The End of the Story (2 page)

Between the years 1930 and 1935, the name of Clark Ashton Smith appeared on the contents page of
Weird Tales
no fewer than fifty-three times, leaving his closest competitors, Robert E. Howard, Seabury Quinn, and August W. Derleth, in the dust, with forty-six, thirty-three and thirty stories, respectively. This prodigious output did not come at the price of sloppy composition, but was distinguished by its richness of imagination and expression. Smith put the same effort into one of his stories that he did into a bejeweled and gorgeous sonnet. Donald Sidney-Fryer has described Smith’s method of composition in his 1978 bio-bibliography
Emperor of Dreams
(Donald M. Grant, West Kingston, R.I.) thus:

First he would sketch the plot in longhand on some piece of note-paper, or in his notebook,
The Black Book
, which Smith used circa 1929-1961. He would then write the first draft, usually in longhand but occasionally directly on the typewriter. He would then rewrite the story 3 or 4 times (Smith’s own estimate); this he usually did directly on the typewriter. Also, he would subject each draft to considerable

alteration and correction in longhand, taking the ms. with him on a stroll and reading aloud to himself […](p. 19).

Unlike Lovecraft, who would refuse to allow publication of his stories without assurances that they would be printed without editorial alteration, Clark Ashton Smith would revise a tale if it would ensure acceptance. Smith was not any less devoted to his art than his friend, but unlike HPL he had to consider his responsibilities in caring for his elderly and infirm parents. He tolerated these changes to his carefully crafted short stories with varying degrees of resentment, and vowed that if he ever had the opportunity to collect them between hard covers he would restore the excised text. Unfortunately, he experienced severe eyestrain during the preparation of his first Arkham House collections, so he provided magazine tear sheets to August Derleth for his secretary to use in the preparation of a manuscript.

Lin Carter was the first of Smith’s editors to attempt to provide the reader with pure Smith, but the efforts of Steve Behrends and Mark Michaud have revealed the extent to which Smith’s prose was compromised. Through their series of pamphlets, the
Unexpurgated Clark Ashton Smith
, the reader and critic could see precisely the severity of these compromises.

In establishing what the editors believe to be what Smith would have preferred, we were fortunate in having access to several repositories of Smith’s manuscripts, most notably the Clark Ashton Smith Papers deposited at the John Hay Library of Brown University, but also including the Bancroft Library of the University of California at Berkeley, Special Collections of Brigham Young University, the California State Library, and several private collections. Priority was given to the latest known typescript except where Smith indicated that he had been forced to make changes to satisfy editorial requirements. In these instances we compared the last version that satisfied Smith with the version sold. Changes made include the restoration of deleted material, except only in those instances where the change of a word or phrase seems consistent with an attempt by Smith to improve the story, as opposed to the change of a word or phrase to a less Latinate, and less graceful, near-equivalent. This represents a hybrid or fusion of two competing versions, but it is the only way that we see that Smith’s intentions as author may be honored.

Three of Smith’s earliest stories (“Sadastor,” “The Ninth Skeleton,” and “The End of the Story”) only exist in first draft holograph manuscripts. In these instances we compared the first appearances in
Weird Tales
with the texts from copies of
Out of Space and Time
and
Genius Loci and Other Tales
that Smith had corrected by hand, consulting the holograph manuscripts to determine the accuracy of a particular word usage.   

Smith published six stories himself in a 1933 pamphlet,
The Double Shadow and Other Fantasies
, but later revised some of these for sale to
Esquire
(unsuc

cessfully) and
Weird Tales
(successfully) in the late 1930s. In these instances we use the version published by Smith himself.

We have also attempted to rationalize Smith’s spellings and hyphenation practices. Smith used British spellings early in his career but gradually switched to American usage. He could also vary spelling of certain words from story to story, e.g., “eerie” and “eery.” We have generally standardized on his later usage, except for certain distinct word choices such as “grey.” In doing so we have deviated from the “style sheet” prepared by the late Jim Turner for his 1988 omnibus collection for Arkham House,
A Rendezvous in Averoigne
. Turner did not have access to such a wonderful scholarly tool as Boyd Pearson’s website, www.eldritchdark.com. By combining its extremely useful search engine with consultation of Smith’s actual manuscripts and typescripts, as well as seeing how he spelled a particular word in a poem or letter, the editors believe that they have reflected accurately Smith’s idiosyncracies of expression.

We regret that we cannot present a totally authoritative text for Smith’s stories. Such typescripts do not exist. All that we can do is to apply our knowledge of Smith to the existing manuscripts and attempt to combine them to present what Smith would have preferred to publish were he not beset by varying degrees of editorial malfeasance in varying degrees. In doing so we hope to present Smith’s words in their purest form to date so that the reader might experience what Ray Bradbury described in his foreword to
A Rendezvous in Averoigne
: “Take one step across the threshold of his stories, and you plunge into color, sound, taste, smell, and texture—into language.”

The editors wish to thank Mike Ashley, Steve Behrends, Geoffrey Best, Joshua Bilmes, April Derleth, William A. Dorman, Don Herron, Margery Hill, Rah Hoffman, S. T. Joshi, Terence McVicker, Marc Michaud, Boyd Pearson, John Pelan, Rob Preston, Dennis Rickard, David E. Schultz, Donald Sidney-Fryer, and Jason Williams for their help, support, and encouragement of this project, as well as Holly Snyder and the staff of the John Hay Library of Brown University, D. S. Black of the Bancroft Library, University of California at Berkeley, and the staffs of the California State Library, Sacramento, California, and the L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University, Provo Utah, for their assistance in the preparation of this collection. Needless to say, any errors are the sole responsibility of the editors.

T
O THE
D
AEMON

T
ell me many tales, O benign maleficent daemon, but tell me none that I have ever heard or have even dreamt of otherwise than obscurely or infrequently. Nay, tell me not of anything that lies between the bourns of time or the limits of space: for I am a little weary of all recorded years and charted lands; and the isles that are westward of Cathay, and the sunset realms of Ind, are not remote enough to be made the abiding-place of my conceptions; and Atlantis is over-new for my thoughts to sojourn there, and Mu itself has gazed upon the sun in aeons that are too recent.

Tell me many tales, but let them be of things that are past the lore of legend and of which there are no myths in our world or any world adjoining. Tell me, if you will, of the years when the moon was young, with siren-rippled seas and mountains that were zoned with flowers from base to summit; tell me of the planets grey with eld, of the worlds whereon no mortal astronomer has ever looked, and whose mystic heavens and horizons have given pause to visionaries. Tell me of the vaster blossoms within whose cradling chalices a woman could sleep; of the seas of fire that beat on strands of ever-during ice; of perfumes that can give eternal slumber in a breath; of eyeless titans that dwell in Uranus, and beings that wander in the green light of the twin suns of azure and orange. Tell me tales of inconceivable fear and unimaginable love, in orbs whereto our sun is a nameless star, or unto which its rays have never reached.

T
HE
A
BOMINATIONS OF
Y
ONDO

T
he sand of the desert of Yondo is not as the sand of other deserts; for Yondo lies nearest of all to the world’s rim; and strange winds, blowing from a gulf no astronomer may hope to fathom, have sown its ruinous fields with the grey dust of corroding planets, the black ashes of extinguished suns. The dark, orb-like mountains which rise from its pitted and wrinkled plain are not all its own, for some are fallen asteroids half-buried in that abysmal sand. Things have crept in from nether space, whose incursion is forbid by the watchful gods of all proper and well-ordered lands; but there are no such gods in Yondo, where live the hoary genii of stars abolished, and decrepit demons left homeless by the destruction of antiquated hells.

It was noon of a vernal day when I came forth from that interminable cactus-forest in which the Inquisitors of Ong had left me, and saw at my feet the grey beginnings of Yondo. I repeat, it was noon of a vernal day; but in that fantastic wood, I had found no token or memory of spring; and the swollen, fulvous, dying and half-rotten growths through which I had pushed my way, were like no other cacti, but bore shapes of abomination scarcely to be described. The very air was heavy with stagnant odors of decay; and leprous lichens mottled the black soil and russet vegetation with increasing frequency. Pale-green vipers lifted their heads from prostrate cactus-boles, and watched me with eyes of bright ochre that had no lids or pupils. These things had disquieted me for hours past; and I did not like the monstrous fungi, with hueless stems and nodding heads of poisonous mauve, which grew from the sodden lips of fetid tarns; and the sinister ripples spreading and fading on the yellow water at my approach, were not reassuring to one whose nerves were still taut from unmentionable tortures. Then, when even the blotched and sickly cacti became more sparse and stunted, and rills of ashen sand crept in among them, I began to suspect how great was the ha

tred my heresy had aroused in the priests of Ong; and to guess the ultimate malignancy of their vengeance.

I will not detail the indiscretions which had led me, a careless stranger from far-off lands, into the power of those dreadful magicians and mysteriarchs who serve the lion-headed Ong. These indiscretions, and the particulars of my arrest, are painful to remember; and least of all do I like to remember the racks of dragon-gut strewn with powdered adamant, on which men are stretched naked; or that unlit room with six-inch windows near the sill, where bloated corpse worms crawled in by hundreds from a neighboring catacomb. Sufficient to say that, after expending the resources of their frightful fantasy, my inquisitors had borne me blindfolded on camel-back for incomputable hours, to leave me at morning twilight in that sinister forest. I was free, they told me, to go whither I would; and in token of the clemency of Ong, they gave me a loaf of coarse bread and a leathern bottle of rank water by way of provision. It was at noon of the same day that I came to the desert of Yondo.

So far, I had not thought of turning back, for all the horror of those rotting cacti, or the evil things that dwelt among them. Now, I paused, knowing the abominable legend of the land to which I had come; for Yondo is a place where few have ventured wittingly, and of their own accord. Fewer still have returned—babbling of unknown horrors and strange treasure; and the life-long palsy which shakes their withered limbs, together with the mad gleam in their starting eyes beneath whitened brows and lashes, is not an incentive for others to follow in their footsteps. So it was that I hesitated on the verge of those ashen sands, and felt the tremor of a new fear in my wrenched vitals. It was dreadful to go on, and dreadful to go back, for I felt sure that the priests had made provision against the latter contingency. So, after a little, I went forward, sinking at each step in a loathly softness, and followed by certain long-legged insects that I had met among the cacti. These insects were the color of a week-old corpse, and were as large as tarantulas; but when I turned and trod upon the foremost, a mephitic stench arose that was more nauseous even than their color. So, for the nonce, I ignored them as much as possible.

Indeed, such things were minor horrors in my predicament. Before me, under a huge sun of sickly scarlet, Yondo reached interminable as the land of a hashish-dream against the black heavens. Far-off, on the utmost rim, were those orb-like mountains of which I have told; but in between were awful blanks of grey desolation, and low, treeless hills like the backs of half-buried monsters. Struggling on, I saw great pits where meteors had sunk from sight; and divers-colored jewels that I could not name glared or glistened from the dust. There were fallen cypresses that rotted by crumbling mausoleums, on whose lichen blotted marble fat chameleons crept with royal pearls in their mouths. Hidden by the low ridges, were cities of which no stela remained unbroken—immense and immemorial cities lapsing shard by shard, atom by atom, to feed infinities of desolation. I dragged my torture-weakened limbs

over vast rubbish-heaps that had once been mighty temples; and fallen gods frowned in rotting psammite, or leered in riven porphyry at my feet. Over all was an evil silence, broken only by the satanic laughter of hyenas, and the rustling of adders in thickets of dead thorn, or antique gardens given to the perishing nettle and fumitory.

Topping one of the many mound-like ridges, I saw the waters of a weird lake, unfathomably dark and green as malachite, and set with bars of profulgent salt. These waters lay far beneath me in a cup-like basin; but almost at my feet on the wave-worn slopes were heaps of that ancient salt; and I knew that the lake was only the bitter and ebbing dregs of some former sea. Climbing down, I came to the dark waters, and began to lave my hands; but there was a sharp and corrosive sting in that immemorial brine, and I desisted quickly, preferring the desert dust that had wrapped about me like a slow shroud.