Four years ago Hazel Heald made her bow to the readers of Weird Tales with an eery story called “The Horror in the Museum,” which established her at once among the most popular writers of weird fiction. She followed this with “Winged Death,” a story of the African tse-tse fly, and another tale of a weird monster from “the dark bacward and abysm of time.” The story published here, “The Horror in the Burying-Ground,” is as weird and compelling as anything this talented author has yet written. We recommend this fascinating story to you, for we know you will not be disappointed in it.
—Weird Tales, May 1937
“The Horror in the Burying-Ground” was the last of Lovecraft’s revisions for Hazel Heald to be published. The details of its creation, and how much input had into the plot, are difficult to make out. H. P. Lovecraft died on 15 March 1937; the May issue of Weird Tales containing this story would have hit the stands around mid-April. No manuscript or typescript is known to survive. As most of the information we have on the other Heald revisions comes from Lovecraft’s letters, and Lovecraft himself was dead and unable to comment on the story, we are left with far less data to go on.
What little information we have though points at “The Horror in the Burying-Ground” as something of an outlier. The previous revision “Out of the Æons” had come out a full two years prior in the April 1935 issue of Weird Tales, and Lovecraft had been firm that he was not doing any more collaborations after that—with no indications in his correspondence that he had changed his mind or was working on a new story for a client. Yet the story’s text clearly shows Lovecraft’s heavy revisory hand, if he didn’t simply ghost-write the whole thing. So what happened?
The simplest answer would be that this was indeed written after the successful sale of “Out of the Æons,” and that Lovecraft had simply neglected to mention it. Shortly after Lovecraft’s death, August Derleth began writing to Lovecraft’s correspondents and clients, beginning to collect data for what would be Arkham House publications of Lovecraft’s fiction. She wrote back:
By the way, I will have another tale in the May Weird Tales—my own. […] Truly we have all lost a wonderful friend in HPL. I feel lost without his letters and kind advice even though I have not worked with him for three years on my stories. He had told me that now I could stand on my own feet and work things out for myself.
—Hazel Heald to August Derleth, 25 Mar 1937
The “three years” comment would mean that the last story Lovecraft revised or ghost-wrote would be in 1934, which suggests that “The Horror in the Burying-Ground” was written earlier than that. Heald’s next comment on the story was some years later:
My HORROR IN THE BURYING GROUND was rejected once by Wright, then several years later I rewrote it in several places and he accepted it. He said I had too much dialect to read easily.
—Hazel Heald to August Derleth, 14 Oct 1944
The implication is that “The Horror in the Burying-Ground” was written somewhere between 1932 and 1934, submitted to Farnsworth Wright, editor of Weird Tales, and then rejected and shelved for some years until he requested to see it again. Nowhere does Heald give any credit to Lovecraft for the story, or say when it was published—but there are is a possible clue in Lovecraft’s letters.
The Horror in the Museum—a piece which I “ghost-wrote” for a client from a synopsis so poor that I well-nigh discarded it—is virtually my own work. Glad you found it entertaining. There will be two more Heald tales equally dependent on my pen.
—H. P. Lovecraft to Richard Ely Morse, 28 Jul 1933, Selected Letters 4.229
“The Horror in the Museum” was published in Weird Tales July 1933; the next two tales would presumably be “Winged Death” (March 1934), and “Out of the Æons” (April 1935); the first mention of “Winged Death” in Lovecraft’s letters is actually August 1932 (Essential Solitude 2.497), suggesting it was probably written before “The Horror in the Museum.” That would suggest that “The Horror in the Burying-Ground” was probably written before those three tales. If that is the case, then “The Horror in the Burying-Ground” was one of their first stories—either a revision or ghost-writing. “The Man of Stone” (Wonder Stories Oct 1932) is typically given as the start of Lovecraft’s revision services, given that it was the first published and that Muriel E. Eddy states in her memoir The Gentleman from Angell Street states that “The Man of Stone” was the story that Heald was working on that caused Eddy to put her in touch with Lovecraft, which would suggest “The Horror in the Burying-Ground” was second.
But…what if “The Horror in the Burying-Ground” was the first of the Lovecraft/Heald revisions? That would make the order of writing:
- “The Horror in the Burying-Ground”
- “The Man of Stone”
- “Winged Death”
- “The Horror in the Museum”
- “Out of the Æons”
This order, incidentally, would start with a story that has no Mythos connection (“The Horror in the Burying-Ground”) to stories with minimal Mythos references (“The Man of Stone,” “Winged Death”) to the full-blown Mythos tales (“The Horror in the Museum,” “Out of the Æons”). Could the fact that “The Man of Stone” appeared in Wonder Stories and that “Winged Death” was offered first to Strange Tales suggest, perhaps, Wright’s rejection of “The Horror in the Burying Ground” soured Heald to Weird Tales for a period?
We don’t know. While the idea is suggestive, it is still speculative. Given the nature of pulp publishing, the situation may have been even more complex.
Looking at the text of the story itself, this unknown history of the story presents three possibilities for “The Horror in the Burying-Ground”:
- An extensive revision, along the lines of “The Man of Stone.”
- A ghost-writing job, along the lines of “Winged Death.”
- An original story by Hazel Heald.
(1) assumes that there is more plot or writing involvement on Heald’s part, and would make more sense if it was written early in her relations with Lovecraft, and/or if she revised it after Wright rejected it. (2) is what the story is normally assumed to be; if the story was written late in their relationship, where Lovecraft was ghost-writing the stories entirely, this would be likely. (3) is what Heald claimed the story as; this appears to be unlikely, as the text has several hallmarks of Lovecraft’s prose, especially the portions of New England dialect. Compare:
“Don’t ye bury him, don’t ye bury him! He ain’t dead no more nor Lige Hopkins’s dog nor Deacon Leavitt’s calf was when he shot ’em full. He’s got some stuff he puts into ye to make ye seem like dead when ye ain’t! Ye seem like dead but ye know everything what’s a-goin’ on, and the next day ye come to as good as ever. Don’t ye bury him—he’ll come to under the earth an’ he can’t scratch up! He’s a good man, an’ not like Tom Sprague. Hope to Gawd Tom scratches an’ chokes for hours an’ hours. . . .”
—”The Horror in the Burying-Ground”
“The graoun’ was a-talkin’ lass night, an’ towards mornin’ Cha’ncey he heerd the whippoorwills so laoud in Col’ Spring Glen he couldn’t sleep nun. Then he thought he heerd another faint-like saound over towards Wizard Whateley’s—a kinder rippin’ or tearin’ o’ wood, like some big box er crate was bein’ opened fur off. What with this an’ that, he didn’t git to sleep at all till sunup, an’ no sooner was he up this mornin’, but he’s got to go over to Whateley’s an’ see what’s the matter. He see enough, I tell ye, Mis’ Corey! This dun’t mean no good, an’ I think as all the men-folks ought to git up a party an’ do suthin’. I know suthin’ awful’s abaout, an’ feel my time is nigh, though only Gawd knows jest what it is.”
—”The Dunwich Horror”
The dialect is very similar, if not quite identical; the Dunwich speakers use more long vowels. Heald’s comment that Wright asked her to remove some of the dialectic language may account for the difference, we have no way of knowing. Other elements that point toward Lovecraft’s involvement are various place and character names which appear elsewhere in Lovecraft’s life and works: Peck (“In the Vault”), Akeley (“The Whisperer in Darkness”), Frye (“The Dunwich Horror”), Atwood (At the Mountains of Madness, Fungi from Yuggoth), and “Goodenough” (perhaps a nod to his friend, the poet Arthur Goodenough).
The basic idea of the story has similarities to “The Man of Stone”—a chemical which induces a state of paralysis—and there are echoes of this same basic idea in the living brain in the mummified body in “Out of the Æons”; so it is thematically tied to the other stories, although less weird and fantastic than them. Unusual for a Lovecraft story is the bitter romantic story between Sophie Sprague, her brother Tom Sprague, and her attempted suitor Henry Thorndike. This story of control and aborted courtship, the complex of emotions that Sophie experienced as both the men in her life who tried to own and control her were gone—may suggest Heald had slightly more to do with the plot than in the later ghost-written stories.
When would Wright have asked Heald to see the story again? While it would be poetic if Wright heard news of Lovecraft’s death and rushed a letter to Heald asking for it, knowing he would get no more stories from the deceased, the timing would be tight—Heald’s letter to Derleth is dated just ten days after Lovecraft’s date of death. Wright would have had to write immediately and Heald would have had to send it on as quickly. Not impossible, but given that Wright was known to hang on to stories for months, sometimes years after acceptance, it is just as likely that he had asked her to revise it at an earlier date and that May 1937 was simply when he slotted it into an issue.
The death of H. P. Lovecraft and its announcement crowded out most mentions of the story in “The Eyrie”; the only comment published was by longtime fan Gertrude Hemken:
I have not been disappointed in Hazel Heald’s story of The Horror in the Burying-Ground. The lady knows how to keep one’s interest brimming. Her mthod of relating the circumstances as told by the general store council has a touch of humor. Any hard-fisted citizen would condemn them for a bunch of crackpots. As for me—I’d listen, git werry uncomy and when the tale is done, run like heck for home…
—Weird Tales, July 1937
August Derleth must have had at least some suspicion of Lovecraft’s hand in the story, and it was anyway good enough for him to publish in one of the wartime Arkham House anthologies, Sleep No More: Twenty Masterpieces of Horror for the Connoisseur (1944), produced in both hardback and an Armed Services Edition. His introduction to the tale:
HAZEL HEALD is in a large sense a protege of the late H. P. Lovecraft, and her published work, which is not voluminous, plainly bears the mark of the master. A self-admitted “amateur” in writing, Hazel Heald has never sought to deny the felicitous influence of Lovecraft, whose work, she says, inspired her to write, and under whose direction she did her best work. Her story, The Curse of Yig (included in the Lovecraft collection Beyond the Wall of Sleep) is a Weird Tales classic, and her Out of the Eons and The Horror in the Museum (also reprinted in Beyond the Wall of Sleep) are also remarkably fine tales of horror. A New Englander all her life, Mrs. Head [sic] has occupied her time in many and varied positions; writing is an evocation which she has followed sparingly in the past few years.
Derleth confuses Heald with Zealia Bishop, Lovecraft’s client for the revision “The Curse of Yig”; Heald is credited with the story in Sleep No More. The tale is not published as a Lovecraft “revision” until it was published in Something About Cats and Other Pieces (1949)—whether Heald admitted Lovecraft’s part in the story or Derleth simply made the determination on his own is unknown. Heald herself died in 1961, and after this general scholarly consensus has leaned heavily on “The Horror in the Burying-Ground” being at least an extensive revision by Lovecraft, if not actually ghost-written. S. T. Joshi in his Variorum simply states:
The entire conception and execution of this story must be by HPL. (433)
Which may well be the case, although I suspect at least a little more of the plot was hers. We don’t know. All we do know is that “The Horror in the Burying-Ground” represents the posthumous end of their association. No other story of hers is known to have been published, although she mentions in letters to Derleth that she submitted a story to Dorothy McIlwraith, editor of Weird Tales after Farnsworth Wright. This unknown story never saw print, and may well be lost.
Near the end of Muriel Eddy’s memoir, she remarks:
Hazel, the sweet-faced writer who thought so much of Lovecraft, died February 3, 1961. She died unexpectedly of a heart seizure in a Bostn hospital. She never remarried. What a match it would have been, if love had entered the heart of Lovecraft for this fine woman. They could hve written many a weird classic together, for Hazel, unlike his other wife, would have been kind and understanding with him, knowing his sensibilities and his inborn gentleness. He could not be pushed into rank commercialism, but as a writer of the weird and unusual he was always tops in his field. And with that Hazel would have been content.
—The Gentleman from Angell Street 27
Rose-tinted spectacles. While Lovecraft was almost certainly friendly toward Heald, as he was to many of his clients, and engaged in correspondence and visits outside the scope of a purely professional relationship, at its base Lovecraft was writing or re-writing Heald’s stories for money—and determined, at the end, that the revision-work was both creatively exhausting and insufficiently remunerative to continue pursuing. It did result in five stories, two of which are significant additions to Lovecraft’s Mythos.
From what little evidence remains it appears her actual contribution in terms of writing was small, but Heald deserves credit for her part both as a catalyst to Lovecraft’s imagination and for the stories’ publication.
“The Horror in the Burying-Ground” may be read for free here.