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Weird Tales
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Weird Tales is an American fantasy and horror fiction pulp

magazine founded by J. C. Henneberger and J. M. Lansinger Weird Tales
in late 1922. The first issue, dated March 1923, appeared on
newsstands February 18.[1] The first editor, Edwin Baird,
printed early work by H. P. Lovecraft, Seabury Quinn, and
Clark Ashton Smith, all of whom went on to be popular
writers, but within a year, the magazine was in financial
trouble. Henneberger sold his interest in the publisher, Rural
Publishing Corporation, to Lansinger, and refinanced Weird
Tales, with Farnsworth Wright as the new editor. The first
issue under Wright's control was dated November 1924. The
magazine was more successful under Wright, and despite
occasional financial setbacks, it prospered over the next 15
years. Under Wright's control, the magazine lived up to its
subtitle, "The Unique Magazine", and published a wide range
of unusual fiction.

Lovecraft's Cthulhu mythos stories first appeared in Weird

Tales, starting with "The Call of Cthulhu" in 1928. These were
well-received, and a group of writers associated with Lovecraft
wrote other stories set in the same milieu. 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 detective who Cover of the March 1942 issue, by
specialized in cases involving the supernatural, was very Hannes Bok
popular with the readers. Other well-liked authors included
Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Categories Fantasy
Warner Munn. Wright published some science fiction, along Horror fiction
with the fantasy and horror, partly because when Weird Tales
Weird fiction
was launched, no magazines were specializing in science
fiction, but he continued this policy even after the launch of Founder J. C. Henneberger
magazines such as Amazing Stories in 1926. Edmond Founded 1922
Hamilton wrote a good deal of science fiction for Weird Tales,
though after a few years, he used the magazine for his more First issue March 1923
fantastic stories, and submitted his space operas elsewhere. Country United States

In 1938, the magazine was sold to William Delaney, the Website

www.weirdtales.com (h
publisher of Short Stories, and within two years, Wright, who ttps://www.weirdtales.c
was ill, was replaced by Dorothy McIlwraith as editor. om/)
Although some successful new authors and artists, such as Ray OCLC 55045234 (https://ww
Bradbury and Hannes Bok, continued to appear, the magazine w.worldcat.org/oclc/55
is considered by critics to have declined under McIlwraith 045234)
from its heyday in the 1930s. Weird Tales ceased publication
in 1954, but since then, numerous attempts have been made to relaunch the magazine, starting in
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1973. The longest-lasting version began in 1988 and ran with an occasional hiatus for over 20
years under an assortment of publishers. In the mid-1990s, the title was changed to Worlds of
Fantasy and Horror because of licensing issues, the original title returning in 1998.

The magazine is regarded by historians of fantasy and science fiction as a legend in the field,
Robert Weinberg considering it "the most important and influential of all fantasy magazines".[2]
Weinberg's fellow historian, Mike Ashley, describes it as "second only to Unknown in significance
and influence",[3] adding that "somewhere in the imagination reservoir of all U.S. (and many non-
U.S.) genre-fantasy and horror writers is part of the spirit of Weird Tales".[4]

Background
In the late 19th century, popular magazines typically did not
print fiction to the exclusion of other content; they would
include nonfiction articles and poetry, as well. In October
1896, Frank A. Munsey Company's Argosy magazine was the
first to switch to printing only fiction, and in December of that
year, it changed to using cheap wood-pulp paper. This is now
regarded by magazine historians as having been the start of the
pulp magazine era. For years, pulp magazines were successful
without restricting their fiction content to any specific genre,
but in 1906, Munsey launched Railroad Man's Magazine, the
first title that focused on a particular niche. Other titles that
specialized in particular fiction genres followed, starting in
1915 with Detective Story Magazine, with Western Story
Magazine following in 1919.[5] Weird fiction, science fiction,
and fantasy all appeared frequently in the pulps of the day, but
by the early 1920s, still no single magazine was focused on any
of these genres, though The Thrill Book, launched in 1919 by
Street & Smith with the intention of printing "different", or
unusual, stories, was a near miss.[5][6]

In 1922, J. C. Henneberger, the publisher of College Humor Jacob Clark Henneberger, 1913
and The Magazine of Fun, formed Rural Publishing
Corporation of Chicago, in partnership with his former
fraternity brother, J. M. Lansinger.[7] Their first venture was Detective Tales, a pulp magazine that
appeared twice a month, starting with the October 1, 1922 issue. It 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 costs between the two titles. Henneberger had long been an admirer of
Edgar Allan Poe, so he created a fiction magazine that would focus on horror, and titled it Weird
Tales.[8][9]

Publication history

Rural Publishing Corporation

Henneberger chose Edwin Baird, the editor of Detective Tales, to edit Weird Tales; Farnsworth
Wright was first reader, and Otis Adelbert Kline also worked on the magazine, assisting Baird.
Payment rates were low, usually between a quarter and a half cent per word; the budget went up to
one cent per word for the most popular writers.[9] Sales were initially poor, and Henneberger soon
decided to change the format from the standard pulp size to large pulp, to make the magazine

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more visible.
This had little Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
long-term 1923 1/1 1/2 1/3 1/4 2/1 2/2 2/3 2/4
effect on sales,
1924 3/1 3/2 3/3 3/4 4/2 4/3 4/4
though the
first issue at 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
the new size, 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
dated May
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
1923, was the
only one that 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
first year to 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
sell out
completely— 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
probably 1931 17/1 17/2 17/3 17/4 18/1 18/2 18/3 18/4 18/5
because it
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
contained the
first 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
instalment of a 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
popular serial,
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
The Moon
Terror, by 1936 27/1 27/2 27/3 27/4 27/5 27/6 28/1 28/2 28/3 28/4 28/5
A.G. 1937 29/1 29/2 29/3 29/4 29/5 29/6 30/1 30/2 30/3 30/4 30/5 30/6
Birch.[11][12]
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, showing volume/issue number.

Editors were Edwin Baird (yellow), Farnsworth Wright (blue), and Dorothy McIlwraith (green).
There was no issue numbered 4/1.[10]

The magazine lost a considerable amount of money under Baird's editorship: after thirteen issues,
the total debt was over $40,000.[13][notes 1] In the meantime, Detective Tales had been retitled
Real Detective Tales and was making a profit, as was College Humor. Henneberger decided to sell
both magazines to Lansinger and invest the money in Weird Tales.[11][15] This did not address the
$40,000 in debts, much of which was owed to the magazine's printer. The printing company was
owned by B. Cornelius, who agreed to Henneberger's suggestion that the debt should be converted
to a majority interest in a new company, Popular Fiction Publishing. This did not eliminate all of
the magazine's debts, but it meant that Weird Tales could continue to publish, and perhaps return
to profitability. Cornelius agreed that if the magazine ever became profitable enough to repay him
the $40,000 he had been owed, he would give up his shares in the company. Cornelius became the
company treasurer; the business manager was William (Bill) Sprenger, who had been working for
Rural Publishing. Henneberger had hopes of eventually refinancing the debt with the help of
another printer, Hall Printing Company, owned by Robert Eastman.[11]

Baird stayed with Lansinger, so Henneberger wrote to H. P. Lovecraft, who had sold some stories
to Weird Tales, to see if he would be interested in taking the job. Henneberger offered ten weeks
advance pay, but made it a condition that Lovecraft 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 to cover the field of Poe-Machen shudders". Lovecraft did not wish to leave
New York, where he had recently moved with his new bride; his dislike of cold weather was
another deterrent.[11][16][17][notes 2] He spent several months considering the offer in mid-1924
without making a final decision; Henneberger visited him in Brooklyn more than once, but
eventually either Lovecraft declined or Henneberger simply gave up. By the end of the year Wright

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had been hired as the new editor of Weird Tales. The last issue under Baird's name was a
combined May/June/July issue, with 192 pages—a much thicker magazine than the earlier issues.
It was assembled by Wright and Kline, rather than Baird.[11]

Popular Fiction Publishing

Henneberger gave Wright full control of Weird Tales, and did

not get involved with story selection. In about 1921, Wright had
begun to suffer from Parkinson's disease, and over the course
of his editorship the symptoms grew gradually worse. By the
end of the 1920s he was unable to sign his name, and by the
late 1930s Bill Sprenger was helping him get to work and back
home.[11] The first issue with Wright as editor was dated
November 1924, and the magazine immediately resumed a
regular monthly schedule, the format changing back to pulp
again.[10] The pay rate was initially low, with a cap 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 per word.[notes 3] The magazine's
cover price was high for the time. Robert Bloch recalled that
"in the late Twenties and Thirties of this century...at a time
when most pulp periodicals sold for a dime, its price was a
The May 1934 cover, illustrating
quarter".[22] Although Popular Fiction Publishing continued to
Queen of the Black Coast, one of
be based in Chicago, the editorial offices were in Indianapolis
Robert E. Howard's Conan the
for a while, at two separate addresses, but moved to Chicago
Barbarian stories[19]
toward the end of 1926. After a short period on North
Broadway, the office moved to 840 North Michigan Avenue,
where it would remain until 1938.[23]

In 1927, Popular Fiction Publishing issued Birch's The Moon Terror, one of Weird Tales ' more
popular serials, as a hardcover book, including three other stories from the magazine's first year.
One of the stories, "An Adventure in the Fourth Dimension", was by Wright himself. The book sold
poorly, and it remained on offer in the pages of Weird Tales, at reduced prices, for twenty
years.[23][24] It was at one point provided as a bonus to readers who subscribed.[25] In 1930
Cornelius launched a companion magazine, Oriental Stories, but the magazine was not a success,
though it managed to last for over three years before Cornelius gave up.[23][26] Another financial
blow occurred in late 1930 when a bank failure froze most of the magazine's cash. Henneberger
changed the schedule to bimonthly, starting with the February/March 1931 issue; six months later,
with the August 1931 issue, the monthly schedule returned.[27] Two years later Weird Tales' bank
was still having financial problems, and payment to authors was being substantially delayed.[28]

The Depression also hit the Hall Printing Company, which Henneberger had been hoping would
take over the debt from Cornelius; Robert Eastman, the owner of Hall, at one point was unable to
meet payroll. Eastman died in 1934, and with him went Henneberger's plans for recovering control
of Weird Tales.[23] The magazine advertised in the early science fiction pulps, usually highlighting
one of the more science-fictional stories. Often the advertised story was by Edmond Hamilton,
who was popular in the sf magazines. Wright also sold hardcovers of books by some of his more
popular authors, such as Kline, in the pages of Weird Tales.[29] Although the magazine was never
greatly profitable, Wright was paid well. Robert Weinberg, author of a history of Weird Tales,

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records a rumor that Wright was unpaid for much of his work on the magazine, but according to E.
Hoffmann Price, a close friend of Wright's who occasionally read manuscripts for him, Weird
Tales was paying Wright about $600 a month in 1927.[23]

Delaney

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

1941 35/7 35/8 35/9 35/10 36/1 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

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

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 1941–54, showing volume/issue number. (1) The primary editor was
Dorothy McIlwraith. Associate editor Lamont Buchanan (red) had primary editing responsibilities from
about summer 1945 through his resignation in 1949. The last issue to list him on the masthead is
September 1949. The issue marking the precise start of his editorship is currently unknown.[30]
(2) The apparent error in duplicating volume 39/11 is in fact 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 pulp magazine based in New York.
Sprenger and Wright both received a share of the stock from Cornelius; Sprenger did not remain
with the company but Wright moved to New York and stayed on as editor.[27][29] Henneberger's
share of Popular Fiction Publishing was converted to a small interest in the new company, Weird
Tales, Inc., a subsidiary of Delaney's Short Stories, Inc.[10][29] Dorothy McIlwraith, the editor of
Short Stories, became Wright's assistant, and over the next two years Delaney tried to increase
profits by adjusting the page count and price. An increase from 144 pages to 160 pages starting
with the February 1939 issue, along with the use of cheaper (and hence thicker) paper, made the
magazine thicker, but this failed to increase sales. In September 1939 the page count went down to
128, and the price was cut from 25 cents to 15 cents. From January 1940 the frequency was
reduced to bimonthly, a change which stayed in effect until the end of the magazine's run fourteen
years later.[27][29] None of these changes had the intended effect, and sales continued to
languish.[29] In March 1940, Wright left and was replaced by McIlwraith as editor; histories of the
magazine differ as to whether he was fired because of poor sales, or quit because of his health—he
was by now suffering from Parkinson's so severely that he had trouble walking
unassisted.[27][29][31][32][notes 4] Wright then had an operation to reduce the pain with which he
suffered, but never fully recovered. He died in June of that year.[11]

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McIlwraith's first issue was dated April 1940. From 1945[33] through 1949,[34] she was assisted by
Lamont Buchanan, who worked for her as associate editor and art editor for both Weird Tales and
Short Stories. August Derleth also provided assistance and advice, although he had no formal
connection with the magazine. Most of McIlwraith's budget went to Short Stories, since that was
the more successful magazine;[29][32] the payment rate for fiction in Weird Tales by 1953 was one
cent per word, well below the top rates of other science fiction and fantasy magazines of the
day.[35] War shortages also caused problems, and the page count was reduced, first to 112 pages in
1943, and then to 96 pages the following year.[29][32]

The price was increased to 20 cents in 1947, and again to 25 cents in 1949, but it was not only
Weird Tales that was suffering—the entire pulp industry was in decline. Delaney switched the
format to digest with the September 1953 issue, but there was to be no reprieve. In 1954, Weird
Tales and Short Stories ceased publication; in both cases the last issue was dated September
1954.[29][36] For Weird Tales, the September 1954 issue was its 279th.[37]

1970s and early 1980s

In the mid-1950s, Leo Margulies, a well-known figure in the magazine publishing world, launched
a new company, Renown Publications, with plans to publish several titles. He acquired the rights
to both Weird Tales and Short Stories, and hoped to bring both magazines back. He abandoned a
plan to restart Weird Tales in 1962, using reprints from the original magazine, after being advised
by Sam Moskowitz that there was little market for weird and horror fiction at the time.[39][notes 5]
Instead Margulies mined the Weird Tales backfile for four anthologies which appeared in the early
1960s: The Unexpected, The Ghoul-Keepers, Weird Tales, and Worlds of Weird.[40] The latter two
were ghost-edited by Moskowitz, who proposed to Margulies that when the time was right to start
the magazine up again, it should include reprints from obscure sources that Moskowitz had found,
rather than just stories reprinted from the first incarnation of Weird Tales.[40][42] These stories
would be as good as new for most readers, and the money saved could be used for an occasional
new story.[40]

The new version of Weird Tales finally appeared from Renown Publications, in April 1973, edited
by Moskowitz. It had weak distribution and sales were too low for sustainability; according to
Moskowitz the average sales were 18,000 copies per issue, well short of the 23,000 that would
have been needed for the magazine to survive. The fourth issue, dated Summer 1974, was the last,
as Margulies closed down all his magazines except for Mike Shayne Mystery Magazine, which was
the only one that was making a profit. Mike Ashley, a science fiction magazine historian, records
that Moskowitz was unwilling to continue in any case, as he was annoyed by Margulies's detailed
involvement in the day-to-day editorial tasks such as editing manuscripts and writing
introductions.[40]

Margulies died the following year, and his widow, Cylvia Margulies, decided to sell the rights to the
title. Forrest Ackerman, a science fiction fan and editor, was one of the interested parties, but she
chose instead to sell to Victor Dricks and Robert Weinberg.[43] Weinberg in turn licensed the title
to Lin Carter, who interested a publisher, Zebra Books, in the project. The result was a series of
four paperback anthologies, edited by Lin Carter, appearing between 1981 and 1983;[44] these were
originally planned to be quarterly, but in fact the first two both appeared in December 1980 and
were both dated Spring 1981. The next was dated Fall 1981;[45] Carter's rights to the title were
terminated by Weinberg in 1982 for non-payment, but the fourth issue was already in the works
and finally appeared with a date of Summer 1983.[46]

In 1982 Sheldon Jaffery and Roy Torgeson met with Weinberg to propose taking over as licensees,
but Weinberg decided not to pursue the offer. The following year, Brian Forbes approached
Weinberg with another offer. Forbes' company, the Bellerophon Network, was an imprint of a Los
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Angeles company named The Wizard. Ashley

Spring Summer Fall Winter reports that Weinberg was only able to contact
1973 47/1 47/2 47/3 Forbes by phone, and even that was not always
reliable, so negotiations were slow. Forbes' editorial
1974 47/4
director was Gordon Garb and the fiction editor was
Gil Lamont; Forrest Ackerman also assisted, mainly
1981 1&2 3
by obtaining material to include. There was a good
deal of confusion between the participants in the
1983 4
project:[47] according to Locus, a science fiction
1984 49/1 trade journal, "Ackerman says he has had no contact
1985 49/2 with publisher Forbes, does not know what will
happen to the material he put together, and is as
1988 50/1 50/2 50/3 50/4 much in the dark as everybody else. Lamont says
that he is still renegotiating his contract and is not
1989 51/1 51/2
sure where he stands".[48] The original plan was for
1990 51/3 51/4 52/1 52/2 the first issue to appear in August 1984, dated
1991 52/3 52/4 53/1 53/2 July/August, but before it appeared the decision
was taken to change the contents, and a new,
1992 53/3 53/4
completely reset issue finally appeared at the end of
1993 53/3 53/3 the year, dated Fall 1984. Even with this delay a
1994 53/3 1/1
final agreement had not yet been reached with
Weinberg over licensing. Only 12,500 copies were
1995 1/2 printed; these were sent to two distributors who
1996 1/3 1/4 both went into bankruptcy. As a result, few copies
were sold, and Forbes was not paid by the
1998 55/1 55/2 distributors. Despite the financial setback, Forbes
attempted to continue, and a second issue
1999 55/3 55/4 56/1 56/2
eventually appeared. Its cover date was Winter 1985
2000 56/3 56/4 57/1 57/2 but it was not published until June 1986. Few copies
2001 57/3 57/4 58/1 58/2 were printed; reports vary between 1,500 and 2,300
in total. Mark Monsolo was the fiction editor, but
2002 58/3 58/4 59/1 59/2
Garb continued as editorial director; Lamont was no
Issues of Weird Tales from 1988 to 2002, showing volume longer involved with the magazine.[47]
and issue numbers. Note that the four issues starting with
Summer 1994 were titled Worlds of Fantasy & Horror. Five
of the Winter issues were dated with two years: 1988/1989,
1992/1993; 1996/1997, 2001/2002, and 2002/2003. Editors Terminus and successors
were Moskowitz (gray), Carter (purple), Ackerman & Lamont
(bright pink), Garb (green), Schweitzer, Scithers and
Weird Tales was more lastingly revived at the end of
Betancourt (orange); Schweitzer (dark pink); and Scithers
and Schweitzer (yellow).[38] the 1980s by George H. Scithers, John Gregory
Betancourt and Darrell Schweitzer, who formed
Terminus Publishing, based in Philadelphia, and
licensed the rights from Weinberg. Rather than focus on newsstand distribution, which was
expensive and had become less effective in the 1980s, they planned to build a base of direct
subscribers and distribute the magazine for sale through specialist stores.[49] The first issue had a
cover date of Spring 1988, but it was produced early enough to be available at the 1987 World
Fantasy Convention in Nashville, Tennessee.[49][50] The size was the same as the original pulp
version, though it was printed on better paper. There were also limited edition hardcover versions
of each issue, signed by the contributors. A special World Fantasy Award Weird Tales received in
1992 made it apparent that the magazine was successful in terms of quality, but sales were
insufficient to cover costs. To save money the format was changed to a larger flat size, starting with
the Winter 1992/1993 issue, but the magazine remained in financial trouble, issues becoming
irregular over the next couple of years. The Summer 1993 issue was the last to have a hardcover
edition; it was also the last, for a while, to bear the name Weird Tales, as Weinberg did not renew
the license. The magazine was retitled Worlds of Fantasy & Horror, and the volume numbering
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was restarted at
Spring Summer Fall Winter volume 1 number
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 1, but in every
other way the
2003 59/3 59/4 60/1
magazine was
2004 60/2 60/3 60/4 unchanged, and
2005 337 the four issues
under this title,
2006 338 339 340 341 342
issued between
2007 343 344 345 346 347 1994 and 1996,
2008 348 349 350 351 352
are regarded by
bibliographers as
Issues of Weird Tales from 2003 to 2008, showing volume and issue numbers. Most issues were titled with part of the overall
either the month or with two months (e.g. "March/April 2004"). One issue, Spring 2003, was titled with the
season instead. Editors were Scithers and Schweitzer (yellow); Scithers, Schweitzer and Betancourt (orange); Weird Tales
Segal (blue); and Vandermeer (gray).[38] run. [49]

In April 1995, HBO announced they had plans to turn Weird Tales into a three-episode anthology
show similar to their Tales from the Crypt series. The deal for the rights was facilitated by
screenwriters Mark Patrick Carducci and Peter Atkins. Directors Tim Burton, Francis Ford
Coppola, and Oliver Stone were executive producers, and each was expected to direct an episode.
Stone was to be director of the pilot, but the series never came to fruition.[51]

No issues appeared in 1997, but in 1998

Scithers and Schweitzer negotiated a deal with Winter Spring Summer Fall Winter
Warren Lupine of DNA Publications which 2009 353 354
allowed them to start publishing Weird Tales
2010 355 356
under license once again. The first issue was
dated Summer 1998, and, other than the 2011 357 358 nn
omission of the Winter 1998 issue, a regular 2012 359 360
quarterly schedule was maintained for the next
2013 361
four and a half years. Sales were weak, never
rising above 6,000 copies, and DNA began to 2014 362
experience financial difficulties. Wildside Issues of Weird Tales from 2009 to 2014, showing volume and
Press, owned by John Betancourt, joined DNA issue numbers. The issue labelled "nn" was not numbered; it was a
and Terminus Publishing as co-publisher, preview copy given away at the World Fantasy Convention. Editors
were Vandermeer (gray); Segal (blue); and Kaye (mauve).[38]
starting with the July/August 2003 issue, and
Weird Tales returned to a mostly regular
schedule for a few months. A long hiatus ended with the December 2004 issue, which appeared in
early 2005; this was the last issue under the arrangement with DNA. Wildside Press then bought
Weird Tales, and Betancourt again joined Scithers and Schweitzer as co-editor.[38][49]

The first Wildside Press edition appeared in September 2005, and starting with the following
issue, dated February 2006, the magazine was able to stay on a more or less bimonthly schedule
for some time. In early 2007, Wildside announced a revamp of Weird Tales, naming Stephen H.
Segal the editorial and creative director and later recruiting Ann VanderMeer as the new fiction
editor.[42] In January 2010, the magazine announced Segal was leaving the top editorial post to
become an editor at Quirk Books. VanderMeer was elevated to editor-in-chief, Mary Robinette
Kowal joined the staff as art director and Segal became senior contributing editor.[52]

On August 23, 2011, John Betancourt announced that Wildside Press would be selling Weird Tales
to Marvin Kaye and John Harlacher of Nth Dimension Media. Marvin Kaye took over chief
editorial duties. Issue 359, the first under the new publishers, was published in late February 2012.

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Some months before the release of issue 359, a special World Fantasy Convention preview issue
was given away for free to interested attendees.[53][54][55][56] Four issues then appeared, with issue
#362 published in Spring of 2014.[57]

On August 14, 2019, the official Weird Tales Facebook magazine announced the return of Weird
Tales with author Jonathan Maberry as the editorial director. Issue #363 became available to
purchase at the Weird Tales website.[58]

Contents and reception

Henneberger gave Weird Tales the subtitle "The Unique Magazine" from the first issue.
Henneberger had been hoping for submissions of "off-trail", or unusual, material. He later recalled
talking to three well-known Chicago writers, Hamlin Garland, Emerson Hough, and Ben Hecht,
each of whom had said they avoided writing stories of "fantasy, the bizarre, and the outré"[9]
because of the likelihood of rejection by existing markets. He added "I must confess that the main
motive in establishing Weird Tales was to give the writer free rein to express his innermost
feelings in a manner befitting great literature".[9]

Edwin Baird

Edwin Baird, the first editor of Weird Tales, was not an ideal
choice for the job as he disliked horror stories; his expertise
was in crime fiction, and most of the material he acquired was
bland and unoriginal.[8][9] The writers Henneberger had been
hoping to publish, such as Garland and Hough, failed to
submit anything to Baird, and the magazine published mostly
traditional ghost fiction, many of the stories being narrated by
characters in lunatic asylums, or told in diary format.[60][61]
The cover story for the first issue was "Ooze", by Anthony M.
Rud; there was also the first installment of a serial, "The Thing
of A Thousand Shapes", by Otis Adelbert Kline, and 22 other
stories. Ashley suggests that the better pulp writers from whom
Baird did manage to acquire material, such as Francis Stevens
and Austin Hall, were sending Baird stories which had already
been rejected elsewhere.[62]

First issue of Weird Tales, dated In the middle of the year Baird received five stories submitted
March 1923. The cover art is by R. by H. P. Lovecraft; Baird bought all five of them. Lovecraft,
R. Epperly.[59] who had been persuaded by friends to submit the stories,
included a cover letter that was so remarkably negative about
the quality of the manuscripts that Baird published it in the
September 1923 issue, with a note appended saying that he had bought the stories "despite the
foregoing, or because of it".[63] Baird insisted that the stories be resubmitted as typed double-
spaced manuscripts; Lovecraft disliked typing, and initially decided to resubmit only one story,
"Dagon".[63] It appeared in the October 1923 issue, which was the most noteworthy of Baird's
tenure, since it included stories by three writers who would become frequent contributors to Weird
Tales: as well as Lovecraft, it marked the first appearance in the magazine of Frank Owen and
Seabury Quinn.[13][62]

Robert Weinberg, in his history of Weird Tales, agrees with Ashley that the quality of Baird's
issues was poor, but comments that some good stories were published: "it was just that the
percentage of such stories was dismally small".[61] Weinberg singles out "A Square of Canvas" by

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Rud, and "Beyond the Door" by Paul Suter as "exceptional";[61] both appeared in the April 1923
issue. Weinberg also regards "The Floor Above" by M. L. Humphries and "Penelope" by Vincent
Starrett, both from the May 1923 issue, and "Lucifer" by John Swain, from the November 1923
issue, as memorable, and comments that "The Rats in the Walls", in the March 1924 issue, was one
of Lovecraft's finest stories. It is unclear whether Baird or Henneberger was responsible for buying
Lovecraft's stories; in one of Lovecraft's letters he makes it clear that Baird was keen to acquire his
stories, but Henneberger has said that he overrode Baird and that Baird did not like Lovecraft's
writing.[64] It was Henneberger who came up with another idea involving Lovecraft: Henneberger
contacted Harry Houdini and made arrangements to have Lovecraft ghost-write a story for him
using a plot supplied by Houdini. The story, "Imprisoned with the Pharaohs", appeared under
Houdini's name in the May/June/July 1924 issue, though it was nearly lost—Lovecraft left the
typed manuscript on the train he took to New York to get married, and as a result spent much of
his wedding day retyping the manuscript from the longhand copy he still had.[65][66]

The May/June/July 1924 issue included another story: "The Loved Dead", by C. M. Eddy Jr. which
included a mention of necrophilia.[67][68] According to Eddy, this led to the magazine being
removed from the newsstands in several cities, and beneficial publicity for the magazine, helping
sales, but in his history of Weird Tales Robert Weinberg reports that he found no evidence of the
magazine being banned, and the financial state of the magazine implies there was no benefit to
sales either.[67] S. T. Joshi contends that the magazine was indeed removed from newsstands in
Indiana.[69]

The cover art during Baird's tenure was dull; Ashley calls it "unattractive",[8] and Weinberg
describes the color scheme of the first issue's cover as "less than inspired", though he considers the
next month's cover to be an improvement. He adds that from the May 1923 issue "the covers
plunged into a pit of mediocrity". In Weinberg's opinion the poor cover art, frequently by R. M.
Mally, was probably partly to blame for the magazine's lack of success under Baird.[59] Weinberg
also regards the interior art during the magazine's first year as very weak; most of the interior
drawings were small, and with little of the atmosphere one would expect from a horror magazine.
All the illustrations were by Heitman, whom Weinberg describes as "...  notable for his complete
lack of imagination. Heitman's specialty was taking the one scene in a frightening story that
featured nothing at all frightening or weird and illustrating that".[70][71]

Farnsworth Wright

The new editor, Farnsworth Wright, was much more willing than Baird had been to publish stories
that did not fit into any of the existing pulp categories. Ashley describes Wright as "erratic" in his
selections, but under his guidance the magazine steadily improved in quality.[73] His first issue,
November 1924, was little better than those edited by Baird, although it included two stories by
new writers, Frank Belknap Long and Greye La Spina, who became popular contributors.[74] Over
the following year, Wright established a group of writers as regulars, including Long and La Spina,
and published many stories by writers who would be closely associated with the magazine for the
next decade and more. In April 1925, Nictzin Dyalhis's first story, "When the Green Star Waned",
appeared; although Weinberg regards it as very dated, it was highly regarded at the time, Wright
listing it in 1933 as the most popular story to appear in Weird Tales. That issue also contained the
first instalment of La Spina's novel Invaders from the Dark, which Baird had rejected as "too
commonplace". It proved to be extremely popular with readers, and Weinberg comments that
Baird's rejection was "just one of the many mistakes made by the earlier editor".[75]

Arthur J. Burks, who would go on to be a very successful pulp writer, appeared under both his real
name and under a pseudonym, used for his first sale, in January 1925. Robert Spencer Carr's first
story appeared in March 1925; H. Warner Munn's "The Werewolf of Ponkert" appeared in July
1925, and in the same issue Wright printed "Spear and Fang", the first professional sale of Robert
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E. Howard, who would become famous as the creator of Conan

the Barbarian.[75] In late 1925 Wright added a "Weird Tales
reprint" department, which showcased old weird stories,
typically horror classics. Often these were translations, and in
some cases the appearance in Weird Tales was the story's first
appearance in English.[76]

Wright initially rejected Lovecraft's "The Call of Cthulhu", but

eventually bought it, and printed it in the February 1928
issue.[77] This was the first tale of the Cthulhu Mythos, a
fictional universe in which Lovecraft set several stories. Over
time other writers began to contribute their own stories with
the same shared background, including Frank Belknap Long,
August Derleth, E. Hoffmann Price, and Donald Wandrei.
Robert E. Howard and Clark Ashton Smith were friends of
Lovecraft's, but did not contribute Cthulhu stories; instead
Howard wrote sword and sorcery fiction, and Smith produced
a series of high fantasy stories, many of which were part of his One of Margaret Brundage's nude
Hyperborean cycle.[73] Robert Bloch, later to become well covers. This one is for the
known as the writer of the movie Psycho, began publishing September 1937 issue.[72]
stories in Weird Tales in 1935; he was a fan of Lovecraft's
work, and asked Lovecraft's permission to include Lovecraft as
a character in one of his stories, and to kill the character off. Lovecraft gave him permission, and
reciprocated by killing off a thinly disguised version of Bloch in one of his own stories not long
afterward.[78][notes 6] Edmond Hamilton, a leading early writer of space opera, became a regular,
and Wright also published science fiction stories by J. Schlossel and Otis Adelbert Kline.[60]
Tennessee Williams' first sale was to Weird Tales, with a short story titled "The Vengeance of
Nitocris". This was published in the August 1928 issue under the author's real name, Thomas
Lanier Williams.[80]

Weird Tales' subtitle was "The Unique Magazine", and

Wright's story selections were as varied as the subtitle
promised;[3] he was willing to print strange or bizarre stories
with no hint of the fantastic if they were unusual enough to fit
in the magazine.[76] Although Wright's editorial standards
were broad, and although he personally disliked the
restrictions that convention placed on what he could publish,
he did exercise caution when presented with material that
might offend his readership.[73][81] E. Hoffmann Price records
that his story "Stranger from Kurdistan" was held after
purchase for six months before Wright printed it in the July
1925 issue; the story includes a scene in which Christ and
Satan meet, and Wright was worried about the possible reader
reaction. The story nevertheless proved to be very popular, and
Wright reprinted it in the December 1929 issue. He also
published "The Infidel's Daughter" by Price, a satire of the Ku
Klux Klan, which drew an angry letter and a cancelled
subscription from a Klan member. Price later recalled Wright's
Cover of the December 1936 Weird response: "a story that arouses controversy is good for
Tales, by J. Allen St. John,
circulation ... and anyway it would be worth a reasonable loss
illustrating Robert E. Howard's The
to rap bigots of that caliber".[81] Wright also printed George
Fire of Asshurbanipal
Fielding Eliot's "The Copper Bowl", a story about a young

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woman being tortured; she dies when her torturer forces a rat to eat through her body. Weinberg
suggests that the story was so gruesome that it would have been difficult to place in a magazine
even fifty years later.[82]

On several occasions Wright rejected a story of Lovecraft's only to reconsider later; de Camp
suggests that Wright's rejection at the end of 1925 of Lovecraft's "In the Vault", a story about a
mutilated corpse taking revenge on the undertaker responsible, was because it was "too
gruesome", but Wright changed his mind a few years later, and the story eventually appeared in
April 1932.[83] Wright also rejected Lovecraft's "Through the Gates of the Silver Key" in mid-1933.
Price had revised the story before passing it to Wright, and after Wright and Price discussed the
story, Wright bought it, in November of that year.[84] Wright turned down Lovecraft's novel At the
Mountains of Madness in 1935, though in this case it was probably because of the story's length—
running a serial required paying an author for material that would not appear until two or three
issues later, and Weird Tales often had little cash to spare. In this case he did not change his
mind.[85]

Quinn was Weird Tales' most prolific author, with a long-running sequence of stories about a
detective, Jules de Grandin, who investigated supernatural events, and for a while he was the most
popular writer in the magazine.[notes 7] Other regular contributors included Paul Ernst, David H.
Keller, Greye La Spina, Hugh B. Cave, and Frank Owen, who wrote fantasies set in an imaginary
version of the Far East.[73] C.L. Moore's story "Shambleau", her first sale, appeared in Weird Tales
in November 1933; Price visited the Weird Tales offices shortly after Wright read the manuscript
for it, and recalls that Wright was so enthusiastic about the story that he closed the office,
declaring it "C.L. Moore day".[87] The story was very well received by readers, and Moore's work,
including her stories about Jirel of Joiry and Northwest Smith, appeared almost exclusively in
Weird Tales over the next three years.[73][88]

As well as fiction, Wright printed a substantial amount of

poetry, with at least one poem included in most issues.
Originally this often included reprints of poems such as Edgar
Allan Poe's "El Dorado", but soon most of the poetry was
original, with contributions from Lovecraft, Howard, and Clark
Ashton Smith, among many others.[89][90][91] Lovecraft's
contributions included ten of his "Fungi from Yuggoth" poems,
a series of sonnets on weird themes that he wrote in 1930.[92]

The artwork was an important element of the magazine's

personality; Margaret Brundage, who painted many covers
featuring nudes for Weird Tales, was perhaps the best known
artist.[73] Many of Brundage's covers were for stories by
Seabury Quinn, and Brundage later commented that once
Quinn realized that Wright always commissioned covers from
Brundage that included a nude, "he made sure that each de
Grandin story had at least one sequence where the heroine
shed all her clothes".[93] For over three years in the early Illustration by Virgil Finlay for
1930s, from June 1933 to August/September 1936, Brundage Tennyson's "The Princess", from the
was the only cover artist Weird Tales used.[93][94] Another October 1938 issue
prominent cover artist was J. Allen St. John, whose covers
were more action-oriented, and who designed the title logo
used from 1933 until 2007.[73] Hannes Bok's first professional sale was to Weird Tales, for the
cover of the December 1939 issue; he became a frequent contributor over the next few years.[95]

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Virgil Finlay, one of the most important figures in the history of science fiction and fantasy art,
made his first sale to Wright in 1935; Wright only bought one interior illustration from Finlay at
that time because he was concerned that Finlay's delicate technique would not reproduce well on
pulp paper. After a test print on pulp stock demonstrated that the reproduction was more than
adequate,[96] Wright began to buy regularly from Finlay, who became a regular cover artist for
Weird Tales starting with the December 1935 issue.[97] Demand from readers for Finlay's artwork
was so high that in 1938 Wright commissioned a series of illustrations from Finlay for lines taken
from famous poems, such as "O sweet and far, from cliff and scar/The horns of Elfland faintly
blowing", from Tennyson's "The Princess".[98] Not every artist was as successful as Brundage and
Finlay: Price suggested that Curtis Senf, who painted 45 covers early in Wright's tenure, "was one
of Sprenger's bargains", meaning that he produced poor art, but worked fast for low rates.[99]

During the 1930s, Brundage's rate for a cover painting was $90. Finlay received $100 for his first
cover, which appeared in 1937, over a year after his first interior illustrations were used; Weinberg
suggests that the higher fee was partly to cover postage, since Brundage lived in Chicago and
delivered her artwork in person, but it was also because Brundage's popularity was beginning to
decline. When Delaney acquired the magazine in late 1938, the fee for a cover painting was cut to
$50, and in Weinberg's opinion the quality of the artwork declined immediately. Nudes no longer
appeared, though it is not known if this was a deliberate policy on Delaney's part. In 1939 a
campaign by Fiorello LaGuardia, the mayor of New York, to eliminate sex from the pulps led to
milder covers, and this may also have had an effect.[100]

In 1936, Howard committed suicide, and the following year

Lovecraft died.[101] There was so much unpublished work by
Lovecraft [notes 8] that Wright was able to use that he printed
more material under Lovecraft's byline after his death than
before.[102] In Howard's case, there was no such trove of
stories available, but other writers such as Henry Kuttner
provided similar material.[27] By the end of Wright's tenure as
editor, many of the writers who had become strongly
associated with the magazine were gone; Kuttner, and others
such as Price and Moore, were still writing, but Weird Tales'
rates were too low to attract submissions from them. Clark
Ashton Smith had stopped writing, and two other writers who
Finlay's illustration for Earl Peirce's
were well-liked, G.G. Pendarves and Henry Whitehead, had
"The Homicidal Diary" in the
died.[101]
October 1937 issue
Except for a couple of short-lived magazines such as Strange
Tales and Tales of Magic and Mystery, and a weak challenge
from Ghost Stories, all between the late 1920s and the early 1930s, Weird Tales had little
competition for most of Wright's sixteen years as editor. In the early 1930s, a series of pulp
magazines began to appear that became known as "weird menace" magazines. These lasted until
the end of the decade, but despite the name there was little overlap in subject matter between
them and Weird Tales: the stories in the weird menace magazines appeared to be based on occult
or supernatural events, but at the end of the tale the mystery was always revealed to have a logical
explanation.[103] In 1935 Wright began running weird detective stories to try to attract some of the
readers of these magazines to Weird Tales, and asked readers to write in with comments. Reader
reaction was uniformly negative, and after a year he announced that there would be no more of
them.[104]

In 1939 two more serious threats appeared, both launched to compete directly for Weird Tales'
readers. Strange Stories appeared in February 1939 and lasted for just over two years; Weinberg
describes it as "top-quality",[101] though Ashley is less complimentary, describing it as largely
unoriginal and imitative.[105] The following month the first issue of Unknown appeared from
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Street & Smith.[106] Fritz Leiber submitted several of his

"Fafhrd and the Gray Mouser" stories to Wright, but Wright
rejected all of them (as did McIlwraith when she took over the
editorship). Leiber subsequently sold them all to John W.
Campbell for Unknown; Campbell commented each time to
Leiber that "these would be better in Weird Tales". The stories
grew into a very popular sword and sorcery series, but none of
them ever appeared in Weird Tales. Leiber did eventually sell
several stories to Weird Tales, beginning with "The Automatic
Pistol", which appeared in May 1940.[101][107]

Weird Tales included a letters column, titled "The Eyrie", 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 over whether they were
suitable for the magazine was fought out in the Eyrie, the two
sides being divided about equally. For years it was the most
discussed topic in the magazine's letter column. Many of the Cover of the January 1938 issue, by
authors Wright published wrote letters too, including Margaret Brundage
Lovecraft, Howard, Kuttner, Bloch, Smith, Quinn, Wellman,
Price, and Wandrei. In most cases these letters praised the
magazine, but occasionally a critical comment was raised, as when Bloch repeatedly expressed his
dislike for Howard's stories of Conan the Barbarian, referring to him as "Conan the Cimmerian
Chipmunk".[108] Another debate that was aired in the letter column was the question of how much
science fiction the magazine should include. Until Amazing Stories was launched in April 1926,
science fiction was popular with Weird Tales' readers, but after that point letters began to appear
asking Wright to exclude science fiction, and only publish weird fantasy and horror. The pro-
science fiction readers were in the majority, and as Wright agreed with them, he continued to
include science fiction in Weird Tales.[109] Hugh B. Cave, who sold half-a-dozen stories to Wright
in the early 1930s, commented on "The Eyrie" in a letter to a fellow writer: "No other magazine
makes such a point of discussing past stories, and letting the authors know how their stuff is
received".[110]

Dorothy McIlwraith

McIlwraith was an experienced magazine editor, but she knew little about weird fiction, and unlike
Wright she also had to face real competition from other magazines for Weird Tales' core
readership.[101] Although Unknown folded in 1943, in its four years of existence it transformed the
field of fantasy and horror, and Weird Tales was no longer regarded as the leader in its field.
Unknown published many successful humorous fantasy stories, and McIlwraith responded by
including some humorous material, but Weird Tales' rates were less than Unknown's, with
predictable effects on quality.[27][106] In 1940 the policy of reprinting horror and weird classics
ceased, and Weird Tales began using the slogan "All Stories New – No Reprints". Weinberg
suggests that this was a mistake, as Weird Tales' readership appreciated getting access to classic
stories "often mentioned but rarely found".[112] Without the reprints Weird Tales was left to
survive on the rejects from Unknown, the same authors selling to both markets. In Weinberg's
words, "only the quality of the stories [separated] their work between the two pulps".[112]

Delaney's personal taste also reduced McIlwraith's latitude. In an interview with Robert A.
Lowndes in early 1940, Delaney spoke about his plans for Weird Tales. After saying that the
magazine would still publish "all types of weird and fantasy fiction", Lowndes reported that

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Delaney did not want "stories which center about sheer

repulsiveness, stories which leave an impression not to be
described by any other word than 'nasty' ". Lowndes later
added that Delaney had told him he found some of Clark
Ashton Smith's stories on the "disgusting side".[113][notes 9]

McIlwraith continued to publish many of Weird Tales' most

popular authors, including Quinn, Derleth, Hamilton, Bloch,
and Manly Wade Wellman.[27] She also added new
contributors, including Ray Bradbury. Weird Tales regularly
featured Fredric Brown, Mary Elizabeth Counselman, Fritz
Leiber, and Theodore Sturgeon.[73] As Wright had done,
McIlwraith continued to buy Lovecraft stories submitted by
August Derleth, though she abridged some of the longer pieces,
such as "The Shadow over Innsmouth".[102] Sword and sorcery
stories, a genre which Howard had made much more popular
with his stories of Conan, Solomon Kane and Bran Mak Morn
Cover of the November 1941 issue, in Weird Tales in the early 1930s, had continued to appear
by Hannes Bok[111] under Farnsworth Wright; they all but disappeared during
McIlwraith's tenure. McIlwraith also focused more on short
fiction, and serials and long stories were rare.[27][114]

In May 1951 Weird Tales once again began to include reprints, in an attempt to reduce costs, but
by that time the earlier issues of Weird Tales had been extensively mined for reprints by August
Derleth's publishing venture, Arkham House, and as a result McIlwraith often reprinted lesser-
known stories. They were not advertised as reprints, which led in a couple of cases to letters from
readers asking for more stories from H. P. Lovecraft, whom they believed to be a new author.[115]

In Weinberg's opinion, the magazine lost variety under

McIlwraith's editorship, and "much of the uniqueness of the
magazine was gone".[27] In Ashley's view, the magazine became
more consistent in quality, rather than worse; Ashley
comments that though the issues edited by McIlwraith "seldom
attain[ed] Wright's highpoints, they also omitted the lows".[73]
L. Sprague de Camp, toward the end of McIlwraith's time as
editor, agreed that the 1930s were the magazine's heyday,
citing Wright's death and the departure for other, better-
paying, markets of several of its contributors as factors in the
magazine's decline.[116]

The quality of Weird Tales ' artwork suffered when Delaney cut
the rates.[117] Bok, whose first cover had appeared in December
1939, moved to New York and joined the office art staff for a
while; he eventually left because of the low pay. Boris Dolgov
began contributing in the 1940s; he was a friend of Bok's and
the two occasionally collaborated, signing the result
Cover of the May 1952 issue, by
"Dolbokgov". Weinberg regards Dolgov's illustration for Robert
Virgil Finlay
Bloch's "Yours Truly, Jack the Ripper" as one of his best
works.[118] Weird Tales ' paper was of very poor quality, which
meant that the reproductions were poor, and along with the low pay rate for art this meant that
many artists treated Weird Tales as a last resort for their work.[119] Damon Knight, who sold some
interior artwork to Weird Tales in the early 1940s, recalled later that he was paid $5 for a single-
page drawing, and $10 for a double-page spread; he worked slowly and the low pay meant Weird
Tales was not a viable market for him.[120]
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The art editor, Lamont Buchanan, was able to establish five artists as regulars by the mid-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
Coye.[119] In Weinberg's review of Weird Tales ' interior art, he describes Humiston's work as
ranging "from bad to terrible", but he is more positive about the others. Napoli had worked for
Weird Tales from 1932 to the mid-1930s, when he began selling to the science fiction pulps, but
his work for Short Stories brought him back to Weird Tales in the 1940s. Weinberg speaks highly
of both Napoli and Coye, whom Weinberg describes as "the master of the weird and grotesque
illustration". Coye did a series of full-page illustrations for Weird Tales called "Weirdisms", which
ran intermittently from November 1948 to July 1951.[121][122][123]

The letter column, "The Eyrie", was much reduced in size during McIlwraith's tenure, but as a
gesture to the readers a "Weird Tales Club" was started. Joining the Club simply meant writing in
to receive a free membership card; the only other benefit was that the magazine listed all the
members' names and addresses, so that members could contact each other. Among the names
listed in the January 1943 issue was that of Hugh Hefner, later to become famous as the founder of
Playboy.[124]

Toward the end of McIlwraith's time as editor a couple of new writers appeared, including Richard
Matheson and Joseph Payne Brennan.[73] Brennan had already sold over a dozen stories to other
pulps when he finally made a sale to McIlwraith, but he had always wanted to sell to Weird Tales,
and three years after the magazine folded he launched a small-press horror magazine named
Macabre, which he published for some years, in imitation of Weird Tales.[125]

Moskowitz, Carter, and Bellerophon

The four issues edited by Sam Moskowitz in the early 1970s included a detailed biography of
William Hope Hodgson, serialized over three issues, along with some rare stories of Hodgson's
that Moskowitz had unearthed. Many of the other stories were reprints, either from Weird Tales or
from other early pulps such as The Black Cat or Blue Book. In Ashley's opinion, the magazine "had
the feel of a museum piece with nothing new or progressive", though Weinberg describes the
magazine as having "an interesting jumble of contents".[126] The subsequent paperback series
edited by Lin Carter was criticized in similar terms: Weinberg regards it as having "too much
reliance ... on the old names like Lovecraft, Howard and Smith by reprinting mediocre material ...
New writers were not sufficiently encouraged",[126] though Weinberg does add that Ramsey
Campbell, Tanith Lee and Steve Rasnic Tem were among the newer writers who contributed good
material.[126] Ashley's opinion of the two Bellerophon issues is low: he describes them as lacking
"any clear editorial direction or acumen".[47]

Ann VanderMeer

The April/May 2007 edition featured the magazine's first all-new design in almost seventy-five
years. With Stephen H. Segal as editorial and creative director and Ann VanderMeer as fiction
editor,[42] during the next few years the magazine "won a number of awards and great
acclaim."[127] In 2010 VanderMeer became the magazine's editor-in chief.[42][128]

During this time Weird Tales published works by a wide range of strange-fiction authors including
Michael Moorcock and Tanith Lee, as well as newer writers such as N. K. Jemisin, Jay Lake, Cat
Rambo, and Rachel Swirsky.[42] This period also saw the addition of a broader range of content,
ranging from narrative essays to comics to features on weird culture. The magazine won its first

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Hugo Award in August 2009, in the semiprozine category,[129] along with receiving two Hugo
Award nominations in subsequent years[130] and its first World Fantasy Award nomination, for
Segal and Vandermeer, in more than seventeen years.[130][131]

In addition to winning or being nominated for awards, under VanderMeer's editorship Weird
Tales saw the number of subscriptions triple as the magazine "came to symbolise what was good
about the changes in the SF community.[132]

Marvin Kaye and after

in 2011 Marvin Kaye and John Harlacher purchased Weird Tales from John Gregory
Betancourt[133] with Kaye taking over chief editorial duties from VanderMeer. Issue 359, the first
under the new publishers, was published in late February 2012. Some months before the release of
issue 359, a special World Fantasy Convention preview issue was given away for free to interested
attendees.[53]

In August 2012, Weird Tales became involved in a media altercation after Kaye announced the
magazine was going to publish an excerpt from Victoria Foyt's controversial novel Save the Pearls,
which many critics accused of featuring racist stereotyping. The decision was made despite the
protests of VanderMeer, and prompted her to end her association with the magazine.[134] Kaye
wrote an essay titled "A Thoroughly NONRACIST Novel" defending his decision to publish the
excerpt.[133] Both the essay and Kaye's decision to publish the excerpt were heavily criticized, N. K.
Jemisin saying "This is how you destroy something beautiful" with regards to the magazine[135]
and Jim C. Hines saying he was "highly disturbed that the editor ever thought this was in any way
a good idea, that he was so supportive of this novel that he was going out of his way to defend and
support it … up until the Internet landed on his head."[136]

The publisher subsequently overruled Kaye and announced that Weird Tales no longer had plans
to run the excerpt.[137]

After the fall 2012 issue #360, Kaye only published two more issues of Weird Tales, issue #361 in
the summer of 2013 and #362 in the spring of 2014.[138]

In 2019 Weird Tales returned with author Jonathan Maberry as the editorial director, with issue
#363 being released at the end of that year.[139] This issue featured the story "Up from Slavery" by
Victor LaValle, which later won the Stoker Award for Best Long Fiction.[140][141]

Legacy

Weird Tales was one of the most important magazines in the fantasy field; in Ashley's view, it is
"second only to Unknown in significance and influence".[3] Weinberg goes further, calling it "the
most important and influential of all fantasy magazines". Weinberg argues that much of the
material Weird Tales published 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 science fantasy artwork. Many
of the horror stories adapted for early radio shows such as Stay Tuned for Terror originally
appeared in Weird Tales.[2] The magazine's "Golden Age" was under Wright, and de Camp argues
that one of Wright's accomplishments was to create a "Weird Tales school of writing".[142] Justin
Everett and Jeffrey H. Shanks, the editors of a recent scholarly collection of literary criticism
focused on the magazine, argue that "Weird Tales functioned as a nexus point in the development
of speculative fiction from which emerged the modern genres of fantasy and horror".[143]

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The magazine was, unusually for a pulp, included by the editors of the annual Year in Fiction
anthologies, and was generally regarded with more respect than most of the pulps. This remained
true long after the magazine's first run ended, as it became the main source of fantasy short stories
for anthologists for several decades.[144] Weinberg argues that the fantasy pulps, of which, in his
opinion, Weird Tales was the most influential, helped to form the modern fantasy genre, and that
Wright, "if he was not a perfect editor ... was an extraordinary one, and one of the most influential
figures in modern American fantasy fiction",[145] adding that Weird Tales and its competitors
"served as the bedrock upon which much of modern fantasy rests".[146] Everett and Shanks agree,
and regard Weird Tales as the venue where writers, editors and an engaged readership "elevated
speculated fiction to new heights" with influence that "reverberates through modern popular
culture".[147] In Ashley's words, "somewhere in the imagination reservoir of all U.S. (and many
non-U.S.) genre-fantasy and horror writers is part of the spirit of Weird Tales".[4]

Four interior illustrations from Weird Tales. From left to right, the artists are Finlay (1938), Bok (1941), Dolgov
(1943), and Coye (late 1940s or early 1950s).

Bibliographic details
The editorial succession at Weird Tales was as follows:[10][149]

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Editor Issues

Edwin Baird March 1923 – May/June/July 1924

Farnsworth Wright November 1924 – March 1940

Dorothy McIlwraith May 1940 – September 1954

Sam Moskowitz April 1973 – Summer 1974

Lin Carter Spring 1981 – Summer 1983

Forrest J Ackerman/Gil
Fall 1984
Lamont

Gordon Garb Winter 1985

Virgil Finlay's interior illustration for
Darrell Schweitzer
Spring 1988 – Winter 1990 H.P. Lovecraft's "The Shunned
George Scithers House", from the October 1937
September 2005 –
issue of Weird Tales[148]
John Betancourt February/March 2007

Darrell Schweitzer Spring 1991 – Winter 1996/1997

Darrell Schweitzer
Summer 1998 – December 2004
George Scithers

April/May 2007 – September/October

2007
Stephen Segal
Spring 2010

November/December 2007 – Fall 2009

Ann VanderMeer
Summer 2010 – Winter 2012

Marvin Kaye Fall 2012 – Spring 2014

Jonathan Maberry Summer 2019 – present

The publisher for the 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.
The four issues in the early 1970s came from Renown Publications, and the four paperbacks in the
early 1980s were published by Zebra Books. The next two issues were from Bellerophon, and then
from Spring 1988 to Winter 1996 the publisher was Terminus. From Summer 1998 to July/August
2003 the publisher was DNA Publications and Terminus, listed either as DNA
Publications/Terminus or just as DNA Publications. The September/October 2003 issue listed the
publisher as DNA Publications/Wildside Press/Terminus, and through 2004 this remained the
case, one issue dropping Terminus from the masthead. Thereafter Wildside Press was the
publisher, sometimes with Terminus listed as well, until the September/October 2007 issue, after
which only Wildside Press were listed. The issues published from 2012 through 2014 were from
Nth Dimension Media.[10][149]

Weird Tales was in pulp format for its entire first run except for the issues from May 1923 to April
1924, when it was a large pulp, and the last year, from September 1953 to September 1954, when it
was a digest. The four 1970s issues were in pulp format. The two Bellerophon issues were quarto.
The Terminus issues reverted to pulp format until the Winter 1992/1993 issue, which was large
pulp. A single pulp issue appeared in Fall 1998, and then the format returned to large pulp until

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the Fall 2000 issue, which was quarto. The format varied between large pulp and quarto until
January 2006, which was large pulp, as were all issues after that date until Fall 2009, except for a
quarto-sized November 2008. From Summer 2010 the format was quarto.[10][149]

The first run of the magazine was priced at 25 cents for the first fifteen years of its life except for
the oversized May/June/July 1924 issue, which was 50 cents. In September 1939 the price was
reduced to 15 cents, where it stayed until the September 1947 issue, which was 20 cents. The price
went up again to 25 cents in May 1949; the digest-sized issues from September 1953 to September
1954 were 35 cents. The first three paperbacks edited by Lin Carter were priced at $2.50; the
fourth was $2.95. The two Bellerophon issues were $2.50 and $2.95. The Terminus Weird Tales
began in Spring 1988 priced at $3.50; this went up to $4.00 with the Fall 1988 issue, and to $4.95
with the Summer 1990 issue. The next price increase was to $5.95, in Spring 2003, and then to
$6.99 with the January 2008 issue. The first two issues from Nth Dimension Media were priced at
$7.95 and $6.99; the last two were $9.99 each.[10][149]

Some of the early Terminus editions of Weird Tales were also printed in hardcover format, in
limited editions of 200 copies. These were signed by the contributors, and were available at $40 as
part of a subscription offer. Issues produced in this format include Summer 1988, Spring/Fall
1989, Winter 1989/1990, Spring 1991, and Winter 1991/1992.[49][149]

Anthologies

Starting in 1925, Christine Campbell Thomson edited a series of horror story anthologies,
published by Selwyn and Blount, titled Not at Night. These were considered an unofficial U.K.
edition of the magazine, the stories sometimes appearing in the anthology before the magazine's
U.S. version appeared. The ones which drew a substantial fraction of their contents from Weird
Tales were:[150][151]

Year Title Stories from Weird Tales

1925 Not at Night All 15

1926 More Not at Night All 15

1927 You'll Need a Night Light 14 of 15

1929 By Daylight Only 15 of 20

1931 Switch on the Light 8 of 15

1931 At Dead of Night 8 of 15

1932 Grim Death 7 of 15

1933 Keep on the Light 7 of 15

1934 Terror by Night 9 of 15

There was also a 1937 anthology titled Not at Night Omnibus, which selected 35 stories from the
Not at Night series, of which 20 had originally appeared in Weird Tales. In the U.S. an anthology
titled Not at Night!, edited by Herbert Asbury, appeared from Macy-Macius in 1928; this selected
25 stories from the series, 24 of them drawn from Weird Tales.[150]

Numerous other anthologies of stories from Weird Tales have been published,
including:[42][152][153][154][155][156][157][158][159][160][161]

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Year Title Editor Publisher Notes

1961 The Unexpected Leo Margulies Pyramid

1961 The Ghoul Keepers Leo Margulies Pyramid

1964 Weird Tales Leo Margulies Pyramid Ghost edited by Sam Moskowitz

1965 Worlds of Weird Leo Margulies Pyramid Ghost edited by Sam Moskowitz

The hardback edition (but not the

Neville
1976 Weird Tales Peter Haining paperback) reproduces the original
Spearman
stories in facsimile[162]
1977 Weird Legacies Mike Ashley Star
Weird Tales: The
Nelson
1988 Magazine That Never Marvin Kaye
Doubleday
Dies

The Best of Weird Barnes &

1995 John Betancourt
Tales Noble

The Best of Weird Marvin Kaye &

1997 Bleak House
Tales: 1923 John Betancourt
Weird Tales: Seven John Betancourt & Barnes &
1997
Decades of Terror Robert Weinberg Noble

The Women of Weird Valancourt

2020 Melanie Anderson
Tales Books

Canadian and British editions

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 issues of Weird Tales from 1941 to 1954, showing volume/issue number. "nn" indicates that
that issue had no number. The numerous oddities in volume numbering are correctly shown.[163]

A Canadian edition of Weird Tales appeared from June 1935 to July 1936; all fourteen issues are
thought to be identical to the U.S. issues of those dates, though "Printed in Canada" appeared on
the cover, and in at least one case another text box was placed on the cover to conceal part of a
nude figure. Another Canadian series began in 1942, as a result of import restrictions placed on
U.S. magazines. Canadian editions from 1942 up to January 1948 were not identical to the U.S.
editions, but they match closely enough that the originals are easily identified. From the May 1942
to January 1945 issues, they correspond to the U.S. editions two issues earlier, that is, from
January 1942 to September 1944. There was no Canadian issue corresponding to the November
1944 U.S. issue, so from that point the Canadian issues were only one behind the U.S. ones: the

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issues from March 1945 to January 1948 correspond to the U.S. issues from January 1945 to
November 1947. There was no Canadian issue of the January 1948 U.S. issue, and from the next
issue, March 1948, till the end of the Canadian run in November 1951, the issues were identical to
the U.S. versions.[164]

There were numerous differences between the Canadian issues from May 1942 to January 1948
and the corresponding U.S. issues. All the covers were repainted by Canadian artists until the
January 1945 issue; thereafter the artwork from the original issues was used. Initially the fiction
content of the Canadian issues was unchanged from the U.S., but starting in September 1942 the
Canadian Weird Tales dropped some of the original stories in each issue, replacing them with
either stories from other issues of Weird Tales, or, occasionally, material from Short Stories.[164]

In a couple of instances a story appeared in the Canadian

edition of the magazine before its appearance in the U.S.
version, or simultaneously with it, so it is evident that whoever
assembled the issues had access to the Weird Tales pending
story file. Because of the reorganization of material, it often
happened that one of the Canadian issues would have more
than a single story by the same author. In these cases a
pseudonym was invented for one of the stories.[164]

The U.S. and Canadian covers forThere were four separate editions of Weird Tales distributed in
the November 1935 issue, with part
the United Kingdom. In early 1942, three issues abridged from
of the nude figure (by Margaret the September 1940, November 1940, and January 1941 U.S.
Brundage) obscured for the issues were published in the U.K. by Gerald Swan; they were
Canadian version[165] undated, and had no volume numbers. The middle issue was
64 pages long; the other two were 48 pages. All were priced at
6d. A single issue was released in late 1946 by William Merrett;
it also was undated and unnumbered. It was 36 pages long, and was priced at 1/6. The three
stories included came from the October 1937 U.S. issue.[162]

A longer run of 23 issues appeared between November 1949 and December 1953, from Thorpe &
Porter. These were all undated; the first issue had no volume or issue number but subsequent
issues were numbered sequentially. Most were priced at 1/-; issues 11 to 15 were 1/6. All were 96
pages long. The first issue corresponds to the July 1949 U.S. issue; the next 20 issues correspond
to the U.S. issues from November 1949 to January 1953, and the final two issues correspond to
May 1953 and March 1953, in that order. Another five bimonthly issues appeared from Thorpe &
Porter dated November 1953 to July 1954, with the volume numbering restarted at volume 1
number 1. These correspond to the U.S. issues from September 1953 to May 1954.[162]

Collectability

Weird Tales is widely collected, and many issues command very high prices. In 2008, Mike Ashley
estimated the first issue to be worth £3,000 in excellent condition, and added that the second
issue is much rarer and commands higher prices. Issues with stories by Lovecraft or Howard are
very highly sought-after, with the October 1923 issue, containing "Dagon", Lovecraft's first
appearance in Weird Tales, fetching comparable prices to the first two issues.[166] The first few
volumes are so rare that very few academic collections have more than a handful of these issues:
Eastern New Mexico University, the holder of a remarkably complete early science fiction archive,
has "only a few scattered issues" from the early years, and the librarian recorded in 1983 that
"dealers laugh when Eastern enquires about these".[167]

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Prices of the magazine drop over the succeeding decades, the McIlwraith issues being worth far
less than the ones edited by Wright. Ashley quotes the digest-sized issues from the end of
McIlwraith's tenure as fetching £8 to £10 each as of 2008. The revived editions are not particularly
scarce, with two exceptions. The two Bellerophon issues received such poor distribution that they
fetch high prices: Ashley quotes a 2008 price of £40 to £50 for the first one, and twice that for the
second one. The other valuable recent issues are the hardback versions of the Terminus Weird
Tales; Ashley gives prices of between £40 and £90, with some of the special author issues fetching
a premium.[166]

Notes
1. Lin Carter gives the debt as $41,000, and adds that the original capital was "reputedly"
$11,000, meaning that during Baird's tenure the magazine had lost $52,000.[13] L. Sprague de
Camp quotes Henneberger's debt as "at least $43,000, and perhaps as much as $60,000".[14]
2. In the same letter to Long, the 34-year-old Lovecraft, who often affected the airs of an aged
gentleman, declared "think of the tragedy of such a move for an aged antiquarian".[16][18]
3. Jack Williamson recalls that Weird Tales was paying one cent per word, "rather more reliably"
than Amazing Stories, in about 1931;[20] and Hugh Cave quotes one cent per word as the rate
in early 1933.[21]
4. Ashley says Wright's health made it "impossible to continue", but Weinberg says Delaney let
Wright go "in a move to further cut costs". However, in a later history of the magazine,
Weinberg says that Wright, "who had been in bad health for many years, stepped down as
editor", and does not give any other reason for his departure.[27][29][32]
5. Delaney had attempted to revive Short Stories in 1956, but had only produced five issues;
Margulies also tried to bring Short Stories back, and kept it alive from December 1957 until
August 1959.[39][40][41]
6. Bloch's story was "The Shambler From the Stars", which appeared in the September 1935
issue; Lovecraft's riposte was "The Haunter of the Dark", in December 1936.[78][79]
7. On a business trip to New Orleans, Quinn was taken to an upmarket brothel by his business
associates, and discovered that the women who worked there were regular readers of Weird
Tales. When they discovered who he was, they offered him their services free-of-charge.[86]
8. The stories were submitted to Weird Tales by August Derleth, who had corresponded with
Lovecraft.[86]
9. Lowndes was later to discover that it was almost certainly Smith's story "The Coming of the
White Worm" which Delaney was referring to; it was eventually published by Donald Wollheim
in Stirring Science Stories.[113]

References
1. John Locke, "The Birth of Weird" in The Thing's Incredible: The Secret Origins of Weird Tales
(Off-Trail Publications, 2018).
2. Weinberg (1985a), pp. 730–731.
3. Ashley (1997), p. 1000.
4. Ashley (1997), p. 1002.
5. Nicholls, Peter; Ashley, Mike (July 18, 2012). "Pulp" (http://sf-encyclopedia.com/entry/pulp). SF
Encyclopedia. Gollancz. Archived (https://web.archive.org/web/20160617084518/http://www.sf-
encyclopedia.com/entry/pulp) from the original on June 17, 2016. Retrieved December 17,
2014.
6. Murray (2011), p. 26.

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7. John Locke, "The Pals" in The Thing's Incredible: The Secret Origins of Weird Tales (Off-Trail
Publications, 2018).
8. Ashley (2000), p. 41.
9. Weinberg (1999a), pp. 3–4.
10. Weinberg (1985a), pp. 735–736.
11. Weinberg (1999a), p. 4.
12. Ashley (2008), p. 25.
13. Carter (1976), pp. 35–37.
14. de Camp (1975), p. 203.
15. Ashley (2000), p. 42.
16. Carter (1976), pp. 41–46.
17. de Camp (1975), pp. 203–204.
18. H. P. Lovecraft, letter to Frank Belknap Long, 1924-03-21; cited in Carter (1976), p. 43.
19. Jaffery & Cook (1985), pp. 41–42.
20. Williamson (1984), p. 78.
21. Cave (1994), p. 31.
22. "Time-Travelling with H.P. Lovecraft" in First World Fantasy Convention: Three Authors
Remember (West Warwick, RI: Necronomicon Press), p. 8
23. Weinberg (1999a), p. 5.
24. Wright (1927), table of contents.
25. Bleiler (1990), p. 66.
26. Ashley (1985a), pp. 454–456.
27. Weinberg (1985a), pp. 729–730.
28. Cave (1994), pp. 38, 41.
29. Weinberg (1999a), p. 6.
30.
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Digest and The Author & Journalist. Other data points come from correspondence between
Buchanan and contributors.
31. Jones (2008), p. 857.
32. Ashley (2000), p. 140.
33. Harriet Bradfield, "New York Market Letter," Writer's Digest, April 1945.
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36. Ashley (2005), pp. 72–73.
37. Doug Ellis, John Locke, and John Gunnison. The Adventure House Guide to the Pulps (Silver
Spring, MD: Adventure House, 2000), p. 300-301.
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sic.com/miskatonic/library/stacks/periodicals/weirdta/magcat2.htm). www.yankeeclassic.com.
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71. Jaffery & Cook (1985), pp. 4–9.
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Further reading
William Fulwiler and Graeme Flanagan. Weird Tales on Television. Crypt of Cthulhu, 4, No 5
(whole number 30) (Eastertide 1985):29-32, 52.

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5/21/23, 9:46 AM Weird Tales - Wikipedia

Weird Tales: The Unique Magazine (http://www.pulpmags.org/content/info/weird-tales.html)

pulpmags.org

External links
Official website (https://www.weirdtales.com)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Weird_Tales&oldid=1146719654"

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