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Rating: 
Summary: The whisper of the hatchet...
Review: A good idea, but a somewhat strange book in execution. It's an anthology of little-known works by various writers originally identified with the WEIRD TALES pulp, whose works were later issued in hardback by August Derleth's one-man publishing outfit, Arkham House. Twenty-two writers are included, and each story is prefaced by an essay about the author, by editor Ruber, often based on private correspondence between the author and August Derleth. There are two specific problems: the works included are often exceedingly minor and uncharacteristic of the authors; and, the introductory essays too often have the dual goal of denigrating the author and emphasizing the saint-like understanding and kindness of editor Derleth. We're told that Robert Howard was a paranoid loonie with a suicidal mother fixation (what news!), that Clark Ashton Smith was a shiftless loafer who existed by sponging off friends, that Russell Wakefield was a cruel, womanizing drunk, etc., etc. Even the relatively saintly Ray Bradbury comes off as a greedy conniver. Most of the authors are displayed at their worst in extended extracts from begging or hectoring letters to Derleth. Interestingly, editor Ruber himself turns out to be (since 1997) the editor and presumably owner of Arkham House; what he does not turn out to be is anyone with a real appreciation of the fantastic literature of the 1920s and 1930s.Like almost all of the small press books I have seen in the past couple of years, this book has seen no proofreading whatsoever, and there are gross misprints on almost every page, many of which ironically conspire to make Editor Ruber come across as a total illiterate. Arkham collectors will want this, but other readers might give a bit of thought before purchase. There's a great dust-jacket painting showing Lovecraft's "Outsider" in a libary full of Arkham House books. In more than one way, this painting by Tony Patrick is the best aspect of the book.
Rating:
Summary: The whisper of the hatchet...
Review: A good idea, but a somewhat strange book in execution. It's an anthology of little-known works by various writers originally identified with the WEIRD TALES pulp, whose works were later issued in hardback by August Derleth's one-man publishing outfit, Arkham House. Twenty-two writers are included, and each story is prefaced by an essay about the author, by editor Ruber, often based on private correspondence between the author and August Derleth. There are two specific problems: the works included are often exceedingly minor and uncharacteristic of the authors; and, the introductory essays too often have the dual goal of denigrating the author and emphasizing the saint-like understanding and kindness of editor Derleth. We're told that Robert Howard was a paranoid loonie with a suicidal mother fixation (what news!), that Clark Ashton Smith was a shiftless loafer who existed by sponging off friends, that Russell Wakefield was a cruel, womanizing drunk, etc., etc. Even the relatively saintly Ray Bradbury comes off as a greedy conniver. Most of the authors are displayed at their worst in extended extracts from begging or hectoring letters to Derleth. Interestingly, editor Ruber himself turns out to be (since 1997) the editor and presumably owner of Arkham House; what he does not turn out to be is anyone with a real appreciation of the fantastic literature of the 1920s and 1930s. Like almost all of the small press books I have seen in the past couple of years, this book has seen no proofreading whatsoever, and there are gross misprints on almost every page, many of which ironically conspire to make Editor Ruber come across as a total illiterate. Arkham collectors will want this, but other readers might give a bit of thought before purchase. There's a great dust-jacket painting showing Lovecraft's "Outsider" in a libary full of Arkham House books. In more than one way, this painting by Tony Patrick is the best aspect of the book.
Rating: 
Summary: An impressive, celebatory anthology of horror fantasy icons.
Review: Arkham House, a Wisconsin-based small press founded by the late August Derleth and dedicated to the H.P. Lovecraft literary fantasy legacy, celebrated it's 60th year in 1999 with the publication of Arkham's Masters Of Horror. This impressive compendium features work drawn from the first 30 years of Arkham's publications and represents contributions of such horror fantasy icons as H.P. Lovecraft, Robert E. Howard, Donald Wandrei, Frank Belknap Long, John Ramsey Campbell, August Derleth, and a host of others. Arkham's Masters Of Horror is superbly presented testament to a literary legacy that will admirably serve to introduce a whole new generation of readers to some of yesteryear's greatest literary voices whose work influenced and shaped an entire genre.
Rating:
Summary: An impressive, celebatory anthology of horror fantasy icons.
Review: Arkham House, a Wisconsin-based small press founded by the late August Derleth and dedicated to the H.P. Lovecraft literary fantasy legacy, celebrated it's 60th year in 1999 with the publication of Arkham's Masters Of Horror. This impressive compendium features work drawn from the first 30 years of Arkham's publications and represents contributions of such horror fantasy icons as H.P. Lovecraft, Robert E. Howard, Donald Wandrei, Frank Belknap Long, John Ramsey Campbell, August Derleth, and a host of others. Arkham's Masters Of Horror is superbly presented testament to a literary legacy that will admirably serve to introduce a whole new generation of readers to some of yesteryear's greatest literary voices whose work influenced and shaped an entire genre.
Rating:
Summary: Must have for weird fiction fans
Review: Celebrating the 60th anniversary of Arkham House, editor Peter Ruber focuses on first 30 years of Arkham's existence, when co-founder August Derleth ran the whole operation almost single-handed. Ruber's historical & biographical essays steal the show. His introduction, an apology for Derleth, serves as a useful overview of Derleth's controversial publishing career and Arkham House's tumultuous early history. Ruber tackles polemic issues, such as the acquisition of Lovecraft's literary estate and the lawsuit filed against Arkham by co-founder Donald Wondrei following Derleth's death in 1971, and rebuts recent attacks on Derleth's reputation
The pithy biographical sketches that precede each story selection wonderfully encapsulate the dynamic, eccentric, sometimes difficult personalities of the authors. Drawing heavily from Derleth's correspondence, the essays provide a fascinating look at the behind-the-scenes relationship between writers and publishers. It's a pleasant surprise to discover that so many famous writers - Robert E. Howard (creator of Conan the Barbarian), Robert Bloch (author of Psycho), and Ray Bradbury, to name a few - worked with Arkham House. But the obscure authors are equally intriguing, their biographies and fiction suffused with a delightful sense of discovery.
Of course, Masters of Horror also contains stories - 21 rare selections, most never published before. As the stories were chosen primarily for their rarity, the quality and subject matter is a bit grab-bag. The overall impression, however, successfully conveys the breadth of talented writers published under Arkham's imprint, and the range of styles and genres embraced under the umbrella of "weird" fiction.
Curiously, Ruber expresses distaste for Lovecraft's fiction, and instead includes excerpts from his letters to Derleth. The letters capture the extremes of Lovecraft's personality, warts and all. Ruber seems to have it in for poor Lovecraft. However much the letters expose Lovecraft's bigotry and priggishness, they also support the contention that Lovecraft's generous encouragement of a generation of young weird fiction writers may have been his greatest legacy.
Robert E. Howard's "The Valley of the Lost" comes from his later period when he began dabbling with the western genre (with the hopes of improving his sales). It's a wild tale, recklessly lashing together traditional western conventions with elements of supernatural horror. The end product is typical Howard: crude and visceral with exhilarating swoops of unrestrained imagination. (I couldn't help thinking that fans of the RPG Deadlands will find inspiration here.)
A jungle adventure set in the wilds of Borneo, Carl Jacobi's "Dyak Reward," tells the tale of a white explorer who rescues a young native man from a sacrificial altar. The breech of taboo sets off whisperings of mutiny and murder among his native crew. The tale sustains a nail-biting sense of foreboding, which pays off with a gruesome climax.
Henry S. Whitehead, who moonlighted as a pulp fiction writer from his day job as acting Episcopal archdeacon of the Virgin Islands, specialized in quiet, atmospheric supernatural tales set in his beloved Caribbean islands. His "Sea-Tiger" exemplifies this style. An idyllic, upbeat tale about a man who dreams a premonition of lost love during a near-death experience, the "Sea-Tiger" blows into the dark musty halls of Masters of Horror like a warm tropical breeze.
One of the few female pulp writers, Greye La Spina, traveled the world extensively after she was widowed at age 21. She met the Greek royal family, rebuffed an invitation to join a harem in Turkey, and rode camels in Egypt. Bold and independent, La Spina made a living as a photographer and typist before deciding to write her own stories. Her "The Wolf of the Steppes" adds a layer of sexual threat atop a harrowing werewolf story. It is reprinted in Masters of Horror for the first time since its original appearance in The Thrill Book in 1919.
Unlike so many pulp authors who wrote for money or artistic fulfillment, self-taught psychiatrist David H. Keller wrote to purge his personal demons. The misogyny apparent in Keller's stories can be traced directly back to his tortured childhood. Keller was unable to speak coherently until he was 10 years old. Only his sister Anna, one year his senior, could understand his babbling. Anna died when Keller was five, leaving him unable to communicate with the world. Keller's mother became convinced his silence was due to demonic possession and began an abusive regiment to drive the devil out of the boy. Keller's misogynistic stories embody his resentment toward his mother. The seductively creepy "The Beautiful Lady," never before published, offers a chilling glimpse into Keller's tormented soul.
Ray Bradbury's "The Small Assassin" breaks from Ruber's stated story selection criteria, in that Arkham has already reprinted it in a previous collection. Reading the story makes clear Ruber's decision to include it. The tale of a mother who, during a difficult birth, imagines that her child is intentionally trying to kill her, "The Small Assassin"'s insidious paranoia crawls under the skin and haunts dreams.
Nelson Bond's ominous haunted house tale, "The Master of Cotswold," evokes Lovecraft's or Arthur Machen's "Elder Gods" mythology. Bond effectively uses the device of narrating through the journal entries of the homeowner, layering the levels of paranoia and apprehension toward a feverish conclusion.
Any fan of "weird" fiction, pulp rags, or Lovecraft will find this volume invaluable for its unusually rare stories, its compelling biographical sketches, and its behind-the-scenes history of Arkham House's formative years. For the same reasons it makes a great primer for newcomers. Either way, it's a great read.
Rating:
Summary: A "must" for all Arkham House fans!
Review: Fans of H.P. Lovecraft or Arkham House will find this a compelling collection of essays marking the 60th anniversary of the publisher. Articles discuss politics, book marketing and personal relationships alike, covering many aspects of Arkham's development and authors which would otherwise not be known to the general interest reader. A compelling account of the building of the company evolves.
Rating: 
Summary: Major Letdown
Review: I don't have any idea what April Derleth was thinking when printing this volume under her fathers imprint. The editor puts down all the major writers to the point that I have to write this review. I'd like to see some of this editors own fiction if he thinks so low of Robert E Howard and Clark Ashton Smith. The sad fact is that their style of writing is virtually non-existant. Originality like theirs nearly died out with Moorcock and Leiber in the 70's (though William King is a new notable worth reading). With the plethora of 800 page "I wanna be JRR Tolkien" poser's currently permeating the publishing industry it leads me to see this book as more of the wide spread jealousy held against these great writers. The book is worth the stories and the dust jacket, just skip the intro's.
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