By Bud Webster

A Kuttner Above the Rest (But Wait, There's Moore!)

I set out this time around to complain about how doing this was both a pleasure and a pain for me; the former because I enjoy doing it and the latter because I shouldn't have to. I was pretty clever about it, too. However, it all seemed a bit too familiar, so I went back to last issue's installment and realized that I'd already said all that in the first few paragraphs.

Oh, bother. Much as I might have wanted to reiterate my earlier thoughts (not to mention that cleverness again), I figure if I do that you'll all do what people at conventions do when I get to yakking about The Good Old Days: smile desperately, make encouraging noises, look at your watches and start edging out of the room.

So I'll simply point you back to the first page or so of "Cyril with an M" from last ish and we'll take it as written (again), shall we? Thank you.

This time around, I want to talk about a pair of writers, collaborators on the most basic level. So basic, in fact, that it's impossible to see where one ends and the other picks up, two writers who honestly and inarguably write as One. They had a profound impact on the field Back in the Day, not only on their readers but on other writers as well. They didn't always sign both their names to a particular story or novel, but nevertheless they insisted until the last that it was the way they'd always worked.

Over the years, there have only been a bare handful of husband-and-wife writing partners: Leigh Brackett and Edmond Hamilton for example, and I suspect that Knight and Wilhelm, or perhaps the original del Reys, at least tossed around story ideas and bounced ideas off each other. Closer to home (literally), although Mary and I aren't married, she is my harshest critic and vets every single thing I write, and I am a far better writer for it.

In the case of our subjects, though, it was well and truly collaboration, not just critiquing sessions around the dinner table.

Henry Kuttner (1914-58) started out as one of H. P. Lovecraft's fans and correspondents, selling first a poem ("Ballad of the Gods") to Weird Tales at the age of 22, and following it up the next month with his first story, "The Graveyard Rats." He didn't stay there long, though, finding eeriness and unnamable horrors less to his liking than drunken inventors, mutant hillbillies and other, less arcane and eldritch personalities.

Catherine L. Moore (1911-1987) was three years older than her Other Half, and beat him into print accordingly, with her signature tale of sf horror, "Shambleau," appearing in the November 1933 Weird Tales. This justly famous and still well-regarded yarn of interplanetary adventure features her most enduring character, Northwest Smith, and was the first in a series eventually published as Shambleau and Others (Gnome Press 1953) and Northwest of Earth (Gnome Press 1954); in her afterword to her final collection, The Best of C. L. Moore (ed. Lester del Rey, del Rey 1975), she dispelled a myth about its initial appearance:

This story was not rejected by every magazine in the field before it crept humbly to the doorstep of Weird Tales. My own perfectly clear memory tells me that I sent it first to WT because that was the only magazine of the type I knew well, and that an answering acceptance and a check for the (then) fabulous amount of $100 arrived almost by return mail.

The story was an immediate sensation, and not just with the readership. In a letter to editor Farnsworth Wright, some guy named Lovecraft said:

"Shambleau" is great stuff. It begins magnificently, on just the right note of terror, and with black intimations of the unknown. The subtle evil of the Entity, as suggested by the unexplained horror of the people is extremely powerful—and the description of the Thing itself when unmasked is no letdown.

And who should know better about black intimations and subtle evil than the Gentleman from Providence, am I right? His one complaint was "the conventional interplanetary setting;" frankly, given his somewhat Puritanical perspective, I'd have thought he would have objected to the title character's overt sexuality, but perhaps he'd become inured by all those Margaret Brundage covers. [i]

Both Gnome collections also included stories featuring Jirel of Joiry, one of the few successful female sword'n'sorcery characters in the field aside from Howard's Red Sonja. Interestingly enough, Moore saw a clear similarity between the Shambleau and Jirel, remarking on:

. . . [T]he close relationship the two women bear to one another. They set the keynote for a lot of my own (incessant) writing until I met and married Henry Kuttner. I realize now [in 1975] that, unconsciously, no doubt, both were versions of the self I'd like to have been.

Hey, nice work if you can get it, right? Even today, some 75 years later, those two debut tales are effective, readable, and memorable. How many other pulp yarns can you say that about? I'm amazed that the Moore story has never been filmed, especially in these days of readily-available CGI software. It would have been a natural for, say, the recent "Masters of Science Fiction" series, and would have been equally at home in either incarnation of The Twilight Zone.

The two writers met in 1938 and married in 1940; the only guests at their civil wedding were Kuttner's mother and artist Virgil Finlay and his wife. According to Sam Moskowitz in his essay on Kuttner in Seekers of Tomorrow (World 1967):

Virgil paid the Justice of the Peace $10, bought the bride a dubonnet and soda, and the career of the most famous writing team in science-fiction was launched.

From then on, the pair collaborated on practically everything they published, even if only to say, "Nah, it's not your best work. Let's try it this way."

The same year they were married, something in the way of a Major Conflict was taking place in many places around the globe, and this led to a reader's catastrophe: a lot of John W. Campbell's regular writers headed into the fray. Kuttner and Moore, under their own names as well as a bunch of pseudonyms, tried their best to fill the gap, selling almost five dozen stories to Astounding during that period, some under their own names, but most under the pseudonym of Lewis Padgett.

Padgett was responsible for what is probably their best-known character series, the five "Galloway Gallagher" stories, later collected as Robots Have No Tails (Gnome Press 1952). The stories concern an eccentric inventor, a vino savant if you will, who is unable to work unless he's blind drunk; this frees up his subconscious, and the crazed Goldbergian devices begin piling up while he sings duets with himself. The stories are almost perfect Campbellian sf, lacking only stupid aliens to fill out the requirements. They date a little today, and some will find the humor rather heavy-handed, but they're still fun and worth reading. (I should note here that later in her life, Moore blamed these yarns solely on Kuttner; make of that what you will, I certainly have no trouble believing it.)

The same penname was used for another successful series for Campbell's Astounding, the five Baldy stories, collected as Mutant (Gnome Press 1953) [ii]. In these stories, our Interwoven Pair explored the idea of sympathetic mutants undergoing persecution by normals, much as van Vogt did in his Jommy Cross novel, Slan (Arkham House 1951); the Kuttner/Moore stories are quite a bit more contemplative, however, far from the usual run of such things in both the literature and films.

Not content with taking mutants seriously, they threw caution to the winds and wrote the popular Hogben stories for Thrilling Wonder. Many writers have worked with the concept of mutated humans and their struggles to be accepted by normal humans (or their struggles to totally and utterly subjugate said normal humans), but only these two could—or would—cast them as hillbillies. And make it work.

There were other series as well, both by Kuttner alone and in collaboration with others, most notably Arthur K. Barnes; not all of these were sf/fantasy, as befit writers who were trying hard to make a living by writing whatever there was a market for. On in particular fascinates me, considering the time in which it was written: the Hollywood on the Moon stories, eight of them, written for Thrilling Wonder between 1939 and '41. To my knowledge, these stories have never been reprinted together under cover; perhaps that will change before mid-century.

I could go on about the stories—and I will, given any opportunity, don't you doubt it for a minute—but my time here is better spent talking about the authors. The bibliography at the end will give you the chance to decide for yourself about the individual yarns they spun (assuming you take the time and effort to track them down, as precious little remains in print), and I hope you'll take advantage of it.

There have been, as I said, any number of collaborators in the field down through the years; Ray Bradbury's first story, for example, was a collab with fellow faan Henry Hasse, and Baen Books has created a collaborative cottage industry by teaming their established writers with younger ones. Any number of writers have cooperated to produce successful novels, both stand-alone and series (with, in many cases, a varying degree of activity from the more senior colleague), but not every literary partnership is Niven and Pournelle, not by a long chalk.

In the case of Kuttner and Moore, though, we have something unique, something splendid, something that transcends the mere trading back-and-forth of pages. Like a Transformer, K&M became greater than the sum of their particular parts when they joined forces, complete with chest-cannons and arm-lasers. No less a critic than Damon Knight commented that when they began writing together:

. . . two seemingly discordant talents merged. Kuttner's previous stories had been superficial and clever, well constructed but without much content or conviction; Moore had written moody fantasies, meaningful but a little thin . . . working together, they began to turn out stories in which the practical solidity of Kuttner's plots seemed to provide a vessel for Moore's poetic imagination.

Nor is he alone in this assessment. Fellow author and critic Barry Malzberg says:

Their styles meshed totally . . . they were the greatest collaborative writers in the history of collaboration. Like Gilbert & Sullivan, Frazier & Ali, the 1978 Red Sox and Yankees they brought out the best in one another.

Taken individually, Kuttner was by far the more versatile of the pair. Nothing odd about that, of course, as most of the hard-core pulpsters wrote whatever they could get paid to: it's hard to imagine Murray Leinster writing westerns, but he did, just as Judith Merril wrote sports yarns. Neither of these remarkable writers placed work under as long a list of pseudonyms as Kuttner, though, which led to such faanish nonsense as the belief—still encountered today in the writings of past sf "historians" less inclined to, y'know, actually do research—that Jack Vance (Jack Vance!) was a Kuttner penname.

There was more to Kuttner than mere prolificacy, however. Along with Kornbluth, Bester, and a bare handful of others at that time in stfnal history, Henry Kuttner was capable of transcending the limitations of pulpery and creating something akin to art. There is a refinement to his prose, an elegance, that although missing in such toss-offs as the Gallagher stories, is present in practically all of his later work. Compare, if you will, "Graveyard Rats" to "Two-Handed Engine," and you'll see what I mean. The former is pure pulp fiction, a direct schmooze from Lovecraft (and intended to be nothing more than that, to be fair); the latter, a carefully constructed and beautifully written story by a master craftsman concerned with getting every word exactly right.

Moore, on the other hand, stayed mainly on the plain—by which I mean she stuck with what she did well; dark, moody adventure, rather the direct antithesis of Leigh Brackett's swashbuckling yarns. Moore's characters buckled few swashes, but held their own anyway, dragging themselves (or being dragged by more sober companions) grimly and broodingly away from Medusoid vampires and other CASmithian menaces.

This is not to say that she was any less a writer than her husband. Moore's solo work might not have had Kuttner's brilliance and immediate impact, but the panache with which she wove her stories leaves them sitting in the back of your mind, ready to ooze back into your forebrain yet again, immaculate and unforgettable.

Something happened, though, in the mid-50s: their output dropped to almost nothing. "Two-Handed Engine" appeared in the August 1955 F&SF, nine months later "Rite of Passage" ran in the same magazine, and Moore had a solo performance with "Song in a Minor Key" in Fantastic Universe for January of '57, but that was pretty much it.

This may not seem like much of a much, but bear in mind how productive they'd been in earlier years. Understand also that Henry Kuttner was a major influence on many other writers, not the least of whom was (wait for it)—Ray Bradbury. In fact, Malzberg makes the case (and makes it well) that Bradbury, who was a member of the LA chapter of the Science Fiction League (which later mutated into the LA SF Society, or LASFS, still going strong today) with Kuttner, aimed high and actually failed into his remarkable career:

What he wanted desperately in the early l940's was to sell to Campbell, become an ASF and UNKNOWN mainstay, etc. He didn't make it. . . . If Bradbury had succeeded in his [goal], if he had had what he wanted . . . he would have been Henry Kuttner.

I've addressed this before, in another time and place, and as then I will point to Bradbury's introduction to The Best of Henry Kuttner (Ballantine 1975), as evidence that Malzberg is correct in his assertion, presumptuous as it may seem to some at this point in time when Bradbury has been canonized by practically everybody and Kuttner forgotten by all. Bradbury himself says in that intro:

It would be hard to guess the impact of these two stories ["The Twonky" and "Mimsy Were the Borogoves"] on other writers in the genre. But in all probability hundreds of imitations were written by struggling as well as by published authors. I count myself among them.

So what happened? Well, as has been the case with any number of other pulpsters who were unwilling to limit themselves to cheap paper and garish covers, Kuttner wanted more than the recognition of sf fandom, no matter how vociferous and adoring it might have been. When he couldn't get it, he simply dropped writing as a career and went back to school to obtain an advanced degree, which should surprise nobody familiar with his stories. Again, Malzberg:

Kuttner's career was, I think, over . . . he was in the process of getting an MA in psychology at USC, he wanted to become (unsurprisingly) a shrink. His production had . . . shrunk to virtually nil, he had contracts with Harper's for mysteries but got someone else to write them. . . . He had done his work.

And what of C. L. Moore? Why did she stop? Here, Malzberg admits to speculation, albeit based on his own knowledge and experience:

She was also in school and her production was nil but I always suspected that this was more in deference to Henry and joint plans than to the issue of being burnt out. As we know, her second husband, a physician, loathed sf and its denizens and wanted her to have nothing to do with it or writing.

(This last fact also prevented Moore from being honored by SFWA as their Grand Master before she died; how anyone could have objected to this is, frankly, beyond me. An honor is an honor, and even if one believes the source of said honor to be beneath them, simple civility and politeness would seem to demand that it be acknowledged. She did, however, serve as Guest of Honor at the 1981 WorldCon in Denver, so she hadn't been completely muted. But I digress.)

Henry Kuttner died in his sleep on the 3rd of February, 1958, most likely of a stroke. He never achieved his goal of becoming a clinical psychologist, and if he was disappointed in his body of work, few others were. He left behind an indelible mark, and even if he has been mostly forgotten now by readers [iii], he continues to influence writers who aspire to his elegance and grace of style. Moskowitz said:

Who was the real Henry Kuttner? We will never know. The man had discipline, technical brilliance, immense versatility, and ingenuity, and these betrayed him. Lured by opportunism, suffering from an acute sense of inadequacy, he refused to stand alone, but leaned on others for support: H. P. Lovecraft, Robert E. Howard, Stanley G. Weinbaum . . . and, of course, C. L. Moore.

Catherine Lucille Moore survived her first husband by almost three decades, although she wrote nothing besides the afterword to The Best of C. L. Moore (Ballantine 1975) in that time. She, too, left her signature on the stfnal broadside, and her stories and novels read as well today as they did when the ink was still damp.

Together and separately, they climbed from the slimes and ooze of Weird Tales to the heights of fantastic literature. There has never been their equal, and no one will come to make them obsolete.

(I would like to thank William Contento for supplying me with his invaluable database, the Science Fiction, Fantasy, & Weird Fiction Magazine Index: 1890-2007, compiled by him and Stephen T. Miller. This remarkable index belongs in the reference library of anyone seriously interested in the history of fantastic literature.)

[i] Look her up at Wikipedia if you don't know the name. She was a revolutionary artist.

[ii] If you're not familiar with Gnome Press, there are plenty of online resources to educate you. Let me just say that Gnome, along with Fantasy Press, Arkham House and a few others, had an enormous effect on sf and fantasy, putting otherwise ephemeral magazine stories into permanent hardcover format long before the major houses even gave it a thought. Believe me, that's important.

[iii] Due, at least in part, to the reluctance of his agent to allow reprints for anything less than Hollywood money; if you think this is a joke, ask any of the dozen or more anthologists who have been frustrated by the agency's unwillingness to accept what everybody else's stories are going for and who demand thousands of dollars for a single short story.


(As is always the case with these bibliographies, especially when the author(s) are as prolific as Kuttner and Moore, I have been as complete as I can humanly be and still keep all my hair and fingernails. Also as always, I welcome any and all additions and corrections; just e-mail me care of this magazine. Please note that I have placed Kuttner ahead of Moore; nothing in the way of "value judgment" should be read into this, it's just the way the names fall alphabetically.)

Henry Kuttner Bibliography


Edward J. Bellin (house)
Paul Edmonds
Noel Gardner
Will Garth (house)
James Hall (house)
Keith Hammond
Hudson Hastings
Peter Horn (house)
Kelvin Kent
Robert O. Kenyon (house)
C. H. Liddell
K. H. Maepenn
Scott Morgan (house)
Lawrence O'Donnell
Lewis Padgett
C. K. M. Scanlon (house)
Woodrow Wilson Smith
Charles Stoddard


The Day He Died (Bantam 306, 1948, with C. L. Moore as by Lewis Padgett)
Fury (Grossett & Dunlap, 1950, with C. L. Moore; reissued as Destination: Infinity in 1956 by Avon)
The Well of the Worlds (Galaxy Novel #17, 1953 as by Lewis Padgett; Ace F-344, 1965 as by Kuttner)
Beyond Earth's Gates (with C. L. Moore as by Lewis Padgett and Moore, Ace Double D-69, 1954, bound with Andre Norton's Daybreak — 2250 A.D.)
Valley of the Flame (Ace F-297, 1964)
Earth's Last Citadel (Ace F-306, 1964, with C. L. Moore)
The Dark World (Ace F-327, 1965)
The Time Axis (Ace F-356, 1965)
The Creature from Beyond Infinity (Popular Library 60-2355, 1968)
The Mask of Circe (Ace 52075, 1971) with C. L. Moore


A Gnome There Was (Simon & Schuster 1950, as by Lewis Padgett)
Tomorrow and Tomorrow and the Fairy Chessmen (Gnome Press 1951, with C. L. Moore)
Robots Have No Tails (Gnome Press 1952, as by Lewis Padgett)
Ahead of Time (Ballantine 1953, h'cover and paperback simultaneous)
Mutant (Gnome Press 1953)
Line to Tomorrow and Other Stories of Fantasy and Science Fiction (Bantam 1251, 1954, with C. L. Moore)
No Boundaries (Ballantine 1955, h'cover and paperback simultaneous, with C. L. Moore)
Bypass to Otherness (Ballantine 497K, 1961)
Return to Otherness (Ballantine F619, 1962)
The Best of Kuttner 1 (Mayflower 0547, 1965, UK)
The Best of Kuttner 2 (Mayflower 0547, 1966, UK)
The Best of Henry Kuttner (Nelson Doubleday 1975, through the SF Book Club; retitled The Last Mimzy and reissued by Del Rey in 2007)
Clash by Night and Other Stories (Hamlyn 1980, with C. L. Moore, UK)
Chessboard Planet and Other Stories (Hamlyn 1983, with C. L. Moore, UK)
The Proud Robot (Hamlyn 1983, UK)
Prince Raynor (Gryphon 1987, includes "Cursed Be the City" and "The Citadel of Darkness")
Kuttner Times Three (Virgil Utter 1988, contains "The Old Army Game", "Bamboo Death", and "The Wolf of Aragon")
Secret of the Earth Star and Others (Borgo/Starmont 1991)
Book of Iod (Chaosium 1995)
Elak of Atlantis (Gryphon 1985)
Detour to Otherness (Haffner Press 2002, with C. L. Moore)
Thunder Jim Wade: The Complete Series (Altus Press, 2008)


The Startling Worlds of Henry Kuttner (Popular Library/Questar 0445203285, 1986, with C. L. Moore.  Includes "The Portal in the Picture", Valley of the Flame", and "The Dark World.")
The Jungle (Tor Double 1991, with C. L. Moore, bound with David Drake's Clash By Night)


The Brass Ring (Duell, Sloane and Pearce 1946, with C. L. Moore)
The Day He Died (Duell, Sloane and Pearce 1947, with C. L. Moore)
Man Drowning (Harper and Bros. 1952)
The Murder of Ann Avery (Perma Books M-3058, 1956)
The Murder of Eleanor Pope (Perma Books M-3046, 1956)
Murder of a Mistress (Perma Books M-4082, 1957)
Murder of a Wife (Perma Books M-4096, 1958)

Short fiction

The Graveyard Rats (March 1936 Weird Tales)
Bamboo Death (June 1936 Thrilling Mystery)
The Secret of Kralitz (October 1936 Weird Tales)
Coffins for Six (December 1936 Thrilling Mystery, as by C. K. M. Scanlon)
It Walks by Night (December 1936 Weird Tales)
The Faceless Fiend (January 1937 Thrilling Mystery, as by K. H. Maepenn)
The Eater of Souls (January 1937 Weird Tales)
I, the Vampire (February 1937 Weird Tales)
We Are the Dead (April 1937 Weird Tales)
The Salem Horror (May 1937 Weird Tales)
The Black Kiss (June 1937 Weird Tales, with Robert Bloch)
Raider of the Spaceways (July 1937 Weird Tales)
The Jest of Droom-Avista (August 1937 Weird Tales)
Terror on the Stage (September 1937 Thrilling Mystery, as by K. H. Maepenn)
When the Earth Lived (October 1937 Thrilling Wonder Stories)
Quest of the Starstone (November 1937 Weird Tales, with C. L. Moore)
The Case of Herbert Thorp (November 1937 Weird Tales)
The Bloodless Peril (December 1937 Thrilling Wonder Stories, as by Will Garth)
Hands Across the Void (December 1938 Thrilling Wonder Stories, as by Will Garth)
World's End (February 1938 Weird Tales)
The Shadow on the Screen (March 1938 Weird Tales)
Hollywood on the Moon (April 1938 Thrilling Wonder Stories)
Thunder in the Dawn (May 1938 Weird Tales)
Spawn of Dagon (July 1938 Weird Tales)
The Disinherited (August 1938 Astounding SF)
Doom World (August 1938 Thrilling Wonder Stories)
Avengers of Space (August 1938 Marvel Science Stories)
Dictator of the Americas (August 1938 Marvel Science Stories, as by James Hall)
The Dark Heritage (August 1938 Marvel Science Stories, as by Robert O. Kenyon)
Beyond the Phoenix (October 1938 Weird Tales)
The Time Trap (November 1938 Marvel Science Stories)
The Star Parade (December 1938 Thrilling Wonder Stories)
Roman Holiday (August 1939 Thrilling Wonder Stories, with Arthur K. Barnes as by Kelvin Kent)
The Invaders (February 1939 Strange Stories, as by Keith Hammond)
The Frog (February 1939 Strange Stories)
The Transgressor (February 1939 Weird Tales)
The Bells of Horror (April 1939 Strange Stories, as by Keith Hammond)
Hydra (April 1939 Weird Tales)
Beyond Annihilation (April 1939 Thrilling Wonder Stories)
Cursed Be the City (April 1939 Strange Stories)
The Watcher at the Door (May 1939 Weird Tales)
The Hunt (June 1939 Strange Stories)
The Body and the Brain (June 1939 Strange Stories, with Robert Bloch as by Keith Hammond)
"Telepathy Is News" (June 1939 Science Fiction, as by Paul Edmonds)
The Misguided Halo (August 1939 Unknown)
The Citadel of Darkness (August 1939 Strange Stories)
The Curse of the Crocodile (August 1939 Strange Stories, with Bertram W. Williams)
The Energy Eaters (October 1939 Weird Tales) with Arthur K. Barnes
Towers of Death (November 1939 Weird Tales)
The Grip of Death (December 1939 Strange Stories, with Robert Bloch)
World's Pharaoh (December 1939 Thrilling Wonder Stories, as by Kelvin Kent)
Suicide Squad (December 1939 Thrilling Wonder Stories)
The Lifestone (February 1940 Astonishing, as by Paul Edmonds)
When New York Vanished (March 1940 Super Science)
All Is Illusion (April 1940 Unknown)
Beauty and the Beast (April 1940 Thrilling Wonder Stories)
Science Is Golden (April 1940 Thrilling Wonder Stories, with Arthur K. Barnes as by Kelvin Kent)
The Seven Sleepers (May 1940 Thrilling Wonder Stories, with Arthur K. Barnes)
50 Miles Down (May 1940 Fantastic Adventures, as by Peter Horn)
The Shining Man (May 1940 Fantastic Adventures, as by Noel Gardner)
Pegasus (May-June 1940 Famous Fantastic Mysteries)
Dr. Cyclops (June 1940 Thrilling Wonder Stories)
Room of Souls (June 1940 Strange Stories, as by Keith Hammond)
Time to Kill (June 1940 Strange Stories)
Improbability (June 1940 Astonishing, as by Paul Edmonds)
The Mad Virus (June 1940 Science Fiction, as by Paul Edmonds)
No Man's World (August 1940 Thrilling Wonder Stories)
World Without Air (August 1940 Fantastic Adventures)
The Comedy of Eras (September 1940 Thrilling Wonder Stories)
The Elixir of Invisibility (October 1940 Fantastic Adventures)
Man About Time (October 1940 Thrilling Wonder Stories, as by Kelvin Kent)
The Uncanny Power of Edwin Cobalt (October 1940 Fantastic Adventures, as by Noel Gardner)
Evil Galatea (October 1940 Super-Detective, as by Paul Edmonds)
Reverse Atom (November 1940 Thrilling Wonder Stories)
Threshold (December 1940 Unknown)
The Devil We Know (August 1941 Unknown)
Dragon Moon (Jan. 1941 Weird Tales)
Remember Tomorrow (January 1941 Thrilling Wonder Stories)
Hercules Muscles In (February 1941 Thrilling Wonder Stories, as by Kelvin Kent)
The Land of Time to Come (April 1941 Thrilling Wonder Stories)
The Touching-Point (April 1941 Stirring Science Stories, as by Edward J. Bellin)
Tube to Nowhere (June 1941 Thrilling Wonder Stories)
The Wolf of Aragon (July 1941 Thrilling Adventures)
The Tree of Life (September 1941 Astonishing, as by Paul Edmonds)
A Gnome There Was (October 1941 Unknown, with C. L. Moore)
Chameleon Man (November 1941 Weird Tales)
Red Gem of Mercury (November 1941 Super Science Stories)
The Old Army Game (November 1941 Thrilling Adventures)
Design for Dreaming (February 1942 Unknown)
Silent Eden (March 1942 Startling Stories)
Later Than You Think (March 1942 Fantastic Adventures)
The Infinite Moment (April 1942 Thrilling Wonder Stories)
Masquerade (May 1942 Weird Tales)
Dames Is Poison (June 1942 Thrilling Wonder Stories, as by Kelvin Kent)
False Dawn (June 1942 Thrilling Wonder Stories)
The Crystal Circe (June 1942 Astonishing)
Deadlock (August 1942 Astounding SF, with C. L. Moore as by Lewis Padgett)
War-Gods of the Void (Fall 1942 Planet Stories)
Secret of the Earth Star (August 1942 Amazing Stories)
The Twonky (September 1942 Astounding SF, with C. L. Moore as by Lewis Padgett)
Compliments of the Author (October 1942 Unknown, with C. L. Moore)
Thunder in the Void (October 1942 Astonishing)
We Guard the Black Planet! (November 1942 Super Science)
Piggy Bank (December 1942 Astounding SF, with C. L. Moore as by Lewis Padgett)
Too Many Cooks (December 1942 Thrilling Wonder Stories)
Night of Gods (December 1942 Astonishing, as by Paul Edmonds)
Nothing But Gingerbread Left (Jan. 1943 Astounding SF)
Time Locker (Jan. 1943 Astounding SF)
Wet Magic (February 1943 Unknown)
Mimzy Were the Borogoves (February 1943 Astounding SF, with C. L. Moore as by Lewis Padgett)
Soldiers of Space (February 1943  Astonishing)
Probability Zero: Blue Ice (February 1943 Astounding SF)
Shock (March 1943 Astounding SF, with C. L. Moore as by Lewis Padgett)
Clash by Night (March 1943 Astounding SF, with C. L. Moore as by Lawrence O'Donnell)
Under Your Spell (March 1943 Weird Tales)
Open Secret (April 1943 Astounding SF, with C. L. Moore as by Lewis Padgett)
No Greater Love (April 1943 Unknown)
Probability Zero: Corpus Delicti (April 1943 Astounding SF)
Volluswen (April 1943 Science Fiction)
Better Than One (Spring 1943 Captain Future)
Earth's Last Citadel (serial, April 1943 Argosy)
Ghost (May 1943 Astounding SF)
Reader, I Hate You! (May 1943 Super Science)
The World Is Mine (June 1943 Astounding SF as by Lewis Padgett)
Problem in Ethics (July 1943 Science Fiction)
Endowment Policy (August 1943 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Proud Robot (October 1943 Astounding SF as by Lewis Padgett)
Crypt-City of the Deathless One (Winter 1943 Planet Stories)
Gallegher Plus (November 1943 Astounding SF as by Lewis Pad gett)
The Iron Standard (December 1943 Astounding SF, with C. L. Moore as by Lewis Padgett)
Music Hath Charms (Winter 1943 Startling Stories)
To Dust Returneth (Winter 1944 Captain Future
Trophy (Winter 1944 Thrilling Wonder Stories, as by Scott Morgan)
A God Named Kroo (Winter 1944 Thrilling Wonder Stories)
The Children's Hour (March 1944 Astounding SF) with C. L. Moore as by Lawrence O'Donnell)
The Black Sun Rises (June 1944 Super Science (Canadian))
The Eyes of Thar (Fall 1944 Planet Stories)
Swing Your Lady (Winter 1944 Thrilling Wonder Stories, as by Kelvin Kent)
Housing Problem (October 1944 Charm)
When the Bough Breaks (November 1944 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Piper's Son (February 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
Three Blind Mice (June 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Lion and the Unicorn (July 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
Beggars in Velvet (December 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
Before I Wake... (March 1945 Famous Fantastic Mysteries)
Baby Face (Spring 1945 Thrilling Wonder Stories)
Percy the Pirate (Summer 1945 Thrilling Wonder Stories)
Camouflage (Sept. 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
What You Need (October 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
Line to Tomorrow (November 1945 Astounding SF, with C. L. Moore as by Lewis Padgett)
Sword of Tomorrow (Fall 1945 Thrilling Wonder Stories)
The Fairy Chessmen (January 1946 Astounding SF, with C. L. Moore as by Lewis Padgett)
This Is the House (February 1946 Astounding SF as by Lawrence O'Donnell)
What Hath Me? (Spring 1946 Planet Stories)
We Kill People (March 1946 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Dark Angel (March 1946 Startling Stories)
Valley of the Flame (March 1946 Startling Stories as by Keith Hammond)
The Cure (May 1946 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Dark World (Summer 1946 Startling Stories)
Rain Check (July 1946 Astounding SF, with C. L. Moore as by Lewis Padgett)
Absalom (Fall 1946 Startling Stories)
The Little Things (Fall 1946 Thrilling Wonder Stories)
Call Him Demon (Fall 1946 Thrilling Wonder Stories, as by Keith Hammond)
Vintage Season (September 1946 Astounding SF, with C. L. Moore as by Lawrence O'Donnell)
Time Enough (December 1946 Astounding SF, with C. L. Moore as by Lewis Padgett)
I Am Eden (December 1946 Thrilling Wonder Stories)
Tomorrow and Tomorrow (serial, January-February 1947 Astounding SF, with C. L. Moore as by Lewis Padgett)
Juke-Box (February 1947 Thrilling Wonder Stories, as by Woodrow Wilson Smith)
Trouble on Titan (February 1947 Thrilling Wonder Stories)
Project (April 1947 Astounding SF, with C. L. Moore as by Lewis Padgett)
Way of the Gods (April 1947 Thrilling Wonder Stories)
Fury (serial, May-July 1947 Astounding SF, with C. L. Moore as by Lawrence O'Donnell)
Jesting Pilot (May 1947 Astounding SF, with C. L. Moore as by Lewis Padgett)
Lands of the Earthquake (May 1947 Startling Stories)
The Big Night (June 1947 Thrilling Wonder Stories, with C.L. Moore as by Hudson Hastings)
Dream's End (July 1947 Startling Stories)
Atomic! (August 1947 Thrilling Wonder Stories)
Dark Dawn (August 1947 Thrilling Wonder Stories, as by Keith Hammond)
Noon (August 1947 Thrilling Wonder Stories, with C. L. Moore as by Hudson Hastings)
Lord of the Storm (September 1947 Thrilling Wonder Stories, as by Keith Hammond)
Exit the Professor (October 1947 Thrilling Wonder Stories, with C. L. Moore)
Margin for Error (November 1947 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Power and the Glory (December 1947 Thrilling Wonder Stories)
Don't Look Now (March 1948 Startling Stories)
Pile of Trouble (April 1948 Thrilling Wonder Stories)
The Mask of Circe (May 1948 Startling Stories
Ex Machina (April 1948 Astounding SF as by Lewis Padgett)
Happy Ending (August 1948 Thrilling Wonder Stories)
Private Eye (January 1949 Astounding SF, with C. L. Moore as by Lewis Padgett)
The Time Axis (January 1949 Startling Stories)
The Prisoner in the Skull (February 1949 Astounding SF, with C. L. Moore as by Lewis Padgett)
See You Later (June 1949 Thrilling Wonder Stories, with C. L. Moore)
Cold War (October 1949 Thrilling Wonder Stories)
The Sky Is Falling (Fall 1950 Planet Stories, with C. L. Moore as by C. H. Liddell)
Carry Me Home (November 1950 Planet Stories, with C. L. Moore as by C. H. Liddell)
The Voice of the Lobster (February 1950 Thrilling Wonder Stories)
As You Were (August 1950 Thrilling Wonder Stories)
The Odyssey of Yiggar Throlg (January 1951 Startling Stories, with C. L. Moore as by C. H. Liddell)
Android (June 1951 F&SF, with C. L. Moore, also as Those Among Us as by C. H. Liddell)
We Shall Come Back (November 1951 SF Quarterly, with C. L. Moore as by C. H. Liddell)
Golden Apple (March 1951 Famous Fantastic Mysteries, with C. L. Moore as by C. H. Liddell)
Well of Worlds (March 1952 Startling Stories, with C. L. Moore as by Lewis Padgett)
The Ego Machine (May 1952 Space SF)
Humpty Dumpty (September 1953 Astounding SF, with C. L. Moore as by Lewis Padgett)
By These Presents (original, in Ahead of Time, Ballantine 1953)
Year Day (original, in Ahead of Time, Ballantine 1953)
Satan Sends Flowers (Jan/Feb 1953 Fantastic)
A Wild Surmise (original with C. L. Moore, in Star Science Fiction Stories #1, ed. Frederik Pohl, Ballantine 1953)
The Visitors (May 1953 SF Quarterly, with C. L. Moore as by C. H. Liddell)
Home Is the Hunter (July 1953 Galaxy, with C. L. Moore)
Or Else (August/Sept. 1953 Amazing Stories, with C. L. Moore)
Where the World Is Quiet (May 1954 Fantastic Universe, as by C. H. Liddell)
Home There's No Returning (original with C. L. Moore, in No Boundaries, Ballantine 1955)
Two-Handed Engine (August 1955 F&SF, with C. L. Moore)
Rite of Passage (May 1956 F&SF, with C. L. Moore)
Near Miss (original, in SF:58, ed. Judith Merril, Gnome 1958) 
A Cross of Centuries (in Star SF #4, ed. Frederik Pohl, Ballantine 1958)
The Grab Bag (Spring 1991 Weird Tales, with Robert Bloch)


H.P.L. (September 1937 Weird Tales)
The Sunken Towers (December 1936 PHANTAGRAPH)

C. L. Moore Bibliography
(See above for collaborative work with Kuttner)


Hudson Hastings
Lawrence O'Donnell
Lewis Padgett


Doomsday Morning (Doubleday 1957)


Judgment Night (Gnome Press 1952; Dell 1979; Red Jacket Press 2004)
Shambleau and Others (Gnome Press 1953; Galaxy Novel #31, 1958; Consul 1961 UK)
Northwest of Earth (Gnome Press 1954)
Jirel of Joiry (Paperback Library 1969; Ace 1996)
The Best of C. L. Moore (Nelson Doubleday 1975, through the SF Book Club; Del Rey 1976; Ballantine 1980)
Scarlet Dream (Grant 1981)
Northwest Smith (Ace 1982; 1986)
Black Scarlet Gods and Dreams (Gollancz 2002)

Short Fiction

Shambleau (November 1933 Weird Tales)
Scarlet Dream (May 1934 Weird Tales)
The Black God’s Kiss (October 1934 Weird Tales)
Black God’s Shadow (December 1934 Weird Tales)
Black Thirst (April 1934 Weird Tales)
Dust of Gods (August 1934 Weird Tales)
The Bright Illusion (October 1934 Astounding SF)
Julhi (March 1935 Weird Tales)
Nymph of Darkness (April 1935 Fantasy Magazine, with Forrest J Ackerman)
Jirel Meets Magic (July 1935 Weird Tales)
The Challenge from Beyond (September 1935 Fantasy Magazine)
The Cold Gray God (October 1935 Weird Tales)
Greater Glories (September 1935 Astounding SF)
The Dark Land (January 1936 Weird Tales)
Yvala (February 1936 Weird Tales)
Lost Paradise (July 1936 Weird Tales)
The Tree of Life (October 1936 Weird Tales)
Tryst in Time (December 1936 Astounding SF)
Werewoman (Leaves #2 1938)
Hellsgarde (April 1939 Weird Tales)
Miracle in Three Dimensions (April 1939 Strange Stories)
Greater Than Gods (July 1939 Astounding SF)
Song in a Minor Key (February 1940 Scienti-Snaps)
Fruit of Knowledge (October 1940 Unknown)
There Shall Be Darkness (February 1942 Astounding SF)
Judgment Night (August-September 1943 Astounding SF)
Doorway Into Time (September 1943 Famous Fantastic Mysteries)
No Woman Born (December 1944 Astounding SF)
The Code (July 1945 Astounding SF, as by Lawrence O’Donnell)
Daemon (October 1946 Famous Fantastic Mysteries)
Promised Land (February 1950 Astounding SF, as by Lawrence O’Donnell)
Heir Apparent (July 1950 Astounding SF, as by Lawrence O’Donnell)
Paradise Street (September 1950 Astounding SF, as by Lawrence O’Donnell)

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