A
number of horror stories written in the early 20th century begin
with a purchase made in a curiosity shop, typically from an aged representative
of some ethnic minority. Not too many of
these shops are in business these days, and those that are no longer carry such
eldritch merchandise as cursed amulets, strangely glowing orbs, obscure figurines
or occult how-to manuals.
Clark
Ashton Smith’s Ubbo-Sathla (1933)
begins in this fashion, and is easily recognized as a Cthulhu Mythos story. All of the trappings are present: a
prehistoric pantheon of elder gods, an ancient occult textbook, and a crystal
talisman that serves as a gateway to the primordial past. Smith references the Necronomicon, the mad Arab, Abdul Alhazred, and such familiar
Lovecraftian entities as “Yok-Zothoth” and “Kthulhut”.
Smith’s
contribution is the pre-prehistoric
deity of Ubbo-Sathla, the “unbegotten source” that “lay vast and swollen and
yeasty amid the vaporing slime” of a newly formed Earth. It is possible to learn something of
Ubbo-Sathla from the Book of Eibon,
which also contains reference to an ancient wizard named Zon Mezzamalech. Zon Mezzamalech possessed a “cloudy crystal”
that allowed him to experience visions of the world’s distant past. The wizard flourished in ancient Mhu Thulan,
a forgotten civilization that occupied what is now Greenland, when the subcontinent
enjoyed a much warmer and more congenial climate. He also vanished mysteriously, as wizards
often do.
Paul
Tregardis, a writer and amateur occultist, purchases an unusual milky crystal
in a curio shop. The stone appears to
glow intermittently from within. The
shopkeeper tells him that the crystal is probably palaeogean, and was
originally found underneath a glacier in Greenland, in the Miocene strata. “It may have belonged to some sorcerer of
primeval Thule”, he says. It is always
helpful to talk to a knowledgeable store clerk.
Almost
immediately, Tregardis is entranced by the stone, and driven to spend time
contemplating its odd visual properties every day. Intense visions follow, as well as the progressive
dissolution of his personality and its replacement with another—that of the ancient
wizard Zon Mezzamalech. The wizard is on
a quest to obtain knowledge about Earth’s pre-human gods. When the psychic possession of Trigardis is
complete, he takes a final leap into the temporal void and is taken back
through aeons to reach Ubbo-Sathla. What
follows is the hallucinatory devolution of Tregardis/Mezzamalech into one of
Earth’s most primitive life forms—he rejoins the primordial chaos at the very
beginning of life on the planet.
Ubbo-Sathla features Clark Ashton Smith’s
typically vivid description, circular plot, and wildly imaginative stream of
consciousness writing. As in several of
his stories, there is reference to hashish, a substance which may have
contributed to a style that was unique in its time. In some respects, Smith’s fiction has a
trippy, proto-hippy feel that anticipates some of the avant-garde writing of the
1960s.
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