Sword Woman and Other Historical Adventures

Text taken from Howard’s original typescript, a copy of which was provided by Glenn Lord. No changes have been made for this edition.

Untitled Synopsis (The Slave-Princess)

Text taken from Howard’s original typescript, a copy of which was provided by Glenn Lord. No changes have been made for this edition.

Untitled Fragment (The Slave-Princess)

Text taken from Howard’s original typescript, a copy of which was provided by Glenn Lord. No changes have been made for this edition.

Untitled Fragment (“He knew de Bracy …”)

Text taken from Howard’s original manuscript, a copy of which was provided by Glenn Lord. No changes have been made for this edition.

Untitled Fragment (“The wind from the Mediterranean …”)

Text taken from Amra, November 1959. No changes have been made for this edition.

Recap of Harold Lamb’s “The Wolf Chaser”

Text taken from Lord of Samarcand and Other Adventure Tales of the Old Orient, 2005. No changes have been made for this edition.

Untitled Fragment (“The Persians had all fled …”)

Text taken from Howard’s original typescript, a copy of which was provided by Glenn Lord. No changes have been made for this edition.

The Sign of the Sickle

Text taken from A Rhyme of Salem Town and Other Poems (Robert E. Howard Properties, LLC, 2002). No changes have been made for this edition.

Mistress of Death

Text taken from Howard’s original typescripts, copies of which were provided by Glenn Lord. There are two drafts of this story. One consists of seven pages, apparently a first draft, in which the final paragraphs seem to be a synopsis of the story’s conclusion. The other draft, apparently a second, consists of ten pages, and ends just as Agnes and John Stuart are setting off for the house of Francoise de Bretagny. We have followed the second draft until it ends (at 511.29.2), using the first draft for the remainder of the text.

The first artists who grabbed my imagination worked in the comics field. They were John Buscema, Alfredo Alcala, and Nestor Redondo. On the classical side, there were Leonardo da Vinci and Michelangelo.

Later, in my twenties and thirties, I came to love the works of Sir Frank Brangwyn, William Waterhouse, and Solomon J. Solomon. These artists were masters of composing the sensual and dramatic. I also came to appreciate the Golden Age illustrators of America, like Charles Dana Gibson, Alex Raymond, Dean Cornwell, Mead Schaeffer, etc. These artists collectively inspired me to pave a way for my own creative vision.

John Watkiss

Our thanks to Marcelo, Rusty, Stuart, Jack and Barbara, Gary, Mark, Greg M., Greg S., Tim, John, Ed, Michael, Jay, Thommy, Fred, Kaitlin, Keith, and David. It’s been a privilege to work with each of you.

Jim & Ruth Keegan

Thanks to the extraordinary vision and leadership of Marcelo Anciano, and the dedicated efforts of a number of exceptionally talented people, I think we’ve produced a series of books that Robert E. Howard could be proud of. I have benefited enormously from the efforts of Rob Roehm and David Gentzel, and the sage advice and assistance of Paul Herman and Patrice Louinet, throughout this series. The editorial and production team at Del Rey Books has been a complete joy to work with, exceptionally good at their business and profoundly patient with my shortcomings. Jim and Ruth Keegan have provided marvelous design and artistic direction. None of this would have been possible without Glenn Lord, the greatest champion that a writer could have hoped for, and a finer friend than I have ever deserved. And speaking of things I don’t deserve, the love and understanding of my wife, Shelly, has carried me through.

Rusty Burke