I found Lovecraft diffident but very gallant, with a gallantry of an era we only read about in mid-Victorian literature. In our conversation we discusses among things my short novel, “The Mound”—an outgrowth of another tale told by the Comptons from their recollections of two old Indians living near Binger, Oklahoma […]

—Zealia Bishop, “H. P. Lovecraft: A Pupil’s View” in Ave Atque Vale 259

After the successful sale of “The Curse of Yig,” Zealia Brown Reed appeared eager, and Lovecraft willing, to pursue a second ghost-writing job, in between his other revision work—Zealia still pursuing other stories and submitting them to, among other places, Weird Tales and Cupid’s Diary. The extent of her involvement in “The Mound” was apparently substantially less than in “The Curse of Yig,” at least according to Lovecraft:

I hade hoped to be able to send along the weird Indian tale when replying to yours of the 11th, but once more the Fates were against me. It is fortunate that you are in no haste for it, & I surely hope I can produce a good piece of work when I am at last able to undertake the construction. No—There is not any other story-nucleus in my possession. The only one is the cryptic Oklahoma mound & its taciturn guardians.

—H. P. Lovecraft to Zealia Brown Reed, 28 Oct 1928, The Spirit of Revision 135 My next real bill will come when I deliver the Indian ghost story, a thing I intend to do as soon as I recover enough mental & nervous energy to resume creative work.

—H. P. Lovecraft to Zealia Brown Reed, 22 Jan 1929, The Spirit of Revision 138 As soon as I finish my current De Castro quota I shall tackle another incident-germ (“plot-germ” would be too flattering a designation!” of Mrs. Reed’s producing a story which will be virtually my own. I hope (mildly, because I’ll get my $20.00 anyhow!) Wright will take it when he’s done.

—H. P. Lovecraft to August Derleth, 21 Oct 1929, Essential Solitude 1.225 My chief—& sufficiently submerging—occupation is concocting what will pass as a tale by the author of “Yig”, though it will really be altogether my own, as woven around the merest non-plot suggestion. It is getting to be almost a novelette—& I’ll be curious to see how you like it if it ever gets into print. The provisional name is “The Mound.”

—H. P. Lovecraft to August Derleth, 1 Dec 1929, Essential Solitude 1.231 That St. Louis mound item is of especial interest to me just now, insomuch as my current job is the weaving of a tale around a similar thing in Oklahoma. The alleged author intended to let the story go as a simple tale of a haunted mound, with a couple of Indian ghosts around it; but I decided at once that such a thing would be insufferable tame & flat. Accordingly I am having the mound turn out to be the gateway of a primordial & forgotten subterranean world—the home of a fearsomely ancient & decadent race cut off from the outer earth since the prehistoric sinking of fabulous Atlantis & Lemuria. In the course of the tale I introduce a man who descends into the abyss—a Spaniard of Coronado’s expedition of 1541—& another, in the present age who begins a descent but very hastily returns to the upper air after seeing a certain thing.

—H. P. Lovecraft to Elizabeth Toldridge, 29 Dec 1929, Letters to Elizabeth Toldridge & Anne Tillery Renshaw 118

The gist of Lovecraft’s comments on the story as it was being written in 1929 suggest a very simple premise. R. H. Barlow, who re-typed the story in 1934, records the original plot-germ on the typescript as:

There is an Indian mound near here, which is haunted by a headless ghost. Sometimes it is a woman.

In Caddo County, Oklahoma there are a group of rocky hills—actual hills, not earthen mounds such as Cahokia Mounds in Illinois—known as the Caddo Mounds, near the small towns of Binger and Hydro. Two of these in particular have been suggested as the ultimate source for Zealia’s transmitted legend: Ghost Mound and Dead Woman’s Mound. Original accounts are sparse, but newspaper articles provide some insight into what she may have heard from the Comptons:

Less has been recorded in print about Dead Woman Mound or Dead Woman’s Mound, although there is an account from resident Laura Cox Brand in the 1930s which may give the flavor of local legends. John Biggs has some photographs of the mounds, for those eager to see what they look like. Lovecraft’s own account of the inspiration as “tame & flat” is apparent in the story when he writes:

I had gone into Oklahoma to track down and correlate one of the many ghost tales which were current among the white settlers, but which had strong Indian corroboration, and—I felt sure—an ultimate Indian source. They were very curious, these open-air ghost tales; and though they sounded flat and prosaic in the mouths of the white people, they had earmarks of linkage with some of the richest and obscurest phases of native mythology. All of them were woven around the vast, lonely, artificial-looking mounds in the western part of the state, and all of them involved apparitions of exceedingly strange aspect and equipment.

—Zealia Bishop & H. P. Lovecraft, “The Mound”

Lovecraft supplemented Zealia’s legend with his own research—the description of John Willis, U.S. Marshal and his phantom riders, was taken from Myths and Legends of Our Own Land (1896) or another contemporary source.

As a ghost-writer, working in the same Oklahoma setting as “The Curse of Yig,” Lovecraft was at pains to be consistent with the previous tale—Yig reappears (he had previously been mentioned as “Niguratl-Yig!” in “The Electric Executioner,” written in-between “The Curse of Yig” and “The Mound”), as does Grandma Compton and Grey Eagle, who gets a much-expanded role as a source of local lore and legend. The first two Zealia Bishop/Lovecraft stories thus form a kind of mini-mythos of their own—although Lovecraft would take the opportunity afforded by this revision to write something much more expansive and weird than Zealia Bishop probably intended.

Therein lies a problem.

In her memoir of Lovecraft, Zealia asserted:

At Lovecraft’s gentle insistence, I left “The Mound” with Frank Belknap Long, and it was Long who advised and worked with me on that short novel. Lovecraft’s instructions were negligible; he merely advised both Belknap and myself when we felt we were not following his guidance. Yet the short novel has the same Lovecraftian mood and flavor as the other horror stories, because Belknap himself had long been a protégé of Lovecraft, and had himself absorbed much of the Lovecraft manner in tales of the macabre.

—Zealia Bishop, “H. P. Lovecraft: A Pupil’s View” in Ave Atque Vale 260

In terms of polite fictions and little white lies, this is a load of horseshit. Zealia’s memoir was published in 1953, in a book published under her own name, and while it’s possible that in the intervening 25 years she had convinced herself this was the truth, it is clear from Lovecraft’s letters that he wrote the whole story. What may have begun or been intended as a folksy ghost story of the West—something like Robert E. Howard’s later tale “The Horror from the Mound”—became a substantial Lovecraftian epic, a major work in Lovecraft’s developing artificial mythology. Which makes it rather difficult to say much about Zealia’s own influence on this tale, since it appears to be almost pure Lovecraft from start to finish.

So what is there to talk about in terms of her own contribution to the story?

For starters, the description of Binger and its inhabitants certainly seems to owe a great deal to Lovecraft’s client rather than his own research. When we read:

Binger is a modest cluster of frame houses and stores in the midst of a flat windy region full of clouds of red dust. There are about 500 inhabitants besides the Indians on a neighbouring reservation; the principal occupation seeming to be agriculture. The soil is decently fertile, and the oil boom has not reached this part of the state. My train drew in at twilight, and I felt rather lost and uneasy—cut off from wholesome and every-day things—as it puffed away to the southward without me. The station platform was filled with curious loafers, all of whom seemed eager to direct me when I asked for the man to whom I had letters of introduction. I was ushered along a commonplace main street whose rutted surface was red with the sandstone soil of the country, and finally delivered at the door of my prospective host. Those who had arranged things for me had done well; for Mr. Compton was a man of high intelligence and local responsibility, while his mother—who lived with him and was familiarly known as “Grandma Compton”—was one of the first pioneer generation, and a veritable mine of anecdote and folklore.

That evening the Comptons summed up for me all the legends current among the villagers, proving that the phenomenon I had come to study was indeed a baffling and important one. The ghosts, it seems, were accepted almost as a matter of course by everyone in Binger. Two generations had been born and grown up within sight of that queer, lone tumulus and its restless figures. The neighbourhood of the mound was naturally feared and shunned, so that the village and the farms had not spread toward it in all four decades of settlement; yet venturesome individuals had several times visited it. Some had come back to report that they saw no ghosts at all when they neared the dreaded hill; that somehow the lone sentinel had stepped out of sight before they reached the spot, leaving them free to climb the steep slope and explore the flat summit. There was nothing up there, they said—merely a rough expanse of underbrush.

—Zealia Bishop & H. P. Lovecraft, “The Mound”

It seems likely that the bulk of this description likely came from Zealia, though Lovecraft put it into his own words and worked it into the story in his own fashion.

“The Mound” touches on a number of points of interest—too many to go into any great level of detail on them all. For example, the people of K’n-Yan are a permutation of the idea of the “Mound-Builders,” a race that preceded the Native Americans on the North American continent and was displaced and eradicated by them. While this idea has no archaeological merit, Henry Shetrone’s The Mound-Builders (1930) firmly established that Native Americans had built mounds such as Cahokia and Fort Ancient, it provided plentiful room for fantasy—Manly Wade Wellman’s Shonokins, which appeared some decades later in Weird Tales as adversaries of occult detective John Thunstone are another example—and yet, the idea of the “Mound-Builders” was essentially a racialist one, used to downplay the achievements and capacities of the indigenous peoples of the Americas by arguing that they did not have the capacity to build such structures or complicated polities. This is similar today to how arguments of “ancient Aliens” being responsible for the building of pyramids denigrate the legacy of the actual human builders of pyramids.

Lovecraft and Bishop almost certainly weren’t thinking things through quite so thoroughly. The treatment of Grey Eagle in this regard may be taken as singular: he is the most prominent Native American character in the entire corpus of Lovecraft’s work. That he is also a dime-novel stereotype is perhaps unfortunate, but the depiction may well have arisen more out of ignorance than malice: Lovecraft had never yet met a Native American. As much as contemporary readers may wince when reading his dialogue…

You let um ’lone, white man. No good—those people. All under here, all under there, them old ones. Yig, big father of snakes, he there. Yig is Yig. Tiráwa, big father of men, he there. Tiráwa is Tiráwa. No die. No get old. Just same like air. Just live and wait. One time they come out here, live and fight. Build um dirt tepee. Bring up gold—they got plenty. Go off and make new lodges. Me them. You them. Then big waters come. All change. Nobody come out, let nobody in. Get in, no get out. You let um ’lone, you have no bad medicine. Red man know, he no get catch. White man meddle, he no come back. Keep ’way little hills. No good. Grey Eagle say this. (ibid.)

…it’s important to remember that Lovecraft was working within an established tradition of depiction Native Americans that lasted from at least the late 19th century through to the westerns of the 1960s and 70s. That Lovecraft did not transcend the limitations of the stereotype regarding Native Americans is unfortunate, but not terribly surprising.

The culture of K’n-Yan itself is the most developed alien civilization that Lovecraft would depict until At the Mountains of Madness, written in early 1931. Critics have seen influence of Edgar Rice Burroughs’ Pellucidar novels and Oswald Spengler’s The Decline of the West, and the arguments for both are not difficult to make. The K’n-Yan are portrayed as near-human, but wise, powerful, and decadent. Their “affection-groups”—essentially polyamorous relationships—recall the free love group of which Lovecraft’s friend James Ferdinand Morton was a member. They are insular yet imperialistic; given to necromancies and slavery, cruel and worshipping strange alien gods—the parallels to Michael Moorcock’s Melniboné are uncanny but probably coincidental; both writers were drawing off of similar ideas of an exceedingly ancient, powerful, and decadent culture approaching the end of its natural lifespan (in Spenglerian terms). Rome, as depicted by Gibbons in The Decline and Fall of the Roman Empire, might be another good data point for comparison.

Fantasy racism, which Lovecraft had toyed with in stories since “Polaris,” reaches a kind of peak here. The K’n-yans had fought, conquered, and subjugated the intelligent race in the red-litten caverns of Yoth, who had been bred over generations into beasts of burden…and a food source, recalling the revelations of “The Rats in the Walls”:

The beasts or gyaa-yothn, they explained, surely were curious things; but were really very harmless. The flesh they ate was not that of intelligent people of the master-race, but merely that of a special slave-class which had for the most part ceased to be thoroughly human, and which indeed was the principal meat stock of K’n-yan. They—or their principal ancestral element—had first been found in a wild state amidst the Cyclopean ruins of the deserted red-litten world of Yoth which lay below the blue-litten world of K’n-yan. That part of them was human, seemed quite clear; but men of science could never decide whether they were actually the descendants of the bygone entities who had lived and reigned in the strange ruins. The chief ground for such a supposition was the well-known fact that the vanished inhabitants of Yoth had been quadrupedal. This much was known from the very few manuscripts and carvings found in the vaults of Zin, beneath the largest ruined city of Yoth. But it was also known from these manuscripts that the beings of Yoth had possessed the art of synthetically creating life, and had made and destroyed several efficiently designed races of industrial and transportational animals in the course of their history—to say nothing of concocting all manner of fantastic living shapes for the sake of amusement and new sensations during the long period of decadence. The beings of Yoth had undoubtedly been reptilian in affiliations, and most physiologists of Tsath agreed that the present beasts had been very much inclined toward reptilianism before they had been crossed with the mammal slave-class of K’n-yan. (ibid.)

The use of “master-race” in this context is likely derived more from American slavery rhetoric than scientific racialism—and the Nazis had not yet risen to power. Burroughs led the way in scientific romance in applying Colonialist fiction tropes of race and racial relationships to aliens and fantasy races; African and Asian peoples became various-colored Martians. Lovecraft makes a point to that effect:

The average interplanetary tale is just a camouflaged “Western” with the pioneers & soldiers called “space-explorers”, & the Indians called “Martians” or “lunarians” or something like that.

—H. P. Lovecraft to Wilson Shepherd, 29 May 1936, Letters to Robert Bloch & Others 250

Of all the characters in the novel, one of the most tragic is T’la-yub:

In the year 1545, as he reckoned it, Zamacona began what may well be accepted as his final series of attempts to leave K’n-yan. His fresh opportunity came from an unexpected source—a female of his affection-group who conceived for him a curious individual infatuation based on some hereditary memory of the days of monogamous wedlock in Tsath. Over this female—a noblewoman of moderate beauty and of at least average intelligence named T’la-yub—Zamacona acquired the most extraordinary influence; finally inducing her to help him in an escape, under the promise that he would let her accompany him.

—Zealia Bishop & H. P. Lovecraft, “The Mound”

Her introduction, in some form or another, was apparently necessary for Lovecraft to subscribe to at least the general appearance of keeping with Zealia’s initial idea: “Sometimes it is a woman.” The tragedy of her appearance is underscored almost immediately by Zamacona’s immediate desire for infidelity: whatever affection she held for him, he does not love her in return:

T’la-yub he would perhaps allow to share his fortunes, for she was by no means unattractive; though possibly he would arrange for her sojourn amongst the plains Indians, since he was not overanxious to preserve links with the manner of life in Tsath. For a wife, of course, he would choose a lady of Spain—or at worst, an Indian princess of normal outer-world descent and a regular and approved past. But for the present T’la-yub must be used as a guide. (ibid.)

The “Indian princess” is another stub of stereotype wedged into the mix…but Lovecraft had little concern for romantic relationships. His major interest in the story was for primal weirdness, and he achieves that in large part by working in references to his friend Clark Ashton Smith’s creation Tsathoggua:

[…] the “revision” job I’m doing now is the composition of an original tale from a single paragraph of locale & subject orders—not even a plot germ. The only reason I do this kind of thing is that the pay is absolutely certain, whereas on signed original work one has to take one’s chances of acceptance or rejection. […] My present job is a Reed yarn to be entitled “The Mound”—with the Oklahoma locale of “Yig,” but with ramifications extending to blasphemously elder worlds, & a race of beings that came down from the stars with great Cthulhu. I also bring in a Spaniard who deserted from Coronado’s party in 1541. This job—& the two De Castro jobs preceding it—will tend to limber up my fictional pen for the spontaneous effusions to follow!

—H. P. Lovecraft to Clark Ashton Smith, 3 Dec 1929, Dawnward Spire, Lonely Hill 187-188 As for me—Tsathoggua made such an impression on my fancy that I am using him in the “revision” (i.e.—”ghost-writing”) job I am now doing—telling of some things connected with his worship before he appeared on the earth’s surface. As you know my tale concerns a nether world of unbelievable antiquity below the mound-&-pueblo region of the American southwest, & the visit thereto in 1541-45 by one of Coronado’s men—Panfilio de Zamacona y Nuñez. It is a place litten by a blue radiance due to magnetic force & radio-activity, & is peopled by the primal proto-humans brought down from the stars by Great Cthulhu—a forgotten, decadent race who cut themselves off from the upper world when Atlantis & Lemuria sank. But there was a race of beings in the earth infinitely older than they—the saurian quadrupeds of the red-litten caverns of Yoth which yawn underneath the blue-litten caverns of K’n-yan. When the first men came to K’n-Yan they found the archaeological reliques of Yoth, & speculated curiously upon them. At the point where I introduce our friend Tsathoggua, the Spanish explorer has entered K’n-yan, has encountered a party of friendly natives led by one Gll’-Hthaa-Ynn, & is being escorted to the great city of Tsath—mounted on a monstrous horned & half-human quadruped.

—H. P. Lovecraft to Clark Ashton Smith, 19 Dec 1929, Dawnward Spire, Lonely Hill 192 Shall be interested to know what you think of “The Mound” when you get around to it. You will learn therein—back to a certain point—where Klarkash-Ton’s nighted Tsathoggua cam from.

—H. P. Lovecraft to Farnsworth Wright, Jan 1930, Lovecraft Annual #8 (21)

Tsathoggua introduced in Smith’s story “The Tale of Satampra Zeiros,” which was submitted to Weird Tales and rejected, but the manuscript was shared by Lovecraft who was so taken with the entity that he included references to him in “The Mound.” Smith would later go on to include references to Tsathoggua in several tales, though he was first mentioned in print in “The Whisperer in Darkness” (Weird Tales Aug 1931).

The manuscript of “The Mound” was completed by Lovecraft in December 1929, and sent to his friend and revision collaborator Frank Belknap Long, to be sent off to Zealia for approval. Unfortunately, there was a snag.

I have just learned to my surprise & dismay that Little Belknap has, through a misunderstanding, not yet forwarded to you the completed MS. of “The Mound” which I sent him late in December to read & pass onward. […] He thought you might wish to see it first in rough draught, so that you can order any needed changes concerning Binger local colour &c. […] If Wright takes the tale—as he is very likely to do—you will make a very handsome profit. Sonny seems to think it is very good—I can’t resist enclosing his note regarding it—& is inclined to spoof Grandpa for doing it for $20.00; but I never raise a figure I have quoted in advance. That is why I can’t make revision pay! I hope you will like the story.

—H. P. Lovecraft to Zealia Brown Reed, 14 Jan 1930, The Spirit of Revision 168

At around 29,000 words, “The Mound” would have netted $145 dollars if sold at half-a-cent per word—Weird Tales‘ lowest rate—so Lovecraft had every right to be optimistic, not least because Zealia still owed him money from previous revision work. The manuscript was still untyped, and Lovecraft suggested it be typed up by his friend and sometime collaborator C. M. Eddy, Jr., who was in a bad way financially. Zealia agreed.

[C. M. Eddy, Jr.] was prodigiously grateful for the “Mound” MS., & promises a good typed copy & carbon in something like a week’s time. I furnished him with all the needed supplies, gave him warning about all the difficult & artificial words in the MS., & in general did what I could to make the job less formidable for him. I think he will have no difficulty, & believe the resulting text will be very neat & accurate. I am telling him not to bother about the diacritical marks on the Spanish & artificial words, since I can easily supply these with pen & ink when I go over the MS. in the end. Wright will have a very legible & prepossessing MS. to survey when the time comes for him to pass judgment upon it.

—H. P. Lovecraft to Zealia Brown Reed, 29 Jan 1930, The Spirit of Revision 173

The story was duly submitted to Farnsworth Wright, editor of Weird Tales…who promptly bounced it.

The damned fool has just turned down the story I ‘ghost-wrote’ for my Kansas City client, on the ground that it was too long for single publication, yet structurally unadapted to division. I’m not worrying, because I’ve got my cash; but it does sicken me to watch the caprices of that editorial jackass!

—H. P. Lovecraft to August Derleth, Feb 1930, Essential Solitude 251 Confound that unutterable Chicago dunce! The fool could have divided the story as well as not—but he was evidently in the same dense mood which afflicted him when he rejected Smith’s “Satampra Zeiros.” If I were you I would try the tale on the following magazine in the following order:

Astounding Stories

Amazing Stories

Science Wonder Stories […] If these three markets prove closed, you might ask Wright whether he would consider a condensation of the story. With plenty of time, I might manage to pare the thing down here & there—although it would be a monstrous task. You could ask Wright his maximum word-limit of acceptance. Not long ago he accepted a tale of Smith’s on condition of its abridgment.

—H. P. Lovecraft to Zealia Brown Reed, Feb 1930, The Spirit of Revision 176

Lovecraft was essentially listing all the pulps in early 1930 that might accept weird or science fiction stories, including Science Wonder Stories, which was owned by Hugo Gernsback and Lovecraft knew from painful experience was difficult to collect money from. His exasperation must have been high to have even suggested abridging the story—a practice he was normally loathe to do—and eventually Frank Belknap Long abridged it by removing some pages of the original typescript (O Fortunate Floridian 145n2).

Even abridged, the story remained unsold.

On 22 July 1930, Zealia Brown Reed married D. W. Bishop, and was known thereafter as Zealia B. Bishop. In 1934, Lovecraft was visiting R. H. Barlow in DeLand, Florida. A collector of pulp manuscripts, the issue of “The Mound” arose, and he inquired about purchasing or making a copy of it, as he was working to systemize the Mythosian lore within it:

You perhaps did not remember that I sent The Mound to Sonny Belknap over two years ago—in fact immediately after the old Boston lady—I’m grieved to learn of her death—returned it.) I wired him just now to send the unabridged copy to Mr. Barlow at once—If he decides to buy it—is it for publication or just to keep the Mss.? You did not make that part clear and I should like to know. Do you suppose Mr. Barlow would be interested in reading Medusa’s Coil? I have it and a carbon copy of The Mound except the first three pages—Have you time to recall them were you to see it?

—Zealia Bishop to H. P. Lovecraft, 26 May 1934, The Spirit of Revision 177 As I am pointing out to Ar-e’ch-Bei, Pnom’s account of Ts. can be reconciled with the legendry told to Zamarcona (sic) in The Mound. The myth, through aeons, was varied in the usual mythopoeic fashion by the cavern-dwellers, who came at last to believe that merely the images of Tsathoggua, and not the god himself, had emerged in former cycles from the inner gulf. Ts., travelling fourthdimensionally from Saturn, first entered the Earth through the lightless abyss of N’kai; and, not unnaturally, the Yothians regarded N’kai as his place of origin.

—Clark Ashton Smith, c. 16 Jun 1934, Dawnward Spire, Lonely Hill 560 Ar-E’ch-Bei, with his mania for systematisation, will be infinitely grateful to you for your transcripts from the parchments of Pnom. I am mostly interested to know that Pnom’s account can be reconciled with the rambling lore gathered in subterrene K’nyan by Panfilo de Zamacona, & am especially impressed by the knowledge of Tsathoggua’s present whereabouts. Suppose an expedition were to be sent to unearth It? What would ensue?

—H. P. Lovecraft to Clark Ashton Smith, 25 Jun 1934, Dawnward Spire, Lonely Hill 563 I see that CAS is linking up his own Tsathogguan data with the legends in “The Mound”, to that a minimum of discrepancies will exist.

—H. P. Lovecraft to R. H. Barlow, 25 Jun 1934, O Fortunate Floridian! 142 As to this matter of the Bishop MSS.—of course, it’s only fair to Mrs. B—in view of what she’s paid for ghosting or revision—to let her try the stuff on any possible markets. I assumed that Sonny Belknap, as her main literary agent, had done so; & am astonished to find that any stone was left unturned. Now as to the correct procedure—of course, “Medusa’s Coil” is a matter wholly separate from “the Mound”. […] Now as to “The Mound”—probably there’ll be only three pages missing from the complete version; so that if you’ll type duplicates of these, you’ll have both copies in good shape. You can then let Mrs. B. do what she likes with the abridged version, or offer to try to place it for her if she’ll tell you the place to send it. I hardly think she’ll insist on retaining a copy of the original if you’ll assure her of its safety, & guarantee to let her see it or copy it if she ever wishes o do so. This is especially true if you let her have the abridged copy. After all, typing three double-spaced pages isn’t so bad a job—especially when it solves a problem so neatly. I’m writing Mrs. B. now, & urging that she does not insist on keeping a copy of the unabridged version. Enclosed—incidentally—is her epistle, for which I have no further use.

—H. P. Lovecraft to R. H. Barlow, 26 Jun 1934, O Fortunate Floridian! 143-144

Zealia’s letter to Barlow of 11 July 1934, shows she intended to have Long shop around the fresh typescript to the pulps once again, but it remained unsold. Nevertheless, the personal and professional relationship remained.

Glad the unabridged “Mound” wasn’t an extreme disappointment. Mrs. B. has begun to pay up her debt in weekly dollar installments—because she wants more revision done.

—H. P. Lovecraft to R. H. Barlow, Aug 1934, O Fortunate Floridian! 157

As late as 1936, Lovecraft claimed that Zealia Bishop owed Long $43, himself $26, and Maurice W. Moe (a friend and associate) $11 (O Fortunate Floridian! 370). The sum to Lovecraft was outstanding at the time of his death in 1937. Farnsworth Wright, editor of Weird Tales, was fired from his position and died in 1940. He was replaced as editor by Dorothy McIlwraith…and in the November 1940 issue of Weird Tales, an abridged version of “The Mound” finally appeared, as by Z. B. Bishop.

This abridgment was made by August Derleth, based on existing annotated typescripts from Long & Barlow. Derleth appears to have actively been working with McIlwraith to get previously unpublished Lovecraftiana into Weird Tales, and eventually into Arkham House volumes. “The Curse of Yig” had been reprinted by Wright in the April 1939 Weird Tales (under the byline Z. B. Bishop), so regular readers of the magazine would have been familiar when the quasi-sequel appeared. “The Eyrie,” the letters-column of Weird Tales, was much-shrunken from Wright’s days, but “The Mound” was still praised by a couple of fans as one of the better stories in the issue.

The “unabridged” version of “The Mound” (based on Long’s altered typescript0 was published in Beyond the Wall of Sleep (1943, Arkham House)—where it was finally acknowledged as one of Lovecraft’s collaborations, although the principal authorship was still credited to Bishop. Smith, on reading it, wrote to Derleth:

Such revisions as “Out of the Aeons,” “The Mound,” and “The Diary of Alonzo Typer” are genuine Lovecraftian masterpieces.

—Clark Ashton Smith to August Derleth, 30 Nov 1943, Selected Letters of Clark Ashton Smith 342

In 1953, Arkham House released The Curse of Yig, containing all three of the Zealia Bishop/Lovecraft stories, as well as her memoir “H. P. Lovecraft: A Pupil’s View.” She would recall there about their relationship:

But in this rather specialized field, undoubtedly Lovecraft’s own attitudes about sex and love (capably discussed in H. P. L: A Memoir, by August Derleth) got in his way when he revised the work of his pupils. These were experiences not entirely within his ken. And in me, Lovecraft had a pupil who could have been encouraged to write for the contemporary love story magazines instead of led away from them, for, after his untimely death, I found the editors of confession and love pulp magazines to be ruthless yet most helpful critics, and managed to sell stories to them at far better prices than I was paid for those weird tales I had written under Lovecraft’s tutelage.

—Zealia Bishop, “H. P. Lovecraft: A Pupil’s View” in Ave Atque Vale 263

There is some truth to what Zealia wrote; Lovecraft’s interests did not lie in the confession pulps, and she probably would have had more luck with an agent that had experience in that line. The three Bishop/Lovecraft tales were not successful enterprises. While “The Curse of Yig” did finally sell, and was even anthologized, “Medusa’s Coil” only sold in 1939 and “The Mound” remained unsold until 1940. Her other stories that Lovecraft had a hand in revising or correcting which are mentioned in her letters, such as “The Unchaining,” appear to have not sold and are now apparently lost.

In 1989, a corrected text for “The Mound” was made by S. T. Joshi, based on the original typescripts, and published unabridged in The Horror in the Museum & Other Revisions (1989). It may be read online for free.

Bobby Derie is the author of Weird Talers: Essays on Robert E. Howard & Others and Sex and the Cthulhu Mythos (2014).

With thanks and appreciation to Dave Goudsward for his help on this one.