Published in chronological order, with extensive story and bibliographic notes, this series not only provides access to stories that have been out of print for years, but gives them a historical and social context. Series editors Scott Conners and Ronald S. Hilger excavated the still-existing manuscripts, letters and various published versions of the stories, creating a definitive “preferred text” for Smith's entire body of work. This third volume of the series brings together 21 of his fantasy stories.

The third 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. A Vintage from Atlantis is the third 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 Holiness of Azédarac” (1931) to “The God of the Asteroid” (1932), as well as an introduction by Michael Dirda.

Back in print in new trade paperback editions, the third 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. A Vintage from Atlantis is the third 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 Holiness of Azédarac” (1931) to “The God of the Asteroid” (1932), as well as an introduction by Michael Dirda. Skyhorse Publishing, under our Night Shade and Talos imprints, is proud to publish a broad range of titles for readers interested in science fiction (space opera, time travel, hard SF, alien invasion, near-future dystopia), fantasy (grimdark, sword and sorcery, contemporary urban fantasy, steampunk, alternative history), and horror (zombies, vampires, and the occult and supernatural), and much more. While not every title we publish becomes a New York Times bestseller, a national bestseller, or a Hugo or Nebula award-winner, we are committed to publishing quality books from a diverse group of authors.

The object had the form of a great jar, with a tapering neck and a deep, round, abdomens body. It was wholly encrusted with shells and corals that had gathered upon it as if through many ages in the ocean deeps, and was festooned with weeds and sea-flowers such as we had never before beheld; so that we could not determine the substance of which it was made.Excerpt I thank you, friend, but I am no drinker of wine, not even if it be the rarest Canary or the oldest Amontillado. Wine is a mocker, strong drink is raging . . . and more than others, I have reason to know the truth that was writ by Solomon the Jewish king. Give ear, if ye will, and I shall tell you a story such as would halt the half-drained cup on the lips of the hardiest bibber.We were seven-and-thirty buccaneers, who raked the Spanish Main under Barnaby Dwale, he that was called Red Barnaby for the spilling of blood that attended him everywhere. Our ship, the Black Falcon, could outfly and outstrike all other craft that flew the Jolly Roger. Full often, Captain Dwale was wont to seek a remote isle on the eastward verge of the West Indies, and lighten the vessel of its weight of ingots and doubloons.The isle was far from the common course of maritime traffic, and was not known to maps or other mariners; so it suited our purpose well. It was a place of palms and sand and cuffs, with a small harbor sheltered by the curving outstretched arms of rugged reefs, on which the dark ocean climbed and gnashed its fangs of white foam without troubling the tranquil waters beyond. I know not how many times we had visited the isle; but the soil beneath many a coco tree was heavy with our hidden trove. There we had stored the loot of bullion-laden ships, the massy plate and jewels of cathedral towns.Even as to all mortal things, an ending came at last to our visits. We had gathered a goodly cargo, but might have stayed longer on the open main where the Spaniards passed, if a tempest had not impended. We were near the secret isle, as it chanced, when the skies began to blacken; and wallowing heavily in the rising seas we fled to our placid harbor, reaching it by night-fall. Before dawn the hurricane had blown by; and the sun came up in cloudless amber and blue. We proceeded with the landing and burying of our chests of coin and gems and ingots, which was a task of some length; and afterward we refilled our water-casks at a cool sweet spring that ran from beneath the palmy hill not far inland.

Published in chronological order, with extensive story and bibliographic notes, this series not only provides access to stories that have been out of print for years, but gives them a historical and social context. Series editors Scott Conners and Ronald S. Hilger excavated the still-existing manuscripts, letters and various published versions of the stories, creating a definitive “preferred text” for Smith's entire body of work. This third volume of the series brings together 21 of his fantasy stories.

 Serious literary artists such as T.S. Eliot, James Joyce and Virginia Woolf loom large in most accounts of the literary art of the first half of the 20th century. And yet, working in the shadows cast by these modernists were science fiction, horror and fantasy writers like the "Weird Tales Three": H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard. They did not publish in artistically ambitious magazines like Dial, The Smart Set and The Little Review but instead in commercial pulp magazines like Weird Tales. Contrary to the stereotypes about pulp fiction and those who wrote it, these three were serious literary artists who used their fiction to speculate about such philosophical questions as the function of art and the brevity of life.

When the pulp magazine Weird Tales appeared on newsstands in 1923, it proved to be a pivotal moment in the evolution of speculative fiction. Living up to its nickname, “The Unique Magazine,” Weird Tales provided the first real venue for authors writing in the nascent genres of fantasy, horror, and science fiction. Weird fiction pioneers such as H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, Robert Bloch, Catherine L. Moore, and many others honed their craft in the pages of Weird Tales in the 1920s and 1930s, and their work had a tremendous influence on later generations of genre authors. In The Unique Legacy of Weird Tales: The Evolution of Modern Fantasy and Horror, Justin Everett and Jeffrey Shanks have assembled an impressive collection of essays that explore many of the themes critical to understanding the importance of the magazine. This multi-disciplinary collection from a wide array of scholars looks at how Weird Tales served as a locus of genre formation and literary discourse community. There are also chapters devoted to individual authors—including Lovecraft, Howard, and Bloch—and their particular contributions to the magazine. As the literary world was undergoing a revolution and mass-produced media began to dwarf high-brow literature in social significance, Weird Tales managed to straddle both worlds. This collection of essays explores the important role the magazine played in expanding the literary landscape at a very particular time and place in American culture. The Unique Legacy of Weird Tales will appeal to scholars and aficionados of fantasy, horror, and weird fiction and those interested in the early roots of these popular genres.