In this introduction, Derleth prematurely declared the genre to be dead--"for certainly the Mythos as an inspiration for new fiction is hardly likely to afford readers with enough that is new and sufficiently different in execution to create a continuing and growing demand".

[3] Perhaps responding to the introduction to Derleth's collection, Berglund wrote in his preface: "Whether or not there is a market for the Cthulhu Mythos stories, established and amateur writers will continue to write them for their own and their friends' amusement and enjoyment.

A. Attanasio, which was supposed to be published in the original Disciples but ended up in the Arkham House anthology Nameless Places instead.

In his introduction, Campbell noted that "[i]n recent years the Mythos at times has seemed in danger of becoming conventionalized," despite the fact that "Lovecraft's intention and achievement was precisely to avoid the predictability and resultant lack of terror which beset the conventional macabre fiction of his day."

The contents are: Arkham House released a revised edition of Tales of the Cthulhu Mythos in November 1990, edited by Jim Turner with a substantially different selection of stories, reflecting the editor's disdain for "Mythos pastiches in which eccentric New England recluses utter the right incantations in the wrong books and are promptly eaten by a giant frog named Cthulhu."

Turner eliminates some authors from the earlier edition (totalling four stories, those by Wade, Shea and two by Lumley) --while still suggesting that "a few of the earliest pieces in this volume...now seem like pop-cultural kitsch."

Price writes that his intent in making selections was to assemble "an alternate version" of Derleth's Tales of the Cthulhu Mythos, though limited in scope to the writers of the pulp era.

He included several pieces long out of print or reprinted only in obscure fanzines, and tried to focus on "stories in which certain important Mythos names or items are either first mentioned or most fully explained by the author who created them".

"[9] Some of the stories in the collection — such as those by Burroughs and Ballard — were not inspired by Lovecraft, but were seen by Mitchell as sharing his "visions of cosmic alienation".

In those stories that make direct references to the Cthulhu Mythos, they are "used only in passing--in the same informal way in which Lovecraft himself intended.

As in his earlier collection, Turner criticizes the "latter-day Mythos pastiche" as simply "a banal modern horror story, preceded by the inevitable Necronomicon epigraph and indiscriminately interspersed with sesquipedalian deities, ichor-oozing tentacles, sundry eldritch abominations, and then the whole sorry mess rounded off with a cachinnating chorus of "Iä!

He describes the contents as "little known and seldom seen stories by most of the seven members of the New Lovecraft Circle numbered by Lin Carter and by other, more recent adepts as well, for the tradition grows.

The contents are: The Children of Cthulhu, published by Ballantine Books in 2002, was edited by John Pelan and Benjamin Adams.

The volume is a “cross-genre” anthology, telling Lovecraft-inspired stories that are comedies, space operas, hardboiled noir, etc.

The volume's twist is that the dreaded revival of the fearsome "Great Old Ones" who once ruled the Earth is not a future possibility, but an event that has actually come to pass.

This was a popular theme in Weird Tales at the time and used by many other authors, including Robert E. Howard and Clark Ashton Smith.

“Found in a Trunk from Extremadura” was first published as “Manuscrit trouvé dans une malle d'Estrémadure” in the French anthology HPL 2007.

Two stories, Laird Barron's "The Men from Porlock" and John Hornor Jacobs's "The Dream of the Fisherman's Wife", are original to the volume.

In this anthology as editor, Joshi's goal was to assemble a collection of stories influenced by the works and core tenets of H. P. Lovecraft, while avoiding the rigid structure of the Cthulhu Mythos as defined by August Derleth and others.

In his introduction, Joshi states that "It is to be noted how many stories in this anthology do not mention a single such name from the Lovecraft corpus; and yet they remain intimately Lovecraftian on a far deeper level.

Three stories, Paul Tobin's "The Drowning at Lake Henpin", Christopher Reynaga's "I Only Am Escaped Alone to Tell Thee" and Laird Barron's "Hand of Glory" are original to the volume.

The volume is a "cross-genre" anthology of Lovecraft-inspired stories and poems, with original art by World Fantasy Award–winning artist John Coulthart.

Writing for The Mary Sue, Jessica Lachenal stated that it "could be one of the neatest Lovecraftian anthologies to date.

"[18] The contents are: An anthology set in Australia, Cthulhu Deep Down Under Volume 1, edited by Steve Proposch, Christopher Sequeira, and Bryce J. Stevens, was published in Melbourne in 2017.