The Chromatic Court is anthology of horror/dark fantasy anthology exploring the connection between color, art, and the powerful entities of the Cthulhu Mythos, drawing especially heavily on the feel flavor, and weird meanace of Robert W. Chambers’ The King in Yellow.
As someone who has been a fan of the Mythos since college, I’m very excited about this story, and very excited to talk about it. So, I thought I’d play Q & A with myself by sharing the author interview compiled by my publisher.
… also, I may be the first person in the history of the universe to quote Ralph Wiggum while discussing the Cthulhu Mythos.
Q) Tell us about your story?
A) Set in the fertile artistic and literary scene of 1910s Montmartre, The Green Muse chronicles the journey of Drieu Gaudin, a novice reporter at Paris’ top arts and culture newspaper. His editor, a man of very traditional artistic sensibilities, assigns Drieu to report on the murders of several Cubist painters. Seeking to unravel the mystery behind the artists’ bizarre deaths, Drieu is challenged not only by one of Frank Belknap Long’s most celebrated creations but by encounters with the Parisian avant-gardes’ leading lights: Picasso, Modigliani, Guillaume Apollinaire, and Max Jacob.
Q) What is your favorite part of your story and why?
A) This project was a labor of love for me. For a very long time, Paris’ artistic scene in the early part of the 20 th century has captivated me and inspired voracious reading on the topic. The greatest joy of The Green Muse was breathing life into the enchanting world of 1910s Montmartre. Within that broader answer, it was especially gratifying to shine some light on poet Max Jacob, a figure unfortunately and undeservedly less well known than the other historical artists who appear in the story. Spoiler Alert: it was also exciting to expand on the fascinating yet under-explored mythology of the Hounds of Tindalos.
Q) Every story in The Chromatic Court details a noble, a powerful Mythos entity, and the art form they hold sway over. What is your entity’s art and what drew you to it?
A) As anyone familiar with my work is likely aware, music is my greatest passion among the arts. Painting, however, runs a close second. This is especially true of painting from this particular time and this particular place; as artists began grappling with the question of what the invention of photography meant for painting. Movements such as Cubism and Fauvism arose from attempts to answer that critical and vexing question. As Picasso observes in “The Green Muse…”
“Painting is dead. At least painting as you know it. Photography killed it. But, in death, painting is free. Our quest is figuring out where it goes from here.”
Q) In The Chromatic Court, every Mythos entity and their art is also tied into a specific color. What is your noble’s color, and why?
A) As revealed in the title, green. I could point out the relevance of green to the absinthe which features so prominently in the era and in the story, but as Ralph Wiggum says, “The rat symbolizes obviousness.” Less explicitly but more importantly is that color’s connection with envy, specifically the jealousy Montmartre’s artist feel for each other’s success, talent, and romantic prowess. In various forms, jealousy is a driving force for the main characters of “The Green Muse,” Drieu and Cara, as well as some of its historcial figures, like Picasso.
Q) How do you approach writing Mythos fiction, particularly when it’s a mix of the Cthulhu Mythos and Chambers’ Yellow Mythos?
A) For me, the most important element of successful Mythos fiction is believably but compellingly conveying the protagonist’s mental journey from the comforting illusion of everyday life to the sub-rosa Mythos reality beneath. When blending Lovecraft and Chambers, the challenge is balancing the Outer Gods’ concrete if alien terrors with the latent and more diffuse menace of The King in Yellow.
Read Chapter One from “The Green Muse.”