Dreams from R'lyeh

by Lin Carter, L. Sprague de Camp (Introduction)

Inscribed by "Ia! For Steve." Cover art by Tim Kirk. Limited to 3,000 copies.

Genres: Poetry, Lovecraftian, Cthulhu Mythos, Horror

72 pages, Hardcover

First published January 1, 1975

About the author

Lin 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.

Reviews

[Mir · Rating 3 out of 5]

The first half of this book is a story of Lovecraft's world, told as verse. The conceit is that the verse itself was written by a young man, Wilbur Nathaniel Hoag, and chronicles his gradual immersion into Eldritch Lore and other matters that are better left forgotten (although apparently lots of people around Arkham know about them).

When I was young they never let me look
Into that room kept under lock and key,
But when he died my Uncle left to me
His strange collection. Almost every book
Was old and crumbling, curiously bound
In serpent-skin, and with a rotten smell
As of some tainted and abandoned well
Or some dead thing long buried underground.

I looked in one. And, though my blood ran cold,
I read it, page by page. The nightwind blew
About the eaves, and when red morning rolled
Up from the east, I finished. And I knew
Those old, old books where not meant to be read
By sane men. They were better burnt instead.

But of course the young fool doesn't burn them; he reads more.

The second half of the book is a more diverse collection of poems written over three decades of Carter's life. Some are dedications to favorite authors (AC Smith, Dunsany), short pieces about the Moon, Hallows Eve, and other ominous staples. Some are longer narrative verses of epic fantasy, which reminded me touchingly and embarrassingly of crap I wrote at age 12 when I was into Dragonlance and David Eddings type fiction.

[Wreade1872 · Rating 2 out of 5]

First-half 2/5, Second-half 3/5

Well that was disappointing... i had high hopes for this one. The first half tells a sort of story but each poem is just 8 and 6 lines, not much to get my teeth into. Then they each also have different references to elements of the extended Lovecraft-mythos. It kinda just feels like references for reference sake.
It uses the right words but didn't give me much of the feeling.

The second half starts much better with the first two Other Poems, Lunae Custodiens and Merlin Enchanted i'd rate 4-stars but the remainder is only so so.

In the end i've rated it towards the low end simply because i hoped for a lot more. Its no City of Dreadful Night.

[Manuel · Rating 5 out of 5]

Dreams from R'Lyeh is a sonnet cycle which, like Lovecraft's Fungi from Yuggoth, loosely tells a story through macabre vignettes. As in Lovecraft's cycle, the narrator uncovers some forbidding tomes which contain "eldritch" knowledge that leads him to strange worlds peopled by dark deities and their depraved followers bent on benighting the world and squelching mankind.

The narrator in Carter's story is a young man named Wilbur Nathaniel Hoag, an Arkham resident and the last of his line. Apparently Hoag disappeared and was presumed dead, leaving behind no clue as to his fate, save these lines of macabre poetry, now kept in the Manuscripts Collection of the Miskatonic Unversity. That being said, a few knowing hints in Carter's preface tell the savvy Mythos fan all they need to know about the fate of the young poet who, among other things, was a distant relation to Obed Marsh of Innsmouth.

The remainder of the slim volume is taken up by Carter's poetic oeuvre which is either in the style of or dedicated to the progenitors of the Weird Tale. There are tributes to Lord Dunsany, Clark Ashton Smith, Robert E. Howard, et al., all worthy of their dedicatees.

Actually, the titular sonnet itself could be said to be a tribute of sorts to all the progenitors of the Cthulhu Mythos. I recognized references in the sonnet cycle to the tales of Clark Ashton Smith, whom I know Carter was a big fan of. There was mention of Ambrose Bierce's Hastur and Carcosa (respectively), which were later appropriated by Robert W. Chambers and referenced haphazardly throughout his tales in The King in Yellow (1895) then latterly introduced into Mythos canon by Lovecraft in his 1931 tale The Whisperer in the Darkness. Lastly, there was mention of Byatis, the serpent-bearded deity created by Robert Bloch for his 1935 tale The Shambler From the Stars then cultivated by Ramsey Campbell for his own 1964 Mythos tale The Room in the Castle.

When I first tried to read the sonnet cycle I was trying to follow the rhyme and was frustrated by the odd scheme, which, not being well schooled in such things, I cannot quite place. The opening sonnet, Remembrances, goes abba cddc effegg. I found, however, that if, instead of reading each line individually, I just read it like prose and followed the narrative, it flows perfectly.

One of my favorite poems, appropriately enough, turned out to be the one about the Dark Young of Shub Niggurath, entitled the Spawn of the Black Goat (I used to be the front-man in a band called the Dark Young, named after this entity). Which is so tenebrous and Gothic in it's Mythos-laden content, I really felt it captured some of the dark genius of the old Rhode Island gentleman himself. In fine, I highly recommend this collection to fans of Lovecraftiana and weird poetry in general.

[Zachary · Rating 4 out of 5]

I think people like to hate on this guy because of his tampering with our barbarian of Cimmeria, but these are perfectly enjoyable quickly read verses.

Many are intentionally written in the style of his Weird forbearers — REH, Lovecraft, CA Smith, Dunsany, et al. Fans of their brand of verse, d&d/dramatic metal lyricism, and even some of Tolkien’s more whimsical songs/rhymes will probably enjoy.

This is certainly not the pompous overly intellectual wordplay of a great master - nothing deep or revelatory, but really fun. Which is weird to say in regards to the often grim/occult subject matter contained within. Cthulhu mythos fans will certainly find something to appreciate in the early works, which check all the eldritch boxes, and even drop in Bierce/Chambers references to Carcosa/King in Yellow.

[Joseph]

undoubtedly the worst book of poems ever written. It's like Rhapsody in Blue as played dixieland style by a German oompa band. Wonderfully awful.

[Jeff · Rating 5 out of 5]

Very entertaining collection of Cthulhu Mythos and other weird verse by Lin Carter, whose main claim to fame was as a novelist and editor. Most of these poems are in traditional styles (rhyme, meter, etc.), which suits the subject matter very well.