, foreword to Lonely Vigils xi
Wellman’s occult detective was a success, and he would tip his hat to Lovecraft by including the Necronomicon in the Thunstone story “Letters of Cold Fire” (May 1944)—the same issue where the page count was reduced to 96 pages. The success of Lovecraft’s fiction and Derleth’s pastiches apparently encouraged McIlwraith and Derleth to mine this vein a little deeper:
I too have had a good many letters through the Arkham House clientele, if they respond as well to ‘The Dweller in Darkness’ I’ll no doubt have to do other stories in the same Lovecraftian vein—though I’ll wait for the green light from you before going ahead.”—August Derleth to Dorothy McIlwraith, 3 Feb 1944, A Look Behind the Derleth Mythos 140
McIlwraith published “The Trail of Cthulhu” (Mar 1944), “The Dweller in Darkness” (Nov 1944), and “The Watcher from the Sky” (Jul 1945). In the September, the world war ended with the use of atomic weapons against Hiroshima and Nagasaki; a science fiction weapon from the pulps becoming a terrible and deadly reality at last.
Derleth also took advantage of the new reprint feature by agenting weird stories from English authors like William Hope Hodgson that Arkham House was publishing. With Derleth’s regular contributions (sometimes published under the pseudonym Stephen Grendon), reprint material he was supplying, and his original Mythos fiction, something had to give…and did:
Sorry I forgot to mention The Lurker on [sic] the Threshold. I just don’t see how we could manage it for Weird. I don’t feel serials in an every other month magazine are good, anyway, and such long installments are out for the duration—[because] of the paper restrictions.—Dorothy McIlwraith to August Derleth, 17 Jan 1945, A Look Behind the Derleth Mythos 191We have Grendon’s “Mr. George,” “The Hog” by Hodgson as well as several other novelttes from other sources […] and now you send along “Boyd”…Frankly, we like this Cthulhu the least of all our problem material, so it would seem logical to pass it up for Weird Tales
—Dorothy McIlwraith to August Derleth, 30 July 1946, A Look Behind the Derleth Mythos 151
The Lurker at the Threshold was the first of Derleth’s “posthumous collaborations” with Lovecraft, although it was written almost entirely by Derleth, based around two brief fragments of Lovecraft; Arkham House later published the book the same year. McIlwraith also rejected the first submission of “The Testament of Claiborne Boyd,” part of the series that Derleth would collect as the stitch-up novel The Trail of Cthulhu. These decisions, as much as anything, show that McIlwraith was not simply cashing in on Lovecraft or the Mythos.
What did happen is that someone not connected with Derleth or Lovecraft tried their hand at pastiche. McIlwraith published C. Hall Thompson‘s “Spawn of the Green Abyss” (Nov 1946) and “The Will of Claude Asher” (Jul 1947), probably seeing them as no more than superior Lovecraft pastiches. Derleth, who felt Lovecraft’s work belonged to Arkham House, responded:
Yes, I know of C. Hall Thompson. He borrowed flagrantly from HPL’s work, and we stopped it by writing to his editors pointing out his invasion of prorpietary interests, though we would probably have given him the green signal to go ahead if he had submitted his work to us first. this he did not do; so it had to stop.
—August Derleth to Ramsey Campbell, 6 Aug 1964, A Look Behind the Derleth Mythos 267-268
No more pastiches were published by Thompson in Weird Tales. Whether she believed Derleth’s legal bluster or simply didn’t wish to alienate such a regular contributor and advertiser is unclear, but there are signs that Weird Tales was still in financial trouble. With the September 1947 issue, WT raised the price from 15 to 20 cents per issue, while retaining the reduced page count. Three more of Derleth’s tales appeared in the following years: “Something in Wood” (Mar 1948), “The Whippoorwills in the Hills” (Sep 1948), and the formerly-rejected “The Testament of Clairborne Boyd” (Mar 1949). With the next issue, May 1949, the price was increased again to 25 cents per issue. He would manage to land more stories: “Something From Out There” (Jan 1951), “The Keeper of the Key” (May 1951), “The Black Island” (Jan 1952), which featured the use of atomic weapons against Cthulhu.
Derleth was the most prominent Mythos writer in Weird Tales during McIlwraith’s editorship, but arguably the best one was Robert Bloch, who published the third in his triptych with Lovecraft, “The Shadow from the Steeple” (Sep 1950), and the highly acclaimed “Notebook Found In A Deserted House” (May 1951). Among the rewrites, McIlwraith chose Robert E. Howard’s “The Black Stone” (Nov 1953).
In September 1953, adapting to market pressure, Weird Tales became a digest. McIlwraith apparently asked Derleth for more Mythos/Lovecraftian material, probably in a last-ditch effort to spur readership. He responded with “posthumous collaborations” that Derleth had written based on some fragment of Lovecraft’s text or ideas in his commonplace book:
You already have “The Survivor,” which I hope can appear in the July or September issue. Three others are now ready—“Wentworth’s Day,” at 4500 words“The Gable Window,” at 7500 words“The Peabody Heritage,” at 7500 wordsThere will be at least two more—or enough for an entire year of Weird Tales. And we might be able to turn up more thereafter, if the use of them has any noticeable effect on the sales of the magazine.—August Derleth to Dorothy McIlwraith, 24 Feb 1954 A Look Behind the Derleth Mythos 211
“The Survivor” appeared in the July 1954 issue, the last of the Derleth Mythos contributions. She wrote to him:
I have here: “The Gable Window,” “The Ancestor,” “Wentworth’s Day,” “The Peabody Heritage,” “Hallowe’en for Mr. Faukner,” also “The Seal of R’lyeh.” It might be that whoever takes over WT might see the value of the Lovecraft tie-in, but I don’t know…—Dororthy McIlwraith to August Derleth, 15 Nov 1954, A Look Behind the Derleth Mythos 212, 219
Weird Tales folded with the September 1954 issue; both it and Short Stories were sold, and McIlwraith moved on. The various Derleth Mythos stories would see print elsewhere, and be collected and printed in book form. So too, Arkham House would collect and publish many stories and authors from McIlwraith’s period of editorship during the following decades.
We do not have any extensive memoirs from McIlwraith, and most of what she has written about weird fiction are restricted to editorial comments in “The Eyrie”—but in 1954 she weighed in on H. P. Lovecraft and Weird Tales:
Alathough the first all-science-fiction magazine did not appear until 1926, Weird Tales magazine with its very first issue inaugerated a policy of devoting some portion of its conctents to science fiction and has continud that policy from March of 1923 to date. There was always some conflict between those readers who wanted more space devoted to straight weird material—i.e., fantasy—as opposed to those who would have preferred additional science fiction. The man who helped reocncile those two elements was H. P. Lovecraft, who in his own popular fashion blended weird and horror elements into a credible sceintific background to come up with a combination which satisfied all readers. Lovecraft influenced a great many of the younger writers […]
—Dorothy McIlwraith, Editor’s Choice in Science Fiction 185
She was not wrong, especially on the final point.
In evaluating Dorothy McIlwraith’s role with regard to Lovecraft and the Mythos, it is difficult not to consider the symbiotic role played by Derleth and Arkham House in the pulp’s final 14 years. While many of its stories were selected for reprint in anthologies long before this was the norm for science fiction, Weird Tales never issued a successful anthology of its own material—Arkham House largely fulfilled that role during McIlwraith’s time. By the same token, Weird Tales was exactly the market that Arkham House & August Derleth needed. Without McIlwraith, it seems unlikely that Derleth would have written Trail of Cthulhu, Mask of Cthulhu, or many of his posthumous collaborations—and whatever else may be thought of those works, as well as those of Bloch, Wellman, and Thompson, they helped keep the memory of Lovecraft alive for a new generation of readers.
But in this, Dorothy McIlwraith was not alone…
The Munsey Company practically invented the pulp magazine, with highly successful titles like Argosy going back to the turn of the century. With this large stock of stories, in 1939 they launched Famous Fantastic Mysteries primarily as a title to reprint them. The editor selected was Mary Gnaedinger, who also edited Fantastic Novels (1940-1941) and A. Merritt’s Fantasy Magazine (1949-1950).
Gnaedinger and McIlwraith were technically rivals, but since Weird Tales initially offered no reprints and Famous Fantastic Mysteries no original material, they seemed at least at first more complementary than anything—at least to contemporary eyes. FFM, however, paid better, so Gnaedinger was able to snatch away Virgil Finlay, one of the finest artists working in the pulps. She was also much more attentive to the growing science fiction and fantasy fandom, and catered the content of the magazine to the stories they wanted to read, republishing many now-classic works by Robert W. Chambers, A. Merritt, Arthur Machen, Ray Cummings…and even Weird Tales regulars.
Lovecraft however was not initially on the menu; though Gnaedinger managed to reprint “The Colour Out of Space” (Oct 1941), supplemented with the poem “For H. P. Lovecraft” by Robert A. Lowndes. In 1943, Munsey sold Famous Fantastic Mysteries to All-Fiction Field, who retained Gnaedinger as editor and loosened her restrictions, allowing her to publish more original material. (Sisters of Tomorrow 293) Gnaedinger took advantage of this by making arrangements with Arkham House to reprint some of Lovecraft’s fiction, with whom she had some dealings:
The Lurker on [sic] the Threshold is an excellent fantastic story, but I regret to say that we have decided it is too specialized for the ordinary readers who undoubtedly form a large cross-section of our public. A great part of the story is written for the initiated fantasy fan, and cutting would spoil it. Not that I think you would want to see it cut.
—Mary Gnaedinger to Derleth, 6 Feb 1945, A Look Behind the Derleth Mythos 191
Ironically, this was the same general rejection that McIlwraith had given Derleth when he pitched the idea of serializing The Lurker at the Threshold in Weird Tales. However, Gnaedinger was open to reprinting more works, and so in due course Famous Fantastic Mysteries hosted “The Outsider” (Jun 1950), “The Music of Erich Zann” (Mar 1951), and “Pickman’s Model” (Dec 1951), all “Published by permission of Arkham House.”
Fan-scholars and poets like Virginia “Nanek” Anderson also made their appearance in FFM. Two pieces in particular stand out: “Masters of Fantasy: Howard Phillips Lovecraft – The Outsider” (Aug 1947) and “Masters of Fantasy: Arthur Machen: Inspirator of Lovecraft” (Dec 1948); while credited as to Neil Austin, it has been suggested these pieces were actually written by arch-fan Forrest J. Ackermann.
There is a little mystery to the Famous Fantastic Mystery reprints, with the main one being: Why FFM? In 1941, Weird Tales wasn’t publishing reprints, so the reprint of “The Colour Out of Space” isn’t exactly cutting into their market; but in the 1950s it seems unusual that Derleth would offer reprints to FFM when Weird Tales was an open market—unless either McIlwraith had already turned him down, or Gnaedinger offered more money. Either seems a likely possibility, but the details to the deal have not come to light.
Near the end of its run, Gnaedinger also published a few works by Robert E. Howard with connections to the Mythos, notably “Skull-Face” (Dec 1952)—whose villain Kathulos was once feverishly debated to have a connection to Cthulhu by the fans of Weird Tales—and “Worms of the Earth” (Jun 1953), which appeared in the final issue.
Famous Fantastic Mysteries folded the year before Weird Tales; while it had a good 14-year run, the pulp market was largely collapsing in on itself, competing both with comic books and the burgeoning paperback, which offered another cheap way to reprint fiction. Mary Gnaedinger continued to keep in close touch with fans, and while she may have published little original Mythos fiction, she was a sensitive barometer to what the fans wanted—and strove to give it to them. In the early 1950s, that was more Lovecraft.
Cele Goldsmith Lalli
Science fiction magazines weathered the collapse of the pulps a little better than most, and writers that had cut their teeth at Weird Tales and Unknown would go on to find success in the 60s with The Magazine of Fantasy & Science Fiction, Galaxy Science Fiction, and Analog Science Fiction and Fact (which evolved from Astounding). It was in this Cold War/Space Race atmosphere that Cele Goldsmith (later Cele Goldsmith Lalli) became editor of both Amazing Stories and its companion Fantastic from 1958-1965, when the magazines were sold.
Cele Goldsmith combined the approaches of both McIlwraith and Gnaedinger: she listened to the fans, and she was willing to give them both original fiction and classic reprints. In the May 1960 issue of Fantastic she republished “The Challenge From Beyond” (at least Lovecraft’s portion of it), but paired it with fan-scholar Sam Moskowitz’ essay “A Study in Horror: The Eerie Life of H. P. Lovecraft.” Two years later, she published Derleth’s posthumous collaboration “The Shadow out of Space” (Dec 1962), which had appeared a few years earlier in the Arkham House volume The Survivor and Others (1957), containing Derleth’s posthumous collaborations from Weird Tales.
Finally, in Goldsmith published two new Mythos stories, and from an author that wasn’t part of the Arkham House stable—although if Derleth ever caused a stink about it like C. Hall Thompson, it has never come to light. The stories were “The Dunstable Horror” (Apr 1964) and “The Crib of Hell” (May 1965), both by “Arthur Pendragon”—thought to possibly be the pen-name of well-known Fantastic contributor Arthur Porges. While it was still rare for Mythos fiction to be published outside the aegis of Arkham House, Derleth could not police every magazine forever.
What these three women accomplished, from 1939-1965, was essentially to help keep the Mythos alive in the pulps. Because of the controlling nature that Arkham House had on Lovecraft’s material, and Derleth’s production of additional Mythos material, a sizable amount of what they published came from Derleth or went through him—but not all of it. These editors held authority over their own magazines, and while they might pay Derleth for a story, what they published was ultimately their own decision. What we get, in their magazines, are the inklings of original Mythos material outside of what August Derleth approved to be printed, and this in professional magazines, not just the fanzines.
Maybe that is a small thing, in the great scheme of the universe. None of these editors appear to have been particular devotees of Lovecraft or the Mythos…but neither were they ignorant of it. They knew their business, and Lovecraft and the writers he inspired was a part of that.