The Last Hieroglyph is the fifth of the five volume Collected Fantasies series. Editors Scott Connors and Ron Hilger have compared original manuscripts, various typescripts, published editions, and Smith's notes and letters, in order to prepare a definitive set of texts. The Last Hieroglyph includes, in chronological order, all of Clark Ashton Smith's stories from "The Dark Age" to "The Dart of Rasasfa."
A Clark Ashton Smith Single. Set the in the Land of Averoigne a narrative by written by the young Christophe Morand about his unaccountable disappearance in 1798.
The fifth of five volumes collecting the complete stories of renowned “weird fiction” author Clark Ashton Smith. “None strikes the note of cosmic horror as well as Clark Ashton Smith. In sheer daemonic strangeness and fertility of conception, Smith is perhaps unexcelled by any other writer.” —H. P. Lovecraft Clark Ashton Smith, considered one of the greatest contributors to seminal pulp magazines such as Weird Tales, helped define and shape “weird fiction” in the early twentieth century, alongside contemporaries H. P. Lovecraft and Robert E. Howard, drawing upon his background in poetry to convey an unparalleled richness of imagination and expression in his stories of the bizarre and fantastical. The Collected Fantasies series presents all of Smith’s fiction chronologically. Authorized by the author’s estate and endorsed by Arkham House, the stories in this series are accompanied by detailed background notes from editors Scott Connors and Ron Hilger, who in preparation for this collection meticulously compared original manuscripts, various typescripts, published editions, and Smith’s own notes and letters. Their efforts have resulted in the most definitive and complete collection of the author’s work to date. The Last Hieroglyph is the fifth of five volumes collecting all of Clark Ashton Smith’s tales of fantasy, horror, and science fiction. It includes all of his stories from "The Dark Age" (1933) to "The Dart of Rasasfa" (1961).
The fifth of five volumes collecting the complete stories of renowned “weird fiction” author Clark Ashton Smith. “None strikes the note of cosmic horror as well as Clark Ashton Smith. In sheer daemonic strangeness and fertility of conception, Smith is perhaps unexcelled by any other writer.” —H. P. Lovecraft Clark Ashton Smith, considered one of the greatest contributors to seminal pulp magazines such as Weird Tales, helped define and shape “weird fiction” in the early twentieth century, alongside contemporaries H. P. Lovecraft and Robert E. Howard, drawing upon his background in poetry to convey an unparalleled richness of imagination and expression in his stories of the bizarre and fantastical. The Collected Fantasies series presents all of Smith’s fiction chronologically. Authorized by the author’s estate and endorsed by Arkham House, the stories in this series are accompanied by detailed background notes from editors Scott Connors and Ron Hilger, who in preparation for this collection meticulously compared original manuscripts, various typescripts, published editions, and Smith’s own notes and letters. Their efforts have resulted in the most definitive and complete collection of the author’s work to date. The Last Hieroglyph is the fifth of five volumes collecting all of Clark Ashton Smith’s tales of fantasy, horror, and science fiction. It includes all of his stories from "The Dark Age" (1933) to "The Dart of Rasasfa" (1961).
Incorporating the novels, pamphlets and letters of Henry Miller, Killing the Buddha argues for Miller’s written work to be considered as a whole in relation to the theme of Zen Buddhism, specifically the concept of Satori (awakening). By reading Miller’s literary output and letters as a spiritual journey to awakening, it is possible to chart his development as a writer, and offer insight into his repetitive use of biographical material. Reflecting upon the influence of Otto Rank and Henri Bergson on Miller’s conceptualization of the role of the writer, and then by examining his complex rejection of Surrealism, it is possible to show Miller’s burgeoning Zen Buddhism as a life-long quest for acceptance and authenticity explicitly explored within his work. With close readings of the ‘Obelisk Trilogy’ of the 1930s (Tropic of Cancer, Tropic of Capricorn and Black Spring) and The Rosy Crucifixion Trilogy (1949-1960), Miller’s complex journey to Satori is shown as a continuous progression from his early notorious novels through to the essays and pamphlets of his later career.
