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Opening my handbag in the light of a single electric bulb, I again took out the cylinder and noted the instant magnetism which pulled the Indian talisman to its carven surface. The designs glimmered evilly on the richly lustrous and unknown metal, and I could not help shivering as I studied the abnormal and blasphemous forms that leered at me with such exquisite workmanship. I wish now that I had carefully photographed all these designs—though perhaps it is just as well that I did not. Of one thing I am really glad, and that is that I could not then identify the squatting octopus-headed thing which dominated most of the ornate cartouches, and which the manuscript called “Tulu”. Recently I have associated it, and the legends in the manuscript connected with it, with some new-found folklore of monstrous and unmentioned Cthulhu, a horror which seeped down from the stars while the young earth was still half-formed; and had I known of the connexion then, I could not have stayed in the same room with the thing. The secondary motif, a semi-anthropomorphic serpent, I did quite readily place as a prototype of the Yig, Quetzalcoatl, and Kukulcan conceptions. Before opening the cylinder I tested its magnetic powers on metals other than that of Grey Eagle’s disc, but found that no attraction existed. It was no common magnetism which pervaded this morbid fragment of unknown worlds and linked it to its kind.


- H.P. Lovecraft and Zealia Bishop, The Mound, Chapter 2