After the death of H. P. Lovecraft in 1937, his friends August Derleth and Donald Wandrei (founders of Arkham House), and R. H. Barlow (Lovecraft’s literary executor) began a concerted effort to get his fiction, poetry, and letters into print. This process took decades, publication being relatively slow and expensive, and the audience being mostly restricted to hardcore fans. Among all the legendary Arkham House publications, Zealia Bishop’s The Curse of Yig (1953) stands out as the first Mythos collection attributed to a woman—and would remain the sole such book for some decades. The contents are fairly succinct:
- “The Curse of Yig”
- “Medusa’s Coil”
- “The Mound”
- “H. P. Lovecraft: A Pupil’s View”
- “A Wisconsin Balzac: A Profile of August Derleth”
Like many books, The Curse of Yig didn’t just happen. At the time of Lovecraft’s death, only “The Curse of Yig” (1929) was published; both “The Mound” and “Medusa’s Coil” had been rejected by Farnsworth Wright, editor of Weird Tales, and apparently failed to find a home elsewhere. One of the first jobs that Derleth & co. faced was finding out what revision-work and collaborations that Lovecraft had actually done and obtaining manuscripts and permission to publish them.
H. P. wrote stories for a half dozen, some of which I can prove by documents. Bloch (Don’t quote me—there are amenities to be preserved), Heald, Reed, Lumley, had outright jobs done, Rimel & others his enormous tinkering resulting in a wholly re-written ms. These things are—some of them worth collecting–but not in his own books. He said many times he would not permit a collaboration in his collected stories, so certainly he’d resent these things. We’re going to have a hamper full as it is.
Mrs. Reed had him do 3 stories,
1928 – YIG – pub. – written outright for her
*1929 – THE MOUND – novelette – ditto
* ” – Medusa’s Coil – embodying a notion of hers, but all HPL nonetheless
* I have only the ms. of these
[…] Perhaps the works he ghosted could be called “collaborations” without scaring off the ghostees, & made another book. There’s years of work to be sorted & printed.
—R. H. Barlow to August Derleth, 31 Mar n.d. , MSS. Wisconsin Historical Society
Derleth managed to get in contact with Zealia Bishop in 1937, and they discussed Lovecraft’s letters and revisions. In an early letter, Zealia promised:
I shall prepare an article or—data—on what I think may be of general interest in regard to Howard’s revision work—and send you within the next week—but shall await your reply and if I have anything which you can use I shall compile it for you—and do all in my power to assist you in every way.
—Zealia Bishop to August Derleth, 8 Apr 1937, MSS. Wisconsin Historical Society
The article didn’t come. What did happen is that Derleth apparently edited these stories and then apparently acted as Bishop’s agent to sell them to Weird Tales. The timeline on how exactly this happened is a little unclear, but over a year later in the January 1939 issue of Weird Tales, Derleth’s version of “Medusa’s Coil” was published. Fan response was positive, and ‘The Eyrie’ for March 1939 reveals it was voted the second-favorite story in the issue. The success of “Medusa’s Coil” might explain why Bishop’s “The Curse of Yig” was included as a “Classic Reprint” in the April 1939 issue of Weird Tales, and it was also positively received in “The Eyrie.” “The Mound” did not see print until the November 1940 issue of Weird Tales, possibly due to its length. None of these stories were presented with any mention of Lovecraft’s authorship in Weird Tales.
Following Barlow’s suggestion, Arkham House initially focused on publishing H. P. Lovecraft’s fiction on its own: The Outsider and Others (1939) and Beyond the Wall of Sleep (1943) collects nearly all of his fiction. The latter book, however, also included some of his “collaborations,” including “The Curse of Yig” and “The Mound”—this would have been the first time Lovecraft’s hand in Zealia Bishop’s stories was publicly acknowledged. “Medusa’s Coil” was republished in Marginalia (1944), alongside other revisions and collaborations; these Arkham House texts both used Derleth’s edited versions of “The Mound” and “Medusa’s Coil,” rather than the original Lovecraft/Bishop version.
Was it your intention to make them appear as his stories?
—Zealia Bishop to August Derleth, 28 Jan 1949, MSS. Wisconsin Historical Society
Zealia Bishop’s letters with Derleth in the mid-to-late 1940s defend her authorship of the three weird stories, other evidence of Lovecraft writing them from synopses notwithstanding. She also continued to promise him an article on her relationship with Lovecraft:
I hope you won’t find too many things wrong with the Lovecraft article. If that passes, then I shall not worry about the others, for he is not an altogether easy subject about whom one can write, yet a very interesting one.
—Zealia Bishop to August Derleth, 13 Jan 1950, MSS. Wisconsin Historical Society
Arkham House was slowing down publication in the late 1940s and early 50s. Derleth had repeatedly cited low sales, with books selling out only very slowly despite the relatively small print runs. By the 1950s most of the weird fiction pulps had folded, and even the venerable Weird Tales was on its last few years of existence. So it is somewhat surprising that around 1952, Zealia’s letters start to discuss a print collection of her fiction…and she was also working on not just the long-promised article on Lovecraft, but another on Derleth himself:
You’re wrong, fellow, I haven’t fallen down on the job about the articles on you and H. P. L. I finished them two years ago, but kept rewriting them, unable to throw off that damnable self-consciousness instilled in me by Lovecraft. Now, however, I’ve developed more positiveness and will send them to you for approval and corrections where you feel necessary.
I plan to use both of them in the story collection but if, after reading them, you wish to suggest a market, it might be well to have them previously published.
After you read them and also see the assembled collection, how about writing a “Foreword”? You know I worked and studied hard before I began studying under Lovecraft and Long. Considering that it was during the darkest years of the depression, I paid them both well for their instructions, criticism and any revision. My record at Columbia University will bear out my years of studying and ambition. What shall I do about reprints of stories published in magazines now out of print? […]
What about the reprinting of stories once published in stories now out of business or publications discontinued by a publisher tho’ still in business? What of those published in Confessions?
—Zealia Bishop to August Derleth, 12 Aug 1952, MSS. Wisconsin Historical Society
Derleth’s reaction to this had to be a bit mixed. The time and place for Zealia’s memoir of Lovecraft would ideally have been earlier—in Marginalia maybe, or The Arkham Sampler (1948-1949)—and it didn’t seem that Zealia Bishop had anything genuinely weird to offer besides the three Lovecraft revisions, and those had already been published and re-published. “The Curse of Yig” in particular had been published twice in Weird Tales, three times in hardcover, and most recently in the paperback Avon’s Fantasy Reader No. 14 (1950).
At last here is the article. I hope that it does not fall far short of my opinion of you and that you will see some improvement in my writing. Feel free to augment and delete as you see fit. […] At the time I began the article on you I started one on Lovecraft this should be finished for your approval before I get there—you understand I will need photographs for both? […] In the event my short stories are published as a collection I plan to include both articles. Does that meet with your approval? If only the weird are selected for one book then both articles—DERLETH-LOVECRAFT—would be most appropos—Zealia Bishop to August Derleth, 15 Oct 1952, MSS. Wisconsin Historical Society
Will have some time to redo my DERLETH and LOVECRAFT articles. If they meet with your approval do you have a market for them or will you suggest one to me, though later they will go in the book with the weird short? Why don’t you quote me a price for publication (by ARKHAM HOUSE) for such a volume? I would like to have such a book done well, such as ARKHAM HOUSE does.
—Zealia Bishop to August Derleth, 18 Nov 1952, MSS. Wisconsin Historical Society
The discussion with Derleth now takes on a more business-like tone. The moment that Derleth might have been dreading arrived: Zealia had fixated on Derleth as a possible publisher for her collection. Vanity publishing was a skeleton in Arkham House’s closet: not a service that was widely advertised or ever publicly acknowledged, but a circumstance occasionally resorted to, at least with old Weird Tales authors that Derleth was familiar with and presumably whose material was not vastly divergent from Arkham House’s core focus. Given the relatively expensive costs of publishing, the high cost of the resulting books, the small print numbers, and the slow sales, it also wasn’t likely to be a strong financial investment—and that’s before you consider that most of the volume’s contents would be reprints. Derleth presumably expressed at least some of these risks to Zealia Bishop:
What you say about the publishing of the stories interests me. In the event we come to an agreement, how must this money be paid your company? You say you must get $2.50 for you to break even—then what of the author?
I would like to do this, followed by at least three other books, if you could pass on the work, but I would not want the weird tales published if you feel more credit should go to LOVECRAFT. After all, August, he was the teacher and I the pupil and he was polishing my efforts, trying to direct me, but he did not do any more than you and Frank Long did. While erratic and always in need of money, Frank was an excellent and driving tutor even though we could not always see “eye-to-eye”. I was always pulling between the two teachers trying to write as I wished, not as they were determined I should, but I gained much from both of them as well as from your own kind interest and advice. Yet I would not want to publish the stories as my own efforts if you do not feel I am justified in claiming them. So be perfectly frank and we shall proceed from there.
Am re submitting the articles with the one on H. P. L. Maybe this time you will like the Derleth one better.
—Zealia Bishop to August Derleth, 14 Dec 1952, MSS. Wisconsin Historical Society
I would like very much to work out a plan with you for the publishing of not only the one volume but possibly several more. I feel after your editing, they will all be good and should have reasonable sales. […] My reason for asking how the money is to be paid is that under the circumstances, I cannot draw from a personal fund. I have talked to our banker who has told me “if the contract warrants it” I may borrow the sum.
It is now up to you about the contract. […] I will have the weird tales and articles to you immediately after Christmas. What you choose and assemble will be, of course, entirely up to you.
—Zealia Bishop to August Derleth, 22 Dec 1952, MSS. Wisconsin Historical Society
It isn’t clear what Zealia means by “editing” here—that is, whether she means the usual services of copy-editing by removing typos and grammatical errors and checking for factual accuracy, or editing that was more along the lines of wholesale revision, as Lovecraft would have done. Possibly she didn’t know herself. At the very least, he seemed to have convinced her that the volume should consist solely of the three weird tales revised by Lovecraft, plus her articles (if she ever finished them). The issue of cost and “breaking even” is another key issue: assuming that Zealia Bishop was paying for the printing, who was getting what percentage of the cover cost? Without the actual contracts or the Arkham House business records it is difficult to assess, but we get further hints as their correspondence addresses more details of the project.
First, though, Zealia had to finish her articles on Lovecraft and Derleth.
In three days I wrote exactly four words on the revision of the DERLETH article. Howarver [sic], after your letter I set up all night finishing it as well as the ESCHUTECHEON [sic]—so go over them both with a “curry comb”—streamline them where necessary-especially with newspaper publication in mind for DERLETH—and elaborate upon the “HOUSE OF GHOSTS” as I have no details on that other than behind it is: that ARKHAM HOUSE was founded on the memory of LOVECRAFT and his fictious [sic] name of ARKHAM – Incorporate that as you see fit.
I do not think, however, that for the book the real meaty stuff should be deleted.
But revise both article and story as necessary and have both retyped and send me a statement. Do please send the ESCHUTCHEON to your editor friend if it passes your approval. I will work on the LOVECRAFT article tonight and tomorrow night and it will follow as quickly as typed to be handled the same as the DERLETH one. If you find these two articles and the three Weird stories adequate for publication in book form, then let’s get down to figures, publicity plan etc;.
You know I told you I would have to know how much—when the bills had to be met and so on. After all, I have to plan ahead for any unusual expense or it would not pass D. W.’s approval—certainly not for writing. He loathes publicity and does not encourage my writing—maybe I should use my little granddaughter’s name—LESLIE S. REED—and become an individual-new-unknown-etc.-and after the successful publication of several things bring out a good personality story—?
—Zealia Bishop to August Derleth, 14 Apr 1953, MSS. Wisconsin Historical Society
This was a little over a week after August Derleth’s marriage; one can imagine that it had begun to dawn on him that for the monies to get the book published, she apparently wanted him to put her articles into printable shape as well as every other task involved with assembling a manuscript. D. W. Bishop was Zealia’s husband, and at that time was essentially an invalid, although he apparently still largely controlled the couple’s finances. The idea of using a pseudonym was probably vetoed by Derleth: one of Zealia’s most bankable assets was likely name recognition from Weird Tales fans from over a decade prior.
Evidently you misunderstood me that day at lunch in Madison. I thought I was very explicit—as well as Helen—that I told you “everything was ready to go except I wanted to rewrite the DERLETH and LOVECRAFT articles. And that I would positively have to rewrite the LOVECRAFT article entirely.”
I have done what I could on it and am sending it as is, “but I am not in the slightest pleased with it and feel that I should be the one to rewrite it.”
The material is here and could be redone beautifully but it would take me at least another two weeks so I am sending it so that you may pass judgement edit it and then if you think I should rewrite it return or bring it.
I will do the foreword as quickly as possible.
—Zealia Bishop to August Derleth, 25 Apr 1953, MSS. Wisconsin Historical Society
The Lovecraft article is finished—but you’ll have to have it retyped—Helen cannot type fast enough & my secretary has had a baby, has to stay home—etc—etc—so—take it as is—but it must be slicked up & retyped.
—Zealia Bishop to August Derleth, n.d. (after Apr 1953), MSS. Wisconsin Historical Society
Ultimately The Curse of Yig was published without a foreword, so presumably it was either cut or never finished.
In the correspondence, there are suggestions that Derleth may have been trying to agent the Lovecraft and Derleth essays to magazines or fanzines before the book was published. If this was the case, no record of a prior publication has been found. It’s reasonable to assume that the original manuscripts for the two profiles “H. P. Lovecraft: A Pupil’s View” and “A Wisconsin Balzac: A Profile of August Derleth” required more than a little copy-editing, and possibly wholesale re-writing, including lengthy bibliographical lists in Derleth’s profile, which elicited a comment:
Approve manuscript-with exceptions: some typographical errors and suggest Derleth profile be cut to eliminate so much commercialism and cataloging which should be in a separate pamphlet. Suggest I proof read—What about contract? We should settle on that before printer begins work—
—Zealia Bishop to August Derleth, 29 Jun 1953, MSS. Wisconsin Historical Society
The contracts arrived—but you do not mention in your letter that the DERLETH & LOVECRAFT articles are included in THE CURSE OF YIG. Without them the publications would be of little, if any, value to me. I merely mentioned that I thought the article about you included too much listing of your works and killed the interest about the writer and man. […] Your prices do not correspond with those in the printers’ letter. I shall send a check to the artist. Also, watch for proofs from photographers.
—Zealia Bishop to August Derleth, 19 Jul 1953, MSS. Wisconsin Historical Society
Before desktop publishing, print costs would be a bit vague: the printer’s letter would have included the quote for costs for an approximate number of books at so many pages; the addition of photographs, large changes in the text, etc. could require substantial rework in terms of layout and raise the cost of the final product. Which is apparently about what happened with The Curse of Yig.
I am going to ask that you proofread this manuscript—particularly the Lovecraft. It needs some smoothing—it seems a little jerky—Maybe you will not think so—. […] I’m much too anxious about publicity, August—that can come with my new name—But I do wish the picture of Derleth & Lovecraft included in the Curse of Yig.
—Zealia Bishop to August Derleth, 16 Sep 1953, MSS. Wisconsin Historical Society
You should add that I have done journalism or writing for several newspapers including an historical series around Clay County Missouri—That I am a member of the National Federation of Press Women & the Missouri Womens Press Club. These women hold pretty well together & would feel slighted if mention were not mad on the blurb.
It would be better if the book dd not come out too soon or at least that the printers bill does not come before Dec if you can so arrange it.
Our Dispersion sale is Oct 21—Final settlement & especially in the case of a dispersal, if normally takes from 60 to 90 days—
—Zealia Bishop to August Derleth, n.d. (Sep 1953?)
The “dispersion sale” refers to the selling off of the livestock of Highland View Farms, which the Bishops owned; presumably with D. W. Bishop incapacitated they were no longer able to manage the rigorous cattle business. The blurb on the inside rear flap of her book jacket does include all of the points she wished included in the above letter.
We have not yet had the bill from Banta, but it will be coming along in a week or ten days, and it will be due thirty days from its date. I will send you a copy of it promptly, but I will not notify you how much you will have to pay until some time later, since we will want to wait at least until November 10th to give payments and orders time to come in. We have had 27 advance orders to date, and of course we have about 100 standing orders with the shops, though their payments will very probably not come through at once, and you will have to be remitted to you after you have met the bill. Our shipment indicates that somewhere between 1200 and 1220 copies of THE CURSE OF YIG were printed; the book itself is very handsome, I feel.
—August Derleth to Zealia Bishop, 20 Oct 1953, MSS. Wisconsin Historical Society
I enclose a copy of the bill from the printing company for THE CURSE OF YIG. This is due November 15. You will note its details, please, and then return it to me in the envelope enclosed for that purpose. You will see that 1217 copies of the book came to $1,698.23, or a cost over all of approximately $1.40 per book. The deduction of $14.45 is listed as “150 copies of last section” which I had printed for lecture platform use, and it is thus my personal expense, and is included here only because it is part of the “job” of printing for Banta.
Now, then, as of today, the book has actually brought is, with the per copy deduction for our handling charge already taken off, a total of $127.40, which, deducted from $1698.25, would leave you—as of today, that is—the sum of $1,5580.73 to send to me. However, this sum will be further reduced by still further orders to come in and to be paid for. $127.50 represents only 50 copies of the book at $3 the copy, less .45$ handling charge […] We have, however, sold 157 copies of the book thus far, and there are thus manifestly more payments due to us. I do not know how many of those payments will come in before the bill must be paid, but it seems certain that the total amount you will have to pay will be not less than $1,400.00, judging by previous experience with payments to us.
A study of the bill will show you some interesting things. For instance, the inclusion of the two photographs, which you wanted inserted, added a total of $55.78 to the cost of production. Alterations in text and jacket, at $5.50 an hour, added a further total of $73.60. These were potentially avoidable expenses, of course; to offset them I could arrange only for an $11.58 deduction as indicated in the final credit entry. On the other hand, the 200 extra copies I added to the print order, cost only another hundred dollars, which, it seems to me, is well worth the additional expense, since we have just 200 copies more with which to come into the black from the red on this title. We should come out all right; happily, we are discovering that patrons who do already have your stories in our earlier collections are still ordering this title because they want a complete Arkham House collection. […] Do now please arrange to send the required sum as soon as I let you know; figure on paying at least $1,400.00 […]
—John Stanton to Zealia Bishop, 27 Oct 1953, MSS. Wisconsin Historical Society
Arkham House contracted with George Banta Publishing Company of Wisconsin for the physical publication of the books; John Stanton was an Arkham House employee that handled some of the business matters. Copies of the “lecture platform” edition of “A Wisconsin Balzac” appear to be extremely rare ephemera.
As the bill comes due, the question of reimbursement and profits comes up again. The stock price of the book was $3, and the “handling fee” was $0.45/book, so the gross value of each book was $2.55. At 1217 books, that left a potential gross of $3103.35—but how much of that would Zealia be getting? How many copies would have to sell for her to recoup the cost of printing? There’s no doubt that Derleth had to be getting at least a portion of the cover price to keep the lights on at Arkham House. Nevertheless, the terms must have been acceptable enough, because Zealia footed the printer’s bill.
Herewith is check on account for 300.00—leaving a balance of 1100.00 which you shall have not later than November 14th. I may be in Madison on that day or before—but you may depend on the check on that day in any eventuality. This has been a little difficult to handle as you told me that the bill would come in on Nov 10th & be payable in thirty days—If this is the fact let me know as it would be easier for me & I would not have to borrow any money—as I will have checks coming in to cover the amount early in Dec—Write me about this at once. It means a great deal to me—as previously explained. […]
I’m not interested in publicity–merely that sales pay the amount used to publish it—
—Zealia Bishop to August Derleth, n.d. (c. late Oct 1953), MSS. Wisconsin Historical Society
Herewith is the 1100.00 balance on the printing bill etc.—in three checks. I would like, if possible, for you to deposit them a few days intervals. The money is on deposit—but we have a devil of a banker—who is just as apt as not to call me out of a sound sleep & say “why are this….” knowing that D. W. would know nothing of the deal & that I would be called upon to explain. Things will not always be like this—at present, however, to antagonize anyone could be disastrous. Since you can be assured that the money is in the bank I know you will arrange to handle the amount with your usual diplomacy.
It is impossible to say now how “Yig” is going or will go over. I’m receiving “fan” mail, of course—but that’s all happened before— […]
D. W. took one fleeting glance at the book. He did not so much as touch it & has never mentioned it. That has cut me deeply—the girls, too, are wounded over his attitude—but it has only made me more determined to continue on—to do something more as often as I can—I cannot be destroyed—so many & so much depend upon me & my well being. […]
I hope “Yig” is successful enough to offset the printer’s bill & that we may publish one or two more under this plan then perhaps the other things will sell outright.
—Zealia Bishop to August Derleth, n.d. (c. Nov 1953), MSS. Wisconsin Historical Society
If Zealia Bishop hoped that the book would sell quickly, she had either deluded herself or else Derleth hadn’t been entirely forthright about the economics of the situation. As it was, it was not many months later when he was forced to write the kind of letter a writer hates to get.
I’m afraid you haven’t read your contract with Arkham House. There is no money due you by February 10th, I am sorry to say. The very earliest that any payment would be earned, would be in June, and I am not sure that there will be a payment then. The contract specifies that royalty reports on earnings shall be made after every half year, and that payments shall be made thereon not later than June and December respectively, following. Thus your first royalty report—which I shall try to have made up and enclose for you—carries you up to 1 January 1954, and covers the sale of only 250 books. And we have sold just 20 books since then, for a total of 270 books so far.
You will recall, too, that the total bill was $1,712.68, of which $14.45 was my personal responsibility—see my letter of 27 October 1953—leaving the actual cost of THE CURSE OF YIG—not counting other expenses incurred here which I did not put on the bill—at $1,698.23. Of this sum, you were asked to pay only $1,400.00, in the hope that the remaining figure would be earned by the time the bill was met. It was not quite earned; so you do not begin to receive monies until some months after (the first June to December) our royalty reports show that your book has earned the full $298.23. That is to say, form the first report of earnings, we must deduct no less than $298.23 plus a .45¢ per title handling charge, as per contract. If my estimate, purely off the cuff, is correct, the payment to you in June will be approximately $150.00, $20 more or less. My rough estimate puts it at just short of $150.00, but if I can have Alice make up the royalty statement in time to enclose it in this letter, than you will know for certain just what is due you in June; following which, the next payment will be made to you in December of this year, and on the same basis, at the same intervals, thereafter.
I am sorry that THE CURSE OF YIG has not sold faster; we are now just under 25% of the edition sold, and I know we will sell all the books, but they are just not moving fast, and none of our titles do so move. It took us 10 years to sell 1200 copies of THE OUTSIDER & OTHERS; yet, on the other hand, we sold 4,000 copies of SLAN in short of 4 years. But you will recall that I told you in advance not to expect any miracle sales, but a slow, steady accretion of sales. An initial payment of $150 or slightly less does represent 10% of your investment, and that is not too bad for two months’ sales, considering. […] We published Seabury Quinn’s ROADS in a 2000 copy edition in 1948 under a similar arrangement; it took him 4 years to recoup his $900 investment, and he is still earning his royalties now. We published David Keller’s TALES FROM UNDERWOOD in 1951 under a similar arrangement; he invested $1725, and still has $1450 to be earned for him.
—August Derleth to Zealia Bishop, 22 Jan 1954, MSS. Wisconsin Historical Society
25% would equate to about ~300 books sold in only two months (or a bit longer, counting advance sales); that should have grossed $900, or $765 minus the handling charges. If Zealia still owed ~$300 on the printing and might still expect $150 in June, that suggests her share or 300 books sold amounted to $450 net, so she was getting something like $1.50 per book (and remember that the printing cost was $1.40 per book). That leaves a full dollar of the cover cost unaccounted for, so either Derleth’s math is fuzzy, or (hopefully) there is a large piece of the accounting picture missing, because at $1.50 a copy Zealia would have to sell almost the entire run to earn out her initial investment ($1,698.23 / $1.50 per book = 1133 books), much less expect to see a profit.
We can compare these estimates with the one extant earnings statement:
$627.75 / 384 books = $1.63 per book, which isn’t far off from the estimate (presumably Derleth is rounding somewhere), but the basic picture is the same: to actually earn back her money, much less make a profit, The Curse of Yig would need to sell most of the edition. Just to break even, Arkham House would need to sell ($1,070.48 / $1.63 per book = 657 books), and there were only 833 left in the edition—and some of those might probably be author’s copies, archival copies, etc. At the current rate (384 books/year) the book wouldn’t be expected to show a real profit until 1956.
Unfortunately, that didn’t happen. Instead of sales remaining steady, they appear to have decreased:
Our Bishop book, done in October 1953, has sold only 450 copies so far; and our Metcalfe, done in April 54, only 400. The one was largely reprint material, true, but the other was new work, though by a British author.
—August Derleth to Clark Ashton Smith, 26 May 1955, Eccentric, Impracticable Devils 451
Several of Zealia’s later letters to Derleth, tracking her economic decline, include requests for checks ahead of the agreed-upon schedule, no matter how small. In at least some cases, Derleth appears to have done his best to comply…but any hopes of actual profit, much less further publication, probably vanished quickly.
Certainly there seems to be an even interest in Yig—What do you think about a paperback for it—& in Airports etc?
—Zealia Bishop to August Derleth, n.d., MSS. Wisconsin Historical Society
The reason it’s called vanity publishing is because it is vain.
At the end of the day, The Curse of Yig would seem to largely be a book for Arkham House collectors more than general fantasy or horror readers. One contemporary review probably said it best:
Zealia B. Bishop’s The Curse of Yig (Arkham House, $3) contains three negligible stories from Weird Tales, plus two first-rate biographical profiles: one plausibly presenting H. P. Lovecraft in a somewhat less favorable light than that in which he is shown by his idolaters, and one which comes close to doing justice to the fabulous career of August Derleth.
—”Recommended Reading” in Fantasy and Science Fiction, vol. 6, no.2 (Feb 1954) 95
Much of the enduring legacy of The Curse of Yig lies not with the stories themselves—these were the Derleth-edited texts, later superseded by corrected texts compiled and edited by S. T. Joshi in The Horror in the Museum and Other Revisions (1989, Arkham House). “A Wisconsin Balzac” has never been reprinted, and may well have been written entirely by Derleth himself.
What has been reprinted, and is perhaps the most remembered inclusion to The Curse of Yig is “H. P. Lovecraft: A Pupil’s View”—Zealia’s long-simmering, often re-written memoir of being Lovecraft’s student-cum-revision client. While not without its flaws, this was until the publication of their letters the only account of Lovecraft and Zealia Bishop’s professional and personal relationship available.
Which in its own way is what The Curse of Yig is: a testament to the lasting impact of these two human beings on one another, and through their fiction on the world. No other woman would be so associated with Lovecraft for decades afterwards; no other woman would have her own Mythos anthology until after the death of August Derleth in 1971. The Curse of Yig might have been a commercial failure, but those books still exist, and are purchased and read today. While every writer might hope for profit during their own lifetime, what more could a writer hope for, after they’re dead and gone, but to be read and remembered?