In September  I went to the 7th 8th Battalion of the Inniskilling Fusiliers. we used to be in front of Croisilles, when we were in the line, and in a sunken road through the village itself when we were in reserve. When we were out of the line we lived at a place that had been Ervillers, four miles back, where the bombing planes used to call us every morning, but never hit us. That was in the desert of the Somme. We never saw any animals there except mice, and an army horse or two; and, when the rooks flew over at evening, they passed out of our sight before they could find trees. There was something melancholy in watching this flight over a land that for centuries had been fertile: it was pleasanter to look at our aeroplanes returning at about the same hour, like adventurous mountaineers descending cloud-mountains. Sometimes we met American soldiers there, who for some while had been arriving in large numbers, men with red healthy faces.
—Lord Dunsany, Patches of Sunlight (1938) 296
The success of The Thackery T. Lambshead Pocket Guide to Eccentric & Discredited Diseases (2003) led to a sequel: The Thackery T. Lambshead Cabinet of Curiosities (2011). The first book is essentially a standalone volume similar to The Starry Wisdom Library (2014): a collection of short fictional works done in the style of a reference guide, with all the fantastic, science fiction, weird, and supernatural ailments and symptoms pretending to co-exist in the same setting. The Cabinet of Curiosities is nominally framed along the same lines, as items in the fictional Thackery T. Lambshead’s eccentric collection, but the guidelines on what constitutes an “entry” are less rigid…so what it really turns out to be is a collection of disconnected pieces of various lengths and styles. Some resemble actual write-ups like one might find in a good SCP wiki entry, and others are simply short stories with, perhaps, a note at the end that explains how it got to be part of Lambshead’s collection. Some of them don’t even have that.
The trench had scarcely been dug. Dirt shook loose down upon then, until they might have been part of the earth, and when the all-clear sounded at last out of long silence, they stood up still equals under a coat of mud, until Russel bent down and picked up the shovel, discarded, and they were again officer and man.
But this came too late: Edward trudged back with him, side by side, to the more populated regions of the labyrinth, still talking, and when they had reached Russell’s bivouac, he looked at Edward and said, “Would you have a cup of tea?”
—Naomi Novik, “Lord Dunsany’s Teapot” in The Thackery T. Lambshead Cabinet of Curiosities 118
Edward John Moreton Drax Plunkett, 18th Baron of Dunsany, was one a writer’s writer. Never a bestseller, he was still highly esteemed by many as one of the greatest fantasists to ever live, and one of the most influential. His stories of “beyond the fields we know,” written briefly around the turn of the century, would provide the inspiration for H. P. Lovecraft’s Dreamlands and for “The Call of Cthulhu.” During his service in the British Army during World War I, the 39-year old Anglo-Irish peer was appointed a Captain in the Royal Inniskilling Fusilliers, and spent time in the trenches in France, where this story is set.
After the war was over, Lord Dunsany would travel on a tour of the United States. In Boston in 1919, a 29-year old H. P. Lovecraft would be too self-conscious to ask his idol for an autograph.
You come to the trenches out of strangely wasted lands, you come perhaps to a wood in an agony of contortions, black, branchless, sepulchral trees, and then no more trees at all. The country after that is still called Picardy or Belgium, still has its old name on the map as though it smiled there yet, sheltering cities and hamlet and radiant with orchards and gardens, but the country named Belgium—or whatever it be—is all gone away, and there stretches for miles instead one of the world’s great deserts, a thing to take its place no longer with smiling lands, but with Sahara, Gobi, Kalahari, and the Karoo; not to be thought of as Picardy, but more suitably to be named the Desert of Wilhelm. Through these sad lands one goes to come to the trenches. Overhead floats until it is chased away an aëroplane with little black crosses, that you can scarcely see at his respectful height, peering to see what more harm may be done in the desolation and ruin. Little flashes sparkle near him, white puffs spread out round the flashes: and he goes, and our airmen go away after him; black puffs break out round our airmen. Up in the sky you hear a faint tap-tapping. They have got their machine guns working.
—Lord Dunsany, “A Walk to the Trenches” in Tales of War (1918)
For all that Dunsany’s fiction has been lauded by the likes of Lovecraft & co., the writer himself never quite developed the same mythology about him. There are fewer stories about Dunsany the man than there are about Lovecraft. This may in part be due to the fact that Lord Dunsany himself was around for quite a bit longer: his writing career of 50+ years was longer than Lovecraft himself was alive, and Dunsany produced several volumes of autobiography…much of which, perhaps strangely, failed to touch on his inner life. He had been a sportsman, who hunted game big and small all over the world; chessmaster; heir to an old title in the British peerage; a soldier, a husband and father, a writer of poetry, fiction, wartime propaganda, plays…he corresponded with a young Arthur C. Clarke, and if her didn’t invent the club story with his Jorkins tales, he may well have perfected it.
There’s been quite a bit written about Dunsany, and he himself wrote quite a bit, but he failed to really make that leap into myth that had others write about him in the same way as Lovecraft. Which is one of the things that makes Naomi Novik’s story stand out in the second Lambshead anthology. That rare story that touches on Dunsany the myth.
He lifted off the lid and showed Edward: a lump fixed to the bottom of the post, smooth, white, glimmering like a pearl, irregular yet beautiful, even with the swollen tea-leaves like kelp strewn over and around it.
—Naomi Novik, “Lord Dunsany’s Teapot” in The Thackery T. Lambshead Cabinet of Curiosities 122
The magic of the teapot to me is more that it offers dreams, fantastical ones, and for both of them, in the midst of that dreadful war, to be able to dream and for a little while escape the reality of the grinding machinery of death, that was what brought them both peace.
—Naomi Novik, Year’s Best 2012: Naomi Novik on “Lord Dunsany’s Teapot” (Erin Stocks)
Ironically, if there is a problem with “Lord Dunsany’s Teapot” as a story, it’s not nit-picks about army life or the state of the Somme in the fall and winter of 1917, or any other fact of the real world or Dunsany’s life. It’s the implications of the teapot itself. As totemic artifacts go, 1917 is a bit late in Dunsany’s career to come into possession of the thing. Lord Dunsany had written nearly all of his fantasy fiction before his service in World War I, and relatively rarely ventured back there afterwards. If it had come to him during the Second Boer War (1899-1902), before he wrote The Gods of Pegāna (1905), it would be more fitting to explain his fantasy output.
Of course Novik never suggests that the teapot at all inspired Dunsany’s fantasies—his writing is never actually mentioned in the story itself—and that’s kind of its own little oddity too. It definitely feels like a story where the reader is expected to shoulder a good bit of the narrative heavy lifting: and that is sort of characteristic with many of H. P. Lovecraft’s fictional appearances—Lovecraft works as a character because of the familiarity of his image with fans. Lord Dunsany doesn’t quite have that much exposure. Readers are presumably supposed to recognize the name in the title (Lord Dunsany) and then know or intuit that Edward is Edward Plunkett, Lord Dunsany. Anything beyond that is presumably getting into the weeds.
Then again, the real hardcore Lord Dunsany fan knows that it should probably have been not a teapot, but a hat:
He cannot explain a flight of fancy, save to call it what it is, and thus can’t tell the “source” for Pegāna, which is probably just as well. But he does put forth a wealth of information about his writing methods,* his artistic credo, his early experiences in the theatre, and his interests in literature.
* One, which he doesn’t bother to mention, but which Lady Dunsany related to Sprague de Camp, was that he always sat on a crumpled old hat while composing his tales. Perhaps it had magical properties; but, alas, some visitor to Dunsany Castle made off with it, so we’ll never know.
—Darrell Schweitzer, Pathways to Elfland: The Writings of Lord Dunsany 139
This is one of those anecdotes that is almost impossible to source, but L. Sprague de Camp does mention his friendly relationship and correspondence with Lord Dunsany’s wife (and later widow) Beatrice, Lady Dunsany, so there’s no reason to discount it out of hand. Like Tolkien’s ashtray, it’s one of those odd real-life artifacts about which the speculation is probably much more fun and interesting than the reality.
“Lord Dunsany’s Teapot” is illustrated with a single picture, which bares a curious caption:
Yishan Li’s depiction of Lurd Dunsany’s Teaport, from the forthcoming Novik-Li graphic novel “Ten Days to Glory: Demon Tea and Lord Dunsany.”
—The Thackery T. Lambshead Cabinet of Curiosities 119
Said graphic novel never came out, although Naomi Novik and Yishan Li did collaborate on another graphic novel, Will Supervillains Be On The Final? (2011). Publishing projects fall apart all the time, but despite the nitpicks above, it’s unfortunate that this didn’t happen. At longer length, with such a talented artist, “Lord Dunsany’s Teapot” could have been a really interesting work—and if there is a paucity of good stories about Lord Dunsany as a fictional character, he and his works are hardly ever adapted to comics or graphic novels.
“Lord Dunsany’s Teapot” was first published in The Thackery T. Lambshead Cabinet of Curiosities (2011) and was reprinted in The Year’s Best Dark Fantasy and Horror: 2012 Edition (2012).