Fantasy booklets have appeared at lesser intervals. _Amazing Stories_ put out Landell Bartlet's "Vanguard of Venus" in 1928. Gernsback has put out 18 science fiction booklets, of which only the last six are now in print. He likewise issued a reprint of Garret Smith's "Between Worlds". Mimeographed booklets were put out by Carl Swanson (Edmond Hamilton's "The Metal Giants", a reprint) and by the Fantasy Fiction Publications ("Guests of the Earth" by Hugh Langley). The Arra Printers have put out A. Merritt's "Thru the Dragon Glass," "The Cavemen of Venus," "The Price of Peace," and Dr. Keller's "Wolf Hollow Bubbles." This article wouldn't be complete without mention of the hard-covered fantasies. It's a hopeless task to try and muster even a tenth of all the fantasy books. The best way to go about it, however, is to "haunt" the second-hand book stores and scrutinize any book whose title sounds promising or inviting. There's one tantalizing feature connected with the collection of fantastic fiction: your collection will Never be complete! But this misfortune has one commendable merit. The collector's interest in Fantasy fiction will never wane. The End SUPERNATURAL HORROR IN LITERATURE Part Four by H. P. Lovecraft (copyright 1927, by W. Paul Cook) II The Dawn of the Horror Tale As may naturally be expected of a form so closely connected with primal emotion, the horror tale is as old as human thought and speech themselves. Cosmic terror appears as an ingredient of the earliest folklore of all races, and is crystalized in the most archaic ballads, chronicles, and sacred writings. It was, indeed, a prominent feature of the elaborate ceremonial magic, with its rituals for the evocation of demons and spectres which flourished from prehistoric times, and which reached its highest development in Egypt and the Semetic nations. Fragments like the Book of Enoch and the Claviculae of Solomon well illustrate the power of the weird over the ancient Eastern mind, and upon such things were based enduring systems and traditions, whose echoes extend obscurely even to the present time. Touches of this transcendental fear are seen in classic literature and there is evidence of its still greater emphasis in a balled literature which paralleled the classic stream, but vanished for lack of a written medium. The Middle Ages, steeped in fanciful darkness, gave it an enormous impulse toward expression; and East and West alike were busy preserving and amplifying the dark heritage, both of random folklore and of academically formulated magic and cabalism, which had descended to them. Witch, werewolf, vampire, and ghoul brooded ominously on the lips of bard and grandam, and needed but little encouragement to take the final step across the boundary that divides the chanted tale or song from the formal literary composition. In the Orient, the weird tale tended to assume a gorgeous colouring and sprightliness which almost transmuted it into sheer phantasy.