P. Lovecraft (1890–1937) published by Arkham House posthumously in 1943 in the collection Beyond the Wall of Sleep. Begun probably in the autumn of 1926, it was completed on January 22, 1927 and was unpublished in his lifetime. It is both the longest of the stories that make up his Dream Cycle and the longest Lovecraft work to feature protagonist Randolph Carter. Along with his 1927 novel The Case of Charles Dexter Ward, it can be considered one of the significant achievements of that period of Lovecraft's writing. The Dream-Quest combines elements of horror and fantasy into an epic tale that illustrates the scope and wonder of humankind's ability to dream.The dream-quest of unknown Kadath --Celephais --The silver key --Through the gates of the silver key --The white ship --The strange high house in the mist

    It was originally published in the July, 1943issue of Weird Tales . It was first collected in Bradbury'santhology Dark Carnival and later collected in TheOctober Country and The Stories of Ray Bradbury .

    They are empty and black, but will not remain so. They are great portholes opening onto a world not yet born. Worlds that are born, like those that die, are full of dread."Trapped within its own circular prison of the Occupation and severed from contact with Paris and other countries, Belgian publishing turned inward, and forgotten authors such as Jean Ray were given new leases on literary life. Embracing the influence of American pulp fiction, Ray’s short stories found a new audience in those dark years of World War II, and what would come to be known as the Belgian School of the Strange gave voice to a realm of fear and unease that blended fantasy with a Catholic heritage and a prosaic, distinctly bourgeois everyday.Circles of Dread, Ray’s fourth short-story collection, was first published in 1943, the same year that saw the first appearance of his best-known work, the novel Malpertuis. This collection’s portholes onto sinister fantasy include such stories as 'The Marlyweck Cemetery', 'The Inn of the Specters', and 'The Story of the Wûkh'. Ray takes the reader from the quiet streets of Ghent to the scrambled streets of London to the Flinders river in Australia, with tales spun from such materials as the iron hand of Götz von Berlichingen, the black mirror of John Dee, a Moustiers ceramic plate, and the shifting, extra-dimensional menace of a predatory cemetery. All to illustrate, in the language of pulp fiction, that what constitutes dread is what lies outside our metaphysical prisons, some of which we may escape only at our own peril.Jean Ray (1887–1964) is the best known of the multiple pseudonyms of Raymundus Joannes Maria de Kremer. Alternately referred to as the “Belgian Poe” and the “Flemish Jack London,” Ray delivered tales and novels of horror under the stylistic influence of his most cherished authors, Charles Dickens and Geoffrey Chaucer. A pivotal figure in the “Belgian School of the Strange,” Ray authored some 6,500 texts in his lifetime, not including his own biography, which remains shrouded in legend and fiction, much of it his own making. His alleged lives as an alcohol smuggler on Rum Row in the prohibition era, an executioner in Venice, a Chicago gangster, and hunter in remote jungles in fact covered over a more prosaic, albeit ruinous, existence as a manager of a literary magazine that led to a prison sentence, during which he wrote some of his most memorable tales of fantastical fear.

    These are familiar ingredients for a Gothic novel, but something far more strange and disconcerting is taking place within the walls of Malpertuis as the relatives gather for the impending death of Uncle Cassave. The techniques of H. P. Lovecraft, when transplanted into the suffocating Catholic context of a Belgium scarred by the inquisition, produce in Jean Ray's masterpiece a story of monumental intensity from which events of startling ferocity break the surface - without ever lessening the suspense of the tale's approaching apocalyptic denouement.