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Weird tales is american fantasy and horror fiction magazine founded by j.C. Henneberger and j.M. Lansinger upon completion in 1922. The first issue, dated march 1923, appeared on newsstands on february 18. The first editor, edwin baird, published the early works of h. P. Lovecraft, seabury quinn, and clark ashton smith, who would become cult writers, but within a year the magazine ran into financial difficulties. Henneberger sold his stake in the rural publishing corporation to lansinger and refinanced weird tales with farnsworth wright as the new editor. The first issue in wright's presence was dated november 1924. Under wright, the magazine was more successful, despite occasional financial setbacks, and prospered over the next 10 to 20 years. In wright's presence, the magazine lived up to its subtitle "unique periodicals" and published an interesting assortment of unusual books. Lovecraft's cthulhu myths appeared on the world stage in weird tales, counting from the call of cthulhu" in 1928. The adaptations were well received, and a group of writers who are associated with lovecraft have written other stories whose effectiveness can happen in a dull environment. Robert e. Howard was a regular contributor and published several of his conan the barbarian stories in the magazine, and seabury quinn's series of stories about jules de grandin, a supernatural detective, was incredibly in demand. Among web visitors. Surrounded by other eminent authors were niccin gyalhis, e. Hoffmann price, robert bloch and h. Warner mann. Wright published little science fiction, both science fiction and horror, partly because there were no science fiction magazines when weird tales appeared, but he continued this policy even after the launch of such magazines as amazing stories in 1926. Edmond hamilton wrote a lot of science fiction for weird tales, although after five to ten years he used the magazine for his own more fantastic stories and sent his space operas to others. In 1938 the magazine was sold to william delaney , publisher of short stories, and at age 2, an ailing wright was replaced by dorothy mcilwright as editor. Although a number of successful new authors and artists, including ray bradbury and hannes bock, continued to emerge, critics believe the magazine has been in decline under mcilwright since its heyday in the 1930s. Weird tales ceased publication in 1954, but since then numerous attempts have been made to restart the magazine, starting in 1973. The longest running version came into being at the end of the last century and has been published intermittently since 1997 under various publishers. In the late 1990s, the title was changed to "worlds of fantasy and horror" through licensing complications, and the original title was returned in 1998. The magazine is regarded by historians of fantasy and science fiction as a legend in this area, robert weinberg considers it "the most valuable and influential of the various fantasy magazines". Weinberg's colleague historian mike ashley describes this time as "second in importance and influence only to the unknown",[3] adding that "on average in dreams, the reservoir of all american (and many non-american) genres of science fiction and horror writers became an element of the spirit of the weird tales".[4] 2.1 rural publishing corporation 2.2 popular fiction publishing 2.3 delaney 2.4 1970s and early 1980s 2.5 end and successors 3 content and reception 3.1 edwin baird 3.2 farnsworth wright 3.3 dorothy mcilwright 3.4 moskowitz, carter and bellerophon 3.5 anne vandermeer 3.6 marvin kaye and later 3.7 legacy

4 bibliographic data

4.1 anthologies 4.2 canadian and british editions 4.3 collectability 7 sources 8 further reading Jacob clark henneberger, 1913 At the end of the nineteen for centuries, well-known periodicals, as usual, did not publish fiction about the exclusion of other content; they will include non-fiction material, and poetry. In october 1896, frank a. Munsey's argosy magazine was the first to switch to only books, but in december of that year it switched to using cheap paper from wood pulp. Now magazine historians are inclined to believe that there was the beginning of the era of glossy periodicals. For many years pulp magazines were successful without limiting their artistic content to any particular genre, however, in 1906 muncie launched the railroad man's magazine, the first publication dedicated to a particular niche.Other publications followed that specialized in thematic genres of books, from detective story magazine in 1915 to western story magazine in 1919.[5] weird-fiction, science-fantasy, and sci-fi appeared frequently in newspapers since then, but by the early 1920s, each magazine had not gone away devoted to any of these genres, although the thrill book, published in 1919 by street & smith with the intention of printing " other" or unusual stories nearly failed. Of fun, founded the rural publishing corporation of chicago in partnership with his former fraternity brother j. M. Lansinger. Their first venture was detective tales, a bi-monthly magazine beginning with the october 1, 1922, issue. This was initially unsuccessful, and as part of a refinancing plan, henneberger decided to publish another magazine that would allow him to split some of his expenses between the two publications. Henneberger had long been a fan of edgar allan poe, so he created a horror fiction magazine called weird tales. ] 1923 1/1 1/2 1/3 1/4 2/1 2/2 2/3 2/4 1924 3/1 3/2 3/3 3/4 4/2 4/3 4/4 1925 5/1 5/2 5/3 5/4 5/5 5/6 6/1 6/2 6/3 6/4 6/5 6/6 1926 7/1 7/2 7/3 7/4 7/5 7/6 8/1 8/2 8/3 8/4 8/5 8/6 1927 9/1 9/2 9/3 9/4 9/5 9/6 10/1 10/2 10/3 10/4 10/5 10/6 1928 11/1 11/2 11/3 11/4 11/5 11/6 12/1 12/2 12/3 12/4 12/5 12/6 1929 13/1 13/2 13/3 13/4 13/5 13/6 14/1 14/2 14/3 14/4 14/5 14/6 1930 15/1 15/2 15/3 15/4 15/5 15/6 16/1 16/2 16/3 16/4 16/5 16/6 1931 17/1 17/2 17/3 17/4 18/1 18/2 18/3 18/4 18/5 1932 19 /1 19/2 19/3 19/4 19/5 19/6 20/1 20/2 20/3 20/4 20/5 20/6 1933 21/1 21 /2 21/3 21/4 21/5 21/6 22/1 22/2 22/3 22/4 22/5 22/6 1934 23/1 23/2 23 /3 23/4 23/5 23/6 24/1 24/2 24/3 24/4 24/5 24/6 1935 25/1 25/ 2 25/3 25 /4 25/5 25/6 26/1 26/2 26/3 26/4 26/5 26/6 1936 27/1 27/2 27/ 3 27/4 27 /5 27/6 28/1 28/2 28/3 28/4 28/5 1937 29/1 29/2 29/3 29/4 29/ 5 29/6 30 /1 30/2 30/3 30/4 3 0/5 30/6 1938 31/1 31/2 31/3 31/4 31/5 31/ 6 32/1 32/2 32/3 32/4 32/5 32/6 1939 33/1 33/2 33/3 33/4 33/5 34/1 34/ 2 34/3 34/4 34/5 34/6 1940 35/1 35/2 35/3 35/4 35/5 35/6 Issues of weird tales from 1923 to 1940 with volume/issue number .The editors were edwin baird (yellow), farnsworth wright (blue), and dorothy mcilwright (green).No issue number 4 was produced. /1.[10] henneberger selected edwin baird, editor of detective tales, to edit weird tales; farnsworth wright was the first reader, and otis adelbert kline also worked on the magazine, assisting byrd. Pay rates were low, usually between a quarter and a half cent per word; the budget increased to one cent per word for the most popular writers. Initially, sales were poor, and soon henneberger decided to change the format from standard pulp size to large pulp to give the magazine more visibility. This had little effect on sales in the long run, although the first issue in the new size, dated may 1923, was the only one that year to be completely sold out, probably because it contained the first installment of the popular moon horror series. , By ag birch.[11][12] The magazine lost a significant amount of money under byrd's editorship: after thirteen issues, the total debt exceeded $40,000. ] Meanwhile, detective stories was rebranded as true detective stories and was profitable, as was college humor. Henneberger decided to sell both lansinger magazines and invest in weird tales. This did not include the $40,000 debt, most of which was owed to the magazine's printers. The printing press was owned by b. Cornelius, who agreed to henneberger's proposal to convert the debt into a majority stake in the new popular fiction publishing company. This did not eliminate all of the magazine's debts, but meant that weird tales could continue to publish and possibly return to profitability. Cornelius agreed that if the magazine ever became profitable enough to pay him the $40,000 he was owed, he would relinquish his shares in the company. Cornelius became treasurer of the company; the business manager was william (bill) sprenger, who worked for rural publishing. Henneberger hoped to eventually refinance the debt with another printer, hall printing company, owned by robert eastman. Sold several stories to weird tales to see if he would be interested in the job. Henneberger offered ten weeks' advance, but made it a condition for lovecraft to move to chicago, where the magazine was headquartered. Lovecraft described henneberger's plans in a letter to frank belknap long as "a brand new magazine covering the area of po-mahen's shudder."Lovecraft did not want to leave new york, where he had recently moved with his new bride; his dislike of cold weather was another deterrent. Henneberger visited him more than once in brooklyn, but in the end either lovecraft refused or henneberger simply gave in. By the end of the year, wright was hired as the new editor of weird tales. The last issue under baird's name was the may, june and july combined issue, at 192 pages, which was a much thicker magazine than previous issues. It was put together by wright and kline, not baird. Blackshore, one of robert e. Howard's conan the barbarian stories[19] Henneberger gave wright full control of weird tales and did not participate in story selection. Around 1921, wright began to suffer from parkinson's disease, and his symptoms gradually worsened over the course of his work. By the late 1920s he was unable to sign, and by the late 1930s bill sprenger was helping him get to work and back home. The first issue with wright as editor was dated november 1924 and the magazine immediately resumed a regular monthly schedule, the format changed back to pulp. The pay rate was initially low, with a ceiling of half a cent per word until 1926, when the top rate was increased to one cent per word. Some of popular fiction publishing's debts were paid off over time, and the highest pay rate eventually rose to one and a half cents a word. [Notes 3] the price of a magazine cover was high for the time. Robert bloch recalled that "in the late twenties and thirties of this century ... At a time when most paper periodicals sold for ten cents, their price was a quarter." Although popular fiction publishing was still based in chicago, the newsrooms were located in indianapolis for a time at two different addresses, but moved to chicago in late 1926. After a brief stint on north broadway, the office moved to 840 north michigan avenue, where it remained until 1938.[23]

One of the most popular weird tales series, in hardcover book form, including three other stories in the magazine's first year. One of the short stories, "an adventure in the fourth dimension," was written by wright himself. The book sold poorly, and it remained in the pages of weird tales at discount prices for twenty years. At some point this was given as a bonus to subscribing readers. In 1930, cornelius launched a companion magazine, oriental stories, but the magazine was not successful, although it managed to survive for over three years before cornelius gave up. Another financial blow came in the late 1930s, when a bank failure caused most of the magazine's cash to be frozen. Henneberger changed the schedule by two months, starting with the february/march 1931 issue; six months later, with the august 1931 issue, the monthly chart returned. Two years later, the weird tales bank was still in financial trouble, and payments to authors were significantly delayed. Accept a debt from cornelius; robert eastman, owner of hall, was unable to pay his wages at some point. Eastman died in 1934, and with him went henneberger's plans to regain control of weird tales. The magazine was advertised in the first editions of science fiction, usually covering one of the more science fiction stories. A frequently advertised short story was by edmond hamilton, who was popular in science fiction magazines. Wright also sold hardcover books by some of his more popular authors, such as kline, in the pages of weird tales. Although the magazine never turned in big profits, wright was well paid. Robert weinberg, author of the history of weird tales, cites rumors that wright was not paid for much of his work on the magazine, but according to e. Hoffman price, a close friend of wright who occasionally read manuscripts for him, weird tales was paid wright about $600 a month in 1927. /1 36/2

1942 36/3 36/4 36/5 36/6 36/7 36/8 1943 36/9 36/ 10 36/11 36/12 37/1 37/2 1944 37/3 37/4 37/5 37/6 38/1 38/2 1945 38/3 38/4 38/5 38/6 39/1 39/2 1946 39/3 39/4 39/5 39/6 39/7 39/8 1947 39/9 39/10 39/11 39/11 39/12 40/1 1948 40/2 40/3 40/4 40 /5 40/6 41/1 1952 44/2 44/3 44/4 44/5 44/6 44/7 1953 44/ 8 45/1 45/2 45/3 45/4 45/5 1954 45/6 46/1 46/2 46/3 46/4

Issues of weird tales from 1941 to 1954, showing volume/issue number. (1) the editor-in-chief wasdorothy mcilwright. Associate editor-in-chief lamont buchanan (red) held primary editorial duties fromapproximately the summer of 1945 until his retirement in 1949. The last issue in which he was mentioned on the magazine's headline was september 1949.An issue marking the exact start of his editorial career is currently unknown. (2) the apparent error in duplicating volume 39/11 is actually correct.[10] cornelius retired in 1938 and popular fiction publishing was sold to william j. Delaney, who was the publisher of short stories, a successful general fiction magazine based in new york. Sprenger and wright received a share of the stock from cornelius; sprenger did not stay with the company, but wright moved to new york and remained as editor. Henneberger's stake in popular fiction publishing was converted to a small stake in the new weird tales, inc. A subsidiary of delaney's short stories, inc. Dorothy mcilwright, editor of short stories, became wright's assistant, and over the next two years delaney tried to increase profits by changing the number of pages and the price. The increase from 144 pages to 160 pages starting with the february 1939 issue, along with the use of cheaper (and therefore thicker) paper, made the magazine thicker, but this did not increase sales. In september 1939, the number of pages was reduced to 128 and the price was reduced from 25 cents to 15 cents. From january 1940, the periodicity was reduced to two months, a change that remained in effect until the end of the magazine's issue fourteen years later. None of these changes had the desired effect, and sales continued to fall.[29] in march 1940, wright left and was replaced by mcilwright as editor; the magazine's stories differ as to whether he was fired due to poor sales or quit due to his health—by now he was suffering from parkinson's so badly that he had difficulty walking unaided. ][Notes 4] wright then underwent surgery to reduce the pain he was suffering from, but never fully recovered. He died in june of that year.[11]

The first issue of mcilwright was dated april 1940. Her assistant editor and art editor for weird tales and short stories. August derleth also provided assistance and advice, although he was not formally associated with the magazine. Much of mcilwright's budget went to short stories, as it was the more successful magazine; [29] [32] the pay rate for fiction in weird tales by 1953 was one cent per word, well below the top rate of other science fiction and fantasy. Daily logs. Wartime shortages also caused problems, and the number of pages was reduced first to 112 pages in 1943 and then to 96 pages the following year.[29][32] Price was increased to 20 cents in 1947 and back to 25 cents in 1949, but it wasn't just weird tales that suffered—the entire pulp industry was in decline. Delaney changed the format to digest in the september 1953 issue, but there was no reprieve. In 1954, weird tales and stories went out of print; in both cases, the last issue was dated september 1954. For weird tales, the september 1954 issue was 279th. /3 1974 47/4 1981 1 and 2 3 1983 4

1984 49/1

1985 49/2 1988 50/1 50/2 50/3 50/4 1989 51/1 51/2 1990 51/3 51/4 52/1 52/2 1991 52/3 52/ 4 53/1 53/2 1992 53/3 53/4 1993 53/3 53/3 1994 53/3 1/1 1995 1/2 1996 1/3 1/4 1998 55/1 55/2 1999 55/3 55/4 56/1 56/2 2000 56/3 56/4 57/1 57 /2 2001 57/3 57/4 58/1 58/2 2002 58/3 58/4 59/1 59/2 Issues of weird tales from 1988 to 2002, showing volumes and issue numbers. Note that four issues since the summer of 1994 have been titled "fantasy and horror worlds". Five winter editions were dated two years: 1988/1989, 1992/1993; 1996/1997, 2001/2002 and 2002/2003. Editors: moskowitz (grey), carter (purple), ackerman and lamont (hot pink), garb (green), schweitzer, skeezers and betancourt (orange); schweitzer (dark pink); and skeeters and schweitzer (yellow) [38]. In the mid-1950s, leo margulis, a well-known figure in the magazine world, founded a new company, renown publications, with plans to publish several titles. He had acquired the rights to weird tales and short stories and hoped to get both magazines back. He abandoned a plan to relaunch weird tales in 1962 using reprints from the original magazine after sam moskowitz informed him that there was not a large market for science fiction and horror at the time. Backfile tales for four anthologies that appeared in the early 1960s: the unexpected, the ghoul-keepers, weird tales, and worlds of weird.[40] the last two were edited by moskowitz, who suggested to margulies that when the time came to relaunch the magazine, he should include reprints from obscure sources that moskowitz had found, and not just stories reprinted from the first issue. Incarnation of weird tales.These stories would be like new to most readers, and the money saved could be used for occasional new stories. In april 1973, edited by moskowitz. It had poor distribution and sales were too low to be sustainable; according to moskowitz, the average sales were 18,000 copies per issue, far short of the 23,000 needed for the magazine's survival. The fourth issue, dated the summer of 1974, was the last, as margulis closed all of his magazines except mike shayne mystery magazine, which was the only one that was profitable. Mike ashley, science fiction magazine historian, notes that moskowitz was unwilling to continue anyway, as he was annoyed by margulis's detailed involvement in day-to-day editorial tasks such as editing manuscripts and writing forewords. +>Margulis died the following year, and his widow sylvia margulis decided to sell the rights to the title. Forrest ackerman, a science fiction fan and editor, was one of the interested parties, but she decided to sell to victor drix and robert weinberg instead. Weinberg, in turn, licensed the ownership to lyn carter, who got publisher zebra books interested in the project. The result was a series of four paperback anthologies edited by lyn carter that ran between 1981 and 1983; they were originally planned to be published quarterly, but in fact the first two came out in december 1980 and both were dated in the spring of 1981. The next one was dated autumn 1981. [45] carter's rights to the title were terminated by weinberg in 1982 for non-payment, but a fourth issue was already in the works and finally appeared with a date of summer 1983. [46] In 1982 in the same year, sheldon jaffery and roy thorgeson met with weinberg to offer to become licensees, but weinberg turned down the offer. The following year, bryan forbes approached weinberg with another proposal. Forbes' company, bellerophon network, was an imprint of the los angeles-based the wizard. Ashley reports that weinberg was only able to reach forbes by phone, and even that was not always reliable, so the negotiations were slow. Forbes' editorial director was gordon garb and the fiction editor was gil lamont; forrest ackerman also helped out, mostly getting materials for inclusion. There was considerable confusion among the project participants:[47] according to locus, the science fiction trade magazine, "ackerman says he has not been in contact with the forbes publisher, does not know what will happen to the material he has placed." Together and is as ignorant as everyone else. Lamont says he is still reviewing his contract and is not sure where he stands." The original plan was for the first issue to appear in august 1984, dated july/august, but before it arrived, a decision was made to change the content, and at the end of the year, a new, completely reinstalled issue, dated autumn, finally appeared. 1984 even with this delay, a final agreement with weinberg regarding licensing has not yet been reached. Only 12,500 were printed; they were sent to two distributors who both went bankrupt. As a result, few copies were sold and forbes was not paid by distributors. Despite the financial setback, forbes attempted to continue, and a number two eventually emerged. Its cover date is winter 1985, but it was not published until june 1986. Several copies were printed; in total from 1500 to 2300 reports. Mark monsolo was the fiction editor, but garb continued as editorial director; lamont no longer worked with the magazine.[47] The end and successors[edit] Spring summer autumn winter

2003 59/3 59/4 60/1

2004 60/2 60/3 60/4 2005 337 2006 338 339 340 341 342 2007 343 344 345 346 347 2008 348 349 350 351 352

Issues of weird tales from 2003 to 2008, showing volume and issue number. Most releases were named either a month or two months (e.G. "March/april 2004"). Instead, one issue, "spring 2003", was named a season. The editors were scithers and schweitzer (yellow); skeeters, schweitzer and betancourt (orange); segal (blue); and vandermeer (grey). Weird tales was revived more firmly in the late 1980s by george h. Skeeters, john gregory betancourt, and darrell schweitzer, who founded philadelphia-based terminus publishing and licensed the rights from weinberg. Instead of focusing on newsstand distribution , which was expensive and became less effective in the 1980s, they planned to build a direct subscriber base and distribute the magazine for sale through specialty stores.The cover date for the first issue is spring 1988, but it was released early enough to be available at the 1987 world fantasy convention in nashville, tennessee. The size was the same as the original paper version, although it was printed on higher quality paper. There were also limited hardcover versions of each issue signed by members. A special world fantasy award weird tales received in 1992 showed that the magazine was successful in terms of quality, but sales were not enough to cover costs. To save money, the format was changed to a flatter one starting with the winter 1992/1993 issue, but the magazine remained in financial trouble and issues became irregular over the next couple of years. The summer 1993 issue was the last to appear in hardcover; it was also the last for a while to carry the name weird tales, as weinberg did not renew his license. The magazine was renamed worlds of fantasy & horror and the volume numbering was resumed from volume 1 at number 1, but otherwise the magazine is unchanged, and four issues under that title, issued between 1994 and 1996, are considered bibliographers. As part of the general circulation of weird tales. . The rights deal was facilitated by screenwriters mark patrick carducci and peter atkins. Directors tim burton, francis ford coppola, and oliver stone served as executive producers, and each had to direct the episode. Stone was supposed to direct the pilot, but the series never came to fruition. +>2010 355 356

2011 357 358 nn 2012 359 360 2013 361 2014 362 Issues of weird tales from 2009 to 2014, showing volumes and issue numbers. The issue marked "nn" had no number; it was an advance copy donated at the world fantasy convention. Editors: vandermeer (grey); segal (blue); and kaye (pink-purple) [38]. There were no problems in 1997, but in 1998 skeesers and schweitzer made a deal with warren lupine of dna publications that allowed them to start publishing weird tales under license again. The first issue was dated summer 1998 and, with the exception of the winter 1998 issue, a regular quarterly schedule was maintained for the next four and a half years. Sales were weak, never exceeding 6,000 copies, and dna began to experience financial difficulties. Wildside press, owned by john betancourt, joined dna and terminus publishing as a co-publisher beginning with the july/august 2003 issue, and weird tales returned to its regular schedule for several months. The long hiatus ended with the december 2004 issue released in early 2005; this was the last release under arrangement with dna. Wildside press then bought weird tales and betancourt rejoined skeesers and schweitzer as co-editor. Issue dated february 2006, the magazine could appear more or less bimonthly for a time. In early 2007, wildside announced a redesign of weird tales, appointing steven h. Segal as editorial and creative director, and later hiring anne vandermeer as the new fiction editor. In january 2010, the magazine announced that segal was leaving his top editorial position to become editor of quirk books. Vandermeer was promoted to editor-in-chief, mary robinette koval joined the team as art director, and segal became senior contributing editor. Press will sell weird tales to marvin kay and john harlacher of nth dimension media. Marvin kay took over as editor-in-chief. Issue 359, the first issue from the new publisher, was published at the end of february 2012. A few months before the release of issue 359, a special pre-issue of the world fantasy convention was given away for free to interested attendees. ][56] four issues followed, with issue #362 published in the spring of 2014. As editorial director. Issue #363 became available for purchase on the weird tales website. . Henneberger hoped to present "out of the box" or unusual material. He later recalled talking to three well-known chicago writers, hamlin garland, emerson hough and ben hecht, all of whom said they avoided writing "fantasy, bizarre, and extravagant" stories. 9] due to the likelihood of rejection by existing markets. He added, "i must confess that the main motive behind the creation of weird tales was to give the writer free rein to express his innermost feelings in a way that befits great literature." Edwin baird[edit] The first issue of weird tales, dated march 1923. Cover by r. R. Epperly.[59] Edwin baird, the first editor of weird tales, was not an ideal choice for the job, as he did not like horror; his background was in crime fiction, and much of the material he acquired was insipid and unoriginal.The writers henneberger had hoped to publish, such as garland and hough, were unable to pitch anything to baird, and the magazine published mostly traditional ghost fiction, with many stories told by characters in asylums or told in a diary format. 60][61] the cover of the first issue featured "ooze" by anthony m. Rude; there was also the first issue of otis adelbert kline's thing of a thousand shapes and 22 other stories. Ashley suggests that the best writers baird was able to get material from, such as francis stevens and austin hall, sent baird stories that had already been rejected elsewhere. In the middle of the year, baird received five stories submitted by lovecraft; baird bought all five of them. Lovecraft, persuaded by friends to submit the stories, included a cover letter that was so strongly negative about the quality of the manuscripts that byrd published it in the september 1923 issue with a note stating that he had bought the stories. In spite of the foregoing or because of it. Baird insisted that the stories be resubmitted as double-spaced printed manuscripts; lovecraft disliked printing and at first decided to resubmit only one story, dagon. He appeared in the october 1923 issue, which was the most notable of baird's tenure as it included stories by three writers who became frequent contributors to weird tales: along with lovecraft, it marked the first appearance in the magazine of frank owen and seabury quinn. "It's just that the percentage of such stories was depressingly low."[61] weinberg singles out roode's "canvas square" and paul suter's "behind the door" as "exceptional"; both appeared in the april 1923 issue. Weinberg also credits m. L. Humphries' "the floor above" and vincent starrett's "penelope" from the may 1923 issue and john swain's "lucifer" from the november 1923 issue, and notes that "the rats in the walls" in the march issue 1924 is one of lovecraft's best stories. It is not clear whether baird or henneberger were responsible for purchasing lovecraft's stories; in one of lovecraft's letters, he makes it clear that baird was keen to acquire his stories, but henneberger said that he rejected baird and that baird did not like lovecraft's writings. It was henneberger who came up with another idea related to lovecraft: henneberger contacted harry houdini and arranged for lovecraft to write a story for him using the plot provided by houdini. The story "captured by the pharaohs" appeared under houdini's name in the may/june/july 1924 issue, although it was almost lost - lovecraft left a typewritten manuscript on the train he was traveling to new york to marry, and how the result spent most of his wedding day, retyping the manuscript from the manuscript he still had. >In the may/june/july 1924 issue, another story was published: "the beloved dead" by k.M. Eddie jr. Which mentioned necrophilia. According to eddie, this resulted in the magazine being removed from newsstands in several cities and also helped popularize the magazine, which boosted sales, but in his history of weird tales, robert weinberg reports that he found no evidence of the magazine's ban, and the financial the state of the magazine implies that the sales also did not bring any benefit. S. T. Joshi claims that the magazine was indeed removed from newsstands in indiana. The cover during baird's tenure was boring; ashley calls it "unappealing" [8] and weinberg describes the color scheme of the first issue's cover as "less inspirational", although he considers next month's cover an improvement. He adds that since the may 1923 issue, "the covers have sunk into mediocrity." According to weinberg, poor cover art, often done by r.Malley, is probably partly to blame for the failure of the magazine under byrd. Weinberg also considers interior art in the magazine's first year to be very weak; most of the interior drawings were small and did not create the atmosphere one would expect from a horror magazine. All illustrations were done by heitman, whom weinberg describes as "...Characterized by a complete lack of imagination. Heitman's specialty was to take one scene from a frightening story that didn't have anything frightening or weird about it and illustrate it." [71] Farnsworth wright[edit] One of margaret brundage's nude covers. This is for the september 1937 issue.[72] The new editor, farnsworth wright, was far more willing than baird to publish stories that did not fit into any of the existing mainstream publications. Categories. Ashley describes wright as "erratic" in selection, but the quality of the magazine steadily improved under his leadership. Its first issue, november 1924, was little better than those edited by baird, although it included two stories by new writers, frank belknap long and gray la spina, who became popular authors. Over the next year, wright established a group of regular writers, including long and la spina, and published many short stories by writers that would be closely associated with the magazine for the next decade or more. In april 1925, the first story by niktsin gyalhis appeared, "when the green star faded"; although weinberg considers it very outdated, it was highly regarded at the time, and in 1933 wright called it the most popular story to appear in weird tales. This release also contained the first part of la spina's invaders from darkness, which baird dismissed as "too corny". It proved extremely popular with readers, and weinberg notes that byrd's rejection was "just one of many mistakes made by the previous editor". Went on to become a very successful boulevard writer, appearing under both his real name and the pseudonym used for his first sale in january 1925. The first story by robert spencer carr appeared in march 1925; h. Warner mann's the ponkert werewolf appeared in july 1925, and in the same issue wright printed spear and fang, the first professional sale of robert e. Howard, who would become famous as the creator of conan the barbarian. [75] in late 1925, wright added a weird tales reprint section that showed old weird stories, usually horror classics. Often these were translations, and in some cases the appearance in weird tales was the first appearance of the story in english. And published it in the february 1928 issue[77]. This was the first story about the cthulhu mythos, a fictional universe in which lovecraft set several stories. Over time, other writers began to write their own stories with the same shared background, including frank belknap long, august derleth, e. Hoffmann price, and donald vandrey. Robert e. Howard and clark ashton smith were friends of lovecraft but did not write cthulhu stories; instead, howard wrote sword and sorcery fiction, and smith wrote a series of fantasy stories, many of which were part of his hyperborean cycle. Robert bloch, who later became widely known as the author of the film psycho, began publishing stories in weird tales in 1935; he was an admirer of lovecraft's work and asked lovecraft's permission to include lovecraft as a character in one of his stories and kill that character. Lovecraft gave him permission and reciprocated by killing off a lightly disguised version of bloch in one of his short stories shortly thereafter. Also published science fiction stories by j. Schlossel and otis adelbert kline. Tennessee williams' first sale was to weird tales with a story called "the revenge of nitocris". This was published in the august 1928 issue under the author's real name, thomas lanier williams. The subtitle of howard's the fire of ashurbanipal Weird tales was the unique magazine, and wright's collection of stories was as varied as the subtitle promised;[3] he was ready to print the strange or bizarre stories without a hint of science fiction, if they were unusual enough to fit in a magazine. Although wright's editorial standards were broad, and although he personally disliked the restrictions the agreement placed on what he could publish, he was careful when presenting material that might offend his readers. E. Hoffmann price notes that his story "the stranger from kurdistan" was kept for six months after purchase before wright printed it in the july 1925 issue; there is a scene in the story in which christ and satan meet, and wright was worried about the reader's possible reaction. Nevertheless, the story proved to be very popular, and wright reprinted it in the december 1929 issue. He also published price's "infidel's daughter", a satire on the ku klux klan that prompted an angry letter and unsubscribe from a klan member. Price later recalled wright's response: "a controversial story is good to spread...And it would have been worth a reasonable loss for a rap fan of this caliber anyway." Wright also printed george fielding eliot's the brass cup, a story about a young woman being tortured; she dies when her tormentor causes a rat to eat her body. Weinberg suggests that the story was so gruesome that it would be difficult to get it in a magazine even fifty years later. ; De camp suggests that wright dismissed lovecraft's "in the crypt" in late 1925, the story of a mutilated corpse taking revenge on a guilty undertaker, because it was "too horrible", but wright changed his mind a few years later. , And the story eventually appeared in april 1932. Wright also rejected lovecraft's through the gates of the silver key in mid-1933.Price edited the story before giving it to wright, and after wright and price discussed the story, wright purchased it in november of that year. Wright turned down lovecraft's the mountains of madness in 1935, although in this case it was probably because the story was long: the series required the author to be paid for material that only appeared after two or three issues, and weird tales often had little free money. In this case, he did not change his mind.[85] Quinn was the most prolific author of weird tales, writing a long line of stories about supernatural detective jules de grandin, and for a time he was the most popular writer in the magazine. In an imaginary version of the far east.[73] k.L. Moore's story "shamblot", her first sale, appeared in weird tales in november 1933; price visited the weird tales office shortly after wright read the manuscript for her, and recalls that wright was so taken with the story that he closed the office, declaring it "k.L. Moore." The story was very well received by readers, and moore's work, including her stories about jirel of joiri and northwest smith, appeared almost exclusively in weird tales for the next three years.[73][88] Virgil finlay's illustration for tennyson's "princess" from the october 1938 issue In addition to fiction, wright published a significant amount of poetry, with at least one poem included in most issues. . Initially, this often included reprints of poetry such as edgar allan poe's eldorado, but soon much of the poetry was original, featuring lovecraft, howard, and clark ashton smith, among many others. ] Lovecraft's contributions included ten of his poems, mushrooms from yuggoth, a series of sonnets on strange subjects, which he wrote in 1930. The cover was an important element of the magazine's identity; margaret brundage, who drew many nude covers for weird tales, was perhaps the most famous artist. Many of brundage's covers were for seabury quinn stories, and brundage later commented that once quinn realized that wright always commissioned nude covers from brundage, "he made sure every de grandin story had at least one scene where the heroine loses everything. Her clothes.”[93] for over three years in the early 1930s, from june 1933 to august/september 1936, brundage was the only cover artist used by weird tales. Another notable cover artist was j. Allen st. John, whose covers were more action-oriented, and who designed the title logo used from 1933 to 2007. Hannes bock's first professional sale was by weird tales for the cover of the december 1939 issue; over the next few years he became a frequent contributor. 1935; at the time, wright only bought one interior illustration from finlay because he was concerned that finlay's fine technique would not reproduce well on pulp paper. Buy from finley, who became the regular cover artist for weird tales beginning with the december 1935 issue. The demand from readers for finley's work was so high that in 1938 wright commissioned finlay a series of illustrations for lines taken from well-known poems such as "o sweet and distant, from rock and scar / weakly blowing horns of elfland" from tennyson's book. "Princess".[98] not all artists were as successful as brundage and finley: price suggested that curtis senf, who drew 45 covers early in wright's reign, "was one of sprenger's deals", meaning he produced poor art but worked quickly at low prices. ] In the 1930s, brundage's cover rate was $90. Finley received $100 for his first cover, which appeared in 1937, a year after his first interior illustrations were used; weinberg suggests that the higher fee was in part to cover postage, as brundage lived in chicago and delivered her work in person, but this was also because brundage's popularity began to decline. When delaney purchased the magazine in late 1938, the cover fee was reduced to $50 and, in weinberg's opinion, the quality of the cover immediately deteriorated. Nudity did not appear again, although it is unknown if this was a deliberate policy on delaney's part. In 1939, fiorello laguardia, the mayor of new york, campaigning to eliminate sex from the pulp led to softer paperbacks, and this may have had an effect as well. » Earl pierce in the october 1937 issue In 1936, howard committed suicide, and lovecraft died the following year.[101] there were so many unpublished works of lovecraft [note 8] that wright was able to use that after his death he printed more material under lovecraft's signature than before. In howard's case, there were not as many stories available, but other writers such as henry kuttner provided similar material. By the end of wright's tenure as editor, many of the writers who had become closely associated with the magazine had left; kuttner and others such as price and moore were still writing, but the rates for weird tales were too low to attract material from them. Clark ashton smith stopped writing, and two other well-loved writers, g.G. Pendarves and henry whitehead are dead.[101] With the exception of a couple of short-lived magazines such as strange tales and tales of magic and mystery and a faint call from ghost stories, all between the late 1920s and in the early 1930s, weird tales had few competitors during most of wright's sixteen years as editor. In the early 1930s, a series of magazines began to appear that became known as "strange menace" magazines. They lasted until the end of the decade, but despite the name, there is little in common in theme between them and weird tales: strange menace magazine stories seemed to be based on occult or supernatural events, but at the end of the story, the mystery was always revealed to have a logical explanation. In 1935, wright began publishing bizarre detective stories to try and get some readers of those magazines into weird tales, and asked readers to write comments. Reader reaction was unequivocally negative, and a year later he announced that there would be no more.[104] January 1938 cover by margaret brundage

In 1939, two more serious threats appeared, both launched to directly compete for readers of weird tales. Strange tales appeared in february 1939 and ran for just over two years; weinberg describes it as "high quality"[101], although ashley is less complimentary, describing it as largely unoriginal and imitative.[105] the following month saw the first issue of unknown by street & smith.[106] fritz leiber submitted several of his fafhrd and the gray mouse stories to wright, but wright rejected them all (as did mcilwright when she took over editing). Subsequently, leiber sold them all to john w. Campbell for the unknown; campbell commented to leiber each time that "it would have been better in weird tales". The stories developed into a very popular sword and sorcery series, but none of them ever appeared in weird tales. Leiber eventually sold several stories to weird tales, beginning with "automatic pistol" which appeared in may 1940. The nest" for most of its existence, and during wright's time as editor it was usually filled with long and detailed letters. When brundage's nude covers appeared, a lengthy debate broke out in the nest about whether they were suitable for the magazine, with both sides split roughly evenly. For many years, this was the most discussed topic in the magazine's letters column. Many of the writers wright published also wrote letters, including lovecraft, howard, kuttner, bloch, smith, quinn, wellman, price, and vandry. In most cases, these letters praised the magazine, but sometimes critical comments were made, such as when bloch repeatedly expressed his dislike of howard's stories of conan the barbarian, calling him "conan the cimmerian chipmunk". Another controversy that unfolded in the letters column was the question of how much science fiction should be included in the magazine. Before amazing stories was launched in april 1926, science fiction was popular among readers of weird tales, but after that, letters began to appear asking that science fiction be excluded and that only weird fantasy and horror be published. Science fiction readers were in the majority, and since wright agreed with them, he continued to include science fiction in weird tales. Hugh b. Cave, who sold half a dozen stories to wright in the early 1930s, commented on the nest in a letter to a fellow writer: the authors know how their material is received. 

Mcilwright was an experienced magazine editor, but she knew little about supernatural fiction and, unlike wright, she also had to face real competition from other magazines for weird tales' core readership.[ 101] although unknown closed in 1943, it changed the realm of fantasy and horror in its four years of existence, and weird tales was no longer considered a leader in its field. Unknown published many successful humorous fantasy stories and mcilwright responded by including some humorous material, but weird tales' ratings were lower than unknown's [danielle bregoli leaked nudes] with a predictable impact on quality.In 1940, the policy of reprinting horror and weird classics ended and weird tales began using the slogan "all stories new - no reprints". Weinberg suggests this was a mistake, as readers of weird tales valued access to classic stories "often mentioned but rarely seen". Without reprints, weird tales had to survive by marrying unknown, the same authors selling in both markets. According to weinberg, "only the quality of the stories [divided] their work between two masses." In an interview with robert a. Lounds in early 1940, delany spoke of his plans for weird tales. Saying that the magazine would still publish "all sorts of weird and fantasy fiction", lounds said that delaney didn't want "stories that are centered on sheer repulsion, stories that make an impact that no other word can describe but" nasty". Lounds later added that delaney told him that he found some of clark ashton smith's stories "disgusting". Popular authors including quinn, derleth, hamilton, bloch and manly wade wellman. She also added new contributors including ray bradbury weird tales regularly featured fredric brown, mary elizabeth counselman, fritz leiber, and theodore sturgeon like wright, mcilwright continued to buy lovecraft's stories submitted by august derleth, although she shortened some of the longer works such as the shadow over innsmouth. Sword and sorcery stories, a genre that howard had made much more popular with his weird tales stories of conan, solomon kane, and bran mac morn in the early 1930s, continued to reappear under farnsworth wright; they all virtually disappeared during mcilwright also focused more on short fiction, and serials and long stories were rare. Earlier issues of weird tales were heavily reprinted by august derleth's publishing venture, arkham house, and as a result mcilwright often reprinted lesser-known stories. They were not advertised as reprints, leading on several occasions to letters from readers asking for more stories by lovecraft, whom they considered a new author.[115] Cover of the may 1952 issue by virgil finlay According to weinberg, under mcilwright's editorship, the magazine lost its diversity, and "the uniqueness of the magazine is gone to a large extent." In ashley's opinion, the magazine has become more consistent in quality, not worse; ashley notes that while the editions edited by mcilwright "rarely reach [ed.] Wright's heights, they are also free from faults." L. Sprague de camp, towards the end of mcilwright's tenure as editor, agreed that the 1930s were the period of the magazine's heyday, citing wright's death and the departure to higher paying markets of several of his contributors as factors in the magazine's decline. ] The quality of weird tales' illustrations suffered when delaney cut rates.[117] bok, whose first cover appeared in december 1939, moved to new york and joined the office art staff for a while; he eventually left due to low wages. Boris dolgov started working in the 1940s; he was a friend of bok and they sometimes collaborated, signing the result of the dolbokgs. Weinberg considers dolgov's illustration for robert bloch's "yours truly, jack the ripper" to be one of his finest works. The weird tales paper was of very poor quality, meaning that the reproductions were poor, and along with the low rate of pay for art, this meant that many artists treated weird tales as a last resort for their work. Damon knight, who sold some home furnishings to weird tales in the early 1940s, later recalled being paid $5 for a one-page drawing and $10 for a two-page spread; he worked slowly, and low pay meant that weird tales was not a viable market for him. 1940s; they remained regular contributors until 1954, when the magazine's first incarnation ceased publication. The five were dolgov, john giunta, fred humiston, vincent napoli and lee brown coy. In weird tales's review of domestic art by weird tales, he describes humiston's work as "bad to terrible", but he has a more positive view of others. Napoli worked for weird tales from 1932 until the mid-1930s, when he began selling science fiction books, but his work on short stories brought him back to weird tales in the 1940s. Weinberg speaks highly of both napoli and coya, whom weinberg describes as "a master of strange and grotesque illustrations". Coy did a series of full-page illustrations for weird tales called "weirdisms" that appeared intermittently from november 1948 to july 1951.The nest was greatly reduced in size during mcilwright's tenure, but the weird tales club was founded as a gesture to readers. Joining the club meant simply writing a letter to receive a free membership card; the only other advantage was that the log included the names and addresses of all the participants so that the participants could contact each other. Among the names listed in the january 1943 issue was that of hugh hefner, who later became famous as the founder of playboy. Writers appeared, including richard matheson and joseph payne brennan. Brennan had already sold over a dozen stories to other publications when he finally sold them to mcilwright, but he always wanted to sell weird tales, and three years after the magazine closed, he started a small horror magazine called macabre, which he published for several years, imitating weird tales. A detailed biography of william hope hodgson, published in three volumes, as well as several rare stories of hodgson that moskowitz unearthed. Many other stories have been reprinted either from weird tales or from other early publications such as the black cat or blue book. In ashley's opinion, the magazine "was like a museum piece with nothing new or progressive", though weinberg describes the magazine as "an interesting mess of content". The subsequent paperback series, edited by lin carter, was criticized in a similar vein, with weinberg feeling that she "relied too heavily ... On old names like lovecraft, howard and smith, reprinting mediocre material ... The new writers weren't encouraged enough." [126] although weinberg adds that ramsey campbell, tanith lee, and steve rasnick tem were among the new writers who provided good material.[126] ashley's opinion of the two editions of bellerophon is low: he describes them as lacking "any clear editorial focus or insight". The publication introduced the magazine with a completely new design for nearly seventy-five years. With steven h. Segal as editorial and creative director and anne vandermeer as fiction editor,[42] the magazine "received a number of awards and great recognition" over the next few years. In 2010, vandermeer became editor of the magazine. Chief.[42][128] At this time, weird tales published works by a wide variety of weird fiction authors, including michael moorcock and tanith lee, as well as new writers such as n.K. Jemisin. , Jay lake, kat rambo and rachel swirsky.[42] this period also saw the addition of a wider range of content, from narrative essays to comics and odd culture articles. The magazine received its first hugo award in august 2009 in the semiprozine category[129], and also received two hugo award nominations in subsequent years[130] and its first world fantasy award nomination for segal and vandermeer in over seventeen years. .[130][131] In addition to winning or nominating for awards, weird tales, edited by vandermeer, has tripled its subscriber count as the magazine "has become a symbol of what's good about change in the sci-fi community. [132] Marvin kaye and after[edit]in 2011, marvin kaye and john harlacher acquired weird tales from john gregory betancourt[133], with kaye taking over control february 2012, the first issue of 359 was published by a new publisher. ] In august 2012, weird tales became involved in a spat after kay announced that the magazine was going to publish an excerpt from victoria foyt's controversial novel save the pearl, which many critics accused of using racist stereotypes . The decision was made despite vandermeer's protests and prompted her to end her association with the magazine. Kay wrote an essay titled "a totally non-rasiist novel" defending his decision to publish the passage. Both the essay and kay's decision to publish the passage were heavily criticized: n. K. Jemisin said, "this is how you destroy something beautiful," in reference to the magazine [135], and jim s. Hines said he was "very concerned about what the editor ever thought it was a good idea anyway, that he was so supportive of this novel that he went out of his way to defend and support it…until the internet came crashing down on him.”[136] The publisher subsequently overruled kay's decision and announced that weird tales was no longer planning to release the excerpt. Weird tales issue #361 summer 2013 and #362 spring 2014 #363 released later that year. This edition featured victor laval's short story "the revolt from slavery", which later won the stoker award for best fiction story. Was one of the most important fantasy magazines; in ashley's opinion, it is "second only to the unknown in significance and influence". Weinberg goes further, calling it "the most important and influential of all fantasy magazines".Weinberg argues that much of the material published by weird tales would never have appeared if the magazine had not existed. It was through "weird tales" that lovecraft, howard and clark ashton smith became widely known, and it was the first and one of the most important markets for weird and sci-fi art. Many of the horror stories adapted for early radio shows, such as stay tuned for horror, originally appeared in weird tales. The magazine's "golden age" came with wright, and de camp claims that one of wright's accomplishments was the creation of "weird tales school of writing". Justin everett and geoffrey h. Shanks, editors of a recent scholarly collection of literary criticism dedicated to the magazine, argue that "weird tales functioned as a link in the development of speculative fiction from which the modern fantasy and horror genres emerged." .[143] The magazine was, unusually for a newspaper, included by the editors of the annual "a year in fiction" anthologies and was generally more respected than most newspapers.This remained true long after the magazine's first print run ended. , As it became the main source of fantasy stories for anthologists for several decades.Weinberg argues that the fantasy boulevards, of which he considers "weird tales" the most influential, helped shape the modern fantasy genre, and that wright, "if he doesn't was an ideal editor ... Was an outstanding, and one of the most influential figures in contemporary american fantasy fiction,"[145] adding that weird tales and its competitors "provided the foundation upon which much of modern fantasy rests."[146] everett and shanks agree and see weird tales as a place where writers, editors, and interested readers "took speculative fiction to new heights," with an influence that " reflected in contemporary popular culture." According to ashley, "somewhere in the reservoir of imagination of all american (and many other) fantasy and horror writers lies a piece of the spirit of weird tales."[4] Four interior illustrations from weird tales. Artists from left to right: finlay (1938), bock (1941), dolgov (1943) and koye (late 1940s or early 1950s). Bibliographic data[edit] Interior illustration by virgil finlay for h.P. Lovecraft's "exiled house" from the october 1937 issue of weird tales. >Questions from the editor Edwin baird, march 1923-may/june/july 1924 Farnsworth wright, november 1924 - march 1940 Dorothy mcilwright, may 1940 - september 1954 Sam moskowitz, april 1973 - summer 1974 Lyn carter, spring 1981-summer 1983 Forrest j. Ackerman/gil lamont, fall 1984

Gordon garb, winter 1985

John betancourt Spring 1988 - winter 1990 september 2005 - february/march 2007 Darrell schweitzer spring 1991 - winter 1996/1997 Darrell schweitzer george skeesers Summer 1998 - december 2004

Stephen seagal, apr/may 2007 - sept/oct 2007, spring 2010

Anne vandermeer, nov/dec 2007 - fall 2009 summer 2010 - winter 2012 Marvin kaye fall 2012 - spring 2014 Jonathan maberry summer 2019 - pre submitted publisher for first year was rural publishing corporation ; this changed to popular fiction publishing with the november 1924 issue and to weird tales, inc. With the december 1938 issue. Four issues in the early 1970s were published by renown publications and four paperback issues in the early 1980s were published by zebra books. The next two editions were issued by bellerophon and then from spring 1988 to winter 1996 terminus was the publisher. From summer 1998 to july/august 2003, the publisher was dna publications and terminus, listed either as dna publications/terminus or simply as dna publications. In the september/october 2003 issue, the publisher was listed as dna publications/wildside press/terminus, and remained so until 2004, with terminus dropped from the title in one issue. Thereafter, the publisher was wildside press, sometimes listed as terminus, until the september/october 2007 issue, after which only wildside press was listed. Issues published from 2012 to 2014 were produced by nth dimension media. , When it was a big pulp, and the last year, from september 1953 to september 1954, when it was a digest. Four issues from the 1970s were in pulp format. Two releases of bellerophon were quarto. Terminus issues reverted to pulp format until the winter 1992/1993 release, which was a large pulp format. A single pulp release appeared in the fall of 1998, and then the format reverted to a large pulp release until the fall 2000 release, which was a quarto. The format ranged from coarse pulp to quarto until january 2006. Which was a big pulp, as were all releases after that date until the fall of 2009, with the exception of the november 2008 quarto format. Since the summer of 2010, the format has been quarto. ] The first print run of the magazine cost 25 cents for the first fifteen years of its existence, except for the large may/june/july 1924 issue, which cost 50 cents. In september 1939, the price was reduced to 15 cents, where it remained until the september 1947 issue, which was 20 cents. In may 1949 the price rose again to 25 cents; digest-sized issues from september 1953 to september 1954 cost 35 cents. The first three paperback books edited by lin carter cost $2.50; the fourth cost $2.95. Two issues of bellerophon cost $2.50 and $2.95. The terminus weird tales began in the spring of 1988 at $3.50; this rose to $4 for the fall 1988 issue and to $4.95 for the summer 1990 issue. The next price increase was to $5.95 in the spring of 2003 and then to $6.99 in the january 2008 issue. The first two issues of nth dimension media cost $7.95 and $6.99; the latter two cost $9.99 each. They were signed by members and were available for $40 as part of a subscription offer. Releases released in this format include summer 1988, spring/fall 1989, winter 1989/1990, spring 1991 and winter 1991/1992. > beginning in 1925, christine campbell thomson edited a series of horror anthologies published by selwyn and blount called not at night. They were considered the unofficial british edition of the magazine, the stories occasionally appearing in an anthology before the american version of the magazine. Those that drew much of their content from weird tales were: night all 15 1926 15 1927 you will need a night light 14 of 15 1929 daylight only 15 of 20 1931 turn on the lights 8 of 15 1931 in the dead of night 8 of 15 1932 grim death 7 of 15 1933 keep on the light 7 of 15 1934 night terror 9 of 15 there was also a 1937 anthology titled not at night omnibus which included 35 stories from the not at night series, 20 of which originally appeared in weird tales. In the us, an anthology titled not at night! Edited by herbert asbury withdrew from macy-macius in 1928; 25 stories were selected from this series, 24 of them were taken from weird tales. 153][154][155][156][157][158][159][160][161] Year title editor publisher's notes The unexpected pyramid of leo margulis, 1961 Guardians of the ghouls, 1961 the pyramid of leo margulis 1964 weird tales, the pyramid of leo margulis, ghost, edited by sam moskowitz 1965 worlds of weird leo margulies pyramid ghost edited by sam moskowitz 1976 weird tales peter haining neville spearman hardcover edition (but not paperback) reproduces original stories in facsimile[ 162] 1977 weird legacies mike ashley star 1988 weird tales: the magazine that never dies marvin kaye nelson doubleday 1995 the best of weird tales john betancourt barnes & noble 1997 the best of weird tales: 1923 marvin kaye & john betancourt bleak house 1997 weird tales: seven decades of terror john betancourt & robert weinberg barnes & noble The women of weird tales melanie anderson val ancourt books, 2020 Canadian and uk editions[edit] ] Jan feb mar apr may jun jul aug sep oct nov dec 1942 36/3 36/4 37/1 37/1

1943 36/7 36/8 36/9 36/10 37/11 36/12
1944 36/13 36/14 36/15 36/15 37/ 5 37/6

1945 38/1 38/3 38/3 38/3 38/ 3 38/3 1946 38/3 38/4 38/4 38/4 38/4 38/4 1947 38/4 38/4 38/4 38/4 38/4 38/4 1948 nn 40/3 40/4 40/5 40/6 41/1 1949 41/2 41/3 41/4 41/5 41/6 42/1 1950 42/2 42/3 42/4 42/5 42/6 43/1 1951 43/2 43/3 43/4 43/5 43 /6 44/1 Canadian editions of weird tales from 1941 to 1954 with volume number/ release. "Nn" means thatthis problem did not have a number. Numerous oddities in the numbering of volumes are correctly shown[163]. The canadian edition of weird tales ran from june 1935 to july 1936; all fourteen issues are considered identical to the u.S. Releases of those dates, although the cover said "printed in canada", and in at least one case another text box was placed on the cover to hide part of the nudity. Another canadian series began in 1942 as a result of import restrictions placed on american magazines. The canadian editions from 1942 to january 1948 were not identical to the american editions, but they match closely enough that the originals can be easily identified. From may 1942 to january 1945 they correspond to the us issues two issues earlier, i.E. January 1942 to september 1944.There was no canadian issue to match the us november 1944 issue, so from that point on, the canadian issues were only one behind the american ones: the march 1945 to january 1948 issues matched the january 1945 to november 1947 us issues. There was no canadian release of the january 1948 us release, and from the next issue, march 1948, until the end of the canadian run in november 1951, the releases were identical to the us versions. . All covers were recoloured by canadian artists prior to the january 1945 issue; thereafter, illustrations from the original issues were used. Initially, the artistic content of the canadian editions did not change from the american editions, but beginning in september 1942, the canadian weird tales dropped some of the original stories in each edition, replacing them either with stories from other editions of weird tales or, occasionally, with material. From short stories.[164] Us and canadian covers for the november 1935 issue, with part of the nude figure (margaret brundage) hidden in the canadian version[165] In a couple of cases, the story appeared in the canadian edition of the magazine before or at the same time as the us version, so it's clear that whoever collected the issues had access to weird tales. Pending history file. Due to the reorganization of the material, it often happened that in one of the canadian editions there was more than one story by the same author. In these cases, a pseudonym was invented for one of the stories. In early 1942, three issues, abridged from the us issues of september 1940, november 1940 and january 1941, were published in the uk by gerald swan; they were not dated and had no volume numbers. The average issue consisted of 64 pages; the other two had 48 pages. Everything cost 6 pence. A single issue was released in late 1946 by william merrett; it was also not dated or numbered. It consisted of 36 pages and cost 1/6. The three stories included are from the us october 1937 issue. All of them were undated; the first release did not have a volume or issue number, but subsequent releases were numbered consecutively. Most of them were rated 1/-; issues 11 to 15 were 1/6. There were 96 pages in total. The first issue corresponds to the us issue of july 1949; the next 20 issues correspond to the november 1949 to january 1953 u.S. Issues, and the last two issues correspond to may 1953 and march 1953, in that order. Five more issues of thorpe & porter appeared bimonthly from november 1953 to july 1954, with the volume numbering resumed from volume 1 number 1. They correspond to the us issues from september 1953 to may 1954.[162 ]

Collectability[edit]weird tales is highly collectible and many editions are highly priced. In 2008, mike ashley estimated the cost of the first issue at £3,000 in excellent condition and added that the second issue is much rarer and more expensive. Issues with lovecraft or howard stories are in high demand: the october 1923 issue containing "dagon", lovecraft's first appearance in weird tales, sells for prices comparable to the first two issues. The first few volumes are so rare that very few academic collections contain more than a handful of these issues: eastern new mexico university, the owner of a surprisingly complete archive of early science fiction, has "only a few scattered issues" of the early years, and a librarian recorded in 1983 that "merchants laugh when eastern asks about it." Edited by wright. Ashley cites digest-sized issues released at the end of mcilwright's tenure as costing between £8 and £10 each as of 2008. Revived editions are not particularly rare, with two exceptions. Two issues of bellerophon have received such poor distribution that they are selling at a high price: ashley quotes the price of the first issue for 2008 from 40 to 50 pounds, and the second - twice as much. Other valuable recent releases are the hardcover versions of terminus weird tales; ashley quotes prices ranging from £40 to £90, and there is a surcharge for some author's special editions. "Reputedly" was $11,000, meaning the magazine lost $52,000 during baird's tenure. L. Sprague de camp cites henneberger's debt as "at least $43,000 and possibly up to $60,000." , Who often posed as an aged gentleman, declared, "think of the tragedy of such a move for an aged antiquary." Paid one cent per word around 1931, "rather reliable" than amazing stories[20], and hugh cave lists one cent per word as a rate in early 1933[21]

^ ashley says wright's health made it "impossible to continue," but weinberg says delaney let go of wright "to further cut costs." However, in a later history of the magazine, weinberg says that wright, "who had been in poor health for many years, resigned as editor" and gives no other reason for his departure. 32] ^ Delaney attempted to revive the stories in 1956, but produced only five issues; margulis also tried to bring back the stories and kept it alive from december 1957 to august 1959. , Which appeared in the september 1935 issue; lovecraft's answer was the ghost of darkness in december 1936. Associates and discovered that the women who worked there were regular readers of weird tales. When they found out who he was, they offered him their services for free.[86] ^ Lounds later discovered that delaney was almost certainly referring to smith's story "the coming of the white worm"; it was eventually published by donald wollheim in stirring science stories. Publications, 2018). ^ A b weinberg (1985a), pp. 730–731. ^ A b c ashley (1997), p. 1000. ^ A b ashley (1997), p. 1002. ^ A b nicholls, peter; ashley, mike (july 18, 2012). "Pulp". Encyclopedia sf. Gollants. Archived from the original on june 17, 2016. Retrieved december 17, 2014. ^ Murray (2011), p. 26. ^ John locke, "pallies" in the incredible thing: the secret origins of weird tales (off-trail publications, 2018).

^ A b c ashley (2000), p. 41.

^ A b c d e weinberg (1999a), pp. 3–4. ^ A b c d e f g h weinberg (1985a), pp. 735–736. ^ A b c d e f g weinberg (1999a), p. 4. ^ Ashley (2008), p. 25. ^ A b c carter (1976), pp. 35-37. ^ De camp (1975), p. 203. ^ Ashley (2000), p. 42. ^ A b carter (1976), pp. 41–46. ^ De camp (1975), pp. 203–204. ^ H. P. Lovecraft, letter to frank belknap long, march 21, 1924; quoted in carter (1976), p. 43. ^ Jeffrey and cook (1985), pp. 41-42. ^ Williamson (1984), p. 78. ^ Cave (1994), p. 31. ^ "Time travel with h. P. Lovecraft" at world fantasy convention i: three authors remembered (west warwick, ri: necronomicon press), p. 8 ^ A b c d e weinberg (1999a), p. 5. ^ Wright (1927), table of contents. ^ Bleuler (1990), p. 66. ^ Ashley (1985a), pp. 454–456. ^ A b c d e f g h i j weinberg (1985a), pp. 729–730. ^ Cave (1994), pp. 38, 41. ^ A b c d e f g h i j weinberg (1999a), p. 6. ^ Additional data on buchanan's tenure as editor was taken from market reports in writer's digest and the author & journalist. Other data comes from correspondence between buchanan and the participants. ^ Jones (2008), p. 857. ^ A b c d ashley (2000), p. 140. ^ Harriet bradfield, "new york market letter," writer's digest, april 1945. ^ Harriet bradfield, "market letter new york, writer's digest, november 1949 ^ De camp (1953), pp. 111–121. ^ Ashley (2005) , pp. 72–73. . ^ Doug ellis, john locke and john gunnison. The adventure house pulp guide (silver spring, md: adventure house, 2000), p. 300–301. ^ A b c d "miskatonic university library's periodic reading room - weird tales". Www.Yankeeclassic.Com. Archived from the original on march 4, 2016. Retrieved july 11, 2016 ^ A b ashley (2005), pp. 162–164. ^ A b in mr. Ashley (2007), p. 283. ^ Stevensen-payne, phil. "Journal of stories". Www.Philsp.Com. Galactic center. Archived june 4, 2016. Retrieved july 9, 2016 ^ A b c d e f ashley, mike; nicholls, peter. "Culture: weird tales: sfe: an encyclopedia of science fiction". Sf-encyclopedia.Com. Archived from the original on july 13, 2016. Retrieved july 22, 2016. ^ Ashley (2007), p. 284. ^ Ashley (1997), pp. 1000-1003. ^ Weinberg (1985a), pp. 732-734.

^ Ashley (2016), p. 110.

^ A b c ashley (2016), pp. 110-112. ^ Weird tales in limbo (1984), p. 4. ^ A b c d e ashley (2008), pp. 34–36. ^ “List of conventions world fantasy convention. Www.Worldfantasy.Org. Archived july 9, 2016. Retrieved july 10, 2016. ^ Variety staff (april 10, 1995). "Top team leaders 'tales'... A sky-high tricky price". Archived february 20, 2016. Retrieved august 28, 2016. ^ "Weird tales press release january 2010." Weirdtales.Net. 25 january 2010 archived from the original on 25 august 2010. Retrieved 16 september 2012 ^ A b strok, ian randal (23 august 2011). Marvin kaye buys weird tales; edit it myself." Sf region. Archived from the original on july 10, 2012 ^ Publications, locus (august 23, 2011)."Locus online news" kay buys weird tales. Www.Locusmag.Com. Locus. Archived from the original on may 13, 2016. Retrieved july 31, 2016 ^ "World fantasy convention special preview edition." Www.Scribd.Com. January 16, 2012 archived from the original on january 20, 2012. Retrieved september 16, 2012. ^ Publications, locus (november 19, 2011). "Lois tilton reviewing the short, mid-november 2012." Www.Locusmag.Com. Locus. Archived may 29, 2016. Retrieved august 22, 2013. ^ "Publication: weird tales, spring 2014." Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 31, 2016 ^ "Weird tales is back! The magazine that ... - Weird tales magazine". Facebook. August 14, 2019 archived from the original on december 14, 2021. Retrieved august 18, 2019 ^ A b weinberg (1999c), p. 62. ^ A b weinberg (1985a), pp. 727-728. ^ A b c weinberg (1999b), p. 19. ^ A b ashley (2000), pp. 41–42. ^ A b de camp (1975), pp. 178–179. ^ Weinberg (1999b), pp. 19–21. ^ De camp (1975), pp. 186–187. ^ Geoffrey and cook (1985), p. 99. ^ A b weinberg (1999b), p. 22. ^ De camp (1975), p. 183. ^ Joshi and schultz (2004), p. 156. ^ Weinberg (1999d), p. 79. ^ Jeffrey and cook (1985), pp. 4-9. ^ Ashley (2008), p. 27. ^ A b c d e f g h i j ashley (1997), p. 1001. ^ Weinberg (1999b), p. 23. ^ A b weinberg (1999b), pp. 23-25. ^ A b weinberg (1999b), p. 26. ^ De camp (1975), p. 273. ^ A b bloch (1993), pp. 78-79. ^ Jaffery & cook (1985), pp. 87, 105. ^ Weinberg (1999b), p. 30. ^ A b price (1999), p. 11. ^ Weinberg (1999b), p. 31. ^ De camp (1975), pp. 243-244, 276. ^ De camp (1975), p. 368. ^ De camp (1975), p. 346. ^ A b de camp (1975), p. 217. ^ Weinberg (1999b), p. 37. ^ Dzemyanovich (1997), p. 661. ^ Weinberg (1983), p. 2451. ^ "Brief bibliography: clark ashton smith." Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 28, 2016. ^ "Short bibliography: robert e. Howard." Www.Isfdb.Org. Archived from the original on 16 september 2016. Retrieved 28 july 2016 ^ De camp (1975), p. 317. ^ A b weinberg (1999c), p. 68. ^ Jeffrey and cook (1985), pp. 39–49. ^ Weinberg (1985b), pp. 58–61. ^ Moskowitz (1976), p. 251. ^ Weinberg (1985b), pp. 110–116. ^ Weinberg (1999d), pp. 92, 98.

^ Weinberg (1999c), p. 64.

^ Weinberg (1999c), pp. 72-74. ^ A b c d e weinberg (1999b), p. 43. ^ A b joshi (2004), pp. 292–294. ^ Jones (1975), pp. X, 3–10. ^ Weinberg (1999e), p. 125. ^ A b clareson (1985), pp. 694-697. ^ Jaffery & cook (1985), p. 104. ^ Weinberg (1999e), pp. 122-124. ^ Weinberg (1999e), p. 120. ^ Letter, undated but "apparently early 1932", according to cave, quoted in cave (1994), p. 14. ^ Geoffrey and cook (1985), p. 62. ^ A b weinberg (1999b), p. 44. ^ A b connors & hilger (2011), seventh unnumbered page of the foreword in the online edition. ^ Clute (1997), pp. 481– 482. ^ Weinberg (1999b), p. 47. ^ De camp (1953), pp. 80-81. ^ Weinberg (1999c), p. 74. ^ Weinberg (1999d), p. 93. ^ A b weinberg (1999d), pp. 93-103. ^ Knight (1977), p. 90. ^ Geoffrey and cook (1985), p. 91. ^ Weinberg (1999d), pp. 86–88. ^ Weinberg (1999d), pp. 96–103.

^ Weinberg (1999e), p. 129.

^ Brennan (1999), pp. 60-61. ^ A b c weinberg (1985a), p. 732. ^ From "introduction" by jonathan strahan, "best science fiction & fantasy of the year" by jonathan strahan, night shade books, 2012.

^ "Press weird tales release, january 2010" . Archived from the original on august 25, 2010 

^ "2009 hugo awards". August 18, 2009 archived from the original on may 7, 2011. Retrieved august 15, 2016 ^ A b laufenberg, kathleen (august 23, 2009). "'Weird' victory: tallahassee science fiction editor brings hugo award home". Tallahassee democrat. Archived from the original on september 11, 2015. Retrieved september 9, 2009. ^ “Nominees world fantasy convention. Www.Worldfantasy.Org. Archived from the original on january 14, 2017. Retrieved august 15, 2016 ^ “The editor of weird tales insulted us all. Archived april 11, 2021, at the wayback machine" by damien walter, 8-21-12, accessed march 28, 2021 ^ A b "the weird tales controversy-part four", tellers of weird tales, 23 august 2015, accessed 28 march 2021 ^ Flood, alison (21 august 2012)."Racist scandal over sci-fi novel about black 'embers' and white 'pearls'". The keeper. Archived from the original on november 19, 2016. Retrieved july 31, 2016 ^ “This is how you destroy something beautiful. Archived april 15, 2021, at the wayback machine" by n.K. Jemisin, august 20, 2012, accessed march 28, 2021 ^ "Totally non-racist nonsense, archived april 17, 2021, at the wayback machine" by jim. C. Hines, august 20, 2012, accessed march 28, 2021 ^ "Communication from the publisher." Weirdtalesmagazine.Com. Archived from the original on july 3, 2014. Retrieved september 16, 2012. ^ Strange stories. Archived 2012-10-20 at the wayback machine", encyclopedia of science fiction, accessed march. 28, 2021. ^ "Yes, weird tales archived again march 29, 2021 at the wayback machine", john o'neal, black gate, january 21, 2020

^ Victor lavalle: destroy the reader. Archived 27 february 2021 at the wayback machine", locus magazine, 9 november 2020 

^ "2019 bram stoker award finalists archived 17 april 2020. , 2021, at the wayback machine", bram stoker website, accessed march 28, 2021 ^ De camp (1975), p. 216. ^ Everett & shanks (2015), p. X. ^ Weinberg (1983), pp. 2452-2453. ^ Weinberg (1983), p. 2450. ^ Weinberg (1983), p. 2463. ^ Everett & shanks (2015), p. Xviii. ^ Geoffrey and cook (1985), p. 50. ^ A b c d e "series: weird tales". Www.Isfdb.Org. Archived from the original on 17 september 2016. Retrieved 23 july 2016 ^ A b weinberg (1985a), pp. 734-735. ^ "Series : not at night. Www.Isfdb.Org. Archived from the original on september 17, 2016. Retrieved july 18, 2016 ^ "Title: the unexpected". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Title: the ghoul keepers". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Title: weird tales". Www.Isfdb.Org. Archived from the original on september 17, 2016. Retrieved july 22, 2016 ^ "Title: worlds of weird". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Title: weird tales". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Title: weird legacies". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Publication: weird tales: the magazine that never dies". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ "Title: the best of weird tales". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016. ^ "Title: the best of weird tales: 1923." Www.Isfdb.Org. Archived september 17, 2016. Retrieved july 22, 2016 ^ "Title: weird tales: seven decades of terror". Www.Isfdb.Org. Archived from the original on september 16, 2016. Retrieved july 22, 2016 ^ A b c weinberg (1985a), pp. 733–734. ^ Ashley ( 1985b), p. 35. ^ A b c ashley (1985b), pp. 31–35. ^ "Weird tales (canada)". Galactic center. Archived from the original on december 14, 2021. Retrieved november 22, 2019. ^ A b ashley (2008), pp. 24–37. ^ Walker (1983), p. 55. Ashley, mike (1985a). "Oriental stories". In timna, marshall b.; Ashley, mike (ed.). Science fiction, fantasy and weird fiction magazines. Westport, ct: greenwood press. Pp. 454-456. Isbn 0-313-21221-x. Ashley, mike (1985b). "Those other 'weird tales'". Etchings and odysseys (6): 31–35. Ashley, mike (1997) [1996]. "Strange tales". In klute, john; grant, john (ed.). Encyclopedia of fantasy. New york: saint martin's publishing. Pp. 1000-1003. Isbn 0-312-15897-1 Ashley, mike (2005). Transformations: a history of science fiction magazines from 1950 to 1970. Liverpool: liverpool university press. Isbn 0-85323-779-4 Ashley, mike (2007). Gateway to eternity: a history of science fiction magazines from 1970 to 1980. Liverpool: liverpool university press. Isbn 978-1-84631-003-4 Ashley, mike (april 2008). "Strange tales". Book and magazine collector (293): 24–37. Ashley, mike (2016). Science fiction rebels: a history of science fiction magazines from 1981 to 1990. Liverpool: liverpool university press. Isbn 978-1-78138-260-8 Bleiler, everett f. (1990). Science fiction: the early years. Kent, ohio: kent state university press. Isbn 0-87338-416-4 Bloch, robert (1993). Once around bloch: an unauthorized autobiography. New york: thor. Isbn 0-312-85373-4 Brennan, joseph payne (1999). "Joseph payne brennan". In weinberg, robert (ed.).History of strange tales. Berkeley heights, nj: wildside press. Pp. 59-61. Isbn 1-58715-101-4 . Carter, lin (1976) [1972]. Lovecraft: a look beyond the cthulhu mythos. New york: ballantyne books. Isbn 0-345-25295-0 Cave, hugh b. (1994). Magazines i remember. Chicago: tattered pages press. Isbn 1-884449-04-2 Clareson, thomas d. (1985). "Unknown". In timna, marshall b.; Ashley, mike (ed.). Science fiction, fantasy and weird fiction magazines. Westport, ct: greenwood press. Pp. 694-697. Isbn 0-313-21221-x Klute, john (1997). "Howard, robert erwin". In klute, john; grant, john (ed.). Encyclopedia of fantasy. New york: st. Martin's publishing. Pp. 481-483. Isbn 0-312-15897-1 Connors, scott; hilger, ron (2011). "Foreword". In connors, scott; hilger, ron (ed.). Miscellaneous writings by clark ashton smith. Westport, ct: simon & schuster. Pp. 454-456. Isbn 978-1-59780-297-0 De camp, l. Sprague (1953). Science fiction handbook. New york: hermitage house. De camp, l. Sprague (1975). Lovecraft: a biography. New york: doubleday & company. Isbn 0-385-00578-4 Dziemianowicz, stefan (1997) [1996]. "Moore, katherine lucille". In klute, john; grant, john (ed.). Encyclopedia of fantasy. New york: st. Martin's publishing. Pp. 661-662. Isbn 0-312-15897-1. Everett, justin; shanks, geoffrey h. (2015). "Introduction". In everett, justin; shanks, geoffrey h. (Ed.). A unique legacy of weird tales: the evolution of modern fantasy and horror. New york: rowman & littlefield. Pp. Ix-xix. Isbn 978-1-4422-5621-7. Jaffery, sheldon; cook, fred (1985). Collection index of strange tales. Bowling green, ohio: bowling green state university popular press. Isbn 0-87972-284-3 Jones, robert kenneth (1975). Tremulous pulps. West lynn, or: fax collector's editions. Isbn 0-913960-04-7 Jones, stephen (2008). "Afterword: the gentleman of providence". In jones, stephen (ed.). Necronomicon: the best weird tales of h.P. Lovecraft. London: hollanz. Pp. 831-878. Isbn 978-0-575-08157-4. Joshi, s.T.; Schultz, david e. (2004) [2001]. H.P. Encyclopedia of lovecraft. New york: hippocampus press. Isbn 0-9748789-1-x. Knight, damon (1977). Futurists. New york: john day. Locke, john (2018). The thing is incredible! The secret origin of strange tales. Elkhorn, ca: off-trail publications. Isbn 978-1-935-03125-3 Moskowitz, sam (1976). Strange horizons: the science fiction spectrum. New york: charles scribner's sons. Isbn 0-684-14774-2 Price, e. Hoffmann (1999) [1977]. "Farnsworth wright". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 7-15. Isbn 1-58715-101-4 Walker, mary jo (1983). "Out of the closet: science fiction at eastern new mexico university". In hall, hulbert w. (Ed.). Collections of scientific and artistic literature: fantasy, supernatural and strange tales. New york: haworth press. Pp. 49-58. Isbn 0-917724-49-6 Weinberg, robert (1983). "Fantasy pulps". In magill, frank (ed.). Review of modern science fiction: volume five. Englewood cliffs, nj: salem press. Pp. 2447-2463. Isbn 0-89356-455-9 Weinberg, robert (1985a). "Strange tales". In timna, marshall b.; Ashley, mike (ed.). Science fiction, fantasy and weird fiction magazines. Westport, ct: greenwood press. Pp. 727-736. Isbn 0-313-21221-x. Weinberg, robert (1985b). Biographical dictionary of science fiction and fantasy artists. Westport, ct: greenwood press. Isbn 0-313-24349-2 Weinberg, robert (1999a) [1977]. "Short story". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 3-6. Isbn 1-58715-101-4 Weinberg, robert (1999b) [1977]. "Stories". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 19-47. Isbn 1-58715-101-4 Weinberg, robert (1999c) [1977]. "Cover". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 62-78. Isbn 1-58715-101-4 Weinberg, robert (1999d) [1977]. "Interior art". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 79-111. Isbn 1-58715-101-4 Weinberg, robert (1999e) [1977]. "From the nest". In weinberg, robert (ed.). History of strange tales. Berkeley heights, nj: wildside press. Pp. 119-131. Isbn 1-58715-101-4 "Strange tales in limbo". Locus: the newspaper of the science fiction field (285): october 4, 1984 Williamson, jack (1984). Miracle child. New york: blue jay. Isbn 9780312944544. Wright, farnsworth, ed. (1927). Lunar horror. Indianapolis: popular fiction publishing. William fullwiler and graham flanagan. Weird tales on tv.Crypt of cthulhu, 4, no 5 (whole number 30) (eastertide 1985): 29–32, 52. Weird tales: the unique magazine.Org Weird tales in wikipedia child projects Texts from wikipedia Fantasy Magic

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