Kull: Exile of Atlantis (50 page)

Swords of the Purple Kingdom

Text taken from Howard’s draft, provided by Glenn Lord. The draft runs twenty-seven pages (against thirty-one for the–lost–definitive version), with several penciled-in annotations and corrections in Howard’s hand. Howard didn’t always cross out or erase the words or phrases to be replaced; these are mentioned only in case of doubt. Some questionable readings were checked against a transcript prepared by Lord. 183.13.2: no comma after “companion”; 183.13.6: powerfully; 183.19.10: no period after “Atlantean”; 183.29.10: no comma after “foreigners”; 183.31.10: looks; 183.32.5: no quotation mark after “race”; 183.35.4: familes; 184.4.12: no comma after “armies”; 184.13.10: ruthlesness; 184.16.9: “Well” capitalized; 184.25.10: in; 184.33.7: comma instead of period after “Brule”; 184.33.13: opening quote before “To”; 184.40.2: lovliness; 185.1.10: brood; 185.4.12: sword hardened (no hyphen); 185.14.14: comma instead of period after “toy”; 185.17.9: comma instead of period after “patience”; 185.22.4: “and” capitalized; 186.4.1: embarrassment; 187.3.3: Formallity; 187.4.4: no comma after “Brule”; 187.5.1: formallity; 187.9.4: the; 187.27.5: formallity; 187.28.12: he; 187.35.8: comma instead of period after “action”; 188.6.7: Borna’s; 188.7.1: over threw; 188.13.4: comma instead of period after “Kull”; 188.33.4: sparce; 189.3.3: comma after “Dondal”; 189.7.10: comma instead of period after “Tu”; 189.24.5: no comma after “long”; 189.24.6: no comma after “slim”; 189.25.11: comma after “rose”; 189.29.6: Acursed; 189.33.13: ecstacy; 189.34.7: rendevous; 190.22.1: comparitively; 190.29.5: sparce; 190.39.8: parrallel; 191.2.7: flag stones; 191.3.4: its; 191.4.5: comma instead of period after “Farsunian”; 191.11.6: comma instead of period after “Pict”; 191.11.7: Cant; 191.13.6: accidently; 191.16.1: terachery; 191.20.6: cut throat; 191.20.8: comma instead of period after “Dalgar”; 191.22.2: period instead of question mark after “beggar”; 191.32.3: conciousness; 191.37.2: dont; 191.37.8: comma instead of period after “dazed”; 192.27.5: Slayer; 192.36.5: comma instead of period after “Kananu”; 192.40.10: “to him” after “king” (193.1.4) in original; 193.7.2: no comma after “mates”; 193.8.1: reminisces; 193.13.5: procedings; 193.20.1: comma after “least”; 193.26.8: semicolon instead of comma after “palace”; 194.1.7: comma instead of period after “king”; 194.14.3: honey combed; 194.22.6: em-dash after “but”; 194.30.4: comma instead of period after “said”; 194.38.3: proceded; 195.2.8: comma instead of period after “king”; 195.9.3: back; 195.23.1: alllowed; 195.27.3: “the” capitalized; 195.30.10: dissappearance; 196.2.9: minature; 196.3.9: over ran; 197.1.5: comma instead of period after “Verulian”; 197.2.2: havent; 197.3.1: no period after “tongue”; 197.5.10: comma instead of period after “companion”; 197.6.2: wont; 197.10.12: comma after “Dalgar”; 197.17.1: Hadnt; 197.17.6: quiered; 197.19.4: cant; 197.20.1: cant; 197.34.6: comma after “relief”; 197.35.10: her; 198.6.3: comma instead of period after “giant”; 198.22.4: en-dash after, instead of before, the quote; 198.23.1: comma instead of en-dash after “cloth”; 198.23.2: “and” capitalized; 198.29.1: comma instead of period after “swiftly”; 198.30.4: he; 198.30.9: reward; 198.31.7: a; 198.34.2: comma instead of period after blazing; 198.35.13: “how” capitalized; 198.37.10: comma instead of period after “breathlessly”; 199.7.12: comma instead of period after “obeyed”; 199.9.12: comma instead of period after “voice”; 199.11.1: “the” capitalized; 199.12.5: comma instead of period after “Verulian”; 199.14.2: it; 199.14.11: cloesly; 199.23.8: comma instead of period after “Gonda”; 199.34.2: no comma after “Kull”; 199.35.1: rion; 200.1.9: effected; 200.7.10: litteraly; 200.14.2: tiger like; 200.15.11: alos; 200.20.4: colon instead of period after “girl”; 200.21.1: like wise; 200.22.8: reasuringly; 200.30.6: soldier; 200.40.10: black smith; 201.1.5: seem; 201.4.1: hair; 201.15.1: no quotation marks before and after “Well”; 201.15.4: no quotation mark before “here”; 201.15.12: no quotation mark after “too”; 201.17.1: leader ship; 201.17.6: no period after “Valusian”; 201.18.14: unconcious; 201.30.14: hin; 202.4.1: hammer like; 202.9.2: Verulian; 202.11.5: comma instead of period after “one”; 202.13.10: comma instead of period after “shriek”; 202.13.11: Dont; 202.22.6: “must” repeated after “necessarily”; 205.14.3: mw; 205.22.7: grat; 206.2.13: foot steps; 206.5.10: asounted; 206.6.11: no comma after “naked”; 207.1.11: helment; 207.1.11: comma after “helmet”; 207.3.8: comma after “man”; 207.3.13: comma after “same”; 207.15.2: no comma after “cruel”; 207.15.4: imbeded; 208.30.5: comma instead of period after “Kull”; 208.33.3: comma instead of period after “ejaculated”; 208.33.7: comma after “Tu”; 208.40.13: comma instead of period after “moodily”; 209.14.1: comma instead of period after “blood”; 209.20.9: resplendant; 209.33.13: comma instead of period after “him”; 209.36.5: comma instead of period after “head”; 210.4.2: comma instead of period after “arm”; 210.7.2: “have” not in original; 210.16.10: another.

The King and the Oak

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

Kings of the Night

Text taken from Weird Tales, November 1930. 217.1.2: Cæsar; 217.37.12: Cæsar; 221.18.3: Cæsar; 221.22.5: Cæsar; 222.10.13: Cæsar; 222.36.5: stedfast; 227.18.13: “will-power” hyphenated at line break; 239.38.9–10: way possible; 241.10.3: “side-long” hyphenated at line break; 244.8.1: comma after “guard.”

Summer Morn

Howard’s original is no longer extant. It was, however, among the poems microfilmed by Robert Barlow. Text taken from Glenn Lord’s transcription of the microfilm.

Am-ra the Ta-an

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

The Tale of Am-ra

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

Untitled and Unfinished Fragment

Howard’s original was not located in time for this edition. Text taken from Glenn Lord’s typed copy of Howard’s original.

Untitled and Incomplete Fragment

Text taken from Howard’s typescript, provided by Glenn Lord. Only pages 10 and 11 of this fragment have come to us. No changes have been made for this edition.

The Shadow Kingdom (Draft)

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

Delcardes’ Cat

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

The King and the Oak (Draft)

Text taken from Howard’s typescript, provided by Glenn Lord. No changes have been made for this edition.

This wouldn’t have been posssible except for the support of my family. Julie, Levi, Ethan and Ellie, thanks for putting up with the long hours and struggle that went into making this. My parents, Mike and Robyn, and mother-in-law “Mrs. P” for helping out whenever I needed it. My grandfather for the place to work and the companionship. JD and Vance, entertaining me as always. Marcelo, I’m just lucky I wasn’t close by or I’m sure you’d have my head. Thanks for the chance to do this.

Justin Sweet

I would like to thank the usual suspects, Marcelo, Stuart, Rusty, Steve and Jim for their outstanding efforts; this one didn’t come easy. Special thanks to Glenn Lord for his continued support and to Jack and Barbara Baum for their support and dedication. Also to Joe Marek for his help and suggestions. And all my love to Sheila who had to patiently endure my extended forays into Valusian territories as it slowly dawned on me that Time and Space aren’t as relative in this world as they are in Valusia….

Patrice Louinet

Many thanks to Marcelo, for sharing with me the vision of the REH Library of Classics and allowing me aboard; to Jack and Barbara Baum, for sharing and promoting that vision and for many kindnesses to me and Shelly; to the entire Wandering Star gang but in particular this time to Stuart and Patrice (as well as Marcelo) for all their hard work under a tight deadline; to Steve Tompkins for his enthusiasm and a fine introductory essay; to Glenn Lord, Robert E. Howard’s greatest champion; and of course to Shelly, mi corazon, for her love, encouragement, and support.
Ka nama kaa lajerama!

Rusty Burke

Thanks once again to Marcelo, Patrice and Rusty for making things easier with each passing book. Thanks also to Mandy and Emma for being patient with me, Fishburn Hedges for allowing me to use their design studio after hours and at weekends again for the last time–I’m buying a laptop for the next one–and, finally, to Chris Crump, Howard fan and illustrator of
The Secret Valley,
with whom I’ve exchanged Howard books and fanzines for many years.
All the best with the sequel, Chris!

Stuart Williams

I’d like to thank everyone who has been involved and helped with this Robert E. Howard library of classics especially Stuart, Patrice and Rusty, without whom it may not have happened. And to Graziana, for your patience, love, and support. Thank you.

Marcelo Anciano

THE FULLY ILLUSTRATED ROBERT E. HOWARD LIBRARY
from Del Rey Books

The Coming of Conan the Cimmerian

The Savage Tales of Solomon Kane

The Bloody Crown of Conan

Bran Mak Morn: The Last King

The Conquering Sword of Conan

Kull: Exile of Atlantis

P
RAISE FOR
R
OBERT
E. H
OWARD

“I adore these books. Howard had a gritty, vibrant style—broadsword writing that cut its way to the heart, with heroes who are truly larger than life. I heartily recommend them to anyone who loves fantasy.”

—DAVID GEMMELL,
author of
Legend
and
White Wolf

“The voice of Robert E. Howard still resonates after decades with readers—equal parts ringing steel, thunderous horse hooves, and spattered blood. Far from being a stereotype, his creation of Conan is the high heroic adventurer. His raw muscle and sinews, boiling temper, and lusty laughs are the gauge by which all modern heroes must be measured.”

—ERIC NYLUND,
author of
Halo: The Fall of Reach
and
Signal to Noise

“That teller of marvelous tales, Robert Howard, did indeed create a giant [Conan] in whose shadow other ‘hero tales’ must stand.”

—JOHN JAKES,
New York Times
bestselling author of the North and South trilogy

“For stark, living fear…what other writer is even in the running with Robert E. Howard?”

—H. P. LOVECRAFT

“Howard…painted in the broadest strokes imaginable. A mass of glimmering black for the menace, an ice-blue cascade for the hero, between them a swath of crimson for battle, passion, blood.”

—FRITZ LIEBER

“Forget Schwarzenegger and the movies. This is pure pulp fiction from the 1930s, before political corrections and focus groups dictated the direction of our art. Swords spin, entrails spill, and women swoon.”

—Men’s Health

“Howard wrote pulp adventure stories of every kind, for every market he could find, but his real love was for supernatural adventure and he brought a brash, tough element to the epic fantasy which did as much to change the course of the American school away from precious writing and static imagery as Hammett, Chandler, and the
Black Mask
pulp writers were to change the course of American detective fiction.”

—MICHAEL MOORCOCK,
award-winning author of the Elric saga

“In this, I think, the art of Robert E. Howard was hard to surpass: vigor, speed, vividness. And always there is that furious, galloping narrative pace.”

—POUL ANDERSON

“Howard honestly believed the basic truth of the stories he was telling. It’s as if he’d said, ‘This is how life really was lived in those former savage times!’”

—DAVID DRAKE,
author of
Grimmer Than Hell
and
Dogs of War