Appearing in that November issue of 1926, Munn's work did not receive the cover, despite being the best story in the issue. The cover went to EF Hoffman's "The Peacock Shadow," a story that might have been better in WT's sister magazine, Oriental Tales; not yet created (1930-34). Hoffman's tale would certainly have pleased Farnsworth Wright better, as Wright was always looking for a reason to put a half-dressed (or less) woman on the cover and Munn's story has no love interest. But a little digging also found that the cover of June 1925 bore an Andrew Brosnatch illo for Paul S Powers' "Monsters of the Pit," featuring a man attacking a giant spider with an ax. Perhaps Wright simply felt that he'd "been there; done that".
“In answer, I heard thuds on the low roofs as trap-doors fell back, and from each structure crawled a creature that dwarfed our captors into insignificance. It was a disgusting, heart-stopping sight, and our stomaches retched as we saw eight enormous spiders, each the size of a horse. But it was not their incredible size and filthiness, nor their bloated bodies which betokened an unthinkable age, that so horrified our souls! It was the look of an incredible, superhuman knowledge within their eyes, a knowledge not of this earth or era, a look as they saw us that might shine in the eyes of Lusifer, conscious of a kingdom or a world that had been gained, ruled and lost! And I knew that they looked upon us as an upstart race, born to serve, that had by a freakish accident turned the tables on our masters.”
The spiders retain memories genetically, so more history lessons follow, with humans serving as slaves in the ages before the dinosaurs. Rebellious men are fed as an object lesson to a form of gelatinous slime that lives in the water. Munn, like Robert E Howard with his "Hyborian Age," creates a pseudo-history that involves conquering armies of beast-men and spiders until the Ice Age forces the spiders to evolve into smaller, hairier animals; losing their sway over the humans. In a long, dangerous migration, a small band of spiders make it to the equatorial jungles and survive in their city, rebuilding and waiting to take the world back. Munn ignores timelines and slow evolutionary forces much as Howard did, arriving at an age in which humans forget they were once slaves to the spiders. Munn would return to this form of fantasy-history in his Merlin saga - King of the World's Edge (Weird Tales, September-December 1939), The Ship From Atlantis (1967), and Merlin's Ring (1974) - and then actual historical fiction in his Roman novel, The Lost Legion (1980).
The giant, killer spider theme used for a combination of SF and horror (as opposed to fantasy, which has plenty of giant arachnids of its own) can be traced back to HG Wells and "The Valley of the Spiders" (Pearson's Magazine, March 1903). Murray Leinster may have been the first to have gigantic spiders in his series: "The Mad Planet" (Argosy, June 12, 1920), "The Red Dust" (Argosy All-Story, April 2, 1921), and "Nightmare Planet" (Science Fiction Plus, June 1953). Others before Munn include Paul S Powers' mad scientist story "Monsters of the Pit" (mentioned above) and Edmond Hamilton's "The Monster-God of Mamurth" (Weird Tales, August 1926), which has a giant invisible spider.
Munn's inspirations may not have been Wells' alone but his friend and colleague, HP Lovecraft. Munn's super-intelligent spider king from out of the ages has that same elder evil that Lovecraft gave to his creations. And again, here is where 1920s Weird Tales fiction is so refreshing. Unlike all the later August Derleth-driven pastiches, Munn is working in a Lovecraftian mode but not trying to imitate the master. As with Fritz Leiber's later horror classics, Munn is Lovecraft's equal; not a slavish imitator.
GW Thomas has appeared in over 400 different books, magazines and ezines including The Writer, Writer's Digest, Black October Magazine and Contact. His website is gwthomas.org. He is editor of Dark Worlds magazine.