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Bloch Robert; Mysteries of the Worm

SKU: Bloch Robert; AB0212-282 $24.95
De Vermis Mysteriis or Mysteries of the Worm is a fictional grimoire created by Robert Bloch and incorporated by H. P. Lovecraft into the lore of the Cthulhu Mythos. Creation: The tome first appeared in Bloch's short story ''The Shambler from the Stars'' (1935) in which a character reads a passage from the book and accidentally summons an extradimensional horror. Bloch then a teenager corresponded with Lovecraft about the story prior to its publication in part to get permission to kill off a character based on the older writer. While giving his enthusiastic blessing Lovecraft also suggested that the book featured in the story named by Bloch as Mysteries of the Worm be referred to instead by the Latin equivalent De Vermis Mysteriis. Lovecraft also provided Bloch with a bit of Latin to use as an invocation from the book: ''Tibi magnum Innominandum signa stellarum nigrarum et bufaniformis Sadoquae sigillum''--which can be translated as ''To you the great Not-to-Be-Named signs of the black stars and the seal of the toad-shaped Tsathoggua''. Ludwig Prinn: In ''The Shambler from the Stars'' De Vermis Mysteriis is described as the work of Ludwig Prinn an ''alchemist necromancer [and] reputed mage'' who ''boasted of having attained a miraculous age'' before being burned at the stake in Brussels during the height of the witch trials (in the late 15th or early 16th centuries). Prinn Bloch writes maintained that he was captured during the Ninth Crusade in 1271 and attributed his occult knowledge to studying under the ''wizards and wonder-workers of Syria'' during his captivity. Bloch also associates Prinn with Egypt writing that ''there are legends among the Libyan dervishes concerning the old seer's deeds in Alexandria.'' At the time of his execution for sorcery Bloch has Prinn living ''in the ruins of a pre-Roman tomb that stood in the forest near Brussels...amidst a swarm of familiars and fearsomely invoked conjurations.'' In this forest there were ''old pagan altars that stood crumbling in certain of the darker glens'': these altars were found to have ''fresh bloodstains'' when Prinn was arrested. Contents: In its first appearance Bloch describes the book as containing ''spells and enchantments'' particularly those that can summon strange entities. One such spell included in a ''chapter dealing with familiars'' summons the titular ''shambler from the stars''--referred to in the Call of Cthulhu roleplaying game as a star vampire. The story also notes that that book contains references to ''such gods of divination as Father Yig dark Han and serpent-bearded Byatis''--this last the first mention of a Cthulhoid entity later developed by Ramsey Campbell. In a subsequent series of Cthulhu Mythos stories connected with Ancient Egypt Bloch expanded on the contents of De Vermis Mysteriis. ''The Faceless God'' (1936) notes that Prinn ''awesomely implies his knowledge'' of Nyarlathotep''the oldest god of all Egypt''. In ''The Brood of Bubastis''''The Secret of Sebek'' and ''Fane of the Black Pharaoh'' (all published in 1937) Bloch refers to a chapter of Prinn's book called ''Saracenic Rituals'' which is said to have ''revealed the lore of the efreet and the djinn the secrets of the Assassin sects the myths of Arabian ghoul-tales the hidden practices of dervish cults'' and ''the legends of Inner Egypt''. These stories use Prinn's chapter as a device to provide backstory on the cults of Bubastis and Sebek and on the Pharaoh Nephren-Ka's worship of Nyarlathotep. In later non-Mythos horror stories Bloch still occasionally made reference to his invented tome. Bloch's ''The Sorcerer's Jewel'' (1939) briefly mentions ''Prinn's chapter on divination'' as a potential source for information on ''The Star of Sechmet'' a mysterious crystal. The book plays a larger role in ''Black Bargain'' (1942) in which it is described as: something...that told you how you could compound aconite and belladonna and draw circles of phosphorescent fire on the floor when the stars were right. Something that spoke of melting tallow candles and blending them with corpse-fat whispered of the uses to which animal sacrifices might be put. It spoke of meetings that could be arranged with various parties most people don't...even believe in...[with] cold deliberate directions for traffic with ancient evil.... ''Philtre Tip'' (1961) quite literally a shaggy dog story cites ''Ludvig Prinn's Grimoire in the English edition'' as the source for the recipe for a love potion. Bloch quotes Prinn for the first time since ''The Shambler from the Stars'': ''The meerest droppe if placed in a posset of wine or sack will transforme ye beloved into a veritable bitche in heate.'' H. P. Lovecraft: Lovecraft who enjoyed sprinkling references to his friends' fictional creations in his own Cthulhu Mythos efforts repeatedly mentioned De Vermis Mysteriis in his stories. It appears in ''The Haunter of the Dark'' (written as a sequel to Bloch's ''The Shambler from the Stars'') as a ''hellish'' book found with other forbidden texts in the Starry Wisdom Church in Providence Rhode Island. In ''The Diary of Alonzo Typer'' ghostwritten by Lovecraft for William Lumley it is likewise part of an occult library in the van der Heyl house in Attica New York. And in Lovecraft's ''The Shadow Out of Time'' the possessed protagonist Wingate Peaslee reads (and makes marginal notes in) a copy of the book possessed by the Miskatonic University library. In a 1936 letter to fellow Mythos writer Henry Kuttner Lovecraft mentioned De Vermis Mysteriis as one of the books that ''repeat the most hellish secrets learnt by early man''. Later appearances: Robert M. Price has suggested that Kuttner by giving the name ''Abigail Prinn'' to the villain of his short story ''The Salem Horror'' may have been suggesting that the Salem witch Abigail was a descendant of the Brussels sorcerer. In any case Kuttner explicitly made use of De Vermis Mysteriis in his 1939 short story ''The Invaders'' in which the disregarding of the book's precautions (''the Pnakotic pentagon the cabalistical signs of protection...'') brings forth the horrors of the story's title--said to be described by Prinn as ''the dwellers in the Hidden World''. In his short story ''The Adventure of the Six Silver Spiders'' (1950) August Derleth includes De Vermis Mysteriis among a group of Cthulhu Mythos volumes discovered in a book catalog by his detective character Solar Pons--though in the context of the story all the books turn out to be fictional. Both Ludwig Prinn and the De Vermis Mysteriis are mentioned by name in The Illuminatus! Trilogy (1975) as being connected to the Illuminati. De Vermis Mysteriis is featured in a Lovecraftian story by horror writer Stephen King entitled ''Jerusalem's Lot'' (1978)''part of the Night Shift collection wherein the main character Charles touches the book and releases a gigantic white worm which was worshiped by the town's previous inhabitants. It is also implied that book is found by Mark and Susan in the novel/semi-sequel 'Salem's Lot. In a passage Mark finds a book in the Marsten House and asks Susan to translate it for him. She doesn't know what it says but she says its in Latin possibly referencing the book's title. De Vermis Mysteriis also appears in the novel The Keep (1981) by F. Paul Wilson. In Price's own ''Wilbur Whateley Waiting'' (1987) a character declares himself to be a descendant of both Ludvig and Abigail Prinn. Prinn and his book both appear in Brian Lumley's 1987 short story ''Lord of the Worms''. De Vermis Mysteriis also appears as a deadly tome in the 1992 video game Alone in the Dark. The book is also referenced (as Des Vermis Mysteriis) in the 2004 movie Hellboy. It contains a description of the Ogdru Jahad gods otherwise not connected to the Cthulhu mythos. In Kim Newman's short story ''The Gyspies in the Wood'' (2005) Charles Beauregard an agent of the Diogenes Club mentions that he owns a copy of the book. In Dracula 3: The Path of the Dragon a copy of the De Vermis Mysteriis can be found while looking at the many books in library sections located at the back of Irina Boczow's office after returning to Budapest for the second time. De Vermis Mysteriis is a song by Industrial Music act Flint Glass. In the visual novel/anime/manga series Demonbane De Vermis Mysteriis appears as the grimoire possessed by the lich-like sorcerer Tiberius. The post-industrial Seattle-based band Rabbit Junk prominently feature the Lovecraftian Latin incantation in the song ''Revenge of Julian Modely'' to be found in their Project Nonagon Album. Robert Albert Bloch (April 5 1917 “ September 23 1994) was a prolific American writer primarily of crime horror and science fiction. He is best known as the writer of Psycho the basis for the film of the same name by Alfred Hitchcock. He many times remarked that he had ''the heart of a little boy'' quipping ''I keep it in a jar on my desk.'' Bloch wrote hundreds of short stories and over 20 novels usually crime fiction science fiction and perhaps most influentially horror fiction (Psycho). He was one of the youngest members of the Lovecraft Circle. H. P. Lovecraft was Bloch's mentor and one of the first to seriously encourage his talent. However while Bloch started his career by emulating Lovecraft and his brand of cosmic horror he later specialized in crime and horror stories dealing with the inner workings of the human mind. Bloch was a contributor to pulp magazines such as Weird Tales in his early career and was also a prolific screenwriter and a major contributor to science fiction fanzines and fandom in general. He won the Hugo Award (for his story ''That Hell-Bound Train'') the Bram Stoker Award and the World Fantasy Award. He served a term as president of the Mystery Writers of America (1970) and was a member of that organization and of Science Fiction Writers of America the Writers' Guild the Academy of Motion Picture Arts and Sciences and the Count Dracula Society. In 2008 The Library of America selected Bloch™s story œThe Shambles of Ed Gein for inclusion in its two-century retrospective of American true crime. His favorites among his own novels were The Kidnapper The Star Stalker Psycho (novel) Night-World and Strange Eons. Background: Bloch was born in Chicago the son of Raphael ''Ray'' Bloch (1884“1952) a bank cashier and his wife Stella Loeb (1880“1944) a social worker both of German-Jewish descent. Bloch's family moved to Maywood a Chicago suburb when he was five. He attended the Methodist Church there despite his parents' Jewish heritage. At eight or nine years of age living in Maywood he attended a screening of Lon Chaney Sr.'s Phantom of the Opera late at night on his own. The scene of Chaney removing his mask terrified the young Bloch and sparked his interest in horror. In 1929 Ray Bloch lost his bank job and the family moved to Milwaukee where Stella worked at the Milwaukee Jewish Settlement settlement house. Robert attended Washington then Lincoln High School where he met lifelong friend Harold Gauer. Gauer was editor of The Quill Lincoln's literary magazine and accepted Bloch's first published short story a horror story titled ''The Thing'' (the ''thing'' of the title was Death). Both Bloch and Gauer graduated from Lincoln in 1932 during the height of the Great Depression. Bloch was involved in the drama department at Lincoln and wrote and performed in school vaudeville skits. Influence of H.P. Lovecraft on early writing career: During the 1930s Bloch was an avid reader of the pulp magazine Weird Tales. H. P. Lovecraft a frequent contributor to that magazine became one of his favorite writers. As a teenager Bloch wrote fan letter to Lovecraft (1933) who gave him advice on his own fiction-writing efforts. Bloch's first publication was with the short story ''Lilies'' in the semi-professional magazine Marvel Tales (Winter 1934). Bloch began correspondence with August Derleth Clark Ashton Smith and others of the 'Lovecraft Circle'. Bloch's first professional sales at the age of 17 (July 1934) were to Weird Tales with the short stories ''The Feast in the Abbey'' and ''The Secret in the Tomb''. ''Feast...'' appeared first in the January 1935 issues which actually went on sale November 1 1934. Bloch's early stories were strongly influenced by Lovecraft. Indeed a number of his stories were set in and extended the world of Lovecraft's Cthulhu Mythos. It was Bloch who invented for example the oft-cited Mythos texts De Vermis Mysteriis and Cultes des Goules. The young Bloch appears thinly disguised as the character ''Robert Blake'' in Lovecraft's story ''The Haunter of the Dark'' (1936) which is dedicated to Bloch. (Bloch was the only individual to whom Lovecraft ever dedicated a story). In this story Lovecraft kills off the Bloch character repaying a courtesy Bloch earlier paid Lovecraft with his 1935 tale ''The Shambler from the Stars'' in which the Lovecraft-inspired figure dies: the story goes so far as to use Bloch's then-current street address in Milwaukee. (Bloch even had a signed certificate from Lovecraft [and some of his creations] giving Bloch permission to kill Lovecraft off in a story.) Bloch later wrote a third tale''The Shadow From the Steeple'' picking up where ''The Haunter of the Dark'' finished (Weird Tales Sept 1950). After Lovecraft's death in 1937 Bloch continued writing for Weird Tales where he became one of its most popular authors. He also began contributing to other pulps such as the science fiction magazine Amazing Stories. After Lovecraft's death in 1937 which affected Bloch deeply Bloch broadened the scope of his fiction. His horror themes included voodoo (''Mother of Serpents'') the conte cruel (''The Mandarin's Canaries') demonic possession (''Fiddler's Fee'') and black magic (''Return to the Sabbat''). Bloch visited Henry Kuttner in California in 1937. Bloch's first science fiction story''The Secret of the Observatory'' was published in Amazing Stories (August 1938). Milwaukee Fictioneers and Depression period: In 1935 Bloch joined a writers' group The Milwaukee Fictioneers members of which included Stanley Weinbaum Ralph Milne Farley and Raymond A. Palmer. Another member of the group was Gustav Marx who offered Bloch a job writing copy in his advertising firm also allowing Bloch to write stories in his spare time in the office. Bloch was close friends with C.L. Moore and her husband Henry Kuttner who visited him in Milwaukee. During the years of the Depression Bloch appeared regularly in dramatic productions writing and performing in his own sketches. Around 1936 he sold some gags to radio comedians Stoopnagle and Budd and to Roy Atwell. Campaign manager for Carl Zeidler: In 1939 Bloch was contacted by James Doolittle who was managing the campaign for a little-known assistant attorney in Milwaukee Wisconsin named Carl Zeidler. He was asked to work on his speechwriting advertising and photo ops in collaboration with Harold Gauer. They created elaborate campaign shows: in Bloch's 1993 autobiography Once Around the Bloch he gives an inside account of the campaign and the innovations he and Gauer came up with '' for instance the original releasing-balloons-from-the-ceiling shtick. He comments bitterly on how after Zeidler's victory they were ignored and not even paid their promised salaries. He ends the story with a wryly philosophical point: If Carl Zeidler had not asked Jim Doolittle to manage his campaign Doolittle would never have contacted me about it. And the only reason Doolittle knew me to begin with was because he read my yarn (''The Cloak'') in Unknown. Rattling this chain of circumstances one may stretch it a bit further. If I had not written a little vampire story called ''The Cloak'' Carl Zeidler might never have become mayor of Milwaukee. The 1940s and 1950s: In the 1940s Bloch created the humorous series character Lefty Feep in a story for Fantastic Adventures. He also worked for a time in local vaudeville and tried to break into writing for nationally-known performers. In 1944 he was asked to write 39 15-minute episodes of a radio horror show called Stay Tuned for Terror. Many of the programs were adaptations of his own pulp stories. None of the episodes which were all broadcast are extant. A year later August Derleth's Arkham House Lovecraft's publisher published Bloch's first collection of short stories The Opener of the Way. At the same time his best-known early tale''Yours Truly Jack the Ripper'' received considerable attention through readings on radio and republication in anthologies. This story was the foundation on which Bloch built his reputation for a concern with inner horror rather than the external world of strange creatures. Bloch gradually evolved away from Lovecraftian imitations towards a unique style of his own. One of the first distinctly ''Blochian'' stories was ''Yours Truly Jack the Ripper'' which was published in Weird Tales in 1943. The story was Bloch's take on the Jack the Ripper legend and was filled out with more genuine factual details of the case than many other fictional treatments. It cast the Ripper as an eternal being who must make human sacrifices to extend his immortality. It was adapted for both radio (in Stay Tuned for Terror) and television (as an episode of Thriller in 1961 written by Barré Lyndon). Bloch followed up this story with a number of others in a similar vein dealing with half-historic half-legendary figures such as the Man in the Iron Mask (''Iron Mask'' 1944) the Marquis de Sade (''The Skull of the Marquis de Sade'' 1945) and Lizzie Borden (''Lizzie Borden Took an Axe...'' 1946). Bloch's first novel was the thriller The Scarf (1947). (He later issued a revised edition in 1966). It tells the story of a writer Daniel Morley who uses real women as models for his characters. But as soon as he is done writing the story he is compelled to murder them and always the same way: with the maroon scarf he has had since childhood. The story begins in Minneapolis and follows him and his trail of dead bodies to Chicago New York and finally Hollywood where his hit novel is going to be turned into a movie and where his self-control may have reached its limit. Bloch published three novels in 1954 “ Spiderweb The Kidnapper and The Will to Kill as he endeavoured to support his family. That same year he was a weekly guest panelist on the TV quiz show It's a Draw. Shooting Star (1958) a mainstream novel was published in a double volume with a collection of Bloch's stories titled Terror in the Night. This Crowded Earth (1958) was science fiction. With the demise of Weird Tales Bloch continued to have his fiction published in Amazing Fantastic and Fantastic Universe. His output of thrillers increased and he began to appear regularly in The Saint Ellery Queen and similar mystery magazines. Jack the Ripper in later work: Bloch continued to revisit the Jack the Ripper theme. His contribution to Harlan Ellison's 1967 science fiction anthology Dangerous Visions was a story''A Toy for Juliette'' which evoked both Jack the Ripper and the Marquis de Sade in a time-travel story. The same anthology had Ellison's sequel to it titled ''The Prowler in the City at the Edge of the World''. His earlier idea of the Ripper as an immortal being resurfaced in Bloch's contribution to the original Star Trek series episode ''Wolf in the Fold''. His 1984 novel Night of the Ripper is set during the reign of Queen Victoria and follows the investigation of Inspector Frederick Abberline in attempting to apprehend the Ripper and includes some famous Victorians such as Sir Arthur Conan Doyle within the storyline. Psycho: Bloch won the prestigious SF Hugo award in 1959 the same year that Psycho was published. Bloch had written an earlier short story involving split personalities''The Real Bad Friend'' which appeared in the February 1957 Mike Shayne Mystery Magazine that foreshadowed the 1959 novel Psycho. However Psycho also has thematic links to the story ''Lucy Comes to Stay''. Norman Bates the main character in Psycho was loosely based on two people. First was the real-life serial killer Ed Gein about whom Bloch later wrote a fictionalized account''The Shambles of Ed Gein''. (The story can be found in Crimes and Punishments: The Lost Bloch Volume 3). Second it has been indicated by several people including Noel Carter (wife of Lin Carter) and Chris Steinbrunner as well as allegedly by Bloch himself that Norman Bates was partly based on Calvin Beck publisher of Castle of Frankenstein. Though Bloch had little involvement with the film version of his novel which was directed by Alfred Hitchcock from an adapted screenplay by Joseph Stefano he was to become most famous as its author. The novel is one of the first examples at full length of Bloch's use of modern urban horror relying on the horrors of interior psychology rather than the supernatural. ''By the mid-1940s I had pretty well mined the vein of ordinary supernatural themes until it had become varicose'' Bloch explained to Douglas Winter in an interview. ''I realized as a result of what went on during World War II and of reading the more widely disseminated work in psychology that the real horror is not in the shadows but in that twisted little world inside our own skulls.'' While Bloch was not the first horror writer to utilize a psychological approach (that honor belongs to to J. Sheridan Le Fanu) Bloch's psychological approach in modern times was comparatively unique. Bloch's agent Harry Altshuler received a ''blind bid'' for the novel - the buyer's name wasn't mentioned - of $7500 for screen rights to the book. The bid eventually went to $9500 which Bloch accepted. Bloch had never sold a book to Hollywood before. His contract with Simon and Schuster included no bonus for a film sale. The publisher took 15 percent according to contract while the agent took his 10%: Bloch wound up with about $6750 before taxes. Despite the enormous profits generated by Hitchcock's film Bloch received no further direct compensation. Only Hitchcock's film was based on Bloch's novel. The later films in the Psycho series bear no relation to either of Bloch's sequel novels. Indeed Bloch's proposed script for the film Psycho II was rejected by the studio (as were many other submissions) and it was this that he subsequently adapted for his own sequel novel. Bates dies in Bloch's second Psycho novel and has been dead for several years in Bloch's third novel entitled Psycho House. The 1960s: Hollywood and screenwriting: Following his move to Hollywood around 1960 Bloch had multiple assignments from various television companies. However he was not allowed to write for five months when the Writers Guild had a strike. After the strike was over he became a much-used scriptwriter in television and film projects in the mystery suspense and horror genre. His first assignments were for the Macdonald Carey vehicle Lock-Up (penning five episodes) as well as one for Whispering Smith and an original screenplay for the 1962 film The Couch. Further TV work included an episode of Bus Stop 10 episodes of Thriller (1960-62 some based on his stories) and 10 episodes of Alfred Hitchcock Presents (1960“62). In 1962 he wrote the screenplay for The Cabinet of Caligari (1962) an unhappy experience (see Films section below). In 1962 Bloch penned the story and teleplay ''The Sorcerer's Apprentice'' for Alfred Hitchcock Presents. The episode was shelved when the NBC Television Network and sponsor Revlon called its ending ''too gruesome'' (by 1960s standards) for airing. Bloch was pleased later when the episode was included in the program's syndication package to affiliate stations where not one complaint was registered. Today due to public domain status the episode is readily available in home media formats from numerous distributors and is even available on free video on demand. His TV work did not slow Bloch's fictional output. In the early 1960s he published several novels including The Dead Beat (1960) and Firebug (1961) (for which Harlan Ellison then an editor at Regency Books contributed the first 1200 words). In 1962 his novels The Couch (1962) (the basis for the screenplay of his first movie filmed the same year) and Terror (originally titled Kill for Kali) were published. Bloch wrote original screenplays for two movies produced and directed by William Castle Strait-Jacket (1964) and The Night Walker (1964) along with The Skull (1965). The latter film was based on his short story ''The Skull of the Marquis de Sade''. Marriages and family: On October 2 1940 Bloch married Marion Ruth Holcombe: it was reportedly a marriage of convenience designed to keep Bloch out of the army. During their marriage she suffered (initially undiagnosed) tuberculosis of the bone which affected her ability to walk. After working for 11 years for the Gustav Marx Advertising Agency in Milwaukee Bloch left in 1953 and moved to Weyauwega Marion's home town so she could be close to friends and family. Although she was eventually cured of tuberculosis she and Bloch divorced in 1963. Bloch's daughter Sally (born 1943) elected to stay with him. On January 18 1964 Bloch met recently widowed Eleanor (Elly) Alexander (née Zalisko) (who had lost her first husband writer/producer John Alexander to a heart attack three months earlier) and made her his second wife in a civil ceremony on October 16 of that year. Eleanor was a fashion model and cosmetician. They honeymooned in Tahiti and in 1965 visited London then British Columbia. They remained happily married until Bloch's death. Eleanor Bloch died March 7 2007 at the Betel Home in Selkirk. The 1960s and screenwriting continued: In 1964 Bloch wrote two movies for William Castle - Straight-Jacket and The Night Walker. Bloch's further TV writing in this period included The Alfred Hitchcock Hour (7 episodes 1962“1965) I Spy (1 episode 1966) Run for Your Life (1 episode 1966) and The Girl from U.N.C.L.E. (1 episode 1967). He notably penned three original scripts for the original series of Star Trek (1966“67): ''What Are Little Girls Made Of?''''Wolf in the Fold'' (a Jack the Ripper variant) and ''Catspaw''. His novels of this period include Ladies Day/This Crowded Earth (1968)(sf) The Star Stalker (1968)and The Todd Dossier (1969)(the book publication of which bears the byline ''Collier Young''). In 1968 Bloch returned to London to do two episodes for the Hammer Films series Journey to the Unknown for Twentieth Century Fox. One of the episodes. ''The Indian Spirit Guide'' was included in the TV movie Journey to Midnight (1968). Following the 1965 movie The Skull which was based on a Bloch story but scripted by Milton Subotsky between 1966 and 1972 Bloch wrote no less than five feature movies for Amicus Productions - The Psychopath The Deadly Bees Torture Garden The House That Dripped Blood and Asylum the last two films featured stories written by Bloch that were printed first in anthologies he wrote in the 1940s and early 1950s. In 1969 he was invited to the Film festival in Rio de Janeiro along with other science fiction writers from the US Britain and Europe. The 1970s and 1980s: During the 1970s Bloch wrote two TV movies for director Curtis Harrington - The Cat Creature and The Dead Don't Die. Bloch meanwhile (interspersed between his screenplays for Amicus Productions) penned single episodes for Night Gallery (1971) Ghost Story (1972) The Manhunter (1974) and Gemini Man (1976). In 1975 Bloch was presented with a Lifetime Achievement Award at the First World Fantasy Convention held in Providence Rhode Island. The award was a bust of H.P. Lovecraft. An audio recording was made of Robert Bloch during that 1975 convention accessible at the following link. [1] Bloch continued to publish short story collections throughout this period. His Complete Stories (so-called) appeared in three volumes just prior to his death although many previously uncollected tales have appeared in volumes published since 1997. His numerous novels of this two decade period range from science fiction (Sneak Preview (1971)) through horror novels such as the Lovecraftian Strange Eons (1978) and Night of the Ripper) his two sequels to the original Psycho (Psycho II and Psycho House) and late novels such as the thriller Lori (1989) and The Jekyll Legacy (with Andre Norton (1991) a sequel to Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Omnibus editions of hard-to-acquire early novels appeared as Unholy Trinity (1986) and Screams (1989). Bloch's screenplay-writing career continued active through the 1980s with teleplays for Tales of the Unexpected (one episode 1980) Darkroom (two episodes1981) Alfred Hitchcock Presents (1 episode 1986) Tales from the Darkside (three episodes 1984“87) and Monsters (three episodes 1988“1989). No further screen work appeared in the last five years before his death although an adaptation of his ''collaboration'' with Edgar Allan Poe''The Lighthouse'' was filmed as an episode of The Hunger in 1998. In February 1991 he was given the Honor of Master of Ceremonies at the first World Horror Convention held in Nashville Tennessee. Death: In 1994 Bloch died of cancer at the age of 77. in Los Angeles after a writing career lasting 60 years including more than 30 years in television and film. He was cremated and interred in the Room of Prayer columbarium at Westwood Village Memorial Park Cemetery in Los Angeles. His wife Elly is also interred there. Writings on Bloch: An early reference work by Australian writer Graeme Flanagan Robert Bloch: A Bio-Bibliography (1979) includes interviews with Bloch and memoirs by fellow writers such as Harlan Ellison Richard Matheson Mary Elizabeth Counselman and Fritz Leiber. An essay by Lee Prosser about Robert Bloch was published in The Roswell Literary Review at Roswell New Mexico 1996. The Existential Robert Bloch an interview by Lee Prosser with Bloch in March 1983 was published at Michael G. Pfefferkorn's The Bat is My Brother website. ''A Conversation With Lee Prosser'' an in-depth interview with Lee Prosser about Bloch by Michael G. Pfefferkorn on May 31 2002 was published at Michael G. Pfefferkorn's The Unofficial Robert Bloch Website. Randall D. Larson published and edited an early tribute to Bloch The Robert Bloch Fanzine (Fandom Unlimited 1972). He later authored three reference books about Robert Bloch: The Robert Bloch Reader's Guide (1986 a literary analysis of Bloch's entire output through 1986) The Complete Robert Bloch (1986 an illustrated bibliography of Bloch's writing) and The Robert Bloch Companion (1986 collected interviews). In addition an issue of Paperback Parade magazine (No. 39 August 1994) contains two articles by Larson on collecting Bloch - ''Paperblochs: Robert Bloch in Paperback'' and ''Robert Bloch in Paperback''. Crypt of Cthulhu magazine No 40 (Vol. 5 No. 6 St. John's Eve 1986). was a special Robert Bloch issue. It included some story reprints by Bloch essays on his work and bibliography of his books by R. Dixon Smith. In the anthology My Favorite Horror Story (DAW 2000) edited by Mike Baker and Martin H. Greenberg influential horror writers in the field picked their favorite stories. Out of 15 tales Bloch is the only author represented by two stories. Stephen King chose ''Sweets to the Sweet'' and Joe R. Lansdale chose ''The Animal Fair''. There is an essay on Bloch's work with particular reference to the novels Psycho (novel) and The Scarf in S. T. Joshi's book The Modern Weird Tale (2001). Joshi examines Bloch's literary relationship with Lovecraft in a further essay in The Evolution of the Weird Tale (2004). A more recent essay collection focusing on a range of Bloch's work is Robert Bloch: the Man Who Collected Psychos edited by Benjamin J. Szumskyj (McFarland 2009). Comic adaptations: A number of Bloch's works have been adapted in graphic form for comics. These include: ¢ ''The Beasts of Barsac'' (aka ''The Living Dead'') in Vampire Tales ¢ ''The Past Master'' in Christopher Lee's Treasury of Terror. NY: Pyramid 1967. ¢ ''The Shambler from the Stars'' ¢ a. in Journey Into Mystery 3 (Marvel Comics Feb 1973). Script by Ron Goulart art by Jim Starlin and Tom Palmer. ¢ b. in Masters of Terror 1 (Marvel large size b&w July 1975). ¢ ''The Man Who Cried Wolf'' (as ''The Man Who Cried Werewolf!'') in Monsters Unleashed 1 (Marvel Comics large size b&w 1973). Script by Gerry Conway art by Pablo Marcos. ¢ ''The Shadow from the Steeple'' in Journey