During the first half of the 1920s, to repay part of his indebtedness to the owner-editor of The Auburn Journal for printing Ebony and Crystal, Smith became a “journalist” and thus contributed to the town’s chief newspaper 101 installments of a column entitled “Clark Ashton Smith’s Column”: the first column is dated April 5, 1923, the last is dated January 7, 1926. To this column Smith contributed both poetry and epigrams, largely the former: in all, 81 poems (59 original poems and 22 translations from Baudelaire) and 329 original, and 17 selected, epigrams and pensées. (To the Journal overall, Smith contributed 84 poems.) The majority of the poems in Sandalwood—that is, 49 of the total 61 poems in that collection (37 of the 42 original poems and 12 of the 19 translations from Baudelaire)—appeared in this column of Smith’s, most of them previously to their publication in Sandalwood. While most of the poems first published in the Journal have since appeared elsewhere, virtually all of the 329, or 346, epigrams and pensées have not, although publication of a selection of them (made by Smith) was tentatively considered by an eastern publisher in the early 1940s. The epigrams and pensées appeared in the Journal under the following titles: Epigrams (once), Cocktails and Crème de Menthe, Points for the Pious, Unpopular Sayings (once), New Teeth For Old Saws (once), The Devil’s Notebook (which title has its obvious analogy with that of The Devil’s Dictionary by Ambrose Bierce, originally entitled The Cynic’s Word-Book), and Paradox and Persiflage. In 1990, Starmont House brought out a complete edition—or as complete as then possible—of Smith’s epigrams and pensées under the title The Devil’s Notebook, edited by Don Herron.
In October 1925, again in Auburn, Smith published his third major poetry collection Sandalwood, dedicated to George Sterling: a volume distinguished not only for its many beautiful love poems but also for nineteen translations from the French of Charles Pierre Baudelaire. The translations are indeed a remarkable accomplishment in view of the fact that Smith knew virtually nothing of the French language a year prior to October 1925, and hence had learned the language in something less than a year, beginning his study of it and subsequently of Baudelaire in November or December 1924, or during the very first part of 1925. This volume, because of its private printing in a limited edition, has shared the fate of Ebony and Crystal of being little better than unknown. In addition to the recognition given Smith’s poetry of 1911–1925 by divers distinguished literary persons, the newspapers of the San Francisco area accorded long, elaborate, and overall excellent reviews to at least the first two of Smith’s three major early poetry collections. As the result of Ebony and Crystal, one critic wrote apropos of Smith that “Among the living [poets] he stands alone.”
The year 1925 also saw a new development in Smith’s creative evolution: in this same year he had written two short stories, “The Abominations of Yondo” and “Sadastor,” stylistically and thematically growing out of his earlier poems in prose as well as out of his poems in verse. He submitted them to Farnsworth Wright, the editor of Weird Tales. The latter, always wary as to negative reader reaction to something overly new, rejected both stories, which he very well may have considered a little bit of too much, since both tales are essentially extended poems in prose. Later Wright did accept “Sadastor,” printed in Weird Tales for July 1930; and The Overland Monthly accepted “The Abominations of Yondo,” printed in the issue for April 1926, with the following note on Smith in the section entitled “April Contributors”: “Clark Ashton Smith is a California poet and he proves something else in his ‘Abominations of Yondo.’” Indeed, he had proven himself a unique poet in prose—that is, a practitioner of the poem in prose—and had proven the possibility of writing an extended poem in prose, in the manner of Poe’s “The Masque of the Red Death,” that unique creation in the canon of the elder writer’s works. In fact, it is not too much to say that technically Smith had almost created—or at least re-created—the genre of the extended poem in prose.
In November 1926, at the Bohemian Club in San Francisco, occurred the death of George Sterling, Smith’s great friend and mentor, ostensibly by suicide, a theory with which Smith never agreed: “…As Smith points out in his article [of personal reminiscences of Sterling written in 1941], the evidence indicating suicide was largely circumstantial. At the time of his death, Sterling had in his possession not only the fatal poison (cyanide) but also a morphine derivative that he had sometimes taken against sleeplessness. He was ill and perhaps suffering the profound mental confusion that often accompanies illness. What could have been more probable than a mistake? Sterling’s last letter, written to Smith less than a week before his death, gave no evidence of mental depression or a failing of his vital interests.” (From The Auburn Journal, Dec. 15, 1941: see article “Notes on Clark Ashton Smith.”) Moreover, Sterling had been eagerly awaiting a visit from H. L. Mencken.
His death was a source of great bereavement to Smith, who paid a beautiful and moving tribute to his friend in the memorable poem “A Valediction to George Sterling,” published in The Overland Monthly for November 1927. Earlier in the same year had appeared in the same magazine, in the issue for March, an article of reminiscences by Smith of Sterling entitled “George Sterling—An Appreciation.” In it Smith recalled Sterling in the following words: “Always to me, as to others, he was a very gentle and faithful friend, and the kindest of mentors. Perhaps we did not always agree in matters of literary taste; but it is good to remember that our occasional arguments or differences of opinion were never in the least acrimonious. Indeed, how could they have been?—one might quarrel with others, but never with him: which, perhaps, is not the poorest tribute that I can pay to George Sterling.… But words are doubly inadequate, when one tries to speak of such a friend; and the best must abide in silence.” Later (in 1941), Smith recalled Sterling in these words: “He was essentially lovable, gave himself without stint and assisted scores of young poets.” Smith remained devoted the rest of his life to Sterling’s memory and to his poetry.
A few weeks before his death, Sterling had said to David Warren Ryder: “Clark Ashton Smith is undoubtedly our finest living poet. He is in the great tradition of Shakespeare, Keats and Shelley; and yet, to our everlasting shame, he is entirely neglected and almost completely unknown.” Also shortly before his death, Sterling had advised Smith, apropos of the latter’s poems in prose of death and similar subject-matter, to give up “this macabre prose,” a piece of advice Smith fortunately ignored. One of the very last services which Sterling performed for Smith and the cause of his poetry occurred when the elder poet brought an article for publication into the editorial offices of The Overland Monthly in San Francisco. This article was a highly enthusiastic, almost ecstatic essay on Smith’s poetry entitled “The Emperor of Dreams” and written by the then eighteen-year-old Donald A. Wandrei. The monthly subsequently published the essay in its issue for December 1926.
Sometime after the publication of The Star-Treader, Vachel Lindsay had read some of Smith’s poetry and had begun a correspondence with him. This correspondence-friendship lasted until Lindsay’s death in 1931.
After Sandalwood, Smith had evidently given up the creation in quantity of poetry. He had now turned his attention once more to the writing of fiction. Earlier, in 1924, in the August issue of 10 Story Book—a magazine which featured a piquant combination of short stories with what are now known as “girly pictures”—had appeared Smith’s first professional short story since his contributions to The Overland Monthly and The Black Cat in 1910–1912: this is an amusing, deft, and very brief short story entitled “Something New,” in which Smith incidentally mocks the extraordinarily rich style of imagery characteristic of Ebony and Crystal. In 1925 he had written the two extended poems in prose “The Abomination of Yondo” and “Sadastor.” As we have seen, Farnsworth Wright rejected them. However, Smith continued to contribute to Weird Tales his own original poems in verse as well as translations from Baudelaire, all of an expectedly high quality. The issue for August 1928 included Smith’s firs
t appearance in prose in Weird Tales; this was in the form of translations in prose of three poems originally in verse by Baudelaire—“L’Irréparable,” “Les Sept Vieillards,” and “Une Charogne”—presented to the readers as Three Poems in Prose, by Charles Pierre Baudelaire and Translated by Clark Ashton Smith from the French. Smith had translated the verse originals of the poet into a supple and idiomatic English prose. In the succeeding issue for September 1928 appeared Smith’s first short story in Weird Tales—a strange parable of love and death entitled “The Ninth Skeleton,” but giving relatively little indication of the shape of things to come. The tale is significant, however, in that it is one of the very few laid by Smith in his general natal area: the action takes place on Boulder Ridge not far from the narrator’s cabin; and the description of the area in the story is a poetic but exact one of the area around Smith’s own cabin during his lifetime.
However, Smith did not begin the writing of fiction in any quantity until the beginning of the Depression in 1929. We may postulate the years 1926 to 1929/1930 as the period in which Smith was carefully preparing in his imagination the divers backgrounds for his stories. In the poem in prose entitled “To the Dæmon” and dated December 16th, 1929, Smith wrote: “Tell me many tales, O benign maleficent dæmon.… Tell me tales of inconceivable fear and unimaginable love.…” And tell him many tales the dæmon veritably did. Between summer 1928 and summer 1938 Smith wrote something less than 140 short stories and novelettes.
His next story to appear in Weird Tales was “The End of the Story,” laid in Smith’s imaginary province of mediæval France, Averoigne; this was in the issue for May 1930. The tale proved immediately popular with the readers of “The Unique Magazine,” and the distinguished writer and critic Benjamin De Casseres, in “The Eyrie” for July (“The Eyrie” was the readers’ letter department in Weird Tales), commended Smith’s tale as a story “which is not only a philosophic thriller but possesses real literary quality, which is not lost (quite the contrary) on readers, such as you have, of imaginative tales.” The majority of Smith’s tales appeared in either Weird Tales under Farnsworth Wright or Wonder Stories under Hugo Gernsback. To the latter Smith contributed a highly imaginative, not to say unique, type of science-fiction story. To the former he contributed all manner of tales, many of them laid in Smith’s carefully constructed backgrounds: the primeval continent Hyperborea; “the last isle of foundering Atlantis,” Poseidonis; mediæval Averoigne; the last continent Zothique; the planet Xiccarph; and many other worlds. Although these stories may have become known only to a specialized audience, they introduced a new dimension in the art of the short story: many of the more characteristic tales are actually extended poems in prose in which Smith has united the singleness of purpose and mood of the modern short story (as first established by one of Smith’s literary idols, Edgar Allan Poe) together with the flexibility of the conte or tale; an entire short story being unified and, in part, given its powerful centralization of effect, mood, atmosphere, etc., by a more or less related system or systems of poetic imagery and language (simile, metaphor, archetype or allegory). This ranks as a technical achievement of the first order, although it has received relatively little or no recognition.
It is indeed fortunate that both Weird Tales and Wonder Stories existed during this period of intense creation in Smith’s life: by providing a more or less ready market for Smith’s stories, they served as the necessary commercial incentive which Smith, genius or not, financially needed. Smith paid tribute to the needed existence of such magazines for writer and reader alike in a letter published in “The Eyrie” in the December 1930 issue of Weird Tales: “Speaking as a reader, I should like to say that Weird Tales is the one magazine that gives its writers ample imaginative leeway. Next to it comes three or four magazines in which fancy can take flight under the egis of science; and after these, one is lost in a Bœotian desert. All the others, without exception, from the long-established reviews down to the Wild West thrillers, are hide-bound and hog-tied with traditions of unutterable dullness.” Hugo Gernsback, the editor of Wonder Stories, appears to have welcomed Smith’s stories quite enthusiastically. However much Farnsworth Wright may have appreciated their literary excellence (Wright himself was a considerable scholar who professionally edited, among other things, a very fine version of Shakespeare’s play A Midsummer Night’s Dream), the editor of Weird Tales appears always to have been rather anxious as to how his readers would react to Smith’s extended poems in prose. Undoubtedly this is what caused Smith to publish privately six of his finest tales in his first collection of short stories The Double Shadow and Other Fantasies, in February 1933, at Auburn.
Outwardly during this period Smith led a quiet, uneventful life. However, in August 1934, Smith successfully fought a severe wood and grass fire on his ranch. All during this time (1929–1937) Smith continued to write verse but necessarily in a much smaller quantity. In 1933, George Work, the author of White Man’s Harvest, and one of the then best-known writers in the country, declared Smith “the greatest American poet of today” whose “poems do not compare unfavorably with those of Byron, Shelley, Keats or Swinburne.” In Controversy for November 1934 appeared the article The Price of Poetry, by David Warren Ryder. In this article Ryder acclaimed Smith as “a great poet” and as being “in our generation… the fittest to wear the mantle of Shakespeare and Keats,” thus adding his considered opinion to the similar one of George Sterling, George Work, and the well-known and respected educator and man-of-letters, Dr. David Starr Jordan, one-time president of the University of Indiana and the first president and “the builder” of Stanford University. Ryder’s article was reprinted in June 1937 to accompany the slender collection Nero and Other Poems, published in the preceding month of May by The Futile Press, Lakeport, California: this volume included ten reprints (somewhat altered from their original versions) from The Star-Treader. Just as the poetry magazine The Step-Ladder had devoted its entire issue of May 1927 to his poems, the California poetry journal Westward in the issue for January 1935 honored Smith by making numerous quotations from poems in The Star-Treader and Ebony and Crystal. This magazine featured in its early issues, at the bottom of the pages carrying poems, quotations from the works of the established poets of the past, including the great names in the poetry of the English language.
In 1936 the output of Smith’s tales started to drop off, and by the latter 30s, during the 40s and the 50s, Smith had virtually stopped writing fiction. However, he continued writing verse until his death in 1961. The reasons for this cessation of Smith’s writing fiction are not clear: it could have been that he had exhausted even his seemingly inexhaustible fancy; or perhaps the dæmon no longer told him “tales of inconceivable fear and unimaginable love”; or Smith may have found the production of his small sculptures more interesting. This last seems likely as Smith once wrote, in a brief autobiography published in The Science Fiction Fan for August 1936, that he found “the making of these [small sculptures] far easier and more pleasurable than writing.” He had begun the carving of these small sculptures possibly in the early 1930s, and it may have been that this was now the new step in Smith’s further creative evolution; he made besides hundreds of paintings and drawings, starting in the early 1920s or earlier. Also, the death of his parents as well as that of his correspondent and friend Lovecraft, may have removed some of Smith’s incentive for creating fiction. His mother, Fanny Smith, died in 1935; his father, Timeus Smith, died in 1937; and in March of this same year Lovecraft died, and death thus robbed Smith of one of his greatest, most sympathetic and understanding friends. H.P.L. had always proved an enthusiastic and perceptive audience for Smith’s short stories: both Smith and Lovecraft had been in the habit of exchanging manuscripts of stories before their publication, and mutually commenting on them.
Smith paid homage to H.P.L. in the lovely and moving memorial poem “To Howard Phillips Lovecraft” and in a letter in “The Eyrie” in Weird Tales, both published in the issu
e for July 1937. Two tributes in prose had also appeared earlier: “In Memoriam—H.P. Lovecraft,” in Tesseract for April 1937; and in a letter published in The Science-Fiction Critic for May 1937, in “A Note From The Editor.” His last tribute appeared in 1959, the sonnet “H.P.L.,” published in The Shuttered Room and Other Pieces (Arkham House) and dated July 17th, 1959.
Lovecraft, before he died had paid his homage to Smith in the sonnet “To Clark Ashton Smith” (published posthumously in Weird Tales for April 1938), which concludes with the lines: “Dark Lord of Averoigne—whose windows stare / On pits of dream no other gaze could bear!” In Lovecraft’s essay “Supernatural Horror in Literature” H.P.L. concludes the section “The Weird Tradition in America” with a paragraph of high and perceptive praise of Smith’s fictional art.
During the late 1930s Smith began another of his notable correspondences, this one with Lilith Lorraine, the founder and principal poet of the Avalon Poetry Foundation. In Lilith Lorraine’s volume of science-fiction poetry Wine of Wonder, she pays Smith a lovely and worthy tribute in the poem “The Cup-Bearer”. Also during the late 1930s Universal Studios considered the possibility of filming two of Smith’s most extraordinary tales “The Dark Eidolon” and “The Colossus of Ylourgne.” This project never materialized, and this may have been a blessing rather than a misfortune, however much Smith could have used the money from the movie rights. To have adapted either of these tales would have required not the typically conventional treatment of Universal Studios but such combined talents as those of Vincent, Alexander, and Zoltán Korda as demonstrated in their classic fantasy film The Thief of Bagdad with its excellent score by Miklós Rózsa. Conrad Veidt, the evil Vizir and archimage in this film, would have been superb as the archimage Namirrha in “The Dark Eidolon” or as the mediæval sorcerer Nathaire in “The Colossus of Ylourgne.” Alas, the might-have-been.…
The Miscellaneous Writings of Clark Ashton Smith Page 4
