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Chaosium's Call of Cthulhu books
Leyendas de Xoth
El presente volumen les ofrece a los lectores una amplia selección de los escritos de Lin Carter sobre los Mitos de Cthulhu. No incluye los voluminosos textos redactados como capítulos del Necronomicon, del Libro de Eibon o de losManuscritos Pnakóticos. Lamayor parte de ellos aparecerán en el libro Necronomicon o en un volumen aún en proyecto, el Libro de Eibon, de Clark Ashton Smith y Lin Carter. Contiene, por el contrario, los relatos de los Mitos adaptados a las modas del momento y, por lo general, contemporáneas de los textos de Lovecraft y Derleth en los que se inspiran.
Lin seleccionó cinco de estos relatos («La bestia en el abismo», «El habitante de la tumba», «Fuera del tiempo», «Zoth-Ommog» y «La herencia de los Winfield») y elaboró a su alrededor una historia con un tema central, siguiendo el modelo de El rastro de Cthulhu de August Derleth. Estas historias aparecieron en las páginas de algunas antologías, y resultaba difícil que los lectores interesados pudieran conseguirlas en su totalidad. Se pasó esa antología a ArkhamHouse bajo el título de El terror fuera del tiempo, que Lovecraft olvidó entre los muchos otros paradigmas tan queridos de esta literatura. El título fue empleado después en una antología de relatos de un autor que colaboró con Lovecraft inspirándose en su obra, Clifford M. Eddy Jr. El esfuerzo de Lin estaba destinado al fracaso pues, tras el fallecimiento de August Derleth, Arkham House pareció conocer una suerte análoga a la de Amos Tuttle, que sufrió una repulsiva metamorfosis tras su muerte. No parecía dispuesta a publicar, ni siquiera a tolerar, nada relacionado con los Mitos de Cthulhu. El terror fuera del tiempo hacía honor a su nombre, pues había nacido fuera de su tiempo y nadie quería hacerse cargo de él. Afortunadamente, ahora ha sido rescatado y el lector puede disfrutar de este ciclo completo de los relatos escritos por Carter acerca de los monstruos extragalácticos inventados por el solitario de Providence. Otra obra maestra.
Lin[wood Vrooman] Carter (1930-1988) fue, desde su juventud, uno de los más fervientes seguidores y admiradores de las obras de Dunsany, Lovecraft, Burroughs y Howard, lo que le hizo emularlos en sus escritos y publicarlos de manera continua y devota en todas las antologías, tanto de relatos como de novelas, que publicó en vida. Al principio de su carrera literaria, siguió el camino marcado por los cuentos de Lord Dunsany (senda que ya había seguido Lovecraft antes que él), y en su primera novela creó a su personaje más famoso, Thongor de Lemuria, a quien acompañaría en otros cinco volúmenes. Completó, junto con L. Sprague de Camp, los relatos inconclusos de Conan el Cimerio, el personaje de Robert E. Howard, y, también del tejano, los del rey Kull, de Valusia. Sus propias novelas, muy abundantes, fueron recogidas en diversos ciclos: Callisto (8 volúmenes), el Imperio Verde (3), la Estrella Verde (5), Kylix (3), Terra Magica (4), el Fin del Mundo (6), Zanthodon (5), lo que no excluye que publicara hasta 17 novelas más y un número enorme de relatos. En cuanto a su tarea como editor, destacar (por encima de todo) la recuperación de títulos de fantasía para adultos (algo casi perdido hoy en día) que llevó a cabo en las famosas Adult Fantasy Series de Ballantine Books, donde dio a conocer o sacó del olvido a los grandes autores de fantasía de todos los tiempos. Como autor de ensayos, son notables los dos volúmenes Tolkien. El origen de El Señor de los Anillos y A Look Behind the CthulhuMythos (que podrán leer el año que viene en esta misma colección), y el magnífico estudio sobre literatura fantástica: Imaginary Worlds. Su muerte nunca será lamentada lo suficiente.
Lin seleccionó cinco de estos relatos («La bestia en el abismo», «El habitante de la tumba», «Fuera del tiempo», «Zoth-Ommog» y «La herencia de los Winfield») y elaboró a su alrededor una historia con un tema central, siguiendo el modelo de El rastro de Cthulhu de August Derleth. Estas historias aparecieron en las páginas de algunas antologías, y resultaba difícil que los lectores interesados pudieran conseguirlas en su totalidad. Se pasó esa antología a ArkhamHouse bajo el título de El terror fuera del tiempo, que Lovecraft olvidó entre los muchos otros paradigmas tan queridos de esta literatura. El título fue empleado después en una antología de relatos de un autor que colaboró con Lovecraft inspirándose en su obra, Clifford M. Eddy Jr. El esfuerzo de Lin estaba destinado al fracaso pues, tras el fallecimiento de August Derleth, Arkham House pareció conocer una suerte análoga a la de Amos Tuttle, que sufrió una repulsiva metamorfosis tras su muerte. No parecía dispuesta a publicar, ni siquiera a tolerar, nada relacionado con los Mitos de Cthulhu. El terror fuera del tiempo hacía honor a su nombre, pues había nacido fuera de su tiempo y nadie quería hacerse cargo de él. Afortunadamente, ahora ha sido rescatado y el lector puede disfrutar de este ciclo completo de los relatos escritos por Carter acerca de los monstruos extragalácticos inventados por el solitario de Providence. Otra obra maestra.
Lin[wood Vrooman] Carter (1930-1988) fue, desde su juventud, uno de los más fervientes seguidores y admiradores de las obras de Dunsany, Lovecraft, Burroughs y Howard, lo que le hizo emularlos en sus escritos y publicarlos de manera continua y devota en todas las antologías, tanto de relatos como de novelas, que publicó en vida. Al principio de su carrera literaria, siguió el camino marcado por los cuentos de Lord Dunsany (senda que ya había seguido Lovecraft antes que él), y en su primera novela creó a su personaje más famoso, Thongor de Lemuria, a quien acompañaría en otros cinco volúmenes. Completó, junto con L. Sprague de Camp, los relatos inconclusos de Conan el Cimerio, el personaje de Robert E. Howard, y, también del tejano, los del rey Kull, de Valusia. Sus propias novelas, muy abundantes, fueron recogidas en diversos ciclos: Callisto (8 volúmenes), el Imperio Verde (3), la Estrella Verde (5), Kylix (3), Terra Magica (4), el Fin del Mundo (6), Zanthodon (5), lo que no excluye que publicara hasta 17 novelas más y un número enorme de relatos. En cuanto a su tarea como editor, destacar (por encima de todo) la recuperación de títulos de fantasía para adultos (algo casi perdido hoy en día) que llevó a cabo en las famosas Adult Fantasy Series de Ballantine Books, donde dio a conocer o sacó del olvido a los grandes autores de fantasía de todos los tiempos. Como autor de ensayos, son notables los dos volúmenes Tolkien. El origen de El Señor de los Anillos y A Look Behind the CthulhuMythos (que podrán leer el año que viene en esta misma colección), y el magnífico estudio sobre literatura fantástica: Imaginary Worlds. Su muerte nunca será lamentada lo suficiente.
406 pages, Paperback
First published February 1, 1997
11 people are currently reading
265 people want to read
About the author
Lin Carter
426 books171 followersLin Carter was an American author, editor, and critic best known for his influential role in fantasy literature during the mid-20th century. Born in St. Petersburg, Florida, he developed an early passion for myth, adventure stories, and imaginative fiction, drawing inspiration from authors such as Edgar Rice Burroughs, Robert E. Howard, H. P. Lovecraft, and J. R. R. Tolkien. After serving in the U.S. Army, Carter attended Columbia University, where he honed his literary skills and deepened his knowledge of classical and medieval literature, myth, and folklore — elements that would become central to his work.
Carter authored numerous novels, short stories, and critical studies, often working within the sword-and-sorcery and high fantasy traditions. His own creations, such as the “Thongor of Lemuria” series, paid homage to pulp-era adventure fiction while adding his distinctive voice and world-building style. His nonfiction book Tolkien: A Look Behind The Lord of the Rings was one of the first major studies of Tolkien’s work and its mythological roots, and it helped establish Carter as a knowledgeable commentator on fantasy literature.
Beyond his own writing, Carter was a central figure in bringing classic and forgotten works of fantasy back into print. As editor of the Ballantine Adult Fantasy series from 1969 to 1974, he curated and introduced dozens of volumes, reintroducing readers to authors such as William Morris, Lord Dunsany, E. R. Eddison, and James Branch Cabell. His introductions not only contextualized these works historically and literarily but also encouraged a new generation to explore the breadth of the fantasy tradition.
Carter was also active in the shared literary universe of the “Cthulhu Mythos,” expanding upon the creations of H. P. Lovecraft and other members of the “Lovecraft Circle.” His collaborations and solo contributions in this genre further cemented his reputation as both a creative writer and a literary preservationist.
In addition to fiction and criticism, Carter was an active member of several science fiction and fantasy organizations, including the Science Fiction Writers of America. He frequently appeared at conventions, where he was known for his enthusiasm, deep knowledge of the genre, and willingness to mentor aspiring writers.
Though sometimes critiqued for the derivative nature of some of his work, Carter’s influence on the fantasy revival of the late 20th century remains significant. His combination of creative output, editorial vision, and scholarly enthusiasm helped bridge the gap between the pulp traditions of the early 1900s and the expansive fantasy publishing boom that followed.
Lin Carter’s legacy endures through his own imaginative tales, his critical studies, and the many classic works he rescued from obscurity, ensuring their place in the canon of fantasy literature for generations to come.
Carter authored numerous novels, short stories, and critical studies, often working within the sword-and-sorcery and high fantasy traditions. His own creations, such as the “Thongor of Lemuria” series, paid homage to pulp-era adventure fiction while adding his distinctive voice and world-building style. His nonfiction book Tolkien: A Look Behind The Lord of the Rings was one of the first major studies of Tolkien’s work and its mythological roots, and it helped establish Carter as a knowledgeable commentator on fantasy literature.
Beyond his own writing, Carter was a central figure in bringing classic and forgotten works of fantasy back into print. As editor of the Ballantine Adult Fantasy series from 1969 to 1974, he curated and introduced dozens of volumes, reintroducing readers to authors such as William Morris, Lord Dunsany, E. R. Eddison, and James Branch Cabell. His introductions not only contextualized these works historically and literarily but also encouraged a new generation to explore the breadth of the fantasy tradition.
Carter was also active in the shared literary universe of the “Cthulhu Mythos,” expanding upon the creations of H. P. Lovecraft and other members of the “Lovecraft Circle.” His collaborations and solo contributions in this genre further cemented his reputation as both a creative writer and a literary preservationist.
In addition to fiction and criticism, Carter was an active member of several science fiction and fantasy organizations, including the Science Fiction Writers of America. He frequently appeared at conventions, where he was known for his enthusiasm, deep knowledge of the genre, and willingness to mentor aspiring writers.
Though sometimes critiqued for the derivative nature of some of his work, Carter’s influence on the fantasy revival of the late 20th century remains significant. His combination of creative output, editorial vision, and scholarly enthusiasm helped bridge the gap between the pulp traditions of the early 1900s and the expansive fantasy publishing boom that followed.
Lin Carter’s legacy endures through his own imaginative tales, his critical studies, and the many classic works he rescued from obscurity, ensuring their place in the canon of fantasy literature for generations to come.
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Displaying 1 - 13 of 13 reviews
February 18, 2020
Out of all the complaints that could be garnered to Lin Carter, there is one thing that is difficult to deny. This guy can write, and he writes beautifully. He knows what makes Lovecraftian horror so abysmal and frightening to our fragile minds, and in some of these stories he exercised these ideas with great talent. Here’s a quote from my favorite piece in this whole compilation, The Horror in the Gallery, which is also one of my favorite works of Cthulhu Mythos literature:
”We are not dealing with gods or demons or supernatural forces, my boy—clear all that mystical rubbish out of your head! Whatever the so-called Old Ones are, and whatever the nature and extent of their powers, they are neither divine nor infernal. And, surely, there is nothing of the supernatural about them. I have found that it helps to conceive them as extraterrestrial creatures, the former inhabitants of other planets or star systems, who came here ages ago and who now slumber in the far places of the globe in something akin to suspended animation, as with Cthulhu, himself for instance. Alhazred speaks of this monster as ‘asleep and dreaming’. This is a decently accurate description of a state of vitality in stasis, when you consider that Alhazred lacked the proper scientific terminology to describe such a condition. And let me also point out that highly intelligent though these creatures are—to have been able to traverse somehow the immense stellar distance—they are not remotely manlike and suffer from none of the limitations of our own fragile and short-lives fleshy habitations. We have considerable evidence to suggest they are not even composed of the same kind of matter as we are, and share few, if any, of our senses. This normal lifespan, perhaps, is to be measured in geological epochs, rather than in the biblical three score and ten.”
The above is an absolutely perfect description of the nature of Lovecraft’s alien gods. That our fragile internal perceptions cannot completely process the alien external reality is such a haunting, undermined concept in modern Mythos fiction. I’m elated that Carter had a grasp on human’s nature in attempt to understand things they truly don’t understand because we are set-back by our severe limitations. Who’s the advanced race now, mortal earthlings?!?
So with commendations this high, why only 3 stars?
Because most of the other stories in this collection are so redundant and boring. Most of them follow a typical formula of the 25-35 year-old white Protestant male discovering something he probably shouldn’t have discovered, doing research into cryptic, obscure tomes, and then steadily loses his sanity. It got to be such overkill after a while, I am now believing that these were pastiches and parodies of Lovecraft’s work. Still very dry to read.
Another problem: Lin Carter was heavily influenced by August Derleth. Derleth had an affinity for taking Lovecraft’s gods, labeling them into designated categories, and associating all the gods with an element. Carter pushes this concept to the max, even going as far to verify that the reason Cthulhu and Hastur are not compatible is because Cthulhu is a water elemental and Hastur is an air elemental.
What. No.
You cannot do that.
You can’t go out of your way to give us an example of how these gods are too alien to understand, and yet assign to all of them the typical Greek concept of “the four elements”. I am so confused by this reasoning...or should I say attempt at reasoning something that we cannot reason with? You said this yourself Mr. Carter! Admittedly, this contradictory nature you present to us in this book is truly a homage to August Derleth, so if that your intention, um...Kudos, I guess.
All the stories in this collection are tied together by the worship of Cthulhu and his three ‘sons’, which is revealed through manuscripts and old tomes to our poor bastard main characters over a period of time, who also interconnect with each other. It’s like reading a really jaundiced novel with multiple perceptions and encounters, though admittedly after a while they all start to become indistinguishable.
If you’re a hardcore, and I mean, HARDCORE Mythos fan, chances are you still probably won’t get quite a few of the references in this book. Carter is like a friggin’ walking Cthulhu Mythos dictionary. He references so many worlds, characters, authors, deities, and scholars that have been written into the Mythos by various people over the years that if it weren’t for Robert Price’s educational, insightful, hilarious introductions, I would have been completely lost.
Though I have a fair share of criticism, I still recommend this, especially for The Horror in the Gallery (originally published as Zoth-Ommog) and The Bell in the Tower (A tale started by Lovecraft that was never finished, which Lin completed several years after Lovecraft’s death).
Still a talented and influential writer. I look forward to reading Robert Price’s biography on the man’s life and his contributions to modern cosmic horror fiction.
”We are not dealing with gods or demons or supernatural forces, my boy—clear all that mystical rubbish out of your head! Whatever the so-called Old Ones are, and whatever the nature and extent of their powers, they are neither divine nor infernal. And, surely, there is nothing of the supernatural about them. I have found that it helps to conceive them as extraterrestrial creatures, the former inhabitants of other planets or star systems, who came here ages ago and who now slumber in the far places of the globe in something akin to suspended animation, as with Cthulhu, himself for instance. Alhazred speaks of this monster as ‘asleep and dreaming’. This is a decently accurate description of a state of vitality in stasis, when you consider that Alhazred lacked the proper scientific terminology to describe such a condition. And let me also point out that highly intelligent though these creatures are—to have been able to traverse somehow the immense stellar distance—they are not remotely manlike and suffer from none of the limitations of our own fragile and short-lives fleshy habitations. We have considerable evidence to suggest they are not even composed of the same kind of matter as we are, and share few, if any, of our senses. This normal lifespan, perhaps, is to be measured in geological epochs, rather than in the biblical three score and ten.”
The above is an absolutely perfect description of the nature of Lovecraft’s alien gods. That our fragile internal perceptions cannot completely process the alien external reality is such a haunting, undermined concept in modern Mythos fiction. I’m elated that Carter had a grasp on human’s nature in attempt to understand things they truly don’t understand because we are set-back by our severe limitations. Who’s the advanced race now, mortal earthlings?!?
So with commendations this high, why only 3 stars?
Because most of the other stories in this collection are so redundant and boring. Most of them follow a typical formula of the 25-35 year-old white Protestant male discovering something he probably shouldn’t have discovered, doing research into cryptic, obscure tomes, and then steadily loses his sanity. It got to be such overkill after a while, I am now believing that these were pastiches and parodies of Lovecraft’s work. Still very dry to read.
Another problem: Lin Carter was heavily influenced by August Derleth. Derleth had an affinity for taking Lovecraft’s gods, labeling them into designated categories, and associating all the gods with an element. Carter pushes this concept to the max, even going as far to verify that the reason Cthulhu and Hastur are not compatible is because Cthulhu is a water elemental and Hastur is an air elemental.
What. No.
You cannot do that.
You can’t go out of your way to give us an example of how these gods are too alien to understand, and yet assign to all of them the typical Greek concept of “the four elements”. I am so confused by this reasoning...or should I say attempt at reasoning something that we cannot reason with? You said this yourself Mr. Carter! Admittedly, this contradictory nature you present to us in this book is truly a homage to August Derleth, so if that your intention, um...Kudos, I guess.
All the stories in this collection are tied together by the worship of Cthulhu and his three ‘sons’, which is revealed through manuscripts and old tomes to our poor bastard main characters over a period of time, who also interconnect with each other. It’s like reading a really jaundiced novel with multiple perceptions and encounters, though admittedly after a while they all start to become indistinguishable.
If you’re a hardcore, and I mean, HARDCORE Mythos fan, chances are you still probably won’t get quite a few of the references in this book. Carter is like a friggin’ walking Cthulhu Mythos dictionary. He references so many worlds, characters, authors, deities, and scholars that have been written into the Mythos by various people over the years that if it weren’t for Robert Price’s educational, insightful, hilarious introductions, I would have been completely lost.
Though I have a fair share of criticism, I still recommend this, especially for The Horror in the Gallery (originally published as Zoth-Ommog) and The Bell in the Tower (A tale started by Lovecraft that was never finished, which Lin completed several years after Lovecraft’s death).
Still a talented and influential writer. I look forward to reading Robert Price’s biography on the man’s life and his contributions to modern cosmic horror fiction.
October 22, 2014
While there are some entertaining Mythos tales in this collection, a little Lin Carter goes a long way (which is to say that I appreciate Carter's skills as an editor a bit more than I do his skills as a writer). Part of my problem with Carter's ideas is the sheer overkill he inflicts on Lovecraft's (and Derleth's) original ideas, the overwhelming need Carter felt to systematize everything so that all the contradictions would be reconciled (even when it was those very contradictions that have made the Mythos such a fertile ground for writers' creativity for generations). Robert Price's editorial comments, like other books in this series, are insightful, and the final tale (by Price), a pastiche of Carter's take on Lovecraft, is both a funny and fitting tribute to Carter's work.
December 17, 2022
I believe the "Cthulhu Mythos" fiction of Lin Carter, August Derleth and early Brian Lumley to be the worst horror literature I've read. No merit to it. You can visualise each of them having Lovecraft paperbacks open on their desks as they write and essentially transcribing select paragraphs. The only additions are unanimously for the worse. Derleth's systematising fucked up perception of Lovecraft for decades.
April 27, 2020
I approached this collection of Lin Carter’s Lovecraftian fiction with more than a little trepidation; after really hating “Curse of the Black Pharaoh” in The Nyarlathotep Cycle, I wasn’t exactly salivating over the prospect of a whole book full of more of the same. Fortunately a lot of the stories in this set are a lot better. Occasionally Carter gets so caught up with the pre-human mythology of the Old Ones – as conveyed through no end of horror-haunted tomes – that he forgets to have anything actually happen in the story. Also, I wasn’t bowled over by what series editor Robert Price decided to add here or expand into a story there. Overall, however, this is an entertaining read, worth the attention of any fan of the sub-genre.
May 21, 2016
Crea su mundo utilizando las bases y formas de Lovecraft. Todos sus relatos están relacionados con mismos personajes y sucesos mentados. Llega a cansar el reitero con: “este es el diario de…” y relata los sucesos que siempre tiene misma estructura: heredero encuentra documentos o estatua o libros extraños que al investigar sucede lo extraterrenal.
February 12, 2016
A collection of stories based on the writings of H.P. Lovecraft. These are, to me, only slightly better than the original Lovecraft stories. Just not a fan of his writings. Not recommended
Read
March 15, 2019Great compilation of an incredibly mediocre writer.
May 10, 2025
El trabajo de Biblioteca del Laberinto al traer estas antologías es admirable, y resulta una lástima que el proyecto no pudiera continuar tras la defunción de Paco Arellano. Este es el único libro que poseo de la editorial, y lo obtuve casi por suerte, justo cuando tenía muchas ganas de leer lo que había escrito Lin Carter. Me gustó bastante el tema de Xoth y del continente de Mu. De hecho, me sorprende que otros autores latinoamericanos que dicen escribir dentro de los Mitos no hayan tomado esto como referencia.
Luego, hay otras partes del libro que no me agradan tanto, aunque comprendo su función. Por ejemplo, los sonetos de Wilbur Nathaniel Hoag —un trasunto de Lin Carter—, donde incluso en el título se menciona en tono de broma que es él quien los editó. Es un claro homenaje a los sonetos de H. P. Lovecraft. Sin embargo, para mí, solo algunos relatos resultan entretenidos; el resto se asemeja mucho a lo que hizo Derleth en El rastro de Cthulhu, por no decir que es un pastiche derlethiano. Pero bueno, es una buena antología pese a todo, y una pieza única para los amantes de los Mitos de Cthulhu. La portada de Francisco Torres Oliver le da un toque especial.
Luego, hay otras partes del libro que no me agradan tanto, aunque comprendo su función. Por ejemplo, los sonetos de Wilbur Nathaniel Hoag —un trasunto de Lin Carter—, donde incluso en el título se menciona en tono de broma que es él quien los editó. Es un claro homenaje a los sonetos de H. P. Lovecraft. Sin embargo, para mí, solo algunos relatos resultan entretenidos; el resto se asemeja mucho a lo que hizo Derleth en El rastro de Cthulhu, por no decir que es un pastiche derlethiano. Pero bueno, es una buena antología pese a todo, y una pieza única para los amantes de los Mitos de Cthulhu. La portada de Francisco Torres Oliver le da un toque especial.
August 25, 2022
Lin Carter might have accomplished significant things as an editor, but he could be a really lousy writer. This collection of his Cthulhu Mythos stuff is nothing more than a bunch of third-rate pastiches of August Derleth's tales, and since Derleth was cranking out third-rate pastiches of Lovecraft's original that means you end up with ninth-rate pastiche-squared material. Full review: https://fakegeekboy.wordpress.com/201...
June 14, 2021
Carter’s writing suffers from his obsession with filling in details of the Mythos, making for tales that seem more like encyclopedia entries at points. Still, there are diamonds in the rough here and even the bad stories have interesting lore details. Plus Robert Price’s introductions to each story provide excellent bibliographic and biographic exposition.
February 23, 2020
Lin Carter's love letter to the cthulhu mythos of H.P Lovecraft and the revisions carried out by August Derleth. A fine collection of Lovecraftian tales
July 17, 2022
Something in the Moonlight - 4/5
February 7, 2024
I'm not a huge fan of Carter's derivative Mythos stories, but at least Price does a great job of putting them in context
Displaying 1 - 13 of 13 reviews