Introduction

Is it not passing brave to be a king,

And ride in triumph through Persepolis?

—Christopher Marlowe, Tamburlaine, Part One

Kull of high Atlantis. Kull, who will never be “of” Valusia no matter how long he rules the Land of Enchantment. Kull, cold-eyed but hot-headed, a bull in an unimaginably ancient china shop. Kull, the thinking man’s barbarian and the barbarian as thinking man, for whom the surfaces of forbidden lakes and sorcerous mirrors are not barriers but invitations. Kull, who opens Pandora’s boxes like birthday gifts. Kull, who returns the stare of Deep Time and dares the stair that leads up to perspectives high, chilly, and cosmic. The king who philosophizes with a broadsword and legislates with a battle-axe, the king who haunts us because he is himself so haunted. Kull, who is no mere way-station en route to Conan, but an unforgettable destination in his own right.

Like their hero, who is quotable whether expressing ominous amusement–to the lake-dwellers of The Cat and the Skull, as they close in with daggers: “This is a game I understand, ghosts”–or an elegiac impulse, as to the wizard Tuzun Thune: “Yet is it not a pity that the beauty and glory of men should fade like smoke on the summer sea?”–the Kull stories can speak for themselves. But some readers might enjoy the Atlantean usurper even more if we spend a few pages situating him both within the grand overarching continuum that resulted from Robert E. Howard’s talent for rewriting and pre-writing history and within the Texas fictioneer’s abbreviated but altogether astonishing career.

It is not quite accurate to label The Shadow Kingdom, which introduced Weird Tales readers to King Kull in the August 1929 issue (the untitled vignette many of us first met as Exile of Atlantis, with its glimpse of the Kull who would be king, was not published until 1967), the original sword-and-sorcery story. To do so is to overlook an earlier masterpiece, Lord Dunsany’s 1910 The Fortress Unvanquishable, Save for Sacnoth, in which a swordsman invades the hellish, dragon-guarded stronghold of an archmage. But the Howard tale jumps out at us as not only the first American sword-and-sorcery story but the first to summon a series into being by offering a setting, an arena, greater than was required for just a single adventure, a setting the depth and detail of which all but demanded sequels. With Kull’s Pre-Cataclysmic Age there arrived an American fantasyland defined by danger and doubt rather than the bumptious Midwestern boosterism of Oz or the sword-and-planet self-infatuation of John Carter of Mars, the extent of whose ego at times suggests that Helium, the Barsoomian city-state he rises to rule, is exceedingly well-named.

The barbarians of the late Pre-Cataclysmic Age are offshore islanders who prey on the Thurian mainland from Atlantis, Lemuria, and the Pictish Isles as if from unsinkable pirate ships. The times call for blood and iron, but Thurian blood has thinned and their iron has corroded; where the dominant civilization of the Hyborian Age will be “so virile that contact with it virtually snatched out of the wallow of savagery such tribes as it touched,” the Seven Empires of the Pre-Cataclysmic dodder and totter. This is a world less mapped than Conan’s and more lapped by mystery and mysticism at its edges: ice caves in the far north, reptile-reeking jungles in the far south; to the west, the isles beyond the sunset, to the east, the River Stagus and World’s End. We learn that Verulian trickery is a byword, and that Thurania is the foe of Farsun, but what Howard is really telling in the Kull stories is Time. Untold centuries, millennia, and aeons of the stuff are told, and told tellingly, as we sense history shading back into prehistory, kings dimming into chiefs, palaces into caves, nations into tribes, laws into taboos. The whole point to Thurian civilization is its stupefying continuity and longevity; at the very dawn of Pictish or Atlantean awareness, dusk had already draped the Seven Empires. Their relative opacity or obscurity, the fact that they are not readily identifiable as stand-ins or surrogate-states as are Stygia for Egypt, Zingara for Spain, and Turan for the Ottoman Empire in the Conan series, draws us deeper into dreamland.

Kull’s project of rejuvenating Valusia is not so much foredoomed as after-doomed by The Hyborian Age, an essay that Howard did not write until 1932, and it is important to keep in mind that the Pre-Cataclysmic Age is unaware of being the Pre-Cataclysmic Age, is unaware that the Cataclysm is poised overhead throughout the series, a Sword of Damocles forged from water and wind, lava, and tremors. Or is it? Signs and portents like the death by drowning of the “outlaw tribe” of Tiger Valley recalled by the Atlantean characters or the casual reference to “the Flood” in Swords of the Purple Kingdom are present. The lake-king has it almost right when he sees in Kull “the first wave of the rising tide of savagery which shall overwhelm the world,” and Kull himself asserts “Someday the sea will flow over these hills–” as early as Exile, long before Tuzun Thune’s mirror reflects a future in which “the restless green waves roar for many a fathom above the eternal hills of Atlantis” and “strange savages roam the elder lands.” Howard was well aware that a writer who avails himself of the name “Atlantis” gives away his ending, which is why he traveled back ages and ages in advance of that ending, the symbol of imperial overreach and the human jostling of the divine since Plato, to a joltingly flint-tipped and cave-sheltering beginning. And, yes, the Atlantis of the Kull series is fiendishly difficult to reconcile with that of Howard’s novellas Skull-Face and The Moon of Skulls, so perhaps we should mutter something about the hobgoblin of little minds and leave off trying.

At the start of his Conan years Howard looked upon his Kull years not as a false start but a foundation; he built The Phoenix on the Sword from By This Axe I Rule! (unsold and therefore for practical purposes untold) and built the Pre-Cataclysmic Age into the back-story of The Hyborian Age and the eyewitness account of Yag-kosha, the long-lived, far-sighted being of The Tower of the Elephant. When Howard wrote of the Thurians in 1932 that “Picts, Atlanteans, and Lemurians were their generals, their statesmen, often their kings,” he had long since created in Kelkor just such a general, in Ka-nu just such a statesman, and in Kull just such a king. That same opening to The Hyborian Age adds to our knowledge by citing “the wars between Valusia and Commoria” (a realm nowhere mentioned in the actual Kull stories) as an implicit prelude to “the conquests by which the Atlanteans founded a kingdom on the mainland.” And as Yag-kosha tells it, the Post-Cataclysmic Age was marked by an intensification of the “wild wars and world-ancient feuds” of the earlier period. The remnants of the Pictish and Atlanteans would “go down to ruin, locked in bloody wars. We saw the Picts sink into abysmal savagery, the Atlanteans into apedom again…Wesaw [Conan’s] people rise under a new name from the jungles of the apes that had been Atlanteans.” Kull, who readily admits to a early childhood as a “hairless ape roaming in the woods,” one that “could not speak the language of men,” turns out to have been a sort of preview of coming subtractions for the Atlanteans after the Cataclysm.

The Kull stories wander far afield in time, but spatially seldom stray from Valusia–which is why Howard’s tantalizing River Stagus/Beyond the Sunrise fragment, with its hot pursuit traversing whole kingdoms otherwise unexplored in the series, is so welcome. The continuity of circumstance that distinguishes Kull from Conan makes possible a recurring cast, a Howardian repertory company the members of which include Ka-nu, an avuncular ambassador not just from Pictland but from the mellowing and maturation that Kull cannot imagine undergoing himself. Ka-nu’s barb in The Cat and the Skull–“Naturally, I went first to the torture chamber, since Tu was in charge–” tells us most of what we need to know about Tu, who despite his second person familiar pronoun of a name has little tolerance for informality and upholds tradition all the more blindly and bureaucratically for having been born a plebian. The chief councilor, who will brook no challenge to the State’s law, is anticipated by Gor-na in Exile of Atlantis, who will brook no challenge to the tribe’s lore. When Gor-na scolds Kull for skepticism, he voices the outlook that the outcast-to-be will struggle against throughout the series: “What always was, must always be.”

We are accustomed to Howard’s Picts as the destroyers of a civilization at the end of the Hyborian Age and the defiers of a civilization in the age of the Caesars, but in the Kull stories we must adjust to Picts as defenders of the decrepit civilization to which they are allied. Those defenders are led by Brule the Spear-slayer, a study, years before Conan, of the Beyond the Black River dictum that “a wolf [is] no less a wolf” because he chooses or chances “to run with the watch-dogs.” The power not behind but beside Kull’s throne, he often functions as a reality principle in the series: “Ever the Pict’s fierce secret whisper brought [Kull] back from the realm of unreality in which he moved.” In their 1987 overview of Howard’s work, Marc A. Cerasini and Charles Hoffman illuminated the Kull stories with the perfect line from William Blake: “The tigers of wrath are wiser than the horses of instruction,” yet for all the wisdom he gains, Kull, the tiger of wrath, must be saved again and again by Brule, the horseman of instruction: When it is necessary to ride to Kull’s rescue, or ride across the continent in the service of Kull’s revenge, the Picts saddle up, and although the great days when Howard would annex Texas for heroic fantasy are yet to come, the “lean, powerful savages, men of Brule’s tribe, who [sit] their horses like centaurs” suggest the Comanches-turned-cavalry.

It would never occur to Brule that the pen is mightier than the sword, which is why he urges Kull to arrange for the seditious poet Ridondo to “make rhymes for the vultures.” By This Axe I Rule! is the only story in which Ridondo appears, although his songs live on after him in Swords of the Purple Kingdom. He permits Howard, whose poetry filled many pages but paid few bills, to have fun with a fellow blue-eyed versifier. When we meet Ridondo, he is clad in jester’s motley but brandishes a dagger and exults in the assassination he has sworn to achieve. Meanwhile Kull, the peerless warrior, is first seen behind “a small writing desk,” and the seeming role reversal continues as king strives to spare poet while poet strives to slay king. Kull is not a Celtic character, except retroactively, in that Howard decided years later that the Atlanteans had been the progenitors of the Cimmerians, who were the forefathers of the Celts. But the barbarian’s reverence for the bard, even one as cracked and citified as Ridondo, earns him honorary Celt status–and also a near-fatal wound when the poet pens him “a deathly song” in his unprotected side. In effect one chink in Kull’s armor has found another, and it is interesting to note this observation by his creator in a 1928 letter: “Each time a man opens his heart he breaks his armor and weakens his battle might.”

During the Kull years Howard the apprentice took over from Howard the amateur. He was less market-minded than he would become, and the series exhibits not the precision-guided productivity of the later professional but a purple and gold romanticism that is not uncommon in a writer barely into his twenties. Much less common are the distinctively Howardian black borders and gray backgrounds of all that purple and gold. Dreamy but not drowsy, melancholy but not morose, these stories are the work of a young man who never became very old at all. Like Kull, that young man was both fascinated and appalled by extremities of age and reveries of remembrance, while also being constantly goaded by “the vagaries of a people which could never understand him.”

Howard himself may have given us tacit permission to perceive Kull as his attitudinal doppelgänger in an October 1928 letter to his friend Harold Preece: “An occultist of my acquaintance, who has gone deeper in the matter than any man I ever knew, says I have a very ancient soul, am a reincarnated Atlantean, in fact!” With Kull, the feral child is father to the man; he knows not “who his own parents were,” an ignorance that perhaps at times seemed like bliss to Howard as he coped with the squalls and squabbles of life in a small family in a small town. Kull’s ostensibly absolute power is often merely powerlessness prettified by pageantry, and the entire series clanks with chains, literalizations of the fetters the only son of Isaac and Hester Howard felt chafing him, from the “heavy wooden chain, a peculiar thing which was particularly Atlantean in its manufacture,” in which the Ala of the Exile story awaits burning at the stake, to the “chains of friendship, tribe, and tradition” broken in The Shadow Kingdom. The phantasmal Eallal proceeds with “slow, silent footsteps, as if the chains of all the ages were upon those vague feet,” and as Kull unleashes his inner berserker on the serpent-men Howard tells us “But now some chain had broken in his soul.” One of the fragments espouses an equality of the remarkable “beyond the shackles of birth and circumstance,” and Kull breaks the news to the second Ala that “the king is only a slave like yourself, locked with heavier chains.”

A tiger in chains would be a crime, a contravention of the natural order to which only decadent Valusians (or the Romans of Kings of the Night) might stoop. Where the lion is the king of beasts, and also the preferred beast of kings, the tiger’s aura is more Eastern and exotic–one of the ways Howard establishes that we are vastly displaced in time is to have tigers roaring “across the starlight” on the beaches of Atlantis. And the tiger hunts in splendid isolation; he is a predator without a pride, a fitting totem for Kull (and perhaps his creator). “I–thought you were a human tiger,” the Ala of By This Axe! confesses, shortly before Kull is forced to demonstrate many of his most tigerish qualities, but the linkage begins before we even leave Atlantis, with the hunters’ debate as to whether a king tiger once scaled a vine to the moon to escape hunters and dwelt there “for many years.”

Another 1928 Howard letter to another friend, Tevis Clyde Smith, contains references to demi-gods attaining pinnacles, “the deeds of unthoughted heroes,” the “crude, groping handiwork” of authorial beginners and writers “struggling up the long ladder.” The latter two images are suggestive of one of the staggering vistas of The Shadow Kingdom, in which Man is “the jest of the gods, the blind, wisdomless striver from dust to dust, following the long bloody trail of his destiny, knowing not why, bestial, blundering, like a great murderous child, yet feeling somewhere a spark of divine fire.” Howard went on in the same letter to claim that he was familiar with “the emptiness of success” despite not having succeeded yet: “For always through the cheers of the mob will come, like a writhing serpent, the memory of the jeers of the mob when I walked and sweated pure red blood.” This reads like a rough draft of the early scenes in The Shadow Kingdom, and not just because of Howard’s tendency to assign fangs, coils, and scales to anything negative; the mingled cheers and jeers are also noteworthy. Behind the Atlantean usurper who can command obedience but never legitimacy, we can discern the aspiring author too often rejected and too quickly dejected. But the spark of divine fire would continue to motivate Howard to sweat pure red blood; when he confided to Tevis Clyde Smith in November of 1928 that “I’ve got the makings of a great writer in me, but I’ll never become one because I’m too erratic and lazy to really try and keep on trying,” he sold himself short.

The makings of that great writer are on display here, but the Kull stories differ from Howard’s Thirties output in part because of “a certain archaic tang”–aye, nay, ye, mayhap–which he himself attributed to “much medieval reading.” The Faerie fringes of the series border on what is unhelpfully called high fantasy, nor should we overlook mordant flickers that we might sooner expect from a James Branch Cabell or Clark Ashton Smith: Brule’s ancestry includes “a legendary hero or two, semi-deified for feats of personal strength or wholesale murder,” while Ascalante has noticed that “Poets always hate those in power and turn to dead ages for relief in dreams.” Howard’s nomenclature is not yet the thing of cheerfully borrowed beauty it will become, although “Valusia,” with its hints of “allusion” and “illusion,” is perfect for a kingdom that is the Thurian Continent’s many-magicked Heart of Elderness, and Goron bora Ballin and Ronaro Atl Volante are convincingly aristocratic appellations.

If it can seem as if the principal business of the late Pre-Cataclysmic Age is preventing or punishing mixed marriages, Howard, who dreamed so much, certainly never dreamed that all of his Kull outtakes would be published and pored over. Willful but wile-dependent, the women who plague Kull with their nuptial agendas are like unto little sisters, the creations of a bookish young man more comfortable grappling with the riddles of existence than with girls. The time for Valeria of the Red Brotherhood and Agnes de la Fere is not yet; although the second Ala shows promise, and more than just a single consonant separates the Delcartes of Swords of the Purple Kingdom from the Delcardes of The Cat and the Skull. In a crisis Howard even allows Delcartes to pounce “as quickly and silently as a tigress.”

Delcardes and Delcartes have something of the flapper about them, and that is only appropriate, for the Kull series is a product not just of Howard’s twenties but “the Twenties,” a decade that roared louder than all the tigers of Atlantis. The writing of these stories coincided with the exact moment, post-colonial but pre-imperial, in which American literature came into its own and became aware of itself, of the power of what had already been written and the promise of what soon would be. At the risk of a fanciful comparison, the Atlantean usurper in his palace is as much an expression of this cultural quickening or kindling as is Jay Gatsby in his mansion. Furthermore, to say that The Shadow Kingdom is the first American sword-and-sorcery story is to mean much more than simply the first such story authored by an American. American concerns populate and animate much of the series.

Conan will come down from the North, but Kull comes from the West, out of the sea, from a newer world, an island continent the mountains of which are upstart and out-thrust, “brutal and terrible with youth, even as Kull.” An outcast but also an outrider, the Atlantean’s behavior often resembles that of an adolescent among the aged–or an American among Europeans, as Howard pits “a straightforward man of the seas and the mountain” against “a race strangely and terribly wise with the mysticisms of antiquity.” The “palaces and the temples and the shrines” of the City of Wonders speak to the new king as the Forum, the Parthenon, the Latin Quarter, and Westminster Abbey have spoken of unmatchable antiquity and atmospherics to so many sensitive Americans. While Kull’s curriculum vitae, which includes stints as a pirate, an outlaw, a gladiator, and a mercenary, is not exactly that of an ingénue or innocent abroad, or even an Atlantean Yankee in what had been King Borna’s Court, it is worth noting that Mark Twain’s impatient, innovative Hank Morgan when first met seems “to move among the spectres and shadows and dust and mold of a gray antiquity.” The people of Camelot deem Morgan to be visiting “from a far land of barbarians.” So after a Great War that outdid even Twain in indicting hereditary monarchy, after America had recently crossed an ocean to intervene in a quarrel between at least six empires, how could the New World and the Old do anything but collide in the heroic fantasy of a young and alert American? The old world reels down the road to ruin and forgetfulness. That’s the lake-king of The Cat and the Skull, he who also deduces that “the rot of civilization has not yet entered [Kull’s] soul.” In the Atlantean’s Valusian experiences as in the mythology of so many transatlantic encounters, instinct confronts intrigue, energy, ennui, and pragmatism, precedent.

In 1930 Howard looked back at 1914 in his piece A Touch of Trivia, recalling that he had “firmly [thrown] in my lot with the Allies and thereafter remained loyal,” and stressing “We all felt then a friendship for France.” The City of Wonders is not necessarily the City of Lights, and the foreign soldiery, “men of Mu and of Kaa-u and of the hills of the east and the isles of the west,” saviors of Valusia who walk with “shoulders flung back” and inspect Kull “boldly and straightly” even as he inspects them, need not be seen as the American Expeditionary Force parading down the Champs d’Elysée. But with so many of even the verifiably human Valusians speaking with forked tongues, could there be a trace of what befell Woodrow Wilson at the Paris Peace Conference in Kull beset by courtiers and conspirators? Had he lived and somehow been exposed to The Shadow Kingdom, Wilson, one of the preachiest presidents, might have nodded feelingly at Brule’s description of “the statecraft of the Seven Empires” as “a mazy, monstrous thing” or recognized the European diplomacy that hoodwinked and hamstrung him in Howard’s “masquerade where men and women hid their real thoughts with a smooth mask.” Is it a fetch too far to speculate that Howard might have been doing what gifted fantasists have been known to do, alluding without allegorizing? If so, if, once upon a time, these stories were entwined with that same time, they have emphatically not been entombed along with their period of origin.

But all such thoughts are at best marginalia scrawled in invisible ink, ghosts even more spectral than the many others thronging this series. “Shadow” and “shade” are sometime synonyms for “ghost,” and the rampant ghostliness of The Shadow Kingdom is made explicit by the title of its alter ego in Howard’s semi-autobiographical novel Post Oaks and Sand Roughs: “The Phantom Empire.” Whether “Kingdom” or “Empire,” the tale can be approached as a ghost story in which a world of ghosts is disrupted, intruded upon, haunted, by the occasional living man. In a brilliant touch, the specter of the murdered monarch Eallal fails even to notice Kull and Brule, as if they are the ghosts: “The phantom came straight on, giving them no heed; Kull shrank back as it passed them, feeling an icy breath like a breeze from the arctic snow.” Visions invade Kull’s mind “like ghosts flying unbidden from the whispering void of nonexistence,” and the tablet in By This Axe I Rule! is another kind of ghost, albeit stone and ultimately shatterable, that of “the primal law makers” haunting and thwarting the lovers Ala and Seno val Dor.

To live is sooner or later to outlive oneself, to be a ghost. Kull the king has outlived the earlier self who harried the Pictish Isles and “laughed upon the green roaring tides of the Atlantean sea,” and in Kings of the Night he briefly outlives his entire era, prompting the Norseman Wulfhere’s question “Shall a ghost lead living men?” Once returned to his own time, Kull discloses that he has just “fought for the king of a strange shadow-people” and is left with even more divided loyalties when it comes to the real and the unreal: “All life and time and space seemed like a dream of ghosts to him, and he wondered thereat all the rest of his life.” A substantial amount of insubstantiality is characteristic of Howard’s fantasy–substantial, and substantiating; the gritty and the ghostly reinforce each other in his pages. Just as Kull’s confusion about his own identity and authenticity serve to shore up his identity and authenticity as one of the most unforgettable figures in heroic fantasy, his creator’s insistence upon unreality and impermanence helps to solidify the reality and permanence of his achievement as a storyteller.

Another instance of phantasmal imagery in The Mirrors of Tuzun Thune merits our attention: “I can summon up a demon more savage than any in ghostland–by smiting you in the face.” Howard was most likely inspired by one of the most famous of Shakespearean exchanges, from Act III of Henry IV, Part One, a play he knew well:

	Glendower:		I can call spirits from the vasty deep.
	Hotspur:		Why so can I, or so can any man; But will they come when you do call for them?

But it is a different play that haunts–if the reader will tolerate the overuse of that verb a final time–the Kull stories. Himself the scion of a family steeped in Shakespeare, the eminent fantasist Fritz Leiber was the first to point out that Kull is a Macbeth figure. The Scottish usurper is to Duncan as Kull is to Borna, and Macbeth’s insight once he has done murder to don majesty in Act III, Scene 1–“To be thus is nothing./But to be safely thus–” is even more valid for Kull, who has rather more than just the words of some weird sisters to worry about. Howard establishes a Macbethian mood for the series with the first two sentences of the Exile story, in which the sun sets and “a last crimson glory” appears atop the snowy peaks “like a crown of blood.” Where life for Macbeth is “but a walking shadow; a poor player/That struts and frets his hour upon the stage,/And then is heard no more,” Kull perceives Valusia as “a kingdom of the shadows, ruled by phantoms who glided back and forth behind the painted curtains, mocking the futile king who sat upon the throne–himself a shadow.” Another presence in the stories is a fellow American as well as a fellow poet: Poe contributes epigraphs for The Mirrors of Tuzun Thune and Kings of the Night, and the passivity of his Silence: A Fable may have provoked the hyperkineticism of The Screaming Skull of Silence. Howard was a superb writer in part because he was a superb reader; he stole from the best and then transcended the thefts by transmuting the swag.

Kull’s first words in his first Weird Tales appearance are “The army is like a sword, and must not be allowed to rust,” but Valusia’s military might risk doing so in the ensuing stories, with the exception of the Picts and Red Slayers who accompany the king beyond the sunrise. We hear that Kull’s reign got off to a martial start as he broke the back of a Triple Federation and smashed the marauding Grondarians, but we don’t get to watch. When he declares “My right hand is stronger to defend than all Grondar is to assail!” the Grondarians display an ability to learn from experience but disappoint us by backing down. It is essential that writers of epic and/or heroic fantasy develop some of the skills of war correspondents and military historians, and fortunately Howard’s breakthrough would come with the last story in this volume, Kings of the Night, which finally turns Kull loose on a battlefield, albeit in a fight and an age not his own. In a March 1930 letter to Tevis Clyde Smith, the Texan confided “[Kings] was rather a new line for me, as I described a pitched battle. However, I think I handled it fairly well.” He was still pleased in September of 1930: “Some ways this story is the best I ever wrote. Nothing very weird about it, but good battle-stuff, if I do say so myself.” So Kings is noteworthy not only for its summit conference between Kull and Bran Mak Morn, but because it gives Howard a bigger budget and thousands of extras to maneuver on the page, thereby making possible the epic Crusader and Conan-commanded clashes yet to be written.

The hope here has been that newcomers to Kull or Howard will entertain the possibility that, like one of Tuzun Thune’s mirrors, heroic fantasy can contain much more than just “hard shallowness”–at times, “gigantic depths loom up,” as with the serpent-men, who have never been bettered, despite all the alien and android fifth columns that followed, as a worst fear made cold flesh. (Like our own reptilian underbrains, they have been here all along.) But readers can entertain this, that, or the other thing at a later date. Now it is high time that they themselves were entertained, enthralled, even enchanted, and this book, in which the young Robert E. Howard finds his way to, and through, an old, old world, is equal to the task. Despite conspiracies serpentine or byzantine, despite all the ghosts and shadows of Kulls past and Cataclysms to come, the pages that follow prove that it remains passing brave, and surpassingly splendid, to be a king, and ride in triumph through the City of Wonders.

Steve Tompkins
2006